Skip to main content

Review of The (Almost) Complete History Of Britain by The Pantaloons at The Castle Theatre, Wellingborough

It became very apparent quite quickly during History Of Britain that to get full value from the experience, it would be worth regressing to childhood. Targeted at all, but with quite a lean towards the younger members of the audience, I switched off thirty years of life and found it much easier to chortle at The Pantaloons.

Dressed in paint speckled dungarees, the four performers are present in the theatre long before the show is ready to begin. Running through the foyer and mingling with the audience in the stalls selling their programmes, this is already a pretty entertainingly silly night before it begins. Our four performers Edward Ferrow, Kelly Griffiths, Neil Jennings and Alex Rivers have infectiously exuberant personalities and no matter how bad the jokes they throw at us get, you often can't help but have a little chuckle.

The writers responsible are Mark Hayward and Stephen Purcell, who also direct. They drag us through the history of Britain missing out vast amounts of it in the process, but with a soul purpose to entertain in a clownish way. It starts off rather clunky with hard work pieces featuring ancient Britain and a quiz take on War of the Roses that doesn't quite work. However things quickly pick up with the life of Henry VIII dealt with in an extremely funny way.

The Gilbert & Sullivan musical treatment of the Spanish Armada is without doubt the highlight of the show. Magically rewriting some their most well known tunes to tell the tale, with the best their version of The Mikado's I've Got A Little List. This also leads into perhaps the best lead in to the interval I have seen for sometime. Magic!

The second half opened with some audience interaction (hunches down in seat) and the splitting of the audience for the Civil War. I knew my history enough that once I was on the side of the Cavaliers, my days were numbered. The two audience members on stage were great value with their trading insults routine, but I have no idea what is wrong with picking fluff from your belly button.

Highlighting the fact that the best bits of the show were the musical parts the Victorian age done cabaret style was a little gem with a singing Charles Darwin and Florence Nightingale among others, and very funny songs to boot. The Great War was presented with surprising style and refinement for what had been a very much clowning show and it was bold, but quite wonderful to include the work of Wilfred Owen, which was performed wonderfully by Neil Jennings.

The final main piece before the whistle stop tour of the twentieth century was Uptown Abbey, a pastiche of something else completely different to avoid copyright infringement. It moves us between the two wars and provided two of the best comedy moments of the night with a "You rang m'lord" joke and one featuring more than one hat. Great stuff!

So an entertaining night featuring quite a few magic moments of entertainment. Not high art at any point and more Cbeebies that BBC4 but we all need some real stoopid in our life now and again, and the Pantaloons provided that.

«««


Performance reviewed: Thursday 31st March, 2016 at the Castle Theatre, Wellingborough.

The (Almost) Complete History Of Britain by The Pantaloons was performed at the Castle Theatre , Wellingborough on Thursday 31st March, 2016 only but it currently touring. Details can be found at http://www.thepantaloons.co.uk/

For details about The Castle see their website at http://thecastle.org.uk/


Popular posts from this blog

Review of War Horse at Milton Keynes Theatre

Michael Morpurgo's novel War Horse was published in 1982. While it was highly regarded and thought to be his best work, perhaps it eventually came to most people's attention when this striking play stormed the stage, thanks to the National Theatre, back in 2007. Now, War Horse arrives at Milton Keynes Theatre as part of another vast UK tour. Adapted by Nick Stafford in association with the award-winning Handspring Puppet Company, War Horse tells the story of the First World War through the eyes of one horse, Joey, sold for a record price from a family battle but eventually shipped off to war-torn France much to the distress of his original owner, 16-year old Albert. The sprawling and epic story should take some staging, but the vast cast, beautiful structure, stunning folk music and, of course, what this play has become known for, magnificent puppetry, all bring the story to life. This production, directed by Tom Morris and revival director Katie Henry, is a magnificent thin...

Review of Murder She Didn't Write at Royal & Derngate (Royal), Northampton

Murder She Didn't Write , stopping off for a four-day run at Royal & Derngate on a lengthy UK tour, treads the now well-worn path of an improvisational evening of theatre entertainment. Unsurprisingly, from the title, this show from Degrees of Error's takes a murder mystery as its inspiration, with the story influenced by ideas from the audience each evening. Due to this, Murder She Didn't Write and a review are very much an individual affair. What I saw in my evening at the theatre will differ significantly from what the audience will see the following evening; however, the fine performers will remain. The touring cast, in no particular order, is Lizzy Skrzypiec, Rachael Procter-Lane, Peter Baker, Caitlin Campbell, Stephen Clements, Douglas Walker, Harry Allmark, Rosalind Beeson, Sylvia Bishop, Emily Brady, Alice Lamb, Sara Garrard, Peta Maurice and Matthew Whittle. For my performance, Skrzypiec, Procter-Lane, Baker, Walker, Bishop, and Clements were on stage alongsid...

Review of Immune by R&D Youth Theatre at Royal & Derngate (Royal), Northampton

The cover note for the script of Oladipo Agboluaje's Immune describes it as "a challenging science fiction play with a large cast", and the word challenging in this case is not a lie. This is a fast paced, multi-cast changing script which leaves little room for error for its young cast in the performance. If the script isn't enough to handle for the young performers, director Christopher Elmer-Gorry and designer Carl Davies have made the situation even more complex for the actors with the set and stage work. Having to manhandle great panels on wheels and a huge cube, which also splits in two occasionally, during scene changes requires skill, coordination and cooperation of a high level. As if all this is not enough, the actual story is epic enough for the relatively small stage of the Royal. Attempting to form an apocalyptic world (albeit only happening in Plymouth) offers challenges in itself, but Agboluaje's script does that in a sort of apocalypse in the teac...