DICK: RE-MIXED
And mixed it was, in almost every sense. I am a fan of panto, always have been, and for the last two years have thoroughly enjoyed the re-emergence of Brighton’s excellent alternative pantomimes. Producer Allan Cardew has done an amazing job of revitalising the tradition, putting together shows with high production values and great casts and Ironworks Studios has been the ideal place in which to do it. Panto has always been the home of innuendo and double entendre, that balancing act of innocence and sauce, something for the kids and something for the grown ups. And of course an adult panto is the place to push the boundaries of the form and take liberties and risks.
Dick Whittington is a gift in that sense from the eponymous title to the presence of a cat, and I am sure that I need go no further in explaining that… But how far can you take it? Given a Dick and a Pussy to work with is surely enough, so why then are we presented with an extra thread in the form of scatalogical content? The introduction of this theme of filth was for me a step too far, and especially when you have a cast of excellent performers to work with.
It’s going to be hard not to fall into traps here so let me say that for me Whittington should be a more innocent character, charming and bright. Whilst I heartily welcome the return of a principal boy, Sam Solace was rather too tough and offered little contrast to the baddies. Jason Lee is simply excellent in his multiple roles, from Fairy Beau Bells to the ships’s captain and finally as the Sultan with a weirdly Welsh accent. But he works his socks off and can belt out a song for sure.
Rose Garden’s Queen Rat spat venom like a pro but could have done with a more convincing rodent costume. Her vermin sidekicks, Scratch and Sniff, gave us some of the highlights of the evening. Lovinia Belle and Mary O’Kart are an excellent comic pairing and enter into the whole so professionally from their acting, gags and dancing, they are a joy to watch.
Alice Fitsanyone sees the return of Sandra, a legend on the drag scene and rightly so, skipping in and balancing those innocent traits with lascivious laughs, she knows how to do innuendo for sure and milks every moment (you have to be there to know what I mean by that), from the written to script to her well crafted and razor sharp asides.
The same must be said of Mary Golds as Fanny Fitztightly. This is the pure essence of pantomime dame, a diminutive figure in a series of wonderful costumes who can land a gag, make the most of a gaff and be charmingly rude rather than crude.
Of course Whittington needs his cat and on this occasion Fluffy is delivered by the laconic legend that is Davina Sparkle, a moggy of few words but those few peppered liberally with expletives.
I’m not afraid of foul language but this script has more than its fair share and dare I say it borders on misogyny at times. I may be being over sensitive, but I did feel like I was in a time warp where that kind of humour was rife.
In contrast the presence of two young performers, Anthony Kirk and Max Conway, brought a sense of youthful charm to the whole and they gave it their all from dancing through to their cameo moments of comedy.
And when it comes to dancing those big numbers worked so well, if only act one had started with something grand, most of the big ensemble pieces arrived in act two and as a consequence crashed into each other.
There is much to admire, once I had got past the sewerage, some excellent performances, good costumes and lots of laughs. I felt the staging was a little linear at times, the company standing in a row and not exploring the space effectively and it runs a little too long with the shout-outs taking far too much time before the final walk down. It has its audience and it will please, of course it will, and people left with smiles on their faces, which is what really matters.
Andrew Kay
28 January
Ironworks Studios
Rating:
