Sleeping Beauty

There was a real community feeling to this production – the sense of people coming together, and their achievement being celebrated by friends and neighbours.  This was an inclusive, traditional pantomime – and yet it was distinctive and unusual in many ways.  It was as if the characteristics of pantomime had been shuffled up, so that all the expected elements were there but not necessarily where you might expect to find them.  Most obviously there wasn’t a stereotypical pantomime dame; we still enjoyed the slapstick and word play of a kitchen scene, it’s just that it was led by other characters.  Nor was there any shortage of cross-dressing, just not always in the usual roles – although this may have been partly because there were so few men in the company.

Pantomime Kings and Queens usually provide an element of stability – pompous, yes, ridiculous, almost certainly – with the principal comic characters operating around them.  In this production, King Norbert and Queen Dorothy (or “Nobby” and “Dotty” as we came to think of them) were the stars of the show, providing many of the comedic highlights.  Similarly, pantomime Princesses are often required merely to look pretty and sing sweetly, but this Princess Aurora was also spirited and independent.  The evil fairy Carabosse exhibited all the necessary characteristics of the pantomime villain – the ability to look the audience right in the eye, adopt a malevolent expression, cackle insanely and avoid standing up straight.

The principals were supported by a chorus of twelve, with some of the younger performers doubling up as rats.  There was some strong unison and accurate part singing, and while the choreography was clearly conceived to be inclusive, the dancing was generally precise and occasionally energetic.  The sense of occasion that can only be generated by live music was provided by a very capable band.

It was great to go to a show which showcased young local talent.  The younger members of the company get a taste of what performing on stage feels like; they learn from their more experienced co-stars, and they encourage other young people to join them.  In this way the future of amateur theatre is protected and the proud traditions of pantomime are passed from generation to generation.

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