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Dick Whittington
Lichfield Garrick
*****
Lichfield Garrick’s fine tradition of
high quality Christmas entertainment shows no sign of fading with their
latest festive offering which sees its partnership with Evolution
Pantomimes enter its third year.
The story of Richard (Dick) Whittington’s
impressive rise to prominence as the Lord Mayor of London is one of the
few pantos that is actually based on a true story. It’s very loosely
based, it has be said, and even that is an understatement.
It’s doubtful whether he encountered an undersea
3D adventure or, indeed, a bloke from Sutton Coldfield dressed in a
variety of increasingly garish frocks, but he did exist and his story
continues to provide fodder for one of our most enduring and best loved
Christmas shows.
Part of the reason this version works is it’s
writing. Whilst the children in the audience, it’s key target, are
treated to a continuous feast of physical comedy and nicely pitched
gags, there are also jokes aimed fairly and squarely at the adult
section. It’s all about getting the balance right and that is certainly
achieved here both in its writing and execution.
By its nature, pantomime is formulaic. There are
certain important and expected ingredients that, give or take some
shuffling to suit the story, remain constant throughout.
Panto would be nothing without it’s role call of
usual supects ; the fairy to tell the story, the baddie to bring on the
boos, the handsome price to woo the doe eyed heroine, the fashion
defying dame to assault the senses and the lovable cheeky chappie
comedian to make us all chuckle. In a sense, the title doesn’t really
matter. These people find their way into just about every offering.
It’s just the frocks and the names that change.
Dames, as Olivier once observed, are tough to get
right and should be classed up there with Hamlet when it comes to acting
challenges. Sam Rabone, as Dolly The Cook, gives a warm and intensely
likeable performance that favours the Les Dawson ‘bloke in a frock’
approach over the tottering drag queen option that offers more feathers
than substance.
Becky Lane as Alice Fitwarren, Sam Rabone
as Dolly The Cook and
Ashley Emmerson as our hero Dick
Whittington. Pictures: Pamela Raith
Rabone makes no attempt to ‘camp up’ the voice
either - staying loyal to his belting brummie tones and all the better
for it.
Ben Thornton is engaging as the stock lovable,
comedy character - in this case Billy. His timing and delivery of both
tried and tested and new materiel are spot on.
Far be it from me to spoil any punchlines, but
the joke involving sugar that isn’t white made me seriously guffaw. His
double act chemistry with Rabone is also a joy to watch, particularly in
physical routines like the slosh scene on board the ship and the tongue
twisting verbal jousts that require one’s teeth to be very much in.
Ashley Emmerson is what you might expect from a
dashing young hero, providing decent eye candy for the mums and
delivering songs with real charm. He gets the girl, no plot spoiler
there, but not before she makes it clear that she is very much her own
woman and will never be dictated to by any man. Blimey. Even Panto is
ticking the equality boxes these days. Becky Lane gives this modern-day
Alice Fitzwarren some lovely fizz and demonstrates a fine set of pipes
along the way.
Children’s TV favourite, Katrina Bryan, gives us
a good fairy, delivering her rhyming couplets with almost impossible
niceness whilst dangling above people’s heads. No small feat in a small
venue but accomplished with grace and some dexterity.
There has to be, of course, a baddie to counter
all the rose-coloured loveliness. Cue Queen Rat, played with delicious
and snarling attack by Joanne Heywood. In a cross between The Wicked
Witch of The East and Cruella De Vil (with a bit of Kinky Boots thrown
in) this is vermin of the highest order that you most certainly would
not want to mess with.
Lucy Parry is a slinky and sweet Tommy the Cat.
Or is it Gertrude ? Who really cares ? Why let the truth get in the way
of a good gag?
Joanne Heywood as the wicked - and rather
green - Queen Rat
There is strong support too from Ieuan Rhys as
kindly Alderman Fitzwarren and Nicholais Kerry as the somewhat flexible
Sultan.
A strong ensemble is simply but tightly
choreographed by Simon Barnum and full credit to the children who flex
not only dancing and singing muscles but are also given comedy lines to
deliver.
Sam Rabone somehow finds the time to direct as
well as perform. No easy task but he covers both disciplines equally
well.
Helga Wood’s set design is nicely textured and
suitably traditional - matched perfectly by costume choice.
Strong musical arrangement, too, from Musical
Director Dave Culling, matched by Martin Pritchard’s strong sound
design.
Generally, the show sets a cracking pace, never
allowing the energy to drop. Attention spans, sadly, are not what they
used to be and credit again to the writing and delivery for keeping it
all moving forward.
In a universally solid show, there are some stand
out moments including the topsy turvy slosh scene and the ingenious
underwater 3D effect. Less impressive was the unsubtle marketing plug
that invited the audience to share their photos on social media. It may
be the world we live in now, but it seemed an un necessary interruption
to a flowing story.
If you want state of the art pyrotechnics and
technical wizardry, you may be better off heading to the bigger, city
venues but if you are looking for a laugh out loud evening with real
heart, this is the one for you. It works because it gets it right. Kids
are enthralled and adults are included . . . it doesn’t really get much
better than that.
If you have children, take them. If you haven’t,
borrow some. You’ll be glad you did. To 05-01-18
Tom Roberts
04-12-18
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