Reviewed by Paul Davies
November 2014
I have heard it said that some actors disparage Panto. -They better not do it in my hearing! Of all the forms of theatre this is my favourite.
The most important part of the show is the script. Striking the balance between traditional and current, between tension and jokes. Between forth wall and no forth wall. Bringing in local references, and having a known story. John Morley’s script does all this and more.
It’s most important to have great direction from someone who understands what’s going on and is supported by the theatre hierarchy. Tick! Bravo Sam Creighton.
Of course by far the most important things are those we don’t immediately see. -Set, costumes, lights. Mums and Dads. Yes, the most important thing is the work and goodwill from the massive unseen community.
Everyone knows that what’s really most important is the cast though. -Well that’s nearly true! In reality what we have is actors facilitated by everything else. But they are the ones who stand on their own. From the experience and confidence of Damon Hill, I for one hope he continues in future years. To the noticeable growth in his craft since last year of Caleb Bond. To the brilliance of the dwarfs and the chorus. To the bucket loads of talent from Hayley Mitchell, Michaela Phillips, Rochelle Bartley, Danni Fulcher, Frank Cwiertniak, David Kinna and Rhiannon Shapcott.
Actually, the most important thing in a Panto is that the audience has a great time, and that’s easy to measure. -You can tell by the fact that the audience participation gets more enthusiastic as the show goes on.
Job Well Done!
