In A Nutshell
A fantastic anarchy of panto, satire, and general filth, exploding into a larger new home with hilarious bombast.
In the French village of Ashby-de-la-Zouche, a cold-hearted prince is turned into a biatch and given sh*t Netflix connection as punishment for his insolence. In order to break the spell he must learn to love. Enter Beauty (aka Booty), who is trying to be wooed by UKIP candidate Nigel Garage. Her father, Crazy Old Maurice, after being capture by The Biatch, makes a pact to exchange his freedom for Beauty’s imprisonment. With a gaggle of mal-transformed servants, can Beauty teach Biatch how to love and break the curse, and enable Mrs. Pots to finish Orange Is The New Black?
Paul L. Martin, who until recently did bi-yearly adult pantos aboard the Battersea Barge, moves into the more generous confines of the LOST Theatre on Wandsworth Road. He continues to employ his trademark wit and knowing with gusto to create a colourful and daring panto, despite it being more risqué than the norm. All the trappings are there, including rousing songs and sing-a-longs, and high-spirited dance numbers. What’s great about Booty and the Biatch, though, is the cutting and no-prisoners-taken approach to satire, sending up everything from UKIP and Operation Yewtree, to the Disney version of the fairy tale on which the show has heavily
stolen from based itself upon.
Whilst it’s not as out-rightly filthy as the capital’s other adult panto offerings, such as Sleeping Booty!, it doesn’t mean that Martin has lost any flare or frivolity. There’s still jokes about bum-sex and more than a few naughty words that slip through, but Martin still manages to ensure that a joy and magic that is crucial to panto is there every step of the way. Creating a solid panto as a basis for the evening is what takes precedence here, and therefore where the focus lies. If you take away the smut and the rudeness, you’d still be left with something that’s a hoot of a show because of this. With plenty of knowing jokes about the industry and it’s rivalries, along the sexual references and the send-ups, and you’ve got blistering funny moments left, right, and centre.
But most wonderful, as always, with Martin’s pantos, is just how relaxed they are. Yes, there is (vaguely) a script, but Martin and his company thrive in the fact that things are allowed to go wrong. In fact, these are some of the best moments.
Everything isn’t perfect, though. There are parts of the show aren’t as tight as others, and moments where the cast (and the audience) run away with themselves just a little too much. But it’s still all part of the fun, and are foibles that can be forgiven through affection, rather than becoming any major detriment.
Direction & Production
As well as these pantos have always worked very well in the claustrophobic space of the Battersea Barge, Director Vanessa Pope really embraces the larger venue. Even thought the audience is now bigger and more formally arranged, they are still as integral a part of the panto as before and are involved at every given opportunity, even if it is to trample through them and steal their booze! But specifically, what’s certainly most spectacular about this venue transfer, is that Pope has gone to wonderful lengths to include wonderfully ambitious song and dance numbers that were not possible before, and they’re delivered effortlessly. Couple this with Matt Overfield’s glitzy choreography, and you’ve got a fringe panto that can rival the shazam of larger more affluent affairs. For a company which is used to a very small space, you wouldn’t have known it seeing as how comfortable they seem here at the LOST Theatre. Pope also knows how to get the best out of panto pacing, whilst leaving enough flexibility for her cast to interact and improvise according to how the audience respond/heckle.
Birgitta Kenyon’s involvement on stage as Musical Director also adds a really nice sense of live music and interaction which the cast thrives off, adding fun and spontaneity that a backing track just can’t provide. Also, despite budget constraints, Miranda Evan’s costumes find a humour in their resourcefulness that forms as much a part as the panto’s jokes as Martin’s script.
Martin and his team couldn’t have assembled a better panto cast. Martin, as the dame/Mrs. Pots is not only fantastically camp, saucy, and ridiculous, but brings a side-splitting psychosis to his character, especially when interacting with Chip.
To point out but a few of the fantastic performances; Jamie Anderson as The Biatch is also as fierce as they come commanding an outlandish queeny bitchiness, with quick-fire put-downs and heels as sharp as his remarks; and Becky Finlay Hall is preposterously funny as Cogsworth, pulling in the laughs with her lovey-dovey professional-actor-in-panto demeanour, rapaciously sending up an actor’s sensibilities. But that’s not to say that these particular cast members are better than the rest. Everyone involved, even the cameo from the stage manager, all expertly contribute in propelling the illicit Pandemonium of this rip-roaring evening.
As a company, they all work off each other’s charisma, feeding off their own energy as well as the audience’s. Most surprisingly, however, is how well they actually sing together. There’s a real power, punch, and immaculate sound that they bring to the big numbers that makes them as incredibly slick as they are silly. It’s a unexpected touch of talent and professionalism for a production that knowingly postures itself as a little ramshackle.
An anarchy most splendid. A manic panto with added naughtiness guaranteed to make you laugh your party hat off!
Booty and the Biatch plays at the LOST Theatre, London, SW8 2JU until 17 December 2015. Tickets are £18.35. To book, visit www.paullmartin.com.