Sleeping Beauty

A cold Sunday afternoon outside contrasted perfectly with the warmth inside the auditorium as Dewsbury Collegians welcomed a full house for their presentation of Sleeping Beauty by Alan P. Frayn. From the opening moments, the enthusiasm and excitement of the audience created a wonderfully inviting atmosphere, ideal for a traditional family pantomime.

The story was introduced by the Good Fairy Lilac, played by Melanie Brown, who looked every inch the traditional fairy and set the scene with clarity and charm. She was ably assisted by the Rainbow Fairies – Gemma Buckley, Gemma Coward, Cadee Hawkins and Janet Jackson – who added colour, sparkle and energy as they supported Lilac in guiding the audience through the tale.

The mood shifted with the arrival of the Bad Witch Hazel, portrayed by Annette Conway. With a Maleficent-esque presence and an unexpected Irish-American twang, Conway delivered an air of regal evilness that worked well for the role. She was accompanied by her henchman Egor, played by Lee Sharratt-Fisher, whose purpose was to wreak mayhem at every opportunity. Sharratt-Fisher coped admirably with a head-to-toe, full face mask costume, though at times this did make his dialogue difficult to hear or fully understand.

Comedy was firmly established with the introduction of King Cactus (Jeremy Handley) and Queen Marigold (Jemma Vause), a delightfully mismatched pair who were equally ditzy in very different ways as they struggled to cope with life as new parents. Their confusion and comic timing set the tone perfectly for the chaos that followed.

Enter Muddles, the village idiot, confidently and assuredly played by Danny Brooks. Brooks demonstrated excellent audience rapport throughout and delivered a performance full of energy and warmth. His comedic relationship with Nurse Hettie Harpic, the Royal Nursemaid, played by James Creegan, was a particular highlight. Creegan’s first entrance and mannerisms during his musical number were reminiscent of Christopher Biggins, immediately endearing him to the audience. His ability to ad-lib with an unsuspecting audience member across the show showcased both confidence and natural comic talent.

The comedy continued with the hapless duo Fetch and Carry, played by Susan Cunningham and Joe Kirkwood. The dynamic between the pair was strong and well-judged as they inadvertently caused the curse to be applied to Sleeping Beauty. A standout moment came during their explanation of where the christening invitations were being delivered, cleverly using place names to great effect. Cunningham, in particular, demonstrated excellent physical comedy and expressive facial reactions.

At the heart of the story was Princess Rose, also known as Sleeping Beauty, sensitively played by Rachael Kirkwood. A tender highlight was her song When I Grow Up, beautifully supported by dancers from The Sutton School of Dance, creating a visually pleasing and emotionally gentle moment. Prince Alexis, portrayed by Nat Jackson, was a traditional principal boy in looks, voice and stage presence. His duet with Princess Rose, Love Is an Open Door, showed the pair’s strength in harmony and connection. The reprise of this song, when Alexis reincarnates as Alexanda, his grandson, 100 years later after rescuing Sleeping Beauty from her curse, was a lovely and thoughtful link within the storytelling.

The production made good use of the stage space, with effective visual graphics used as backdrops to establish locations and show the passing of time. This was a smart way to avoid cumbersome scene changes and lengthy blackouts. It was also pleasing to see and hear a live band, which undoubtedly added to the overall pantomime experience.

Dewsbury Collegians clearly understand how to use the traditional ingredients required to create a successful pantomime. Looking ahead, consideration could be given to making greater use of the auditorium for entrances or action, as audience members seated in the balcony do not always share the same viewpoint and may miss some of the humour and business. Additionally, where scenery is minimal, care should be taken to avoid the ensemble standing in rows or semi-circles; greater use of space and varied staging would help create more visually dynamic scenes.

Overall, this was a very successful pantomime that delighted its audience. Congratulations to the production team, led by Director Sarah Tolson and Musical Director Jacques Warlop, and supported by a large and dedicated off-stage team, for delivering an enjoyable and engaging afternoon of theatre.

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