Reviewed by The Magic Hatter
T’is the season to be jolly, but t’is also panto season (oh yes it is, oh no it isn’t…and so on and so on!) The Hatter family took a trip to the Theatre Royal to see Sleeping Beauty, but is it a beauty or did it send us to sleep?
The question on many people’s lips will surely be, how does the pantomime fare without now-retired Theatre Royal stalwart Berwick Kaler? So let’s address that first. To be honest, we were late to the game with Berwick and – by the time we started visiting – a lot of the in-jokes that had built up over the years went over our heads. Indeed our very first panto at The Theatre Royal, just a few years ago, left us somewhat bemused and feeling like outsiders to a private joke.
That’s not to say we didn’t enjoy it, just that we weren’t part of the original babbies and bairns who booked on day one and strained to catch Wagon Wheels for many a year (although we did catch two this year, almost without trying!)
Whilst many will miss the Berwick traditions, we weren’t accustomed to them and so for us it doesn’t feel like a missing ingredient. And besides, Kaler still writes and co-directs the pantomime so fans of his should not be too disappointed. He also appears in the two obligatory video sequences, but these failed to get much of a reaction at all.
Regulars who do return in person however are Martin Barrass (Queen Ariadne), David Leonard (Evil Diva), AJ Powell (Darth Diva) and Suzy Cooper (Princess Beauty) – performers who have all built up their own following over the years too, and rightfully so. The camaraderie between the four still shines through, and it is clear that they all have vast experience under their belts.
Leonard’s baddie is still one of the very best panto villains we’ve ever seen. Deliciously bad, with a sultry swagger and more ham than Peppa Pig! His entrance in the first act was pure panto perfection, and he milked every drop out of it. The interaction between Diva and her son Darth works well, and Powell’s many costume changes add variety.
Nothing Like a Dame…
Barrass’ Ariadne is cleverly pitched not to step into Berwick’s shoes, and is more Duchess (well, Queen) than dame. Jack Landsbury joins the cast, fresh from two years in London’s Wicked, and plays both the King and Prince with royal aplomb.
New to York is Howie Michaels, playing Funky Flunky (and later, Punky Flunky) and is a vocal powerhouse, especially at the end of the first act. It’s clear he really relishes the role.
The performers all do well with material that drags at points. The script felt needlessly wordy in parts, and some gags just didn’t hit with this audience. Unfortunately, a slosh scene in the first act fell flat too. I have never seen children not react to slapstick with water and custard pies but, for whatever reason, it was met with stony silence here. Perhaps the action will get slicker as the run goes on, but sadly it came across as forced, and with no real build-up.
“The Same Old Rubbish…”
But what of a story? Previous Theatre Royal pantos have ridiculed the notion of a script or plot, and this is billed as the ‘same old rubbish’. The plot makes little sense, and a particularly random scene sees a house falling apart and Evil Diva sinking into a chair without any real purpose or explanation. It feels like these inexplicable moments are part and parcel of Theatre Royal panto tradition, but some younger children in particular seemed to lose focus in a plot so thin. References to things like Brexit and Edward Scissorhands felt shoe-horned in.
This aside, there are things that deserve praise in Sleeping Beauty…
Give ’em The Old Razzle Dazzle…
Visually, the show is an absolute treat. Sumptuous costumes, sparkling scenery and grand set-pieces all help set this show apart from the usual hired backcloths and faded frocks of pantos up and down the country. Harrogate-based Anthony Lamble heads up the set and costume design here, and both are equally stunning. The design team have really excelled, and it’s refreshing to see a show created mainly in-house.
The ensemble work hard and are polished and prepped to perfection, singing and dancing to a high standard. A troupe of child actors get some of the biggest laughs of the show, especially when playing elderly citizens. They also play fairies in the first act, and dance and sing well alongside the adult ensemble.
There are some dazzling special effects and toe-tapping tunes, with particular favourites including a song about a finding a keyhole, a version of Teenage Dirtbag and a dramatic rendition of Rise Like a Phoenix to close Act One.
The panto is not without it’s merits but at 2 hours 30 minutes it feels somewhat padded out, and the humour often misses the mark. Our two boys (3 and 6) clearly enjoyed it, but very rarely laughed out loud as they do in many other pantomimes. That said, if you are already a regular visitor at Christmas, you can certainly expect the usual Theatre Royal panto ingredients wrapped up in plenty of seasonal sparkle and shine.
MAGIC RATING 
VALUE FOR MONEY
OVERALL
Sleeping Beauty runs at York Theatre Royal until Saturday 25th January 2020. Tickets range from £24 to £33 and can be booked online at www.yorktheatreroyal.co.uk/show/sleeping-beauty
Disclaimer: Tickets were kindly provided for this performance, however all opinions are honest and are our own.
All photos copyright to Robling Photography
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