(Iain “Ewok” Robinson and Liesl Coppin give standout performances)Arguably the best pantomime KickstArt has produced so far. (Review by Caroline Smart)
I truly believe that Robin Hood and the Babes in the Wood is the best pantomime that KickstArt has produced to date. Director Steven Stead has a solid understanding of this genre through working with Durban’s pantomime guru, the late John Moss, as a youngster and he makes sure that he delivers a show of which his mentor would be proud. In this instance, he acknowledges in the programme that the show is inspired by John Moss.
In later years, Steven’s relationship with John Moss and his wife Jill Fenson developed into a close friendship, and it is good to see that some of Jill’s original songs are included in Robin Hood and the Babes in the Wood.
This production is a good example of the high standard of work that sees KickstArt walking off with close on 50% of the awards each year at The Mercury Durban Theatre Awards. Their productions are well-prepared, technically professional, and beautifully costumed while Greg King, who has won the Set Design award every year since 1999, always creates something that is appropriate, solid and workable.
However, Robin Hood and the Babes in the Wood seems to go the extra mile. There are no weak links in the casting, the complicated scene changes happen smoothly, the music is excellent, the sound quality is good, the choreography is lively and the lighting sets it all off perfectly. The costumes deserve a special mention, some of which have come from the State Theatre in Pretoria.
In his programme notes, Steven Stead explains that this year, they have “created a brand new adventure, based on the semi-mythical figure of Robin Hood and, according to age old pantomime tradition, have mixed that up with the fairy tale of the Babes in the Wood.”
Thus we find ourselves in the leafy county of Nottingham in England and its famous Sherwood Forest. The King is away fighting the Crusades and his brother is making the most of his temporary power to extract exorbitant taxes from the common folk. Enter the evil Sherriff of Nottingham (Iain “Ewok” Robinson) who is in cahoots with the equally evil Morgan le Fey (Liesl Coppin) – both standout performances. Together they aim to ensure the Sherriff’s rise to riches by killing off his niece and nephew (delightful performances from Andrew Sutton and Kiara Teunissen, who alternate with Joshua Arnold and Lindsey Morris).
However, they have a formidable opponent in Robin Hood (Lyle Buxton in dashing fine form) who is in love with the beautiful Maid Marian (Londiwe Dhlomo in good voice). A further hindrance to their plans is the spiritual Merlin and here Farai Gwaze is allowed to give rein to his vocal strength.
Adding to the confusion are the so-called hitmen – Claude and Cecil – played by Peter Court and Bryan Hiles respectively. These two actors have years of experience in comedy and pantomime and it shows - they work well together and almost think in tandem. Then there’s Darren King as the deliciously way-over-the-top Nurse Nicely who appears in a range of costumes, each one more outrageous than the one before!
Also in the cast and playing a dizzying number of roles – what it must look like backstage during frantic costume changes, I hate to think! - are Ntando Mncube, Clinton Small, Marc Kay and Graeme Wicks as well as dancers Evashnee Pillay and Roxy Nel. Playing the guards are Chris Randal and Brandon Moulder.
This production is guaranteed to play to sell-out houses so if you want to see it, I would suggest you book as quickly as possible.
Robin Hood and the Babes in the Wood runs until January 9 at the Elizabeth Sneddon Theatre with performances from Tuesday to Sunday at 14h30 and evening performances on Friday and Saturday at 19h00. No shows on Christmas Day, Boxing Day or New Years Day. Tickets R130 (R100 children under 12/pensioners/students) Booking is through Computicket. For more information about KickstArt and their productions, visit www.kickstart-theatre.co.za KickstArt is supported by the National Arts Council. – Caroline Smart
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