The Little Panto with a Beastly Heart!
Beauty and the Beast
South Shields Customs House
Until Saturday 5th January 2019
Nova Radio North East’s Robert Wilson Baker reviews
The Customs House’s take on ‘The tale as old as time’.
A cold November’s night
in South Shields was the perfect setting to start my Pantomime decathlon (oh
yes I am! I’ll be seeing 10 Pantomimes between now and the beginning of
February). As I said last season, I judge how successful a Panto is on the full
package: songs that entertain but advance the plot, colourful sets and
costumes, funny jokes and not so funny dad jokes, bold sketches but most
importantly, a show that puts the audience at the heart of its story. It is
heart that the Custom House prides itself on creating.
The story of Beauty and
the Beast is well known from both Disney’s animated and, most recently, 2017’s
live action remake. This version lends itself more to the French influences
with the town of Cooksonville transported to the Alps under a Winter Wonderland
spell created by the Enchantress (Eleanor Chaganis). The Enchantress moulds the
story, placing the cruel-hearted Prince (Steven Lee Hamilton) into his Beast
form forever, unless he finds acceptance from someone before the last petal falls.
Beauty (Annie Guy) and her Father, the Duke du Pommefrites (Gareth Hunter),
seek the prince’s financial help when they come across Dame Bella Ballcock and
her daft son Arbuthnot (Ray Spencer and David John Hopper), who in turn venture
to the palace.
Arbuthnot befriends a
talking sheep Cutlet (Charlie Raine), who also communicates using sign
language. Cutlet acts as a guardian to Arbuthnot and Beauty, who saves her from
the encounter with the Gaston-like character, Gaviscon (Afnan Iftinkhar).
The rest of the story follows
a similar path to the familiar movie versions, The Beast imprisoning the Duke later
giving a financial boost for his company in exchange for his daughter’s
freedom. Beauty and Beast’s relationship blossom’s during her stay thanks to help
from bubbly housekeeper Horensia (Georgia Nicholson). Throw in hilarity from
Dame Bella and Arbuthnot mixed with Gaviscon’s turning obsession with Beauty,
this Panto is packed with drama and comedy.
I have mixed opinions on Beauty and the Beast as the story of a Pantomime but
this production hits all the right marks to make this panto ‘the Belle of the
ball’. Ray Spencer and Graeme Thompson’s script has packed as many punches with
multiple topical references, humorous jokes and subtle innuendos that sit just
right and old fashioned slapstick that fills the auditorium with rapturous
belly laughter.
The cast bring much
added colour and energy to this story. Annie Guy and Steven Lee Hamilton are
perfectly matched together as Beauty and the Beast. Guy more than holds her own
in her Panto debut as the likeable heroine with her charming persona and
delicate voice whilst Panto regular Hamilton showcases his strong stage
presence and impressive vocals, especially with his Act 2 solo. Afnan Iftikhar
fits into the comedic villain Gaviscon, showcasing both the humorous and
sinister sides with ease.
Gareth Hunter’s Duke is
equally as comedic and slightly underused throughout but gets enough look in to
make a noticeable impact on the plot, forming a good partnership with the
infectious and bubbly Georgia Nicholson’s Horensia. Eleanor Chaganis is a very
commanding, multi-layered Enchantress which allows the audience to cleverly
second guess her alliance in the prologue but thaw the harshness as the plot
moves on.
A special mention goes
to the creation of Cutlet the Sheep played by Charlie Raine. By incorporating
the use of British Sign Language into the mainstream performances, it enforces
the ethos of inclusion for both patrons with hearing impediments and those
without who will be fascinated with the concept performed by a sassy,
fun-loving character.
The true stars of this show are by far Ray Spencer and David Hopper as
Dame Bella and Arbuthnot. You forget that this tour de force of a duo has only
been ‘Mam and Son’ for 3 seasons but it seems like 15. Hopper instantly makes
the audience engaged with his child like manner, wacky humour and comedy presence.
He has the potential to be up there with some of the Panto greats like Billy
Pearce and Danny Adams in the future. Spencer, marking 5 years since graduating
to dame, proves why he is the King of Panto and of the ad-lib. Leaving no stone
untouched, his observant eye and presence will instantly send the audience into
a chaos with laughter (particularly when things go wrong).
The music hits the right chord with plenty of references to the 3 biggest
movie-musicals this year, Greatest Showman fans will be particularly pleased.
To be ever so slightly critical, the quantity of musical numbers may have been
too heavy but it allowed the full cast to get chance to showcase their voices
as well as engage in some golden storytelling moments; mentions go to Guy and
Chaganis for a captivating A Million
Dreams and Hamilton for an emotional rendition of Never Enough.
The production elements this year are also particularly strong. Paul
Shriek’s Costumes are even better and grander than his Great British Pantomime
awarding-winning creations from last year (which fought off the London
Palladium). The set, also designed by Fox and Shriek, makes the most of the
small space. There is one moment in Act 2 which I won’t spoil but when
combining with all the other elements in the show, proves that you don’t need
big budgets to create an amazing theatrical experience.
Whilst it might not have the stature of some of the other Pantos, The
Little Panto with the Big Heart ensures that people of all ages and
nationalities (I went with a group from my Uni course who had never seen a
Panto before) can come away feeling thoroughly entertained!
Review: Robert Wilson Baker
Tickets:
Beauty and
the Beast runs from Tuesday 27th November 2018 until Saturday 5th January
2019.
