Writer: Christopher Jones
Director: John Garfield – Roberts
Something for everyone in this charming, all-singing and dancing Panto production. Full of festive frolics and fine family fun. A pantomime with heart.
Just Entertainment Ltd present the familiar tale of a penniless pauper by the name of Dick Whittington (Michael Irvine-Hall) having wandered up to Liverpool with high hopes of changing his fortune and finding work with local businessman Alderman Fitzwarren (Phil Perez). Whilst catching the eye of daughter Alice Fitzwarren, (Sarah Collinge), unbeknownst to Dick, his new-found life is about to come crashing down as he finds that the streets of Liverpool are not lined with gold, but with evil vermin who through some sneaky misdemeanours, lead to Dick being falsely accused of theft leaving him to try and prove his innocence.
John Garfield–Roberts doubles up as the show’s Director and panto Dame, a mean feat transforming The Hope Street Theatre intimate black box theatre space into the setting for, with budget permitting, a full-scale pantomime. Framed by a purpose-built proscenium arch embellished with glittering images of Liverpool’s landmarks, Garfield-Roberts, ambitiously brings together all the various elements of this traditional tale with great use of the space and its facilities, to accommodate a large company of actors and dancers.
Lesley Butler’s Queen Rat emerges from the city’s sewers with glorious wickedness and seeps malevolence with the help from her equally evil delicious sidekick Roxanne Male as Ratasha, who both gleefully revel in their deserving boos and hisses from the audience who are regularly subjected to their torrent of tirades and goading. Their fierce rendition of ‘I Put a Spell on You’ accompanied by the brilliant, beautifully dressed dancers from Performers Theatre School and Dance Passion, who would have further complimented the Queen’s performance if they had dressed like vermin, like a pack of little mischievous rats dancing for their leader.
Irvine-Hall as wanderer Dick Whittington and Freya Barnes as his loyal feline Tilly the Cat, share chemistry which allows for the portrayal of a friendship bond which is lovely. Tilly’s eye-rolling cynicism and Dick’s dopey innocence makes for a sweet companionship. Watchable Barnes gives a stand-out vocal performance especially when she cheekily shuts down Dick’s attempts to join in with the song which brings some of the best laughs, a joy to watch.
Other vocal performances from the cast were affected by some technical issues with the mics which made the music drown out the vocals especially if they were standing towards the back of the stage. This was a shame as there were some beautiful renditions including Faye Griffiths ‘I Believe in Miracles’, who also shone as our scouse Fairy Cross the Mersey.
With musical direction from Liz Legerton and Choreography by Jenna Rushton, there are plenty of musical segments which were entertaining and inclusive, including a fabulous camp mash-up of the Village People/Pet Shop Boys during a voyage across the Mersey. Scenes were nicely topped off by the adult dance ensemble (Harley India Boote, Eloisa Goodall, Lucy McManus) who not only bring the dance energy but some amusing interjections within the action.
Adorning some fabulous headwear and delightfully colourful outfits, Garfield-Roberts delivers a Sarah the Cook who is cheeky, fun and self-assured, delivering one liners and double entendres which provide plenty of laugh-out-loud moments. Her daft son Idle Jack (Kieran Maleedy) played along but would benefit from a taste of the cook’s confidence which is required to bring the same level of silliness, ad-lib and chaos to the role.
The audience lap up the classic failproof pantomime routines which are shown here in full force, including the ghost scene, ‘If I were not in Pantomime’, water guns and audience participation. However, there is some room for more visual gags using props which may help the audience keep up with some of the jokes, along with some ad-libs from the cast to help ease the quiet indifference which may project from the audience.
Christopher Jones’ script allowed for more elements of physical slapstick and sound effects which unfortunately, were not fully taken advantage of. These elements could have moved the action along which at times was hindered by some pacing issues.
Produced by Just Entertainment Ltd, the inclusion of Makaton (sign language used for adults and children with learning or communication difficulties), the showcasing of local dance schools, and using cast and creatives based in the North West, adds a sense of connection to the local region and aligns well with the Hope Street Theatre’s prominence as a venue which showcases local talent. A good enough reason as any to grab a ticket and enjoy what it has to offer.
Runs until 4th January 2024.
