In A Nutshell
Filthy, puerile & disgusting, you couldn’t ask for a more expertly debauched adult panto. Laugh? I nearly wet myself!
Despite allusions to Sleeping Beauty and Maleficent, don’t expect there to be much correlation between the fairy story and this panto. Exotic dancer Booty! wants to make it big. In fact, she’s destined to “take” the mystical golden schlong and thrust herself to stardom in the Pantoverse. With the help of her fairy godmother, Fairy Muff, and foppish Prince Willie Wontie, they’re on their way to achieve just that. However, Muff’s evil sister, Mangelina, has other plans.
Stuart Saint returns to the Leicester Square Theatre for a third year running with an adult panto offering. This time, instead of reviving Dick! for a hat-trick, Saint has penned a brand new panto. His previous experience with Dick! has certainly steeled him for creating the most shocking and outrageous pantos the capital has to offer.
The bulk of the narrative is mostly wallowing in absolute filth with an obscene amount of joyous knowing kitcshe. There’s everything from blow-up dolls, dildos, twerking, dogging, to some brilliantly revolting applications of “sexual detritus”, all aimed and shot directly at the audience’s faces without mercy, and it’s a hoot! NOTHING is sacred and this is definitely not for the easily shocked, the overly sensitive, or the sexually queasy. Even Operation Yewtree, as woefully inappropriate as it is to poke fun at, doesn’t escape Saint’s no-holes-barred assault. You’ll feel guilty for laughing, but you won’t really care. But as tongue-in-cheek as it all is, Saint’s application of satire, unexpected and unprecedented, provides as much a raucous source of fun as his puerile and salacious gags.
However, what actually makes this a great panto is not the filth (as brilliant as it is), but everything else. The filth is actually very mindfully held back and rationed, being far from going from one cock-gag to the next, leaving room for variety and never squeezing dry the sexual-comedy juices. If anything it’s an expert panto. All the familiar elements are there, from the sing-a-long to the “it’s behind you” moment, all executed with as much child-like aplomb as any more family orientated show. In fact, the best moments of the panto is the times when it pays homage to or sends up the “traditional” formula and genre. The “old school pantomime”/chase scene had my cheeks (the ones on my face) moist with tears of laughter, chortling with as much, if not more, glee than any quip about fanny farts or Jimmy Saville.
The only issues is that some of the moments get drawn out a bit too long, losing comic momentum in doing so and not being as tight as other parts of the panto. Furthermore, whilst Saint has done his best to make sure that as many of the panto “requirements” are ticked off the list as possible, some feel a little more shoe-horned in compared to others and/or don’t bring in as big a laugh in comparison.
However, in essence, once you strip away the explicit references, it’s an excellent panto: just as good, if not better, than anything Babs could conjure up from her career. Ultimately, without the presence of children, the stage is ripe for the taking by twisted-minded grown-ups, and Saint pulls an absolute heist!
Direction & Production
The tiny lounge space might be seen as a hindrance, but with a bit of ingenuity and a smear of fairy dust, Saint and his team have done a wonderful job. It’s a simple stage adorned with ivy and fairy lights, with all but two entrances. The lighting, (low-budget) special effects, and music is enough to let the masters on the stage work their magic. Indeed, the entire production is just a splattering of scene and wonder that enables the talent involved to shine through. As much as technological spectaculars and outlandish sets are pulls for other pantos, Saint and his team have made sure that the essence of what makes a panto – the writing and performance itself – is what shines through, demonstrating that you don’t need a ridiculous budget or big names to make that happen.
A very special mention must also go to Miss Dusty ‘O”s costume designer, putting Ru Paul to absolute shame!
Saint could not have pulled together a better company to do this. Combing a mix of cabaret performers, professional actors, and comedians, all take like a duck to water to panto. Miss Dusty ‘O’, the show’s top billing, blends drag banter and panto patter perfectly to become a villain not to be reckoned with. Every punch-line is delivered with precision timing and tone, but most wonderfully it’s her spontaneity and cast-away quips that really make her a comic supernova.
Leon Scott as Prince Willie Wontie is also an absolute dream. Even though he’s a professionally trained serious actor (he’ll be in Shakepseare’s Globe’s upcoming production of Othello), it doesn’t stop him from being a tightly packed and bulging package of panto perfection. He’s got the energy and the tone that panto requires down to a “t”. Not to mention he’s distractingly handsome and probably the hottest prince (not so) charming ever!
The same praises can be said for the other cast members too. Rachel Torn as Mangelina’s side-kick, Tit-Bit, is outrageously saucy; Alice Marshall’s Booty! is brilliantly brash; Paula Masterton’s Fairy Muff is deliciously deviant; and Alexander Beck as You Look Familiar is a slick tour de farce.
They all bounce energy and delight off each other, often causing themselves to laugh on stage. They embody the very essence of panto: fun, silly, and care-free, and it absolutely rubs off onto the entire audience.
Leave the kids at home, shut the blinds, and lube up your funny bone for a panto so dirty and hilarious it makes Ann Summers look like the Disney Store.
Sleeping Booty! plays at the Leicester Square Theatre, London, WC2H 7BX, until 17 January 2015. Tickets are £22. To book, visit www.leicestersquaretheatre.com.