Clare Gray

The Pantomime Adventures of Peter Pan

01/12/23

Festival Theatre, Edinburgh

It’s that time of year again – oh yes, it is. We’re sitting in the Festival Theatre, where there’s a very festive atmosphere. Behind us, two rows of Cubs and Brownies chatter excitedly, waving light-up wands and eating vast amounts of chocolate. Families, including adults, are no less giddy. Christmas outfits are clearly de rigeur: there’s an abundance of baubles and sparkle, from headbands to socks and every item in between. We’re soon caught up in the fun.

This year’s theme (and it is a theme, rather than a story) is Peter Pan. This version of the tale (written by Harry Michaels and Allan Stewart) takes the form of a sequel to JM Barrie’s original. Even though his old adversary, Captain Hook (Grant Stott) was eaten by Jock the Big Green Croc a long time ago, Peter Pan (Kieran Lynch) is in trouble: the pixie dust that allows him to fly has disappeared from the magic waterfall, leaving him grounded. He sends Tink (Rebecca Stenhouse) to fetch his old friend, Wendy (Robyn Whyte), to see if she can help. It soon transpires that somehow Hook has returned, and that he’s behind the problem… Can he and Starkey (Clare Gray) persuade the erstwhile ship’s cook, May McSmee (Stewart) and her son (Jordan Young), to rejoin his crew?

This Peter Panto is as big and bold a show as we’ve come to expect. Crossroads’ production values are always impressive: the costumes lavish, the props spectacular. The opening sequence sets the standard, with a beautifully animated video-projection that leads us straight into the fantasy. The lighting (by Jack Ryan) is very clever, transforming the same set in an instant from a pretty pastel fairyland into a terrifying red-hued pirate lair. The sound (by Guy Coletta and Andrew Kirkby) is dialled way past eleven, immersing us in Neverland. And there are pyrotechnics a-plenty too.

Pantomime survives by being endlessly adaptable, and nowhere is this more apparent than in the casting of Flawless as Hook’s pirate crew. This is a masterstroke, lending the pantomime some real edge, as the street dancers inject a dose of cool into the cheesiness. What seems on paper like an odd marriage, in fact works really well within the piece. It’s not just their awe-inspiring dance moves, but their presence as a kind of Greek chorus, observing the ridiculous antics around them and providing a silent commentary and response.

Stewart and Stott are the lynchpins, and this is a silver panto-versary for both of them. Their onstage rapport is legendary, and it lives up to the hype. They know how to work together to mine the laughs, and always give the impression that they’re having the time of their lives. Stewart is a fabulous Dame – his Aunty May can’t help but dominate every scene she’s in – and Stott clearly relishes his cartoonish villainy. Jordan Young fits in well as the still new-ish number three (following Andy Gray’s sad demise), and his clowning is superb.

There are a couple of negatives. It’s no secret that plot always comes second to tropes in a panto but the balance shifts a little too far here. The storyline gets lost: Peter Pan and Wendy are sidelined and Captain Hook’s redemption doesn’t really register. What’s more, the climactic moment when Peter Pan finally flies again (I’m not counting that as a spoiler – the only surprise would be if he didn’t) just isn’t as impressive as it should be. We’ve already seen Tink take to the air, after all, so it’s a little underwhelming when Peter just follows the same trajectory. I don’t think it helps that the cast look out into the auditorium when they’re wondering where Peter is, so that the audience follow their guidance and look up, prepared to see him appear above our heads; it’s an anticlimax when he simply descends from the flies on strings and flutters across the stage. In any other production, this would be enough, but our expectations have been elevated by the amazing animatronic crocodile and other effects.

But it seems churlish to dwell on these niggles when everything is nigh-on perfect and we’re having so much fun. The Pantomime Adventures of Peter Pan is on until Hogmanay, so grab yourself a ticket, dig out your Santa deeley-boppers and head on down to the Festival Theatre for a few hours of sheer joy.

5 stars

Susan Singfield

Snow White and the Seven Dwarfs

21/12/22

Festival Theatre, Edinburgh

It’s late December and it’s time for another panto from the King’s Theatre…

Oh no it’s not! Because of course, the Old Lady of Leven Street is closed, awaiting its much heralded refurbishment, so this time the regular crew have relocated to the Festival Theatre, a much bigger space, but one that they fill with their usual raucous aplomb. This year’s panto is Snow White and the Seven Dwarfs, which has a more complicated plot than most. Perhaps with this in mind, the set designer has usefully created a hi-tech ‘magic mirror’ which offers us a lengthy preamble to set the scene. Unfortunately, a bunch of latecomers troop across in front of me during this sequence, so I’m left to figure things out on that score.

As usual May (Allan Stewart) is the absolute star of the show (she’s a Nurse this time around). Stewart has his persona fine-tuned to perfection, skipping around the stage in stilettos while offering perfectly-timed put-downs. Grant Stott eschews drag and plays it straight as the evil Lord Lucifer (the clue’s in the name), currently trapped in the magic mirror and hoping to gain his release with the help of the wicked Queen Dragonella (Liz Ewing). Jordan Young returns as Muddles, and has his physical routines down to a T. Muddles, of course, is in love with the Princess Snow White (Francesca Ross), but she only has eyes for the handsome Prince Hamish (Brian James Leys). Meanwhile, Dragonella’s daughter, Princess Lavinia (Clare Gray), is having second thoughts about being such a thoroughly bad egg…

Look, with these pantos, the plot hardly matters. They are really just an excuse to have a fun time, and it’s clear from the exuberant reception as the curtain goes up that the audience has a lot of love for these seasoned performers and are ready to shout ‘It’s behind you!’ and bellow their best boos every time Stott stalks onto the stage. There’s the familiar check list of sure-fire comedy routines, some new additions (Stott’s song about the Edinburgh trams goes down a storm), plenty of references both topical and regional and, naturally, there are seven talented (and brilliantly costumed) dwarfs – with Kyle Herd even doubling as Nicola Sturgeon for a dance routine.

I laugh, I clap, I cheer, I boo and I genuinely have a great time with this charming production. They’ve started somewhat later than usual, so those who want to grab a generous helping of Ho, Ho. Ho! should book early to avoid disappointment. The show’s on until January 22nd, so come on, what are you waiting for? It’s not Christmas without a good panto.

(And the first person to say “Oh yes it is” will be politely asked to leave.)

Merry Christmas everyone!

4.5 stars

Philip Caveney

Sleeping Beauty

01/12/21

King’s Theatre, Edinburgh

The King’s panto is an Edinburgh institution, and this year’s is extra special for a number of reasons. It’s the first one since the pandemic forced the theatres to go dark. The last one before the King’s closes for refurbishment. And the first one since the demise of Andy Gray, one third of the beloved triumvirate synonymous with Christmas theatre in this city. This Sleeping Beauty isn’t just a pantomime; it’s a tribute to him too.

There’s nothing new here. If you think you’ve seen it all before, well, you probably have. This is a tried and tested formula. Elaborate tongue-twisters? Check. Queen May hovering over the audience on a cantilever? Check. That thing they do with the chocolate bars? Check. It’s all there, like a greatest hits album. And thank goodness for that. Because this is as warm and familiar as a comfy cardy or a mug of hot chocolate – exactly what we need on a cold winter’s night.

The theatre is busy and bustling, but it feels relatively safe. People are taking the mask-wearing seriously; we’re all used to it now, and it doesn’t seem to impede the fun or mute the atmosphere. Anyway, we’re all putty in Queen May’s hands: Allan Stewart is a consummate comedian, and he knows how to work an audience, proving the adage that it’s not the joke, it’s the joker. Even the cheesiest of cheesy lines is funny when he utters it.

Grant Stott is here too, of course, and he’s a towering presence, playing Queen May’s – ahem – identical sister, Carabosse. In this version of the story, she’s the villain who curses Princess Aurora (Sia Dauda), dooming her death when she pricks her finger on a spinning wheel. The Good Fairy (Nicola Meehan) isn’t powerful enough to reverse the spell, but she can modify it, and Aurora falls asleep instead…

It’s nice to see the fool conflated with the love interest. Jordan Young plays Muddles, the jester whose heart belongs to Aurora. He delivers a wonderfully energetic performance, and appears to be having the time of his life as he hurtles from one ridiculous moment to another.

Andy Gray might be gone, but he’s not forgotten. His daughter, Clare Gray, has picked up the family panto-mantle, playing punky Princess Narcissa. She must be proud as punch when the audience applauds ‘King Andy’ – the affection is sincere and profound.

As ever, the King’s panto is a real treat, and not to be missed.