Aladdin - Review

Hackney Empire, London

****

Written and directed by Susie McKenna

Clive Rowe

There’s something truly magical about panto at the Hackney Empire. Writer/director Susie McKenna delivers her 20th (oh yes it is!) festive production with a show that captures the diversity of her London patch, yet cleverly avoids cultural appropriation and all the while managing to maintain the joyous irreverence that makes pantomime such a glorious British Christmas tradition.

Set on the fictional island of Ha-Ka-Ney, McKenna’s company of Mare Street stalwarts launders the age-old Middle-Eastern cum Chinese fairytale into a 21st century iteration that it is anything but washed out. Obeying the genre’s conventions meticulously, Gemma Sutton is the titular Principal Boy (as McKenna lobs in a bravely scripted swipe at gender-fluidity too!). Sutton of course, as this website has long proclaimed, is up there with the best of her generation in UK’s musical theatre and it shows! She brings poise and precision to the role, capping it off with her wondrous voice. Her leading the company in The Greatest Showman’s This Is Me is spine-tingling.

Making his return to Hackney’s panto after a short sabbatical, Clive Rowe shares the bill-topping honours with his wonderful Widow Twankey. Showmen aside, Rowe is arguably The Greatest Dame of our time. His presence is sublime with razor sharp wit and precision timing making each one of the corniest, smuttiest gags sparkle. Rowe’s gift for pantomime is a rarity and his beautifully frocked, twerking Twankey is worth the ticket price on its own.

In time-honoured tradition, McKenna lampoons the lunacy of our leaders, with Brexit and assorted Tories coming in for some well-deserved flack. But if there is one criticism of the piece, it is the bias. Given the current debacle that is manifest throughout our political class, there is no reason to have let Labour off the hook quite so lightly.

Other top-notch Hackney regulars comprise the classy company. Notables are Tameka Empson, released by the Beeb from her duties on Albert Square to play the Empress, Julie Yammanee’s Princess, Kat B's energetic Genie and Tony Timberlake’s dastardly Abanazar. Heck, they’ve even roped in stage legend (and Mckenna’s missus) Sharon D. Clarke to voice a Goddess!

Whilst the show’s budget may not be as palladian as some, not only are Hackney’s tickets affordable but the show's professionalism and panache are a treat, well earning it the moniker of “London’s No 1 panto”. McKenna continues to create the very essence of pantomime - a show that is firmly rooted in its local community, yet packing a hilarious punch with technical excellence. (And did this review even mention Steven Edis' music, the stunning flying dragon scene or Richard Roe’s super-slick tap-dance routine?)

Meanwhile Clive Rowe's Widow Twankey, masquerading as Cher and serenading Abanazar with ABBA’s Fernando, will stay with me for a long, long time.

Runs until 6th January 2019

Photo credit: Robert Workman

King The Musical - Review

Hackney Empire, London


****


Music and lyrics by Martin Smith
Directed by Susie McKenna

Cedric Neal and Debbie Kurup

30 years after its premiere, Martin Smith’s affecting musical biography of legendary civil rights movement leader Dr Martin Luther King Jr was revived for just two performances, in a co-production between the Hackney Empire and London Musical Theatre Orchestra directed by Susie McKenna and which marked 50 years since Dr King’s assassination.

Opening with a brief, shocking re-enactment of the assassination, the scene was accompanied by the hauntingly mournful vocals of the full cast, shrouded in shadows on stage. Slowly, Debbie Kurup’s Coretta, Dr King’s widow, stepped out of the darkness to sing a few painful lines in memory of her late husband, a moment that was totally engrossing, but extremely brief.  Quickly, the story flashes to the younger Kings as a courting couple, a change of pace that immediately humanised Dr King’s almost mythical figure, inviting the audience to step his life and his journey.

Cedric Neal was mightily impressive in the title role. Wearing a look of perpetual apprehension which slowly melted into defiance as his story progressed, he had the audience in the palm of his hand from his very first introduction all the way through to his sudden and tragic demise. Particularly powerful was his interpretation of the iconic I Have A dream speech, which closed Act 1. 

Accompanied by the orchestra’s slow build to a powerful crescendo alongside the full cast with additional vocal support from Hackney Empire Community Choir and the Gospel Essence Choir. Neal wisely chose not to impersonate King’s intonations, bringing his own heart and charisma to the scene. The staging of the speech was a testament to the intelligent direction of Susie McKenna, and the impassioned performances of the entire cast and orchestra. 

Under Freddie Tapner’s baton the 22-piece London Musical Theatre Orchestra were perfection throughout. The particularly impressive brass section emphasised the triumphant power of Simon Nathan’s new orchestrations, whilst the strings brought a sense of dreamlike nostalgia to the story that only foreshadowed the painful finale. 

But for all of King’s heart wrenching musical moments, the story occasionally lacked depth, opting to cover the most significant and well-known moments in broad strokes, rather than drill down into the psyche of its characters and their relationships. As such, Debbie Kurup as Doctor King’s dignified and supportive wife Coretta, and Sharon D Clarke as his loving mother Alberta, were sadly side-lined as the story progressed. 

As a reminder of Martin Luther King's immutable legacy Smith’s compelling musical, forgotten for 30 years, deserves a full staging soon, especially off the back of such a striking production.

Reviewed by Charlotte O'Growney

Sleeping Beauty - Review

Hackney Empire, London

****

Written and directed by Susie McKenna

The cast of Sleeping Beauty

Hackney Empire's award-winning Susie McKenna has created a brand new take on the fairy-tale story of Sleeping Beauty, bringing the classic yarn up to date for this year's pantomime.

Set in the enchanted land of Hackneytonia, the kingdom is celebrating the birth of their King and Queen's new child, Princess Tahlia. However, the evil fairy Carabosse is to cast an evil spell over the Princess that will change her life forever. The show's set design (great work from Lottie Collett) is vibrantly colourful, almost resembling a children’s picture book and compliments this high energy performance every step of the way. 

Sharon D Clarke's Carabosse is devilishly brilliant as she plays the part with a wonderful Caribbean feel, her voice dripping with soul. Clarke brings a sassy fire to the performance and despite playing the classic panto villain, she cannot help but be entirely loved. The smooth velvety tones of Prince Gabriel (Wayne Perrey) are a joy to listen to as he plays the role with an appropriate and princely intensity.

Unsurprisingly, Alexia Khadime’s performance as Princess Tahlia is, much like her voice, powerful and soaring. Khadime brings a lovely balance between the generic ‘Princessiness’ of the genre, and the tomboyish nature of her reinvented character. Flipping some of the traditional panto expectations, Thalia desperately wants to be a warrior. She challenges her gender stereotype, showing that there is more than enough room in a traditional panto for an all ‘Girl Power’ Damsel waiting to unleash her inner hero.

The show is stolen however by Gavin Spokes' Dame Nanny Nora. From the moment he first enters, on a mobility scooter and singing A Spoonful Of Sugar, Spokes has the audience eating from the palm of his hand. Just rude enough, clever, funny and a hell of a voice. There were a fair few topical jokes in the show, a highlight being the duet between Spokes and Tony Whittle's King entitled Never Ask The People What They Think .... nuff said!

Carl Paris' choreography is tight, with a well drilled ensemble as is Mark Dickman's musical handling of Steve Edis' score, as yet again McKenna and her team at Hackney give London a festive feast of a panto with all the trimmings. Oh yes they do!

Runs until 8th January 2017

Reviewed by Charlotte Darcy

Photo credit: Bob Workman

Jack And The Beanstalk - Review

Hackney Empire, London

****

Written and directed by Susie McKenna

Debbie Kurup and Clive Rowe

Who is the nation’s greatest Dame? Maggie Smith, Judi Dench or Helen Mirren? Well think again, for as pantomime season descends upon us, Clive Rowe yet again claims that illustrious honour with a barn-storming performance as Dame Daisy Trott in Hackney Empire’s Jack And The Beanstalk. Who else commands such a usual flair that their entrance, in a cart/chariot drawn by a pantomime cow as they sing Winter Wonderland, other than the lovably rotund and risqué Rowe? There’s a perennially strong community feel to this panto, where TV soap star top billings are ignored in favour of Rowe (the programme suggests that Trott is his 6th Hackney damehood) supported by theatrical excellence.

Aside from Rowe’s pinpoint timing, stunning costumes (brava Lotte Collett) and THAT voice – he offers a great take on Harry Nilsson’s Without You whilst his Climb Every Mountain, sung as he follows Jack to the top of the beanstalk, will stay with me for a long time - Rowe is in great company. Debbie Kurup’s Jack is wholesome and lovable, deftly performed and of course Kurup’s voice and presence is a knockout!

A neat post-modern twist sees local hero Kat B in white-slap as a Jamaican snowman (don’t ask). His hilarious patois along with an excruciatingly funny take on Uptown Funk make for another of the evening’s delights.

There’s no need to summarise the well-worn plot though if there is one criticism it is that writer director Susie McKenna, who has written every Hackney panto for nigh on 20 years, is possibly starting to run out of steam. At close to three hours long, the multi-racial Hackney audience that ranges from toddler through hipster to grandparent, deserve more than the occasional thrown away gag about Jeremy Corbyn or Greece’s debt. 

Even if they’re all top-notch, there’s a tad too much pre-recorded celebrity voiceover – McKenna should have stopped at the genius opening projections of local newsmen Jon Snow and Robert Peston – and a glaring omission from the programme means that we never learn who are the talented duo inside what is a sensationally choreographed pantomime cow.

Mark Dickman's 5 piece band puts in fine work, Jocelyn Jee Esien and Tony Timberlake entertain and earn our boos as the Giant’s henchmen, whilst dear Julia Sutton enchants us all as Mother Nature, out to save the planet. But its Dame Clive Rowe who steals this show!

Runs until 3rd January