★★★★

“the performers put on an impressive show without a moment’s rest”

As the festive season approaches, the time of pantomime comes without holding back. In this production co created by Jermyn Street Theatre and Charles Court Opera, who will be celebrating their 20th anniversary in 2025, we leave all worries (and historical accuracy) outside the entrance doors and enjoy an evening of hilarious covers of popular tunes, disguises and pastries.

In this intimate space, the ensemble bursts with energy and comedic genius as they add a twist in the famous rivalry between the English and the French during Napoleon’s attempt to conquer Europe. On the one side, there is King George (Elliot Broadfoot), the Duke of Wellington (Jennie Jacobs) and Princess Georgina (Amy J Payne) who is disguised as a private in order to fulfil her wish of ending the war. On the other side, there is the infamous Napoleon (Matthew Kellett), standing as tall as he can and savouring the audience’s boos, with Marie Antoinette as his resurrected companion. A legend goes around which says that if one obtains a precious stone in the King’s vault, this person will become undefeated and the only way to open the vault is to use Horatio Nelson’s hand, which Napoleon possesses. Determined to win the war, the English royal party embark on a ship and off they go to destroy Napoleon once and for all.

From Lady Gaga and ABBA to Elton John and Bonnie Tyler, the performers put on an impressive show without a moment’s rest. Merry Holden’s choreography is a fascinating mixture of 80s pop culture and melodramatic inspired moves, performed with perfect synchronisation and gusto. The performers’ voices are highly skilled but also used to heighten the humorous merriment of the piece, with David Eaton’s musical direction subtly, though solidly, accompanying the actors.

There is a clear simulation of a stand up comedy show in the way the sound effects and cheesy punch lines are delivered. At times, not even the actors’ acknowledgement is enough to make the script feel less ridiculous and it is impossible not to roll one’s eyes at the overused jokes and puns. But the actors’ commitment is ardent and the audience is more than happy to sing along, even participate in the games involved onstage. Costumes, (Lucy Fowler) are flamboyant, complimenting marvellously the royal theme and over-the-top tone and Ben Pickersgill’s lighting design does exactly the same by using bright shades of primary colours, as well as sharp spotlights.

Following their previous successful collaboration, last year’s Odyssey: A Heroic Pantomime, it’s safe to say that the electrifying creative chemistry Jermyn Street Theatre and Charles Court Opera delivers what it promises, always finding interesting ways to use well-known stories in an entertaining and inventive fashion. The sparkling direction from Benji Sperring and John Savournin (who also co-wrote the show with David Eaton) lifts the experience to another level. It’s an evening full of musical mischief, baguettes and hearty laughter. This production reminds us why the tradition of pantomimes is such a big part of the festive season, offering entertainment and a sense of release open-handedly to the audience, but also reminding us that life can be ridiculous and wacky, sometimes in the best possible way.

THE GLORIOUS FRENCH REVOLUTION at the New Diorama Theatre

★★★★

“The chaos is cut with emotion, and it’s carefully and cleverly structured”

YesYesNoNo are one of the hottest new theatre companies on the current London scene. Following a sell-out run of Nation at the Edinburgh Fringe, which he wrote and performed, Sam Ward’s latest offering is a chaotically absurd retelling of the French Revolution with pool noodles and bouncy castles.

There are five things this audience need to know about the French Revolution. Some are factual, some funny and some furious.

We begin in pre-revolutionary France. Inequality is rife, as demonstrated by peasants being thwacked by a pool noodle. This is a play that seethes under a jovial surface.

As the historical events develop, so too does the madness unravel. A bouncy castle, a performer on a treadmill, sports commentary of a protest, and a lot of wigs. Each performer multi-roles with cardboard signs announcing their character, none of whom are named. It’s pure Brecht. Thus, unsurprisingly, the silliness masks an anger and a serious message.

Here lies the uncertainty of the play. The anger is clear, and the parallels between modern day Britain and pre-revolutionary France, gloomily obvious. House prices are soaring, and as the rich get richer, the poor struggle for food. There is very little acknowledgement of the modern day, allowing the audience to join the dots themselves. But in doing that, the message becomes murkier, some aspects obvious, some obtuse. The ending makes the point of the allegory clearer, but feels disjointed, both in tone and meaning.

As a retelling of the French Revolution, it is sparky and punchy, if a little simplistic. As a modern-day commentary, it’s a little uncertain. It becomes a general comment on inequality and struggle, leaving the final visual moment, while striking, a little empty.

The show was devised by Sam Ward and the cast. There are some beautiful textual moments, some which have Ward’s signature flowing style. The chaos is cut with emotion, and it’s carefully and cleverly structured.

Joe Boylan is sublime, leaping over the vaulting horse, trudging on the treadmill and creating a balletic and pathetic image of the King. He also delivers the two most powerful and memorable monologues, striking an emotional resonance which is desperately needed. Jessica Enemokwu, Sha Dessi, and Alice Keedwell create delightful caricatures and bring energy and silliness to the stage. Paul Brendan deftly switches from the enthusiastic sweary washerwoman to the patronising idealistic bourgeoise, bringing each to life with joy and complexity.

Hazel Low’s set conjures an instant smile. With a shiny red floor, horse vault and an umpire chair, it is reminiscent of a school gymnasium. The childlike playfulness is brought to the fore. But the set also manages to encompass darker themes, and in combination with Han Sayle’s lighting design and Tom Foskett-Barnes’ sound there are moments of pure carnage.

This show has flashes of genius but based on YesYesNoNo’s previous work I couldn’t help expecting more from this play. It could’ve gone further, delving deeper into the messaging, and the payoff didn’t feel strong enough. As a devised piece it may evolve into something more complex as time goes on. But it’s an electric production, with some visual delights.

Tag Archives: Alex Brenner

NAPOLEON: UN PETIT PANTOMIME

★★★★

Jermyn Street Theatre

NAPOLEON: UN PETIT PANTOMIME at Jermyn Street Theatre

★★★★

“the performers put on an impressive show without a moment’s rest”

NAPOLEON: UN PETIT PANTOMIME at Jermyn Street Theatre

Reviewed on 26th November 2024

by Stephanie Christodoulidou

Photography by Alex Brenner

Previously reviewed at this venue:

EURYDICE | ★★ | October 2024

LAUGHING BOY | ★★★ | May 2024

THE LONELY LONDONERS | ★★★★ | March 2024

TWO ROUNDS | ★★★ | February 2024

THE BEAUTIFUL FUTURE IS COMING | ★★★★ | January 2024

OWNERS | ★★★½ | October 2023

INFAMOUS | ★★★★ | September 2023

SPIRAL | ★★ | August 2023

FARM HALL | ★★★★ | March 2023

LOVE ALL | ★★★★ | September 2022

NAPOLEON: UN PETIT PANTOMIME

NAPOLEON: UN PETIT PANTOMIME

Click here to see our Recommended Shows page

THE GLORIOUS FRENCH REVOLUTION

★★★★

New Diorama Theatre

THE GLORIOUS FRENCH REVOLUTION at the New Diorama Theatre

★★★★

“The chaos is cut with emotion, and it’s carefully and cleverly structured”