PIRATES OF THE PANTO

PIRATES OF THE PANTO

Little Waltham Drama Group at the Memorial Hall

17.01.17

A winning blend of originality and tradition for this year's Little Waltham village panto. Not so many local jokes, but still that warm, confident interplay with the supportive, up-for-it audience.
Festive favourite Richard Butler brought his trademark anarchy to the role of Squire Flinders, heading an excellent comic team which included Ken Little's dim Bobby and Gordon MacSween's lovely Scottish Dame, a wicked glint in his eye, sporting a wonderful wardrobe of fancy frocks.
Good supporting work from a double helping of duos: feeble seamen Poop and Deck [Hugh Godfrey and Julie Cole] and Skull and Bones [Kathy Jiggins and Verity Southwell], sidekicks to Ash Cobden's dashing villain Captain Spongebag Roundpants. Plus cameos from Jenni Money as Harry the Harbour Master, Brian Corrie as Honest [“no tic”] John and Martin Final as Bosun Rollicks [Rowlocks?] with his knobbly cosh.
Love interest from principal boy Zac Sparrow – a swashbuckling, thigh-slapping Tash Wootton – and Rebekah Walker's demure Moll Flinders. Karen Allen's Queen and Marea Irving's Priestess led the denizens of Discomania Island.
This being Little Waltham, there was a generous supply of disco routines from the hard-working chorus, impressively choreographed by Sue Butler and Karen Allen. A lovely undersea scene change, too, with bubbles and giant jellyfish. MD Karen Wray treated us to an eclectic play list: Barbados, Montego Bay, Otis Redding, Nelly Furtado, Michael Buble, Avenue Q, not to mention Prokofiev for the evil pirate.
And of course we had the walkabout with the sweetie baskets, a custard pie, and a nice hairy-bottomed ghost routine.
Liz Jones's backdrops included an impressive perspective for the Slack Jenny's deck;  the stage-side murals this year featured Jolly Roger, gull and parrot.

Pirates of the Panto was directed by Jenny Broadway, who last worked with Karen Wray on the 2012 Abba Ali Baba.

THE WICKED WITCHES OF OZ

THE WICKED WITCHES OF OZ

Little Waltham Drama Group

in the Memorial Hall

17.01.16

How to keep the village panto fresh and entertaining for everyone ?
This is one good idea: a new script with an ingenious twist on a familiar tale, and a keen young director to bring it to life.
“I don't think we're in Waltham any more ...” Dorothy [Karen Allen] and her unlikely farm hands, not to mention Toto the pantomime dog, are transported to the Emerald City in search of brain, heart and wardrobe.
A lot of fun on the way: Axe Factor, Witch Factor and a sprinkling of local jokes. Music too: Showbiz, Les Mis, The Wiz. Blues Brothers, Fats Domino and much more, though not the ring-fenced Rainbow, represented only by some cheeky snatches of pastiche.
Excellent panto performances from Jenny Broadway as Aunt Em and the first witch, Momby, Viv Abrey cackling away as the green and warty Edna, Mike Lee as a bearded Wizard and Ken Little as a frisky Toto, though he would have benefited from another seasoned ad-libber to spark off. Nice character work from Kate Farrell as Munchy from Down Under, Ryan Chapman as the front-loader Tin Man, Ash Cobden as Aslan, Alex Lee as a likeable Scarecrow and Tash Wootten as side-kick Drip. Colourful chorus numbers from the Maids with neon hair, the Munchkins and the Crows in their boaters and giant specs, led by the brooding presence of Martin Final's King Crow.
Children of all ages in Aunt Em's garden had a great time joining in the mercifully short community singing, and enjoyed the fruity chews from the sweetie baskets in the traditional Waltham walk-about.
The Wicked Witches of Oz, penned by Peter Nuttall, is directed by Stuart Goodchild assisted by Jo Lee, with choreography by Kim Travell and musical direction by Chrissy Gould.

photographs by Peter Travell

A MUSICAL EVENING IN TWO HALVES

A MUSICAL EVENING IN TWO HALVES

Little Waltham Drama Group at the Memorial Hall

16.07.15

Gems from the Richard Rodgers songbook this summer at Little Waltham, looking at the great man's collobaration with wordsmiths Hart and Hammerstein.

Thirty or more classics, “loosely linked” by June Franzen's narration, factoids more or less closely tied to the numbers, more or less fascinating. Rex Harrison and Noel Coward ahead of Brynner in the queue for King of Siam ! But only the nerdiest fans would care how many grandchildren the great man had …

The choral pieces were the best – laid-back in the Mike Sammes style – with nice arrangements of Blue Moon, Honey Bun [no drag dame, alas] and I Wish I Were In Love Again.

Among the duets, an engaging Getting to Know You; solos included a lovely Mr Snow.

June Newman's production was dressed in elegant monochrome for the first half, glorious technicolor for the Oklahoma-led second.

Not everyone is Ethel Merman, and sometimes the singers were swamped by the [excellent] piano and drums accompaniment. If microphones are not a possibility, then maybe cabaret-style incursions into the audience, with follow-spot, would do the trick.

Musical evenings like this should be treasured. A chance for a Pimms or two, an opportunity to hear local vocalists on the village stage, and vital funds raised for future productions: this year's panto will be The Wicked Witches of Oz.

THE CEMETERY CLUB

THE CEMETERY CLUB

Little Waltham Drama Group at the Memorial Hall

24.04.15

September Song on the soundtrack, and for Little Waltham's trademark proscenium pictures, a vaguely impressionist pair of cemetery gates in the fall [Liz Willsher].

Mags Simmonds' enjoyable production of this favourite five-hander has heart-warming performances from the three widows, united in convivial mourning for their menfolk.

What are “the boys” doing now, they wonder as they sip their tea. Cue for a heavenly spin-off there, maybe ?

Ida, the home body in whose bijou apartment they meet, is played with emotional subtlety and throwaway comic timing by Linda Burrow. She's joined by Vicky Weavers' glamorous Lucille, in her thrift-shop mink with matching muff, and Helen Langley's Doris, still missing Abe after four years. They all have a good feel for the wise-cracking, world-weary Jewish comedy, and the pace is lively despite some interventions from prompt corner.

Witty, warm and often touchingly insightful, the show has some wonderful moments, from the broadly comic Cha Cha Cha to the subtly poignant – poor, confused Ida as she turns out the lights.

The cast is completed by Brian Corrie as Katz, the butcher who delivers, and Sally Lever as the flamboyant, flirtatious Mildred – looking as if she could give Lucille a run for her money …

BEAUTY AND THE BEAST

BEAUTY AND THE BEAST

Little Waltham Drama at the Memorial Hall

21.01.15

Fresh faces and a new creative team for this year's show from a group with a strong tradition in village pantomime.

Directors Hannah Walker and Louise Louth wisely retain some of the most cherished features – the proscenium paintings and the confectionery walkabout, this time to a piano rag from the excellent orchestra of Dave Perry and Trevor Lee.

They cope impressively with a bright mixture of music: Steps, Wham and One Direction as well as Oliver and Aspects of Love. The chorus, stylishly dressed, get some great numbers [choreographed by Kim Travell], including Power of Love and a nice arrangement of Best Song Ever.

The successful mix of youth and experience is exemplified in the great comedy duo of [Tweedle]Dick and Dom [Ryan Chapman and Ken Little] – shame they don't have a funnier script to work with; it's noticeable that the best laughs come from the ad-libs. Brian Corrie gets his share, too, this year he's attempting a French accent …

Rebekah Walker makes a superb Rose – her “Yesterday” a musical highlight – nicely contrasted, especially in their dance duet, with her giant of a beast, Ash Cobden, transformed to a dashing Prince, but keeping enough hair for a fashionable hipster beard.

Rather too much of the story, when it surfaces, is entrusted to the good vs evil pairing of Vicky Weavers [fairy dust and smartphone in her reticule] and crabby Julie Cole. Other ingredients include a proper pantomime cow, a bungling inventor, a hilarious sing-along, a gorilla ghost routine and a formidable Dame in the shape of Viv Abrey's Nanny Ivy.

Like many of us, she's going through an out-of-money experience, reduced to Tesco for a birthday teddy bear for young Rose. But she couldn't get better value entertainment than this friendly village panto, the latest in a long line stretching back to the first Cinderella in the early Seventies.

production photograph: Peter Travell

ROBIN HOOD

ROBIN HOOD

Little Waltham Drama Group at the Memorial Hall

21.01.14

Men in tights, archery, weird sisters and Richard Lionheart – all for our delight in this colourful panto, Little Waltham's 42^nd, following their proud tradition of village entertainment.

The large cast includes a healthy sprinkling of young talent, and one newcomer, Ryan Chapman as Prince John.

Verity Southwell makes an imposing thigh-slapper as Robin, Martin Final a benignly evil Sheriff, and there's a nice double act from Glyn Jones and Bill Murphy as Friar Tuck and his camp friend Little John.

Darrel Drake handles his audience confidently as [Nothing] Much the Miller's Son, Hannah Walker [last year's Alice] is an amusingly feisty Marian, and Mike Lee gives us a superb Nurse Madonna Kebab – a terrific horned headdress, great gags and a winning way with the songs, including the priceless “I'm Wishing” with Walker.

On opening night there's a band of merry men [and women] sporting feathered red Nottingham hats near the front of the audience. They're here to heckle Ken Little's Twiddle [another double act, with Karen Wray's Twoddle]. And he does not disappoint, pointing the innuendo, ad-libbing and keeping us all in stitches. Another comedy classic from Brian Corrie as Sergei of Lisbon, building relentlessly to the naughty Act One punchline.

Ian Hornby's patchy script needs a linking narrative [sung with panache by Vicky Weavers' Alana A Dale]; Little Waltham give it a gutsy, lively performance, with excellent musical accompaniment from Dave Perry at the upright, [Billy Mayerl ousted by the Drifters this year for the sweetie run] and lovely backdrops by Liz Jones [the proscenium paintings this year striking silhouettes of Robin and the castle].

PRACTICE TO DECEIVE

PRACTICE TO DECEIVE

Little Waltham Drama Group

20.04.13

Even the humblest village eleven would baulk at soft balls and coloured plastic bails, a shorter pitch and smaller boundary. No professional player would dream of doing it. So why should the village amdrams struggle with third-rate potboilers like Practice to Deceive, the latest from the pen of panto veteran Norman Robbins.

Little Waltham give it their best shot - a lovely Yorkshire farmhouse, with the watercolour Moors outside the stable door.

It's a thriller. Women have been "lost" on Chellingford Moor; another body has just been found. Who could have dunnit ? Millie, brandishing her shotgun in the opening seconds, or slow-witted farmhand Gavin, flasher and mad axe-man ? Or one of the strangers in these parts: entomologist turned bag lady Rhoda, softly-spoken Adrian ["it's you, the psychopath!"] Brookes, with the cheap Ikea meat tenderizer, or even nosy writer Diana Wishart, snooping round for exclusive dirt on the murders.

The red herrings are served up with lashings of Yorkshire tea; the helpful title quotation from Scott no clue to the "tangled web" Norman weaves with "billion to one coincidences".

"Do you realise how ridiculous this sounds?" Brookes wonders. "It's a good job we're not in Agatha Christie Land!" [though one missing woman, like Mrs C., is run to earth in a hotel in Harrogate]. Not showing up for an AmDram Ayckbourn sets alarm bells ringing; Boris the offstage hound is a more believable character than several onstage.

But plenty of acting on show in Megs Simmonds' production – Gordon McSween creepily convincing as Brookes, Gerald Staines as a loyal hand, June Franzen chilling as the no-nonsense Mrs McBride, Martin Final as the perceptive detective, and the irrepressible Richard Butler, with his Yorkie cross accent.

The two researchers were nicely done by Susan Butler and Karen Allen, with Viv Abrey as Dr Bradstock.

ALICE IN WONDERLAND

ALICE IN WONDERLAND

Little Waltham Drama Group

at the Memorial Hall

15.01.13

Alice the Panto was a refreshing change from the traditional canon, and though the script rarely sparkled, the entertainment value was high, thanks to some great performances and many delightfully unforeseen twists.

The invisible swords, the Karma Violets, the satnav. And the walkabout [with sweeties for all] was done this year by three wild haggis, to the strains of There's A Moose Loose …

A strong, experienced chorus provided many of these delights, not least the playing card army, proudly led by Richard Butler's camp commandant. Richard also brought the house down with his stoned Caterpillar.

Hannah Walker was a confident Alice, with Ken Little as Dame Milly, her mum, in a splendid playing card hat. Martin Final brought gravitas to the baddie, and Heather France worked brilliantly with Debra Hensman as the Tweedly Twins. From a huge cast, space only to mention Mike Lee's Mad Hatter, Viv Abrey's formidable Queen, trembling with fury, and Alex Lee's outstanding turn as Wally the jester, with cap and bells and an unending stream of groanworthy jokes – "plenty of hoke" indeed.

Good design work, too, with the goldmine backdrop especially impressive, lovely costumes in rich hues, and a marvellous mix of music [Darrel Drake at the keyboard] from the old Disney version to the almost operatic theme from the Tim Burton movie.

This unusual panto was adapted and directed by Jenny Broadway, with Chrissy Gould as Musical Director.

production photograph by Holly Anne France

SMALLS TALK

SMALLS TALK

Little Waltham Drama Group at the Memorial Hall

20.07.12

Lingerie party plans are big business – KnixKnaxKnox in Stoke, Aphrodyte in Mold, and in Little Waltham last week, Lady Lace: "Rain, snow, sleet or storm, Lady Lace will keep you warm" – these fictional, and very flimsy, scanties would struggle in our climate.

This short comedy – often done as a one-acter – provided some super opportunities for girl talk, seized enthusiastically by the cast, especially Karen Allan as the man-hungry Carole, Kim Travell as the dowdy doormat who, to no-one's surprise, is transformed by Dawn's undies and a major makeover, and Vicky Weavers as the heartless Jessica. Julie Cole was the rep; like the others she loosened up as the Liebfraumilch flowed, and the sherry, and the pea pod wine ...

The token man – butt of much sexist banter – was Ken Little's Rex, with excellent comic timing.

The suburban snobbery puts this piece firmly into Abigail's Party territory – just the Demis Roussos and the olives missing – and, although it's not a period piece, it did feel strangely dated, with its references to Dennis Healey and Ex-Lax.

But the party-plan scene is ripe for sending up, and this production, directed by Kathy Jiggins and Viv Abrey, provided much uncomplicated fun for the loyal audience, and for the cast, too, no doubt.

ALI BABA and the songs of ABBA

ALI BABA and the songs of ABBA

Little Waltham Drama Group

at the Memorial Hall

15.01.12

Mamma Mia ! It's a panto packed with Abba hits, re-written to suit the plot of Ali Baba and the four tie thieves.

It's a gem of an idea – not always easy to judge how well it was implemented, since the lyrics were often swamped by the excellent band. What we needed was a few of those 70s hand-held microphones …

The book, by Simon Rayner Davis, was full of fun with money [fittingly] and hoary old chestnuts which kept drummer Colin Turner busy on the boom boom cues. Key to a good panto performer is confidence in the material and complicity with the audience, and it was pleasing to note that some of the most successful here were the youngsters: Hannah Walker as slave girl Morgiana, and Alex Lee as her Abba Baba ["I do, I do"]. In a large cast, space only to mention Reggie Mental Tie [Heather France], Linda Burrows as Rough Ralph, Susan Butler as [One-Eye] Maid Earlier – she had the best pseudonym, too: Duke Aaron Attention. And of course panto recidivist Richard Butler as Mustapha Tinkle.

In a series of splendid frocks, Mike Lee made a really good Rum Baba, with his gravelly Tommy Cooper tones and a good sense of timing [an immaculate pause at the end of the ghost routine]. All the costumes were excellent; the designs too – palm tree proscenium pieces and a lovely picture-book interior .

This unusual Ali Baba was directed by Jenny Broadway and Karen Wray.

ENCHANTED APRIL

Little Waltham Drama Group

30.04.11

Elizabeth von Armin's Twenties novel about the restorative properties of the Italian sunshine has been filmed twice, and last year re-emerged as a musical.

This charming 2003 Broadway version by Matthew Barber got what may well be its UK première on the tiny Little Waltham stage last week.

Director Mags Simmonds gave it a convincing sheen of authenticity; the first act is all anticipation, in the second we escape to the wisteria and sunshine – a gorgeous backdrop by Liz Willsher - in the entertaining company of a quartet of ladies unable to resist a month in Heaven.

Susan Butler, as Lottie, the instigator of the invitations, shared her enthusiasm with the audience as well as with her contrasting counterpart, the “disappointed Madonna” poignantly played by Victoria Rossiter. Their travelling companions were brilliantly characterized by Kim Travell as the glamorous, flapperish Lady Bramble, and June Franzen as the formidable Mrs Graves, making the most of every line, every laugh in a memorable performance.

The husbands – Gordon MacSween's humourless lawyer and Brian Corrie's salacious novelist – make the journey to San Salvatore too, to be thawed by the warmth of the Riviera. The maid Costanza was a hilarious Linda Burrow; Ken Little played the doting “Tonio” whose attentions help the “grey sisters” to reveal their hidden depths.

The themes of loss, regret, revelation and reconciliation are lightly touched on, and the whole fairytale confection was a delightful divertissement for the last night of April.

CINDERELLA

Little Waltham Drama Group at the Memorial Hall

18.01.11

As the Group embarks on its 40^th year, they've revisited the first panto they ever did, the classic Cinderella.

Many things have changed – keyboards, lasers – but three members of that original show were involved again this time, and of course the plot and many of the jokes are untouched by progress.

Susan Butler's fun-packed production succeeded not because of the music – though we did appropriately reference Mr Cinders and La Cage Aux Folles – or because of the book. Many of the best laughs came from the busload of Buttons fans in the cheap seats at the back. And from the spontaneous script embroidery which ensued. Inveterate ad-libber Richard Butler met his match this year in Gordon MacSween, [more than a touch of Dame Maggie about that one] a spicy Masala to his dodgy Tikka – tandoori puns were a feature. Another welcome newcomer was Karen Allen, who played a sweet Cinderella, coping coolly with the improvisation around her. Her thigh-slapping Prince, in modest fishnet, was Salley Abrey, Karen Wray was the mentor Fairy Godmother, and Jenny Broadway was a dragon of a Baroness. More classic panto turns from stalwarts Gill Haysham as a daffy apprentice Fairy, Brian Corrie as a doddery Dandini, Ken Little as a brilliantly bashful Buttons, and Glyn Jones as Baron Hardup.

Nothing impoverished about the production though, with the costumes especially stunning. If the transformation scene had to happen out of sight in the car park, we did at least have before and after pumpkins in pride of place either side of the proscenium.

Musical Director was Chrissy Gould – the show's greatest hits were the Uglies' Duet Nobody Does It Like Me, and an impressive piece of  “follow that!”, the timeless Moon River.

photograph: Peter Travell

FRANKENSTEIN THE PANTO

Little Waltham Drama

19.01.10

Who on earth thought the Modern Prometheus would make a good panto ? At least two versions have been playing this season; this one, by prolific panto peddler David Swan, is showing its age – it's a while since Blockbusters was declared too tedious even for daytime television.

A panto too far, perhaps, coinciding with sweeping cast changes at Little Waltham. Fortunately, many of the traditional elements survived the revolution: the scenic side-pieces – two Bavarian castles, one with spooky bats' eyes -, the walkabout with sweeties, Colin the drummer. There were even one or two local jokes. Those old standbys the striptease and the shadow operation were both revived, though neither was as effective as they might have been.

Margaret Surrey's production boasted a bright opener, with good character work from the Pumpernickels, Viv Abbey and Brian Corrie. Three other performers got close to the glory days: Zoe Pearson as Agnes, the knicker nicker, one of a lovely lively group of St Trinians gels, Mags Simmonds as the wonderfully named Granula [Dracula's Gran, geddit?], and John Richardson as the colourful Crackpot, whose delivery made even the lamest lines amusing. If that energy could be harnessed by his infernal machine …

Heather France was the principal boy, Prince Ludwig – presumably before he went crazy and built all those castles – and Gareth Blanks, love-child of Roy Hudd and Amy Winehouse, was the Dame who tried to keep the schoolgirls in line.