Reviews / Oh no they couldn’t – but oh yes they did!
Every other year, Islesburgh Drama Group (IDG) puts on a top-tier run of pantomime shows during the festive season, writes Helen Kerr.
This year, the choice was The Wizard of Oz – rather fitting considering the amount of global buzz around this story. Chosen and scheduled, rehearsals began in the usual spirit of panto mayhem, with gregarious characters, witty ditties and outrageous costumes taking centre stage.
I have watched many of IDG’s pantos over the years and have always been part of an audience packed to the rafters. The glee is immeasurable – loaded with music, laughter, a few local jokes and plenty of tradition with the crowds reliably shouting out the familiar responses that make pantomime such a December staple.
Except this year, in late September, there was a…complication. The Garrison Theatre, which has long housed IDG’s impressive run of amateur productions, was no longer able to accommodate the 11 shows in the lead up to Christmas due to ongoing construction work.
Disappointment all round – from the cast, the crew and the expectant audiences.
But Covid didn’t stop IDG from being creative and industrious – so neither did this! Instead, last weekend, we witnessed a romp through every panto ever made in a tightly packed 45-minute thrill ride of all our beloved favourites.
In little over three weeks, IDG went from the devastation of cancelled shows to four full house performances – testament to their resilience, determination, skill and a generous sprinkle of Christmas spirit.
Staged at Mareel, the production inevitably had to work within the venue’s physical limitations for traditional theatre, particularly in terms of space and technical scope. Yet rather than detract, these constraints only served to highlight the ingenuity of the company, who delivered a slick, fast-moving show that never once felt compromised.
A simple set, swift costume changes and understated technical design might sound modest on paper – but don’t let that fool you. Sound and music were used to great effect throughout, with accomplished live piano accompaniment driving the action. A lively chorus threaded through the show, punctuating scenes with bursts of familiar tunes that lifted transitions and enhanced the festive atmosphere.
For the sheer number of pantomimes and characters showcased, the cast was surprisingly small, instead portraying recognisable character types with wonderful versatility. Hats off, as ever, to Nicola Fleck and Donna-Marie Leask who played the two lead males – from Dick Whittngton to Peter Pan to Aladdin…these two marvellous actors held the stories together with effortless skill. After this, I am convinced there is nothing they cannot do! The facial expressions, the comic timing, the fantastic interaction with the audience were a joy to watch.
Grace Holland and Lorraine Peterson sparkled as the eponymous heroines – Cinderella, Tinkerbell, Sleeping Beauty, et al – wings, tiaras, shiny slippers aplenty! The Fairy Godmother made a memorable appearance too, played with warmth and flair by Tanya Robinson. Ronnie Martin played a few hilarious turns, whether he was Buttons or the Genie, he brought a superb deadpan humour to the roles. One standout moment saw him appear as the Genie with a handful of flour, clapped to create a comic cloud that left him spluttering – comedy timing absolutely on point.
And of course, you can’t have a panto without someone to boo and hiss at! The glee that came from the audience when Morag Mouat made her appearance as a variety of panto baddies was palpable as she entered each time with a signature swagger, snarl and sweeping disdain for the audience.
For me, however, the show was stolen by the pantomime dame and her trusty cow. John Webster’s turn as the ever-changing Trott/Twankey/nurse/mother/widow was pure hilarity – larger than life, resplendent in pantaloons, endless skirts and gloriously garish make-up, he kept the laughs coming thick and fast. Alongside him, David Smith as Daisy the Cow – complete with unexpected mathematical genius – was sheer comic gold.
All pulled together by Mandy Phillips’ narration, IDG’s Pop Up Panto was 45 minutes of fun, laughter, merriment – and a few cheeky local jokes and mentions of course.
Much of the production’s success lies in its assured direction by Jennie Atkinson, who kept the pace brisk, the storytelling clear and the comedy landing with precision despite the condensed running time.
The show was cleverly crafted from Every Pantomine That Ever Was by Tony Domaille and Pantomania by Mike Sparks, adapted by Atkinson alongside Mandy Phillips and Nicola Fleck by arrangement with Lazy Bee Scripts. A perfect theatrical start to the 2025 festive season.
No one will tell IDG they can’t – because whatever time and circumstances throw their way… oh YES, they can!
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