With the wealth of musical talent at their disposal, Charles Court Opera has the ability to make a panto that’s far above the average. They also have a much more diverse audience – with their focus on smaller venues, rather than coming up with ultra family friendly fare suitable for the kiddies, they can have some fun with lots of clever songs and jokes that aim for a higher bar and still have one sold-out night after another. Their confidence and style was perfectly captured in Snow White’s first appearance : silhouetted, stilleto-eted, loudly fêted. Okay, John Savournin was in flats, but still: here was a fabulous dame worth cheering for, all six foot three of her.
As Snow White, Mirror Mirror took quite a few diversions from the typical story: Snowy isn’t a virginal lass abused by the evil queen and saved by the huntsman; no, she’s a sexy widow (of Barry White, natch) who’s buried herself in domestic service (to dwarves) to escape her loneliness. Then along comes a prince with a fortune (Amy J Payne), and suddenly Queenie (Nicola Jolley) and Snow are in competition….
The jokes came thick and plentifully. Actually some of them would have used that line as a lead in to a gag: God knows, “My perfume? It’s called ‘Come to me’,” and its punchline were probably both old as the hills and entirely unsuitable for a family audience: it nearly unseated the prince and I can’t bear to repeat it. More clever (but not as hysterics inducing) was a bit at the beginning where Mrs. White is bleeped as she introduces the dwarves, then is obliged to tell us that due to the fear of being sued, most of them will need to be known my humorous approximations of the more famous monikers given to them by a certain Hollywood animation giant. This all leads into a great schtick in which Matthew Kellet comes on as each of the dwarves, wearing an only-slightly modified costume for each. (Ultimately this is a set up for a great sight gag at the end. These are some clever people. I won’t tell you what it is so you can enjoy it.)
To shake up the story a bit, Savournin has given the queen several more opportunities to interfere in Snowy’s househould, including spell casting (to the dismay of the prince’s valet, Andrea Tweedale, whose superb singing voice made me wish she’d been given a bigger part), a fatality-inducing DIY episode (never did Disney have the queen depicted as a plumber), and then finally, well, something with an apple, but the entire plot was being deconstructed into something about lost love and would Snow ever get over Barry.
It was all extremely ludicrous and even better because of the fabulous song craft, which skewered, “My Heart Goes Boom,” “Candle in the Wind,” and “You Make Me Feel (like a natural woman)” sung in such a deep voice I was starting to cry. And there were horrible puns, a candy toss, a sploosh scene, and enough political jokes to keep us on our toes. Could there be a more perfect panto? I’d buy tickets for next year’s today if they were on sale now.
(This review is for a performance that took place on Saturday, December 12, 2015. It continues through January 9th.)