| Always Look on the Bright Side of Life |
Aberystwyth Pantomime |
| The Wardens Company- Dick Whittington and the Pi-rats of the Caribbean , Aberystwyth Arts Centre , January 12, 2014 |
Richard Cheshire’s picaresque re-imagining of the tale of Dick Whittington leads his troupe of heroes, and stowaway villains, to the Caribbean via a visit to the underwater kingdom of Carl Ryan’s jiving, roller-blading King Neptune. Mid-voyage, Cheshire’s amply festooned Sarah the Cook assembles a shambolic group to sweep the vessel’s decks. In a nice case of art and life converging, a wintry Saturday has seen the Council make an appeal for help to make good the sea’s wrecking of Aberystwyth’s front. A small army has made itself available, with spades and bags, to get the tons of beach back where they belong, onto the beach. On the Promenade as on the stage a mile up Bronglais Hill; both are heartening vindication of civil society, evidence that it is big, able and willing. The Wardens’ winter opening for the theatrical year breathes a spirit of generosity. The stage bubbles with dozens of young performers given that vital opportunity to perform in front of a seriously sized audience. “Dick Whittington and the Pi-rats of the Caribbean” has many theatrical virtues, three of which leap to the fore. First it attains moments of sheer inimitable theatre-ness. Hundreds of arms sway back and forth to join in “Always Look on the Bright Sight of Life.” Alex Neil’s nasty King Rat, from London, joins forces with local banditry in the form of Theresa Jones’ high-booted Blackheart and Alex McDonald Smith’s one-eyed Blackpatch. Even though Myles McMorrow’s handsome Dick has rescued Bethan Pearce’s lovely Alice, he and his allies, the paradoxically vegetarian cannibals of Skull Island, still need a bit of help. The ratty and piratical forces are bombarded with a hundred sponges hurled at them from every corner of the auditorium. Secondly, the production exudes a spirit of opulence. The backcloths are many and beautifully detailed. A sinking ship is the opportunity for an array of sea-bed fish to swim and float in fluorescent serenity. The curtain call cum last pulsating number assembles an array of creams, silks and satins for a scene that lasts just a matter of minutes. And the Wardens know their audience. The appeal “boys and girls” is frequent. Some innuendo is inevitably made of the hero’s first name but topical reference is scant. Marcus Dobson’s Idle Jack is allowed to do what he does best, which is elastic-limbed physical comedy. Paul Ditch’s Captain Jellyfish early on demonstrates an ability to do a nice hornpipe. He is supported by Julie McNicholls’ Suzy Seeweed, a quintet of long-legged shipmates and a group of muscular able seamen. The villains, buck-toothed and long-tailed rats, are led by Lynne Baker’s spikey-haired Pooey and Gemma Wile’s Stinky in punk chains and leather. They may have numbers on their side but Rhiannon Evans’ nimble charmer, Tommy the Cat, can rout the lot of them. Harriet Taylor, moving from chorus to stage front, is a Fairy Bow Bells of radiance with a beautiful singing voice. Wardens’ veteran Ioan Guile makes a tottering first entry as Admiral Fitzwarren with an unsteady pile of large ledgers. “Whatever are you doing, Daddy?” asks daughter Alice. “I’m trying to balance the books” he replies. It’s a good joke. The last joke is the fate of King Rat; it’s brilliantly funny and a spoiler to reveal it. The large-scale musical numbers- “Cannibal Rhythm” is the show-stopper- have a familiar team offstage propelling them. Elinor Powell is musical director and Carl Ryan choreographer. Louise Amery is at the white piano, Tom Sansbury on bass, Sid Thomas clarinet and Gethin Jones on drums. “Dick Whittington and the Pi-rats of the Caribbean” continues until 25th January. |
Reviewed by: Adam Somerset |
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