Review: ROBIN HOOD, New Wimbledon Theatre
Photo credit: Danny Kaan
In recent years, Crossroads Pantomimes have become slick examples of musical theatre at its best, although sometimes at a cost. Robin Hood at New Wimbledon Theatre is a good example: a fast, entertaining and good-looking show which is loosely based on the traditional story but mostly exists to put on stage some great musical numbers.
Two of the cast are steeped in pantomime, however, and keep things on track when any notion of panto is disappearing over the horizon. Comedy magician Pete Firman, a regular at this venue, works hard as a combination of comic and speciality act, although he is given only a short time to showcase his magic skills. At the performance we attended, he also skilfully held an adult audience member in check with stage aspirations and a trio of over-excited child volunteers. Also totally at home in panto is Steve Arnott, supremely evil as the Sheriff of Nottingham, and highly skilled at getting the kids to boo – and then stopping them again, which is much more difficult. A performance worthy of his heroes of the past (you can read our Panto Profile of Steve here).
Amelia Walker is a spirited and eloquent Fairy, carrying much of the storyline, such as it is. As Maid Marion, Lauren Hampton fits in well to a show that is dance-centred; she more than holds her own with the eight-strong ensemble who impress in every number. When the Ensemble and Diversity are on stage, we are treated to 16 dancers at once; worthy of this theatre’s heyday as a panto venue.
As bill-toppers, Ashley Banjo (playing Robin Hood) and Diversity get a great welcome from the audience and launch straight in to one of several routines that makes good use of the large stage and brings excitement, if not narrative coherence, to the show. The focus on street dance and acrobatics makes this one of the few pantos that is likely to be enjoyed by teenagers, sometimes seen sitting sulkily alongside younger siblings. The routines from Diversity are mostly seen on a dramatically-lit bare stage, with all notion of panto scenery or story set to one side. The low lights aimed at the Stalls do mean that those in the expensive seats may struggle to see the stage, however. Seems a bit unfair too that the members of Diversity don’t get their names in the programme.
It is clear from the reaction they receive that Diversity are very popular with the audience and their dancing impresses throughout the two hours runtime of this show. Appearing in comedy routines is more of a challenge for them, however, with timing and ad-libbing best left to the likes of Firman, who would have greatly benefitted from a Dame to work alongside (although three members of Diversity coped well with ‘If I Were Not…’ which is movement-based). With no Dame, we don’t get the usual schoolroom scene but instead a shaky version of the Haunted Bedroom (more usually seen in Cinderella), with Firman doing his best to keep it going.
A show for fans of Diversity and theatre dance in general then, and with performances from Firman and Arnott that are panto through and through: this is something of a mixed bag but offers a mix of enthusiasm, dance skills and experience that adds up to an entertaining show.
*** Three stars
Reviewed by: Chris Abbott
Robin Hood plays at New Wimbledon Theatre until 4 January, with tickets available here.
