Words adapted from an article originally published in 2003 by Jon Madge.
Entertaining, exuberant, and exciting: that’s the successful formula which put The Wayfarers way ahead of the rest when it came to staging pantos.
And 2003's offering at the Brewhouse Theatre, Taunton - Dick Whittington and His Cat - was no different.
With superb actors, singers, and dancers, an accomplished orchestra, lavish costumes, and brilliant sets, this clever Dick could not fail to impress.
It’s no wonder The Wayfarers racked up numerous awards.
The 2002 show, Aladdin, which I praised to high heaven, brought home the prizes to prove the point.
In fact, Aladdin was a hard act to follow - it even spoilt me for panto in 2002 - but 2003’s offering, although excellent, didn’t quite get that close.
The problem, of course, is that you can have too much of a good thing - and in Dick Whittington, there’s just too many good things.
Which is fine until you begin checking your watch after 10pm, the kids are getting fidgety, and you wonder if you’ll ever be able to get them up for school the following morning.
Packing so much into a panto is tempting, especially for a group like The Wayfarers who have so many brilliant singers, dancers, and actors to accommodate.
Editing the panto by 30 minutes would have had us thirsting for more - surely a good way to end a show?
Nonetheless, director Brian Buttle once again did a superb job and as traditional as panto itself, so did Nigel Ford (Sarah Aladdin) and Nigel Fidler (Jack), who created their niche as panto dame and lovable twit respectively.
Song seemed to play a bigger part 2003’s offering with excellent performances by Elisabeth Sandy as Dick, Martha Ahlin as Alice Fitzwarren, and of course, the good fairy.
But the sensation of the night was Magnus Stewart in a solo spot as King Neptune singing Storm and Tempest.
Music made the panto, even though the adapted Cats theme seemed a trifle dodgy.
And I’m still not sure how I feel about the rendition of one of my personal sacred cows, Queen’s Bohemian Rhapsody.
Supporting roles were all played to perfection, with Martin Carpenter again getting the boos and hisses as the nasty King Rat, and Osbridge as Tom the Cat, and Gary Cunningham giving the Sultan of Morocco a Sean Connery/James Bond makeover.
Add the accomplished dancers - including children - and there was a production that you’ll be hard pressed to find outside a professional company.
At the end of the day, it’s kids, kids, kids - and my (then-) nine-year-old son thought it was great, brilliant, and cool.
So there!
And yes, I was delighted to be up late too.
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