Theatre reviews: Mother Goose | Weans in the Woodlands

Barrie Hunter’s version of Mother Goose at Perth Theatre combines traditional panto fun with a dash of meta cheekiness to brilliant effect, writes Joyce McMillan

Mother Goose at Perth Theatre | Mihaela Bodlovic

Mother Goose, Perth Theatre ★★★★

Weans In The Woodlands, Oran Mor ★★★★

There are traditional pantomimes, offering us a fresh take every year on those familiar fairytale stories; and there are cheeky modern meta-pantos, which offer complete rewrites of those traditional stories, often aimed largely at grown-up audiences.

And then there are the pantos which romp around happily somewhere between those two genres; and Barrie Hunter’s Perth pantos are fast becoming a prime example of that hilarious middle way. On one hand, his new version of Mother Goose - which he writes and directs, while also starring as dame Gabi Goose - is a true family panto, full of fun for children of all ages, and definitely based on the familiar tale of a poor woman whose fortunes are transformed when her one and only goose starts to lay golden eggs.

On the other hand, though, it pays scant regard to the traditional setting of the play, and shifts it to a modern Perthshire (or similar) where Gabi is happily managing a traditional goose farm full of contented geese, when her retirement plans are ruined by kindly owner Mr McGregory’s sudden decision to retire too, and sell the farm to the frightful Greta Garbage.

Garbage - greeted by a mighty chorus of affectionate booing - is superbly played by Perth favourite Helen Logan as a classic panto villainess, all false ethical promises, and evil schemes to turn the place into a cruel battery operation. It’s worth hearing the Perth audience roundly yelling “oh no it’s not” at the whole concept of unchained capitalism, as Greta tells them the bottom line is the only thing that matters; and raising the roof as young members of the Perth community cast - in the role of some passing wild geese - arrive to help Gabi and her wee family survive the crisis of poverty and homelessness Greta has inflicted on them.

Under Alan Penman’s musical direction, the score batters on from one classic pop number to the next, each one deftly rejigged to fit the plot; and there are fine performances all round, notably from Ewan Somers as Gabi’s son Grayson, Naomi Stirrat as Gloria the Goose, and Bethany Tennick as Greta’s estranged daughter Gaia. Becky Minto’s set soars to filmic heights as Greta tries to imprison the whole family in goose-style cages, while Chris Stuart Wilson’s choreography fully rises to the challenge. And of course, Barrie Hunter’s Gabi bestrides it all, in frothing petticoats; a great traditional panto dame, as vain and fallible as she is loving, and always young at heart.

Oran Mor’s Weans In The Woodlands, by contrast, is a true cheeky meta-panto for grown-ups; and in a nod to the great radical history of the venue - whose pantos were once co-written by David MacLennan and Dave Anderson - the theme of this year’s show, written and directed by Martin McCormick, is the class war, as played out in Glasgow’s West End.

Cue endless panto mayhem, as wicked villainess Lady Titania (a tremendous Carmen Pieraccini) hatches a plot to turn all West End children into rodents (she doesn’t like kids), only to be thwarted by an alliance between her rebellious young working-class henchman Shuggie, posh private schoolgirl Carlotta Kelvinbridge (so privileged that she is in fact the only pupil in her super-exclusive school); and her sports teacher Dame Anita Wizzwazz, an athletic dame brought to joyfully vivid life by Glasgow actor and playwright Neil John Gibson.

Weans in the Woodlands | Tommy Ga-Ken Wan

Throw in excellent songs by musical director Ciaran McEneny, and a fine double act by Cristian Ortega and Karen Fishwick as odd couple Shuggie and Carlotta, and you have a 75-minute panto - complete with final song sheet - that fairly raises the roof of the basement night club; and, for the first time in a few years, assembles an Oran Mor panto team with that fine satirical spark that might take it on to great things, in panto seasons to come.

Mother Goose is at Perth Theatre until 31 December. Weans In The Woodlands is at Oran Mor, Glasgow, until 5 January