Tag Archives: Rachel Stanley

BEAUTY AND THE BEAST

★★★★

New Theatre Royal

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BEAUTY AND THE BEAST

New Theatre Royal

★★★★

“this show will leave you smiling, laughing and thoroughly entertained”

The New Theatre Royal Portsmouth’s Beauty and the Beast is an enchanting pantomime that captures the magic of this cherished Christmas tradition. Created in association with Jordan Productions and directed by Hannah Boyce, it expertly blends humour, heartfelt moments and dazzling stagecraft, offering an unforgettable experience for the whole family.

Chris Jordan’s witty script offers a refreshing twist on the classic tale. Instead of rushing to the cursed Beast, the story takes time to explore the vain, arrogant Prince, setting the stage for a more meaningful transformation. Bored with admiring his own reflection, the Prince ventures to a nearby village to find a bride as beautiful as himself. Confident his charm will suffice, he’s stunned when Beauty shows no interest. Meanwhile, two others vie for his attention: the fabulous Dame Dotty, his housekeeper, who dreams of marrying him until she falls for a man in the front row (cue endless winks and double entendres) and the wicked enchantress Malevolent, who curses him into his beastly form when spurned.

Malevolent, with her wicked schemes, drives the conflict at the heart of the story. She’s perfectly counterbalanced by Fairy Formidable, whose comically heavy French accent and rhyming couplet battles keep the plot on track amidst the panto’s many diversions. Supporting the story are Dame Dotty’s hapless son, Potty Pierre and Beauty’s father, Jean Jacques, whose blunder at the Beast’s castle sets Beauty on her fateful journey.

The cast shines throughout. Breanna Bradshaw, in her stage debut, exudes charm and warmth as Beauty, anchoring the emotional heart of the story. Lewes Roberts skilfully portrays the Beast’s journey, transforming from a preening Prince to a shambling creature and finally a dashing hero. Chris Aukett’s Dame Dotty is a comedic powerhouse, with impeccable timing and audience interaction. Becky Vere’s Fairy Formidable and Rachel Stanley’s Malevolent create a captivating dynamic, with Malevolent’s campy villainy countered by Fairy Formidable’s bubbly optimism. Brendan Hooper as Jean Jacques and Christian James as Potty Pierre round out the cast with slapstick charm and warm-hearted humour.

Dotty and Potty frequently steal the show with their comedic timing and cleverly crafted routines. Highlights include a plate-smashing sketch, a tongue-twisting number set to I Am the Very Model of a Modern Major-General and the ever-popular ghost routine, which had the audience gleefully shouting “It’s behind you!” and singing along to Ghostbusters.

The French setting inspires playful musical nods: Dotty makes her grand entrance with I Love Paris, the Prince belts out a reworked Lady Marmalade and Dotty serenades her front-row amour with La Vie en Rose. Jean Jacques’s heartfelt rendition of Charles Aznavour’s She is hilariously upstaged by Dotty and Potty’s antics, while Malevolent mocks France’s military history before launching into Waterloo. This leads to a show-stopping ABBA medley, with Dotty and Potty donning flared lycra half-and-half costumes to represent both Agnetha and Anni-Frid.

Shelley Claridge’s costumes are a visual feast, especially Dame Dotty’s outlandish ensembles, including a superhero costume, a breakfast table and a festive Christmas pudding. Beauty’s gorgeous yellow-gold ballgown, reminiscent of Belle’s iconic dress from the Disney film, is another highlight. The finale, with the cast in dazzling white and blue sparkles reminiscent of the Pompey FC strip, adds a local flourish to the magical conclusion.

Visually, the production is stunning. Andy Newell’s vibrant backdrops and David Coull’s sparkling lighting design transport the audience to an enchanted kingdom, while inventive stagecraft – including fireworks and wirework – enhances the spectacle. The ballroom dance between Beauty and the Beast, floating gracefully above the stage, is a breathtaking end of act one highlight that perfectly encapsulates the show’s romance.

Adam Haigh’s choreography and Patrick Stockbridge’s musical direction are equally impressive. High-energy dance numbers and catchy songs keep the audience engaged, while the clever mix of classic tunes and cheeky panto parodies ensures something for everyone.

The New Theatre Royal Portsmouth’s Beauty and the Beast is a shining example of pantomime at its best. With no celebrity names, the production relies on the immense talent of its cast, who give their all with skill and enthusiasm. Whether you’re a lifelong panto fan or a first-time visitor, this show will leave you smiling, laughing and thoroughly entertained.



BEAUTY AND THE BEAST

New Theatre Royal

Reviewed on 15th December 2024

by Ellen Cheshire

Photography by Martin at Origin8 Design

 

 

 


 

 

 

 

 

More reviews by Ellen:

REDLANDS | ★★★★ | CHICHESTER FESTIVAL THEATRE | September 2024
BARISTA THE MUSICAL | ★★★ | CAPITOL THEATRE | September 2024
THE BELT | ★★★★★ | THE CORONET THEATRE | September 2024
THE WEYARD SISTERS | ★★ | RIVERSIDE STUDIOS | August 2024

BEAUTY AND THE BEAST

BEAUTY AND THE BEAST

BEAUTY AND THE BEAST

 

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Goodbye Norma Jeane
★★

Above the Stag

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Goodbye Norma Jeane

Goodbye Norma Jeane

Above the Stag

Reviewed – 18th March 2019

★★

 

“The story is set in the golden age of Hollywood … Unfortunately, the set design tells another story”

 

We already know so much about Marilyn Monroe (born Norma Jeane Mortenson) – the multiple books, films, documentaries, interviews with people who knew her, interviews with people who saw her from afar once – that it’s hard to imagine how a new play could bring to light anything unknown. So it’s quite a relief to discover that ‘Goodbye Norma Jeane’ isn’t really about her at all.

Liam Burke’s script tells the tale of unsung hero Jack Cole (Tim English), Hollywood choreographer and, apparently, the real talent behind the stars. The story is set in the golden age of Hollywood – satin gowns dripping with diamonds and fur, debauched pool parties, decadence and glamour for days. Unfortunately, the set design (Stewart J Charlesworth) tells another story – a lot of grey furniture, and a lot of empty bottles. Presumably the latter are supposed to insinuate that a good time has been had, but the effect is quite the opposite. 

For a man who claims to have given dozens of stars their sexiest and most iconic moves, English portrays a very understated character. There is a lot of bitterness in the script – “I made Gwen like I made the rest of them”- but English misses it completely, favouring head-shaking disappointment and unconvincing humility, perhaps in an attempt to make Cole more likeable. We’re also left straining to hear his very patchy American accent at times as he struggles to make himself heard.

Rachel Stanley, playing all of Cole’s ‘muses’, is an entirely different animal. She’s a triple threat – singing, dancing and acting – and whilst a lot of her performance is quite hammy – introducing every new character with a shimmy in a spot-lit doorway for example – her delivery is entertaining and, at times, quite funny.

Admittedly, I imagine it would be quite a challenge to anyone to bring the glamour and tragedy of Monroe-esque Hollywood to a small fringe theatre, but it’s hard to see where Robert McWhir’s direction even attempted it. Everyone loves a story of a forgotten hero, and Jack Cole’s contributions to cinema and dance certainly make him a contender for such a tale, but unfortunately ‘Goodbye Norma Jeane’ does little to reinstate his forgotten Hollywood legacy.

 

Reviewed by Miriam Sallon

Photography by PBG Studios

 


Goodbye Norma Jeane

Above the Stag until 7th April

 

Previously reviewed at this venue:
Title Of Show | ★★★★ | February 2019
Romance Romance | ★★★★ | March 2019

 

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