The Three Billy Goats Gruff and other festive treats this Christmas
The Three Billy Goats Gruff, Minerva Theatre, Chichester, until Sunday, January 7.
Chichester Festival Theatre brings a layer of musicality to a timeless classic with its enchanting production The Three Billy Goats Gruff, marking the impressive CFT debut of the theatre’s new artistic director Justin Audibert. Fresh from its London debut at The Unicorn Theatre earlier this year, this captivating musical for children over three has taken the Minerva stage by storm, perfectly capturing the timeless classic and its boundless charm. With music by George Stiles and script and lyrics by Anthony Drewe, this perfectly composed production puts a smile on faces young and old.
The show begins with that sometimes dreaded audience participation, however its fun yet tasteful execution perfectly encourages audience members to engage with the fictional world without falling into the realms of pantomime. The plot is one many of us will be familiar with. When three goats, Baby, Middle and Big, are faced with no grass left on their side of the valley, they must find a way to cross the bridge to reach the lush green pasture on the other side without encountering one tricksy obstacle - the hungry troll. Big Goat, so marvellously performed by Tom Pepper, attempts to take charge of the situation, whilst naive but rather adorable Little Goat, portrayed by Katsie Fong Frydenberg, spends the production as ‘cute as a button’. Jack Courtiour’s professional debut as Middle Goat is exceptional, matching completely the talents of his on-stage counterparts. The three goats are so wonderfully led by Tiajna Amayo’s Little Bo Frilly, who ultimately succeeds in protecting them from the plotting Troll, performed fantastically by Rhys Rusbatch.
What makes this production truly special is its universal appeal. Children are enthralled by the performers’ infectious joy while adults find themselves swept away by the nostalgia of a beloved childhood tale.
The production’s musical earworms transforms a classic tale into a dynamic and engaging retelling, with even my mother (whose age shall not be revealed) asking whether she could find the songs on streaming services after the show. The dazzling dance routines alongside the set, costumes, and lighting work seamlessly together to create an enchanting visual feast that complements the musical journey. Audibert’s promising start as artistic director sets a high standard for future productions, leaving audiences eagerly anticipating what wonders he will bring to the Chichester stage next.
Jenny Bathurst
Hook – The Further Adventures of Peter Pan, Kings Theatre, Southsea, until Sunday, December 31.
It really doesn’t take him long. Jack Edwards as Mrs Smee soon gets his man-cam out, projecting the whole audience onto the screen behind him, the better to select his man for the evening. Jack’s back as Mrs Smee, and Mrs Smee wants a man – the perfect platform for the saucy adlibbing which is
Edwards’ forte and which is so much a part of what makes the Kings panto so special year after year.
Edwards is on cracking form throughout, particularly though towards the end for the shout-outs. He knows just how far to push it and he pushes it to the limit, his legendary “fat bloke in a dress” routine bringing the house down. Last year’s role just didn’t give him quite the right opportunities; Mrs Smee this year is the perfect pretext for panto mayhem such as only Jack can concoct it. In truth, this new take on Peter Pan is probably on the thin side of minimal when it comes to an actual storyline, a fact which leaves the first half feeling a bit bitty, but the second half roars back strongly, sending everyone home happy – with a running time which feels just about right.
Key in the mix is Shaun Williamson, best known for his stint as the loveable Barry in BBC’S Eastenders, here playing the dastardly Captain Hook, and he gets the villainy just right. Hook’s really not awfully nice, but really you could never dislike Barry – and Williamson walks the line nicely. James “Arg” Argent is our Peter Pan, and it’s another excellent performance, spirited, likeable and fun. Very strong too from Elizabeth Rose as our Tinkerbell, sweet but feisty.
The music is particularly good this year, with a top choice of songs. Who would have thought that we’d have Eastenders’ Barry leading a YMCA karaoke? The dancing is great too, and the projections which take us from London to Peter Pan land are magical. It’s a panto which doesn’t offer a big wedding at the end. In fact, there’s no love interest (well, beyond Jack and the poor chap in the audience he’s picking on).
But there’s no harm in ringing the changes – and this is a fine Pompey panto even if the story could have been stronger.
Phil Hewitt
Aladdin, New Theatre Royal Portsmouth, December
8-31
Aladdin at Portsmouth’s New Theatre Royal turns out to be one of the most beautiful illustrations imaginable of one of the absolute essentials of panto: it has to be funny. And this panto is very funny. Very, very funny in fact… and consistently funny throughout.
The scene at the start of the second half where Chris Aukett as Widow Twankey and James Oates as Wishee Washee take their cues for everything they say from the contents of a washing basket was priceless and brilliantly done. But the point is that the gags came thick and fast all the way through. You try to cling on to each and every one but they come so quickly that each one erases the last from memory. I am not sure I have ever laughed quite so much in a pantomime. And even Alex Scott Fairley as Abanazaar was at it – offering a quite superb come back when someone shouted out that he should be killed. Just as funny was his strop when, having waited all evening for the chance to sing a solo, Kaysha Nada as Princess Jasmine muscled in on it. His fit of pique was, like so much else of this panto, comedy gold.
Fabulous comic fun too was Josiah Eloi as the Police Constable, a role which has never seemed terribly interesting… until now. Eloi grabbed it and turned it into something genuinely special – just one of many big performances on a night which did the whole notion of panto proud.
Alex Scott Fairley was excellent as the villain; Chris Aukett was everything a dame ought to be, saucy, sexy and tremendous fun; and James Oates kept the pace up hilariously.
All of which proved to be the perfect platform for a truly lovely performance from Emma Marsh as Aladdin, spirited but charming, thigh-slapping and properly engaging. Very strong too from Kaysha Nada as her love interest.. They sang together beautifully.
Phil Hewitt