FRIDAY, DECEMBER 20, 2024

Sleeping Beauty   Production photo courtesy of Brassneck Theatre Company

Last year's "People's Panto" in Belfast was a real thrill ride – Brassneck Theatre Company's Cinderella being the kind of show that not only subverted but blitzed expectations. Happily, the company conjure up similar entertainment this year with Neil Keery's Sleeping Beauty, written by Keery and co-directed by Fionnuala Kennedy and Tony Devlin – a different theatrical venue by no means equates to a different theatrical menu as the complete and concisely-crafted colour, comedy and cleverness once again find a distinctive way to please a familial audience's palates.

Keery, back again as the panto dame to stand out amongst them all, Fairy Up-Liquid, has found himself working in a more spacious setting, in front of a larger audience and with a more challenging source on this occasion. There does seem like there's less to work with, at least as far as pop culture goes, in Sleeping Beauty than in Cinderella – what is most memorable from the former apart from the forever chilling presence of the villainous Maleficent? Yet Keery and a game cast bravely and successfully dive into the past and present to stretch and spread the concept into what you might call collective chaos – the beats may appear all over the place, but the overall spark is undoubtedly electric.

A mixture of strong Caitlin McClurg choreography, impressive musical direction from Katie Richardson and clear contemporary interjections from Keery and fellow performers Vicky Allen, Darren Franklin, Rosie McClelland and Sharon Duffy swiftly and crucially build up a loud audience rapport in the very early stages. Given that St Comgall's is more open air than the ballroom that 2023's Cinderella went to at the Devenish Complex, there is a fear of lesser atmospherics – but that is quickly quelled by the energy and enthusiasm shown by both those in attendance and the cast.

Production photo courtesy of Brassneck Theatre Company

This story is not about Aurora, but Our Ora, played by Duffy with a knowing sweetness and described by her Auntie Fairy Up-Liquid in the broadest local lingo possible – "She's dead funny, smart and talented. It's like I gave birth to her." This isn't hip, modernist purism, but instead hints at the open, relatable creativity to come, where there is little but just enough reverence to tradition – and that's what's so enjoyable about Sleeping Beauty.

Here, Our Ora is a singing busker, dependent on social media, an area where the "princely" figure of the show, Franklin's Sailor Twift, already appears to have made his name. But her talent naturally triggers jealousy in our Maleficent equivalent, McClelland's Mallory, and you can be sure she will think of a way to send Our Ora to sleep before she has a chance to become a star. The thing is, Mallory may find antagonism not only from our "heroes" but also her own minion, Allen's Wingnut – a crow who might discover that she's keener to sing and dance to a different tune away from negativity and in the positive presence of our heroine.

The very zippy pacing threatens to leave no time or room for anything to "stick", yet there's a bizarre brilliance to the frantic nature of the endeavour. For it establishes a truthful sense that every single character is on the edge, and this brings a level of tension to escalate already enticing engagement. Notably, Ora seems hesitant about her career, Sailor appears uncertain about how good he really is, and Mallory looks like she's weighing herself down by excessively bragging about her dedication to a solitary spell, however convincing her "evil laugh" may sound. There's a bit of tragedy (not The Bee Gees' kind, mind) in each. And Wingnut? This is arguably as heartfelt a performance as Vicky Allen has ever given, a depiction of how the power of music and singing builds confidence, initiates friendships and lifts pressure from our shoulders. Confidence, bonding, freedom from pressure - some of the key values emerging from the stage at St Comgall's, along with a high level of connectivity with the audience. In short, Sleeping Beauty is another People's Panto to remember, and remember well - a genuine success for all involved.

Simon Fallaha

Sleeping Beauty runs at St Comgall's, Belfast, until Sunday December 22. For more information, and tickets, click here.