Writer: Chris Hannon
Director: Matt Aston
In the programme Chris Hannon, in his 13th year as Dame and a few less as writer, stresses the need to “balance familiarity with novelty” – and this year’s Sleeping Beauty certainly does that. Apart from Matt Aston, a new director (or rather returning – last in action in 2011), the backstage team seems to have undergone no changes, the whole operation running as smoothly as ever, from Mark Walters’ glittering designs to Louise Denison’s bright as a button choreography for the lively and graceful chorus of six (one of three teams). Similarly the on-stage performers contain only a couple of new faces.
On the other hand the script has some novel elements, the audience singalong replaced by four youngsters being recruited to play unlikely instruments. The story-line seems stronger, with fewer set-piece novelties and with the King’s gift of a spinning wheel setting the whole thing off. And it seems to be just a touch more serious. King Cole and Princess Aurora establish a real father-and-daughter relationship, the message of reconciliation comes over strongly and songs are used dramatically: Golden Slumbers greets Aurora’s 100-year sleep, Take That’s Greatest Day becomes a telling motif.
The story-line is crafted around the contrast between two fairies, Dawn who looks after the palace demurely in the day-time and the less respectable Nocturna, on the night shift. When Nocturna’s gift of independence for Aurora is rejected by the King who describes her as “evil”, she proves exactly that until the King realises his error.
The serious notes in the script are offset by the Theatre Royal being able to call on three genuinely funny men who work superbly together, teamwork honed over several Wakefield pantomimes. Sam Nixon as Chester the Jester establishes an instant rapport with the younger element in the audience, getting a yodelling response to his entry with minimum effort. Chris Chilton, a suitably batty Old King Cole, switches in and out of serious mode and shares with Chris Hannon an undercurrent of subversive commentary. Hannon himself, as Nanny Nora, must be the first Dame to end up in Scouts garb and balances a dismissive “Please yourself” poise with manic desperation.
Meg Elsegood (Aurora) exemplifies the modern school of pantomime Principal Girls, feisty and independent, without any loss of the ability to fall in love instantly and carry a tune with aplomb. The young man on whom her choice falls is Sir Roger of Ryhill (George Crawford), a diffident chap who is mainly concerned with tracking down a new species of dinosaur. Crawford is not the natural comedian that the likes of Hannon and Nixon are, but he sings and dances well and by the end has won over the audience.
And that leaves the Fairies. Hannah Nuttall exudes goodness and charm, together with a get-up-and-go spirit as Dawn and Rosanna Miles adopts the ear-splitting tones and crazed cruelty of the villain before returning to her (relatively) sweet self.
Runs until 7th January 2024
