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Reviews Scholes Village Players

Richard Moule (left),  Charley Ashe and Alan Moule starred in the Scholes Players panto Cinderella. (S)

Richard Moule (left), Charley Ashe and Alan Moule starred in the Scholes Players panto Cinderella. (S)

Review of Scholes Village Players’ production of ‘Cinderella’

by Ash Land.

Scholes Players go to the ball with a slick Cinderella.

You would expect another slick pantomime from one of West Yorkshire’s oldest amateur dramatic societies.

Scholes Village Players did not disappoint its audiences with their interpretation of Cinderella, skilfully directed by the experienced Anne Kay.

The Players, like many of their jokes, have been around since 1932.

Their longevity undoubtedly derives from loyal audiences, who from November 19-23 made their voices heard in the newly refurbished Scholes village hall.

When a troop of actors are so willing and able to depart from the well-known script, and play to its local audience so well, you can sit back and enjoy the mutual reciprocation and participation, which somehow just cannot be felt in professional theatre.

With Alan and Richard Moule again controlling operations as the Ugly Sisters, Listeria and Salmonella, they certainly enjoyed making life for Charley Ashe’s Cinderella as difficult as any virulent bacteria could hope for.

Indeed, with Jacob Pyrah lending a tremendous tour-de-force as Buttons, the comic interplay and impromptu adlibbing certainly required Charley and Lucy Stoddart, making her stage debut as Prince Charming, to keep straight faces and some semblance of adherence to the script.

However, with Pam Taylor’s Fairy Godmother and Nick Moule, as the Baron, thwarting the sisters’ evil machinations, Cinders is propelled inevitably towards her Prince, who in turn was ably abetted by Margaret and Tom Davey as Dandini and Major Domo.

Contributing to all the panto fun, the work by the young cast was particularly appreciated, with three other young debutants, Olivia Cantelo, Charlie Greer and Richard Skitt joining Lucy Moule and Thomas Land in scrapes, escapes and dancing capers.

The sets get better each year while the props, including a fantastic illuminated coach, never fail to surprise.

The jokes continue to be cheesy, but what would panto be without them?

 

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