16 Dec 2024
Bob’s back, and it’s as if he’s never been away…
But while it would be tempting to focus on the return of the Arena’s prodigal son – panto legend © Bob Golding – after a gap of five years, let’s not forget that seasonal shows at the venue have been a smash success throughout this time, which is down to the performers and producers who worked their socks off during that period.
So having Bob back in a dress and back on stage, reunited with comedy partner Ian Kirkby after all this time, is really the icing on top of a cake which already tastes delicious thank you very much.
The rags-to-riches tale of Cinderella is one which audiences will be comfortably familiar with, yet writer-producer Paul Hendy has delivered a script which not only feels fresh and dynamic, but includes a twist which establishes him as the M Night Shyamalan of panto.
Fairy godmother-in-training Samantha Womack sets the scene with an introduction punctuated with doof-doof nods to her EastEnders’ past, before we’re introduced to a Cinders (Bessy Ewa) with a difference.
To cheers from the audience, we are told how she is every bit a modern, self-confident woman, who certainly doesn’t need a man to validate her existence, and if she cooks it’s because she wants to, rather than because it’s expected of her gender. Interesting statements to include in a family pantomime, but it never comes across as preachy, if anything feeling somewhat long overdue.
Paul said he was inspired to deviate from preconceptions about the character when his teenage daughter questioned some of Cinderella’s life choices in more traditional productions.
Meanwhile, her BFF Buttons (Oliver Scott), harbouring an unrequited love for his pal, promises two hours of all-new jokes, and he certainly doesn’t disappoint, as Unnamed Villager Number One – fresh from three years’ training at Italia Conti drama school apparently – helps him propel the story forwards.
Forget Oasis, the biggest reunion of the year arrives on stage to the sound of Bad to the Bone, and it’s as if they’ve never been parted. Bob and Ian bounce off each other with the same old familiarity we’ve come to expect, and it’s hard at times to work out how many of their lines are scripted and which are ad-libbed.
As Cinderella’s step-sisters Aldianna and Lidleena – or Aldi and Lidl for short – clad in an array of increasingly outlandish outfits, they are every much the dames we demand, owning the stage whenever they appear.
But there’s a second double act which also delivers the goods, with George Shelley’s Prince Charming – yes Adam Ant does get a mention mums and dads – and Damian Patton’s Dandini proving highly entertaining in their own right.
In fact, this is very much an ensemble production, with the entire cast giving their all, supported by probably the best dancers this reviewer has seen in 15 years of coming to the Arena pantomime. Their clean lines and tight routines were of West End quality, especially in a Strictly Come Dancing section which showed off their talents across a variety of routines. Quite simply exceptional and proving how Evolution Productions constantly raise the quality bar each year.
Regular audiences won’t be disappointed by the inclusion of the Wheelbarrow of Puns and the Ghost Gag Bench, and as you might expect, local references pepper the production, with Harpenden accents, potholes and Luton all getting a mention.
The score – arranged by Alex Turney and directed by “Uncle” Matt Mellor – is packed with a mix of powerful ballads and get-up-and-dance numbers, with stand out songs including Boom! Shake the Room and Everybody Needs Somebody To Love, although a personal favourite was the few lines of Aerosmith’s Dude (Looks Like A Lady) that accompanied one of Bob and Ian’s entrances.
Special mention must go to both Samantha and Bessy for their sensational singing, and the professionalism of the young villagers, local youngsters all worthy of a namecheck, so well done to Freya Barber, Meliha Bork, Megan Cohen, Amber Hopkins, Cait McIntosh, Ana and Eva Papadopoullos and Isla Morton. It can’t be easy joining seasoned talent on stage in front of hundreds of people, yet they never faltered for a second.
This year’s Arena panto really is one of Evolution’s finest, a rip-roaring riot of old school variety and contemporary comedy which doesn’t disappoint for a moment. It’s easy to score with stars in a review, as this show deserves a constellation’s worth, but let’s go with the obligatory five out of five!
All images by Pamela Raith Photography.
