BEAUTY AND THE BEAST at the Watford Palace Theatre
★★★★
“a marvellous show, and a wonderful way to spend an evening!”
Watford’s fantastically festive and chaotically camp pantomime is a Christmas extravaganza!
The first thing to note, which I don’t tend to mention in reviews, but I think is noteworthy on this occasion, is that every single member of staff at Watford Palace Theatre is delightful. From the box office team welcoming me into the building, to the usher who walked me right to my seat, to the hard-working bar staff dealing with a busy interval with smiles on their faces. There was a lovely air of excitement throughout the theatre, and it really added to the pleasant festive atmosphere.
The story (Andrew Pollard) is a unique twist on the traditional tale as old as time. It is set at the Rose Rouge, the finest theatre in Paris, but an up and coming singer falls foul of a dastardly magician’s devilish plot, and only true love can save him!
The riotous script was everything you want from a pantomime. It was a perfect mix of groan-worthy, predictable panto jokes alongside some genuinely hilarious, unexpected moments, with a hefty dose of slapstick, toilet humour and double entendres that go straight over children’s heads, but had the adults roaring with laughter.
The hand painted set (designed by Cleo Pettitt) was impressive, and the lighting (Jamie Platt) gave it some extra razzle dazzle, which added to the spectacle. The lighting throughout was superb – great effects, clever mood lighting, and I always appreciate a good glitter ball!
The costumes (Watford Palace Theatre, Li-Lee Choo and Sarah Ninot) were fabulous, especially Dame Sarah Sew-n-Sew, whose outrageously over the top dresses were a highlight for me. And villain Deja Vu, who, in his sparkly purple number, looked like a mixture of Dick Dastardly and Julian Clary. The performance by Jonathan D Ellis certainly lived up to the camp costume! Energetically playing up to the booing and hissing and “oh no you don’ts” from the audience, Ellis’s performance was excellent from start to finish.
Dame Sarah Sew-n-Sew, played by Terence Frisch in his tenth year as the dame at Watford Palace, was very, very funny. His impeccable comic timing, knowing winks to the audience, and witty improvised moments demonstrated his natural comic ability, complimented by his ten year experience of damehood.
Beauty and the Beast’s only notable downside was the lack of big chorus numbers. The show was a tremendous spectacle, but the song choices let it down a little, especially as all the performers had great singing voices, so it would have been nice to hear them sing together more often. With a cast of only seven people, it was a little bit lacking in “wow” goosebump moments during the songs. There were group numbers at the start of the second act and the finale which were fantastic, though I do think the performers’ beautiful voices could have been put to more use as a group. That said, the band (made up of Ellie Verkerk, Robin Johnson and Red Fielder-Van Kleeff) were absolutely spot on – from transition music at scene changes, to well-timed drum beats at particularly cheesy jokes. And there were some really lovely songs, a gorgeous duet between Belle (Amiyah Goodall) and Beast (Ben Boskovic) was particularly memorable. They both have stunning voices that compliment each other well.
Overall, this was a marvellous show, and a wonderful way to spend an evening!
“Kwaku Mills gives a commendable spirited performance holding the audience in the palm of his hand”
A new production of Arinzé Kene’s hard-hitting yet delicate 2017 play, Good Dog, seems as relevant as ever. Although set in the Noughties and inspired by the 2011 London riots, the themes of frustration and social injustice still ring true. Told in an elongated monologue form, through the eyes of a fast growing teenage boy, a multi-cultural community is seen at breaking point. He witnesses the struggles with crime, poverty, addictions and infidelity that cripples his neighbours. With raging energy and surprising chuckle-out-loud observational humour, this powerful piece of storytelling shows what happens when all hope is lost and life is full of disappointment.
Kwaku Mills gives a commendable spirited performance holding the audience in the palm of his hand single-handedly for over two hours. He moves with dexterity through the different stages of the boy’s life. Transitioning from a naive and opportunistic young teen, to a hardened and disenchanted adult, who finds out the hard way that no good comes from being good in this world.
A large, black, wooden, slatted cube dominates the stage (set design Amelia Jane Hankin), representing such places as the balcony of the boy’s high rise home, the corner shop or train platform that makes up the bleak microcosm. Mills plays and interacts with the cube as if it is another character, becoming an integral partner in the story.
Helen Skiera’s sound design helps to flesh out the performance. The voices of the community the boy observes drips out through the speakers, painting a multi-cultural picture of a down-trodden forgotten pocket of the capital. It was unfortunate that some of this dialogue was missed due to the sound being far too quiet.
Arinzé Kene’s penetrating and quick-witted colloquial writing, feels authentic and tangible. It’s storytelling of the everyday man, for the everyday man. At times it can feel dense and borderline self-indulgent, yet this is a tale that holds an honest mirror up to the world, proving to be a vital piece of theatre. Telling a truth about London life that needs to be witnessed more on stage.
Reviewed by Phoebe Cole
Photography by Wasi Daniju
Good Dog
Watford Palace Theatre until 2nd February then touring UK
