BUTTONS

BUTTONS - Another Cinderella Story
Charles Court Opera in association with The Rosemary Branch

at The Rosemary Branch Theatre, London N1

10.12.13

for The Public Reviews

This is the 7^th boutique Panto CCO have brought to the Rosemary Branch, and they couldn't have wished for a more enthusiastic audience of “boys and girls”. Crammed into the intimacy of the upper room, they cheered, booed, heckled, sang along and generally gave as good as they got.

In fact, looking around, there's only one child amongst us. But the genius of this not-so-very-alternative panto is that it appeals as much to the wide-eyed innocent as to the seen-it-all cynic.

Very much John Savournin's show, of course. He's directed his own script. Choreographed the production numbers. And plays a lovely Dame, too, butch but cheeky, with an easy rapport with his adoring audience.

“Buttons” re-tells the nation's favourite panto tale with Buttons at its centre. In this version he's a cuddly Teddy Bear, hopelessly in love with Cinders, dreaming of being a real boy. He's given his big chance, not by Geppetto, but by the Fairy Godfather.

There are all sorts of other twists, too, all within the spirit of pantomime. “Into the Woods” springs unbidden to mind, and the opening is very Sondheimy – in Act Two A Little Night Music provides a catchy tune for A Party At The Palace, and Sweeney Todd is there too …

Musically, it's very much a thieving magpie show. The delicate shadowplay before curtain-up is backed by Richard Strauss's Zarathustra [arranged for keyboard, percussion and voices] and Bernstein, Verdi, Thriller, Queen and Carousel are amongst many others pressed into service. Rota for the Godfather, Gunning for Poirot, Sullivan for the patter song.

A strong cast of seven includes many favourites, as well as newcomer Joanna Marie Skillett, excellent as Cinders. Matthew Kellett is Buttons/Buttocks, and Rosie Strobel has a great time strutting and posing as the wicked Prince Charming “Call me Gary...”, the evil mastermind behind the Magic Menace. Nichola Jolley is her suave Dandini, though alas they never get to swap clothes ...

Amy J Payne plays PC Pumpkin, besotted with Betty, and veteran luminary of the lyric stage Simon Masterson-Smith is the Fairy Godfather – think Brando in suspenders and a tutu.

The amiable anarchy of it all is offset by the superb singing – parody and pastiche galore, all delivered, unplugged, by some outstanding voices.

All the traditional panto joys are observed – old jokes, sweet-chucking, birthdays and song sheet. There's even a bake-off [and food fight], in which Juicy James's ambitious bear is rejected in favour of an Angel. Poor James, all the way from “West London”, is the object of Betty Swollocks's amorous attentions. But if you sit so close to the front that your knees brush the tabs …

this piece first appeared on The Public Reviews

SENSE AND SENSIBILITY

SENSE AND SENSIBILITY

Rosemary Branch Theatre

at the Civic, Chelmsford

19.04.12

Helen Tennison's production is admirably stylish, with ecru drapes and muted beige and off-white frocks, and striking use of picture frames to focus our attention [designer Ellan Parry].

This two-hour version – first done for the much-missed SNAP – by Roger Parsley and Andy Graham focuses on the love lives of the Dashwood girls, losing much of the context and many of the characters along the way.

We're left with a largely frivolous rom-com, though fortunately the director's skill, and some fine performances, keep us entertained from funeral to weddings.

James Burton worked hard in the double role of boring Brandon and awkward Edward, and was endearing and amusing in both. The cad Willoughby, somewhat underpowered here, was Jason Eddy.

The monstrous Aunt Jennings – a gift of a role – was skilfully done by Lainey Shaw, with just the right blend of grotesque and generosity. The surviving Miss Steele, was nicely portrayed by Francesca Wilding, using her bonnet to excellent effect.

Emma Fenney's Elinor engaged our sympathy, but Bobbi O'Callaghan was too brash as her flighty sister, too loud [as her aunt might point out, it is not done to be heard in the street …].

But much pleasure was to be had from the linen line, the original music by Benedict Davies, and masterly stage effects like Marianne's fevered dream, her embracing the elements and falling into Willoughby's arms, and Edward's delicious discomfiture on finding his beloved en tête-à-tête with his betrothed.