Theatre Show Review: Goldilocks and the Three Bears

Table of Contents

“Moments of thrilling circus magic”

Review: Goldilocks and the Three Bears – moments of panto magic at Belfast’s newly renovated Victorian theatre

The entryways have finally returned at the Belfast Grand Opera House. Straight to the point Matcham’s heavenly Victorian joy vault has quite recently gone through complete redesign and is celebrating with the recognizable sight of Dame May McFettridge directing its enormous, marvelous emulate.

This year feels unique. Alan McHugh’s account disregards the conventional construction of endless pantos past and unobtrusively coordinates some pertinent current substance. The smooth slowing down turns its on conventional picture-book symbolism, empowering another way to deal with the story of the brilliant haired young lady and three porridge-sneering bears.

McHugh centers around the issue of basic entitlements. The customary conflict of good with evil arises through the contention between Circus Von Vinklebottom, a confined creature show claimed by the twisted Countess Von Vinklebottom (Anne Smith), and McFetty’s Circus, a family outfit, which utilizes since quite a while ago settled entertainers and, to the fierceness of the Countess, takes on cuddly, tap-moving Baby Bear (Kira McPherson) as the superstar.

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At the point when the Countess takes a gander at her beady eye on Mummy (Jo Donnelly) and Daddy (Marty Maguire) Bear, she quickly detects a chilling business opportunity. It is down to the unstoppable May, her girl Goldilocks (Kia-Paris Walcott, making her expert introduction), her forgiving spouse (Paddy Jenkins) and a tightrope-strolling jokester called Joey (Adam C Booth) to act the hero.

There might be one an excessive number of asinine scene-change schedules however the entire thing looks astounding, the dance successions are sharp, and the exhibitions are sparky, entertaining, and flavored with snapshots of exciting bazaar sorcery. Hurrah to that.

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