Sleeping Beauty

Sleeping Beauty

Written by Alan Frayne

Performed by Paignton Pantomime Productions

On Friday 3rd January 2025

At The Palace Theatre, Paignton

Directed by Iain Douglas

Musical Director – Allan Fouracre

Choreography by Elaine Johnson

 

The stage was well and truly set for the story of Sleeping Beauty. As we took our seat’s we knew we were in for a treat with a stunning set consisting of an LED Proscenium, which had two further LED pros behind, used throughout to light various scenes. With a painted gauze, which bled through showing a spinning wheel, lit gently, yet threateningly and with painted turrets, front of stage right and left with lit windows and white and blue moving gobos lighting the stage, this looked impressive and professional.

A tinkle from the percussionist in the audience and a pink pyro introduces us to Fairy Lilac played by Thea. Entering from stage left In a pink and silver gown, wand and tiara, Thea was a perfect Fairy Godmother. With clear diction and a lovely singing voice this actor narrated the story with an added touch of fun such as using a mobile phone to ‘spell’ check.  Only to be thwarted by her real-life uncle and the devilish Bad Witch Hazel, played by Alex, who entered to the sound of cymbals and a green pyro, dressed in a green tunic, green tights, black and purple wig, black gloves and a broomstick! This actor relished being a baddy and had great stage presence. Perfectly vile throughout until he is magically made good. Well done to the director Iain Douglas for following panto protocol with the use of stage entrances for baddies and goodies.

The stage cloth lifts and we hear ‘September’ sang by the ensemble, dancers and junior dancers led by Muddles. At this point I have to mention this amazing group of talented singers and dancers who supported the principals so remarkably throughout this production. Every single time they entered the stage they were present and by that, I mean they were acting, singing and giving 100%, throughout. With ballet numbers, tap and modern choreography created by Elaine Johnson, each one looked fabulous and accomplished a professional performance. ‘When I Grow Up’ in the village classroom scene was memorable as was the christening scene with balletic fairies blessing the baby dressed in floaty pastel-coloured costumes. There are so many more number and scenes I could mention but suffice to say a colossal well done to the red team of juniors. And to the blue team, who I was not fortunate to witness but  I am sure you were just as wonderful too.

King Cactus, dressed in a purple wig, green and beige coat and tunic and Queen Marigold, dressed in pink ‘Marie Antoinette’ style wig, green dress piped with gold and a lovely singing voice to boot, both were both perfectly pompous as Princess Rose’ dippy parents.

The actor playing Muddles had the audience in the palm of his hand from his first entrance. Dressed in a yellow suit, patched tunic and yellow cap, with a strong tenor voice he encouraged audience participation with ‘Muddles, don’t get muddled’ shout out, this young man knows his stage craft. He also worked well with Nurse Hettie Harpic was the funniest, most creative and comical dame I think I have ever seen in both amateur and professional pantomimes. Cleverly, with a repertoire of jokes for all ages, he had the audience screaming with laughter and the poor audience member ‘Steve’ having his balding head checked for nits and his virility challenged too. This had myself and my husband laughing uncontrollably, out loud, along with the Noda President, Graham Liverton and his wife. ‘Oh! what a beauty’ was Nurse Hettie, a tour de force, as were her various costumes, which I will mention later.

After being sprayed with water by Nurse Hettie and Muddles we met the comic due of Fetch and Carrie. Fetch and Carrie, both in orange wigs, striped pantaloons, green and white tunics and green striped caps, who bounced of each other with ease and the scene involving the descriptions of names and towns was timed perfectly. Both gave a confident and very watchable performance.

The title role of Sleeping Beauty was Princess Rose, played by Emily, a professionally trained dancer and alumni of Bird College with a degree in Professional Dance and Musical Theatre. A delightful and delicate performance from this lovely actor with a voice of quality and whose solo numbers and duets, such as ‘Just the Two of Us’ with Prince Alexis were lovely. As Prince Alexis, the actor was hilariously vain and narcissistic, continuously checking himself in his hand mirror. You could not help but like him as he tries to woo Princess Rose in a ‘Lord Flashheart’ from Black Adder kind of way. Excellent change of character when, one hundred years later, as the great grandson of Prince Alexis, he is the handsome, kind and lovable prince who gets the girl.

As I previously stated the set worked well with various painted backdrops and good use of tabs. As were the stage props such as a small wooden door to the tower, the realistic working spinning wheel and the defib paddles Nurse Hettie tries to revive Princess Rose with. A highlight was the clever use of film projection. As the actors sat in a 3D car with ‘Royal’ as its number plate, facing toward the cyclorama, a film is projected of their journey through various towns and cities of Devon, ending up outside the Palace Theatre. The stage crew had challenges with a large dragon head worked by puppeteers, large stage props and a large number of gauzes and drops but each scene change was seamless.

Lighting design from the blue and white gobos used on stage and auditorium, the pyros and spots for the good and bad fairies in pink and green, the red lighting for Rose’ dream scene with the dragon, yellow and oranges for Muddles and the village scenes. The use of differing colours of the LED proscenium lighting.  The lit windows of the castle turrets. Expert touches such as the lit floor-standing candelabras and LED lit raised terrace and steps during the ballroom scene and the moving hands of the large clock face, all cleverly designed, enhancing the production. Along with the sound team who had a number of personal mics to control plus balancing the five- piece band levels. Every word was heard and there were no mic dips where the actors dialogue is only partially heard.

Alan Fouracre and his fellow band members were an inherently important part to this pantomime and it is always wonderful to see a live band, if it can be afforded. Not only as a target for Nurse Hettie’s water cannon gun but allowing the MD to edit and transpose musical numbers to suit the voice singing it. The band made a great sound and the percussionist, Dean Morgan, was busy throughout with his chimes and cymbals.

It is an incredible job to costume such a large cast and with so many changes but admirably achieved by Elaine Johnson who sourced, sewed and fitted them. Nurse Hettie’s costumes were changed for every scene and from head to foot including wigs, so well done to his dresser’s, Charlotte and Hazel. Hettie’s look consisted of a blue checked dress, nurse apron with red cross, a greying two horned wig with cap, silver boots, a school mistress in tartan skirt and white blouse with wig and mortarboard, a gold lame outfit with a colourful two horned wig for Rose’s christening along with many others. The ensemble and dancer’s costumes were gorgeous, such as the tartan pinafores, tartan caps and black tights in the village schoolroom, the gorgeous gingham outfits in differing styles for the older and junior ensemble and everyone in various purple or pink dresses in the ballroom scene. Well done to the chaperones for their support and care in getting the young actors to the stage on time and in time.

This was, undoubtedly, the most professional amateur pantomime I have had the privilege to see in a very long time. Stunning choreography performed by talented dancers ranging in age and melodic ensemble singing. Beautiful costumes. Every principal character giving solid performances and a dame whose comedic timing was perfect, a nasty baddy and a beautiful princess. Well cast and well directed by Iain Douglas and rehearsed in only seven weeks!

This production of Sleeping Beauty is yet another triumph for the company and also a proud achievement for the Palace Theatre, Paignton. 

Lyn Burgoyne  - Noda ( District 5, Mid and East Devon )

N.B. Please note that this report can only refer to the performance seen and express the personal views of the Representatives commenting.

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