Jane McGowan enjoys an evening in the company of very bright Buttons...
OUR VERDICT
It’s hard to enter into the panto spirit when you have a filthy cold. It’s even harder when this is the second Cinderella in as many days and said cold has not abated.
However, thanks to a stellar performance from comic and magician Pete Firman (and a good dose of Beechams Cold & Flu remedy), Cinderella at the New Wimbledon Theatre really lifted my spirits.
It could just be me or it could be the general malaise that is hanging over the country at the moment, but this year’s panto audiences don’t seem to be as responsive as those in the past or it may be that previously the shows have been so over the top with effects and shenanigans that anything less than a 3D journey into space; a snowstorm and copious pyrotechnics is a letdown.
And so to Wimbledon where Melody Thornton takes the leading role; Samantha Womack is Baroness Demonica Hardup; Lesley Garrett is the Fairy Godmother and Pete Firman is Buttons. This all made for a slightly curious mix as Samantha Womack seemed to be just reading through her lines really quickly in a very posh schoolgirl voice - more world-weary weary dominatrix than murderous step mum.
CRAIG SUGDEN
Craig Sugden Photography
Garrett had been given all sorts of ‘comedy’ opera puns to shoehorn into every line – not one of which got a laugh and I don’t think many people knew who Thornton was, her appearance garnering a ripple from the expectant audience. Hence we were then given at least six or seven unsubtle mentions of the Pussycat Dolls (I still checked the programme at the interval to make sure) to fill us in.
The production romps along in the grasp of Firman, who seems to have grown in confidence from his first-class appearance as Wishee Washee last year (he is also credited with additional writing alongside Alan McHigh). It really is his show, and he works really hard to build a rapport with the audience and the other cast members adding and encouraging some amusing adlibs.
Unlike the Fairfield Halls’ version of the fairy tale classic, Wimbledon had embraced the innuendo making countless risqué references to “nuts”, “snowballs” etc but all on the right side of family-friendly.
The end ‘kids on stage’ section is another highlight as Firman excels in his interaction with the children, who are asked to sing a slightly naughty, tongue-twisting song, with much hilarity and appreciation from the audience.
While Thornton is given little in the show to inspire as Cinderella, Prince Charming has even less, except a number of over-enthusiastic dance routines (I couldn’t quite work out if these were being played for laughs, they were so end-of-the-pier).
However, it was a shame we didn’t see more of sidekick Dandini (as played by upcoming musical theatre performer Will Jennings), whose comic timing and deadpan delivery was a definite highlight.
Leon Craig and Bobby Delaney were suitably gruff and gruesome Ugly Sisters, stomping and shouting for all they were worth.
The pantomime is produced by Qdos, whose shows dominate the festive theatre scene from Woking and Bromley to the London Palladium, and to some extent, if you have seen one, you have seen them all.
Programmes are already flogging next year’s event with Shane Richie starring as Dick Whittington.
Big names and special effects are all well and good, but judging by the audience reaction what the panto-watching public needs now is a bit of heart, warmth and a large measure of a festive spirit.
Until 5 January 2020 (book here)
