Review: NAPOLEON - UN PETIT PANTOMIME, Jermyn Street Theatre
Photo credit: Alex Brenner
Napoleon: Un Petit Pantomime is the latest in a long line of Charles Court Opera takes on this genre, and follows the familiar pattern. After an opening chorus by Napoleon and some baguette-wielding French soldiers – and some quick changes – we find ourselves in London with George III and the Duke of Wellington. In this version of history, George III has a daughter called Georgina who disguises herself as a soldier so that she can fight for her country. No wonder the fact-checking puppet is soon banished.
Adding suitable pantomime magic to the production is the ghost of Marie Antoinette. The story revolves around finding the Black Prince’s Ruby, which is hidden in a vault in a public toilet off the Strand. The vault can only be opened by the disembodied hand of Nelson – which Napoleon happens to have in his pocket.
All as silly as usual then, and for the most part, just as successful. The opening use of Franglais is soon – and wisely – dropped so that there is only the slighted hint of ‘Allo ‘Allo about the production. The cast of five valiantly play everything from puppet cows to a chorus of disembodied heads, but each has a main role as well. As Napoleon, Matthew Kellett is suitably ridiculous and knows how to work the audience; although it would have been good to have heard more of his fine singing voice.
Another CCO stalwart, Jennie Jacobs, is a forthright Duke of Wellington with more than a hint of a traditional Principal Boy, nicely contrasted with Amy J Payne as Georgina, carrying much of the story and doing so very well. As King George, Elliot Broadfoot looks every inch the panto king and his energy and commitment catches the eye whenever he is on stage. His call and response with the audience perhaps happens rather too often, but he works the routine well. Completing the cast is CCO regular Rosie Strobel, commanding the stage as well as managing to make her entrances through a small picture frame despite her towering wig.
It’s essentially an ensemble piece, and there are quite rightly no lead roles here. Much of the audience enjoyment comes from noting that the cast seem to be enjoying the experience too, and that is a hallmark of CCO pantomimes. At suitable moments, the weak jokes (perhaps one too many) are abandoned for rhyming couplets and there is an opportunity for a couple of “volunteers” from the audience too.
CCO Artistic Director John Savournin has once again written the show and co-directs this year with Benji Sperring. Savournin is not in the show as he is appearing with the ENO on a rather larger stage, and his absence is felt. Sets and costumes from Lucy Fowler are magnificent however, and highly effective in such a small theatre. She manages to build in all kinds of openings and doors in her witty design as well as including the important route to the Jermyn St Theatre’s toilets.
The theatre is an ideal location for CCO pantomimes; the L-shaped seating banks provide close contact between the cast and audience and with a good acoustic for the inventive musical parodies. That music is once again composed and played by David Eaton, who adds sound design to his role, as musical direction, composition and lyrics obviously weren’t enough. His fellow musician is guitarist Alex Menaker. Mostly based on pop standards, his music this time parodies everything from Elton John to Bonnie Tyler, with the inevitable Abba tribute.
It’s all great fun, best enjoyed after a drink or two, and is one of the few pantos aimed at adults which is also suitable for all. The combination of Charles Court Opera and Jermyn St Theatre is a winning one for boutique panto, and this joyful romp is recommended.
**** Four stars
Reviewed by: Chris Abbott
