NAPOLEON: UN PETIT PANTOMIME at Jermyn Street Theatre

★★★★

“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.

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

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★★★★

“the perfect antidote to the August lull in London theatre”

Express G&S is a spoof of all the things we love about comic operas, murder mysteries and music hall, all mashed up together. It’s a good match for the real Victorian music hall that is Wilton’s in London’s East End. The show is a fun evening, gift wrapped by the Charles Court Opera to include three cheeky performers and a master of ceremonies who doubles as the energetic pianist. Express G&S is familiar territory for the Company, and they pull it off with their usual aplomb.

The show is exactly what it says it is—a medley of songs from Gilbert and Sullivan’s comic operas, sung in abridged versions, and produced at speed. Part of the fun is figuring out which operas Charles Court Opera have stolen their musical ideas from, because the lyrics have been changed to suit the murder mystery theme of Express G&S. So forget the plots of Mikado, Iolanthe, and Ruddigore, to name just a few. This story is about a strangely familiar French sounding detective named Philippe Pierrot, traveling on a train in England. When Bridget, the maid responsible for serving teas on the train, discovers that her doily cart has been vandalized, Pierrot is persuaded to take on the case of discovering who could have done such a dastardly deed. Bridget and Reggie, the conductor who loves her, are not above suspicion, either. If you’re already groaning at the outrageous puns and silly rhymes, fasten your seat belts. There’s lots more in store with these lyrical voleurs.

Matthew Kellett is on top form as the dapper Detective Pierrot, and your breath will be taken away by the versatility of the quick role changing Catrine Kirkman (Bridget and other roles) and Matthew Siveter (Reggie and other roles). It’s not just the costumes that get changed either. The variety of roles mean that Kirkman and Siveter have to switch their singing styles as well. They do all this brilliantly, and give Kellett’s magnificent voice (and terrible French—or is it Belgian?—accent) a real run for the money. Director and writer John Savournin keeps the action moving along, although the slenderness of the plot does mean that the show is more than usually dependent on the music to keep things interesting. Lyricist and musical director David Eaton is a real star—a worthy heir of W.S Gilbert in the silly rhymes department. He’s also a wonderfully lively accompanist to the singers. The set, designed by Jessie Huckin, is workmanlike, though a bit lost on Wilton’s sizable stage. Express G&S is an intimate show, set on a train, and Huckin’s set is perhaps better suited to a smaller venue.

Express G&S is the perfect antidote to the August lull in London theatre, when nearly everyone is either on holiday, or up in Edinburgh. Don’t let the deceptive calm of the Big Smoke depress your spirits, however. The Charles Court Opera is here to raise them, and you should hurry on down to Wilton’s while you can. If the show feels short at seventy five minutes, that’s just to whet your appetite for all the good things coming your way later in the year. And you should definitely keep a careful eye out for the annual Charles Court Opera’s panto in December, which never fails to please.

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:

NAPOLEON: UN PETIT PANTOMIME

NAPOLEON: UN PETIT PANTOMIME

EXPRESS G&S at Wilton’s Music Hall

★★★★

“the perfect antidote to the August lull in London theatre”

EXPRESS G&S at Wilton’s Music Hall

Reviewed on 15th August 2023

by Dominica Plummer

Photography by Bill Knight

Previously reviewed at this venue:

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Ex press G&S

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press G&S