A staple of the Theatre Royal’s Christmas, pantomime in Windsor has enjoyed a long history, with even the late Queen Elizabeth herself appearing in festive fare just opposite at her royal residence. This year, Dick Whittington at the Theatre Royal celebrates the best of British pantomime and marks an impressive milestone for two integral and important performers.
Laurel and Hardy, Morecambe and Wise, Hinge and Bracket; certain comedy partnerships last and are remembered for years to come, their place firmly secured in the history books. 2024 sees two of Windsor’s greats, Steven Blakeley and Kevin Cruise (aka Martin Cabble-Reid), celebrate their 1,000th pantomime performance together.
Appearing as Sarah the Cook and Idle Jack, Blakeley and Cruise are the beating heart of the pantomime, providing comedy, eccentricity and traditional panto fun in equal measure. A visit to the Windsor pantomime is like a reunion amongst old friends, and there is no greater warmth than the affection the audience has for the comedic duo. When it’s revealed that the much beloved "12 Days of Christmas" might not happen due to the disappearance of vital props, a riot almost breaks out before, scene by scene, the necessary accoutrements are found and the routine to bring down the house does so once again.
Blakeley, who also writes, offers a Dame steeped in history and heritage. A witty filmed entrance sequence gives Sarah the opening spot she deserves, ready to display Blakeley’s comedic chops, which are put to great use in a comedy cooking sequence involving a disobedient sausage and plenty of tongue-in-cheek. Blakeley’s rapport with Cruise’s Comic is a joy to behold, marking the very best in what pantomime can be when two professionals honour and share the artform they love.
Cruise adds mishap and mayhem in equal measure, whether slip-sliding around doused in fire extinguisher foam, attempting to perfect Jack’s latest magic trick or inviting the audience to get up on their feet and dance at a smash hits 1990s-inspired rave.
The Windsor pantomime hangs much closer to tradition than its contemporaries, almost resisting the present at times, but as the old adage goes, "if it ain’t broke, don’t fix it". Whilst this works for the most part, some aspects of the Dick Whittington narrative still jar a bit today, in particular a Sultan of Morocco who kidnaps Alice and wants to execute the Fitzwarrens, even though attempts are made at updating the scene by later explaining that he mistook them for pirates. Likewise, cultural references such as The Catherine Tate Show and some of the music choices have a slight waft of staleness, just that little bit too distant to remain fresh and vibrant, much like some of the show’s cloths that clearly show the fold lines of history and are in need of a lick of paint.
That aside, Mia Welsh’s Alice Fitzwarren does receive a partial update as a headstrong university business student, although sadly we never see her graduate. Along with Mikko Juan’s Dick Whittington, the two have fine voices and drive the narrative in a production directed by Charlotte Peters. There is also great warmth in the relationship between Rina Punwani’s Tallulah the Cat and Juan’s Whittington thanks to the integration of British Sign Language, enabling them to communicate with each other and making pantomime more inclusive for all.
Lyn Paul and Hilary O’Neil summon boos and cheers in equal measure as the show’s strong sparring partners Queen Rat and Fairy Bowbells, whilst Basil Brush as Alderman Fitzwarren confirms that old school variety is still well and truly alive.
A shimmering jewel in Windsor’s pantomime crown, Dick Whittington offers a textbook study in the artform of pantomime and could really sparkle with a stronger injection of the contemporary.