Review: PINOCCHIO, Theatre Royal Stratford East
Photo credit: Craig Fuller
Always a strong contender on the London pantomime scene, the Theatre Royal Stratford East have come up with another original and highly enjoyable take on the genre. Pinocchio is not an obvious choice for a panto story, due to its episodic nature and lack of the usual generic roles. Neither of these issues are a problem for Stratford East’s regular team of writer Trish Cooke and composer Robert Hyman. They manage to include all of the main sections of the story and do so in a very moral even didactic storyline: everyone learns a lesson here and is the better for it. A particular strength is the way that the lyrics of solo songs tell us more about the character in question and move the story on, and key story elements are repeated so that we always know what is happening.
Director Omar F. Okai, another Stratford East alumnus, keeps up the pace throughout and has created a production that is worthy of this theatre’s reputation. He manages the main story points well, whether Pinocchio’s many mis-steps or his final transformation into a real boy. Designer Stewart J. Charlesworth contributes a thoughtful programme article in which he explains that his inspiration came from Cuba, although this doesn’t seem to feature in the script. The three piece band under Nick Barstow are a major part of the success of the production, and it is good to see panto musicians in a pit instead of being hidden away backstage.
The cast of eight brings together talented newcomers and old hands at this theatre, all well served by Claudimar Neto’s vigorous choreography. Nicola Louise Lewis is the first to appear as Krik Krak the Cricket, and follows the Stratford tradition of getting the call-outs out of the way and warming up the audience. She knows how to get the children on her side, and engages well with all parts of the theatre. She works the song sheet skilfully too, and it’s good to see a script that manages to include that in the story rather than as a stand-alone section.
There are few large ensemble numbers, but Travis Wood and Charlotte Louise play a host of minor characters well. Geppetto is given a genial and thoughtful portrayal, and he’s a remarkably rapid puppet-carver! The villain is often the best role in panto, and here there are two to enjoy. As the Sly Fox, Rushand Chambers is resplendent in a ginger wig and garish tartan, and with a larger than life performance to match. Accompanying him is Miss Kat, a winning performance from Jhanaica Van Mook, always ready to encourage her colleague to pursue their evil intentions.
Returning to this theatre once more is veteran actor Michael Bertenshaw, this time not as Dame but as the Blue Rinse Fairy. It’s a skilled but genteel and slightly restrained performance, with echoes of his past roles but somewhat out of step with the high energy performers that surround him. He is much more comfortable off script, at least on press night, when he coped admirably with an audience where none of the children wanted to come on stage and he was forced to make do with an adult.
As for the title role, Dylan Collymore is remarkable. Whether as the wooden puppet learning to walk, being led astray by others or explaining why he wants to be a real boy, this is a performer who never puts a foot wrong. We learn early on about Pinocchio’s selfish side and understand why he makes wrong choices. He is an acrobatic and high-energy dancer who can change emotions in a moment, and the audience are with him all the way.
Theatre Royal Stratford East can always be relied upon to create an original and entertaining show and this year, they almost convince us that Pinocchio is a suitable story for pantomime. With a strong cast and a particularly impressive performer in the lead, this will more than meet the expectations of Stratford’s loyal audience.
**** Four stars
Reviewed by: Chris Abbott
Pinocchio plays at Theatre Royal Stratford East until 4 January 2025, with further info here.
