Cinderella and the Beanstalk
Theatre 503
5 December 2014
Pantomime is a particular seasonal joy. In its own way, Pantomime is to England what Thanksgiving now is to America: an overhyped, overdone, immersive celebration, involving either familiy or friends (or both) but having at its core, warmth, humour and the joy of sharing laughter and shared memories. Both can feature turkeys.
As the countdown to Christmas commences, all over the UK performing houses are giving their pantomime. Most involve a star of some kind, maybe more than one, a familiar storyline but perhaps with twists, original, usually forgettable music and gaudy sets and costumes. Without fail there will be a comedian in a frock, a handsome lad in tights or satin (or both), a villain you love to loathe and a pretty girl or twenty. The very best ones have tight scripts which appeal to both wonder-struck child and world-weary parent and which are liberally peppered with double or triple entendres, feature traditional audience participation (that old ‘He’s behind you’ lark) and fine comic performers who understand the genre.
Because nothing will kill a pantomime quicker than a self-indulgent ham or actors who thinks themselves better than the genre. It’s one thing to see a TV/Movie star in the flesh doing silly things; it’s another, entirely, to see a really well done Pantomime. Sometimes, admittedly, big stars can produce the goods: Ian McKellen’s Widow Twankey or Joan Collins’ Queen Rat (complete with hunky male entourage dancing in ripped garbage bag loin cloths) spring immediately to mind. But it has to be said that, these days at least, that sort of success is unusual.
The two things Pantomime needs to really succeed are heart and wit. No amount of expenditure on sets, costumes or glitzy whatever can overcome a dearth of either. Now playing at Theatre 503 is Tom Attenborough’s production of Sleeping Trees’ “three-man family pantomime” Cinderella and the Beanstalk, a production which proves this point effortlessly and unarguably.
It abounds with heart and wit, is propelled with limitless energy from the three inventive actors who devised the piece, is blessed with a surprising and clever narrative which weaves its way through aspects of pretty much every popular nursery rhyme or fairytale (of the Grimm and Disney kind) and is genuinely laugh-out loud funny, engaging and joyful.
Cinderella and the Beanstalk delivers what the title suggests – a mash-up of two famous, well-loved tales. The trials of Cinderella, her two ugly sisters, the dim but handsome Prince Charming and the glass slipper is smashed into the tale of Jack, his cow, the magic beans, the golden eggs in the sky and the Beanstalk that takes him there to the lair of the Giant. Add a fairy godmother, a villainous Rumplestiltskin, a forlorn Red Riding Hood, a rapacious Wolf, a crafty Genii from Aladdin’s lamp, and a dozen or so other characters and this patchwork quilt comes to effervescent ylife.
There are many surprises along the way, and that is part of the cross-generation appeal. Grandparents and grandchildren get attention in equal measure; there is spirited humour and engaging interaction which directly appeals to all. There are phrases to learn and shout out, songs to learn and sing along with, dances to learn and do – fail to participate at your peril. And be prepared for the unexpected: an involved child calling out to stop the show or an on-the-spot nervous Gran bringing the house down with her unexpected kissing antics.
The best thing about Cinderella and the Beanstalk is the demand placed upon the audience’s imagination: this is not a passive experience. Paying attention results in real dividends; if you go with the conceit, follow the twists and let your imagination supply the accoutrements the small budget here does not permit, you are pretty much guaranteed a genuinely delightful evening at the theatre.
Sleeping Trees is a remarkable collaboration between three gifted comic performers: James Dunnell-Smith, Joshua George Smith and John Woodburn. Each is the real deal. Each has that ability to play a distinct character with a simple change of voice, or change of stance or sly look; each knows how to land a line for maximum comic effect or to throw away a line to similar effect; each can remain in character and break the fourth wall; each can convey exasperation enthusiastically and, at the same time, be utterly captivating in the moment they are capturing.
George Smith is absolutely superb. His wry, camp Fairy Godmather is perfect; his turn as the evil puppet Rumplestiltskin is unmitigated joy (what a terrific song!); as the Cow he is breathlessly funny and its surprise moment brings down the house. Character after character, moment after moment, perfectly presented and realised. Real skill. Perhaps best exemplified by his terrified, near silent, but unforgettable Red Riding Hood.
Woodburn makes a terrifically simple Prince as well as dextrously delivering the two, very different, repellant siblings to Cinderella. The scenes between all three of his characters are splendid indeed. He brings an open, honest integrity to his performance which makes it shine. His duet with Dunnell-Smith’s Cinderella is gloriously funny.
I liked Dunnel-Smith’s turn as the sly Genii best of all his characters, but almost as irresistible was his portrayal of the three henchmen of Rumplestiltskin who clash swords with the Prince. Infused with manic physicality, his is a performance of jangling intensity, which works perfectly for the set-up, especially the opening of Act Two, as brilliant a scene of satirical parody as you are likely to find in a Pantomime.
Mark Newnham provides excellent musical accompaniment and special effects, but also contributes much to the comic tome of the evening – he puts the dead into dead-pan with real finesse. Then, in Act Two, he has his own surprise, well worth waiting for.
Everything here works, establishing a fast and furious sense of atmosphere. The costumes are as silly and evocative as they need to be, the sets and props likewise. Take a bow, Simon A Wells. Attenborough ensures the pace never flags and that the audience is constantly engaged and enthralled. Once you cotton on to the fact that the unexpected can happen, the electric hand of possibility grasps the audience.
Polly Bennett’s movement and Ali Hunter’s lighting add to the pleasure. Keith Wallis’ fight scenes provide good, old fashioned fun.
I am not sure why the trio calls itself Sleeping Trees- none of the company as asleep at any time here. It’s all go, to great effect. Quality entertainment built on great ideas and terrific tip-top ensemble work.
If you only see one Pantomime this season, see this one. And take your Gran and your youngest little one. And watch Home Alone as preparation. I won’t tell you why – you’ll have to see Cinderella and the Beanstalk to find out.
Your inner child will thank you.
Bookings 020 7978 7040 or at the Theatre 503 website.
