Grant Stott

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.

5 stars

Susan Singfield

Goldilocks & the Three Bears

04/12/19

King’s Theatre, Edinburgh

It’s that time again. (Oh no it isn’t!) Well, yes it is actually and, as ever, when you’re talking about pantomime, the King’s Theatre does it better than just about anybody else in the business. This year feels particularly important, as it sees the return to the fold of  panto stalwart Andy Gray, prevented from appearing at last year’s show by serious illness. The extended applause he receives when he walks onstage at the King’s for Goldilocks & the Three Bears is heartwarming, to say the very least.

It feels as though the whole enterprise has had a bit of a reinvention this year. For starters there’s no mention of Christmas, and not a glimpse of the white-bearded man in the red suit. Instead, the theme here is the circus – the greatest show on earth – which gives the producers the perfect opportunity to throw a couple of high class circus acts into the mix. There’s a superb juggler, Alfio, who does things with hats you won’t quite believe, and The Berserk Riders, a motorcycle stunt troupe, who whirl dangerously around inside a metal globe. At one point, they literally have me holding my breath and crossing my fingers.

The plot: Dame May McReekie (Allan Stewart) and her husband, Andy (the aforementioned Mr Gray), run a circus where all the animals are allowed to run free. Meanwhile, their daughter, Goldilocks (Gillian Parkhouse), sings up a storm, and is all too aware that Joey the Clown (Jordan Young) is carrying a torch for her.

But not all circuses are quite so charming. Baron Von Vinklebottom (Grant Stott, channeling Boy George) runs a rival enterprise, where he keeps his animals in cages and enjoys brutalising them at every opportunity. Boooo! When he claps eyes on the three talking bears who are to be the McReekie’s new headliners, he obviously wants them for his own show. Much hilarity ensues – and I really mean that. There are times here where I’m laughing so hard I have tears in my eyes and it’s mostly the result of the skilful interplay between the three lead players. Stewart in particular is a consumate comedy powerhouse.

As ever, the razzamatazz is cranked up to number eleven – and the lush production values on display challenge anything you’ll find in London’s West End. It’s also heartening to witness how subversive this uniquely British art form can be. Where else will you find silly humour aimed squarely at the youngsters, punctuated by risqué remarks about Prince Andrew and other topical subjects, directed at their parents? Whatever happens to hit the zeitgeist is picked up and added to the brew.

And of course, this being set in the world of the circus, there are animals galore – elephants, giraffes, monkeys and (naturally) bears, all lovingly rendered amidst a joyful  onslaught of sound, colour and general exuberance.

If a top quality pantomime is what you’re looking for, your search is over.

5 stars

Philip Caveney

Beauty and the Beast

 

05/12/18

King’s Theatre, Edinburgh

I’ve long been fascinated by pantomime. Accounting for 45% of all theatre tickets sold in the UK, its popularity is clear. But why? It’s an odd beast – cobbled together from Commedia dell Arte, music hall, drag, variety and pop – but it holds a very special place in the British public’s hearts.

I’ll nail my colours to the mast and state: I love it. I love the juxtapositions, the silliness, the stock phrases and characters, the magnification of everything blaring at us from the stage. I love ramshackle amateur and kids’ productions, and provincial professionals with ex-soap stars in the lead.

I love the nostalgia it evokes even as it embraces the zeitgeist.

But most of all I love this: the King’s Theatre’s panto-plus, where the ante is well and truly upped. Here, in the hands of director Ed Curtis and actors Allan Stewart and Grant Stott (Andy Gray, the third member of the triumvirate, is absent due to illness this year, but plans to return in 2019; get well soon, Andy!), we are treated to an absolute master class in the form: there’s an art to making the precise look shambolic, the crafted seem accidental. And it’s so funny – even the oldest, daftest jokes have me roaring with laughter; it’s all in the delivery.

Much of the wow factor here is in the tech: the designers achieve wonders. This contrast between the traditional painted cartoon-village flats and the state-of-the-art pyrotechnics is at the heart of what makes panto work, I think: the comfort of the familiar jarring with the pizzaz of the new. Ingenious lighting (by Matt Clutterham) hides the mechanics and makes the whole thing magical. Did I mention I love this? I do. It’s awesome. Really, it is.

The supporting cast all do a sterling job, but there’s no doubt this show is a vehicle for Stewart’s Dame (Auntie May) and Stott’s villain (Flash Boaby). Special mention also to Jacqueline Hughes as the Enchantress, whose singing voice is truly a lovely thing.

There’s panto – and then there’s panto at the King’s. Don’t miss it. It’s a real treat.

5 stars

Susan Singfield

Theatre Bouquets 2017

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Once again we have been wowed by some fantastic theatre this year. Here, in order of viewing (and with the benefit of hindsight), are our favourite productions of 2017.

The Winter’s Tale – Lyceum Theatre, Edinburgh

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This thrilling, modern-day version of Shakespeare’s play was dynamic and audacious – with the whole fourth act recast in Scots. We loved every minute of it, especially Maureen Beattie’s performance as Paulina.

Chess: The Musical  – Festival Theatre, Edinburgh

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The students from the Royal Conservatoire of Scotland thrilled the audience with a skilful display of all things theatrical. We loved the sophisticated choreography (often incorporating the real time use of video cameras) and choral singing that sent chills down our spines.

Nell Gwyn – King’s Theatre, Edinburgh

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This superb production of Jessica Swales’ Olivier Award-winning comedy was a delight in just about every respect. From the superbly realised set, through to the opulent costumes and the lively period music, this was fabulous to behold.

Death of a Salesman – King’s Theatre, Edinburgh

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It was the direction that made this production so good: Abigail Graham did a wonderful job of clarifying everybody’s pain. And Nicholas Woodeson was perfect for the lead role, conveying Willy’s struggle with warmth and vitality.

The Toxic Avenger – Pleasance One, Edinburgh

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A musical in the same vein that made Little Shop of Horrors such a pleasure, The Toxic Avenger was an unqualified delight, romping happily along powered by its own exuberance and the efforts of a stellar cast, who gave this everything they had – and then some.

The Power Behind the Crone – Assembly George Square, Edinburgh

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This was a wonderful piece of theatre, an exemplar of a Fringe show: beautifully scripted, and acted with precision and panache. Alison Skilbeck had absolute control of the material and created an impressive range of distinct, believable characters.

Seagulls – The Leith Volcano, Edinburgh

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This was the most ambitious, exhilarating piece of theatre we saw this year. Site-specific productions – when the site is as spectacular and relevant as this (we were in an abandoned church, which had been flooded with forty-five tons of water) – can be truly exciting, and this one had a lot to offer.

Safe Place – Rose Street Theatre, Edinburgh

Safe Place

Safe Place provided a sensitive, insightful examination of the uneasy relationship between trans-activism and feminism. It asked (and answered) many questions, all within the framework of a nuanced and intelligent play.

Angels in America: NT Live – Festival Theatre, Edinburgh

Angels In America

Clocking in at just under eight hours, Tony Kushner’s play offered us a “gay fantasia on national themes” – a sprawling, painful and searingly funny depiction of New York in the 1980s, fractured and ill-prepared to deal with the AIDS epidemic. A truly iconic piece of theatre.

Twelfth Night/Romeo & Juliet – King’s Theatre, Edinburgh

Twelfth Night

Romeo & Juliet

Merely Theatre gave us some ‘stripped-back’ Shakespeare, performing Twelfth Night and Romeo & Juliet in rep. The plays featured only five actors and the casting was gender-blind. It all made for an interesting dynamic and prompted us to re-examine familiar scenes.

Cockpit – Lyceum Theatre, Edinburgh

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Cockpit was a witty, clever play, which saw the Lyceum transformed into a truly immersive space.  Director Wils Wilson served up a fascinating piece of theatre: arresting, thought-provoking, provocative and demanding – and it kept us talking for hours afterwards.

Cinderella – King’s Theatre, Edinburgh

Cinderella

We never thought a pantomime would feature in any ‘best of’ list of ours but, for the second year running, the King’s Theatre’s stalwarts managed to wow us. Allan Stewart, Andy Gray and Grant Stott knew exactly how to work their audience, and the special effects were truly spectacular.

Susan Singfield & Philip Caveney

Cinderella

06/12/17

King’s Theatre, Edinburgh

It’s hard to believe but the pantomime season is already upon us! In Edinburgh, of course, that can mean only one thing: the annual Christmas panto at the King’s Theatre, presented once again (in fact, for the thirteenth year in succession!) by the ‘gleesome threesome’ of Allan Stewart, Andy Grey and Grant Stott. If you were worried that their enduring domination of this seasonal slot might have led to a certain sloppiness, don’t be misled. Cinderella is just as assured a production as ever, and the ease of the three performers with each other is evident from the off-set. The highest compliment I can give them is that they make this look so easy, when in fact pantomime is one of the hardest theatrical disciplines to get right.

Mind you, they don’t mind subverting some of the established rules of panto either. Why not have four dames, for instance? A nice one (Stewart as Fairy May), a mean one (Stott as Baroness Hibernia Hardup), and two that are … well, women (Clare Grey and Maureen Carr as the Ugly Sisters)? And who ever said that Cinderella (Gillian Parkhouse) and Prince Charming (James Darch) can’t be involved in some of the funniest scenes? Meanwhile, it’s left to Grey to deliver his usual dim-witted, prat-falling persona as Buttons. Okay, so some of his material may have sailed into Edinburgh with Noah, but my goodness, he makes me laugh!

So, what we get is a fine festive banquet, replete with colourful costumes, energetic dance routines, double entendres, local banter and lashings of general silliness. Any mistakes that occur are gleefully pounced upon and incorporated into the hilarity and there’s plenty of skilful audience interplay – anyone would think these guys know what they’re doing.  Just when I’m thinking ‘this is great but there’s nothing here to rival last year’s stunning ‘helicopter’ sequence’, the special visual effects team unleash a creation that has large sections of the audience – me included – gasping out loud in a ‘how did they do that?’ kind of way. 

If you and your family are looking to get into the festive spirit, this would be a really good place to start. Cinderella runs until January 21st and there are still some tickets available at time of writing, but please don’t hang about… they’re selling like the proverbial hot mince pies!

5 stars

Philip Caveney

Theatre Bouquets 2016

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We’ve been lucky enough to see some amazing theatre again in 2016. Here, in order of viewing (and with the benefit of hindsight), are our favourite productions of the year.

Hangmen – Wyndham’s Theatre, London

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An excellent start to the year’s theatrical viewing, Martin McDonagh’s play was absolutely superb: funny, frightening and thought-provoking with an outstanding central performance by David Morrissey.

The Girls – The Lowry, Salford

Gary Barlow, Tim Firth and the original Calendar Girls credit Matt Crockett

This was the biggest surprise of the year for us: on paper, it sounded a million miles away from the sort of thing we usually enjoy, and we went along reluctantly. But it was a truly delightful production – flawlessly realised.

The Merry Wives – The Lowry, Salford

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Northern Broadsides version of The Merry Wives of Windsor was a rambunctious, irreverent take on the tale, with the inimitable Barrie Rutter clearly relishing the role of Falstaff.

I Am Thomas – Lyceum Theatre, Edinburgh

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A strange and eclectic production, telling the tale of Thomas Aikenhead, the last person in Scotland to be hanged for blasphemy, this was essentially a series of vignettes and musical interludes, with an ensemble taking turns to play the eponymous role.

King Lear – Royal Exchange Theatre, Manchester

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Michael Buffong’s King Lear was a tour de force, a gimmick-free yet undeniably modern production. Don Warrington was well-cast in the central role, but it was Pepter Lunkuse’s Cordelia who really stood out for us. She’s definitely one to watch!

Stowaway – Home, Manchester

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Analogue Theatre’s troubling tale of a stowaway falling from a flying aeroplane and landing in the car park of a DIY store was fascinating, depicting a moment where worlds collide and understandings begin to take root. A thought-provoking, political play.

Royal Vauxhall – Underbelly Med Quad, Edinburgh

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A quirky and irreverent musical, telling the true story of when Freddie Mercury and Kenny Everett dressed Princess Diana in drag and took her to the Royal Vauxhall Tavern in London for a night out, incognito. We loved this production.

Wonderman – Underbelly Potterrow, Edinburgh

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Based on the short stories of Roald Dahl – and incorporating a true incident from his eventful life – Gagglebabble’s collaboration with the National Theatre of Wales was a sprightly mix of drama and music with a deliciously dark heart.

Cracked Tiles – Spotlites, Edinburgh

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This beautifully crafted monologue, written and performed by Lorenzo Novani, was the downbeat tale of a young man who inherits a Glasgow fish and chip shop from his father Aldo. Novani was quite staggering as Riccardo.

Dear Home Office – Underbelly Med Quad, Edinburgh

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This was the story of unaccompanied minors applying for asylum in the UK, performed with touching vulnerability by eight refugee boys. The play was an amalgamation of the performers’ own experiences, blended with fictional accounts. A raw and truthful exposé.

The Suppliant Women – Lyceum Theatre, Edinburgh

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It’s a rare thing indeed when you go into a theatre and are treated to something unique – but that is the word that kept coming to us, as we sat entranced in the stalls of The Lyceum, watching David Greig’s production of The Suppliant Women. Truly brilliant.

Grain in the Blood – Traverse Theatre, Edinburgh

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A real one-off, this was a stark, unnerving chiller, at once contemporary and classical, with dialogue that was taut and ultra-modern in style, all fragments and silences and unfinished thoughts. This was a complex, angular, unwieldy play – a fascinating watch.

Jack and the Beanstalk – King’s Theatre, Edinburgh

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By far the best panto we have ever seen, this was a standout production, with fantastic performances from King’s Theatre regulars Allan Stewart, Andy Gray and Grant Stott. It brought the year to a celebratory end.

Susan Singfield

Jack and the Beanstalk

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30/11/16

King’s Theatre, Edinburgh

I thought I knew what to expect with this one. I’ve seen a lot of pantos in my time (and even performed in a few amateur productions when I was a kid). But I have never – NEVER – seen one as accomplished as this. The sheer scale and spectacle of it is genuinely awesome. I left the theatre feeling light as air and full of joy. And surely this is what pantomime is all about?

Allan Stewart (Dame Trot), Andy Gray (Hector) and Grant Stott (Fleshcreep) have made their collective mark as King’s Theatre panto regulars – and it’s easy to see why they’re so popular. They have an easy rapport with each other, as well as with the crowd, and they’re genuinely funny, milking the script for all its worth, as well as ad-libbing profusely to excellent effect. And the supporting cast are all good too, with no weak link among them.

It’s nice to see a pantomime that values its host city; typically, they seem to make jokes at the town’s expense, rather than celebrating its fabulousness as this one does. The good fairy, for example, is presented as ‘The Spirit of the Castle’ (Lisa Lynch), which rather obviously implies that the city itself is a protective one, with goodness at its heart. It’s a lovely touch.

The production values are very high. There’s clearly been no expense spared, and every penny has been well spent. From the superb costuming (the animals are particularly appealing) to the special effects, this is truly a spectacular piece of theatre. The giant, for example, is extraordinarily rendered, a looming monstrosity of a prop, prompting the whole audience to gasp – although even this pales in comparison to Dame Trot’s jaw-dropping beanstalk ascent.

If there’s a criticism, it’s a tiny one: the giant’s demise is perhaps a little underwhelming after everything that has gone before. But honestly, it doesn’t matter. With a show where everything – the music, the choreography, the acting, the writing, the jokes, the scenery – is this impressive, it seems churlish to criticise.

By far the best pantomime I have ever seen: a standout production.

5 stars

Susan Singfield