Pantomime Review: Cinderella, Empire Theatre, Liverpool

Image Source: Mark McNulty

Written By: Mark Armstrong

Format: Pantomime
Genre: Comedy
Date: December 19 2017
Location: Empire Theatre, Liverpool

The Empire Theatre has always been at the heart of Liverpool's pantomime scene during the festive season, and the venue delivers another panto-tastic experience for all the family with Cinderella.

The story is well-known: Cinders (Olivia Sloyan) struggles to make headway in her life because of her two wicked step-sisters (Daniel Taylor, who plays Hernia, and James Templeton, who plays Verruca), but a chance meeting with Prince Charming (Duncan James), accompanied by his servant Dandini (Scott Mobley), changes that. Not to mention the intervention of both her friend Buttons (John Evans) and The Fairy Godmother (Jodie Prenger), both of whom help Cinderella to keep her head up and her hopes high for a better future.

That appears to come when the Prince, himself looking for love, announces a grand ball, partly so that he can properly meet Cinderella. Hernia and Verruca do their best to foil Cinders' chances of attending, but The Fairy Godmother again provides assistance, which allows Cinders to go to the ball. Then ... well, you probably know the rest from that point onwards.

John Evans as Buttons is the funniest performer on the show, as well as being the character who does the most work and appears in the most scenes. His first appearance takes on a stand-up feel, but it's his exchanges with the other characters which really get the big laughs, particularly when the likes of The Fairy Godmother are trying to keep a straight face when speaking to him. Indeed, for the adults at least, John is the performer they're most likely to remember when all is said and done.

Elsewhere, Jodie Prenger and Olivia Sloyan are very good singers, and of course, the singing is elevated further by the presence of Duncan James, best known away from the pantomime scene for being a member of Blue. Beyond that, certain scenes deliver a lot of laughs, and the deliberately Scouse lingo (with insults like "blurt" and "melt" coming out of nowhere) by Daniel Taylor and James Templeton provide additional unexpected giggles. The production standards are also very high, with extravagant lighting, excellent settings (particularly for Prince Charming's ballroom), and one particularly memorable scene that takes us into intermission, which I won't spoil here (hint: it is horse-related).

On the downside, the show started pretty late, and it took a bit of time to get going. Also, some of the lighting was occasionally too strong, with a couple of the lights situated near the front of the stage giving off a blinding effect on more than one occasion. And the younger dancers played an unusually minor role in proceedings. Still, there was a lot more to like about this show, from the hilarious scene where Muddles uses actual song lyrics to describe how he's feeling to the exceptional costumes donned by all, particularly in the second half.

With Christmas just days away, there is still plenty of time for you to bring the family along to see Cinderella; you'll have a great time, I can assure you.

Overall Rating: 8/10 - Very Good

Pantomime Review: Aladdin, Echo Arena Auditorium, Liverpool

Image Source:
Echo Arena Auditorium

Written By: Mark Armstrong

Format: Pantomime
Genre: Comedy
Date: December 16 2017
Location: Echo Arena Auditorium, Liverpool

We're just days away from Christmas now, which means that the panto season is well and truly in full swing now. The latest venue to launch its festive show is Echo Arena Auditorium, with their offering of the timeless tale known as Aladdin. ("Oh, no they're not!" "Oh, yes they are!")

The story of Aladdin is fairly easy to follow for kids and adults alike: Aladdin (played by Michael Auger, star of Collabro from Britain's Got Talent) and his daft family (his brother Wishy Washy, played by Mark Jones, and his mother Widow Twankey, played by Ruby Murry) are in Peking, where he encounters Princess Jasmine (the debuting Jessica Johann), much to the chagrin of her father who wants her to avoid falling in love with someone who lacks great wealth.

However, there is a chance for Aladdin to see his fortunes quite literally change overnight in the form of a magic lamp. There's a challenge, though: the evil Abanazar (Dean Sullivan) has travelled to Peking (not Cyprus) with his sidekick Slave Of The Ring (Leanne Campbell) to locate the lamp, and he is willing to use Aladdin as a pawn in his dastardly plan. Ultimately, Aladdin finds himself in jeopardy, and so it is down to the power of magic for him to not only escape these troubles, but to also make his financial and romantic dreams come to fruition.

Ruby Murry stole the show as the hilarious Widow Twankey with some cracking and occasionally off-colour jokes, along with a number of extravagant outfits (the best being an oversized Asda carrier bag, with dozens of additional regular Asda carrier bags forming a wig, and a huge tea table set-up dress) and a spectacular vocal rendition of Nessun Dorma. Speaking of singing, Jessica Johann demonstrated some great singing talents in her pantomime debut, and chances are that we'll be seeing a lot more of Jessica in the future based on her performance here.

Elsewhere, the special effects (which included a magic carpet for Aladdin) were very good, if at times a little overbearing when it came to the dry ice that covered the first few rows on more than one occasion. There was a lot of attention to detail with the backgrounds and the lighting, and the young dancers were clearly well-trained, with a couple of them delivering some priceless expressions during the extended dance routines. It took a little bit of time for the audience to warm to Wishy Washy but it eventually did happen, which led to some humorous moments of interaction. It was also Wishy Washy who controlled the scene towards the end where several children came on stage to sing Kung Fu Fighting (which had been sung by the main characters during the show), with one in particular (Oliver) having the crowd in stitches after giving some incredibly frank opinions about dating, specifically girls.

On the downside, the show was a slow starter, with many of the funnier moments coming in the second half. The acting felt a bit forced on occasion, and though some of the jabs at local areas were generally funny, a couple seemed unnecessary under the circumstances. Also, while I liked the way that the Genie was brought into the show, the dialogue was a bit weird, so the kids would have been baffled by what the Genie (voiced by Pete Price) was talking about. Still, there was a lot to like about this production, including some excellent musicians who played a vital yet understated role in moving the show along just in front of the stage, and the costumes as a whole were exceptional for every character, not just Widow Twankey.

To sum it up, Aladdin isn't necessarily the most Christmassy panto that you will see over the next few weeks, but it is a lot of fun, and it's a show that I'd definitely suggest that you bring the young 'uns to see.

Overall Rating: 8/10 - Very Good

Theatre Review: The Wizard Of Oz - Epstein Theatre, Liverpool

Image Source: Bill Elms

Written By: Mark Armstrong

Format: Pantomime
Genre: Comedy
Date: October 29 2017
Location: Epstein Theatre, Liverpool

The Wizard Of Oz is one of the grandest, most magical and most popular stories of all-time. The tale of Dorothy and Toto having to overcome the Wicked Witch and appease The Wizard Of Oz in order to return home from Kansas, with assistance along the way from three unusual yet trustworthy accomplices (Scarecrow, Tin-Tin & The Cowardly Lion), is one that I'm sure everybody reading this will have seen in the form of the classic 1939 movie.

A theatre version of TWOZ is currently touring the region, and it has just completed a stop-off at the Epstein Theatre in Liverpool. So, it was with anticipation and a fair bit of excitement that I headed to one of my local venues to see an all-time great story come to life in physical form.

I mentioned the basic plot of the story earlier, so it's hardly worth me reiterating; instead, I'll jump straight to the performances. Cheryl Fergison was on form as the Wicked Witch, mixing some typically evil insults with pop culture references and the occasional nod to her background as Heather Trott in EastEnders. Maddie Hope Coelho was believable as Dorothy, and her renditions (one near the beginning, one at the end) of Somewhere Over The Rainbow were stunning, drawing much applause and positive feedback from the Epstein audience.

Elsewhere, we had a talented crew on offer to play the other major roles, with David Heath in the role of Scarecrow, Phillip McGuinness as Tin-Man and Richard Hazlewood as The Cowardly Lion. Add to that a few hilarious scenes, a soundtrack which combined vintage TWOZ tracks with modern hits, and some funky dance moves - oh, and the use of a real dog as Toto - and you have a guaranteed recipe for success, right? Especially when you factor in the effective use of pre-recorded video footage to demonstrate Dorothy's journey to Oz from Kansas and vice versa, some excellent backdrops, and costumes which were as faithful to the movie as you could possibly expect.

However, I had a couple of issues with the production. For one, there were a fair few technical glitches, and some characters that weren't meant to be on the stage were visible via the side curtains on more than one occasion. I could overlook this, but not the way in which the story - which, as I mentioned earlier, virtually everybody knows - was modified for seemingly no reason. I won't provide spoilers, but The Wizard's true identity, and how this was revealed, was disappointing, and despite the video scenes showing how Dorothy returns home, we don't get the scene where she recognises the same faces that she met in Oz, one of the key elements of the film. I'll overlook the lack of a multi-coloured horse, though, since admittedly that would be extremely hard to pull off in a theatre setting.

The biggest problem, though, is that judging by the way in which the show was presented, those in charge haven't worked out whether they wanted this to be a pantomime or a play, and in the latter case, whether they wanted it to be comedic or serious. There are undoubtedly many moments of mirth, but with the exception of the Wicked Witch, there was barely any audience interaction in the first half, and some performers occasionally hammed up their roles to the point where they appeared to forget that the purpose of the show was to make people laugh, rather than actually trying to portray the characters from the famous movie. It's not to say that the show was super-serious by any means, but it was hard to determine which direction the producers were looking to take the show into. It's also no surprise that the second half was more enjoyable because there was a greater emphasis on comedy and audience interaction, which the crowd lapped up, and it resembled the panto that I and many other attendees assumed it was meant to be.

These criticisms were certainly not enough to spoil the show, though: I had a great time, and certain elements of the production were as good as you will see amongst pantomimes and children's shows. Indeed, in terms of bringing The Wizard Of Oz to life, this particular portrayal did a fine job, and the kids and adults alike will have gone away looking to rewatch the film and experience more of the magic from Oz. I just hope that the production team will make slight adjustments to the script and decide whether they want to go down the panto route or whether they want this to be more of a play with a comedic edge. If they find their niche, and adjust the script slightly from there, then this show could be elevated to can't-miss territory.

(You can read an interview I conducted with Cheryl and David about The Wizard Of Oz by clicking here.)

Overall Rating: 8/10 - Very Good

Pantomime Review: Sleeping Beauty - St. Helens Theatre Royal, St. Helens

Image Source:
St. Helens Theatre Royal

Written By: Mark Armstrong

Format: Pantomime
Genre: Comedy
Date: October 22 2017
Location: St. Helens Theatre Royal

Pantomimes have increased in number over the last few years. From the usual Christmas tradition, we have been treated to Easter offerings, and now we have another pantomime just in time for Halloween.

Mind you, though there are some ghostly scenes, Sleeping Beauty is all about entertainment and fairy tale-esque magic, bringing smiles to children's faces while eliciting huge laughs from the adults. The great pantos do this seamlessly, and Sleeping Beauty at St. Helens Theatre Royal does a fine job of pulling this off to the point where, by the end, you're left with a positive impression on the characters and the show as a whole.

It did take a bit of time to get going, with the crowd being unusually quiet during the early scenes, but it soon kicked into high gear with the brilliant Tam Ryan, who played Chester The Jester. Many of his lines resulted in big laughs, and his scenes (such as a daft moment where he and the Dame, played by Simon Foster, were preparing edible treats for Princess Aurora's birthday celebration) were the highlights of the show. He was also great at ad-libbing and thinking on his feet during unexpected moments, the funniest being when the Dame's skirt accidentally fell off (fortunately, she/he was covered up to avoid blinding the audience!).

Laura Gregory played her role as the Princess well; Corey Rumble as the Prince was not involved as much as people may have expected, though. Claire Sweeney as Carabosse and Warren Donnelly as the King made up a strong cast (and you can read an interview from those two about this show by clicking here). Elsewhere, the settings were stunning, with great attention to detail (such as chandelier lights using a crown-shaped frame within the palace), and the use of ghosts and similarly scary creatures within the "spooky" tower gave this show more of a Halloween-esque feel than you would normally expect. There was also a varied soundtrack throughout the show, as well as performances of some recognisable numbers such as Kool & The Gang's Celebration.

Perhaps the funniest aspect of the show came towards the end, when a number of children were invited for some audience participation with prizes at stake. There's an old saying in show business about the unpredictability of working with children, and that thought popped up watching this part of the performance as the kids stole the show with hilariously high-pitched laughs, amusing answers and a feeling of independence when running around on stage. Chester played up to this brilliantly in his one way, making this the most memorable scene of the whole evening. The adults found this to be uproarious, as they did during other scenes where the "risqué" element of pantomime was taken as far as I've ever seen.

On the downside, there were a couple of issues with the special effects, as the pyrotechnics often left an unnecessarily strong smoky scent in the air, and the lighting was muddled in the closing scene of the first half. I also expected the show as a whole to last a little longer, and the story wasn't quite as strong as it could have been, mostly revolving around the showdown between Carabosse and the Prince, which seemed a little rushed. But the kids were delighted with the show as a whole, which is always the most important thing.

So, if you're looking for somewhere to take the kids this half-term, or even if you're an adult who is looking for a fun day out, then Sleeping Beauty is a terrific option to deliver a lot of laughs for all of the family.

Overall Rating: 8/10 - Very Good

Pantomime Review: Sleeping Beauty

Image Source: Epstein Theatre

Written By: Mark Armstrong

Format: Pantomime
Genre: Comedy
Date: April 12 2017
Location: Epstein Theatre, Liverpool, England

The Easter pantomime tradition returns once again to the Epstein Theatre with Sleeping Beauty.

Those who know the common story of Sleeping Beauty and, in particular, those who have previously seen Epstein pantos will know what to expect. We are introduced to Silly Billy (Kyle Corrin) and Dame Nurse Nellie (Michael Chapman), who are looking after the recently-born Princess Aurora. However, the evil fairy Carabosse (Tina Malone) casts a wicked curse on Aurora, which comes to fruition on the eve of her 18th birthday, by which point Aurora (Lucy Edge) has caught the eye of the handsome Prince (911 singer Lee Brennan). Cue various humorous situations as all involved look to overcome the witch's curse.

Panto shows at the Epstein tend to follow a familiar routine whereby the story is told amidst some amusing songs and variations of popular tunes (like Bodyshakin', the most famous 911 tune), as well as general daftness by the likes of Silly Billy, and some risqué double entendres by Michael Chapman's Dame Nurse Nellie character. The same formula applied here, with the biggest laughs coming from the extended musical number which saw the more mischievious characters set water guns on the audience (and as I was sat near the front of the theatre, I was one of those who got a bit soaked!), and the increasingly-naughty one-liners from Nurse Nellie.

Elsewhere, I thought that Lucy did a good job as the Princess in distress, particularly during musical scenes where she was able to demonstrate their vocal skills. Obviously, the same applies to Lee Brennan, who had just come from the local hospital hours beforehand with a broken finger to continue performing. But I thought that Tina Malone was the star of the show, bringing plenty of acting experience to not only deliver a perfect characterisation of an evil witch, but to bring about some one-liners and humorous facials when the situation called for it. There was also amusement to be had from the occasional script mishaps and unexpected trips at various points.

I thought that the settings were really good, bringing you right into environments such as the Princess' castle and the dark woods, and the costumes were as good as ever, as it's clear that a lot of work goes into the attires of the various characters. On the downside, the audio was a bit of an issue, especially during some of the musical numbers as it became incredibly hard at times to hear what was being said or sung.

Summing this up, I felt that Aladdin, the most recent Christmas panto at the Epstein, was a stronger show overall, but if Easter fun and frolics for all the family are what you're looking for, then you'll have a great time watching Sleeping Beauty at the Epstein Theatre.

Overall Rating: 8/10 - Very Good

Pantomime Review: Beauty and The Beast (St. Helens Theatre Royal)

Image Source: The Reviews Hub

Written By: Mark Armstrong

Format: Pantomime
Genre: Comedy
Date: April 1 2017
Location: St. Helens Theatre Royal

Beauty and The Beast is all the rage right now, given the recent cinematic release of the newest Disney adaptation, and so it's very good timing to see a good old-fashioned pantomime version of the classic tale for the Easter season.

The St. Helens crowd was treated to plenty of comedy capers with this Beauty and The Beast performance. Belle (Amy Thompson) rejects the advances of Gaston (Philip McGuinness), who is supported by his evil mother Madame Botox (Hannah Potts), and instead wishes to fall in love with the handsome Prince (Richard Hazlewood). However, the wicked Madame Botox uses poison to turn the Prince into a Beast, who becomes a hideous and terrifying creature.

Nevertheless, this doesn't stop Belle who, with support from French Frank (Liam Mellor) and Potty Polly (Simon Foster), manages to enjoy food and a dance with the Beast/Prince, appreciating him for what he is on the inside rather than on the outside. But there remains questions as to whether Belle and the Beast can truly fall in love, especially with Gaston and Madame Botox lurking around; fortunately, Fairy Rose (Nikki Grahame) is on hand to provide a helping hand to the good guys when needed.

The show is a lot of fun, delivering a lot of laughs from the one-liners by Frank to the amusing audience interaction scenes to the general silliness of certain moments throughout the story. The settings were very good, and the costumes are excellent, especially for Belle, the Beast and Fairy Rose; their attires perfectly match what audience-goers would expect from this retelling of a classic tale.

There are plenty of songs during the show, some of which are slightly modified versions of current chart hits to tie in with the story, whilst others are panto favourites played purely for laughs (such as Frank's "One smart fella, he felt smart" tune towards the end). I felt that the show was a little on the short side, with things wrapping up inside two hours, but amongst the young children and also the adults on hand, the show couldn't have been much better, and to them the running time seemed to be just right.

Easter pantos are becoming more and more prominent, so there's a decent chance that you'll find yourself heading to one this year. If you do, Beauty and The Beast at St. Helens Theatre Royal is one of the best options you could find, delivering all the fun and frolics that one would expect from a classic pantomime.

Overall Rating: 8.5/10 - Excellent

Snow White

Image Source: Mark McNulty

Written By: Mark Armstrong

Format: Pantomime
Genre: Comedy
Date: December 13 2016
Location: Empire Theatre, Liverpool, England

There have been many memorable and completely different shows at the Empire this year, such as Last Night A DJ Saved My Life, Annie, The Bodyguard, Chicago, Blood Brothers, Cats and The Rocky Horror Picture Show. However, there is only one way that you could end a year at any theatre, especially the Empire, and that is with the annual, star-studded Christmas pantomime.

The show this year is Snow White, and Jorgie Porter leads a cast of stand-out names by playing Snow White. Leanne Campbell plays Queen Morgiana in her fourth consecutive panto appearance at the Empire, Liam Mellor reprises his role of Muddles, Colin Connor acts as Herman The Henchman, Stephen Fletcher is Prince Brian Of Birkenhead, and Pete Price makes a cameo as the face and voice of the Magic Mirror. Oh, and as the title of the show would have you expect, there are appearances by the Seven Dwarves.

The story goes that Queen Morgiana is fearful of Snow White growing up and becoming prettier than her. Her worst fears come true upon Snow White's 18th birthday, at which point Prince Brian turns up and falls in love with the princess. Cue methods of nastiness by Morgiana, some via her fearful yet reluctant henchman Herman, and when it seems like there is no solution to Snow White's woes, her friends - both old and new, and both large and small - provide as much assistance as they can as she strives to maintain her love for the Prince. But with the wicked Morgiana aiming to remove her from the picture so that she can receive an ego-boost for her looks and enhance her own financial security via the Prince's riches, can Snow White succeed?

The costumes for the main characters are excellent; it's odd to see Snow White with blonde hair, but it actually adds something different to this particular version of the show, and in actual fact some may find the blonde-haired Snow White look to be better. The sets are also very good; it's clear that a lot of work has gone into making the settings look as faithful to the story as possible, especially for the home of the Seven Dwarves, which comes complete with miniature chairs and tables. And there are several songs for the audience to join in with, both from the original show and in the form of modern hits or festive tunes, particularly a localised and humorous version of Twelve Days Of Christmas.

As for the performances: all of the cast do a good job, but I was particularly impressed with Colin Connor as Herman The Henchman. His role is a secondary one, but the mix of an Irish accent and a down-to-earth explanation of certain events on stage made for an amusing combination, which along with some strong material, good ad-libbing and suitably-OTT delivery and mannerisms made him a treat to watch, and to me he ended up being the performer who I most remembered when all was said and done. That being said, everyone brings their A-game to the show, and once can easily immerse themselves in the experience due to the believable performances by all. And the jokes, whilst occasionally hit-and-miss, resonated with both children and adults, meaning that the whole family could laugh along with the show.

What helped to make this show seem special was the addition of minor touches: attendees were given treats as they entered, and on sale (from a custom-built store, no less) were a variety of colourful toys for the kids to enjoy and for them to use to join in with some dance numbers. There were also Christmas hits being played beforehand and during intermission, and Xmas adverts were shown on the big screen during the commercial break, all of which added to that warm, fuzzy feeling of festive fun and Christmassy nostalgia.

For those looking for some festive fun and a chance to pass the Christmas panto tradition down to a new generation of youngsters, Snow White at the Empire is a very good option.

Overall Rating: 8.5/10 - Excellent

Aladdin

Image Source: Epstein Theatre

Written By: Mark Armstrong

Format: Pantomime
Genre: Comedy
Date: December 12 2016
Location: Epstein Theatre, Liverpool, England

The world has changed a lot in 2016, what with Brexit, Donald Trump becoming US President and the imminent demise of Deal Or No Deal (hey, I love the show). However, some things will always remain the same, and fortunately one of them is the annual tradition for Christmas pantomime. Amongst the top shows on offer this winter season is Aladdin, at the Epstein Theatre.

The latest panto production at the Epstein may just be its strongest festive offering yet, as the simple story is told with the addition of interesting characters, extended dance and song routines, and a huge amount of comedy. It is that humour, and the amount of genuinely funny lines and ad-libbed situations, which made this such a treat to watch.

Aladdin tells the tale of the character with the same name (of course), played by Sean Smith, as he looks to find true love in the form of a Princess, and there just happens to be one, Princess Jasmine (Natasha Hamilton) whose arranged marriage with an unknown groom is in the process of being arranged by her mother. The two eventually meet up, fall in love, and it's clear that wedding bells will soon be ringing.

But wait! The evil Abanazar (Tom Burroughs) is after the hand of the Princess herself, mostly for her riches, and it's the magic power of a mysterious lamp which holds the key for him to potentially achieve his goal. Cue all sorts of hilarious interludes, and the frequent appearances of several supporting characters such as Widow Twankey (Michael Chapman), Wishy Washy (Lewis Pryor), the Slave of the Ring (Mark Byron) and, since this is Aladdin, the Genie (Jordan Davies).

After many variations of a similar story regardless of what the show is, the LHK Productions team seem to have realised how to make the most of its positives and how to hide its negatives, because the humour in this show is the funniest yet in an Epstein production. Widow Twankey, played by writer Michael Chapman, is her usual over-the-top and innuendo-driven self, and it's hilarious to see Twankey run down the Genie/Jordan for his perceived lack of acting skills, noting how his celebrity status is the sole reason for him to be involved. But the unsung hero is Mark Byron, another name whose fame originated from reality television; by emphasising his accent and talking like someone off the street rather than the typical dialect that his Slave of the Ring character would normally use, many of his lines got the audience laughing, and in some cases it was just from the way he was talking rather than what he was saying.

Perhaps the highlights of the show were the moments of unexpected humour: an extended version of Twelve Days Of Christmas deliberately became a car crash on stage waiting to happen, but perhaps more than even the characters intended as the song was virtually stopped at one point due to more than one of the actors actually falling behind the curtain due to the break-neck speed of the number. It was clear that they were enjoying themselves just as much as the audience were. And the penultimate (and traditional) portion of the evening where Twankey (who humorously had an adapted version of "Frankie (do you remember me?)" to accompany her on stage) invited several young children to try and sing Old McDonald ended up being a truly memorable situation, as one kid decided not to sing, another belted out his lines incredibly loud, and all had their own mannerisms and behaviours contribute to a pretty funny sing-a-long session. Even Twankey couldn't hide the laughter during some of these performances.

Although the humour was a heavy aspect of the show, and a strong one at that, the music was good too. The stand-out musical performance came from Aladdin and the Princess joining to sing Whole Again; of course, with the Princess being Atomic Kitten star Natasha Hamilton, this felt more like a mini-concert than a panto rendition, and therefore was probably the strongest musical moment ever for an Epstein panto. The settings were also well-constructed to depict the likes of a haunted cave and Twankey's Launderette, and the costumes were well-crafted, if slightly less outlandish (at least for Twankey) than in previous productions. The special effects were very good, especially for a scene involving Aladdin on a magic flying carpet. There was also a nice acknowledgement at the end for Herbert Howe, a longtime panto contributor who passed away earlier this year, as well as a touching moment to invite everyone involved to contribute towards the Save Our Katie appeal.

Some minor negatives were the slightly amateurish transitions between scenes, which meant that the curtains separating the different backgrounds were a bit messy at one point (as in, you could almost see members of the crew walking behind the set during scenes), and the dark lighting was a little too dark when you consider the younger members of the audience. Also, though no fault of the production team, certain attendees seemed to be having too much of a good time, in a sense that some adults were acting far more childish than the kids at various points. However, none of these could even come close to spoiling a really entertaining night of panto.

Aladdin is the Epstein's best pantomime show to date, and one I would give the highest recommendation to for all members of the family.

Overall Rating: 9/10 - Outstanding

Little Red and The Big Bad Wolf

Image Source: Unity Theatre

Written By: Mark Armstrong

Format: Pantomime
Genre: Comedy
Date: December 3 2016
Location: Unity Theatre, Liverpool, England

The fairytale of Little Red Riding Hood is known by virtually everyone, with the target audience obviously being young children. The story has slight differences in some versions, but needless to say, the core elements remain the same, including the relatively short time it takes to tell the tale.

Therefore, Little Red and The Big Bad Wolf was an intriguing prospect. How do you take a story which everybody will know, and which doesn't last too long, and create a theatre show out of it that will maintain interest and provide entertainment for attendees of all ages? Well, anybody who feels that this is an impossible task would be surprised, because Little Red ... ticks all the boxes, whilst adding some unique layers which ensure that it stands out from the classic fairytale.

You won't need me to explain the plot, but I will tell you why this show is different. For starters, there are a number of original songs featured in each scene, which help to either move the story along or emphasise certain character traits. The settings are also a stand-out element: we're taken into the woods, including the use of gravel to represent the muddy fields walked through by Little Red. But it's the use of comedy which helps to make this show: there are frequent moments of comedy, ranging from standard lines appealing to younger members of the audience to clever one-liners and even some occasional ad-libbing to match the opinions of those warning Little Red and her grandma of impending doom.

I also appreciated the smaller touches: the story wasn't afraid to poke fun at itself on more than one occasion, and there are also nods to other classic fairy-tales, including one amusing reference to Jack and The Beanstalk. The costumes were effective, and helped to hide the fact (or perhaps promote it in a satirical manner) that the same crew of four performers were playing all of the characters (besides Luca Rutherford, who plays Little Red, the remaining members of the cast have more than one role). Speaking of which, all four actors and actresses - Luca Rutherford, Harvey Robinson (who plays the Big Bad Wolf), Simone Lewis and Natalia Campbell - adapt well to their interesting surroundings (a greater achievement considering the very intimate theatre setting for the show), with each having an important part to play and with the performances being strong throughout, ranging from drama to comedy to mild horror (one very young child near me got a bit frightened towards the end!). And without spoiling the details, I will urge that the kids look out for moments of audience participation, as there may be a chance to not only get involved, but to also pick up a little treat!

The only thing I would say which could have been better was that, as a show which will be held over the Xmas season, there wasn't anything particularly Christmassy. Some decorations, one holiday-themed hit or even a Christmas-related scene tacked onto the finale would have gotten the young 'uns into that festive spirit. Otherwise, though, this was a really fun show, one perhaps better for those who have kids aged between 5 and 10, but I feel that all members of the family will enjoy this unique retelling of a classic story.

Overall Rating: 8/10 - Very Good

Snow White and The Seven Dwarfs

Written By: Mark Armstrong

Format: Pantomime
Genre: Comedy
Date: March 25 2016
Location: Epstein Theatre, Liverpool, England

It's Easter time, which can only mean one thing: it's panto season!

Well, okay, that's usually around Christmas time, but over the last few years, Easter has become an additional point of annual pantomime, led on a local level by the Epstein Theatre and their latest production (well, as created by LHK Productions), Snow White.

Now, I've attended several Epstein pantos so I kind of know what to expect in regards to the general structure and the overall story, although this one had the benefit of some surprise characters and several classic sing-a-long tunes to be incorporated into the show. And, of course, anyone who has attended previous pantos will expect a child-friendly story of good vs. evil, almost always giving the audience the desired happy ending (imagine the tears in the theatre if it had a sad conclusion).

Snow White follows the story of, erm, Snow White (played by Georgia Austin), who having been mistreated by her evil stepmother the Wicked Witch (played by Debi Jones) is unexpectedly informed about the incoming arrival of Prince Charming (played by James Hill), who is planning to marry "the fairest lady of them all". Of course, the haggard old witch knows that Snow White has her beat in this department, so she orders her henchman (Tom Burroughs) to take Snow into the forest and have her killed. But he can't bring himself to do the dirty deed, and so Snow is instead told to run for her life, in the hope that she will find safety and somehow be connected with the Prince in the future.

Cue music numbers, both those relevant to the story and some pop tunes interweaved into a few bonus dance scenes (which feature a cast of more than a dozen young dance performers), the casting of director Michael Chapman in his regular role as a drag artist with a risqué sense of humour (his character here is Dame Debbie, or Double D - yes, that's a pun), the starring of Muddles (Lewis Pryor) as Debbie's dim-witted yet likeable son, the use of a fairy (Olivia Horton) to introduce parts and key scenes, and some cameos by Ricky Tomlinson on The Magic Mirror (incidentally, Ricky was sat a few rows in front of me, so at certain points I was watching Ricky watching Ricky, which was a bit surreal), and a whole host of jokes which varied from being kid-friendly to some adult-themed double entendres that would have flown over the heads of the younger ones. Oh, and there were seven dwarves too.

Unfortunately, though, the viewing experience of this particular pantomime was not on the level of previous pantos, and that was due to the poor audio quality. I was sat in the upper deck for this show, and for much of the show I could barely hear what the characters were saying, from the plot-moving announcements to the frequent one-liners. Things did improve in the second half but only slightly, which obviously meant that the story couldn't be followed as easily (although the plot is a relatively simple one), and more importantly many jokes couldn't be heard, including Ricky's contributions on the Magic Mirror. For that reason, one could not enjoy the show in the same way that I had with other pantos, at least not from my seating point.

The performances were good, though. Dame Debbie provided plenty of laughs as usual, and Muddles had some clever jokes as well. Georgia Austin did a fine job playing the damsel in distress that is Snow White and her singing was pretty good, making her the stand-out performer of the night. As stated, Ricky was quite funny when you could hear him (he seemed to be cast as Jim Royle as opposed to Ricky Tomlinson, not that that is a bad thing), whilst James Hill initially seemed nervous but eventually settled into the Prince Charming character. And Burroughs played the Henchman well, at times having some funny lines of his own. There was also the regular interlude whereby Chapman, in character, invited young children on stage to win some prizes, which due to the unexpected nature of the kids is usually a show highlight, as it was here.

There were some other slightly dodgy aspects of the production (some curtain movements and lighting changes happened in such a way that you knew they weren't meant to happen, one or two characters muddled up their lines or dropped their props, and the dwarves were oversized which, while making the dwarf costumes look lifelike, actually made them bigger than the main characters). On the bright side, speaking of costumes, the attires were very good, especially for the closing wedding scene and, of course, Snow White's costume throughout most of the show. The sets were kept simple and, to that end, were true to the story.

Overall, then, the kids should enjoy the story of Snow White as told by this production, and the adults should have a good time as well due to Debbie's more risky jokes. My only advice to theatregoers is that they try to sit in the lower deck so that they can take in more of the show than I did, at least from an audio standpoint. Had the sound not been such a major issue, the rating below would probably be a lot higher.

Overall Rating: 7/10 - Respectable

Dick Whittington

Written By: Mark Armstrong

Format: Pantomime
Genre: Comedy
Date: December 15 2015
Location: Liverpool Empire Theatre

The Liverpool Empire is in panto season, and its festive production this year is Dick Whittington, starring a good number of famous faces and featuring plenty of funny scenarios and eye-catching moments to ensure that theatregoers of all ages would love this show.

The plot is a little less clear than in other shows, as the story takes some unexpected twists and turns, but the main story arc is that Dick Whittington (played by Kurtis Stacey) and his cat Tommy (Hayley Goold) have arrived in Liverpool looking for work, and not only do they find a job quickly working at a shop belonging to Alderman Fitzwarren (Pete Price), but he also finds love in the form of the shop owner's daughter Alice (Leanne Campbell). The city has a problem with rats, hence why the cat is of great use to Alderman, but King Rat (Warren Donnelly) still has plans to spoil everybody's plans.

For, as the main characters prepare to embark on a long trip across the sea, King Rat manages to hypnotise Dick into taking money from the Fitzwarren safe and hiding it in his travel bag, thus seeing him blamed and sent away when the discovery is made. However, Alice manages to convince her family to let Dick and Tommy join them for the journey. But this takes an errant turn too when King Rat strikes again and causes a ship-wreck, leaving the characters to swim their way to safety. They make it to Morocco (where they meet the Sultan of Morocco, also played by Pete Price), where a stand-off occurs between Dick and King Rat. Can Dick clear his name? Will King Rat get what he deserves? And will Dick and Alice get the opportunity to live happily ever after?

I really enjoyed this show: all the characters do a good job in their respective roles, with Eric Potts being the highlight of the show due to his over-the-top portrayal of Sarah the Cook, which includes some over-sized costumes that get as many laughs as the character wearing them, and a number of risqué jokes (including some involving sausage pies). Liam Mellor also provides some giggles as Idle Jack with some deliberately awful jokes, his laid-back approach to the problems that come up, and his local slang which makes some of his lines sound funnier than they are. Kurtis and Leanne are effective in the leading roles, and display their singing talents via some modern hits which had the audience clapping along and dancing. The backing dancers (some of which were dressed as rats) performed well too in their limited scenes, and we also had Sally Lindsay starring as the Fairy Fazakerley.

Perhaps the most memorable parts of the show were the spectacular scenery, from a suitably old-fashioned town setting to a glittery, opulent Moroccan palace, and the unique 3D video which was shown during the second half. The video looked at the adventures of a turtle (carried out by Idle Jack throughout the show) after the ship wreck, as he encountered fishes and even a shark. Due to the 3D effects (complete with 3D glasses for the audience) and the cool artistry of the scene, it enhanced the show as a whole, and took the production to a level above your everyday (well, every Christmas) pantomime. The opening video to the show was also unexpected, as it charted the history of English pantos and even had an X-Factor-esque intro, complete with a sing-along countdown.

Overall, I feel that this is a must-see panto for the family this Christmas. Adults will recognise the older names and will get some jokes that may fly over the heads of younger ones (one double entendre in particular was really funny, if a bit awkward in this setting), whilst the kids will love the special effects, the colourful characters, the superb settings and the general feel of this show. Make it a priority to see Dick Whittington this Christmas at the Liverpool Empire; it's a first-class Christmas extravaganza for all.

Overall Rating: 9/10 - Outstanding

Cinderella

Written By: Mark Armstrong

Format: Pantomime
Genre: Comedy
Date: December 14 2015
Location: Epstein Theatre, Liverpool, England

It's Christmas time, which means that it's panto season! ("Oh, no it isn't! Oh, yes it is!")

The Epstein Theatre served up a fun and at times unpredictable night of yuletide entertainment with its incarnation of Cinderella, the story of a girl who finds her true love in the form of Prince Charming, but is denied the opportunity to be with him by her two ugly sisters and her evil mother. However, with the assistance of some friends (including a Fairy Godmother, played by Beryl Marsden), Cinders finds her way to Prince Charming's Ball (which he holds solely to try and meet Cinderella again), but a midnight exit and a forgotten shoe lead to the show's big question mark: can Prince Charming locate Cinderella, and will they be married and live happily ever after?

The part of Cinderella was played very convincingly by Alison Crawford, with the show's biggest name being Calum Best, who played Prince Charming. The audience (which included some famous faces) were largely there to see Calum, or at least the adults were since this is a performance aimed at children. Also of note was Lewis Pryor as Buttons, Cinderella's friend and a general errand boy for Cinderella's evil mother, who played his part very well, and even showcased some fancy dance moves!

As is often the case with the seasonal pantomimes at the Epstein, the biggest and the most laughs came from Michael Chapman and Tom Burroughs, who played the Ugly Sisters. Although their characters are inherently evil, their use of scouse slang and suggestive dialogue, their daft costumes, and their humorous interactions with certain cast members meant that it was impossible not to giggle during their scenes. In particular, Chapman (a regular for Epstein pantos, usually in a role similar to this, who doubled as director) raised plenty of laughs during his audience participation segment towards the end, partly due to the unpredictable nature of the young children who came on stage to win some chocolate goodies, and partly due to his abrupt yet hilarious way of dealing with said kids. The use of two white ponies in a scene just before the break and some occasional pyrotechnics added to the special, Christmassy feeling of this production.

The show started 15 minutes late and had a very long intermission, which had an effect on one's enjoyment of the show, as many were checking their watches and several left early due to the late finishing time (bearing in mind the number of youngsters in attendance). Regular attendees to Epstein pantos will also be unsurprised by the structure of the plot and the resolution in the last few scenes, although in a pantomime spectators are rarely there to analyse the storyline. That being said, without providing spoilers, I was surprised that one long-running plotline wasn't resolved at all, and another apparently significant story development had a quick and confusing resolution.

Otherwise, this was a very enjoyable night of pantomime which helped to get one in the Christmas spirit. There were plenty of jokes to satisfy both adults and children, making this a recommended night for families to attend over the Christmas season. I had a good time, and my two young nieces who attended the show with me had a great time. In that respect, Cinderella should be on your Christmas list of shows to see over the Xmas break.

Overall Rating: 9/10 - Outstanding

Beauty & The Beast

Written By: Mark Armstrong

Format: Pantomime
Genre: Comedy
Date: April 3 2015
Location: Epstein Theatre, Liverpool, England

It's the Easter season again, and for the second consecutive year, the Epstein Theatre decided to celebrate the occasion with a unique pantomime performance, this time of Beauty & The Beast. Featuring several notable names, as well as talented local performers, the show promised to deliver a good amount of entertainment and Easter cheer for spectators of all ages, and so it proved when I attended on Good Friday.

Beauty & The Beast essentially tells the story of how a young prince falls in love with a beautiful village girl, but problems arise when the prince is cast under an evil spell by a wicked enchantress, which changes his physical and facial features, turning him into a hideous-looking beast. In the meantime, another cocky young prince meets the girl and declares his love for her, but it becomes obvious that her true affections lie solely with the original man of her dreams. As such, she makes it her quest to rescue him from the enchantress' evil spell.

But wait! The second "bachelor" is owed money by the girls' father, and so the plot eventually sees the father captured by the enchantress, who is on the same side as the new, arrogant prince. Long story short: the girl and her friends look to rescue both her father and her original love, but they eventually encounter both the enchantress and the new prince, leading to a series of developments that make the audience question who will succeed and who will fail. That it is a pantomime should telegraph the likely outcome, but that does not affect the entertainment provided along the way.

Indeed, while the story has been reproduced on film and television to be somewhat serious and even emotional, here the emphasis is purely on entertaining the audience. As such, the key moments are surrounded by one-liners and deliberately absurd facial expressions; musical numbers ranging from those made famous by the performers (more on that later) to popular songs in the current charts; and situations made more humorous by the use of local dialect and double entendres. The formula ensures that while the children are engaged by the plot and the wacky goings-on of the over-the-top characters, the adults in attendance also enjoy the show for its humour and its subtle references to, erm, suggestive situations.

As stated, the cast includes some notable performers. Ritchie Neville of the pop group 5ive is the most well-known member of the cast, and here he plays Anton, the new prince who tries somewhat devilishly to achieve the love of his life. This was Ritchie's panto debut, and he performed very well for a first-timer, especially considering that as a villain he is playing against type (indeed, music stars generally try not to deliberately upset their audience, unless your name is Kanye West). Belle, the village girl, is played brilliantly by Alison Crawford, a previous semi-finalist on Grease Is The Word and a star of the Christmas panto Jack & The Beanstalk. She perfectly toys the line between being sweet and beautiful, but also alert and being keenly aware of local culture and jokes. As such, she receives the "right" reaction from the audience: she is likeable and a positive figure, but not to the point where it becomes a turn-off.

Of the supporting cast, the character which most spectators will remember the most when they come away from the show is Madam Dolly Doughnut, played by Michael Chapman. Chapman, who as the name suggests is dressed as a female, is a frequent fixture of the Empire's seasonal plays, and essentially plays the same character; however, each time, it works. To be honest, the character is mostly irrelevant to the plot, but it succeeds by adding scouse slang, humorous one-liners and risque statements (yes, it's Dolly who is responsible for the double entendres), and by his mannerisms and dialogue, he basically adds a huge amount of entertainment to scenes which otherwise may struggle to keep the viewers engaged. He also gets younger members of the audience involved towards the end in an interactive portion of the show. To sum up Dolly, it's a character which is not essential to the storyline, but is essential to the enjoyment of the show as a whole.

So, how to summarise Beauty & The Beast? Well, I can provide a perspective, but as the target audience consists of children, I obtained the opinions of the two young family members who attended the show alongside me. Asked to describe this show, they used three words: "Splendid", "Magnificent" and "Outstanding". And if the show works for them, then the show is definitely a success. Beauty & The Beast runs until Sunday April 12 (click here to learn ticket details); it's not too late to enjoy this "Egg-ceptional" Easter pantomime.

Overall Rating: 9/10 - Outstanding