Bursting with talent and sunny, light-hearted fun, Mother Goose holds the audience spellbound at every moment from the first split second to the final bow. An uplifting tonic to the system and warm therapy for the soul, this sensational Ian McKellen panto show is truly a great Knight out.
Pairing Sir Gandalf McKellen with broad Scouse comic John Bishop may seem a quirky move, but as Vic and Caroline Goose (aka Mother Goose) they prove to be a magical dream team, their touching romance winning everyone to their side. It works because, while Bishop’s thespian side has him subdue any louder, brasher (even annoying?) elements of his stand-up ego, our octogenarian Lancashire lad, being a proper act-or, creates a pantomime Dame who’s not just one of those outlandish, preposterous caricatures that usually appear but a more rounded human with subtler feelings and emotions. The pair’s natural, relaxed chemistry, charisma, charm and outstanding audience rapport, both individually and as a married couple, ensure perpetual warm smiles adorn every face, onstage and off, interrupted only by frequent bouts of laughter. Into the bargain, every cast member and musician sparkles with talent, giving their all in scintillating solos, duets and ensemble work while thoroughly enjoying themselves in the process.
Jonathan Harvey writes an uncomplicated storyline, the characters and relationships taking centre-stage in a classic fairytale scenario in which good overcomes evil and the finer virtues of human nature prevail over the corruptive power of wealth and ambition (hoorah!) Never rushing yet never over-labouring any element, Harvey pops in every traditional panto ingredient known to man while keeping everything gliding neatly along with constant, unflagging momentum.
The audience, though largely adults, is up for it all – booing, hissing, shouting words and warnings; groaning and laughing at puns, quips and punch-lines, old and new, and at political swipes at the likes of Boris J and L Truss and Cruella (sic) Braverman. There’s messy slapstick silliness, apparent ad libs and asides convincingly delivered with fresh relish and great timing, amusing costumes, pyrotechnics, soakings from water-guns, showers of sweets, bouncy balls and glittery confetti and, of course, a ghost behind a bench in a creepy forest, a big sing-a-long and obligatory double entendres. Thankfully, our National Treasure’s innuendo never becomes too overblown or offensive. No one would like to see that. His Damely outfits, though, are a pleasure to behold. Instead of traditional, over-the-top creations made of tea-cups, candelabras or body parts, their elegant extravagance ranges from Hilda Ogden rollers and pinny or beefeateress dress to floaty negligee, fur-coat or My Fair Lady grandeur, accessorised by hair, hats and handbags galore and a lively dog on a leash; a mass of eye-popping outfits from Mother Goose’s days of global mega-stardom also feature, taken on photo shoots with big celebrities like Rishi Sunak and Spare Harry. McKellen’s frocks were all acquired for an outrageous figure, but Bishop gets his costume changes, too, and is most impressive in his bearskin.
Fine back-cloth backdrops and simple props set us where we need to be, starting at Mother Goose’s animal sanctuary for waifs and strays in a defunct Debenham’s building and giving scope for quirky animal outfits, hand-puppets and a llama that identifies as a donkey. It’s here that Cilla Quack arrives as the goose who lays the golden eggs. Vivacious and vibrant, Anna-Jane Casey is a singing, tap-dancing, Cilla, whose Don’t Rain On My Parade is magnificent. Thrilling, too, are solos and duets from enchanting good fairy Encanta, (Sharon Ballard) and malicious bad fairy Malignia, (Karen Mavundukure) with a phenomenal River Deep, Mountain High. As the golden clad King of Gooseland (and a goat) Adam Brown is delightfully fairylike and engaging while Richard Leeming’s repressed bat is nicely endearing. Fine singing and acting come from sunny, smiley Oscar Conlon-Morrey as the Goose’s bouncing son, Jack, and strong, too, are Simbi Akande as Gill and Genevieve Nicole as Puss (in Boots) though her Camilla gels less well. Even Sir Ian is up for dancing and singing, albeit less powerfully, his quietly sung final words of Tomorrow conveying heartfelt emotion to great effect.
Though Sir Gandalf does suffer the odd flashback, the show is not particularly marred by Orcs, and it’s probably the first panto to be enhanced by a fine dramatic monologue that proclaims that the quality of mercy is not strained. Bishop has a go, too, at a sonnet, the perfect medium, it turns out, for comparing his beloved wife to a summer’s day.
The joy is stupendous and Sweet Caroline’s full-throated finale has everyone on their feet, singing in heartfelt agreement that good times never seemed so good.
Eileen Caiger Gray
The show tours until April. For more information, venues and tickets follow this link.
