Review of ‘Dick Whittington and His Cat’: “You can’t stop the beat”

The Greenwich Theatre opens its panto season with this 1960s retelling of the beloved fairy tale. Guillermo Nazara shares his views on the show, to let us know if in this boogielicious revision of the classic lore he ended up smelling a rat.

I LOVE Dick! Those are not my words. I’m not saying I disagree with that statement, but those are actually the 12 instant messages I got, almost at once, the moment I posted I was at the Greenwich Theatre reviewing their annual panto. The top-ic is obvious: it’s the story of the most beloved (and probably, the only one) mayor of London. We’ve seen it so many times already – the panto, I mean… I promised myself I would keep this family friendly! But, just like you, I would be lying if I didn’t admit I just can’t have enough of it – careful there…

Regardless of how stuff you’re feeling (*smirk*), chances are you can still leave some room for a little more fun – especially when that arrives in the shape of a 1960s extravaganza. Yes, you’ve read right (congratulations on overcoming illiteracy): this is not a regular panto, at least not in the sense of what you would usually expect when our lovely Dick comes… to the scene, and his heroic feats are told.

If you’re a musical theatre nerd (and if you’re reading this, we know you are so quit the act, Jan), you’re surely in for a treat. After a groovy psychedelia opens this funky twist on the classic tale, the Shaiman-Wittman signature earworm pops in to transport us into a time where bakers go-go dance and rats wear endless shoulder-padded suits. I know… Weird… I mean, bakers shaking their hips is just frightfully inappropriate.

To be fair, it’s just tremendously refreshing to see how a plot we’re so acquainted with can be reinvented in such an original way. It features all that we expect, and even more that we don’t. And that’s what makes it so delightfully entertaining. Packed with hysterically amusing musical numbers, all of them revisions of some of the most iconic pop anthems in the last eras (the ones you grew up with, I still preserve my youth… for one more month…), the show is a joyous fantasia of enchantment, adventure and a whole lot of fun.

This, however, does not prevent both piece and production from displaying a few noticeable flaws. Though beautifully delivered by its overall electrifying cast, the spoken bits (aka book – I just love being pedantic), fails to bring the same grade of amusement as its musical counterparts. It’s pleasing, but not as enthralling. And though it can trigger a few laughs, the humour struggles to land at too many points. On the other hand, in spite of its structure feeling quite solid, there are moments that look excessively rushed, perhaps because part of their space has been taken by singing excerpts that, in reality, are not that important to the narrative.

In any case, we can acknowledge (and laud) the effort the whole team (both creatives and actors) bring to the montage to a rather large extent. With a simple, yet cartoonishly vibrant set design, the production flaunts some degree of enticement through its colourful visuals – while effectively submerging us into its whimsical universe through a not too opulent but cleverly implemented staging.

However, it’s the company that makes the show truly come to life through their infectious rapport and magnetic stamina. There are, nonetheless, a few problems on the musical side – with the vocal talent seeming slightly unbalanced: some of them give superb, rejuvenating renditions, but others endeavour to keep their interpretations in tune all through the performance, most sadly.

Anyhow, there’s still praise to be given to some of its members, starting with Louise Cieleck as Muffy the Rat, endowing the character with absolute charm and impressive singing skills. In addition, Phil Yarrow makes one of the most lasting impressions as Dame Meggs The Baker, portraying her role with magnificent timing and an exceptional comedy bone. Yet, the biggest mention goes to Anthony Spargo as the villainous Ratticus – playing with such enthralling allure and unstoppable energy, you almost want the city to live through the plague forever (I think that phrase is gonna come back to bite me – no pun intended).

Lovable, moderately original and greatly absorbing, Dick Whittington and His Cat succeeds at bringing its own flavour to a classic everyone is now bound to rediscover. In spite of some elements still in need of improvement, the final result is nonetheless strong enough to make of it a palatable offer anyone could be pleased, some way or another, to have a piece of. It may not be the best montage the Christmas season is carrying along, but no hardship should ever prevent us from coming to enjoy a bit of Dick – sorry…

All pictures credit to Danny With A Camera.

Dick Whittington and His Cat plays at London’s Greenwich Theatre until 5 January. Tickets are available on the following link.

By Guillermo Nazara