Sleeping Beauty

The notes in your informative programme gave the background to this well known and greatly loved pantomime story and reminded us of its long tradition as a favourite classic. The perfect choice for your first production after the years of lockdown, the parallel has regenerated the enthusiasm for live performance and village camaraderie in a highly successful way. You selected a script that pads out the simplicity of the story with entertaining characters, and picked songs that kept the action moving. The inclusion of local references made this very much a community event and was greatly appreciated by the packed audience.

Set: Tabs were closed at the start and we were able to admire the painting around the pros arch of grey stone walls with clambering roses, blending into gnarled trees on the side walls of the forestage. The opening scene of the Village was revealed as a tableau behind a gauze that quickly lifted. The backdrop was of attractively painted houses and thatched cottages and the set gave plenty of space for the lively company number. The Castle set of imposing stone walls matched the pros arch for continuity.  A range with worktop was a simple addition to turn the setting into the Kitchen. A more complex change turned the backing into a Cabin In The Woods. The Dungeon scenes again used the stone walls, decorated with painted flambeaux, but we now saw a barred window at UC hinged so that a view of the Sleeping Princess could be disclosed, and through which Superwoman could enter, and a grille set low into the wall that proved to be a practical opening to facilitate escape. Enabling these changes to be made in timely fashion, and I might add noiselessly, roller cloths were used to provide interim scenes downstage. I counted four including the gauze - a repeated charming woodland with cute animals hiding behind and in the trees (to hint at “somewhere else in the woods” half flats of stonework were dropped in each side), a castle disappearing beneath a thicket of growing trees and thorny vines, and a white projection cloth. They moved smoothly and quickly without jerking or falling - your technical team is to be applauded for the construction of such a grid! There was an evident economy in the versatile design that allowed basic flats to be used in different scenes with additions pertinent to each setting and the scenic artwork was colourful and pleasingly detailed.

Props: Pantomime props make their impact by being exaggerated and cartoon-like and it was satisfying to see the over-sized story book and spell book, and the long list of Carabosse’s misdemeanours to start us off. The pram was perfect, and giving the Dame a bicycle for her entrance was inspired. It was fascinating to note the different configurations in which Freddy and Teddy carried their briefcase and umbrella - a diverting attention to detail there! The tiny puppet Dibbley was hilarious and the transfigured Carabosse’s huge black dragon head impressive. It was a comical idea to give the Prince and his Huntsmen hobby horses using mops that still had their ‘tails’ and hugely entertaining to have half a dozen ‘This Way’ signs bringing the Prompt and Band members into the action, as they were on more occasions when Drummer Boy became an honorary cast member providing aprons and showing off his Bake Off entry! The slosh scene ingredients were bold and clear and the self-raising flour flew upwards neatly, while the ‘whipped egg white’ properly had generous amounts of foam being thrown around. There’s a balance to be had deciding how much will ruin make up and/or costumes and how little fails to land the joke. We do expect it to be messy if it’s going to be done at all!  The anticipated spinning wheel didn’t disappoint, brief though its appearance was. Carabosse’s handful of fire was clever and it was total joy to see I Want To Break Free backed with guitars and a vacuum cleaner!!  The falling ceiling of the Castle combined with appropriate sound effects leads to...

Sound and Light: Grinding sounds of crumbling brickwork had to be synchronised with the falling polystyrene blocks. It was a comical and surprising effect and we could believe the Castle was at risk of collapse. Rumbling thunder, a piercing hunting horn call and a dragon’s roar contrasted with the baby’s gurgle and gentle tinkling chimes of the Fairies - thoughtfully selected effects, not overdone, and all on time. Particularly entertaining was the slurping sound of Dibbley’s long red tongue licking his ‘friends’. The sound levels were generally good with a comfortable balance between the vocals and the live music. Just occasionally there was a crackling indicating a disruption somewhere in the system. Lights and sound were controlled from a gantry especially constructed at the back of the hall giving the operators an unrestricted view of the stage that enabled prompt reactions to cues. Two full sized super trouper follow spots highlighted the action and provided special lighting effects throwing green onto the hypnotising pocket watch, whirling disco-like during Wannabe, or picking out the romantic couple in Love Is An Open Door. Red floods as Rose pricked her finger underpinned the moment at dramatic variance to the general lighting that was well focussed to leave no dark areas, and wisps of smoke diffused the lights for the Fairy Ballet. Really making their mark and ensuring no one fell asleep (as if!!!) were the frequent pyros, not one of which missed its cue. Carabosse’s entrances were magnificent behind a burst of coloured flame and smoke each time; terrifying sparks flew climactically as Rose touched the spinning wheel; the Dungeon’s grille opened with a burst, and the Finale with four prolonged Roman candle effect gerb fountains was a spectacular end to a fabulous show.

Music and Choreography: A talented three piece band sat in front of the stage and were kept busy from the first bars of a selection of the show’s songs, through the many numbers, and playing their parts with the on stage action, all the way to the final play out. They really were quite remarkably sensitive to the size of the venue, the proximity of the audience and the mood of the different songs, never drowning out the vocals or deafening those sitting only feet away...full marks. The music was selected from a variety of sources, modern animated films, award winning pop songs, nursery songs, music hall, 1950s, ‘60s, ‘80s, ‘90s, Disney and traditional Christmas, and each was just so apt, so perfect for the moment in the story with none of the shoe-horning in frequently seen. Keeping each song to a short’n’sweet snappy length with no self-indulgence was wise and allowed the storyline to move apace. If you chose them yourselves, well done, and if they were part of the script - you chose the right script! It was all so warmly enjoyable with strong, confident singing voices, harmonies, humour and captivating delivery from everyone - as a rule...just note that when individuals have a single line in a company number they do have to be secure and attack promptly on the first word. The staging of the numbers was never overly complicated and everyone performed with energy and commitment; even the smallest seldom looking around for a cue. Particularly enchanting was the Fairy Ballet with Dill able to demonstrate her skill, but nevertheless ably backed by her companions, as they guided the sleeping Rose, eyes closed, to her bed. Prince Gadabout has wonderfully free physicality and together with his scarlet-coated Huntsmen they produced a rollicking Galloping Major. Love Is An Open Door was given an entertaining staging as well as being harmoniously sung, and Carabosse’s speak/sing of I Put A Spell On You was given a backing of interesting armography. Groupings were cleverly placed to avoid the ubiquitous straight lines round three walls and good use was made of the width of the forestage.

Costumes were a delight! The mysterious Narrator in his mask and hooded cape set the scene joined by the Fairies in their Disney colours of pink, blue and greeny/yellow. Lovely idea to give Nutmeg a rebellious hitched skirt and bovver boots to suit her character. The Villagers were bright and colourful in primary colours with laced bodices and Clarence looked resplendent in his 18th century rust-coloured suit with tricorn over a white wig. It was satisfying that all the outfits were of a coordinated ‘period’ appearance, so the King with his decorated and slashed sleeves, and buckled boots, and the Queen in her rust and white layered skirt were admirable. Princess Rose was pretty in her gold and bronze, and eye-catching in the slender blue. Prince Gadabout cut a dashing figure as the quintessential Principal Boy in fishnets and boots with thigh skimming tunics over extravagant lace-trimmed hero shirts, his tiny coronet a comically restrained royal symbol, and the stag party antlers were an amusing touch. Carabosse was fabulous, looking deliciously evil in rich purple velvet, widow’s peak crown, black feathers and dainty wings - that were echoed by her black garbed and horned Minions and junior Fairies; the good Fairies looking pretty in pastels; and The Squirrels, Bears, Rabbits and Fox were just lovely - but it is important that hoods fit well around the face and that youngsters are instructed not to constantly fiddle with them. Dancers helping the thicket grow were fine in their leafy catsuits that facilitated their sinuous movements. Teddy and Freddy made a most appealing Comedy Duo in their contrasting sequinned suits, striped socks, and bowlers. It suited their ‘business men’ characters to have them smart rather than in the dungarees so often used. Dibbley made a lovable dragon in his head to toe scaly costume complete with padded clawed feet, his hi-vis jacket an amusing novelty, and the guardsmen in their noble quartered tunics looked ‘authentic’. Dame Laura Norder instantly scored with her sophisticated narrow-skirted suit, tiny titfer perched between the horns of her Baroque wig - and boots!...the specs on a chain round her neck a winning detail. Her subsequent outrageous and colourful outfits, lime green and orange, or shocking pink, were all comfortably Dame as opposed to female impersonator and the accurate Superwoman uniform was a great touch of nonsense - the collection culminating in the remarkable Finale vision.

Direction: Mrs Beeton said, “First catch your rabbit”. For that read, “First get a good panto script”! And you did. Lifting it from page to stage is not a given and you worked so well to bring the words to life. Terrific casting put this production on the road to success with really strong leads in all named roles. They had an energy flowing from the core in dynamic movement and powerfully projected voices that was gripping. Dame Laura had obviously practised fetchingly putting her right leg out to the side! Teddy and Freddy had “walks”; Clarence thrust himself forward “to be heard”; Prince G had a cheeky, cocky assurance; King and Queen a believable intimacy; Carabosse a sneering aloofness tinged with good humour; and Rose a delicate innocence without being ‘wet’. It may have all come from the book (?) but this had to be guided, and you managed to insert quite a few references to village development and personalities that struck home with the locals. It was a large cast to manoeuvre around a not-huge stage - good use was made of all the possible entrances/exits - down the centre aisle as well as those on stage. Comedy routines were tidy - measuring the Castle was cleverly creative, and the Kitchen successful; and touching the spinning wheel alarmingly theatrical to good effect. Your junior section was keen and alert - some just need to be aware not to rush words, speaking out front rather than directly to each other, and not to fidget with costumes, but they are clearly getting a good stage education with this company. The Song Sheet, presented with bold words clearly projected, was actually enjoyable to perform and a clever adaptation of a tune we all know. This was a first class and polished pantomime that had me grinning ear to ear from start to finish. Everyone connected with it in whatever capacity should be extremely proud.

 

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