Witty Whittington brings laughter to The Courtyard Theatre
Inspiring dreams, dancing cats, and an unlikely group of friends (along with a flock of sheep impersonating Michael Jackson…) take to the stage with the Courtyard Theatre’s latest pantomime- ‘Dick Whittington’!
Everybody has a dream, and whether it be of love, fame, or freedom, this performance has it all. As Dick Whittington (Callum Henderson) attempts to escape his rural home of Hereford, he encounters Tiddles (Andrew Franklin), a cat seeking a home off the streets. The unlikely pair find themselves dancing through London, meeting a variety of companions and attempting to evade the meddling King Rat (Chris Chandler) who causes problems at every turn. In the face of harsh reality, can Dick find the silver lining and can purrfect dreams really come true?
Like all pantomimes, ‘Dick Whittington’ provided a dramatic story in a comedic fashion; containing the age-old elements of special effects, dancing, and gender-crossed actors designed to entertain a variety of audiences for centuries. Although I frequently watched pantomimes as a child, I rarely attend them now as I find the common slapstick comedy and dramatic acting to be repetitive and, at times, gaudy. However, did this play change my mind? Oh yes it did! The integration of contemporary jokes and references amongst classic pantomime tropes kept the production relevant and refreshing. Watching it, I felt my childhood joy resurface and a gained a new appreciation for theatre.
This production of Dick Whittington united and entertained audience members of all ages with its humour, artistry, and superb singing! The accessible and inclusive nature of this production (I saw the relaxed showing) enabled elderly people with dementia to relive their childhood memories of pantomime, while also offering a safe place for parents to bring their infants and welcome them to this world of creativity and fun. A concoction of light-hearted fun and adult witticism sparked laughter from all audience members but did not diminish the emotive elements necessary to the plot.
The Courtyard’s methods of inclusivity were very effective; by using signs indicating dimming lights or loud noises I found that they prompted moments that may be troubling for those with learning disabilities, yet it did not decrease any effects of suspense or shock during the performance. In this way, I enjoyed having the warnings, but still found the experience immersive with a level of spontaneity that was manageable and thrilling. This was poignant in one of my favourite moments where there was a warning of a dimming lights, but I was still shocked when one of the actors was lifted into the air, seemingly by magic! The gasps of the audience certainly reflected my wonder, and I even heard a young child asking their equally baffled parent how it was possible. At first, I was concerned that enabling babies to join the audience would be disruptive. I was proved wrong as there were many young children enjoying the show, and when one did cry the parents were able to leave momentarily and be met with helpful staff to assist them. It warmed my heart to see a baby giggle at the dancing sheep, and it emphasised the importance of pantomime in cultivating these feelings of joy from a young age. Similarly, the ability to leave seats was utilised by a few of the older audience members, and I felt it eliminated any feelings of restriction or judgement should I need to stretch my legs.
Overall, my favourite aspect of the show was the talent of the dancers. I am no expert on dancing, but the ability of Dani Hardy, Elliott Brady, Alicia Ally, and Marty Tortice to transform into a myriad of characters and bring the stage to life was the highlight of my evening. From ballet to tap dancing, their talents truly shone. Although the tap-dancing sailors and mischievous sheep were my favouri parts of the play, their full effect would not have been possible without the brilliance of the stage lights throwing gleaming colour into the performance, elevating the glimmer of evil King Rat in sickly green or the flash of lightning in the whirling storm; while these lights certainly emphasised my emotions, I did not find them over stimulating. I particularly appreciated how they adapted familiar songs such as ‘House of Fun’ and songs from ‘LaLaLand’ to suit this context. Additionally, Madeleine Macmahon’s performance was especially strong as her dancing fitted the mechanical and robotic nature of her character, Mais1e.
Indeed, the audience is just as important as the stage, and this was obviously in the minds of the performers and creative team as the audience was encouraged to join in with singing, clapping, and occasional conversation. By providing a safe space of people of all ages and disabilities, Dick Whittington created an atmosphere of unbridled joy and I thoroughly appreciated being a part of the smiling crowd.
About the reviewer
Alice Drury is a student of English Literature, Medieval History, and Classical Civilisations at Hereford Sixth Form College. Based in Ledbury, Alice has volunteered in the Poetry House and currently takes part in writing for her college newspaper. In her free time, she enjoys reading and comparing Ancient Greek theatre to modern plays, inspiring her to write her own performances.
