Review: Goldilocks and the Three Bears, Richmond Theatre

Roll up! Roll up! Richmond’s Christmas panto has a circus theme this year, which provides a splendid new twist on the traditional story of Goldilocks and the Three Bears. Dramatic big top sets studded with lights replace the usual sugary backdrops of fairytale palaces or eastern bazaars. There are acrobatic dancers in fabulous feather headdresses; a mysterious magic act provokes oohs and ahs by making doves and people disappear and reappear; a sexy Mexican juggler keeps tiny balls in the air with his mouth; and a well-known TV personality performs some surprising exploits on the high wire and the unicycle – all this adds a welcome new dimension, introducing some edgy glamour to pep up the panto. At the same time, the succession of acts did at times run the risk of turning the evening into a variety show rather than a story.

If there is a moral to the tale it is to preach against being cruel to animals: the favourite hobby of villainous circus-owner Countess von Vinkelbottom, who tuts in a heavy German accent that she was arrested by the RSPCA merely for feeding her chimpanzee – to the lions. The three bears are shoehorned into the circus theme by depicting Baby Bear (Lucy Conley) as a talented dancer whose services are coveted by the Countess (brilliantly played by Jessica Martin in full Teutonic Cabaret mode). Baby is also in demand by a ‘good’ but struggling circus, owned by Betty Barnum (Nigel Ellacott, a dame’s dame who designs and makes his own, remarkable costumes). It’s the task of Betty’s daughter Goldilocks (Tamara Morgan) and her best friend Joey (Matt Baker, of Countryfile, Strictly and The One Show fame) to save the day, keep Baby and her parents safe and allow them their freedom to, er, perform in the circus. Best not to overthink that bit. Ringmaster Ringo (Phil Walker) stays in traditional panto territory with a steady stream of ’99 bonk’ gags and a bit of ad-libbing.

With the run just getting into its stride there are still a few wrinkles to iron out, including some malfunctioning magic equipment – but the Magical Mysterioso easily glossed over his initial props failure with amazing sleight of hand, producing live birds from crumpled hankies. Matt Baker just about convinces with his transformation from amiable loser to romantic hero, but the love interest isn’t really the point of this joyful evening’s entertainment. With strong choreography, excellent pacing and striking visuals, this a professionally put together celebration of silliness. Enjoy.

Richmond Theatre, until 31 December

Image credit: Craig Sugden

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