★★★★

“This is a campy and silly way to spend an evening, but feels festive and fun”

This is a rollicking rollercoaster of a panto. Written by Will Brenton and directed by Clive Rowe (who also stars) it remains true to the classic traditions while feeling decidedly fresh and joyously fun. There are many old favourites, with the audience prepped to shout out ‘he’s behind you’ and ‘wakey-wakey’ at every opportunity, but it never feels tired or obvious (well, no more than a panto should).

The story of Dick Whittington is a pantomime staple, though it is a little convoluted. For those who don’t know, Dick heads for London, is gifted a magic talking cat by the Fairy Bowbells and arrives to a city not paved with gold, but beset by rats. He gets a job, falls in love and his cat chases away the rats. Then he and the gang head off to sea, in search of goods to sell and riches to be made. When they arrive back in London, Dick becomes Mayor and they all live happily ever after.

The plot is not really important. The show is about the musical numbers, dancing and groan-worthy puns. Kandaka Moore, as Dick, and Aryana Ramkhalawon as Alice, valiantly perform their more serious plot line. They showcase their beautiful vocals and carry the show’s message, which is the importance of striving for your dreams. It’s nice to have a woman playing Dick, and makes their storyline feel more modern, as it matters less that Alice is a slightly undeveloped love interest. Their romance is sweet and provides an emotional note to offset the silliness.

Graham MacDuff is fabulous as the deliciously evil rat king, dressed as a steampunk with a tail. He rocks out to remixes of Backstreet Boys and Chappell Roan, just some of the exquisitely playful music from Steven Edis. It’s delightfully silly.

Kat B is excellent as Tommy the Cat, especially during his solo, where black light and neon puppets are used to produce the most incredible effect of floating under the sea. It is a sudden and startlingly beautiful piece of direction.

However, the unquestionable star is Clive Rowe as Sarah the Cook. He commands the stage with cheekiness and flair, toeing the line perfectly between naughty and family friendly. Everyone in the audience, regardless of age, is eating out of his hand. He’s particularly joyous with Hackney panto staple Tony Timberlake, where they have a chance to play off each other and improv a little. Rowe’s musical numbers are rich and boppy, his puns awful but wonderful and his stage presence is unparalleled.

He wouldn’t be the star he is, however, without costume designer Cleo Pettitt. Each costume change is more outlandish and higher concept than the last – some favourites include a cash register, a pepper grinder and an entire cruise ship.

The supporting cast all ooze with panto giddiness, especially in dance numbers by choreographer Shay Barclay. Jemima Dawes and Alfie Simmons are particularly fun as cartoonish rat villains. Particular ensemble standouts are Olivia Kate Holding’s crystal-clear vocals, showcased in a short solo, and Fraser Stewart who gives every dance number 120% energy. Also, the Hackney Empire Young Ensemble who play the rat chorus and villagers are charming and adorable.

This is a campy and silly way to spend an evening, but feels festive and fun. It’s not stuck in the past and is a great night out for the whole family.

SONGS OF THE WAYFARER

Lilian Baylis Studio

★★★★

“we are being invited to a new kind of theatrical experience”

Claire Cunningham is a disabled artist, who performs on crutches. Predominantly known for her dance and choreography, in this affecting examination of journeys, she also draws upon her experience as a classical singer.

We begin in the lit studio, with beanbags and chairs on the stage, welcoming audience members to immerse themselves in the performance. A rumpled sheet bisects the floor, feeding into a thin AV screen, which projects surtitles and looped film. In the corner a mountain has been built with crutches, all intersecting like a molecular model or a climbing frame.

As the audience file in, Cunningham moves amongst the crowd, chatting amiably and encouraging everyone to get comfy. This sets the tone of the show – we are being invited to a new kind of theatrical experience, one which has accessibility woven into the fabric of the piece.

Cunningham welcomes us to the space and prepares us by demonstrating the extremes of light and darkness, silence and noise, making sure we know what to expect. There will be no sudden surprises.

It’s rare to feel so connected to a performer. It can also be rare to feel so relaxed and comfortable as an audience member. Cunningham’s warmth and acceptance is infectious.

As the show begins, we watch Cunningham blend physical theatre with snatches of spoken word poetry and the classical song cycle ‘Lieder eines fahrenden Gesellen’ (‘Songs of a Wayfarer’) by Gustav Mahler. Parts of this are mesmerising, her voice transcendent and movement captivating.

This is an ambling, exploratory show. It takes the theme of journeys and considers it through many lenses. There are performance breaks, ebbs and lulls which are both stylistic and physically necessary for Cunningham.

There are many different elements blending together. The projected film sees Cunningham’s feet and crutches navigating different terrain, as well as shots of waterfalls and running water. The spoken word element is recorded as voiceover, overlaying the performance with lyrical Scots. Choice phrases from the Mahler lyrics are projected on the floor, reminding us to slow down and to take our time.

The messaging of the show echoes within its form. It is meandering and soothing.

This won’t be a show for everyone, certainly the pacing may be too slow for some. There are patches where the energy drops a little, or where a moment lingers too long. Some of the meaning was a little murky, and there were elements that were not immediately clear.

However, as an exploratory piece of art it is undoubtedly beautiful. Cunningham’s voice is skin-tinglingly lovely and her physicality and innovative choreography are jaw dropping.

Tag Archives: Auriol Reddaway

DICK WHITTINGTON AND HIS CAT

★★★★

Hackney Empire

DICK WHITTINGTON AND HIS CAT

Hackney Empire

★★★★

“This is a campy and silly way to spend an evening, but feels festive and fun”

DICK WHITTINGTON AND HIS CAT at Hackney Empire

Reviewed on 5th December 2024

by Auriol Reddaway

Photography by Mark Senior

Previously reviewed at this venue:

ALADDIN | ★★★★ | November 2023

DICK WHITTINGTON AND HIS CAT

DICK WHITTINGTON AND HIS CAT

Click here to see our Recommended Shows page

SONGS OF THE WAYFARER

★★★★

Lilian Baylis Studio

SONGS OF THE WAYFARER

Lilian Baylis Studio

★★★★

“we are being invited to a new kind of theatrical experience”