Written and Directed by Gordon Barr

Review by Dominic Corr

Tickets from £14.00

A decade of decadence, dance, fairytales and farts. That’s what it’s all about, right, kids? For the past ten years, the Byre Theatre has worked with writer and director Gordon Barr and the folk of Bard in the Botanics to maintain the communal nature of St. Andrews’ long theatrical history – a deeply rooted rose, often overlooked in the landscape of Scotland’s venues. And what better piece to showcase the team than that tale as old as time, with more than a few sharp thorns and sparkling petals than Beauty and the Beast.

Openly admitting to using the same old recycled plot threads of before, ones of rent to pay and wealthy landowners flinging our heroes out on their bahookies. But this year’s is laced with stories of tall tales and fake news, which has a thorn to sting those who take everything they hear at face value. Convinced of the Beast’s hideous nature by the cruel and vindictive Belladonna Nightshade, the townsfolk whip themselves into a hateful frenzy, only calmed by Belle’s empathy and agency, a bit of reality, and maybe a musical number or five.

Stepping away from last year’s role as a Wicked Sister (which they played gloriously), Eimi Quinn shines as a grounded, approachable, yet elegant and charming Belle – an ‘everyday’ princess who finds the world around them of a more intriguing wonder than looking for another lad (and who can blame them). Belle’s agency works well for Quinn’s more serious moments, but the toilet humour, audience banter, and one vocal number later into the second half sell Quinn as a starring lead who could undoubtedly benefit from more of a script to dig into.

Now, for any who frequent these pantos, know that the battle of good versus evil often boils down to our two competing dames, Alan Steele and Stephen Arden, who also return to their annual role of choreographer. Loving every moment of it, soaking up the boos, even encouraging us to really lean into it, Arden’s Belladonna has a viciousness to the silly antics, their choreography of the talented youth team making the large ensemble numbers the show highlights. In turn, the script offers Steele a little less than their usual with the story – less so the opposite of Arden’s villainous role and more an ensemble piece. But as usual, Steele’s performance is most enjoyable when throwing off fellow performers (we counted at least four cracks from Boal under the beast mask) or giving the audience both barrels for their lack of enthusiasm for terrible puns.

But as excellent as Arden and Steele remain as the Byre Pantomime’s regular villain and dame, Beauty and the Beast sparkle with an emerging force of regular faces that have long been our princesses, wicked sisters, or prince charming. This year, more than many others, showcases Stephanie McGregor, Rhian Ferrgian, and James Boal, creating a pantomime that flirts with the edges of a theatrical performance more comfortably than many others of its ilk. Boal and McGregor get the best out of their roles, Boal’s Beast has a bit more stage time than many Beauty and the Beast pantos often offer, and their humour, occasional corpsing and chemistry with Quinn are a welcome addition. McGregor’s Valentine, love and adoration incarnate, carries the magic with a deadpan and sarcastic charm, quickly making them the centre of all, making the show a success.

A show that, while chaotic and bursting with pantomime glee at its heart, does a cracker of a job at being as much a storytelling bit of theatre as one would expect from a Bard in the Botanics show. Barr’s direction takes the hands off the reins a little too often, causing a few moments of wilderness where anything (or too little) can happen. Still, amidst it all, there are plenty of flourishing petals from Carys Hobb’s gorgeously classical storybook design to the central performances and refreshing edge; Beauty and the Beast captures both sides of the coin from a pantomime: authentic and rooted in community, yet outlandishly humorous and spirited. A real beauty of a production, with just a touch of a beastly nature underneath.

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