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In 1956 Merton
Park’s cultural scene was rejuvenated when a group of New Elizabethans
formed themselves into the Parish Players and gave their first performance
of Sleeping Beauty. Far from consigning the local residents to a hundred
year nap, the sons and daughters of those original players are still
entrancing their audience every January by taking us into that magical place
called pantomime, where fairy story mirrors the virtues and frailties of
human nature through theatrical conventions, song, dance and humour.
In their Golden Jubilee year it was fitting for Parish Players to ask a past
prodigy and loyal member, Jane Maisey, to write and direct a pantomime for
the 21st century. Jane has served her apprenticeship well, from
back stage and chorus to the memorable starring role of Sally Bowles in
Cabaret. She understands the limitations of the Church Hall and its stage,
she knows her cast and her audience. But the winning ingredient she brought
to 2006 Pantomime, Robin Hood, was her knowledge of song and dance. This was
a polished show that delighted us in vision, spectacle and sound.
The excellent choice of music, particularly the tuneful and witty duets,
took the story forward. The songs were well suited to the range of voices
and were sung with ease and confidence, accompanied by a band that ensured
all the lyrics were heard. It was interesting to note there were no solos.
For this fiftieth performance PP were fortunate in having a cast of so many
experienced players and singers, with particularly strong musical
contributions from the men, and two fine leads in Louise Williams and Chris
Bassett.
This well-known tale was told through a witty, grown up script. It
introduced stray characters from other legends who played havoc with the
action while other people criticised the narrator for losing the plot. Was
this a post-modern pantomime or simply Monty Python? I did wonder if these
complications would appeal to the matinee audience, but with many whispered
explanations both adults and children alike responded enthusiastically to
the jokes and humour. (This Saturday performance raised more than £900 for
the NSPCC).
Annie Denton’s choreography was a triumph in matching a large cast to a
small stage. The deceptively simple dance movements by a disciplined
ensemble working in unison gave us cheerful villagers, manly men, comic
baddies and, providing the show’s special X-factor: sophisticated showgirls.
This was a very good-looking show. As a setting, Sherwood Forest does not
lend itself to Golden Jubilee extravaganza and glitz, but Chris Abbott’s
design opened with richly painted trees inhabited by charming woodland
creatures contrasting with Maid Marion’s’ vivid pink teenage boudoir. Anita
Simpson’s costumes, as always, added a real professional edge to the
performance. They not only enhanced the wit of script and characters but
gave a sharp emphasis to the dance numbers. It is said that if you notice
the lighting or the make-up then something is wrong, and there was nothing
wrong here. It is easy to think of lights as a matter of switches, or
make-up as plenty more of the same but both need skill and planning for them
to work as well as they did in this show.
And so the scene is set for the actors. Louise Williams’ Maid Marion was
utterly charming, an airhead par excellence who could switch from
infatuation to a sulky pout in the same second. Every little girl in the
audience wanted to be her. By contrast Chrissy Watson’s Maid Maud was a
fiery protector of her young charge, despairing of her choice of men with no
prospects. Two scenes stood out “I know him so well” an interchange of
wistfulness and caustic commentary, and their mime of girly togetherness
during “Uptown Girl”. The characterisation of both of these talented actors
and their partnership on stage were totally convincing.
Chris Bassett made a fine swashbuckling figure earnestly trying to instil
some serious mission into his rabble of merry men. This was a motley crew of
assorted characters, each one giving rousing and humorous performances.
While Sally Hopkins and Sue Edwards, as Merry Men, attempted to bring some
elegance to their new uniform, Will Scarlet (Geoff Start) delighted us with
his wardrobe and delivery of lines. He was Robin’s PR, a Max Clifford with a
quest to find his true fashion identity, finally resolved by appearing in a
designer label outfit (by Anita Simpson of course): a perfect vision in red
PVC. Another captivating cameo was Friar Tuck, Robert Lawrence, who clutched
his Sherwood mead to his chest, and said his few lines with perfect timing
in a droll Black Country
accent. Robin’s long suffering travelling companion Nick, Pete Smith, was a
study in confusion having woken up in the forest one morning dressed as
Aladdin.
As the Sheriff, Roy Perryment was mean and horrid, deserving all the hisses
and boos. He was not the stuff of nightmares however and even at the matinee
he was given a sympathetic farewell as he was left to wander the world in
exile. He was supported by his simple henchmen, Nonny and Nonnie, Emily
Miller and Anne Carroll: two good performances by this well-matched comic
duo. Following the traditional request to call out a warning, “Hey
Nonny-nonny” every time they appeared, we felt rather let down though by a
lack of any outcome for our shouting. It fell to the Nonnies to carry off
the very challenging slapstick scene. In the past these acts were performed
by travelling male performers who had specialised their skills in clowning
and slick timing over many years. Even modern professional pantomime actors
have difficulty in reaching the same standard. In this performance, Anne and
Emily are to be congratulated in giving it their all. However, their comic
strip cartoon rendering of “Being Bad “with the Sheriff was a highlight of
the show. Their fast pace with finely synchronised movements came straight
out of Bash Street Kids.
Talking of children, the “aaah” factor this year was provided by a group of
streetwise ragamuffins intent on taking over the show. Their lines were
crisp and clear, carrying to the back of the Hall. Their exuberance and
enthusiasm showed that these sons and daughters of the company are surely
Parish Players stars of the future
The scene with the Sheriff’s sinister regiment and the Merry Men posed a
moral dilemma. All the signs were there for the audience to shout “It's
behind you” and in panto tradition of good and evil, we expected that the
menace lurking at the back would be challenged and defeated. But here the
evil was in front, the goodies behind: the audience, loyal to the outlaws
behind, was not going to co-operate. At times the action here and during the
archery scene needed more percussion to add impact to the action: you can
never over-use drums and cymbals in a pantomime.
Caryl Court’s languid Lady of the
Lake
was a winning comical role. For a dripping wet-looking woman she gave some
very dry pithy comments while trying to off-load her cumbersome sword. David
Golder’s Dame Rosie was another well-rounded performance displaying his
skills in comedy and interacting with the audience. With fiendish glee he
made the audience sing the panto song, Robin Hood, in three parts while
riding through the glen. This brought a distinct air of anarchy – not
confusion as one might expect. The audience could taste the excitement of
contest and each group vied with another to sing louder and ride faster. It
was only Chrissy’s experience with an audience that brought the matter under
control. Another PP moment to cherish.
In the spirit of the original purpose of PP to give the youth something to
do, this production offered the opportunity to a number of new and younger
members to begin learning their craft through walk on parts, joining the
chorus and working backstage or front of house. They rose to the occasion,
with those in the chorus showing good stage presence and some real
potential.
The show ended with a resounding performance of Reach for the Stars, quite
emotional and even mentioned in the Vicar’s sermon on Sunday. All I can say
is that this pantomime not only reached for the stars, it touched them, and
in doing so opened a new run of Parish Players pantomimes for the next fifty
years.
Hazel
Abbott
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