Chris Birchall

When you settle down to watch a panto at Liverpool’s Royal Court Theatre, you just know it’s not going to be a typical “he’s behind you” kind of show. You’re only going to take your grandma if she’s very broad-minded, and you are defo going to leave the kids at home watching CBeebies.

Having characters like Dick Head, Helmut Shine, and Bradley Fitzwarren, joining the Cat, King Rat and the Fairy, left writer Kevin Fearon ample opportunity for smut and innuendo.

The plot very loosely follows the traditional premise of young Dick (played by Adam McCoy) striving to become Mayor. Not so much to preside over the gold-paved streets of London,  more the rat-infested roads of Liverpool, and he is on a mission to wrest the city from the clutches of the evil King Rat, who is brought to life on stage by the inimitable Andrew Schofield.

Dick’s companion pussy is portrayed by a delightfully feline Jamie Clarke, whose sister Hayley Sheen takes the part of the lovely Alice. The protagonist’s seemingly impossible mission is brought closer to fruition thanks to the dusting of magic sprinkled from the wand of the green-haired Fairy, played by Paige Fenlon.

From the moment the curtain rises, the tale unfolds to the euphonious sounds of pop and rock classics spanning many decades.

As is tradition at this fabulous theatre, the band is on stage throughout, with four talented musicians providing the energetic backing for the cast’s fabulous vocals, many of which could earn a “golden buzzer” in any TV talent show. Notably, the sweet mellifluous tones of siblings Hayley and Jamie, and the wonderfully omnipotent voice of Lindzi Germain, who plays Dick’s larger-than-life mother, Holly Head.

The pace never lets up, with the entire cast nailing every dance move in the choreography, plus some riveting routines from the Ratettes, three of the sexiest rodents ever seen above or below stage.

One-liners come thick and fast, laced with double-entendre and innuendo. It’s comedy in the very best Royal Court tradition, and the audience loves it. Liam Tobin delivers wonderfully caustic quips as he portrays both Bradley Fitzwarren and none other than Wolfgang Amadeus Mozart.

There are so many stand-out moments, one of the most memorable being where Dick puts so much feeling into his heartfelt reprise of the famous Titanic “I’m Flying” scene while keeping abreast of the panto’s storyline.

Honestly, I can’t praise this show enough, from Keven Fearon’s script, brought to life by director Mark Chatterton and presented to perfection by the talented cast, to the score compiled by musical director Howard Gray, skilfully performed by Greg Joy, Chris Nicholls, Mike Woodvine, and the most animated keyboard player you’ll ever see, “Bouncing” Ben Gladwin.

“The Scouse Dick Whittington” deserves a solid FIVE STARS from me, and if you don’t make an effort to go and see it, you’ll be missing out on the best adult panto of the year. It runs until the 27th of January, and you can purchase tickets from the Royal Court Box Office.

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For those who vividly recall the 1980s, Alan Bleasdale’s BBC drama series, “Boys from the Black Stuff”, resonates as an incisive commentary on Thatcher’s Britain. It was an era wherein the moniker “working class” seemed almost satirical, given the alarming unemployment rates.

Bleasdale’s potent catchphrases, “Gizza Job” and “I can do that”, beautifully encapsulated the profound desperation felt by many, especially our central character, Yosser Hughes in his desperate quest for employment, and is etched in the collective memory of a generation.

Even though The Royal Court, since its 2006 renaissance, has long coveted a stage rendition of the five part BBC television drama, it took the collaborative efforts of director Kate Wasserberg and writer James Graham to convince the sceptical Bleasdale.

But how gratifying it is that they succeeded to bring about a triumphant transformation of the TV classic to a theatrical tour de force!

Actor Barry Sloan (above), renowned for his transatlantic TV exploits, donned the heavy mantle of Yosser with aplomb. Though perhaps his uncanny resemblance to the legendary Bernard Hill did play a part in his casting, it was his Liverpudlian roots that truly infused authenticity and palpable fervour into his portrayal.

A delightful nod to the original comes in the form of Royal Court regular, Andrew Schofield (right), who, having graced the TV series as a fresh-faced young constable, now returns in the sagely role of George, offering a performance brimming with kindness and depth.

Wasserberg’s astute direction ensures that the ensemble cast elevates Graham’s screenplay to its deserving stature, echoing Bleasdale’s quintessential tone. The narrative unfolds with a palpable intensity, arresting the audience’s attention.

A commendation must be made for the ingenious choreography of the fight sequences, and the slow-motion depiction by stellar actor George Caple, of Snowy Malone’s tragic descent to his death from a balcony, was both visceral and artful.

Yet, amidst the raw power, restraint was exercised impeccably. The repetition of “gizza job” was masterfully balanced, preventing it from veering into cliché territory. And the culmination, with Hughes’ almost nonchalant “I can do that”, just before the final curtain, was a stroke of sheer brilliance.

“Boys from the Black Stuff” graces The Royal Court until October 28th. In this critic’s eyes, it’s not just a play; it’s an event, a historical echo, a rhapsody of emotions.

And it deserves nothing short of Five Hairy Photographer Stars. Attend, for it truly is a theatrical spectacle not to be missed.

Prepare to be transported back in time at Liverpool’s esteemed Royal Court Theatre, where an enchanting musical spectacle awaits you. If you haven’t experienced the magic of this production, dear audience, it’s high time you did! Oh, what a delight awaits, for this vibrant offering is bound to captivate your senses and leave you yearning for more.

For those who, like me, first embraced the enchantment of pop music during the late fifties and early sixties, courtesy of the iconic TV program Six-Five Special, prepare to embark on an evening drenched in nostalgia. “The Vernons Girls” unfolds before your eyes, a vivacious tribute tracing the journey of this beloved girl band.

Initially a 60-member choir comprised of employees from the revered Vernons Football Pools company in Liverpool, they blossomed into a sensational vocal ensemble of sixteen young women who took the pop world by storm. Their magnetic presence graced countless television shows, including the legendary “Oh Boy!” where they shared the stage with luminaries of that era—Marty Wilde, Joe Brown, Billy Fury, and Long John Baldry, to name a few.

Under the expert guidance of director Bob Eaton and musical director Jessica Dives, the musical prowess displayed by the gifted cast of eleven talented performers is truly awe-inspiring. Seamlessly transitioning from saxophone to guitar, drums to bass, these skilled artists effortlessly demonstrate their multifaceted abilities.

With each note sung and every dance step executed, they breathe life into the narrative.

Not only do they present a repertoire of the Vernons Girls’ own melodious creations, but they also offer a bountiful selection of the era’s most iconic hits, having served as esteemed session singers for the prestigious Decca label.

Allow yourself to succumb to the irresistible allure of this latest gem presented by the Royal Court. From the moment the first note graces your ears, your feet will be tapping uncontrollably, swept away by a symphony of melodies.

Brace yourself, dear theatregoer, for an evening that will fill your head with the most infectious earworms of yesteryear. As the final curtain falls, you’ll depart, your heart brimming with joy and a newfound appreciation for the timeless classics that defined an era.

Make haste, for the clock is ticking! Liverpool’s Royal Court Theatre beckons, promising an unforgettable journey through the annals of pop music history.