Frank N Stein: A Review
I first encountered the story of Frankenstein as a child through the classic Bugs Bunny cartoons ‘Water, Water Every Hare’ and ‘Hair-Raising Hare’ (in which Bugs shouts ‘Hey, Frankenstein!’ to the hairy red monster, forever confusing generations of viewers as to which character is actually Frankenstein), so I was perfectly primed for the combination of fun, silliness, and Gothic camp-tinged-with-Steampunk of Frank N Stein by the Cumnor Players this past December.
It is a major undertaking to review a Cumnor Players panto, and I understood the gravity of my task. One false move, one whisper of criticism, and I’d be like the poor Monster himself—shunned, castigated, frozen out of the village, maybe even doomed to shop down in Botley... But I’ve been going to the Cumnor panto almost every year since Snow White (2009), and I know what a treat these shows are: the exceptionally high quality of everything from costumes and make-up to script and acting to scenery and music, not to mention all the off-stage labour that’s involved in mounting such extravaganzas. How many other villages can boast such an annual event?
Still, as I made my way to Cumnor Village Hall for another riotous and anarchic entertainment, I wondered: would this one be up to the usual standard? Would the music be as fantastic, the sets as breathtaking, the costumes and make-up as exquisite? Would the redoubtable Ian Bannerman once more deliver his signature mix of utterly daft plot, egregious double entendres, and groan-inducing puns? Or would the Punning-well have dried up and left us all on ‘Bore’s Hill’?
I’m delighted to say that this year’s panto was just as exuberant and brilliantly entertaining as its predecessors. The show was admirably directed by Ally Baker and Jules Pottle and they ticked every box. The script hinged on an ingenious and completely silly running gag: that (due to a programming glitch) the Monster could only express himself through the lyrics of Kylie Minogue conveyed in the voice of David Attenborough. The story barely hung together (high praise in panto terms), the puns were wince-inducing, the gross-out factor was extreme (especially with regard to the state of Frank N’s underpants), and the double entendres were eye-watering, particularly one involving a bottle of ketchup. The performances were uniformly strong, starting with Tim Pottle as the magnificently attired ‘dame’, Phyllis Stein (get it?), who had a lot to do at the beginning to fill us in on the story so far, and Jan Kowal as her husband, Heinz Stein, complete with an outrageous German accent and a fetching pair of turquoise lederhosen. (The cultural stereotyping was generously inclusive, extending to the Swiss, the French, and the citizens of Botley.)
In a rare on-stage role, author Ian Bannerman himself played the Monster, sporting vivid, Christmas tree-green make-up that was suitably scary and made at least a tenuous link to the season. Thanks to the back-stage creative team, the Monster’s operating table was a real feat of ingenuity and almost stole the show. The baddie, Dr Frank N Stein, was menacingly portrayed by a steam-punked Thomas Lewis who was satisfyingly boo’d by the audience at key moments. Other standout performances in an excellent cast included Kitty Murdoch (the sunny sidekick, Igor); Rona Dalitz (Toby Le Rone); Jacqui Lewis (a very plucky Cuckoo); Izzy Hankin (Elizabeth Stein, Frank N’s unfortunate (adopted) sister); Charlie Stockford (Bernard, the long-suffering Butler); Liza Zhyhadlo, Leo Stevens Clark and Olivia Wyatt as resourceful ‘Mini Monsters’; and many others. It is always a joy to watch the younger cast members on stage, this time in the guise of mice. They sang, danced, and confidently manoeuvred a herd of well-dressed goat puppets across the stage during a catchy version of ‘The Lonely Goatherd,’ performed by Jenny Furniss (the Goatherd) and Mo Harry, her only goat. Who would have thought Mo could top his unforgettable pigeon performance last year? Other highlights included Grace Corti’s (Madame Rolex) impeccable costume and…..timing, and Paul Bobby’s transformation from Cheese Monger to Bridesmaid for the finale.
Although the hand-painted scenery was as captivating as ever, a stand-out moment was the transformation from the cosy castle interior to Frank’s dark, foreboding dungeon laboratory, complete with stairs, marble pillars, and a live trio of wonderfully expressive and beautifully dressed ‘machines’. A clever combination of lighting, sound, and props created an impressive lightning strike at just the right moment during the wicked experiment.
A final shout-out goes to the band, nicknamed ‘The Frank’n’Steinways,’ which played brilliantly and almost without rest, especially Shannon Stephen blasting out Bach’s Toccata on keyboard. It made the Cumnor Village Hall feel like a real Frankenstein’s mansion, just for a magical moment.
Kirsten Shepherd-Barr
