Dick Whittington

If you’re looking to see a pantomime within the next week or so then may I suggest you hot-foot it over to Southbourne without delay. This excellent offering by All Saints, although at a little over three hours a tad over-long, has every ingredient you could possibly wish for, plus a few more besides.
Norman Robbins’ script is extremely well written, with the company’s own local references providing additional humour for those in the know. Clearly no expense has been spared when it comes to costumes and scenery, all of which are absolutely superb as well as having been pretty much home-grown, and there is a great four-piece band. The latter plays a great overture, stuffed full of tunes with London themes and including the spine-tingling opening bars of Baker Street, brilliantly played on sax by Mike Hopkins. I loved the songs too, ranging from pop to show music, while choreography is outstanding, especially the second act belly dance.
Several of the adults currently taking part began performing as children in the company’s pantos and now their own youngsters are among the tinies providing the ‘aah’ factor – and well-drilled they are too, not least one little lad who at one point led the ‘soldiers’ off stage in a manner the army would have been proud of, arms swinging in perfect time. And there was another small soul whose rat death-throes were so athletic that I ached just to think about it. Little stars, all of them. There is a superb principal cast, strongly led by the ever-excellent Rosie Hodgkinson as Dick Whittington himself. Fairy Bow-bells, here a cross between a punk and a Valkyre, is beautifully played by Paula Davies, as is her adversary King Rat (John Sivewright). Scott Heaton is the perfect choice for Idle Jack, who had the audience eating out of his hand within minutes of curtain up, although they were less keen to accept his proffered rat droppings. Tony Edwards is splendidly outrageous as Sarah the cook and there are great performances too from Simon Trueick (Captain Port) and Rob Arrowsmith (First Mate Starboard).
Sue Josey is delightful as Tommy the cat, as are Rachel Mackrell as Alice Fitzwarren and Brian Foley as her father, while Suzzi Dellow (Miss Clatterclogs), Jenny Wise (Zubediah) and especially Mechelle Summers (Sultana Bunn) impress in their small roles.
Add to that a lively, sparkling chorus and an amazing backward-flying seagull and it’s gold stars all round for the production team, Lesley Lock & Lisa Miller (directors), Alastair Hume (musical director) and Claire Camble-Hutchins (choreographer).

Linda Kirkmam

Dangerous Corner

JB PRIESTLEY’S play deals not with the corners one negotiates around Brands Hatch, but the far deadlier variety, those into which one paints oneself.  The story, told in three acts, deals with how each of the seven main characters have got themselves into their own personal dangerous corners, and how sharp the edges of those corners are, to both themselves and their companions.

The stories are teased out one by one as the company pick away at the threads of their lives together, gradually revealing the dust that has been swept under their collective carpet, and showing how a chance remark or stray thought can lead one down very different paths to the way one had planned to go.

The script is rich and involving, with plenty of humour and laughs to accompany us as we watch the “car crash” unfold before our eyes, and Peter Nunan’s production makes good work of bringing out the humour and the anguish that ensues.

The cast are all to be commended on a very fine performance: Bronwen Thompson’s Miss Mockridge was a lovely cameo; Debra Slee, in her first speaking role as Freda Caplan, seemed a little over-keen in Act One and “bit” her cues a little, but was excellent as the play progressed; Felicity Pringle was particularly strong as the lovelorn Olwen Peel; and Asya Zuyeva and Dan Rumsey as Betty and Gordon Whitehouse were entirely convincing.

Phil Vivian played Robert Caplan with aplomb and excellent timing,  and I very much enjoyed Mark Andrews’ measured performance as know-all Charles Stanton, but Mr Vivian spent too much of the play square on at right angles to the audience, and Mr Andrews too much of the play leaning on the furniture.

Good as any set may be (and this was very good), I am nonetheless more interested in watching the actors than the scatter cushions, and I like to clearly see the performers’ faces and body language. Both of these issues could have been alleviated by having the action and blocking brought downstage a little to allow for that slight turn or more confident step forward which can make all the difference. But if that is the only corner the production needed to negotiate, it’s really only a very gentle one.

Gareth Richards

Cash On Delivery

This production, a farce by Michael (son of Ray) Cooney, is performed splendidly well by All Saints Dramatic Society.

The two characters that immediately spring to mind are Dr Chapman (Bronwen Thomson), quietly manic as the marriage guidance counsellor and with faultless timing, and Uncle George (Tony Edwards) of which it can only be said that each and every time he made an appearance he sent raptures - and in some cases ruptures - of laughter throughout the audience long before any lines were - very confidently - delivered.

Eric Swan (Mark Andrews) and Norman Basset (Phil Vivian) never missed a beat and were hugely convincing in their respective roles, along with a very stern Linda Swan (Jenny Wise), who, when in the second act shouted at her on-stage husband, clearly frightened the woman in the seat in front of me.

DSS Inspector Jenkins (Brian Foley) received two extremely well-deserved impromptu rounds of applause from the audience as he skilfully developed his character throughout both acts. Forbright (Michael Newbold) played the ‘serious’ character superbly, a difficult task in any farce.

Sally Chesington (Jenni French), Miss Cowper (Nina Eyre) and Brenda Dixon (Debra Slee) all added to the total mayhem that eventually ensued, proving without a doubt that all ten performers worked closely together as one. Rehearsals must have been a riot.

There were a couple of prompts but they were very slick and almost undetectable.

I attended opening night, which could have possibly been slightly ‘tighter’, and may I recommend that as you can still purchase tickets for Friday and Saturday you should do so, otherwise you will miss a treat.

Directed by John Sivewright and ably assisted by Louise Tawn, together with a host of the society’s members who worked tremendously hard, made this a very fun filled night out.

Brian Harries