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Puss In Boots - Wanneroo Repertory

Reviewed by Kate O'Sullivan

 

Wanneroo Repertory’s Puss in Boots, written by Ben Crocker and directed by Shelly McGinn, is a vibrant, family-friendly pantomime with plenty of heart. Featuring a cast of 31, it offers moments of brilliance and charm but does grapple with some challenges in both pacing and the execution of Pantomime's distinctive style.


Beau Poole stands out as Puss, delivering a charismatic and engaging performance that expertly balances physicality, humour, and a clear understanding of the pantomime format. He is supported by Chris McCafferty, who commands the stage as the larger-than-life dame, Queen Wendy the Wont. McCafferty’s comedic timing and energy embody the essence of pantomime, and his interactions with the audience are a highlight. Andrew Govey’s portrayal of Grimgrab the Ogre is another bright spot, as he embraces the exaggerated overacting and physical comedy needed for his role.


Among the long list of side characters, the chemistry between Betty (Eleanor Mulder) and Jethro (Jason Pearce) shines, with their budding romance leaving the audience rooting for them, at times even more than for the leading couple, Jack (Zavier Wileman) and Esmerelda (Zoe Anderson). Their dynamic is charming and well-developed, bringing warmth and relatability to their scenes.


The production struggles at times with consistency in embracing the pantomime genre. Some cast members seem uncertain about the genre’s conventions, resulting in performances that fall into a “not quite funny enough but not quite earnest enough” middle ground. This can make some comedic moments feel flat, as they lack the boldness or sincerity needed to land effectively. Gwen Browning and Christine Smith deliver admirable performances as the opposing Fairy characters, but their delivery of rhyming couplets feels a bit too earnest for the overarching whimsical tone of their roles. While they approach the material with clear effort, a touch more playfulness might have added to the enjoyment of their scenes.


The musical numbers display the cast’s enthusiasm, particularly in ensemble pieces, which work best overall, with simple, recognisable melodies. The duet and small group numbers enhance the plot at times, but sometimes lack the emotional resonance and energy needed to stand out and fill the space, particularly when some of the performers were struggling with timing against backing tracks. Additionally, sound balance issues, with music overpowering microphones, occasionally detract from the clarity of the vocals.


Choreography is thoughtfully crafted, effectively showcasing the stronger dancers while adapting movements for others. While a few more rehearsals could have tightened some numbers, the cast’s enjoyment is evident and adds to the overall energy. Encouraging all performers to fully embrace their facial expressions would further enhance the dance sequences.


Lighting is used effectively in certain scenes, such as the segmented staging in the bedroom scene, and atmospheric lighting in the woods, but it feels underutilised elsewhere where full stage washes take precedence. A more creative approach to lighting and staging could have streamlined the frequent set changes, which at times disrupt the pacing. While the sets themselves are visually appealing, some transitions feel overly elaborate given the brevity of the scenes they frame. Simplifying these could help maintain the production’s momentum. The wedding scene at the end of the show, though lively, feels slightly seperated from the rest of the show, due to it being preceded by an extended audience interaction involving a well-known Christmas song. Integrating this transition more seamlessly—perhaps with the needed costume changes occurring during the energetic full cast rendition of "You Can’t Stop the Beat" in Scene 10—might have maintained the show’s flow more effectively.


The costumes are a visual treat, bringing the fairytale world to life with bright, imaginative designs. The main characters’ costumes are especially effective in conveying their roles, while the ensemble’s attire adds a cohesive and whimsical touch to the production. Audience interaction—a hallmark of any good pantomime—is well-handled, with classic call-and-response moments like “They’re behind you!” drawing laughter and engagement throughout.


Puss in Boots at Limelight Theatre delivers a fun and heartfelt evening of entertainment, filled with moments of laughter and community spirit. While there are areas that could benefit from further refinement—particularly in embracing the full potential of pantomime conventions and streamlining the pacing—the production succeeds in capturing the joy and energy of this beloved theatrical tradition.



Reviewer Note: Kate has previously performed at the Limelight Theatre, most recently in 2011. Tickets for this review were provided by the theatre company.

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