Sleeping Beauty
Theatre Royal Windsor
Until Sunday, January 8
01753 853888
THEY say you should always leave audience wanting more – and that’s true for the Theatre Royal Windsor’s Sleeping Beauty. You leave wanting more, more, more.
The show is a sparkling couple of hours of entertainment, with songs, skits, jokes, spectacle, and dancing. It whizzes by and, before you know it, the cast are taking their curtain call.
Forget the city, this is a show that never sleeps, even when its titular character is caught napping.
From its opening moment, with Elizabeth Carter’s Fairy Sunbeam setting the scene, through to Kevin Cruise’s I Am The Music Man song with young theatregoers, this is a fast-paced, action-packed, laughter-filled joyous night out that delights all ages.
Elizabeth is full of sunshine – her smile lights the stage, and her voice is like an angel, not a fairy. She is a magical addition to the show, and the first to appear, welcoming audiences with aplomb.
Next to appear is the evil Carabosse, played by the magnificent Anita Harris. Within her first few moments, the audience are booing her loudly. It sets the scene for the dastardly deeds that await and it’s everything you could wish for in a panto villain.
This is a special pantomime for Lauren Lane, who stars as Princess Aurora, as it is her debut. You would never know, such is her natural stage presence. She tackles her big numbers with joy, and manages to make her whirlwind romance convincing even though it happens in the rustle of a sweet paper.
Basil Brush needs little introduction. The wily fox has been entertaining audiences for nearly 60 years, and knows exactly how to pep up a dull moment. His residency at Windsor? Well, long may he reign. He is fabulous and makes every scene hilarious.
Also returning are the two comic turns in residence: Kevin Cruise as Chester the Jester, and Steven Blakeley – who once again writes as well as playing the dame – is Nurse Nelly. Both are hilarious, individually and together. They have the audience in stitches for all manner of reasons, from corny jokes to visual gags.
This year though, they felt a little restrained compared to previous years, and it felt as if we didn’t have enough of them. That’s probably not true, but quite simply, we needed more of their hilarious antics because they are so good at what they do.
They all had fantastic entrances – Kevin was on the up, while Steven was on his way down in a memorable Cabaret-style spoof. Joyous, wonderful, exciting and over the top, it was everything a panto should be.
While the show contained some popular routines, including The 12 Days of Christmas, with its bra that is made to hold three, some of them felt rushed or not fully formed. The sloshy messy set piece felt a bit too familiar, and could have done with a bit more jeopardy when it came to the finale. What it had in Rice Krispies, it lacked in slosh, so it wasn’t the messiest it could be.
It still got big laughs and that’s the main thing.
Also missing was the junior ensemble – covid still means panto is not fully back to normal. Their presence would have added some pep to the big musical numbers, which were beautiful to watch thanks to the talented adult ensemble, not least when Carabosse gained the upper hand at the end of the first act. Hopefully they will return next year.
And then there’s the love between Prince Edgar (David Luke) and Princess Aurora. It came after a first meeting at Beauty’s 18th birthday party, and just before her massive nap. It wasn’t so much of a whirlwind romance, more a hurricane.
If the prince had appeared at the beginning – on his way to the party perhaps – it could have sold it better.
Just as slight is the way in which the goodies get past Carabosse to rescue Beauty. Again, the junior ensemble could have added something, while a bit more danger would have given this some punch. But it looks amazing. Carabosse gets her comeuppance and her redemption, and even a festive miser will be cheering her on as she does so.
This is a wonderful show, a real festive treat. The audience was clearly having the time of their lives, the jokes land well, the songs are well chosen and get the auditorium buzzing. By the time the 12 Days of Christmas comes round, excitement levels are fever pitch.
Asking for more feels very selfish. This is a panto directed beautifully, written well, with some terrific choreography, jokes and magic, starring some incredible talents all at the top of their game. Two hours in their company is not enough and, when the curtain comes down, the audience wants more, more more.
Don’t be caught napping, you don’t want to miss this fabulous family-friendly panto.
PHIL CREIGHTON
