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Table of contents

But she has not reckoned with the gregarious force of Granny Hurdy-Gurdy the indefatigable Joe Conlan , who, in a series of outfits that get ever more ridiculously stylish as the show goes on, is determined to steal her thunder and thaw the heart of every panto hater. The musical numbers pay homage to traditional music theatre. The scene-setting ensemble opening number, which enumerates the various charms of the pantomime form with dizzying speed, is particularly impressive.

Robin Hood

Crosbie infuses other traditional tropes with a modern sensibility. In a visual nod to the pantomime horse, our narrator Michael Joseph is a rainbow-farting, gender-fluid fairy godmother. There are other politically topical notes — Brexit and vegans get the satirical touch — but Crosbie is happy to indulge the escapist fantasies of children and their grown-ups. As Granny Hurdy-Gurdy reminds us, panto is not just for kids any more. Sara Keating.

As always in panto, subtlety is at a premium. The real stars of the show are the gloriously lascivious Buffy and the more conventionally cheeky Sammy Sausages Hughes , who helps keep things on an even keel for younger audience members.


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Both characters zing off each other with gags of such a saucy postcard stripe that even Sid James might blush. Under the direction of Sean Gilligan , the pace rarely flags. Of particular note are the wonderfully energetic but beautifully controlled dancers, as choreographed by Paul Ryder , who also brings camp glamour to his role of Sparkle. A show with so many disparate elements runs the risk of being too busy, but production and performances come together wonderfully, indeed hilariously.

Howard Pyle

By the end, even the most anxious dads including this reviewer have given in as they are rounded up on stage by Buffy. Resistance is futile. Mick Heaney. Things are bad in Merryville these days. He has also banned music, and the villagers are so hungry and depressed they have started rioting over bread.


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So far so very familiar. Pantomime is a theatrical free-for-all in which production companies enjoy bending traditional material to their often incomprehensible will.

Why a New Robin Hood Arises Every Generation

All pantomimes however prefer exploitation to explanation and thus Director Catherine Mahon-Buckley allows the Everyman Cinderella to romp its merry way to goose-feather glory by sending its heroine off to the ball in a coach largely composed of geese. The transformation of Cinderella from kitchen skivvy to glamour girl is one of the challenges of the story and this feathery unfolding of the carriage is greeted with awe and delight.

Not that they need much wringing: the show offers total engagement and the young audience is so joyously committed to events on stage — the more implausible the better — as to suggest not only that they know the script but that they might have written it, goose and all. While the action from scullery to ballroom moves faster than might be usual there is no doubting the poise and popularity of Zoe Talbot as Cinderella and Ross MacLeod as the Prince, both handsome, tuneful and with that touch of personal chemistry which strengthens the core of this fresh, colourful and wildly funny pantomime.

Mary Leland. The five-star choreography performed by a tinsel-encrusted and apparently tireless chorus line elevates this production from the merely seasonal to the any-time-of-the-year marvellous.

Howard Pyle Biography

That trust is not disappointed, although it would assist some of the pivotal moments if a tiny pause for effect could be inserted occasionally in the repartee. Critical events like the exchange of the new lamps for old could be rescued by simple stage-craft. While the gilded sets reflect the geographically confused locations of the plot the only place that matters is the cave, with its Genie a terrific Barry Keenan and his flying carpet.

Swooping and hovering above the stage this magic flooring quietens the auditorium to a hum of wonderment until hilarity is restored by the chase to rescue the lamp from the evil Abenazar Michael Grennell in fine voice. The unabashed over-acting is justified by the response of at least five hundred children exercising their license to scream. Any attempt on a radical new version of the centuries-old tale of Jack the Giant-Killer is something akin to reinventing the wheel. In its latterday reincarnation as Jack and the Beanstalk, the unequal clash between an immense, insatiable cannibal and a gormless country boy has gone through many and varied stage presentations.

This year, however, new director Andrew Wright has gone back to basics. As befits a Qdos show, production values are sky high but the humour and storytelling are gentler, the costumes dazzling with picture-book charm rather than gaudy sequins and the pop-up set changes framed in beautifully painted backdrops. The interval is signalled by May taking off in a helicopter over the heads of the audience on a rescue mission to the top of the beanstalk. And to keep us on our toes, a pair of Italian roller-blading acrobats perform a death defying sequence, which adds little to the narrative but whose sheer daring takes the breath away.

Jane Coyle. Our hero is Boy, a large-headed, stick-limbed boy with a wondrous capacity for adventure. One night Boy wishes on a star for a star of his very own, and the play charts his attempts to catch one. Told in four paintings and a decorated text by Howard Pyle. The image at left is from the edition of The Island of Enchantment , one of dozens of books he illustrated during his heyday. At the right is the cover of one of the final books to appear featuring his work, Saint Joan of Arc , by Mark Twain.

Published in , eight years after his death, the images were done in for Harpers. Pyle died from a kidney infection while he was in Italy in His legacy is ongoing.

Charlotte Harding (Illustrator of The Burglar and the Blizzard)

The Henry Pitz biography has a list of students that attended his various classes. And every bookstore that sells illustrated books from the Golden Age. You are commenting using your WordPress. You are commenting using your Google account. You are commenting using your Twitter account.

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Howard Pyle

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