Thumbelina The Panto

Ponteland Repertory Society’s latest production, Thumbelina, The Panto, offered a fresh and lively take on Hans Christian Andersen’s beloved tale, drawing inspiration from both the original story and the 1994 animated film adaptation. This was the first pantomime I’ve had the pleasure of attending with this talented group, and the experience was made all the more memorable by sharing it with my husband, who already knew many of the cast and crew from the annual NODA awards in October. The warmth and camaraderie of the society shone through both on stage and off, setting the tone for a thoroughly enjoyable afternoon of community theatre.

The technical aspects of this production were particularly noteworthy. The pantomime jingles and sound effects enhanced the performance, contributing an element of refinement and elevating the overall professionalism of the show. Lighting and effects were elevated—cold sparks for the fairy’s entrances and the illuminated stairs during the musical numbers were simply enchanting. The LED screen was a real treat too, with gorgeous, spot-on graphics that helped bring the story to life at every turn.

The costumes in this production really impressed me, bringing colour and character to every scene. The chorus costumes especially stood out for their creativity and attention to detail, meticulously chosen to perfectly marry with each scene. From the quirky snail and sparkling Snow Queen, to the steam punk mole and Thumbelina’s glittering wedding dress, they each contributed a distinct touch of magic. These thoughtful choices made the show not only entertaining but also visually enchanting.

The cast of Thumbelina, The Panto brought a wonderful energy and warmth to the stage. Hayley Grant deserves special mention for writing, directing, choreographing, and even prompting during the performance I attended. Her attentiveness to both the ensemble and the younger members of the cast was truly heartwarming.

Thumbelina was played by Sarah Blyth, who brought a genuine warmth and kindness to the role. She approached her musical numbers with enthusiasm and clearly gave her best effort, contributing to the overall charm of the production.

Claire Long took on the role of Prince Tristan with great enthusiasm, bringing both charm and energy to the character. She did a brilliant job with her rendition of the Boyzone classic “No Matter What” and Claire’s commitment and stage presence made her portrayal memorable and well-suited to the lively spirit of the panto.

The Dame, Dame Cookie Couture, and her silly son Patch, played by Martin Anderson and Emma McGhee, brought an appealing sense of fun and gentle warmth to the production. They contributed a comforting and familiar presence to the show. Their commitment to their roles ensured that the traditional pantomime antics were delivered with a sense of sincerity and the messy scene provided a pleasant dose of the expected chaos, prompting smiles and plenty of giggles from the audience.

The villainous Baron Bullfrog was an absolute treat to watch, thanks to Kieran Muray’s captivating performance. Using piercing eye contact and razor-sharp wit left me both genuinely amused and a little bit on edge, just as a great panto baddy should. His confident stage presence had the whole audience hooked, managing to be both menacing and hilarious in equal measure. I especially loved his rendition of “On My Way”.

Playing Thumbelina’s devoted bird friend Swify, Sarah May brought a modern touch with Taylor Swift references that had the audience chuckling. Her duet “Shine Your Way” with Thumbelina was charming. Perhaps a Taylor Swift song might have fit the character even better?

It was a delight to see Chairman Jason Long not only on stage but singing as well. Their performance as Mr Mole, especially the comedic and beautifully sung “Can’t Take My Eyes Off You” as a blind mole, was a highlight of the evening.

Ruth Browell is a true character actress and played the role of Miss Fieldmouse with flair and flourish, making this meek little mouse an absolute delight to watch. Ruth brought a gentle charm and warmth to the character, transforming Miss Fieldmouse from a supporting role into a memorable presence on stage.

Suzie Neve took on the role of Flower Fairy, providing narration in rhyme throughout the show. Suzie, accompanied by the ensemble, opened the second act with a vibrant and energetic lip sync performance, full of movement and colour, and she truly shone on stage in her delightful costume.

Special shout out’s go to Charlotte Turnbull as the snail. Though a small part on paper, their dedication and memorable costume made the character an audience favourite.

Also to April Olsen, as the Snow Queen who sang “Sleigh Ride” beautifully and brought her fizzy little personality to the role.

Supporting roles were played by Peter Errington as Froggy, Kate Wallace as Croaky, Liam Young as Spider and the chorus of Prianka, Jaidka, Rowan Price, Anna Byworth, Eva Norris, Evie Stipper and Sabrian Jaidka.

The director made full use of the space within Ponteland Memorial Hall, with scenes unfolding in different parts of the stage and even among the audience, keeping everyone engaged and on their toes.

Classic panto elements were present, including the traditional “he’s behind you!” and a community song “Ja Ja Ding Dong,” which was a fun surprise even for those unfamiliar with it. The ensemble’s rendition of “I Do” by ABBA during the wedding scene was another highlight, especially with the audience encouraged to join in.

A good variety of songs was used including “Good Life” which was a great opening number, “Trouble”, “Reach” and “Simply the Best”. 17 musical numbers in total featured in this show. Full songs were performed, which contributed to a longer run time for the production. To improve the pacing in future, it might be worth considering trimming the number of musical pieces or shortening the songs, ensuring the show keeps its energy and momentum throughout.

While Suzie personally brought a lovely presence to her character, the narrations given by the character were a retelling of what had just been played out on stage. This and the frequency of these types of narrations felt repetitive and unnecessary and affected the pace required of a pantomime. For future productions, it may be worth reflecting on how a narrating character can best serve the story and support the overall pace and engagement of the show. Perhaps the narration be prompting instead of retelling? Or they could be more involved with the storyline instead of on the outline?

In summary, Thumbelina was a panto filled with genuine joy and creativity, clearly demonstrating the dedication of both cast and crew. The show radiated heart and warmth and is a testament to the efforts and creatives at PRS. Brimming with laughter and a wonderful sense of community spirit, it was a delightful experience enjoyed by all and a great local panto.

I know Hayley and I are of a similar age and, like me, she grew up with the story of Thumbelina thanks to the 1994 film. This production felt like a heartfelt love letter to a childhood classic cherished by those of us in our thirties. Hayley should be applauded for her remarkable effort in bringing this beloved tale to life for a new generation, whilst allowing those who fondly remember it to relive the magic once more.

Congratulations to everyone at Ponteland Repertory Society and good luck with choosing your next production!

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