The Catford Broadway Theatre is literally on my doorstep, and home to this years’ panto – Sleeping Beauty. Witnessing my local community sharing in a very British Christmas tradition was akin to peeling open an advent calendar – satisfying and sweet.
The audience – filled with Christmas jumpers, tiaras and glow-in-the-dark wands – erupted into cheers, as an effervescent five piece band heralded the safety curtain flying out.
We entered the world of Lewishtonia, where three fairies (in true Hamilton style) tell the tale of newborn Princess Tahlia. The princess who is about to be christened, is guarded by three protective fairies, who grant her three wishes. The evil fairy Carabosse, who feels shunned by the festivities, casts an evil curse that endangers the life of the Princess.
Her family – King Eric, Dame Nanny Nora and Denzil the Dragon will do anything to shield her from the wicked clutches of Carabosse and her evil hench men, or rather wolves. Fast forward to Prince Gabriel (betrothed to Princess Tahlia many moons ago), who endeavours to save the Princess from her gloomy destiny. But will the time limit on breaking the curse run out, or will his prejudice of others not like him get in his way?
Roshani Abbey gives a loveable, well-rounded and very amiable performance as Princess Tahlia. She is not your typical submissive princess. Princess Tahlia, fights to protects who she loves, speaks truth to power, and all this whilst belting out heart-warming songs.
Sleeping Beauty indulges us with saccharine scenes of children who enthusiastically take on the roles of citizens, woodland animals and even a unicorn. These budding performers sing and dance with great vigour and to their credit bring the cute factor every time they make an entrance.
The scenes shift swiftly, creating the desired magic, comedy and wonder of panto. In accordance to panto tradition, we are treated to double entendre, ad libs, slap stick and physical comedy, flirtations with theatre goers and raucous audience participation.
Justin Brett’s portrayal of Dame Nanny Nora is witty, charming and commanding. He manages to incorporate the traditions of the Dame, whilst bringing his own modern twist to the role.
Another stand out performance is by Carabosse, played by Lisa Davina Phillip; a performance which is deliciously evil, gutsy and camp. Phillip’s sensational vocals are sung with aplomb.
At times, I found it hard to hear certain words, lyrics, or punchlines – possibly due to the sound quality or the echoey acoustics of the theatre. The set and costume aesthetic seemed as if a medieval artist had stumbled upon a children’s nursery, found a book of fairy tales, and drawn inspiration from it. The costume, choreography, and set were solid yet simplistic. I wished that these elements had been elevated. However, kudos to the neon dark forest, which featured suspended creepy crawlies, larger-than-life thorns, and a wonderful ogre puppet (of which I would love to have seen more).
Writer-director Susie Mckenna delves humorously into the zeitgeist, commenting on southeast London’s ghettoisation as well as the gentrification of areas such as Peckham, Croydon and Dulwich. Mckenna shows her political leanings, ridiculing right wing Tories Jacob Rees-Mogg, Liz Truss and Kemi Badenoch, all while addressing the demise of the NHS and the dire state of our polluted rivers.
The beauty of the panto (see what I did there?) is the central message, which is threaded throughout this diverse and inclusive production: put an end to the borders between us, and to always lead with empathy and compassion.
Need to know: Sleeping Beauty is playing at Catford Broadway Theatre until 31 Dec 2024
