Charing Cross Theatre – until 13 January 2023
Reviewed by Claire Roderick
5*****
He’s Behind You! – the creative team behind the Above the Stag pantos – have hit the sweet spot again with Sleeping Beauty Takes A Prick. This wickedly funny filthfest is guaranteed to warm the wickedest of hearts with its silliness and energy.
In the tiny Eastern European country of Slutvia, evil Prince Camembert (Chris Lane) realises his path to the throne is blocked when his nephew Prince Arry is born. In short measure he murders the king and curses the infant prince with the traditional prick on the finger means death spell. Luckily Daisy the fairy (Jordan Stamatiadis) is on hand to tweak the curse – now Prince Arry will only die if, in his mother’s delicate terms, someone puts their sword in his scabbard before his 21st birthday. Of course, on the eve of this milestone birthday a fabulous and horny alien lands in Slutvia and the curse strikes – leaving Arry and his mother (don’t ask) asleep and hidden for 100 years while Camembert turns the country into the miserable pariah of Europe (and won’t let anyone represent Slutvia at Eurovision but himself). Arry and Queen Gertrude’s quest to rewrite Camembert’s version of history doesn’t go quite to plan, but this is after all a panto – so happy endings are inevitable.
Writers Jon Bradfield and Martin Hooper are masters of creating a perfect balance of nostalgic fun and filth, and do not let the audience down this year. There are gags set up so obviously you can see them from space (as there should be in a panto), brilliantly judged jokes about current affairs and some slick one liners that draw gasps before the audience erupts in laughter. Traditional elements are included with a sly wink, or subverted brilliantly (and judgementally by the imperious queen). Jon Bradfield’s songs allow the audience to take a breath between the onslaught of jokes and silly shenanigans and are performed wonderfully by the cast.
Director Andrew Beckett knows the assignment, and the show is a mix of chaotic stupidity and slickness, with David Shields’ fabulously garish and wobbly set and Sandy Lloyd and Robert Draper’s costume design drawing applause for Gertrude’s costumes. The finale at the races is a stunner.
Matthew Baldwin’s Queen Gertrude is a masterclass in damehood. Performing as if she is in a Shakespeare play and surrounded by idiotic minions, Gertrude is a fabulous creation – snooty, arch and utterly hilarious. Baldwin’s viciously funny “wooing” of audience members is a joy to behold as you squirm in second hand embarrassment for the lucky men involved. Chris Lane is wonderful as the camp and cruel villain, popping up everywhere with a glorious gloating nonchalance, while Jordan Stamatiadis is lots of fun as the coke snorting, maiden-chasing fairy godmother. Tom Mann is wide eyed and energetic as Arry and Myles Hart is weirdly wonderful as Zupp. Nikki Biddington and Matthew Gent are fantastic as the “commoner” love interests, expertly setting up the laughs for the insane royals they meet – who knew there was so much fun to be had with horse semen?
Frenetic, filthy and fabulous fun, this is the best adult panto in town.