The magnificence of Broadway Theatre’s renovated Art Deco interior seems to positively shimmer in the reflected sparkle of this year’s panto, Sleeping Beauty.
At the helm is “acclaimed panto legend” Susie McKenna (hyperbole justified), so this is a show that is everything a panto should be.
Written by McKenna, this Beauty is an up-to-date heroine, the daughter of a magical warrior princess and King Eric of Lewishtonia, now a longtime widower.
This gutsy young woman, Tahlia, is raised in secret by Nanny Nora and Denzil the Dragon for her own protection after the spurned Carabosse has condemned the child to prick her finger on a spinning wheel and die, a curse moderated to a hundred-year sleep by good fairy Willowsnap.
As pantomime tradition would have it, the text abounds with local references, which are enhanced by light political commentary woven into the plot. An uneasy peace has been brokered ending the war between Westminsteria, a hostile place which has exiled magicals, and Lewishtonia, where all are welcome. To secure the treaty, as a baby, Princess Tahlia has been promised in marriage to Westminsteria’s infant Prince Gabriel when they reach adulthood.
Fast forward, and Roshani Abbey’s grown-up Tahlia is made of feisty stuff. In this modern twist on the classic story, not only do the female characters drive the plot but they take responsibility for their own destiny and stand together so that the Tahlia can rescue her prince charming from Carabosse. He in turn comes to recognise what good beings magicals are and rejects the fears and prejudices he has been taught.
The script tells a valid and topical story and is well decorated with gags, poking fun at those in power and promoting tolerance, so if there is a niggle—and it is a tiny one—it is that some minor threads are unresolved, such as Denzil the Dragon’s inability to breath fire and the fizzling out of the love interest between Denzil and Willowsnap, whilst the royals enjoy a double wedding, with King Eric and Nanny Nora also tying the knot.
As director, McKenna has ensured the show is packed with oodles of traditional business. There is black-light puppetry, water pistols, a song-sheet, a magnificent gorgon magically tamed by Natasha Lewis as Willowsnap, lots of call and return and some modest pyrotechnical bangs and flashes. And more.
Musically, there is something for everyone. Local girl Lisa Davina Phillip takes the roof off as Carabosse singing “Kiss”, and there are other big hits including from Beyoncé and Stevie Wonder and even a smidge of Rogers and Hammerstein. A big shout-out must go to Ben Goddard-Young who wrote four original songs, including a flashback in the style of Hamilton, and leads a great live band.
Wayne Rollins provides a gentle Denzil the Dragon who could have been used more, particularly with additional magic tricks, and Abbey and Lewisham-born Durone Stokes as Prince Gabriel make an endearing couple carving their own places in the world.
Justin Brett is a wonderfully appealing and comic Dame Nanny Nora; funny and fast with some ad libs, saucy without being crass, and of course stylish in a range of costumes from McKenna’s long-time collaborator Lotte Collett.
As a local, I must admit to seeing some very disappointing panto here in the past, but under Susie McKenna, we get panto at the Broadway we can be proud of. Seeing this Sleeping Beauty was a special joy.
Reviewer: Sandra Giorgetti