Jack And The Beanstalk, Georgian Theatre Royal, Richmond

By Graeme Hetherington

Jack And The Beanstalk, Georgian Theatre Royal, THE intimate surroundings of this wonderful theatre help to create a magical experience and the high energy performances from the leading professional stars are equally matched by the young supporting cast.

The tiny stage was well commanded by Brenden Lovett as Fleshcreep - his appearance in a basque midway through the show was the highlight for many of the women in the audience.
Hannah Block provided a Fairy Tinkle My Bell who was very easy on the eye and Lydia Cotton, as Jack, was a wonderful foil for Princess Jill (Lauren Harrison) without resorting to smut.

Special mention has to go to Fiona Egan who seamlessly split her time between the Queen and a truly believable giant.

Lifting musical numbers from much loved films such as Grease and the Rocky Horror Pictue Show kept the older members of the audience entertained, while dipping in and out of Disney songs catered for the young ones.

The dancers from The Heritage School of Dance were fantastic, with their enthusiasm shining through their performance.

All in all it was a magical performance in a magical setting - what more could a child ask for in a pantomime?

 

With Debbie Saloman’s spirited Fairy Tinkle My Bell and James Lavender’s devilish Fleshcreep opening proceedings, this seasonal offering gets off to a bright start.

Andrew Stone displays his neat dancing agility and is in good voice as Jack, while Victoria Gavin as Jill shows her considerable singing capacity.

Hard-working popular local character George Critchley easily slots into the role of the zany Silly Billy, and provides some neat interaction with the younger members of the audience.
Tim Pope’s Dame Dolly Dimplebottom supplies suitably foolish support, with Terry Ashe making a positive contribution as the somewhat forlorn King.

Although enacted mainly in a traditional manner, the script effectively incorporates some topical local references with a modern flavour.

A well-chosen selection of popular songs to suit all age groups are smartly performed by different members of the cast, and dancers from the East Lancashire School of Dancing look lithe and accomplished in their various movements.

A hilarious sequence featuring the rendering of a corruption of the carol The Twelve Days of Christmas had the audience roaring with laughter at the tomfoolery on stage.

Perhaps not too polished a performance, but certainly good festive family fun with a winning approach.

The Stage

 

Georgian Theatre Royal, Richmond, Yorkshire

How often do we see a Fleshcreep who is just plain nasty, or perhaps too nasty? In this pantomime, Brenden Lovett’s Fleshcreep is a revelation. A softly spoken, relaxed, eye-winking, audience-teasing revelation. In his lair, his cloak comes off to show him in stockings and suspenders and he performs Time Warp, from the Rocky Horror Show. How about that for a surprise?

The Giant turns out to be a loveable vegetarian who is bullied by Fleshcreep. The Giant’s huge body - Fiona Egan is in there somewhere - is the best that this reviewer can remember seeing, moving exactly as he should.

Hannah Block’s Fairy creates a fan base from the moment she appears. Gavin Coles as Silly Billy is as daft as he should be and his frantic physical comedy is welcome in an age of static pantomime fools. George Critchley’s script crackles with newly-minted jokes and favourite oldies. His actors have joy in their hearts. The many dancers on this theatre’s narrow stage create lovely, fluid patterns and don’t look at all cramped.

This is a happy pantomime. The audience participation is constant and welcomed. Everyone is having a great time.