I don’t think this is quite what Hans Christian Andersen had in mind. At least, he can’t have been thinking of the sub-aqua fart gags, the high-octane Taylor Swift choreography or dizzying barrage of pop-culture references. And he certainly couldn’t have conceived of Johnny McKnight, writer, director and star, wearing an octopus costume with creepy tentacle-like fingers and a bulbous head as horrifying as anything on Doctor Who.
But if Andersen had any judgment, he’d surely love this laugh-a-minute romp which, for all its panto digressions, never loses sight of the jeopardy that Kara Swinney’s Ariel, with her Day-Glo hair and glittery trousers, puts herself in as she trades her voice for the chance to walk like a human being. How is she to know that Miguel Belotto’s posturing pirate, a real-life man of La Mancha, will leave her high and dry by marrying her evil Aunt Ursula instead?
As with much of McKnight’s previous work, the story is driven by a female energy Andersen would have recognised. Pretty mermaid she may be, but Swinney is no pushover. Her world is populated by fiercely independent women, whether it’s best friend Ariana (a thrillingly good Dawn Sievewright), or adversaries Samsara and Priscilla, both played by a hilarious Helen McAlpine.
Throw in the predominantly female young cast, excellently choreographed by Karen Martin, and McKnight doubling as the matriarchal goodie and baddie, and it’s all Robert Jack’s Daz can do to get anyone to remember his name. And woe betide any man in the audience who catches the eye of McKnight’s deep-sea dame as she steps off the stage to engage in stingingly funny improvised banter. (“That’s me, I’m so evil I’ve added 10 minutes to the show!”)
This is panto of the highest order. I’d happily watch it every day until the new year.
- At Macrobert Arts Centre, Sterling, until 3 January. Box office: 01786 466666.
