At least Dick Turpin wore a mask…
…in fact, we all did! Audiences have had to adapt to the new regulations and the theatre manage this well. The Grand Opera House lives up to it’s name, and I’ve always felt it’s a great setting for a pantomime. Everything twinkles and sparkles, seats are comfortable and staff are welcoming – making jokes and small-talk whilst going through the rigorous Covid passport and bag checks.
This is the first time that Berwick and friends have graced the Opera House stage, with Crossroads Pantomimes pulling the reigns. Find out what we thought below…
In with the old
With a new company at a new venue, this reviewer wondered if the production would return with some fresh and interesting innovations. It quickly became clear though that this is the same old panto fodder that audiences have come to expect from Berwick and the gang.
References to things like Elaine Page, Dolly Parton, Fawlty Towers, Shakespeare, old Westerns and musical hall all date the show – and we felt there weren’t enough modern and current references to keep it fresh. Song choices were mostly stuck in yesteryear too, with the exception of the Billy of Tea sea shanty that found fame via TikTok earlier this year.
Overall, it felt like a production aimed at the adults who have followed Berwick over forty years, and not necessarily the families with young children looking for some festive pantomime fun.
Dame for a Laugh?
Kaler returns as Dame Dotty Donut although, disappointingly, without a donut-inspired dress – surely a missed opportunity. At 75-years-old, Berwick has come out of retirement and it is commendable that he is still able to write, direct and deliver so many performances. Whilst it was clear he had many fans in, the script wasn’t always punchy enough and the first act in particular took a while to get going.
Martin Barrass as Dunkin Donut remains playful, but doesn’t seem to get a lot of time to shine. Suzy Cooper’s flapping vampire bat is a joy and she plays Donna Donut with plenty of panto panache.
AJ Powell’s Luvlie Limpit enjoys some luvverly byplay, especially alongside David Leonard who is still a stand-out panto villain. Even with a few unfortunate technical problems he relishes the evil laugh and ensuing boos! I’d have to like to have seen him used more, and with a grander entrance as in previous years.
The title role of Dick Turpin (Daniel Conway), who is conspicuously absent from the posters as my son pointed out, takes the notorious highwayman to Adam Ant levels. A Horrible Histories song injects a few facts into the proceedings and of course there are the predictable dick jokes.
The ensemble work hard to keep the show pacey but, ultimately, it often loses momentum in between. Even the baking routine, which is something I’ve seen The Chuckle Brothers do fifteen years ago, felt laboured.
I can’t fault the overall design of the show, with sumptuous sets and costumes helping create some panto magic. Local references pop up on backcloths and signs, and scenery takes the audience everywhere from the London Palladium to the Wild West and Selby Common.
The musical direction is slick, even though I was hoping for some more up-to-date song choices.
Horsing around
The Twins FX provide a wonderful flying sequence, cleverly lit to hide the workings. This was the one moment that children really seemed to respond to in unison, and it felt like the only thing we hadn’t seen before from the team.
When the highlight is a flying stuffed donkey though, something seems amiss in pantoland. Berwick himself describes it as ‘the same old rubbish’ and therein lies the problem. This is a production that refuses to move with the times.
The plot, as they openly admit, is practically non-existent and left many young audience members around me looking bemused. Quirky and surreal moments are all well and good, but they don’t always hit the mark.
Paint your Wagon (Wheel)
If you’re a long-serving follower of Berwick and co. there may well still be enough to keep you coming back. Wagon Wheels return, along with the rocking chair and the odd reference to Newcastle Brown Ale. Missing though are the video sequence, Harry Gration, UV puppets and a messy slosh routine. Even the frocks seem less outrageous this year, at a time when I think we’re all hungry for a little extra razzle dazzle.
A few jokes fell flat, and running gags – including a fish-hungry crocodile – didn’t seem to really go anywhere. That’s not to say we didn’t enjoy the show at all; the design is solid, the cast work hard and there are a few moments of brilliance (the disguises that Dame Donut and Dunkin Donut wear as babbies are a treat!)
I mentioned in another review that we didn’t grow up with Berwick’s pantos and so always felt a little like outsiders on a private joke. I can imagine though, if you’ve been coming for years and it’s a tradition, then wild (pantomime) horses wouldn’t keep you away.
MAGIC RATING
VALUE FOR MONEY
OVERALL
Dick Turpin Rides Again runs at the Grand Opera House York until Sunday 9th January 2022. To book tickets visit www.atgtickets.com/shows/dick-turpin-rides-again/grand-opera-house-york/
Disclaimer: Tickets were kindly provided for this performance, however all opinions are honest and are our own.
Review Wizard 