JACK STRIPPED BACK

I love panto, in almost all its forms, but especially a traditional pantomime from the great canon of pantomime stories. Forgive me for my pedantry but there is a huge difference between a pantomime and a Christmas show as many of us purists will affirm.

When I heard that this years alternative panto offering from producer Allan Cardew was to be Jack Stripped Back I was delighted to hear that it was to be rooted, haha, in Jack and the Beanstalk, one of the greats, filled with fantastic opportunity for both magic and silliness.

Now an adult pantomime is pretty much the same as a family pantomime, by which I mean that all the adult humour is still there and much of the silly stuff for the kids too. The only thing that is markedly different is that the double entendres, for the most part, become single entendres, that and a liberal smattering of swearing.

I am delighted to report that this offering delivers both and delivers them with style. There are plenty of terrible groaners of gags along the way to balance the saucy humour too and the packed room lapped it all up, although I must say that the largely LGBTQ+ audience are real fidgeters! And judging by the number who get up and down throughout either alcoholic or incontinent!

Of course a theatrical entertainment like this very much sinks or swims on the quality of the cast and I am pleased to say that this cast was top notch.

A good pantomime should always have a pantomime cow and my word, the clever conceit of making this a speaking part worked so brilliantly in the capable hands of drag star Davina Sparkle, AKA David Pollikett. His world weary delivery and slightly bewildered charm was hilarious to watch.

Baroness Mary Golds

Dame Trott played by Baroness Mary Golds had by far the most to deal with, from a huge amount of complicated lines to a feast of ridiculous costumes, even appearing at one point, and somewhat inexplicably, as a tin of baked beans! It was a fine and funny performance for sure.

Allan Jay 

Jack was played by Allan Jay, a “straight” role and one written with the fewest gags, not that it mattered in any way as Jack is always the foil to the other characters. But the comic lines he was gifted he delivered with style and how that man can sing, the voice is extraordinary.

In the role of Little Willy we have the pixie like charm of Alfie Ordinary, one of the most inventive drag creations of recent years, a prince and not a queen. Perfect casting as Jack’s silly brother and wonderfully adept at interacting and dealing with the audience with spontaneous humour at his fingertips, a class act!

The Giant’s henchmen Feshjack was delivered with sinister charm by a performer more usually cast in a heroic role, but my word did Jason Lee Howlett relish the opportunity, striding around the stage and hissing back at the booing audience. He too has a truly wonderful voice and added to the whole a signature level of professionalism that after last year’s Cinderella we were hoping to see again. In fact it is a quality that has raised the standard of musicality that had in the latter years of previous LGBTQ+ pantomimes all but disappeared and hats off to musical director Shaz D. for making this show sound so good

Principal boy in every panto needs love interest and once again we were delighted by the lascivious charms of drag legend Sandra whose girlish delivery of Jill the village virgin was a comic highlight of the evening, demure she ain’t but funny she always is.

The dancers, three, are excellent, especially as tap dancing bees, no explanations given but no one cared and the choreography throughout was sharp and vibrant.

Jess Eaton‘s sets and props are excellent too, cleverly conceived and beautifully realised.

Paul Lawrence-Thomas has wrought a funny and tightly delivered script and has also directed the show which, apart from at moments being slightly linear in its blocking, is pure essence of pantomime.

Billie Gold

My final words though must go to Billie Gold who as Fairy Billie Beans held the whole together. Billie too has a wonderful and powerful singing voice, but here we see that she has amazing comic timing, her delivery of a rather substantial script, far more than a fairy is usually given, and all in rhyme, was faultless. Her clipped tones, her superior manner, her savouring of every word and every pay-off made this the very best fairy performance I have ever seen – in any pantomime, and at my ripe old age I have seen far too many to count. Pure delight!

Andrew Kay

The Ironworks Studios

29 January

Rating:



One Response

  1. Mrs Elaine Evans says:

    I agree with every word of Andrew’s review. It was a terrific evening, dancing, singing, dialogue, everything. SO GLAD I went! xxxxx

Leave a Comment






Related Articles