Dick Whittington Pantomime
It’s that time of year again—oh yes it is—when audiences across the country descend on their local theatres to revel in the festive chaos of traditional pantomime. This year’s offering at The Little Theatre in Leicester is the much-loved Dick Whittington, complete with some fabulous contemporary twists. Love it or loathe it, panto is a seasonal staple, and this family-friendly, delightfully silly production is one that certainly shouldn’t be missed.
First of all, huge congratulations go to Leicester’s own John Bale, who not only devised, wrote, and directed this winning show, but also created the dazzling array of sparkle-tastic costumes. And as if that weren’t enough, he also takes to the stage as Alderman Sarah Fitzwarren, our larger-than-life pantomime Dame. What an extraordinary talent—Leicester should be very proud! The script is wonderfully humorous, offering plenty of silliness for the children and just the right amount of innuendo for the adults (sometimes subtle, often delightfully not so subtle). More than once, I find myself barely recovered from one joke before the next one has me laughing all over again. The more contemporary jokes are also a welcome addition and always hit their mark. Panto has always been more about spirit than storyline, and while there were moments where I am not entirely sure whether I’ve lost the plot—or the plot has lost me—the sheer joy and energy of the humour makes that completely irrelevant.
Bale’s Dame is nothing short of incredible. Having played the role for many years, he is completely at ease on stage, bringing a welcome finesse to a character that can so easily tip into excess. The raucous applause and cheering that greet his entrance make it abundantly clear how beloved he is in this recurring role. Opening this evening’s performance, Keiran Whelan-Newby, as the Spirit of the Bells, sweeps onto the stage with a flourish, bathing the auditorium in a warm glow. Like Bale, his experience shows; he immediately wins over the audience with his sass, charm, and quick-fire rhyming couplets. Praise must also go to Musical Director Paul Timms for his song choices, which allow Whelan-Newby to showcase his wonderfully smooth baritone. Dick Whittington (Rose Adams) and Alice Fitzwarren (Ellie Cassie) form a sweet duo as the young, naïve lovers at the heart of the story, and the audience clearly delights in watching their gentle romance unfold. Both are very confident performers.
Bringing an extra dose of silliness to the stage, Idle Jack (Thom Jones), Captain Cockle (Allan Smith), and Bill Barnacle (Russell Webster) are comically outstanding. Each actor perfectly encapsulates their character, generating joy and laughter throughout the theatre. Jones’ physical comedy is particularly impressive as he frolics, tumbles, and throws himself wholeheartedly into every moment. As a duo, Smith and Webster deliver some of the quickest, most rapid-fire jokes this side of a stand-up routine. And when all three appear together—armed with a collection of cream pies, no less—the audience’s excitement instantly spikes, knowing full well that whatever comes next is bound to be hilarious.
King Rat (Simon Butler) is excellent as the villain, and he clearly revels in the role. Encouraging boos and hisses from the audience, and bathed in a cold blue light—contrasting beautifully with the warm yellows and golds that surround his counterpart, the Spirit of the Bells (lighting design by Alex Crooks)—Butler bounds onto the stage with infectious energy. His sneaky, scheming rat persona is heightened by his sharp physicality and comic swagger.
Tommy the Cat (Lyd Rushton) delivers one of my favourite performances of the evening. I have enormous admiration for performers who communicate thoughts and feelings purely through movement, and Rushton excels in this silent role. Every gesture and facial expression is perfectly crafted to embody a mischievous, lovable cat, and Rushton never once breaks character—despite the obvious temptation to join in with some of the ensemble numbers. I absolutely loved this performance.
The ensemble (Ruth Birrell, Jessica Exton, Caoimhe Gavagan, Emily Hammond, Keira Shepherd, Ella Smith, Olivia Tait and Eden Walsh) work incredibly hard and are all highly adept dancers. Under the direction of choreographer Caroline Walsh, not a foot is put wrong, and the choreography itself is wonderfully ambitious. Ranging from the Charleston to street dance, the show practically takes the audience on a whistle-stop tour through the history of dance. One of the standout moments of the evening, the number “Sway,” truly showcases the talent of both the cast and the production team, featuring elegant movement, stunning costumes, smooth crooning, and just the right dash of humour.
With opening night comes a few understandable nerves, and I’m sure any tentativeness—or the occasional too-speedy line—will settle as the run progresses. There is plenty of experience onstage to support the less-seasoned cast members, and that ensemble strength shines through. The musical numbers are at their best when the full cast joins together; these moments feel vibrant, confident, and full of energy. Some of the smaller solo or duet numbers do slow the pace slightly, but they also give individual performers their chance to shine, which is a key part of the charm of a community-centred pantomime.
Overall, Dick Whittington at The Little Theatre is an absolute treat. Whether you’re a lifelong panto lover or someone who approaches the tradition with caution, there is more than enough here to keep you thoroughly entertained—and the little ones in the audience absolutely adore it. There are still tickets available throughout the run, and this show, with all the hard work and energy poured into it behind the scenes, truly deserves a full house.
You will be dazzled by this production (and not just because of the six kilograms of gold glitter used on the set!), so make sure you grab your tickets before they sell out. You won’t regret it… but do remember to bring your raincoats.
Dick Whittington is playing at The Little Theatre until Sunday 4 January.
Photography credit: Jonathan Pryke
