A wicked stepmother with a penchant for Prada? Tick. The fairest in the land with a literal heart of gold? Tick. A comedy double-act with a fine line in “That’s another fine mess you’ve got me into” buffoonery? Tick. And a fifth actor who plays “as required” with shape-shifting success (The Man in the Mirror, A Big Bad Wolf and A Guarded Guardian who Drops his Guard in the Garden of Evil)? Triple tick.

Photo: Cumbernault Theatre

Though Cumbernauld Theatre historically prides itself on offering a “Christmas Show” that appeals to “everyone from ages 5 to 105 and everything in between” (under 5’s and advancing centenarians are equally welcome, though the former have the added choice of Christmas At The Circus in the studio theatre, the latter presumably the Gala), Snow White like last year’s successful production of Sleeping Beauty contains all the elements of a traditional pantomime, with the exception of shoe-horned songs and star-studded names from The City of Rivers.

With a smattering of audience participation of the “He’s behind you” and “She went that way” variety, ample opportunity for a volley of “boos” and “awws”, a wild goose chase (well, a wild wolf chase) through an enchanted forest, more tongue-twisting spells than you could shake a sorceresses staff at and a “happily ever after” ending which draws whoops of joy as well as gulps of throats, Snow White sans her septet of diminutive helpers and handsome prince succeeds in being a festive crowd-pleaser for all the family.

With a minimal set comprising of a raised wooden catwalk the length and width of a cricket pitch, a dozen or so illuminated bulbs suspended from the ceiling, a transparent gauze which doubles as a spooky wood and a few puffs from a concealed smoke machine, Ed Robson’s less-is-more staging proves once again that like the miller’s daughter in Rumpelstiltskin he can spin straw into gold.

Though the first act gets off to a ropey start with an undramatic voice-over which is completely drowned out by a wall of screams from an audience unexpectedly plunged into darkness, and though you have to wait until the end of the second act before emotions other than love and hate are genuinely stirred (only Snow White’s tomb scene plucks at the heartstrings), the five-strong ensemble are perfectly cast, polished in performance and rise to the occasion with aplomb.

Rehanna Macdonald imbues her Snow White with tremendous sweetness and likeability; you cannot but side with her as she attempts to outrun Louise Stewart’s “you’re so vain you probably think this pantomime is about you” Evil Queen. Ali Watt’s slick turn as The Man in the Mirror has all the hallmarks of a young Rob Brydon. And the winning combination of Gavin Wright and Josh Whitelaw as Hamish 1 and “Hamish too/2” (no relation to Desmond) form the comedic backbone on which the adapted plot is hung. “Mirror, mirror on the wall, who is the fairest of them all?” The ensemble playing and rapid-fire delivery which melts the two hours traffic of our stage into a crowd-pleasing romp!

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Peter Callaghan
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