Reviews by Mary Beer

What is the essence of Panto with its cross-dressing, double entendres, broad campy characters and more-is-more costuming, makeup and theatrics? If you want to find out, get down to the Garden Theatre at Vauxhall’s Eagle Pub for what is quite possibly one of the funniest and purest Pantos you’ll ever experience – for grown-ups!

I’ve seen the big-budget productions at the Palladium with Julian Clary, Nigel Havers and Dawn French and Stephen Fry’s and Sandi Tosvig’s show at the Old Vic as well as sampled Panto-for-the-People under the Vault’s arches set in a dowdy working men’s club; I can confidently say that playwright Gareth Joyner and director Robert McWhir manage to deliver as much entertainment punch as the big showy outings (at a fraction of the ticket price) but far more joy, madness and intimacy then the ‘immersive’ efforts of some of the smaller and lower-key venues.

Perhaps it’s because Peter Bull’s Garden Theatre with LAMBCO Productions have been honing the art of playing in the pandemic since the summer – when they brought their first outdoor musical, Fanny and Stella and followed it up with one indefatigable adaption and innovation after another, no matter what the rules of the week were. Whatever the reason, the Garden Theatre is starting to feel like hallowed ground to the patron saint of The Show Must Go On and a model of resilience that should be written into the history of 2020 when it is told.

Of course, Panto is silly, formulaic and over-the-top. No one buys a ticket in the hope of being startled, challenged or introduced to a new dramatic form; but one does look forward to what fresh twists will be added to familiar conventions. Frostbite: Who Pinched My Muff strikes just the right note of layered piss-taking that is neither too knowing for only the in-crowd nor too pedestrian. In fact, despite the cheeky main title and the subtitle of ‘An Adult Panto’, this production is only mildly risqué. You wouldn’t dare bring children to it, but you’re as likely to squirm sitting next to your mother at the Julian Clary one (which was full of kids) as you would at Frostbite.

Thanks to the relatively small space, you get to enjoy full-scale, West End calibre dancing, singing and acting from the cast up-close (but socially-distanced) in a way that feels like you’re the monarch being entertained by your players in your court. James Lowrie as snowboy Lumiukko shows off some serious dance training whilst bantering with the audience with the ease of a veteran club performer. Nathan Taylor as Demon Frostbite gives a charismatic performance with physicality and timing that demands your attention and sparks a little pride in the British theatrical tradition. Shelly Rivers as Garbo also exudes strong presence; her movement is riveting to watch whether she’s dancing or not. Recent Arts Ed graduate Bessy Ewa as Greta is a face to watch as an impressive triple-threat. Of course, the grand Dame Herda Gerda (Dereck Walter) is a joy to behold as he holds the piece together with gravity and wit whilst Fairy Snowflake (Kingsley Morton) and Bergermeister Kai (Tom Keeling) complement the ensemble’s strong and playful chemistry.

Let’s face it: in Dec 2020 life is pretty grim and surreal at the moment – give yourself a break and enjoy something entertainingly bonkers for a change!

Review by Mary Beer

FROSTBITE, Who Pinched My Muff?’ is the first panto to be staged at the award-winning Garden Theatre at The Eagle Pub in Vauxhall. Following the ending of the second national lockdown, it will run from 3 December – 10 January.

The generically Germanic alpine village of Vaüxhallen is a happy place where all are honest and true. Quite frankly it’s nauseating, and no one thinks this more than the villainous human-hating Demon Frostbite, whose mission it is to freeze the hearts of all mankind! With his sights sets on our warm-hearted friend Dame Herda Gerda, will Fairy Snowflake thwart his evil plans with a flurry of her magic? What about Lumiukko, our loveable snowman friend? Perhaps our hero Garbo will save the day and chop down the Beanstalk? Is that even the right show? Who knows! With thigh-slapping routines and songs you know and love, ‘FROSTBITE, Who Pinched My Muff?’ is all the magic of pantomime from your childhood, but in a beer garden after a few mulled wines.

If you’ve any notion that this will be like any Disney movie then you’d better ‘let it go…’

Cast:
Bessy Ewa (Greta) was Waverley in ‘Next Thing You Know’ (Garden Theatre).
Tom Keeling (Bergermeister Kai) was Vinnie Di Ruzzio in ‘Lucky Stiff’ (Union Theatre).
James Lowrie (Lumiukko) is a recent graduate from Guildford School of Acting, making his professional debut.
Kingsley Morton (Fairy Snowflake) is a recent graduate from ArtsEd, making her professional debut.
Shelley Rivers (Garbo) was Maria in ‘The Sound Of Music’; Eliza in ‘My Fair Lady’; Rose in ‘Aspects of Love’.
Nathan Taylor (Demon Frostbite) was Buzz Adams in ‘South Pacific’ at Kilworth House Theatre
Dereck Walker (Dame Herda Gerda) is a well-known panto dame who has also played one of Cinderella’s Ugly Sisters at many venues across the country.

Creative team:
Writer Gareth Joyner
Director Robert McWhir
Choreographer William Spencer
Musical Director Aaron Clingham
Designer David Shields
Lighting Designer Richard Lambert
Casting director Anne Vosser
Producer Peter Bull for LAMBCO Productions

LISTINGS INFO
Peter Bull for LAMBCO Productions
presents
‘FROSTBITE, Who Pinched My Muff?

The Garden Theatre
at The Eagle
349 Kennington Lane
London SE11 5QY
(nearest tube/train: Vauxhall)
3 December 2020 – 10 January 2021
http://gardentheatre.co.uk/

I am finding the pressures to make this Christmas the most-Christmassy-ever daunting to the point of unbearable (seeing as we shall soon receive special temporary release from public health regulations as if tinsel were a viral prophylaxis). However, despite my exhaustion and seasonal cynicism, I couldn’t help but be charmed by the whole experience of a trip to Ally Pally to see a revival of The Gruffalo’s Child in the North London venue’s capacious theatre. If you have children between the ages of 3 and 6, go see this show and suspend your latent grinch for a few hours!

Yes, even on a Sunday, you’ll be required to pay £3 for parking at the hilltop setting; but somehow it feels like a contribution to the greater good as you pass the exit to the drive-in Covid testing centre situated down the hill on the same majestic grounds. Convenient and scenic, this is the beginning of being rumbled for change (metaphorically, as it’s all contactless these days) for snacks and merchandise (unless you’re far more disciplined than I am) but, oddly, this pre-admission ritual has a certain festivity to it because, during the cheerful transaction, you behold the Victorian exhibition palace bedecked in haute-Noel – which I could see reflected in my children’s eyes as a sense of joy and wonder which aided my wilful suspension of Crumpiness (Crimbo + Grumpiness).

The production – which had a stint in the West End and toured children’s performance centres across the country a few years ago – makes its return after 9 months in mothballs. The multi-rolling cast of three show themselves as troupers extraordinaire with so much heart and commitment it might just make you teary and will definitely make you toe-tap. As the venue is huge and seats must be spaced apart for social-distancing, the staging could perhaps do with scaling up visually to ramp up the ambience that was previously provided by intimacy. I would have liked to see the Owl’s wings a bit bigger and Mr Snake in a full-body snakeskin suit (perhaps with a bit of iridescence thrown in to hit the circle seats) but my kids flapped and hissed along regardless. Indeed, as I gazed around, I could see the faces of rapt children none-the-wiser of the show’s previous proportions. In fact, having no one in front or behind you is rather perfect for a kids’ show because you don’t need to worry about sightlines or seat-kicking.

With admirable lighting, fun fast costume changes and a recurring ditty about Stickman that will give you an earworm all the way home, this show is a pleasing and faithful adaptation of the beloved Julia Donaldson and Axel Scheffler classic. Thanks to its comic theatrical interpretations and song-and-dance numbers, I find this Gruffalo’s Child more fun than the very literal animated TV rendition voiced by David Tennant. I also suspect that younger children will find it less scary and more entertaining too.

When I asked my 8-year-old co-critics what they thought, they told me the music was the best part but they are probably a bit too old for this production now. My son declared, ‘my 5-year-old self would have given it 5 stars but now I prefer The Mandalorian.’ My daughter still gave it 3 stars from her Year-4-self but was eager to recommend it to the younger siblings of her classmates whom she was confident would rate it more highly. This show isn’t Matilda but, as it will likely be a long time before you’ll have that scale of theatrical experience, a day-out at Ally Pally with The Gruffalo’s Child as its centrepiece is pretty good-going if you have infants-age children.

Whilst socially-distanced celebrations may at first feel odd, the venue and producers run things smoothly and conscientiously – without killing the vibe. In fact, it’s rather pleasant not to be overrun by crowds when accompanied by highly Yuletide-stimulated children!

Review by Mary Beer

One wild and windy night the Gruffalo’s Child ignores her father’s warning and tiptoes out into the snow. After all, the Big Bad Mouse doesn’t really exist… does he? Join the Gruffalo’s Child on her adventurous mission in this magical musical stage adaptation, of the much-loved picture book by Julia Donaldson and Axel Scheffler. The Gruffalo’s Child runs from 5 December 2020 – 3 January 2021.

Suitable for children 3+. Running time 55 mins (no interval).
https://www.alexandrapalace.com/
https://www.tallstories.org.uk/the-gruffalos-child

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Any live theatrical experience in the autumn of 2020 is going to be tinged with a profound sense of gratitude. That we have managed to gather and be entertained – thanks to producers, creatives and cast who bring new depth to the term ‘trouper’ with all its ‘show-must-go-on’ notions of persistence and ingenuity – is still something of a wonder. Whilst the Bridge Theatre is leading the way indoors by bringing big names to monologue performances with deliberate partial capacity, the Garden Theatre at the Eagle Pub of Vauxhall embraces the possibilities of an outdoor space to create a feeling much like many of the courtyards at the Edinburgh Fringe whilst delivering musical theatre – proper musical theatre – which, given public singing is considered a suspect activity nowadays, feels thrilling just to be there! The garden setting enables a sense of ambiance that, whilst clearly carefully marked-out and marshalled, I enjoyed more than being dotted and distanced in a cavernous interior theatre space (at which I also felt gratitude, but definitely a kind of loneliness from the lost congregational quality).

Somehow the Eagle Pub venue manages to make all the rigmarole of having your temperature checked and providing contact-tracing details feel like the first phases of a sacred ritual whilst gracefully and cheerfully executing their duties. The energy and appreciation of the audience is palpable, even if the bottom two-thirds of their expressions are concealed by masks. In this context, it feels a clever choice for Lambco Productions to have selected Pippin for enactment outdoors with its ‘rule of six’ cast size and shortened run-time. As the play takes place in a semi-mystical historical setting of battlefields and interior imaginations, staging it outside in-the-round works. The physicality of the cast, costumed by David Shields in Summer-of-Love hippy chic, creates many a pleasing tableau and the absence of scenic machinery only adds to the economy and focus of the production. Indeed, with this young, muscular and dance-disciplined cast, there is something sculptural about the staging and it succeeds. The only regret I have is that I longed for raked seating or a bit of scaffolding to add more height to the ‘stage’ because certain sightlines from downstage audience-right are tricky with the girders that are part of the garden’s structural integrity.

Any production of Pippin will call forth the ghost of Bob Fosse who directed and choreographed the original 1972 Broadway debut to significant acclaim. Stephen Dexter’s production, choreographed by Nick Winston, preserves some of the dark, sexy, ironic and iconic aspects that distinguished the Fosse original whilst offering closeness in place of scale. For example, as we learn ‘War is a Science’, Dexter and Winston deliver a tight soft-shoe number with bayonets as vaudeville canes rather than a Broadway chorus line and it works. In the second act, the audience shrieks in delight at the balletic leaps delivered, particularly by Henry Francis (Lewis/Theo) and Ryan Anderson in the titular role. Throughout, this production makes a virtue of what it does have: intimacy, youth and the great outdoors.

This show is also a showcase of some exciting young and emerging talent. Tsemaye Bob-Egbe (Leading Player) has impressive pipes that makes you forget you’re basically on a roundabout on the A202! Joanne Clifton (Fastrada/Bertha) shows major dance chops as she works the space in a range of styles. Tanisha-Mae Brown as Pippin’s love interest, Catherine, impressively makes her professional debut and is a triple-threat to watch. The three male cast members, Anderson, Francis and Dan Krikler (Charles), are equally as watchable and magnetic; hitting the notes, sticking the landings and adding more audience gratitude to the evening.

Serving hit number after hit number, there is no question that Pippin will have you humming at least something on the way home. With its exploration of disillusionment and political power, it may seem an apt choice for the modern age. However, the book actually feels a bit dated. For all its anti-establishment trappings, its story is essentially vanilla and conservative: entitled prince is unfulfilled, tries lots of stuff but the answers do not exist via external validation and actually we still need the grown-ups to run things. I, therefore, would not recommend any production of Pippin as a manual for political engagement or the road to enlightenment. But who cares? This production is an expressway of musicality, physicality and up-close enchantment; in other words: it’s a great ride.

Review by Mary Beer

We’ve got magic to do… Just for you, We’ve got miracle plays to play…’
Producers of ‘Pippin’ at London’s exciting new outdoor theatre venue, The Garden Theatre at The Eagle in Vauxhall, have released production images ahead of its 2 press performances this week on Thursday 17 and Friday 18 September.

Featuring an exceptional cast of West End performers, ‘Pippin’, extended due to overwhelming demand. It now runs until Sunday 11 October.

After launching with the sold-out, critically acclaimed musical ‘Fanny and Stella’ – which also extended its run twice due to overwhelming public demand – The Garden Theatre at The Eagle presents an exciting new production of the Broadway musical about a prince learning the true meaning of glory, love and war…

‘Pippin’ is an iconic and unforgettable musical masterpiece. It features an infectiously unforgettable score, including ‘Magic to Do’ and ’Corner of the Sky’, from four-time Grammy winner, three-time Oscar winner and musical theatre giant Stephen Schwartz (‘Wicked’, ‘Godspell’), who has given his blessing to perform the show for the first time ever with an ensemble cast of six.

Cast:
Ryan Anderson (Pippin)
Tsemaye Bob-Egbe (Leading Player)
Tanisha-Mae Brown (Catherine)
Joanne Clifton (Fastrada/Bertha)
Harry Francis (Lewis/Theo)
Dan Krikler (Charles)

‘Pippin’ has a first class creative team led by director Steven Dexter, with choreographer Nick Winston, musical director Michael Bradley, designer David Shields, lighting designer Richard Lambert and casting by Anne Vosser.

It is produced by Peter Bull for LAMBCO Productions.

Originally Produced on the Broadway stage by Stuart Ostrow
Directed on the Broadway stage by Bob Fosse
2013 Broadway revival directed by Diane Paulus
Theo ending originally conceived in 1998 by Mitch Sebastian

Performed by arrangement with Music Theatre International (Europe) Limited

Please note: face masks or coverings must be worn throughout the performance by socially-distanced audience members.

LISTINGS INFORMATION
Peter Bull for LAMBCO Productions
presents
‘Pippin’
Music and Lyrics by Stephen Schwartz
Book by Roger O. Hirson
Directed by Steven Dexter

The Garden Theatre
at The Eagle
349 Kennington Lane
London SE11 5QY

Tuesday 8 September – Sunday 11 October
The performance is 90mins (approx)
with a 5 minute pause
The Garden Theatre at The Eagle follows Government guidelines in its operations
Social Distancing is in place with seat allocations by the theatre staff
The venue is outdoors
http://www.gardentheatre.co.uk/

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Adam Nichols’ 90-minute adaptation of The Merry Wives of Windsor is an absolute belter of bawdiness and the perfect pick-me-up for a pandemic. Shakespeare’s comic spin-off from the Henry histories was written as a vehicle to return the deliciously obese and lecherous Falstaff, who provided comic relief in the more seriously-toned Henry IV historical dramas, and is now the animating force and butt of jokes in this full-throated comedy. Nichols has chosen to set the action in the 1980s which works perfectly given this play is centred around the aspirations and comic manners of the middle class and serves as the template for many a famed British sit-com of the same era.

Taking full command of the available space, we meet 80s metal band The Spirit of Wantonness (with umlauts aplenty in their signage) and ageing front-man Sir John Falstaff (Lachlan McCall), all eye-liner and peacocking gestures. Playing live and treating us to many an in-joke musical number, this show delivers outstanding entertainment at an incredibly reasonable ticket price. Whilst this production is japes a-go-go, the triple-threat cast are excellent in all aspects and the throw-back musical numbers are simply fun. Where sometimes running a time-specific thread through Shakespeare can feel strained or obvious in a parallel being drawn for the audience, this production’s song-and-dance numbers may occasionally feel a little panto but are pure pleasure, especially for Generation X-ers who knew them the first time around.

Tight and pacey, The Merry Wives of Windsor’s subplots are rather pleasingly simplified. The essence of Shakespeare’s screwball comedy (about exposing and ridiculing Falstaff’s attempted cuckolding and letting young lovers, Anne Page and Quentin Fenton, overcome their elders’ material ambitions of another more advantageous arranged marriage) remains and shines through, with the modern references complementary rather than distracting. Simon Nicholas’ set is a triumph and the cast make full use of both the height and depth of the built and surrounding natural elements – giving the staging a sense of grandeur and immersion whilst providing a 3-dimensional world for great physical comedy performances to shine through.

The lanky Will Pattle (as Abraham Slender) moves with an almost Lee Evans-like clowning that makes him a joy to watch. Flora Squires is equally energetic and committed in her characterisation of the ever-chomping Anne Page who pines to make her own love-match and expresses herself with many an apt musical number (and the occasional full-body tantrum). Zak Robinson conquers the role of Quentin Fenton which is especially impressive given the love-struck youths of Shakespeare’s comedies are sometimes amongst the blander of his characters. Particular kudos belongs to Robinson who not only embodied the role with charisma and appeal but who also fearlessly belted out a Billy Idol number, unphased by a minor technical microphone glitch during the premiere caused by thunder storms robbing the production of its tech time before opening, which I’m confient will be resolved before the next performance. Isabella Javor is hilarious and commanding as burger-bar tending Stella Quickly whilst also giving full poetic life to Shakespeare’s prose.

Amongst the older generation of characters, David Widdowson and Emma Wright (as Mr and Mrs Ford) have found just the right sort of texture in a rendition that demands the scenery be chewed. Anna Franklin’s comic timing as Meg Page is glorious and Jo Servi’s vocal command (in song and speech) as Robert Shallow is outstanding. Lachlan McCall’s Falstaff is excellent without pulling focus from the ensemble at the heart of Nichol’s version of The Merry Wives of Windsor. Lizzie Thomson’s costumes are spot-on, as is Ryan Munroe’s choreography; which also demonstrates multiple successes across the challenges of 80’s authenticity, sheer entertainment value and social-distancing problem-solving.

Although director Adam Nichols has made significant modifications to the script to create its setting and its 90-minute run-time, he has remained true to the pure silliness of Shakespeare’s farce of manners to deliver a rich and laugh-out-loud entertainment experience suitable for all ages and tastes. It is testament to the strength of this production that even as a shower passed overhead, causing me to tighten my Gore-tex hood, I never once looked at my watch, but did indeed hum several of the show’s ditties on the way home.

Review by Mary Beer

A summer music festival. A bunch of 80s rockers on the comeback trail. And an ageing lothario who is about to get his comeuppance.

Shakespeare meets Spinal Tap as this classic middle-class comedy gets the full OVO treatment with a live 80s soundtrack, tight trousers and big hair.

Featuring 80s supergroup Spirit of Wantonness performing classics from the decade including Bonnie Tyler, Heart, Bon Jovi and Guns and Roses.

A riotous adaptation of what is often seen as the world’s first situation comedy by OVO‘s award-winning Artistic Director Adam Nichols.

Cast
TOM CAGNONI – Brian Bardolph
THOMAS KING – John Nym
JO SERVI – Robert Shallow
MARCUS CHURCHILL – George Page
LACHLAN MCCALL – John Falstaff
FLORA SQUIRES – Anne Page
WILL PATTLE – Abraham Slender
CELESTE COLLIER – Scarlet Pistol
ZAK ROBINSON – Quentin Fenton
DAVID WIDDOWSON – Frank Ford
ANNA FRANKLIN – Meg Page
EMMA WRIGHT – Alice Ford
ISABELLA JAVOR – Stella Quickly

Creative Team
ADAM NICHOLS – Director
TOM CAGNONI – Musical Director
RYAN MUNROE – Choreography
SIMON NICHOLAS – Set
LIZZIE THOMSON – Costume
ADAM BOTTOMLEY – Lighting
MICHAEL BIRD – Sound
HONOR KLEIN – Stage Manager
BECKY BROWN – Production Manager

THE MERRY WIVES OF WINDSOR
By William Shakespeare
Directed by Adam Nichols
14th – 31st August 2020
http://maltingstheatre.co.uk/

As the nation roils amongst a nonsensical A-Levels algorithm and poetry is to be dropped from the essential study of English Literature, get your family down to the Maltings Festival to celebrate the Bard who defines Britain’s aesthetic soul in this entertaining and youthful version of Henry V – a good day out for Shakespeare newcomers and veterans alike.

Mathew Parker’s production locates itself firmly in the coming of age aspects of this history – which shows Prince Hal of Henry IV Parts 1 and 2; having matured from boy to man, self-indulgent prince to noble king. With a young, multi-rolling cast, Parker has devised a meta-theatrical conceit of a school production of Shakespeare’s play and introduces (and reassures) with considerable detail about how social distancing is being observed. As live theatre returns, I suspect the audience will take comfort in the safety procedures being pointed out with wit, but caution, as it can never be far from the audience’s minds. I’m not convinced the school play device is an entirely necessary choice, but the youthful and talented cast, together with the comic drive of this production, make an excellent and accessible entree for young people to Shakespeare and the conceit adds a level of gaiety consistent with an outdoor festival designed to be fun.

Parker has shortened the play to a 90-minute experience which runs straight through without an interval. He has chosen to amp up the comedy and deliver big choreographed battle scenes with an affecting use of Stormzy’s ‘Heavy is the Head that Wears the Crown’ (a line from Henry IV) along with other pop songs. Whilst some of the more poetic subtleties about death and power, as well as the character development, of the full 5-act play are sacrificed to keep the run-time within 1.5 hours, the instinct to entertain above all else is the right one for an outdoor summer festival during a global pandemic.

Recent RADA graduate Mara Allen takes the titular role and shows great energy, commitment and range in a highly physical and masterful vocal performance. With heavy doses of choreography and clever and resonant use of stomping, the cast who serve as key characters and ensemble show an exciting physicality in their enactment.

Whilst Parker went all out for as much light-hearted humour as possible with his cuts excising much drama and exposition in order to shift the balance towards, but not entirely, to comedy, I found his rendition of the famous French scene between the royal Katherine (Rachel Fenwick), who is betrothed to Henry and contemplating what a wedding night with the Prince might entail, and her maid Alice (Paula Gilmour) odd in that the normally hilarious and profoundly rude scene appeared to be sanitised and thus lost much of its punch. Seeing as fellow Maltings production of The Merry Wives of Windsor pulled no punches with its ribaldry at 6 pm, I’m not sure why a duet built on sexual innuendo and mispronunciation was given a distinctly G rating in its pre-watershed slot?

This is a strong and fun production but I felt it was a missed opportunity by confining the action to the built platform when there is a wondrous field of the Roman site in the Verulamium Park at its disposal. In one of the most revered prologues written, we are asked:

On this unworthy scaffold to bring forth
So great an object: can this cockpit hold
The vasty fields of France? or may we cram
Within this wooden O the very casques
That did affright the air at Agincourt?

I find it slightly baffling that with a really strong hint of the ‘vasty fields of France’ in the background that Parker and his set designer, Simon Nicholas, would use only an ‘unworthy scaffold’ to tell the story. Even with a cast of 10 playing more than 40 characters, and with the promise of all actors being at least a metre apart, somehow the action felt indeed crammed on the stage. The affecting choreography and sense of time, especially during the musical montages, would have benefited from the gift of depth of field that the literal fields surrounding the stage offered. Likewise, I would have liked to have seen the rear wall of the set removed to show the battlefield space behind rather than blocked with a bland white panel. It’s nonetheless commendable to address both social distancing and the demands of an outdoor festival at what was likely short notice of the production. As such, this show is a triumph of problem-solving and jolly good entertainment to boot. Should the creative team have the opportunity to take a breath, it would be even better if they could leverage the sympathetic strength of their setting for further impact but nonetheless the Maltings’ Henry V is well worth its ticket price!

Review by Mary Beer

Henry IV is dead and the young Prince Hal is King. With England in a state of unrest, he must leave his rebellious youth behind and prove himself a worthy ruler. The young king becomes feted warrior as a tiny kingdom rouses its spirits to stake a claim on the towering throne of France.

From monarchs to miscreants, Lords to lackeys, Shakespeare’s Henry V unites a cross section of humanity on the historical fields of Agincourt in an epic battle for heart and home.

CAST
LUKE ADAMSON – (Paul) Ely, Dauphin, Fluellen
RACHEL FENWICK – (Ffion) Boy, Cambridge, Katherine, Governor of Harfleur, Court
FELIPE PACHECO – (Ralph) Exeter, Nym, Bates
PAULA GILMOUR – (Josie) Canterbury, Bardolph, Alice, Rambures
JACK REITMAN – (Zach) Gloucester, French King
MARA ALLEN – (Agatha) Henry
CASSANDRA HODGES – (Ms Nightingale) Chorus, Westmorland, Williams
EDWARD ELGOOD – (Mr Spencer) Orleans, Gower, Erpingham, Burgundy
MELISSA SHIRLEY-ROSE – (Lily) Montjoy, Hostess, Scroop, Queen Isabel
JAMES KENINGALE – (Dante) Pistol, Gray, Constable of France, English Herald

CREATIVE TEAM
MATTHEW PARKER – Director, Adaptor and Choreographer
OLIVER MCFADDEN – Assistant Director
SIMON NICHOLAS – Set
LIZZIE THOMSON – Costume
ADAM BOTTOMLEY – Lighting
MICHAEL BIRD – Sound
HONOR KLEIN – Stage Manager
BECKY BROWN – Production Manager

THE MALTINGS OPEN AIR THEATRE FESTIVAL
August 14th-31st
at THE ROMAN THEATRE of VERULAMIUM
St Albans, Herts AL3 6AH
with re-imagined versions of Shakespeare’s HENRY V
http://maltingstheatre.co.uk/

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