Tag: review

Credit: Johan Persson

REVIEW: The Little Foxes

Published on by Lucy HolzLeave a comment

Rating: 5 out of 5.

A blazing revival of an obscure classic

Rarely performed, the last time The Little Foxes was staged was 23 years ago,
according to director Lyndsey Turner. She jokes that after waiting 23 years for a
revival, we can wait another hour as the show start is delayed due to some technical
difficulties.

She turns out to be right, and this show is well worth waiting for. Following the
tumultuous dynamics of a deeply patriarchal family, this play is set in the post civil
war Deep South. The Hubbards have made a name for themselves as a middle-class
family who make their money from cheating and ripping off the ‘coloureds’ in town.
Following the civil war, they marry into an aristocratic Southern family, finally
making their fortune.

Despite some wavy Southern accents, it’s a show-stopping cast, driven by the
women, with each performer getting their moment in the sun. Lillian Hellman has
written a total ensemble piece, and Turner’s cast know how to deliver. Anne-Marie
Duff is a powerful Regina, playing the woman always scorned and overlooked by her
family, determined to finally make her fortune at any cost.

Mark Bonnar is a charismatic Ben Hubbard, with his younger brother and nephew
wrapped around his powerful little finger. His threats accompanied by smiles and
compliments send shivers down the spine of characters and audience alike.

The set by Lizzie Clachan is plain and uninviting, giving the Giddens house a prison-
like feel. So opposite from the sweeping plantation on which the aristocratic Birdie (Anna Madeley) grew up, in this house there is no art on the walls and the decor is
grey and minimalistic. The dining room is placed at the back of centerstage behind a
sliding door, occasionally giving those in the middle section of the audience a
glimpse into other areas of the house. However, this choice makes the dining room
completely invisible to large portions of the audience and any action occurring there
remains unseen.

Madeley is a captivating Birdie, constantly looking back at her days as a Southern
Belle through rose-tinted glasses. She is delicate but courageous, and thoroughly
likeable until the maid Addie (Andrea Davy), reminds the audience in a scathing
monologue that bystanders are as bad as perpetrators when it comes to oppression
and greed.

This sentiment, accompanied by re-contextualisation into somewhere in the 1950’s,
gives this play a relevance in today’s world. If we stand by and watch these greedy little foxes ‘eat the world’ and everything on it, are we not just as bad as the vermin
ourselves? With such a striking cast and tightly wound script, this 1939 classic is still
horribly relevant and utterly watchable.

REVIEW: Stocking Fillers

Published on by ayoungishperspective1Leave a comment

Rating: 4.5 out of 5.

Attention: ensure your stockings are secure! A delightful experience awaits you with these 7 bitesize plays!

“Stocking Fillers” recently graced the stage at Liverpool’s Court Theatre, showcasing a talented cast that included Tasha Dowd, Lynn Francis, Elliott Kingsley, and Joe McGann. The performance was a delightful medley of seven ten-minute plays, each infused with humour and holiday spirit. The titles of these charming segments—”Mince Spies,” “Party Time for Jesus,” “Corned Beef Hash and Runny Eggs,” “Saved by The Jingle Belle,” “The Death of Christmas,” “Santa Baby,” and “A Christmas Lift”—foreshadowed the light-hearted yet poignant experiences that awaited the audience.

The theatre was packed to capacity, buzzing with excitement. Before the curtain rose, I witnessed the actors warmly interacting with attendees, creating an inviting atmosphere that set the tone for the evening. The show commenced with “A Christmas Lift,” where Lynn Francis quickly captivated the audience with her commanding stage presence and a character that cleverly blended assertiveness with adult humour. The performances resonated with the audience, each delivering significant life lessons wrapped in laughter.

One standout piece, “Corned Beef Hash and Runny Eggs,” had an entertaining twist involving several Terry’s chocolate oranges, drawing guffaws from the crowd. Joe McGann’s compelling performance portrayed a classic ‘Scrounge’ character at Christmas, initially embodying comedic traits. Yet, as the narrative unfolded, layers of his character were peeled back, revealing a grieving husband navigating the emotional landscape of loss during the Christmas period. This poignant moment came to life as he conversed with his daughter, who gradually understood that he cherished his time spent reminiscing about his late wife. The scene beautifully balanced humour with heartfelt emotion, underscoring the essence of kindness and empathy that the festive season encourages. 

Tasha Dowd brought delightful flair to the stage in “Mince Spies,” adopting a captivating German/Irish accent that enchanted the audience. This performance resonated especially with the Liverpool crowd, as it evoked vivid imagery of the local Christmas market, steering the atmosphere toward a communal experience that felt deeply rooted in their hometown.

In “Party Time For Jesus,” Joe McGann once again stole the show with an outstanding portrayal of a mischievous character scheming to exploit Jesus for personal gain. His high-energy performance, complete with a range of expressive facial reactions, sent waves of laughter rippling through the audience, further enriching the festive mood.

The staging displayed impressive craftsmanship; the actors executed quick costumes and set changes that kept the flow of the show seamless. Each costume was vibrantly adorned, contributing to the overall Christmas aesthetic. 

As the show neared its conclusion, the narrative full circle returned to the image of the Christmas lift, tying all the performances together in a meaningful way. At the finale, the cast invited the audience to join in a festive sing-along, enhancing the celebratory spirit of the event. The songs cleverly referenced each of the short plays, further solidifying the connection to the stories shared that evening.

For anyone eager to experience this holiday delight, tickets are available during the week at 1:30 PM or 7:30 PM. I highly recommend securing your seats as soon as possible—this is a show you won’t want to miss!

REVIEWER: Hannah Davison

REVIEW: War Horse

Published on by kizzydvdsnLeave a comment

Rating: 5 out of 5.

“The play eloquently explores truth, friendship, love and violence in the midst of the first World War”

War Horse originated as a novel by Michael Morpurgo then premiered in 2007 as a stage play by the National Theatre. Ever since, the play has been adapted and performed by various creatives until its 2024-25 UK and Ireland Tour directed by Tom Morris with revival director Katie Henry. The play was associated with the award-winning Handspring Puppet Company who managed the large-scale puppetry that took place during the show. The play eloquently explores truth, friendship, love and violence in the midst of the first World War.

The play tells the story of Joey, a foal, who gets sold at an auction to a family with a young son called Albert who befriends Joey and they grow up together. Joey gets sent to France to fight against Germany in the war. Albert, aged only 16, makes the choice to enlist in the army to find and bring Joey home safe. It is a tale of true bravery and deep love and affection.

The show had an incredible breadth of talent stretching from actor-musicians, puppeteers, singers and had a very diverse cast of performers. The set was minimal and catered towards the interpretation of the story being focussed on the horses and Joey. Sally Swanson playing ‘The Singer’ beautifully narrated the play through folk music supported by Dom Coyote as Musical Director for the show. The acting was thought-provoking and deeply moving. Tom Sturgess who played Albert Narracott, created such a believable connection with the puppet of Joey which was really impressive and necessary for the play’s success. The ensemble scenes were grounded and strong with many people onstage at once which was really effective. The larger scenes were coupled with ensemble numbers with powerful harmonies and slick vocal choices as a full company.

The show is critically acclaimed and a performance by the National Theatre. This was evident by the high standard of performance and its seamless yet complex scene changes with large members of the cast onstage. War Horse was gritty and vivid in a really sensitive way directed by Tom Morris and Katie Henry. The acting choices were strong and drove the story forward with absolute sincerity and preciseness. I thoroughly enjoyed the show and it truly lived up to its acclaim and the high standard set at previous shows.

Dick Whittington by PLESTED BROWN and WILSHER Dick Whittington, Kai Harris; King Rat, Alex Crandon; Alderman Fitzwarren, Chris Rankin; Alice Fitzwarren, Shannon Bourne; Dame, Scott Riney; Detective Fairy Bowbells, Grace Kelly Miller; Cosmo, Jade Johnson; Ensemble, Adam Craig; Ensemble, Finna Hardy; Ensemble, Jake Poolman; Crew Writen by Plested Brown and Wilsher Director, Adam Brown; Choreographer, Miranda Wilford; Musical Director/Orchestrations, Ben Barrow; Second Musician, Luke Hinchliffe; Production Manager, Guy Dickens; Lighting Designer, Vicky Allen; Sound Designer, Nathan Smith; Set and Dame costume design, Mark Walters of Glitter Pantomimes; Costumer Designer/Wardrobe Supervisor, Carl Davies; Casting Director, Brunton Casting; Shot at Newbury Corn Exchange, Newbury, UK on 28.11.2024 and 29.11.2024 by Rich Lakos. Copyright Rich Lakos and ArenaPAL

REVIEW: Dick Whittington

Published on by Tabitha JamesLeave a comment

Rating: 4 out of 5.

A purrfectly entertaining panto with plenty of laughs and fun songs

Corn Exchange Newbury’s festive panto, Dick Whittington, delivers a night of vibrant fun, with an enthusiastic cast, catchy tunes, and a healthy dose of slapstick comedy. The dynamic performances are infectious, with Kai Harris as Dick and Jade Johnson as Cosmo the Cat leading the charge with undeniable charisma. The cast’s energy lights up the stage, making the most of a script brimming with puns, local references, and audience participation.

The show features a strong ensemble, including a hilarious Scott Riney making his panto debut as the Dame, and Alex Crandon as the dastardly villain Percy Rat, who relishes every boo from the crowd. However, while the cast delivers, the script itself, though amusing, isn’t as sharp as some of the more iconic pantos around. A favourite moment though was the inclusion of the Hogwarts theme when Chris Rankin (Percy Weasley) first entered the stage as Alderman Fitzwarren. A few longer-than-necessary interludes, meant to cover scene changes, made the pacing feel a little sluggish at times. The show acknowledges these pauses with a self-aware humour, but they did stretch the experience slightly too long, causing moments of awkwardness.

As for the jokes, while there’s no shortage of gags, some fall flat. Fart jokes didn’t quite hit the mark, and the usual “Oh no you didn’t!” moments felt a little underused. That said, the musical numbers are a highlight, with a brilliant selection of chart-toppers from 2024, well-performed by the cast and cleverly riffed to fit the panto atmosphere.

Plested, Brown and Wilsher’s direction brings a refreshing twist to the classic tale, with dynamic choreography from Miranda Wilford adding a visually thrilling element. The musical direction, courtesy of Ben Barrow, ensures that the songs are both familiar and fresh, contributing to the high-energy spirit that’s synonymous with a great panto.

All in all, this Dick Whittington is a fun-filled, family-friendly show that might not be perfect, but it’s definitely one not to miss this Christmas season. If you’re looking for a festive night full of heart, humour, and lively entertainment in Newbury, this is your go-to panto!

REVIEW: Khatia Buniatishvili and Academy of St Martin in the Fields

Published on by chelseajina1 Comment

Rating: 5 out of 5.

 Khatia Buniatishvili and Academy of St Martin in the Fields grace Barbican’s Hall with a captivating performance of Mozart 

Pianist Khatia Buniatishvili is no stranger to the Barbican. A frequent face on their stage, she returns as an Artist Spotlight performing two Mozart pieces that make an appearance on her recent album, accompanied by the always impressive Academy of St Martin in the Fields. Buniatishvili frequently graces the Barbican stage, and performing in London is said to hold a deep significance for her. She says, “I love performing at The Barbican. I find the public is so relaxed… there’s always a new wave of people coming. England always feels like a surprise to me, and I love that. It’s refreshing, and I feel that energy when I play there.” 

This energy, the playful comfort, was profoundly noticeable in Buniatishvili’s performance. She walks onto the stage in glittering dress, drawing the audience closely in. She seems to shimmer, not purely by means of her literally shining dress, but by her confident and joyful spirit. She commands the stage and the orchestra, playing front and centre, leading the musicians in a profoundly enjoyable piece of music. Starting with Don Giovanni Overture (7’), the sombre yet quirky tone offers a grand and intriguing entry point to the work. Buniatishvili couples this with Piano Concerto No. 23 in A Major K488 (26’), a multifaceted experience that moves from elation to unabating pain with shocking seamlessness, reflecting the similar experience we are all bound to have as people, highlighting the core human values that transcend time. This is followed by Mendelssohn: Hebrides Overture (10’) and Haydn: Symphony 104 (29’), in which the Academy of St Martin in the Fields truly shines. 

Like many people in their twenties, I do not frequent classical performances. They seem inaccessible, an artform that circumvents my breadth of understanding. If I were to envision an evening watching two of Mozart’s concertos, not to mention Mendelssohn and Haydn, I would picture an older, wealthier, pretentious crowd and a performance that I might enjoy but would probably not understand. What was so exciting about this performance was that I was proven wrong. Khatia Buniatishvili’s talent and adoration for what she does speaks volumes. She truly embodied the music, almost dancing while she played, literally putting-her-hands-in-the-air-like-she-just didn’t-care during the short bursts in which her hands weren’t occupied by the piano. The organic nature with which she truly felt what she played was reflected by the Academy of St Martin in the Fields, who bounded behind her with abundant passion. This evening highlighted the need to democratise classical music culturally, allowing for a younger audience to have the chance to enjoy this transcendent artform, particularly if someone as talented and excited as Khatia Buniatishvili is gracing the stage.

REVIEW: The Massive Tragedy of Madame Bovary

Published on by leahjLeave a comment

Rating: 4 out of 5.

A cheeky romp through the misadventures of Emma Bovary, putting a playful twist on the classic novel

Gustave Flaubert’s 1857 novel Madame Bovary is an intimate portrait of a life very slowly unraveling, spanning decades of Emma Bovary’s frustrated dreams and ill-advised choices. The Massive Tragedy of Madame Bovary – a playful new adaptation by John Nicholson – jumps right into the climax of the story, introducing us to Emma near the end of the novel’s story as she is already deeply in debt and at her wits’ end. The story is framed by the arrival of two ratcatchers (invented for this retelling) who allow Emma to tell her own story much more than she can in the original text. This famously bleak nineteenth-century novel may seem like an odd choice for the holiday season, but this high-energy show has notes of pantomime and moments of actual magic which bring a zesty energy to the tale.

The small French town of Yonville is brought to life by four multi-talented performers, who show off a remarkable range as they portray dozens of different characters. Georgia Nicholson shines as Emma Bovary; she feels perfectly at home in the sultry comedy of Emma’s romantic misadventures, yet brings an earnest grace to Emma’s more tragic moments that keeps the audience rooting for her from start to finish. Ben Kernow and Darren Seed play the two ratcatchers, as well as Emma’s various beaus; Darren Seed is endearingly hapless as the clueless Charles Bovary, whom Emma has married in a misguided bid for romance, and Ben Kernow gives a chameleon-like performance as he portrays each of Emma’s multiple lovers. Stephen Cavanagh plays an impressive fifteen characters, deftly swapping between voices, accents, and gaits to fill in the rest of the town’s population, adding in a few well-timed knowing winks at the occasional chaos this causes.

The set design is simple enough to transform into the show’s many locations, and well-chosen props help round out the world of this rural French village, with design by Marion Harrison and lighting and production headed by Simon Hutchings. In the few moments where the storytelling requires something beyond what’s onstage, clever mixtures of mime and sound design bring a few imaginary set pieces to life. Dan Bottomley’s sound design also offers the characters a chance to playfully interact with the world they’re creating, as they occasionally direct or attempt to alter the sound cues. Kirstie Davis’s direction and Grace Murdoch’s movement direction have created a fast-paced, dynamic jewel of a show which keeps each performer on their toes, whirling the audience along in a dizzying dance. Both fans of the novel and newcomers to the story will find something to love in this irreverent yet tender exploration of what it means to yearn for something more than what your world and position can offer.

The Massive Tragedy of Madame Bovary, by Ha Hum Ah Theatre Company in partnership with the Minack Theatre, is running until January 11th 2025 at the Southwark Playhouse (Borough).

REVIEW: Séayoncé’s Perky Nativititties

Published on by jamesrobertson42Leave a comment

Rating: 3.5 out of 5.

Debauched Christmas hijinks from two drag stars

Are you in need of some anti-Christmas cheer this year? Perhaps a visit to the wacky realm of Séayoncé will be just the treat.

After the success of previous shows such as She Must Be Hung! at Soho Theatre, Séayoncé’s Perky Nativititties hits the Yard Theatre’s stage for the drag artists’ longest ever London run. The brainchild of performer Dan Wye, he is accompanied by fellow drag performer Robyn Herfellow to provide a silly night of camp Christmas fun.

Upon entering the space, we are met with the insides of a shonky television set of a living room on the eve of Christmas, replete with tinsel, trees and presents. We are at Satan Studios, where Séayoncé has managed to secure a slot for her festive shows. But not all is as it seems.

For the first half, we must contend with an outer force attempting to commandeer the show, distorting the usually foul-mouthed humour in favour family friendly content. This will not do. Séayoncé must fix this before they all end up on the naughty list. This plot device is fun, but has the unfortunate effect of nullifying the first half of the show, as the piece only really kicks into gear in the second act. Séayoncé’s Perky Nativititties is at its best when the puns are coming thick and fast.

Robyn Herfellow’s embodiment of Leslie, a rough and ready queen, provides a respite and balance to Séayoncé’s raucous humour. They take on the musical duties, providing a piano backdrop to the show, accompanying Séayoncé for many of her boisterous Christmas parody songs. Their cockney geezer persona is the perfect foil to Séayoncé’s extravagance, but their presence is slightly under used. It would have been great to have more of a rapport between the duo, especially in the segments which heavily rely on Séayoncé’s monologic delivery.

The manner of absurdity that the audience is brought into is creatively fuelled. From Santa being an ex-lover of Séayoncé’s come to exact his revenge to making spiritual contact with Jesus Christ live on air, the surreal comedy is a camp and inventive feast for the senses. Although there is a smattering of audience participation, from sing-a-longs to gift giving, this could have been further expanded for comedic effect.

All in all, Séayoncé’s Perky Nativititties is a masterclass in camp comedy, bound together in a tight red bow for your viewing pleasure.

REVIEW: The Overtones Good Times Christmas Tour

Published on by Alice WoodhouseLeave a comment

Rating: 5 out of 5.

“This is a show like no other and one of the best party nights out you’ll ever have with your friends and family”

Let the good times roll with the Overtones. These boys know how to put on a show. If this performance doesn’t get you in the festive spirit I don’t know what will. After a hugely successful Christmas season in 2023 the boys had to return to audiences across the UK for a second year of their Good Times Christmas Tour and I am so glad they did. This was my very first time seeing them live in action and at one of my favourite London music venues, the O2 Indigo, I promise you it certainly won’t be my last. If you are looking to literally have the time of your life then look no further, this is the ticket for you.

The Overtones dazzled us all with their showcase of originals to smashing out the classic’s from the 60s and 70s, plus getting us all in the festive spirit with those Christmas hits. The Overtones are known for their seamless harmonies which were typically flawless on Saturday night. Something I wasn’t expecting though was their level of dance skills and their synchronised choreography throughout the entire show. These moves complimented their whole set and I was amazed at how slick they each were. Their physical strength and vocal control is quite profound, as a singer and a dancer myself I know just how hard it is to master this combination and these guys seemed to have this down to a T. It is clear to see how hard they have all worked to bring such a high energy spectacle to audiences across the UK.

Darren, Jay, Mark and Mike are clearly four genuinely kindhearted souls, as well as dazzling us all with their performance they also shared some personal stories that were so engaging and drew the audience in. They personally inspired me to keep on chasing my dreams and reminded us all that with hard work and dedication and never letting go of that self belief anything is possible.

I took my Mum to see them on Saturday and we were both on our feet with the rest of the audience singing and dancing the night away. This was 100 percent a highlight of my whole year and a moment I will never forget. Dancing to the hits I grew up on that my Dad would always play on the records at our family parties and seeing my Mum live her best life to the Overtones as they stunningly harmonised these classics from her era was something truly magical. I could see how she was taken back to her party days as a teenager in the 60’s dancing at the Mojo in Sheffield to all these chart toppers. That’s the thing about the classics they never grow old and they bring friends, family and strangers together. The Overtones have given us all a space to reminisce, live our best lives and also take in some amazing brand new material of their own.

A few artistic highlights for me were towards the end of the show where the remarkable 4 performed a stunning stripped back version of the well known song 500 Miles by The Proclaimers, this was a gorgeous rendition and was matched perfectly with the story they shared with us about their journey thus far. One of my favourites to dance to was I’m still standing by Elton John and lastly their magical festive original, Christmas everyday which they released last year for an amazing cause, Diabetes UK.

The only one thing I would have liked to see and maybe the boys will add to their future tours is backing dancers. I know this is an additional cost and why many acts out there don’t have backing dancers these days. For me personally it is what sets the stage on fire. These boys brought that flame themselves with their unbelievable vocal ability, dance skills and charisma not forgetting their impeccable dress, lighting and their Hollywood red curtain back drop, every detail was perfectly executed. The whole show was a real spectacle. I just feel backing dancers would bring an additional layer to the magic they have already created and make for a powerful extension of their artistry and finesse.

I have to mention the remarkable Tom Ball, Tom is currently on tour with the Overtones as their support act. He is the perfect match to warm up the Overtones audience. Tom reached number 5 on the official charts independent albums this year it was clear to see why. Tom’s vocal ability is extraordinary and I look forward to streaming his music and potentially catching him live again on his 35 day tour in 2025 as he celebrates songs from stage and screen.

These guys have it all from their perfect harmonies and synchronised choreography to their individual vocal power moments and the fun filled energy that they brought to the entire audience. I’m looking forward to checking out their brand new album next year. These guys are the real deal and know how to take care of their fans. It was clear to see how immensely grateful they were to every single one of us who had come down to party with them on Saturday. Thank you so much boys for giving it your all and for being a true highlight of our year this 2024 Christmas season.

This is a show like no other and one of the best party nights out you’ll ever have with your friends and family. They still have a few days left of this years Christmas tour so get yourself down to Ipswich, Cambridge, Stoke or Birmingham for a night you’ll always cherish.

REVIEW: Guildhall Studio Ensemble feat. Bill Laurance

Published on by ayoungishperspective1Leave a comment

Rating: 4.5 out of 5.

“Big band jazz with an orchestral twist.”

Guildhall Studio Ensemble feat Bill Laurance offers a wonderful evening of jazz music. Under direction of Clare Wheeler, a full symphony orchestra enlivens twelve of Laurance’s original compositions. With arrangements from Laurance and Wheeler, as well as several Guildhall students and alumni, forty-four musicians add a depth and richness synonymous with Big Band music to Laurance’s works.

Bill Laurance’s compositions are delightful. Each of his pieces were entirely original, from toe-tapping jams to moving emotional works, it’s a great concert. Most pieces opened gently and then highlighted his ability to play with builds and contrast. As while as being a brilliant composer, he’s an exceptional pianist and mesmerizing performer.

There were two pieces which absolutely stole the show. Lucy Joy’s arrangement of ‘Strange Love’ was faultless. Somehow tempestuous, gritty, and frustrated while also being gentle, magical and light; it was truly the embodiment of strange love. Will Everitt’s arrangement of ‘The Keeper’ was breathtaking. Based around the idea of persistence, it is a deeply moving piece of music that touches your soul. It was an all encompassing experience of love and passion and drive.

The twelve pieces of the Guildhall Studio Ensemble program each offered something unique. The show opened with ‘Chia’, a piece which flowed like a stream bubbling through the woods; it was light, playful, and excited. Olivia Murphy’s arrangement of ‘The Good Things’ followed with a stunning crescendo and use of the strings section. Josh Pool’s arrangement of ‘Balm’ brought an orchestral touch to the jazz tunes. Josh Stidwall’s arrangement of ‘HAL’ was entrancing; it’s the type of composition that allows you to lose yourself. Sam Gale’s arrangement of ‘Everything Exists’ makes you feel as though you’re walking down the streets of Paris with Gene Kelly. Charlie Bates’ arrangement of ‘The Pines’ thrilled with percussion and an impressive clarinet solo. Wheeler’s arrangement of ‘Money in the Desert’ had some awkward moments where the layers didn’t seem to fit but pulled it together in the end. Jack Murray and Jody Humphries’ arrangement of ‘Above All’ felt like falling in love and finding joy in what you have. Laurance’s solo, ‘The Curtain’ was powerfully simple. The closing piece, ‘Swift’, was percussive, intense, and chasing; the perfect closing.

As a solely auditory experience, the Guildhall Studio Ensemble is exceptional. The program offers the joy of jazz with depth and feeling of a full orchestra. While full of brilliant music, the musicians lack of enthusiasm is unfortunately distracting. Concerts are meant to offer a full entertainment experience not achievable with a CD or an iPod, a mark which Guildhall fell short of. Music, as with any art, is about passion and there seems to be a disconnect for some of the musicians. The unenthusiastic and even bored expressions of many of the musicians in this Ensemble lessened the effect of the wonderful music they played. The stage was filled with gifted musicians but there were very few real performers. As Laurance put it, the musicians who made up the Ensemble are the future of music; the future is in good hands. The Guildhall Studio Ensemble feat Bill Laurance is a joyous evening of jazz.

POTTED PANTO Wilton's Music Hall CREDIT Geraint Lewis

REVIEW: Potted Panto

Published on by Victoria AshfordLeave a comment

Rating: 5 out of 5.

80 minutes of panto fun and banter

The Oliver nominated show returns for the festive season, the second time that it has been performed at the historic Wilton’s music hall in east London, bringing seven panto’s in 80  minutes and settling the debate as to whether A Christmas Carol is really considered one… 

Dan and Jeff are almost hosts rather than the traditional narrator of a panto, introducing the concept of Potted Panto and arguing which ones should be included on the list, breaking down aspects of a pantomime before taking us through a condensed version of  the story. With both Dan and Jeff playing multiple characters in each panto, supported by a few other performers taking on some of the roles, including the all-important fairy  godmother (who might not be as innocent as she usually is…) 

There isn’t a set as such-though there is a draped block, a movable chest which is multi functional and a black backdrop with several curtained holes which are used throughout to  introduce different characters. The lighting felt almost festive-heavily red and green with a  dab of yellow and blue. Costume was equally minimal, more like accessories just to give a  hint of the character allowing for a quick transition of character. This streamlined set up still encapsulated the look and feel of a panto.  

Dan and Jeff are equally hilarious and at times, it felt like a bit of improv was thrown in and you could see them, normally Jeff, trying to not burst out laughing at the shenanigans, which I think added to the performance as there is usually some kind of mischief that happens in a  panto. There were plenty of cultural and current references and audience participation  (again I am not much of a fan of this but panto always seems to make you get up and join in however ridiculous) with plenty of heckling from the audience which both Dan and Jeff  really bounced off of.  

Overall, Potted Panto is a fun, energetic and festive performance, capturing the essence of  pantomime and delivering a shorter version of some classics. Because it is based on  shows that we all have seen over the years and know, it didn’t feel like you were missing out on the full panto experience-there were plenty of laughs, innuendos and many rounds  of “oh yes we are” and some equally hilarious props as well as plenty of banter between Dan and Jeff and the audience. Potted Panto is a fresh take on the pantomime and really  enjoyable for all ages.