LITTLE RED RIDING HOOD at the Battersea Arts Centre
★★½
“all three performers worked harder than they should have to with Little Red Robin Hood”
The Sleeping Trees return to the Battersea Arts Centre with yet another mashed up pantomime, and this year it is the turn of Robin Hood and Little Red Riding Hood. Little Red Robin Hood has a lively script. That’s as you would expect from writers as talented as James Dunnell-Smith, John Woodburn and Joshua George Smith (with an able assist from Musical Director and Sound Designer Ben Hales). But, and it pains me to say this, the overall production is a disappointment.
Let’s start with the premise that kicks off the show. It might seem cute to hand the show over to a couple of earnest ushers, when the cast inexplicably—o.k not so inexplicably at this moment in history—get caught in a Tube strike, and special guest star Cher’s helicopter gets improbably stuck in mid air. And it’s no fault of performers Simone Cornelius, Miya James and Sam Rix that they get handed a script to improvise around, that was obviously written for the usual cast of Dunnell-Smith, Woodburn and Smith. Add to that some hastily made props, and some sketchy costumes, and the overall effect of Little Red Robin Hood is not of a plucky trio going on to save the show, but of three performers out of their depth, despite their best efforts.
The plot of Little Red Robin Hood is a nicely updated version of Little Red Riding Hood (aka Little Red) who wants to meet her hero, Robin Hood. Little Red has a couple of problems—one is that she is not a very good shot with the bow and arrow, and the second is that nobody knows what has happened to Robin Hood. The evil Sheriff of Nottingham and the Big Bad Wolf have joined forces which is very bad news for the citizens of both Sherwood Forest and Nottingham, since the Sheriff wants to make them all homeless by pulling down their houses, and putting up a big car park. The Sheriff is seemingly untroubled by things like planning permission, and apparently has the power to throw anyone he doesn’t like in jail—again, not totally implausible in this day and age. Things look bad for brave Little Red and her mum. And that’s to say nothing of Red’s Grandma, who bears an uncanny resemblance to Cher—if Cher lived in Sherwood Forest, which is almost completely unlike Los Angeles, where the real Cher lives. Anyway. There are some brilliant plot twists, involving long lost lovers reunited, a long lost Robin Hood found, and a pantomime unicorn. All ends happily as Little Red switches her red cloak for one of woodland green.
Part of the problem with Little Red Robin Hood is that The Sleeping Trees are victims of their own success. At their best, they are unbeatable at the pantomime mashup, and it’s noticeable when they fail to reach such high standards. Little Red Robin Hood, as a children’s show, is actually a good piece of educational theatre, since it is all about teaching kids how to be an audience at a pantomime. The performers, particularly Sam Rix, do an excellent job of teaching the children how to boo a villain, learn the stock responses, and how to leave, and return, after the interval. Simone Cornelius is a versatile performer with a good voice. Miya James, as the resident Californian, is, not surprisingly, the most out of her depth—Americans don’t do pantomime, and always look bemused when you try to explain it to them. In fairness, pantomime does sound an odd thing to put on stage, if you haven’t grown up with the traditions. But all three performers worked harder than they should have to with Little Red Robin Hood.
It’s probably too soon to predict when we’ll return to a world that’s recognizable pre 2020, and perhaps we never will. But that’s why it’s so important to be able to rely on the things that anchor us in a time of such unpredictable, and unwelcome, change. Particularly for our children, and their families. One of those things is The Sleeping Trees’ annual pantomime mashup for audiences of all ages. Isn’t that what the holiday season is all about?
THE MIRROR CRACK’D at the Royal and Derngate Theatre
★★★
“Special mention goes for Ward’s restrained performance as the softly spoken starlet”
Original Theatre has assembled a first-rate cast for this new adaptation by Rachel Wagstaff of Agatha Christie’s classic novel.
The action is set somewhere in the 1950s, a time when supermarkets and showers are new commodities, and the death penalty is still a deterrent. It’s not too much of a spoiler to report that a murder is committed for which there are a number of prime suspects. From out of town, and whose arrival is causing so much excitement in the sleepy village, are Hollywood legend Marina Gregg (Sophie Ward) with protective husband and film director Jason Rudd (Joe McFadden), co-star Lola Brewster (Chrystine Symone) and amongst their faithful entourage are waiter Guiseppe (Lorenzo Martelli) and secretary Elia (Sarah Lawrie). From within the village are the wealthy Dolly Bantry (Veronica Roberts), the down-to-earth Leighs (Jules Melvin & David Partridge) and Miss Marple’s home-help Cherry Baker (Mara Allen). A variety of personages with colourful accents – some of them over-played – verges close to pantomime on occasion. But as crucial scenes are re-enacted with different interpretations – bravo Jules Melvin – generally the performances are honest and rise above the caricature.
Special mention goes for Ward’s restrained performance as the softly spoken starlet, and Roberts’ bustling Dolly who appears to be the real village gossip.
Director Philip Franks moves this large cast of twelve naturally around the stage. Often in frieze positions whilst action is highlighted elsewhere, occasionally unwelcome shadows are cast from the otherwise effective side lighting (Emma Chapman). Frank’s insightful direction provides a line-up of suspects for us to learn who is who which aids the interval fun of making a guess as to whodunnit.
A central revolving structure (Designer Adrian Linford) provides the imposing backing for both Miss Marple’s living room and the film studio with large French windows and sliding glass doors showing a mirror reflection of the action. An almost constant background of effective incidental music going on behind much of the dialogue (Max Pappenheim) enhances the suspense but also evokes the comfortable feeling of watching something familiar on Sunday evening TV.
For much of the first act, Miss Marple (Susie Blake) sits on a central winged armchair, her bandaged sprained ankle raised, whilst snatches of action take place in front of her. The humorous repartee between her and Chief Inspector Craddock (Oliver Boot), as Miss Marple subtly takes over the questioning of suspects, is well done. Boot, despite a stereotypical moustache and much pacing, holds his own amid the laughter.
As Miss Marple takes to her feet with the aid of crutches, and then a walking stick, the plot moves closer to a denouement. We hear backstories about key players but an effort to provide some gravitas by writer Rachel Wagstaff by tying things together within a common theme of personal loss doesn’t really hit home.
This audience shows that the character of Miss Marple is well-loved and Susie Blake’s reliable and sympathetic portrayal of her steals the show. Who would have thought that this amiable old spinster’s first word on waking up from a dream at the start of the play would be “bugger”?
