Thrilling, delightful and traditional
Jack And The Beanstalk
King’s Theatre, Glasgow
WHAT MAKES for a perfect traditional panto? It’s hard to define but if it wasn’t for the daft helicopter gag that ends the first act – I mean, if Dame Trot has access to a helicopter, why do they need a beanstalk at all, to reach the giant in Cloudland? – then this year’s splendid show at the King’s in Glasgow would be pretty close to the mark.
Its other problem, apart from the failure even to make it look as if anyone is actually climbing the impressive beanstalk, is a slight lack of local Glasgow jokes. those quibbles apart, though, this is a panto – written by Alan Mchugh and directed by Jonny Bowles – that has every ingredient in the book, including Elaine C Smith in magnificent form as a youthful Dame Trot, Johnny Mac’s engaging turn as her not-so-daft son Jack, an outstanding Angela Darcy as the fairy godmother (aka Mammy Nature) and a perfect pantomime cow, Dame Trot’s beloved Daisy.
So from the moment of Elaine C’s first entrance – to a rousing chorus of “I’m still working though I’m past my prime/ Cos I willnae get ma pension till I’m 69… “– the fun, song and dance comes fast and furious, as ghastly giant Blunderbore (played by a couple of scary puppets, but strangely absent from the scene where he falls off the beanstalk) demands tribute from the hard-pressed villagers until the all the livestock has been eaten – except Daisy, who is sold off for the legendary bag of magic beans to a stranger who turns out to be none other than the wicked Mrs Blunderbore, played with flair by Anne Smith.
Add Only An Excuse star Jonathan Watson as the kindly but ineffectual King Hector, and Naomi Cowe as his sweet and spirited daughter Jill, and you have a near-perfect Glasgow panto ensemble, greeted by the audience with roars of laughter and recognition.
There’s some terrific dance from both the King’s ensemble and the youngsters of the Vivace Theatre School, impressive orchestral support from musical director James Dunsmore and his four-piece band, and a final song-sheet sequence greatly enlivened by some truly daft
wee participants from the audience.
The final result is a panto that thrills and delights, and brilliantly continues the tradition laid down by the late, great Gerard Kelly, whose golden boots still sit in the King’s foyer, under a spotlight that never fades.
Until 5 January