Review: Eastbourne's Snow White - bright, warm, funny, a triumph

A Wednesday afternoon on Seaside Road. Outside, the air is seasonably chill and unseasonably damp. But inside the Royal Hippodrome, the theatre is absolutely glowing. Every seat filled, every young face excited. What do they wish for? Pantomime! And in the following couple of hours, the wishes of young and old will come magically true. Snow White and the Seven Dwarfs – complete with lavish costumes, shimmering effects and fine singing and movement – form the perfect overture to this year’s festive season.

The Hippodrome’s recent history is simply a triumph – some might say, an improbable triumph – of creative vision and purposeful energy. Alex and Debbie Adams, together with a whole battalion of supporters and expert volunteers – have transformed the venue from sad and faded, to busy and bright. This production simply proves it.

Community theatre? Be wary of that term. The Royal Hippodrome these days is an utterly professional operation – which happens to be rather good at serving the community. It’s a midweek matinee, and your Herald reviewer has grabbed the very last seat in the stalls. Audiences are streaming in through the doors, and the theatre is filled with three-generation families. Santa hats, best party dresses, sweetmeats by the tubful. This is proper Christmas.

Snow White is this year’s RHT offering – with the Seven Dwarfs of course. Now, in the Great Pantomime Canon, each show has its challenges, artistic and technical. How to get Jack up that Beanstalk within health-and-safety strictures? How loud should the bangs be, respecting nervous members of the audience? Oh, and is Aladdin at risk of cultural stereotyping?

The issue in Snow White is logistical, and it really comes down to either lining up seven juveniles of suitable size, or perhaps using puppetry and CGI, or casting adults with suitable masks and costumes. This production takes the last option, and the Seven Dwarfs are sporting the most wonderful range of over-sized masks, from Happy to Sleepy to (just a little) Grumpy!

We have an amusingly quirky Good-Fairy equivalent in Jack Everson’s very engaging Man in the Mirror. And opposite Jack, Rachel Cantrell is absolutely show-stopping as Queen Dragonia: compelling vocals, scary stage presence and – like the whole show – fabulously dressed. Mind you, since pantomime is the only form of theatre where upstaging is permitted and indeed encouraged, Dragonia must compete with the amply resplendent figure of Nanny Ida Profen – aka the wonderful Paul Leno, who can crack up an audience with the raising of an eyebrow.

The essence of good pantomime, of course, is to be in control when it looks as if the whole show is out of control: the trick that goes wrong, the pratfall that knocks the heroine over, or the front-cloth that gets stuck half-way. And the man at the very centre of this show – and in total assured control – is Luke Roberts as Muddles. In his third successive panto season at the Hippodrome, Luke treats the audience as old friends, and his infectious humour and geniality shine through. A masterful performance.

Alex Adams, who co-directs with Paul Leno and with choreographer Debbie Adams, is a dashing Prince with poise and a singing voice of pure gold. His Princess, Katie Sanders, has been entrancing audiences this week, although when your reviewer attended, an indisposed Katie was replaced by an assured and word-perfect Laura May Sivers. Dance captain Darcie Bennett leads a vivacious ensemble, beautifully dressed, and the whole show is a feast for the eyes as well as ears. Full credit to Jasmine Roberts and her wardrobe team.

Despite quite limited stage space and depth, the production uses every square inch to the full. Joshua Henry's technical team have all bases covered, while backcloth projections transport us wonderfully to all those fantastical locations. Megan Stansfield's lighting dazzles, and the Finale Act One – no spoilers – absolutely does have the audience gasping.

If Act One is engagingly amusing, Act Two is just dazzlingly superb. The second half opens with a pounding, ecstatic delivery of Back Stage Romance from Moulin Rouge – and from there, the pace never drops. From littl’uns to great-grandmas, every member of the audience is swept up and transported. Outside, there may be cold and drizzle. Tomorrow, there may be last-minute supermarket shopping. But cocooned in the Royal Hippodrome Theatre, the world is bright, warm, funny, and Christmas has begun.

Kevin Anderson