The Everyman’s search for the goose that will lay a golden pantomime egg continues in Rapunzel, their latest reinvention of the legendary Rock’N’Roll Panto, and they have certainly come up with a show that is full of colour and music in this latest shake-up of the dressing up box, penned by Jude Christian and directed by Francesca Goodridge.
Christian’s take on the traditional folk tale nods appreciatively at the Grimm Brothers’ version whilst scampering past into a world that marries The Salon with shades of Rumpelstiltskin. For Rapunzel’s hair is not just long here, but magic, and she has been locked in a tower (St John’s Beacon no less) by manic Mancunian coiffeur Danny Ruff, much to the despair of his Scouse arch rival Debbie Updo.
This pair of hapless hairdressers form the central core of Christian’s story, and they are played as a pair of knight and dame bookends, Danny in a decidedly up-for-it wide boy caricature played by the brilliant Zoe West, with Debbie a grumpy Michel Starke, who feigns veiled chagrin in donning a series of costumes from tutu to ballgown, but is obviously loving every moment despite what his face is trying to say.
Whilst Ai Kumar puts her all into her Rapunzel, the character is surprisingly left in the background for a lot of the time. Much of the comedy and, for that matter, the best musical material, is given to a collection of assorted salon workers Goop, Laurie and Trevor, and the bob-cut bozo Prince Timotei. Emma Bispham, Rebecca Levy, Tomi Ogbaru and Ben Boscovic all put in a series of great vocal and instrumental performances in what is, after all, the star of the show - a collection of popular hits spanning the decades, expertly assembled by musical superviser and arranger Jamie Noar. As usual, the band (perched to the rear of the set) is made up mostly of the acting cast members, while the musical director Dylan Townley returns the favour by appearing as The Weather Man. Panto veteran Adam Keast, too, has some great musical and comedy moments as Fairy Fixer-Upper (who thankfully never actually demonstrates his supposed ability to fart glitter), but a good deal of his part is given in puntastic monologue.
On Janet Bird’s colourful, stylised set, the band occasionally becomes the focus of the show. Goodridge’s direction makes sparing use of Rebecca Levy’s choreography, and often there are only one or two players actually up front, leading to a lack of visual excitement at times. There is also a dearth of contrasting darkness and light in the narrative, mirrored in Gillian Tan’s lighting plot, which casts aside all hint of shadow. Nonetheless, the music and the obvious enthusiasm of the cast succeed in firing up the audience, and the show hits its target squarely.
Whilst there is certainly room for more thrills, spills and magic and the direction lacks a soupcon of the Everyman’s traditional Christmas lunacy, the show packs a real punch, especially in the musical department, which is surely the key element of the brief. This is clearly another hit for the company.
Rapunzel is letting down her hair at the Everyman until 18th January, and is in danger of selling out, so be quick about it. Just in case you were worried, tickets are also available for the 2025 panto Jack and the Beanstalk, so there’s no excuse to miss next year’s outing either!
Star Rating 4 stars
This review was originally written for publication by Good News Liverpool
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| The cast of Rapunzel - picture © Marc Brenner |
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