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Cast & Crew

Crew

Poster Artwork - Gordon Drayson
Front of House - Barry Nicholson
Props - Ian Watson
Sound - Jonathan D’Elia, Tim Crump
Scenery Manager - Andrew Nicholson
Prompt - Theo Spring
Stage Manager - John Desbottes
Lighting Design - Ian Barlow
Set Design & Painting - Di Ralston, Chris Bryan, Don Ralston, Maureen Gibbons, Jan Haggis & Andrew Nicholson assisted by members of the club
Costumes - Catherine Roberts, Andrew Roberts
Musical Director - Philippa Lucas
Musicians - Sarah Hume, Ekin Oykener, Millie Southworth, Benedict Williams
Choreography - Mandy Grace
Written by - John Desbottes
Director - Catherine Roberts

Camera Operator - Tony Drayson
Editor - Gordon Drayson

Review

Just like the two babies in the audience (start ‘em young with panto, I say), the story of Sinbad and his travels and the Star of Mesopotamia were completely new to me.

I was soon transported, however, as, in brightly coloured locations as varied as Baghdad, the Antarctic, a brace of exotic islands and a green-hued valley, your talented ensemble led me on a fantastic journey for a couple of hours.

Along the way I was introduced to some truly delightful dancing penguins, a delectable camel and even, briefly, to a huge roc (or at least its giant legs suspended from the flies).

Ten out of ten, then, to all concerned with the strikingly designed and painted sets,
eye-catching costumes (by first class show director Catherine Roberts with Andrew Roberts), props, including the all-important green jewel (Ian Watson) and hard-working backstage crew under stage manager John Desbottes, who also once again wrote the book.

On that topic, good as the script was, from a personal viewpoint I was a little disappointed this year that, scattered among the many hoary Christmas cracker jokes (marooned, Morris dancer and so on – many of the punchlines signalled by a crash on the drums), there were no local references and few topical allusions. (Trump or the royals might be a couple of examples). I did like the “camelflage” gag, though.

This lively, highly enjoyable production flowed effortlessly from scene to scene, punctuated at regular intervals by numerous inventive routines dreamed up by choreographer Mandy Grace, danced by the company, as well as the truly versatile children’s team (“Binbad” on the night I attended).

Philippa Lucas and her faultless four-piece band blended in perfectly throughout and lighting (Ian Barlow) and sound (Jonathan D’Elia and Tim Crump were used to great effect, particularly during the storm scene.

After a year’s break, your regular dame, the ever-reliable and charismatic John Shepherd, was perfectly cast as usual. (I liked the idea of all the traditional panto routines (“behind you” and so on) being explained to first-timers by him beforehand).

Debutante principal boy Charlene Edwards’ performance held our interest during the show – well done. Camel keeper Binbad (Ernie McGirr) was strong and imposing. As for his “charge”, Camilla, I totally fell for her, and I can honestly say I have never seen a camel dance a Charleston before! Not surprising, since, along with equally talented Nicola Wood, Mandy was under the beautifully-made skin.

Hazel Istead, with her personable acting style and strong singing voice, made an ideal princess.  Her fellow “baddies” (Richard Seagroatt and Dot Reid) were well-matched and showed their experience in their “evil” characterisations, despite the occasional prompt from the equally experienced Theo Spring in the corner.

Earlier on, I had been somewhat mystified during the fight scene when the attendant had been strangely muted. The mystery was solved in Act 1’s closing number when the amusing Gordon Drayson found his acting and singingvoice (and stage presence) as Chilla the snowman in an uplifting company version of In the Summertime.

Some attractive soft orange and yellow lighting tones on the backdrop accompanied the opening hula number for the second act, danced well by a team of appealing young ladies. Another impressive combination of lights and routine made up the ensemble number We Will Rock (or should that be Roc?) You.

Frequently used novelty song If I Were Not, with its accompanying “ducking and avoiding”  business, has to be perfectly timed and well-rehearsed. The line-up of principals - including an appearance by Camilla (who also acted as a mobile songsheet later on) - didn’t disappoint.

I thought Becky Morris as Saleena played her part to perfection, especially in the neatly re-titled Shop of Horrors song, Suddenly Sinbad, and Jess Bailey made an impact in her first role. Ian Watson captured his role well as the Caliph and Ian Caldecourt  gave a towering performance in more ways than one!

Thank you for the comprehensive endorsements of NODA in your well-produced programme (front cover Gordon Drayson). They were appreciated.

Following the well-chosen curtain song, Pantomime, your enthusiastic and entertaining company sang “Cheerio Until We Meet Again”.

Same time next year? Do invite me!

Phil Wilcox, NODA