Jack and the Beanstalk
Until Sunday, January 9
Theatre Royal Windsor
theatreroyalwindsor.co.uk
HOW do you make magic from the same old, same old? Just take some beans.
I don’t know what type Steven Blakeley has been nibbling on while writing Jack and the Beanstalk, but he’s hit gold.
This is a brilliant show that takes all the typical pantomime tropes and he makes them feel fresh and relevant.
Not only is he the writer, but he is also Dame Dotty Trott.
Now in his 13th year at the Theatre Royal Windsor, he is in complete command of the role, ensuring he has the audience eating out of his hands.
Joining him is Kevin Cruise as Simon Trott. Their enduring comedy double act shines throughout, particularly through the set pieces.
The messy slosh scene could go to pot in lesser hands, for example. Here the laughs keep coming, even after the gunge has hit the floor.
Also returning is Basil Brush, the fox who has entertained generations of children, their children and their children’s children.
He remains hugely popular with all ages and his residency in Windsor is once again a hit.
There are two other ‘star’ names: Shirley Ballas is the pre-recorded voice of the giant, allowing for much Strictly Come Dancing tomfoolery and dancing.
It’s a neat pirouette to see the giant as a woman.
It’s a trick repeated with Fleshcreep: veteran star Anita Harris takes on the role with aplomb.
She visibly relishes chewing the scenery, threatening the cast and playing against type. It’s a terrific turn, soliciting boos and hisses in all the right places.
Alice Fillary is another returnee. In last year’s aborted run, she was Cinderella. This year she is Jill, the love interest to Jay Worley’s Jack Trott.
She has an amazing stage presence, gracefully lighting up the stage and with a terrific voice.
Jay matches her performance with his enthusiastic, friendly and heroic Jack. He was a delight to watch.
And Elizabeth Carter spreads magic as Fairy Daffodil, helping keep the show together and ensure there is a happy ending.
Sadly, the pandemic means the ensemble is limited to adult dancers. But given the extra space they shine, with several, rightful, moments in the spotlight.
The show moves at a fair pace, and the balance between song, comedy and action is perfectly pitched.
The 12 Days of Christmas routine received riotous applause, while Basil’s boom booms entertained throughout.
The Strictly leitmotifs run pleasantly throughout, there are jokes for all ages and the run time is enough to make you wish they’d keep dancing.
It’s a 10 from me, dah-ling.
