Charles Court Opera have deservedly developed a reputation for pantomimes that strike out into new territory while preserving the core techniques of the genre intact. Last year they ventured on their very own Odyssey, and this year they take us off to the Napoleonic Era. But this is adamantly not a history lesson – a fact-checking, professorial glove-puppet is discarded right at the start. And you can rely on the traditional crowd-pleasing devices – a villain to boo, running visual gags, execrable puns, zany costumes rapidly exchanged, familiar music with witty new words, deftly dainty dances, and plenty of demolition of the fourth wall. But what is truly remarkable is how this is all achieved within the jewel-box that is the Jermyn Street Theatre, without any sense of cramping or constraint.
One of the regular chants celebrates that ‘the plot is all in a knot’. So there is no point expecting or indeed wishing for consistency of action, though there is character and personality in abundance. Britain and France are still at odds, but represented respectively by a questionably sane George III and his feisty cross-dressing daughter, Georgina, reinforced by a yellow-booted Duke of Wellington. On the French side we have Napoleon – of course – and a very lively and saucy ghost of Marie Antoinette. At stake is the Treasury of England hidden under ‘Strand Bridge’ which can only be opened using a unique key in the form of the severed arm of Lord Nelson. Cue elaborate Cross-Channel capers in pursuit of said withered limb, and many elaborate disguises, including Napoleon as a hairy-chested Britannia.
Along the way, George III and Marie Antoinette nurture a passionate connection, Wellington discovers hitherto unknown culinary enthusiasms, and Georgina finds disguise and fulfilment in a man’s world. Napoleon may not prevail, but he gets the ultimate accolade of commemoration as ‘Strand Bridge’ morphs into Waterloo and – inevitably – Abba have the final word in the shows singalong finale.
What impresses most, as in previous years, is the quality of the production values from the whole cast and creative team. Lucy Fowler triumphs with the set and costumes, maximising the tiny space available so that the action always seems fluid and dynamic, and slick costume changes are – literally – seamless. David Eaton does his usual immaculate job with the music and lyrics, taking familiar numbers from classical and pop genres and wittily updating them. He also provides a variety of elegant keyboard accompaniments from one side of the side. while Alex Menaker provides fine support on a variety of guitars on the other. Fine moments of choreography and lighting add surprise and delight to the proceedings.
The multi-talented cast are a joy, led by Matthew Kellett, a stalwart of these productions, as Napoleon. Elliott Broadfoot, as George III, develops a fine rapport with the audience, and Rosie Strobel makes Marie Antoinette a much more formidable figure than she was historically. Jennie Jacobs and Amy J Payne are a fine double act as the Duke of Wellington and Georgina, skilfully sending up gender and class stereotypes.
All-in-all this is a show that will please young and old, panto traditionalists and sophisticates, and deserves to play to full houses over the Christmas season.
Writers: David Eaton & John Savournin
Directors: John Savournin & Benji Sperring
Cast: Elliott Broadfoot, Jennie Jacobs, Matthew Kellett, Amy J Payne, Rosie Strobel
Until 5 January 2025
2hrs with interval