★★★★

“an eye-popping, feel-good extravaganza”

Theatre Royal Stratford East leads its audience on a magical mystery tour with its vibrant retelling of the Pinocchio story, blessed with neon colours, funky beats – and a fairy to die for.

Sizzling with energy and dressed like an atompunk seaside arcade, this classic tale of the wooden puppet who wants to be a real boy has zip and a dazzling bubblegum aesthetic thanks to set and costume designer Stewart J Charlesworth, who deserves to take the applause alongside the admirable cast.

The story, under the direction of Omar F Okai, draws directly from Italian writer Carlo Collodi’s 1883 classic.

Pinocchio, a mischievous wooden puppet carved by the kind-hearted Geppetto, comes to life. He is impulsive and rebellious, leading him into a series of misadventures. He runs away, skipping school to attend a puppet show. He is soon swindled by the deceitful Sly Fox and Miss Cat, who convince him to gamble away his money.

He joins a group of troublemakers who take him to Playland where he is transformed into a donkey and sold to a circus. After a series of humiliations, Pinocchio is thrown into the sea and swallowed by a shark. Who Pinocchio meets inside the shark finally persuades the puppet to change his ways.

Playland, a chicken farm, a shark’s belly, a workshop, a dark circus – what a confection of opportunities for set design, lighting, choreography and fun.

Everything relies on the winning power and prowess of Pinocchio and Dylan Collymore delivers, with disco moves, soulful tones and a cheeky presence. The music, courtesy of Trish Cooke and Robert Hyman, calls on an eclectic range of global styles and puts everyone through their paces.

The cast is gleeful and charming. Special mention to crowd pleasers Nicole Louise Lewis as Krik Krak (“I say Krik, you say Krak”) and jolly jack of all trades Tok Morakinyo who turns up all over the place in different guises.

Saving the best till last though, cutting through the sugar-rush flim-flam is veteran Michael Bertenshaw as the Blue Rinse Fairy who has sharpened his vaudeville stylings and dry badinage into a formidable comic weapon. With his sardonic eye rolls and wry world weariness, his exasperation might go over the heads of the little ones, but he speaks directly to the grown-ups.

While the exuberant cast sweat buckets in elaborate street-smart dance routines, laconic Bertenshaw merely needs to deadpan to the stalls to have us all in hysterics.

Minor quibbles: the story is picaresque and episodic so it’s easy to lose track of progress; and the evil pair of Fox and Cat could indulge in more obvious crowd-riling villainy – giving everyone more opportunities to boo. Still, the dance numbers landed, the storytelling was upbeat, and everyone left the theatre cheerfully singing a refrain about believing in themselves. Job done.

What an eye-popping, feel-good extravaganza.

ALADDIN at the Hackney Empire

★★★★

“Clive Rowe is truly the grand dame of panto dames”

Stuff Shakespeare, Pantomime is probably my favourite theatrical tradition. There are not many other settings where you can have babies, grandparents, and long-suffering assorted other relatives entertained for a couple of hours by good old British drag.

And Clive Rowe knows how to entertain. His stewardship at the Hackney Empire continues this year with another barnstorming performance as Mother Twanky in Aladdin. We are transported to the land of Hack-ne-lah, for a riot of fun, anti-consumerism and disco dancing. Trust me, it works!

Do I need to explain the plot? Probably not. The main additions to the traditional tale here are the sneering, evil billionaire Mildew Funk played in gloriously writhing camp fashion by George Heyworth (better known as Bourgeois in the celebrated cabaret duo Bourgeois and Maurice), who unfortunately also happens to be Jazz’s (Isabella Mason) father. He is determined to marry her off to a fellow rich man, when her heart has already been captured by the pure and kind Aladdin (Fred Double). The biggest baddie is Abby-na-zaaar! spelt properly with three ‘As’, one ‘R’, and an exclamation mark (Natasha Lewis). She is determined to become the most powerful wizard in the world, and also the best trombonist. I did not realise my panto needed brass on stage, but turns out it really does, especially accompanying a reworked Meghan Trainor song.

Aside from the magic lamp, there’s also a magic ring (the spirit of which is played by a charismatic and ditsy Ruth Lynch), who’s provenance got slightly lost in the exposition of the opening scenes, but nonetheless is charming.

“Cleo Pettitt on costumes ramps up the camp and comedy with each one: the sparkling dirty martini glass dress is the literal cherry on top”

Rounding out the cast is Rishi Manuel as Wishy, who does a great line in slapstick comedy, and pulls the audience through the obligatory participation songs. Kat B is the coolest genie I’ve ever seen, in a plunge neck disco outfit, and towering platforms.

Rowe also directs, and has assisted Will Brenton in writing the script. Once the heavy lifting of character introductions is out the way, Rowe warms the audience up with the help of a laundry list of gags – literally. Pun after pun after visual joke came tumbling out of Widow Twanky like the assorted items out of her brilliant bag lady dress, embossed with Groucci. The outfits get more and more extraordinary – Cleo Pettitt on costumes ramps up the camp and comedy with each one: the sparkling dirty martini glass dress is the literal cherry on top.

The big dance numbers also show off the talented ensemble and heighten the energy even more, grabbing the attention of even the chatty two year old sitting next to me. Myles Brown’s choreography, using professionals, (members of the Hackney Empire’s young Artist Development Programme, and the Vestry School of Dance and Performing Arts) is both polished, but also has an inclusive, community feel.

Though Widow Twanky might have moaned about the special effects budget, I was impressed by the sheer amount of pyrotechnics on show, and especially the magical carpet ride. Steve Edis’ original song here was also a welcome respite from memories of Peter Andre singing that version.

The short second act feels like it’s also had a gin at the interval, with the jokes getting more risqué, though firmly on the side of family friendly: the children around me were confused as to why I was laughing so hard at a gag about the Ultra Low Emissions Zone. I also think they might have been bypassed by the bisexual lighting and Aphrodite statue in a certain evil lair which foreshadowed a lovely romantic tryst and twist.

Hackney Empire once again presents yet another magnificent panto and Clive Rowe is truly the grand dame of panto dames. Long may his reign continue.

PINOCCHIO at the Theatre Royal Stratford East

★★★★

“an eye-popping, feel-good extravaganza”

PINOCCHIO at the Theatre Royal Stratford East

Reviewed on 30th November 2024

by Giles Broadbent

Photography by Craig Fuller

Previously reviewed at this venue:

PINOCCHIO

PINOCCHIO

ALADDIN at the Hackney Empire

★★★★

“Clive Rowe is truly the grand dame of panto dames”

“Cleo Pettitt on costumes ramps up the camp and comedy with each one: the sparkling dirty martini glass dress is the literal cherry on top”

ALADDIN at the Hackney Empire

Reviewed on 30th November 2023

by Rosie Thomas

Photography by Steve Gregson

Other reviews by Rosie:

Aladdin

Aladdin