Olympia Theatre, Dublin
It may have been because it was so close to Christmas, but the children at this matinee seemed rowdier and more restless than usual. It may also have something to do with the fact that the familiar fairytale structure was sacrificed for a superfluity of contemporary adult asides.
Sponsored by 98FM, there is more than a touch of the radio talk-show about Killian Donnelly's updated script for Robin Hood, with references to everything from NAMA, social networking and Tiger Woods's sexual shenanigans greeted with audible bemusement by the under-10s (that I should use the word sexual in a panto review says it all). Much of this is narrated in chorus fashion by The 98 Toll Trolls (the radio equivalent of Podge and Rodge, who are unbearably irritating or pretty funny, depending on your tolerance for high-pitched voices and crass bum-jokes; mine is very low). But Friar Tuck (Noel V Ginnity), the Sherriff of Rottingham (David Doyle) and his sidekick, Facebook (Kevin O'Dwyer), are all given at least five minutes in the spotlight for similarly awkward stand-up comedy. Indeed, it is almost 30 minutes in before we are given even an inkling of the plot.
Over two and half hours, however, there are enough excellently rendered, feel-good musical numbers to keep children engaged, and the enormous chorus bamboozles us from distraction. Stuart O'Connor and Ciara Armstrong's incisive choreography and David Hayes's musical direction bring vivid life to pop staples, including a fantastic opening sequence thanks to the Black Eyed Peas' infectious I Gotta Feeling. 98FMs other familiar public face, Little Becky, proves herself not so little anymore as, aided by her Koolpops backing band, she sings and dances an almost exact replica of Cheryl Cole's recent X-Factorperformance of Fight For This Love.
The musical numbers have almost nothing to do with the story; neither does Linda Martin (as herself) or Louis Walsh – celebrity tie-ins that add nothing more than good PR to the marketing campaign. In many ways, this is the ultimate postmodern panto – one that has forsaken fairytale roots for all the showbiz fizz. And, for this traditionalist, it is far less enjoyable for that. Until Jan 4
