The Little Mermaid The Panto

When it comes to home written scripts Huw Nadin, Peta Riley and Rowan Alfred certainly know how to write a good one. And not only do they write the scripts they also write the music and lyrics too.  With this skilful offering of The Little Mermaid, a panto storyline I haven’t seen done before, they have honed their skills to a fine art. Absolutely top draw script and its certainly good to see a storyline that is rarely tackled.

This underwater storyline centres on Marina, half fish, half human who longs to make a choice between the two and explore above the waves much to the disapproval of King Fisher, her father. All the panto ingredients were incorporated, with a bearded dame Octopus and a whole host of highly amusing supporting underwater creatures, from fish to crabs, to molluscs and sea horses, all narrated by a thieving Albatross with a love of stealing ‘Chips and Soggy Batter,’ and of course, above the deep, a human love interest for Marina. Excellent storyline!

With regard to the staging, we had a preview of what the future of amateur dramatics is likely to become. Instead of a series of standard backcloths or painted scenery, a giant TV screen had been erected, in Lego style I was told (?), upon which a series of spectacular underwater scenes were projected with bubbles continually rising, very much setting an impression of being in the deep! For the underwater scenes we had a sunken villa and deep dark cave with light shining down from above. They were quite simply stunning. For the land scenes we had a beach and very impressive, picturesque village. All, apparently a new toy from “go to” lighting man for the district, Matt Oram. I certainly look forward to seeing what else this has to offer and how it works. It puts set building firmly into the digital age. Spectacular!

The lighting itself by Matt Oram was equally spectacular as it created the atmosphere for each scene, especially in the deep! Add in some stage mist and you really did have the deep dark depths! 

The sound, by Dan Cooper was absolutely crystal and every spoken word clearly audible, as were the lyrics of most of the songs. So well done to the technical team, couldn’t really fault it!

Costumes sourced by Penny Lusha, Peta Riley, Kathryn Duncan and Emma Driscoll were equally stunning, from the amazing Octopus costume for Dame Ogda Puss complete with all eight arms, to a Crab called Gateau complete with claws, a Sea Horse with its head held up with a stick, a fish called Fingers in a striped green and yellow sailor costume, a wonderful Neptune style crown and an incredible ornate breastplate for King Fisher, not to forget a whole array of headgear depicting various undersea creatures and fish. And our heroine was in a fabulous tight green and silver and black long dress which perfectly depicted a mermaid. The transformation from mermaid costume to legs was particularly clever. A lot of time had gone into sorting the costumes. Great job ladies!

Makeup, done by the cast themselves definitely needs a mention, especially for Mollusc and Bollusc who really did look like something scary that had been trawled up from the deepest depths.

Music this year was sequenced rather than live, which surprised me given it was all original written by Rowan Alfred, but that said it worked really well and the tune of ‘Chips and Soggy Batter,’ is even now still stuck in my mind.

Choreography by Emma Driscoll fairly zipped along with some very well coordinated hand and arm movements and well executed by the cast.

Our compere was Bert the Albatross, well played by Tom Monkhouse who must have got us to shout ‘Chips and Soggy Batter’ a dozen or more times anyone came anywhere near his wooden forks we were guarding by the side of the stage. – not to forget every time he came on stage.

Emma Driscoll as Marina was every inch a Mermaid and with her red hair made up in a retro style with three large stars, she looked like a 40’s film star.  She glided across the stage as though she really was floating, and her treading water arms were very effective.   James Nichols was her exasperated but regal father King Fisher ruling his underwater world and being frustrated by his wayward, inquisitive daughter.  Annie-Marie King was Gateau the Crab, with some of the funniest lines as she constantly dreamed of what she could be cooked and served as! And then there was Kathryn Duncan cast as Fingers the fish, again highly amusing.

The larger than life Wolfie Hammerbacker had an absolute field day as the Octopus, Ogda Puss, who in this panto land has ended up married to the NODA rep, yours truly! Don’t ask! His sidekicks, Mollusc played by Leah Brock in scary makeup which even her own mother wouldn’t recognise her and Bollusc played by Tom Kirkbride, complete with coal black make up and a scary pair of retro goggles, were not something you would wish to meet at the bottom of the ocean!

Moving swiftly on and getting back to the surface, we had squabbling beachcombers, Hans played by James Tortise-Crawford and Edvard, played by newcomer James Gallmon providing the love interest for our mermaid. Excellent pairing!

Well done also to Anna Crompton as Anemone, with an enormous head of a Sea Horse to hold up, and a super supporting chorus of Katie Kitson, Robin Rayner, Karen Rawlins, Scott Robinson, Kim Ulmer, Joe Ward and Emmeline Lyster.

Once again, a thoroughly enjoyable, original pantomime played to a very appreciative full house. Congratulations to Huw Nadin and Rowan Alfred, their cast and crew, you certainly know how to turn a blank canvas into a first-class, well executed pantomime!

Finally, many thanks to David Alexander and his FOH team for their excellent hospitality.

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