Sleeping Beauty

Director/Producer Chrissy Brimacombe

Musical Director John Davies

Artistic Director Michele Saunders

Assistant Director Jacqui Hamer

Alan Frayn’s scripts always have a strong storyline, flow smoothly and have perfectly placed scenes “out front” to enable changes to take place behind without interruption to the action, they are also revised each year, keeping them fresh and up to date – a good choice.

After a rousing piano introduction, the Herald’s announcement outlined the setting for the story,  and we were treated to all the usual and expected panto characters and banter.

Bad Witch Hazel quickly made her mark, she was suitably scary and well supported by her ghoulish  “sidekicks” Egor and Junior, with Good Fairy Lilac making an appropriate foil.

The opening song was lively and not too long, as were the musical numbers which followed. A strong fanfare heralded the arrival of the King and Queen, dressed  attractively in co-ordinated costumes, as they introduced their new-born baby Princess Rose to the townsfolk.

Unexpected difficulties caused some last-minute reshuffling of cast and the performer who stepped into Nurse Hettie Harpic’s shoes did exceedingly well, and quickly formed a good rapport with the audience. As part of the “desperate duo” Fetch also took on the role quickly and in a seemingly effortlessly way, with a relaxed “laid back” attitude and together with Carry they made a delightful pair of “King’s Panties”!

Muddles made an endearing impression in the usual “silly billy” style, taking the brunt of the blame in the schoolroom scene, and the King and Queen were both just right, Cactus slightly “dotty” and Marigold most definitely in charge!

The principal boy and girl made a charming couple and sang well together. Prince Alexis, returning after 100 years as Alexander, had good stage presence, and was very natural in the role. Princess Rose was feisty, with a bright pretty smile and fainted impressively when she was tricked into pricking her finger.

There were some memorable moments in this production, the magnificent chandelier at the christening, the clever lighting effect on the gauze as the Prince cut his way through the forest of thorns, and the different take on the “job song” this time in dream mode.

On occasion lines were lost but in panto you can usually get away with it and can be part of the fun much to the delight of the audience! Many years ago, a member of this group once  dried on stage, he looked down at the prompt and said in a pure Devonshire accent  “what her’s got written there”, he brought the house down but it’s important to stay in character! Also remember if there is laughter or a round of applause wait a tad for your next lines otherwise they may be lost.

If it could have been achieved the action around the witch’s cauldron perhaps would have made more impact as a UV scene giving better emphasis on the props, and the spell itself.

All the principals were well supported by a bevy of ladies and two gentlemen in the chorus, a great bunch of delightful children, clearly enjoying themselves and very much part of the action, and some glamorous Rainbow Fairies, prettily dressed in crisp white gowns with coloured sashes and sparkly masks.

All the costumes were well chosen and carefully co-ordinated, and the silver and purple finale  made for an impressive end to a well-played and warmly received production – oh yes it was!

 

 

 

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