Snow White and the Seven Dwarfs

There is always a warm welcome waiting for me at Langtoft Village Hall, and this year’s pantomime was no exception. As the audience settled into their seats, a tangible buzz of excitement filled the room, that familiar pre-show hum that signals an afternoon of community spirit and escapism ahead. Before a single line was spoken, Langtoft Players had already set the scene: like last year, the audience were entertained with Snow White–themed projections beamed onto the wide expanse of space above the stage, complete with a playful competition to spot just how many different apples could be seen. It was a charming touch that perfectly captured the good-natured fun of the company’s production of Snow White and the Seven Dwarfs, and a reminder that, here, the magic often begins well before the curtain pens.

Before the pantomime had even properly begun, we were treated to a lively warm-up courtesy of the court jester, Muddles, played by Michelle Marshall, who swept on stage to make sure the audience were fully energised and performance-ready. From that moment on, Muddles became our trusted guide through the evening’s events, addressing the audience directly, smoothing the joins in the story and keeping the narrative flowing at a cracking pace. Michelle really did excel in this role: her performance was warm, charismatic and wonderfully open, with an ease that immediately put the audience at their ease in return. Backed by a strong stage presence and excellent comic timing, she held the room effortlessly, anchoring the show and ensuring the audience were not just watching the story unfold, but very much part of it.

The pantomime then began in earnest with the entrance of the Fairy of the Mirror, appearing at the outset in true panto tradition. Lorraine Spencer took on the role, delivering her lines with a lovely speaking voice, supported by clear diction and confident projection that ensured every word landed well in the hall. Her performance was assured and gentle, with a pleasant twinkle in her eye and a calm, friendly authority that suited the role nicely. She set a welcoming tone for what was to follow, before ushering the full ensemble onto the stage for the opening number, Can You Feel a Brand New Day. The effect was wonderfully impactful: bright, colourful and brimming with smiles, the number immediately invited us into the world of the story and signalled that this was going to be a cheerful, feel-good afternoon in Langtoft.

No pantomime would be complete without a suitably wicked villain, and this production was in very safe hands with Queen Grimelda, Snow White’s stepmother, played by Amanda Vickers. She clearly relished every moment of the role, delivering a villainous turn that was hugely enjoyable to watch. Armed with a powerful, commanding voice, she combined a deliciously snobbish manner with a finely judged condescending tone. Vocally, she was equally impressive: her singing voice was particularly interesting, with a rich quality reminiscent of Alison Moyet, and her rendition of the rewritten lyrics to I Don’t Like Mondays was a real high point for me. The Queen was given a considerable number of soliloquies, all of which Amanda delivered expertly, maintaining pace and clarity while holding the audience’s attention. Her trademark evil cackle was gloriously chilling, pitched just right to provoke both mock fear and delighted laughter in equal measure.

Balancing this formidable presence was her long-suffering husband, King Ferdinand, played by Brian Aird. He made a wonderfully down-trodden royal, simpering his way through the narrative as the perpetual victim of his wife’s bullying. Timid, slightly bumbling and endlessly put upon, Brian’s portrayal was a superb characterisation, providing gentle comedy and an effective contrast to Queen Grimelda’s domineering menace. His daughter, Snow White, was played by Verity-Belle Purdy, a young performer who demonstrated an impressive level of confidence last year as the fairy and continued to impress this year. She handled the demands of the role with assurance, showing particularly good stagecraft for someone so early in their performing journey. Her projection was excellent and her diction clear throughout but, at times, her delivery was a little on the fast side, and allowing herself more space to breathe within the text would add even greater clarity - this is a skill that she will naturally develop with experience. With her evident enthusiasm, growing technique and willingness to engage fully with the story, Verity-Belle is clearly a young performer with a very promising future ahead.

Joining the story as its romantic hero was Prince Karl of Gloriana, played by Nicola Parker in the grand tradition of pantomime’s cross-gender casting. Nicola brought a well-measured and thoughtful performance to the role, supported by a lovely RP accent, clear and articulate delivery, and an impressive sense of posture and poise that immediately marked her out as suitably princely. Her interactions with Snow White were carefully played and sincere, though the contrast in ages between the two performers was occasionally noticeable on stage. That said, casting can be a delicate balancing act in amateur theatre, particularly when working from a limited pool of performers, and both actors approached their scenes together with sensitivity and professionalism. Vocally, Nicola and Verity-Belle complemented one another well; both have very pleasant singing voices, and their duet was confidently delivered, adding a gentle romantic warmth to the production.

Gina Espinosa took on the role of Snow White’s nanny, Norah Bone, our panto dame. As something of a pantomime traditionalist, I do tend to prefer seeing this role played by a male actor, but in amateur theatre casting choices are often shaped by practical necessity, and Gina approached the part with clear enjoyment and confidence. She delivered a strong, characterful performance, complete with a robust voice (liberally dropped Hs everywhere) and an easy, engaging rapport with the audience. A particular highlight was her cooking scene, where the strategically placed cupcakes on her costume made for a humorous visual gag; the sequence was very well choreographed and great fun to watch. Completing the royal household were All, Well and Goode, a trio of ‘terribly posh chaps’ who acted as stooges to the Queen and, in the absence of the usual huntsman, were tasked with taking Snow White into the woods. Played by Anne Fensom, Val Gregg and Sue Beeden, the trio worked well together, showing good chemistry and delivering their dialogue with strong pace and rhythm, adding another layer of playful comedy to the production.

The final characters to be introduced were, of course, the other title roles: the seven dwarfs, played by Richard Gregg, Emmie Parker, Matthew Lee, Louise Lee, Lily-Rose Marshall, Alice Stevenson and Tilly Russell, representing a lively mix of ages and experience. Each dwarf was given a clearly defined character, and it was delightful to see the performers embracing their roles with energy and enthusiasm, bringing a sense of fun and individuality to the stage. Richard Gregg’s Bossy was particularly memorable—though on one or two occasions he verged on becoming Forgetful instead, needing a gentle nudge in the right direction. This was handled with admirable discretion by prompter Vylma Denniston, who supported the cast smoothly and unobtrusively throughout, ensuring the show’s momentum was never lost and deserving of real credit for keeping everything on track.

The chorus and junior performers also deserve a mention, bringing a delightful sparkle to the stage whenever they appeared. A particular highlight was their movement piece as the ‘forest’ animals, full of energy and playful charm, which added a lively visual dimension to the story. This sense of vitality carried through all the dance numbers, each one bursting with enthusiasm, freshness and fun, and clearly the result of careful and imaginative choreography by Sandee Lane, Joan Thompson and Michelle Marshall. Joan Thompson, who also took on the role of producer and director, deserves special praise for bringing the whole production together so cohesively; her vision and dedication were evident in every aspect of the show, making it a truly enjoyable experience for the audience.

The set design was strong, with vibrant, bright scenery that immediately drew the audience into the magical world of the story. It was heartening to hear that the whole team—young and old alike—had come together to paint the backcloths, a real testament to the community spirit behind the production. Even the few red streaks running down from the fly agaric toadstools could be forgiven, adding a touch of character rather than detracting from the overall effect. The magic mirror design by Adam Thompson was exceptional and was another highlight of the show. Also, the four-posted bed was a particularly lovely addition, and the stage team deserve credit for assembling it so quickly and seamlessly. They also handled a brief moment of scenery malfunction with admirable professionalism, ensuring the flow of the show was never interrupted. Equally impressive were the actors on stage, who adapted brilliantly in the moment—Verity-Belle, in particular, thinking on her feet as she “sleep-walked” offstage after succumbing to the poisoned apple, keeping the narrative moving with poise and timing.

There were some standout outfits amongst the costumes which helped define the characters. The wicked Queen’s silver and black robes, with their flowing sleeves, were excellent and perfectly enhanced her imposing, villainous presence. I loved the prince’s sparkly-blue frock coat and knee-high boots, while the King’s vivid red frock coat was striking and instantly drew the eye and Nanny Norah’s costumes were fun and characterful. My personal favourite, however, was the fairy’s long green dress, adorned with ivy and leaves—it was beautiful, flowing and elegant. Unfortunately, it was perhaps the least fitting for the character; as the Fairy of the Mirror, I had been hoping for silvers, shimmering and shining, and a touch of magic, but instead we were presented with a forest fairy, more like a dryad.

A special mention must go to Martin Baines for his exceptional work on lighting, sound and special effects. What he achieves in such a small, non-theatre space is nothing short of wonderful. His projections are clever, imaginative and highly effective, adding an extra layer of magic that lifts the show to another level. The lighting and sound cues were slick, seamless and perfectly timed, enhancing both the mood and the pacing of the performance without ever drawing attention away from the action on stage. From dramatic lighting to subtle atmospheric effects, Martin’s technical expertise ensured every scene felt polished and immersive, proving just how much impact a talented technician can have on a production.

Finally, heartfelt thanks are due to the entire team at Langtoft Players for delivering a fabulous afternoon of entertainment. Special recognition must go to director Joan Thompson, whose vision and dedication shaped the production, and to musical director Anne Fensom, whose work ensured the songs and numbers were lively and engaging. Stage managers, Marc Skinner and James Foot, also deserve applause for keeping the performance running smoothly and handling every scene change with professionalism. Equally important were the chaperone teams, looking after the younger performers with care, and the front-of-house staff, who welcomed the audience with warmth and efficiency, helping to create a truly enjoyable experience from start to finish. It was a real team effort, and one that the whole village—and audience—could be proud of.

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