‘Robin Hood’ review
‘told […] brilliantly, creating a hysterically funny and utterly heartwarming show.’
Robin Hood is a story we all know and love, of an outlaw becoming a fugitive to face injustice alongside his band of Merry Men. Along the way, he steals from the rich to give to the poor, hones his exceptional archery skills, and romances the noble Maid Marian (all while wearing extraordinary green tights, of course). The Oswald’s Players’ production (Robin Hood: A South College Musical Pantomime) told this story brilliantly, creating a hysterically funny and utterly heartwarming show.
The writing from Lola Foskett, Maisie James, Maisie Donohue, and Fred Walmsley merges traditional panto with references to modern day, as well as Durham-specific culture, so best believe every joke was met with resounding laughter. The music from Vocal Musical Director Amelia Awan, with lyrics by Fred Walmsley, also play on the contemporary tropes of panto in an utterly unique way, creating catchy and meaningful lyrics, and of course, a brilliantly arranged parody of ‘The Twelve Days of Christmas’ that had everyone in fits. The band were also a standout, directed by Emma Murray and conducted by Alasdair Creswell; each member created an intimate atmosphere through their instruments, acting as the perfect harmony (no pun intended) to the action on stage.
The Production Managers Isaac Organ and Abbie Wells also did a fantastic job of ensuring the show was to the highest standard. It is clear they are a fantastic duo, through every aspect of the show working together, from the band and cast to the lighting and tech, the latter led by Tom Rickman, which enhanced the audience’s experience and made the whole environment feel charming and cosy - perfect for the Christmas season.
And now, for the cast. Each member brought their own fun and nuance to the role, with particular mention to Clem Charles as the titular Robin Hood and Asha Derrick as Maid Marian. Charles’ whimsical and boisterous presence on stage was complimented beautifully with Derrick’s mystical and elegant vocals, their chemistry seeping through to the audience.
Jack Radcliffe was another highlight as Nanny Fanny. He embodied the role of the panto dame perfectly with his impeccable comedic timing, alongside his improvisation when things didn’t quite go to plan, and when there were small moments of silence, his interaction skills with the audience made his performance one of the most memorable.
Sam Garratt as the Sheriff of Nottingham played the panto villain brilliantly as well, and his chemistry with Radcliffe and Director Ben Mitchell as Prince John (who only stepped into the role with a week’s notice) left the audience in stitches. The three of them truly are stars.
The comedic energy of Ilan Miller as Little John, Liv Morey as Guy of Gisborne, and Fred Walmsley as Friar Tuck were also impeccable. The ensemble cast of Ruby Bridges, Lulu Dodds, Esme Beckett, Olivia Lognon, Beka Hart, Maisie James, Fraser Brannigan, Isaac Organ, Emilia Cynarska, and Abbie Wells had the perfect panto humour, each one of them lighting up the stage, making it a truly magical and thrilling experience.
Finally, a show would not exist without its directors, and, in this case, the team of Maisie Donohue and Ben Mitchell were a triumph, as they kept everything people love about panto, whilst adding their own style to it. Every scene was carefully considered and exquisitely curated, whilst also not taking itself too seriously to maintain the ridiculousness of panto. The relaxed environment and flawless humour truly made this show a sensation, and it brings me great joy knowing that panto at Durham is in the best hands. It is exactly what everyone needs, and I sincerely hope this incredibly talented team never ceases to provide the best entertainment and find even more pop culture references to include in their shows. After all, making people laugh and get sucked into an entirely different world is what panto is all about. “Oh, yes it is”, as they say.
By Alice Roberts.