Writer: Alex Jackson

Director: Lorna Laidlaw

There is a case for contemporary pantomimes to engage from the Prologue with their toddler audience and handlers being initiated into the arcane conventions and protocols of Panto world. Well brought up and mannered they may, be but the ‘fourth wall’ (they don’t need to know) is up there for being dashed down by a massive MOT failure bulldozer of ‘Oh No She/He isn’t! – He/She is Behind You!’ to introduce who are the goodys and the baddys and other such associated call and response anarchy. To see their elders misbehave is a memorable occasion no child should be denied.

Kids at Pantomime is a behaviour barometer binary – they either soon get restless, much to parents’ dismay and embarrassment or they ask insistent questions as to what the heck is going on with those odd people on stage behaving oddly – they’re supposed to be grown-up? Monsters, fairies, goblins and ghosts are nighttime close encounters they deal with by default. It’s the humans to worry about. The cast certainly rise to the odd toddler heckle with improv witticisms.

The BOA Group consists of: Creative & performing Arts/BOA Stage and Screen Production/BOA Digital Technologies. Judging, not the least for the demanding programme of Cinderella performances, 45 in total, including matinees, running through November/December, the collective work ethic alone is mightily impressive. Evidently, that Shavian witticism that youth is wasted on the young is more honoured in the breach than the observance as far as BOA are concerned. The ethos, spirit and infectious derring-do of BOA’s brand is firmly evident from the pre-show welcoming buzz in the bar/reception snug and continues to riff and ripple throughout this entire afternoon’s matinee. It’s Showtime! Therese Collins’ Fairy Godmother’s Prologue lends emphasis to the homespun, loud and proud Brummie and Black Country accents, dialects and patois to be celebrated this afternoon, delivered in rhyming couplets previously unknown to mankind.

Buttons, in his beanpole Quality Street tin-splendid red uniform, sets up a shared secret silver box at stage-right with the plea that the kids must shout out his name if anyone dares open it – later, we discover it holds Cinders’ mother’s precious ballet shoes – DOH! There’s song and dance aplenty, and the ensemble cast gives it all with gusto.

The staple suspension of belief in that a pumpkin magics into a stagecoach this afternoon becomes a dazzling reality and then some. An enchanting teaser back-projection of the eponymous veg from the fertile visual design and sound creatives team to the actual golden coach itself utterly bamboozles kids and parents alike and closes Act One.

Act Two explodes with an instantaneous, snappier, vibrant, delightfully kitsch and OTT gauche roller-coaster delightful Prince Charming’s Ball.

‘Oh, so that’s what one of his looks like!’ declaims one of the Kardashian-themed ‘Selfie Sisters’, Chloe and Kim (Sam Yetundi/Victoria Tew), in costume designer Leanne Fitchett’s worst nightmare apparition-inspired, ‘juicy couture tracksuit, reimagined regency outfits.’ They are the Botoxed, lypo-suctioned, shop-to-you cash-till-drop apotheosis of retail excess and beyond. There might have been opportunities to juxtapose their dreadful vacuity against the downtrodden plight of Cinderella. Nonetheless, the wraith-like stepmother from Hades, Baroness Hardup (Julie Ann Baker), takes every opportunity to do just that. Mention there must be for the eponymous Belle of the Ball, Jaiden Tsang, who keeps a shrewd rein on her character ever becoming a tad too cutesy. As for Stefan Davis as Prince and Jordan Laidley’s Dandini? Where to begin. They’re having the time of their lives sending each other up and riffing off each other seamlessly and shamelessly, particularly with their street-cool hand slapping, high-five routines.

The all-join-in chorus riff of the Ghostbusters theme sees floating projections of the iconic film rascal zipping about the theatre walls and ceiling to the ecstatic call and response, ‘Who You Gonna Call? GHOSTBUSTERS!’ It’s silly, giddy fun for all and thoroughly recommended. Be prepared for dreadful puns some landing with a resounding leaden thud but all may be forgiven when Brum, being the butt of national ridicule, sees both Fairy Godmother and Buttons having to sort out the disposal of a plethora of uncollected bin-bags. And no smutty innuendo or product placement that often blights contemporary pantos either. A gluttonous feast of festive fun for all.

Runs until 31 December 2025

The Reviews Hub Star Rating

70%

A gluttonous feast of festive fun for all