Tag Archives: Charles Court Opera

Buttons: A Cinderella Story
★★★★

King’s Head Theatre

Buttons: A Cinderella Story

King’s Head Theatre

Reviewed – 27th November 2018

★★★★

“a highly entertaining, titillating beast of a show”

 

It’s beginning to look a lot like Christmas…. Especially now that Panto season has come upon us. That’s right boys and girls, the time for inneundos, “he’s behind you!”, and more glitter than you can shake a bauble at, has come around again. For the 12th year in a row, Charles Court Opera (CCO) are mixing up the Panto festivities with their imaginative retelling of a classic fairytale. Buttons: A Cinderella Story is full of the camp charm you would expect, but flogging saucier double entendres for its ‘adults only’ performances that admittedly don’t always hit the mark. Although some parts fall rather flat, this is overruled by the good … which is really very good. With inventive lyrics to songs and twists to the well-known story, CCO create a refreshing new take on the often stale Panto form.

Cinderella (Eleanor Sanderson-Nash) does not take centre stage in this telling. Gone is the glass slipper. Gone are the evil stepmother and stepsisters. Instead, we follow Buttons (Matthew Kellett), Cinderella’s teddy bear, who wishes he could be a real boy so that he could tell Cinderella how much he loves her. Poof! In a cloud of smoke Buttons’ Fairy Godfather grants him his wish. But, making Cinderella fall in love with him proves a challenging task. She has her heart set on marrying a prince. By luck the smug yet suave Prince Charming (Jennie Jacobs) has ridden into town with his manservant Dandini (Emily Cairns) but there’s an unnerving, darker side to his Royal Highness yet to be discovered. All comes to a head at the Prince’s ball, with romantic dilemmas, shenanigans galore, and a whodunnit mystery.

David Eaton does an excellent job in reworking the lyrics of existing pop songs to much comic effect. The reimagined use of Bohemian Rhapsody is inevitable with the recent release of the film with the same name. The new version of Thriller is a particular highlight, cleverly reinterpreting not just the lyrics but also the iconic dance moves to fit the storyline. Matthew Kellett as Buttons wins the prize for tugging on the audiences heart strings with his rendition of Radiohead’s Creep. Overall, the singing in the show is of an exceptional standard, with harmonies to die for.

Being an adults only performance, with no kids to do all the shouting back and participation, there was some reluctance from the audience to take part (some people almost forcibly dragged onto the stage). However, in spite of this, the audience did warm into spurting the usual comeback lines.

As much as an outrageous retelling was promised, the final product is actually rather tame. There are some surprising twists from the usual Cinderella story, however, it could have been made darker and stranger in other places. Nevertheless, this is still a highly entertaining, titillating beast of a show. It certainly beats some of the typical Panto fare that can be rather nauseating. Raucous festive fun to get you in the Christmas spirit.

 

Reviewed by  Phoebe Cole

Photography by Bill Knight

 

kings head theatre

Buttons: A Cinderella Story

King’s Head Theatre until 5th January

 

Last ten shows reviewed at this venue:
Riot Act | ★★★★★ | July 2018
The Cluedo Club Killings | ★★★ | July 2018
And Tell Sad Stories of the Deaths of Queens | ★★★★ | August 2018
Hamilton (Lewis) | ★★★ | September 2018
Canoe | ★★★½ | October 2018
La Traviata | ★★★★ | October 2018
No Leaves on my Precious Self | ★★ | October 2018
Beauty and the Beast: A Musical Parody | ★★★★★ | November 2018
Brexit | ★★★★★ | November 2018
Momma Golda | ★★★ | November 2018

 

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The Mikado – 5 Stars

Mikado

The Mikado

King’s Head Theatre

Reviewed – 27th March 2018

★★★★★

“This production has no weak points, and provides frequent moments of genuine hilarity”

 

The Mikado was first performed in 1885, when the British Empire was at its height, and Japan was seen as an utterly alien but intriguing nation. Japanese objects and artefacts were all the rage, and Gilbert and Sullivan tapped into this Japanophilia to satirise English governmental bureaucracy – creating a sort of 19th century musical version of Yes Minister.

In this current production, by the Charles Court Opera at The King’s Head, Glenn Miller’s jaunty hit, Chattanooga Choo Choo, plays as we take our seats, and places us firmly in the 1940s. Together with the gentle amber glow of the stage, carpeted and comfortably furnished with a Chesterfield sofa and other accoutrements of a gentleman’s club of the period, the tone is set for this tremendous production, which sparkles with joy and warmth. The choice of setting also sensitively and cleverly deals with the potential pitfalls of cultural appropriation, with Rachel Szmukler’s beautiful painted Japanese-style wall panels providing the perfect visual reference point in an otherwise British colonial environment. The cast – with the notable exception of Philip Lee’s splendid déclassé outsider Ko-Ko – speak and sing in heightened RP, which pokes affectionate fun at this most ludicrous of stories, whilst at the same time celebrating its enduring appeal.

It is clear from the first number that we are in good hands; the three opening singers (Matthew Palmer, Philip Lee and Matthew Kellett) in fine voice, relish the crisp fun of W. S. Gilbert’s peerless lyrics, and Damian Czarnecki’s choreography is tight and snappy to match. David Eaton’s faultless accompaniment, from an upright piano in the corner of the stage, sets the pace, and never lacks energy, even in the few moments when the operetta’s frenzied clip gives way to a more romantic or contemplative interlude. John Savournin directs with surety and panache, and David Eaton’s musical direction, plus superlative work from the show’s young cast, ensure that not a word or note is lost. This surely is the way to see Gilbert and Sullivan, in order to savour every fabulous rhyme and cherish every melody in this frenetically brilliant score.

This production has no weak points, and provides frequent moments of genuine hilarity, not least in the terrific contemporary updates in the perennial favourite ‘I’ve got a Little List’. In the midst of such a rollicking good time it can often be difficult to carry the audience into more poignant territory, but this is ably done throughout, and special mention must go here to the wonderfully affecting rendition of Katisha’s solo ‘Alone and yet alive’ by Matthew Siveter. Alys Roberts and Jack Roberts are perfectly cast as the young lovers Yum-Yum and Nanki-Poo; Alys Roberts’ exquisite soprano ranging effortlessly from effervescence to sweet romance, and blending beautifully with Jack Roberts’ crystal clear tenor. Matthew Palmer, Matthew Kellett and Philip Lee are terrific throughout, both vocally and comically, and Jessica Temple and Corinne Cowling fizz with girlish glee as Yum-Yum’s companions. Whether you are are new to The Mikado or already a fan, this production simply cannot be bettered. It deserves every accolade that will undoubtedly come its way.

 

Reviewed by Rebecca Crankshaw

Photography by Bill Knight

 


The Mikado

King’s Head Theatre until 21st April

 

 

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