Tag Archives: Michael Gattrell

Mother Goose

★★★★

Cambridge Arts Theatre

MOTHER GOOSE at the Cambridge Arts Theatre

★★★★

“this well-produced, entertaining and colourful show is perfect for anyone of any age to start engaging in live theatre”

Cambridge’s favourite dame (Matt Crosby) returns to the annual pantomime, directed by Michael Gattrell, for festive fun in an outlandish display of costumes with bad jokes, and adlibs. This year, as Gerty Goose, the Dame’s good-nature is tested with impossible-to-refuse temptations that ultimately lead to a decision that wealth and beauty do not bring happiness.

A revolving glitterball above the auditorium and flashing disco lights during the Overture set the scene (Lighting Designer Mike Robertson). Beautifully painted show cloths representing scenes of Cambridge (Set Designer Ian Westbrook) bring a familiarity to the story. Let’s not say ‘provincial’ because this production is of West End standard.

Two rivals in the battle of good over evil – Fairy Virtue (Charlotte Wakefield) and Demon Vanity (Pippa Duffy) – face off in rhyming couplets. This is all a bit static and serious and a missed opportunity for greater cringe-worthy rhyming, but Ms Wakefield raises the roof with her two solo numbers. Ms Duffy is quite a soft villain. Only minimal thunder rolls and lightening cracks at her entrances but this is no bad thing.

Alicia Belgarde as Jill Goose, the innocent girl-next-door and potential love interest, is a delight and Gemma Sutton, as principal boy Jack Purchase, beautifully spoken. Ms Sutton is just right in her thigh-slapping role, acing her solo song when it comes. Audiences will fall in love with this wonderful couple.

“Absolute highlight of the show is the ensemble”

Performance of the night – as chosen by the children brought on stage during the performance – is that of Steven Roberts as Sammy Goose. His energy, clowning and movement are all excellent, keeping the momentum between scenes. As an audience member, I found shouting “Hello, Sammy” on each entrance just fine, but the need for a regular “Sammy-Hug” is a bit icky. A running gag about a lost dog provides some good punning. Jokes about Cambridge go down particularly well. I’m not overly impressed by the repetition of business and product names which seem rather close to product placement.

Absolute highlight of the show is the ensemble (Dance Captain Sophie Karaolis). Their colourful and eye-catching costumes (Costume Designer Sue Simmerling), swirling petticoats, wide smiles and perfect moves (Choreographer Kevan Allen) are sheer joy. Life’s a Happy Song, their song and dance. Yes, it is.

The plot is pretty thin even by panto standards (Writer Al Lockhart-Morley) and the progress into the final scene isn’t really explained but it hardly matters. Some mention of the cost of living crisis is used as an early plot device but is quickly forgotten. A few topical and political jokes fall rather flat. The traditional messy slapstick scene is not as slick as it yet may become but it is funny enough and the youngsters love it. There’s no smut.

The producer states in his welcoming speech that pantomime is the “recruiting sergeant of the theatre” and with an audience of thousands to welcome through the doors this year, this well-produced, entertaining and colourful show is perfect for anyone of any age to start engaging in live theatre.


MOTHER GOOSE at the Cambridge Arts Theatre

Reviewed on 5th December 2023

by Phillip Money

Photography by Richard Hubert Smith

 


 

Previously reviewed at this venue:

Faith Healer | ★★★ | October 2023
A Voyage Around My Father | ★★★ | October 2023
Frankenstein | ★★★★ | October 2023
The Shawshank Redemption | ★★★ | March 2023
The Homecoming | ★★★★★ | April 2022
Animal Farm | ★★★★ | February 2022
Aladdin | ★★★★ | December 2021
The Good Life | ★★ | November 2021

Mother Goose

Mother Goose

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Aladdin

Aladdin

★★★★

Cambridge Arts Theatre

Aladdin

Aladdin

Cambridge Arts Theatre

Reviewed – 7th December 2021

★★★★

 

“a super night’s entertainment to be enjoyed by all”

 

The Producer before the start of this show asks the audience to ‘go ballastic’ and the packed house duly obliges, knowing just when the right times are to boo and cheer, and gives the show a worthy ovation at the end of the evening.

And I am not surprised, for this is a wonderful family show, directed by Michael Gattrell, and performed by a very strong cast. The singing is powerful, the dancing is energetic. There isn’t a great deal of plot or tension, but this is panto! The show programme offers just a ten-sentence plot synopsis but there is so much more going on here and for those expecting a show within the tradition of Christmas pantomime, this production ticks all the boxes.

Matt Crosby as Widow Twankey sets the standard for the show. Batting his over-large eye lashes in a rendition of “Hanky-Panky” (it rhymes with Twankey!), he sings in confident gravelly bass tones, and we know we are going to be in safe hands.

Aladdin (Carl Au) is a wide-eyed dreamer with a Scouse accent. Both Au and Isaac Stanmore as Wishy-Washy, in a delightfully over-the-top performance, show cheeky charm and play well together. A messy laundry slapstick scene involving Twankey and Wishy-Washy is a highlight of the evening for many.

Rolan Bell as Abanazar devilishly milks his inner villain, declaiming rhyming couplets in velvety tones. Flashes and smoke bombs welcome his every entry.

Princess Poppy (Megan-Hollie Robertson) is the necessary love interest but she and Aladdin need to work a little more on their spark if we are to believe in their secret love.

The all-important Genie is played by Jak Allen-Anderson as a very tall, acrobatic game show host whilst Aiesha Pease is The Spirit of the Ring who helps move along the plot and enjoys some powerful soul numbers.

All the principals get their own moment in the spotlight in this show and all sing brilliantly. Au excels in his ballad as he flies on the magic carpet to rescue the Princess. There is some nice stage craft here too though Aladdin needs to relax more into it. The most surprising turn of the evening is Abanazar’s rock inspired solo “I Want it All” but the standout song of the show, amongst several contenders, is Poppy’s poignant solo as she looks to find the confidence to start living her life, beautifully performed by Robertson.

The stage comes alive in each of the full ensemble numbers. With music from a live four-piece pit band (Musical Director Dean McDermott) and singing reinforced by a six-strong ensemble led by the ever-smiling Dance Captain Hettie Pearson, the dance choreography by Kevan Allen is effective and performed with high energy throughout.

Writer Al Lockhart-Morley provides an engaging script with strong and funny repartee. There is a small amount of innuendo for the older ones in the audience to knowingly chuckle at, but this show isn’t smutty. And there are no politics either. Otherwise, with just a few references to lockdown, there is an endless flow of the corniest cracker jokes, puns and amusing word play. Gently mocking references to local Cambridge amenities draw appreciative laughs.

This production is a super night’s entertainment to be enjoyed by all. Princess Poppy says at one point, “it is incredible, but it isn’t true” and that could apply to this whole idea of pantomime. But this is the season for it, and that is just fine. Oh yes, it is.

Reviewed by Phillip Money

Photography by Richard Hubert Smith

 


Aladdin

Cambridge Arts Theatre

 

Previously reviewed at this venue:
Absurd Person Singular | ★★★ | September 2021
Copenhagen | ★★★★ | July 2021
Dial M For Murder | ★★★ | October 2021
Tell me on a Sunday | ★★★ | September 2021
The Good Life | ★★ | December 2021

 

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