Writer: Allan Stewart & Alan McHugh
Director: Ed Curtis
Reviewer: Dominic Corr
How on earth have we arrived at Panto season again? Nary a month ago it felt as though Beauty & The Beast was playing at The King’s Theatre in Edinburgh, and now with tremendously happy crowds, our favourite trio returns to the stage once more. Yes, folks, not only are Allan Stewart and Grant Stott back on the stage, accompanied once more by Gillian Parkhouse, but Andy Gray returns to immense cheers of appreciation and adoration. To put it simply, it just wasn’t the same without him.
Donning his top hat, Gray commands his usual stomping ground as Andy McReekie, loving(ish) husband to the gorgeous Dame May McReekie – who, incidentally, has a new book for purchase in the lobby, she’s just too humble to mention this. Together, this fine pair run McReekie’s Circus, who do away with performing animals and preferably offer daring stunts from The Berserk Riders, or vaudeville classic The Great Juggling Alfio.
Promising the greatest show on earth, Goldilocks and the Three Bears take a playfully loose interpretation of the charming tale of cold porridge, soft beds and broken chairs. Then again, when have we known a script from Allan Stewart or Alan McHugh to stick to the source material? People want eccentricity, ludicrous stunts, and a story where the three bears may not be the stars, but there is a substantial lack of story behind the showmanship. As far as pantomime goes, Goldilocks is a by the storybook take on the genre, its visuals may be first-class, but its story is in safe hands – too safe. Jokes don’t punch as hard as they usually would, with only off the cuff banters and risqué digs at Prince Andrew causing more than a chortle.
Well, what can we say except this; if there’s any budget left for next year, someone’s fiddling the tax books. The King’s Panto has always been a piece of spectacle, from the cheesy and tacky glitz and glam of festive cheer to a grandeur worthy of Princes and Princesses. So, this year, Ian Westbrook has royally outdone himself with 3D Creations lending a hand, there are; big tops, tight ropes, flaming torches and animatronic creatures of King Kong scale. And still, with a few choice surprises we dare not ruin by fear of Baron Von Vinklebottom’s whip.
On the subject of Vinklebottom, it’s awfully kind that Stewart and Gray keep employing this young Stott fellow during the festive months. A star of radio and television (we’re told) there’s certainly some acting chops beneath that Cheshire grin. Every year Stott’s adoration from the crowd for playing the vilest baddies grows deeper. It’s neigh-on impossible not to surrender over to the sadistic glee Stott manifests, the louder we boo, the more wicked the performance. Comedically, it’s a pitched performance, but what would one expect? Jabbing at the audience, rolling with the punches, Stott is showman through and through. Tragically, McHugh’s script underutilises a primary asset in Stott, who isn’t on stage nearly as much as we would hope for.
In fact, with plenty on show this evening (and not just from Dame May Reekie) it would be ill in failing to mention Andy Pickering’s musical direction, or indeed Karen Martin’s dazzling choreography. You have two chances to take a breath – once before the show starts, and another at the interval. Otherwise, blink or breath and you’ll have missed something. With superb vocals, from Cinderella to Beauty to Goldilocks, like Stott, Gillian Parkhouse is woefully underused. Performing numbers well, Parkhouse’s choreography is tight, but lyrically the numbers aren’t memorable or have staying power beyond the chorus.
Excelling in all forms, going for bigger, bolder and more extreme settings and talents every year, King’s Panto manages to whet the appetite for the following years show the moment the curtain falls. How, year after year this team delivers a production which makes this city proud is unfathomable, as is the energy the team bring. This may be the early nights of a long run, but there is little doubt each performance from Stewart, Gray and Stott is conducted as if it were their first, their last and their best.
Runs until 19 January 2020 | Image: Douglas Robertson