Mama Goose
They say Stratford do it differently, tear up the rule book even. Well, filli mou I’m here to tell you I’ve now seen it with my own eyes, a pantomime in an East London stylee that will have you properly goosed in the best possible way. Mama Goose (Stratford East Theatre) sets the scene from the start with a pun filled monologue describing the experience of an African mother living in the city. Initially the audience seemed unsure, timid even, but when they got the hang of our lovely Mama’s (Duane Gooden) humour and she was joined by the high energy cast we were off and running in search of those golden eggs.
Written (and directed) by Vikki Stone and Tonderai Munyevu the script is very well written, full of fart jokes (who doesn’t love a trump…no not him), titivating TikTok references, lots of ‘wicked’ stuff and not so subtle innuendos, all of which landed well with this bubbly audience. The more parochial comedy pokes fun at the rampant Westfield consumerism and the audience were in hysterics with how the Elon Musk Katy Perry space pursuit was weaved into the plot although the lady next to me didn’t know who Perry was. Ensuring the audience could never rest on their laurels and relax the cast happily called us out if we didn’t provide the expected melodramatic response. Those shameless East Enders.
Robert Hyman’s music and songs (lyrics by him and Stone) are original and smart, help tell the story and add yet more dollops of humour to an already funky and frothy show. May Fox-Scott plays The Boujee Fierce Fairy, that’s BFF to you and me, and she has a voice that can move mountains, such was its power and wonderment that at times we almost forgot that she is the villain in this tale. So we cheered her talent and hissed and booed too, not an easy bit of multi tasking for us amateurs.
And what is a panto without outrageous eye-catching costumes and a vibrant set design, brilliant conceptions and execution by Stewart J. Charlesworth with Mama’s magnificent rocket-clad hat and matching sequinned blue space suit a joy to behold – imagine Elon and Katy in those. And as for BFF’s fluorescent talon nails they even outdid Flo Jo (American athlete of long ago).
Those who are new to panto usually watch it thinking it’s just dollops of silliness and general tomfoolery and you can do and get away with anything. In fact it takes lots and lots of rehearsal and timing is everything, something this cast do with incredible energy despite the many fab dance numbers choreographed by Kloé Dean coupled with demanding physical comedy and quick costumes changes. It is quite a feat and provides great fun for everyone. Yep, they do it differently in Stratford. The West End may have star names but the East End struts and sparkles inimitably so don’t miss Mama and her magical goose.
Mama Goose – www.stratfordeast.com
Photo credit: Mark Senior
End (National Theatre)
Life begins, life ends. Relationships begin, they too end, some sooner than planned. Fifty something Alfie (Clive Owens) is dying. He has terminal cancer and decided not to have any further treatment. Partner Julie (Saskia Reeves), a writer of crime novels is thinking of writing a book about him. While he sorts out the playlist for his funeral she decides now is the time to reveal she knew about the affair he had with another woman. Life is never straightforward and dying, in many ways, is even more complicated. Playwright David Eldridge has a written a trilogy of plays, Beginning and Middle being the first two, about relationships (different couples each time) and End (National Theatre) is the closing chapter in which Alfie and Julie reflect on what has been. In a recent newspaper interview a learned professor was asked what life had taught him and he simply replied, “we all muddle through.” Alfie and Julie’s ‘muddle’ has been one of music, laughter and heartache, which sounds like a template for millions of others.
However, when you have the Sword of Damocles hanging over your head, suddenly you are propelled into thoughts of the afterlife. This is not a glum play though and just as when many people laugh when informed of a death (strange but true – probably thankful it’s not them) Eldridge’s writing is a nice blend of nostalgia, affection and fun. Listening to Clive reminded me of watching friends and family during their last days and the express wish not to lose their dignity in those final days, and the horrible thought of becoming a “burden.” Clive puts it like this, “I don’t want to be a bloated husk with a colostomy bag.” A joke shrouded in fear.
There are moments when you wonder if Julie will get a word in as his loquacity knows no limits propelled as he is by Damocles. But when he moves from dignity to the funeral and his ‘Desert Island’ list he wants played, it triggers emotion and passion in Julie who cannot hold back dancing as though it were her last dance ending up on top of Clive in a carnal entanglement. Moments like this are few and far between and the production at times feels like is a cosy chat while clasping a hot mug of coffee with both hands. These are two very fine actors but the material is safe and expectations are higher. In recent times there has been an growing trend with producers to go for ticket sellers – famous actors – rather than focusing on quality content. This country is awash with writing and acting talent. Maybe the beginning and middle have all the excitement but unfortunately hard as it tries this denouement flickers briefly into life and then passes on gently and lovingly to its end.
End – www.nationaltheatre.org.uk
Photo credit: Marc Brenner
Jack and the Beanstalk (Kings Head)
We saw the Adults Only version; hilarious and very naughty, though I must admit to not getting one or two of the jokes. And I should warn you that, although the superb cast play throughout the season, there is a different Guest Star every night; we were graced with the gorgeous Kate Butch, as the magic harp.
But I’ll start at the beginning; I had not previously visited the new theatre which is next door to the original pub but underground – don’t worry, it’s very accessible, with a good-sized lift for those who can’t do stairs. The theatre is small but beautifully formed; the proscenium arch concentrates the action and features a shimmering backdrop with colour-changing stars. The cast make full use of the aisles, too.
Written and directed by Andrew Pollard, the choreography by Emily Golding-Ellis is amazing. Jack, (Elliott Baker-Costello), lives with his mother, Dame Trott – the vivacious Victoria Scone and their cow, Pat, played with poignancy by Pavandeer Sagoo, hilarious in a cow onesie with teats slung from his waist. Dame Trott is opening an ice cream parlour but Pat refuses to be milked and no milk means no ice cream so no money to pay the Giant’s henchman, Nightshade – Joseph Lukehurst, channelling Johnny Depp’s Captain Sparrow. He’s a bullying braggart of a baddie.
Priscille Grace plays Jill, who runs the fruiterers supplying the Ice Cream Parlour. and becomes Jack’s love interest. All the cast are superb but Grace is exceptional, possibly because of her sincerity when everyone else is hamming it up. Fairy Fullobeans, played by fabulous Mia Ito Smith is fetching and an enthusiastic cheerleader, rousing the characters and audience to really get involved with all the action.
Eve Oakley’s costumes are really well thought out, but special mention must be made of Lauren Hobbs’s wigs. These two obviously planned together. Dame Trott’s costumes and wigs more than complemented each other; ice cream cones a la Madonna and also as ‘horns’, for example. As far as the songs are concerned, Neil Diamond’s ‘Sweet Cow o’ Mine’ is an instance of clever punning. The finale had everyone on their feet, with actions to match the chorus, but I don’t want to give it away. Just go prepared to be thoroughly entertained.
Jack and the Beanstalk – www.kingsheadtheatre.com
Ballet Black
Now in its 24th year Cassa Pancho’s Ballet Black delivered a brilliant and beautifully contrasting double bill titled Shadows, in making their debut at Sadlers Wells. The company, formed of artists of Black and Asian heritage aim to seamlessly blend ballet with contemporary dance, and they opened the evening with A Shadow Work, choreographed by Chanel DaSilva. Forty minutes of an ensemble that moved expressively and fluidly as one across the stage in a technique of the same name as the piece, and something she experienced during therapy. Led by Taraja Hudson dressed in white, she was trailed by her “shadows” in black, manifesting her inner turmoil unleashed when she opens the box containing her own psychological shadows. The lighting design was genius, as the dancers moved in and out of the shadows, and paired with the pulsing synthesised score, I found the whole piece mesmerising.
After the interval, the atmosphere shifted completely for the dark, but comic, My Sister, The Serial Killer. Led by Helga Paris Morales as Ayoola, the sister, and Isabela Coracy as Korede, it is the story of two sisters. Korede is a nurse who has to clean up after her sister who has an inconvenient tendency of stabbing her boyfriends to death. Ultimately Korede is forced to test her sisterly loyalty when Ayoola starts to date a doctor she appears to be attracted to herself. The ensemble play both the victims and party goers and form the river into which the sisters launch one of the victims of Ayoola’s murderous penchant. Again, the excellent choreography carries the story with effortless wit. And flavour is added to the original score with tracks by Toots & the Maytals and Fela Kuti, resulting in an imaginative adaption of the booker prize shortlisted novel of the same name by Oyinkan Braithwaite. I’m off to buy the book…
But before I do I should say that they absolutely nail that blend of ballet and contemporary and by introducing a new canon of ballet repertoire will, if this dynamic performance is anything to go by, attract a new and younger audience, thereby inspiring the next generation of Black and Asian dancers.
Ballet Black – www.sadlerswells.com
Photo credit: ASH
Ballet Shoes (National Theatre)
Noel Streatfeild’s novel Ballet Shoes (National Theatre), written for the stage by Kendall Feaver, is the story of the three adopted Fossil sisters, Pauline (Nina Cassells), Petrova (Sienna Arif-Knights) and Posy (Scarlett Monahan). They are discovered by Great-Uncle-Matthew, known as “Gum” (Justin Salinger), a nutty professor palaeontologist who sends them to London to be with his practical great niece Sylvia (Anoushka Lewis) and her childhood nanny Nana (Lesley Nicol). But in a world that wasn’t built for women with big ambitions, can they forge a future, keep their family together, and even learn a dance or two along the way? They are the bones of what turns out to be a wonderful theatrical experience.
As we walk into the theatre we enter a space that is alive with members of the cast in tutus and other paraphernalia doing warms ups, both for themselves and us, which immediately gets you in the mood for fun and excitement. The first sight of the set also adds to the atmosphere, a crumbling house full of dinosaur fossils and bones which is strangely beautiful and inviting with its bluey teal colour scheme. Gum is integral to how it all plays out and Salinger is excellent and engaging from the start. The scenes where he heads off on his adventures, an expedition of many years, and writing back to Sylvia is brilliantly conceived and executed with clever staging (Frankie Bradshaw), lighting (Paule Constable) and video design (Ash J Woodward). There are so many highlights throughout and the production is peppered with sparkling set pieces.
The modern space age production of A Midsummer Nights Dream is an absolute hoot with the costumes (Samuel Eyer) and music (Asaf Zohar) hilarious. At another point Petrova is suspended on wires above the stage and us which my companion described as Peter Panish. I quickly corrected her and gave all the credit to Wendy! And then there was a full sequence of Alice in Wonderland featuring Pauline and Petrova which again was magical with sets and costumes that cleverly captured the essence of Alice with a sisterly twist. And then we had the character of Jai (Raj Bajaj) who plays a hysterical role in Pauline’s movie debut as Charles in Exile. The highlights are as bountiful as the bones and fossils and the whole cast are superb. Integral to all of that is the likability of the sisters who are well-rounded individuals and so well portrayed, even when showing their flaws as when Pauline bullies her understudy. It is also an emotional and moving production with Katy Rudd’s direction pulling it all together with style and panache (The Ocean at the End of the Lanewhich she also directed was similarly exceptional). The audience loved it and the throughly deserved standing ovation sent tremors of joy right through to my bones.
Ballet Shoes – www.nationaltheatre.org.uk
