The classic panto format is turned on its head in this queer extravaganza – a fierce, delightfully camp and clever retelling of the story of the Witches of Oz. Rating
Excellent!
Pantos are a quintessential part of the festive season; a dame, a bit of audience participation, twists on famous songs, cheesy puns and a Z-list celebrity thrown in there somewhere. Shan ShayShay Konno’s Wicked Witches Panto – For Adults! (an alternative to the family version, Wicked Witches – A Popular Panto! ) freshens up this format, delivering a pure fun, queer extravaganza using familiar panto elements, but infusing current references (think Drag Race, Eastenders and the odd meme) plus a large measure of filth… and it guest stars Jeremy Corbyn as the Wizard of Oz-lington and Sir Ian McKellen as Toto (a washed up rockstar in Konno’s reimagination).
The show’s last outing was at the Vaults in 2022, but it is now reworked with the focus on the feud and saucy relationship history between the Good Witch (Eleanor Burke) and the Wicked Witch (Gigi Zahir). Both Burke and Zahir are compelling comedic performers, who totally commit to the absurdity of the plot and frequent puns and innuendos. Much like the classic story, Burke’s witch becomes the villain, whilst Zahir’s realises that she must make amends.
Dorothy is now Dor (Ro Suppa), who identifies as non-binary (costumed in a fabulous cowboy outfit), and has returned to Oz after many years, blown in by a blizzard that threatens to freeze Oz-lington forever. Reuniting with Tin 2.0 (Lew Ray), the new and improved, gender-fluid tin man, they journey to find the Good Witch, inventor of bubble energy, to help stop the blizzard ‘for good’. Meanwhile, the Wicked Witch, or Adele as she is known (Zahir absolutely nails the gag here, breaking into song whenever her name is called), hears of Dor’s return and plots to capture them.
Konno’s script is sharp and undeniably hilarious, cleverly moulding known characters and plot to create something totally unique and charming. However, the runtime is too long for the material, with the first act being jam packed and nicely paced, and the second less so. Track choices work well, as do the altered lyrics; there could be more of these, as the cast are all strong vocalists and the songs are a highlight. Konno’s text is politically engaged whilst being entertaining, tackling issues from climate change to gender identity, which really lands.
Suppa has an undeniable stage presence, and kept things moving in the ropier moments (due to this being the first show). Improvising and responding to audience members throughout, their confidence in crowd control was really impressive, as were Zahir’s and Burke’s riffing skills. Nick Macduff does wonderfully in multi-roling as the Scarecrow and Lion and acting as stage-hand (changing sets and handing props to characters), providing some lovely line deliveries and loveable clumsiness. Ray seemed a little nervous and apprehensive at points: a little more confidence in their delivery would help remedy this.
The set is a little underwhelming; pink and green coloured card are styled to look like the Emerald City, decorating the tiered stage. The colourful flooring and curtain (used for all scenes not in the city) and resembling a yellow brick road, suits the show nicely in terms of both purpose and aesthetics.
Costuming is camp and sparkly, with Burke’s witch being the most dolled up. More of the budget could have been allocated for Tin 2.0’s costume to maintain visual consistency.
Despite great performances and utter commitment from all of the cast, there’s still some polishing to do (entrances and exits were sometimes delayed and pacing needs work). With the talent of the cast in mind though, I have no doubt that this will be a seamless show heading into the second week.
Writer & Director: Shane ShayShay Konno
Producers: Vaults and The Pleasance
Wicked Witches Panto – For Adults runs at the Pleasance until Monday 22 December
