Mother Goose begins with John Bishop walking on stage to introduce proceedings, setting up the stall for this, a panto in March. Instructions are given, jokes are made at the expense of the production’s big draw (along with Bishop) and then we are off on a rollicking, laugh-filled romp that lights up the New Theatre stage.
The slim narrative follows the Goose family (led by Bishop and Ian McKellen), impoverished good people running an Animal Sanctuary. They come into possession of their namesake bird that lays golden eggs and their fortunes turn. But will wealth bring them happiness? And will they do the right thing before the curtain call?
My introduction to McKellen on stage was in a previous panto turn, his Widow Twanky one of the most memorable performances I’ve ever seen. To have him back on stage, in his element, is a joyful surprise and the performer doesn’t disappoint, proving a spry delight, charismatic, witty and very much up for the sillier side of things. He pairs remarkably well with Bishop, whose years of stand-up prepares him well for his role, which quickly becomes Mother Goose’s beating heart. The panto is at its best when they’re on stage, with the script gearing antics to include them and a number of running gags at their expense that land every time.
Surrounding them is an ensemble brimming with talent, and it feels a missed opportunity that this production can’t quite find enough for them, particularly in a rushed second half. Oscar Conlon-Morrey makes an early impression as Jack and Simbi Akande lights up the stage whenever she is on as Jill. But we never get the time to know them and so their story strand falls rather flat. Sharon Ballard as the Good Fairy and Karen Mavundukure as the Evil Fairy are, respectably, warm and inviting, and mischievous and wicked, but really could have done with a greater presence, a mention of unrequited love not given room to develop. And Anna-Jane Casey is stonkingly good as Cilla the Goose, a late-in-the-play solo bringing the house down. It seems a positive problem to have, a cast whose talents aren’t quite matched by the material.
But this is really only a problem on reflection. In the moment the audience is swept along by the charm, charisma and acting skills of McKellen and Bishop, whose rapport here is outstanding. Mother Goose is a riotous, joyful affair, resplendent in Liz Ascroft’s costume design, dazzling audiences as it goes. It makes a firm argument that pantos are for any time of the year and will leave a broad smile on your face. There’s a great roguish quality to the show, from some rather naughty one-liners to an underlying anger at the state of politics in the
But don’t take my word for it. I was joined by my six year old daughter who had a wicked time. While some of the more adult jokes went over her head (thankfully I don’t have to explain how to grease a bottom), she found the show funny and the songs delightful. She was pleased by the characters doing the right thing in the second half, was taken with Bishop’s opening introduction and found Mavundukure a great, funny villain.
Mother Goose is a show that worked for the both us and it was delightful to introduce her to the majesty of seeing McKellen on stage. It’s the kind of production we need right now, giving audiences plenty to smile about.