(seen at the press night performance on 10th December 2024)
Modern panto is now over 200 years old. Jewish panto is 2 this year – and already so advanced it is coming up for its “bear mitzvah” (13 for Jewish boys, 12 for Jewish girls).
After a genre-creating bold attempt last year, the world’s first and only Jewish pantomime returns far bigger and brighter. The clever crew at JW3 have learned so much in 12 months. With far greater investment to make the show look and sound as good as the script, they prove to have found a voice which rings out as loud and clear as a cantor beginning the Kol Nidre prayer.
It is recognisably panto – set pieces, stunningly silly costumes (a ‘gherkin merkin’, you won’t get that at the Palladium), jokes and one-liners for all ages, with added Jewish twists.
This is apparent right from the overture. All the music is not only from Jewish composers, but is arranged by MD Josh Middleton for a “Klezmer” sound – accordion / clarinet / Ukrainian drum – for enthusiastic house band “The Paddington Bears.” It sets the tone; indigenous verbal wit and wisdom of the Jewish people does the rest.
Nick Cassenbaum (with Rachel Mars adding humour) outdoes himself with the tale of The Spirit of the East End (Morris Bloom), banished to Binchley Road. He must protect orphan Goldilokshen – Goldi Frocks (Heloise Lowenthal) to us – whose birthright East End schmutter factory has been stolen from her by wicked Calvin Brine (Simon Yadoo).
Brine wishes to remain young and beautiful by obtaining a pre-bearmitzvah bearskin. Mama Behr’s (Debbi Chazen) Baby Behr (Frankie Thompson) is exactly the right age. As Mama plans the big Bear Mitzvah party at her Cirque Du Oy Vey, Brine sends Goldi Frocks to infiltrate proceedings... fortunately, odd broigus (familial falling-out) aside, it all ends happily ever after...
... and getting there is hilarious.
You will never forget Chazen and Thompson’s “Fairytale of New York”, Lowenthal and Chazen’s “Total Eclipse of the Heart” or Yadoo’s bonkers “Mein Bear” among a string of others.
Throw in an outstanding “Ghosties and Ghoulies” (the monkey mentioned it to the producer last year, and is so delighted to see it here) to Rogers and Hammerstein – the Zombie used to be the brother-in-law’s accountant - and a brilliant “market stall” scene too.
The latter is creative genius, for those close enough to read, the prices are fun (Mitzvot are £6.13 - there are 613 mitzvot – good deeds), the dialogue brilliant. Think “The Two Ronnies Four Candles” with a distinctly Jewish shopping list.
Oh, and on the front row, cake-baking is going to have you on shpilkes as well as doubled up laughing.
So they need to lock Debbie Chazen in a cupboard as soon as this year’s run finishes, letting her out for next year’s show, just to make certain she is in it. Chazen is warm, kind (thank you again for the Chanukah gelt – chocolate coin, Mrs Behr) and every inch the panto Mama.
Her offspring, Baby, is never to be put in a corner (yes, they do that one, and the watermelon), and you won’t find Frankie Thompson there either. “Acclaimed clown” it says in the programme, accurate self-reviewing. She’s also as loveable as her mother and a great study of the tweenage / teenage mind.
Ian Saville is an avuncular figure and accomplished magician. With a strong interest in magic itself, and a front row, side view seat, the monkey can attest to Saville’s skill. It knows what he was doing, and rarely saw the join, hugely impressive. His Alan Sugar impression is mildly demented, but all the funnier for it.
His ward, Heloise Lowenthal makes Goldie Frocks lovable. Her raid on the Behr home always leaves something in return for the soup (the chair gag is inspired), and her gentle bravery is unforgettable, as is dealing with Baby’s crush.
Every panto needs a villain. Simon Yadoo is frankly evil – and could do with one of the many psychotherapists within easy reach of the theatre. Coping brilliantly with a slight mishap on press night (the audience would have left him there, given the choice, he’s that good), and otherwise striding about like Trump on a bad day, the man takes megalomania to a new level. The disgusted look one 7-year-old girl of the front row gave him said it all.
The show also thrives on its smaller roles. Yael Elisheva as Minnie Skirt and the Judaicamonger gets several good moments, as does David Ellis as Maxie Dress – with the added groaners of playing Rabbie Drake – yes, you can guess where that goes.
Perhaps Abigail Anderson’s direction needs to allow clearer indications of when the audience response are required, but that is a very minor issue which the cast themselves will probably sort out by adjusting their own timing and emphasis during the run.
A far larger budget than last year allows Becky-Dee Trevenen a rather good purple furry set with the band at the back of the floor, as well as several outfits including a neat “CK” logo adaptation.
There’s plenty of space for Yael Lowenstein’s choreography, and the show’s big numbers dance up a storm, audience clapping along happily. Amy Daniels’s lighting design makes good use of two large lights either side of the stage, and Johnny Edwards ensures the head microphones deliver crystal clear sound (even if we don’t really want to hear some of the worst jokes...).
It all adds up to an unbearably good show; paws up, claws out, a roaring success. Here’s to next year.
5 stars.
Note: This panto is also performed on Christmas Day, so for those able to get there on the 25th, it may be a great alternative choice to “The Sound of Music” on TV again... Book now at www.jw3.org.uk/.
Photo credit: Eamonn B Shanahan. Used by kind permission.