Sleeping Beauty

The delightful charm of a true community panto shone through in Sleeping Beauty, written by Sue and Andy Sheppard. Brimming with traditional elements and quirky, inventive twists, this production offered a fun-filled evening of entertainment that was both heartwarming and engaging.

The show opened with the foreboding duo of Maleficent (Amy-Lewise Spurgeon-Hill) and her eager young apprentice Nightshade (Lea Clarke). Together, they set the scene for a tale filled with dark scheming and mischief. Both actors commanded the stage with impressive vocals and a dynamic partnership that gave depth to their villainous roles. Maleficent’s presence was captivating, and Nightshade’s spirited enthusiasm brought an extra spark.

Injecting humor into the story were Pic and Mix, the bumbling brothers played hilariously by Matt Gibb and Michael Tattersall. Their antics and banter had shades of Last of the Summer Wine, adding a nostalgic and heartwarming touch. The pair’s comedic timing was spot-on, and their eventual triumph over Maleficent’s tricks made for a satisfying arc. Adding an extra layer of laughter was the traditional panto dame, Penny Farthing, portrayed by Jordan Whipp. Whipp’s take on the dame showcased his versatility, making the character both memorable and delightfully over-the-top.

The titular Sleeping Beauty (Wendy Whipp) embodied grace and sweetness, bringing a demure charm to the role. Her counterpart, Prince Kit (Becky Thompson), was commanding and charismatic, delivering a standout performance as the determined hero. The chemistry between the two characters was beautifully highlighted in their tender dream duet, a touching moment that showcased both actors’ vocal abilities. Wizard Kasta (Richard Goodall) and his apprentice (James De-Lucchi) added a whimsical touch to the proceedings, guiding the prince on his quest and injecting moments of humor and magic.

The ensemble cast was a joy to watch, with numerous supporting roles taken on by students who added energy and dimension to the production. It was heartening to see so many young performers involved, each contributing to the lively atmosphere and charm of the show.

While the production had many strengths, a few small tweaks could elevate it further. The traditional panto trope of a man playing a woman is a beloved convention, but Penny Farthing’s beard, while amusing, may have jarred with audience expectations. A nod to the classic spinning wheel, a key element of the Sleeping Beauty tale, could have enriched the storytelling and provided a more direct connection to the original fairytale.

Behind the scenes, the creative team deserves applause for their efforts. Sue Sheppard’s direction brought the community spirit to life, while Musical Director Ed Royston ensured a seamless blend of music and vocals. Choreographers Bev Maher and Amanda Walker added flair and vibrancy, with well-executed dance routines that showcased the cast’s talents.

In summary, Sleeping Beauty was a joyful celebration of community theater. Its mix of tradition and innovation, combined with strong performances and heartfelt humor, made it a memorable experience for all. Congratulations to the cast and crew for their hard work and dedication in bringing this enchanting tale to life.

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