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Stars explained: * A production of no real merit
with failings in all areas. ** A production showing evidence of not
enough time or effort, or even talent, and which never breathes any real
life into the piece – or a show lumbered with a terrible script. *** A
good enjoyable show which might have some small flaws but has largely
achieved what it set out to do.**** An excellent show which shows a
great deal of work and stage craft with no noticeable or major
flaws.***** A four star show which has found that extra bit of magic
which lifts theatre to another plane. |
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All the fun of the goose fair
Bearing up: Billy (Daniel Beaton) is happy with his
teddy bear and Priscilla - the goose with the magnificent beak (Amanda
Grant). The Wonderful Story of Mother Goose Hall Green Little Theatre *** DESPITE the excess of forbidding black
drapes, Roy Palmer's production has a pleasing sparkle, a built-in
happiness, and one slapped thigh that demonstrates that here is a
company that intends to win through. Drama, too: Helen Dawson is a powerful,
theatrical Fairy Queen. We don't see much of her, but when she is there
she holds the attention unwaveringly. That thigh belongs to Laura Coxon. She is
Colin, which must be one of the least likely names to be found in
pantomime this season. Colin! An upstart moniker in a world far more
accustomed to a Billy or a Tommy – but he's here to fall in love with
the delightful Jill of Hannah Scothern, and in the hands of Laura Coxon
he displays a likeable confidence. Not that it's all plain sailing: when
Colin and Jill sing their duet, the need for microphones becomes
apparent. Yes, we can hear them, but the listening is not effortless. Every panto has its baddie, and in Discord (Amy
Leadbeter), this one turns up trumps. She is controlled energy in
emerald green with 10-inch fingernails; a snarling, cackling harridan
who compels the attention in her battles with the audience and the
serene Fairy Harmony of Josie Booth. Also up to no good is Clarence, the apoplectic
and initially alliterative Squire of Roger Warren – a persistently
precise characterisation which also earns its share of boos.
Daniel Beaton has a pugnacious aggression as
Billy; and Tony O'Hagan and Michael Nile rake in many of the other
laughs as Sage and Onion. But the presiding presence is James Weetman's
Mother Goose, a study in falsetto and bad fashion. He is strong and
confident – though whether that voice will last the ten nights of
torment that he seems intent on putting it through is anybody's guess. Writer Norman Robbins's decision to make Mother
Goose beautiful by having her plunge into a magic pool gives Rachael
Pickard the chance to startle son Billy, and she takes it with aplomb. Priscilla the goose (Amanda Grant) waddles
calmly enough throughout the action, but I suspect that here is one
young woman who is happy when the curtains finally close. She
spends a lot of time onstage and it can't be all that pleasant,
incarcerated behind that magnificent beak. This is a show without a lot of music, and the
dancing is largely confined to the girls who float serenely around the
stage a couple of times. But there's plenty of fun, with various members
of the company brave enough to sacrifice themselves to stand-up and
emerging with credit. To 11-12-10. John Slim |
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