In the whimsical realm of pantomime, where laughter intertwines with tales of magic and mischief, Sleeping Beauty emerges in a refreshing guise, masterfully woven by the creative mind of writer and director Susie McKenna. The inherent challenge of crafting a narrative around a protagonist who is mysteriously slumbering is cleverly sidestepped; rather than prolonging the slumber, the enchanting nap occurs conveniently during the intermission.
Roshani Abbey’s portrayal of Tahlia the Beautiful begins as a mere infant, but fret not—her moment arrives posthaste amidst a cacophony of good wishes bestowed by fairy godmothers and a deliciously diabolical curse courtesy of Lisa Davina Phillip’s magnificent Carabosse, whose theatrical prowess gleefully steals the scene. Abbey’s initial appearance in the show’s comedic opening number—an audacious homage to Hamilton—efficiently lays the groundwork for the ensuing frolics.
And then, entering stage left, we have the riotous Justin Brett as Dame Nanny Nora, zooming into view atop a mobility scooter, adorned in a flamboyant “Save our NHS” ensemble. From this moment onward, the Dame encapsulates a whirlwind of energy, effortlessly engaging with audience members who leap at the chance to partake in the hilarity.
McKenna’s script is a masterclass in humor, laden with both timely political jabs and not-so-subtle cultural critiques that highlight the stark contrast between the charming, hospitable Lewishtonia and its affluent, yet heartless counterpart, Westminsteria. While certain jokes—like those centered around river pollution and the decline of high-street shopping—land with a satisfying thud, others, touching on figures such as Truss and Farage, may elicit a groan. Yet, amid this tapestry of wit, kids delight in the slapstick comedy, ensuring a splendid evening for all.
After an abrupt leap forward of 18 years, the action accelerates with Abbey now embodying Tahlia, a figure infused with both resilience and charm. No longer a passive damsel, she boldly confronts Durone Stokes’s Prince Gabriel, her betrothed from infancy, and dons Amazonian battle gear to rescue him from Carabosse’s clutches—a refreshing twist on the classic damsel in distress narrative.
The musical backdrop, masterfully orchestrated by Ben Goddard-Young and his quintet, adds a rich layer to the performance. Some musical choices, such as the unexpected country vibes of Beyoncé’s Texas Hold’Em, inject a dose of delightful incongruity. This is what sets McKenna’s interpretation apart: a narrative slightly reframed to reflect contemporary times without sacrificing the quintessential whimsy of pantomime.
As the curtains rise over this local gem, the pantomime exudes a palpable sense of community spirit. The Broadway Theatre, resplendent following a £7 million restoration, stands proudly at the heart of Catford, with Sleeping Beauty echoing the venue’s essence: audacious, inviting, warm, and brimming with delightful surprises.
Runs until December 31, 2024.