Aberystwyth Pantomime |
| The Wardens- Snow White and the Seven Dwarfs , Aberystwyth Arts Centre , January 12, 2015 |
Regular as an enchanted clock in the castle of a mythical beast, The Wardens take rightful possession once again of the Theatr y Werin stage for their 33rd annual pantomime, with, for the 33rd time, local theatrical doyen Richard Cheshire at the helm. This year, they have opted for Snow White and the Seven Dwarfs – a panto classic, naturally, and one which they bring their own inimitable brand of crowd-pleasing energy to. I’ve been attending Wardens pantos for some years now (with, I will admit, the occasional lapse when I’ve not been in the area) but I have to concede that, while they have in some years gone for more obvious flash-bang glitz with their sets, this year’s sets are truly magnificent – rich in design, eye-catching in splendour and rife with possibilities for japes and jocularities, as comic character Muddles might say – but hush and hist… more on performances later. Needless to say, alongside the items bought in for the show, scenic artists Jim Vale and Karen Evans have excelled themselves again. As, indeed, has former Arts Centre Technical Director Grant Barden, back again to give a spectacular lighting design worthy of not a single boo. Elinor Powell led her four-strong pit band with her usual flair – whether giving us sweeping accompaniment to stirring Disney hit “Go the Distance”, livening up the audience with their own arrangement of One Direction’s “Live While We’re Young” or just deploying the ever-faithful swannee whistle for the odd comic sting, they added immeasurably to the enjoyment. Of course, all of these elements give support to the performances – both principals and chorus. Harriet Taylor gave a bon-bon sweet turn as Fairy Web with her internet-enhanced powers to help Snow White escape the clutches of the Wicked Queen while, in the human world, help was at hand, or should I say paw, from Bonzo the Dog, played with great energy and innocence by Lowri Evans. Snow White herself was an object lesson in demure delight, Alice Wymer turning in an immaculate performance, while her beau, Prince William, balanced New Man lovesickness and thigh-slapping gung-ho machismo in a winsome performance by Daniel Rogers. The Dwarfs themselves were an endearing septet, and no mean feat for those inside the costumes who have to coordinate remotely with the people voicing them. Marcus Dobson, whose penchant for physical comedy leaves one exhausted just watching him, portrayed hapless but well-intentioned Muddles in a way that does make one pine for a day when the funny guy does get the girl, while Alex Neil, Theresa Jones and Lynne Baker were a solid comic trio as the Castle Guards Top Notch, Fusspot and Moneybags who get manipulated to great effect. Julie McNicholls returns for a stab at the villain, playing the wicked Queen Cruella with enormous panache, never having to struggle for a boo and putting her formidable vocal talents to work in big, big numbers like “I Put a Spell on You” and “In the Dark of the Night”. She has two fantastic foils in the form of the Man in the Magic Mirror – a deliciously camp, hip-swivelling, Spandex-and-Sequins outing by Carl Ryan, and her beleaguered henchman Herman who longs to be good (Ioan Guile giving it gusto and managing to encapsulate hatefulness, loveability and enormous tracts of comedy with an enviable lightness and fleetness of touch). One of course, must not leave out Smwg the Dragon – as true to the spirit of Wales as his counterpart on the national flag and given great voice by Martyn Smith, who also channels the spirit of Family Guy’s Stewie Griffin as Cheeky the Dwarf. And of course, we have Dame Dolly Dumplings – Richard Cheshire in fine form as the multi-outfitted nurse and nanny, proving himself to be a true master (mistress? Perhaps not) of pantomime – an art-form I know he has studied with the earnestness and forensic interrogation of a research scientist. Whether finding Dolly a husband from the ranks of the audience or setting Muddles up for an impressive set of falls in the inevitable slosh scene, Cheshire walks out on stage safe in the knowledge that, from first appearance (to “All About That Bass”) to final bow, he has 300+ people in the palm of his hand. As one who acts myself, the ease with which he does this is (and I say this with love) both inspirational and sickening. Supporting them all were a song-and-dance chorus who displayed utter commitment and – very importantly – looked delighted to be onstage at all times. This included the children’s dance chorus, who melted hearts with every appearance but showed just as much professionalism as their adult counterparts. There were some technical issues with the show and a tendency towards sound imbalance in favour of the band during big numbers. Yes, I could sometimes see the set-change behind the gauze, yes sometimes the stage wasn’t quite cleared in time by the previous scene’s performers before the lights went up, but it felt immaterial (and was also an early performance in a medium which takes time to bed in). There is a certain familiarity to pantos which leaves the medium open to criticism for launching forth the same jokes and slapstick routines on a short-run cycle year by year, but I must say that I have always thought that those who would make such criticisms have completely lost the point. Pantomime is not about slickness and relentless innovation (though it is no stranger to those either) – it is about the most basic kind of human enjoyment: a mixture of love and laughter, with the odd fright thrown in to keep you on your toes. And a panto such as that produced by the Wardens each year is about something even more strong and binding – community. With no big star names, no faceless production company caring more about the balance sheet than the song-sheet and with people who live and work in the area they serve, it is a true community experience, complete with in-jokes and, as I say, familiarity. Not the kind that breeds contempt, but the kind you need when you want to feel warm, cosy and happy in the dark, post-Christmas dip of January. Long may they reign. |
Reviewed by: Paddy Cooper |
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