There is something uniquely heartening about arriving at the Broadbent Theatre in Wickenby on a cold, winter’s evening and finding it buzzing with anticipation. This beautiful little venue, nestled in the Lincolnshire countryside, once again proved the perfect home for Lindsey Rural Players’ spirited annual pantomime. Having staged my script The Snow Queen here last year, I was delighted that the society chose to return to my work for a second year running, this time choosing Robinson Crusoe, and I am grateful for the care, imagination and enthusiasm with which they embraced this latest adventure, delivering all the colour, chaos and community charm audiences hope for from the genre.
That confidence extended naturally into the performances themselves, with the cast approaching both character and comedy with a clear sense of purpose. At the centre of the action was Ben Harris in the titular role of Robinson, delivering a solid and consistently watchable performance. Ben brought an easy charm to the part, grounding the character while still embracing the heightened style pantomime demands. Opposite him, Rebekah Hardy’s Polly Perkins was warmly played and engaging, with a likeable sincerity that made her instantly appealing. Together, the pair shared an easy, convincing chemistry, and both impressed vocally.
Robinson’s family provided much of the show’s traditional pantomime humour, led by Malcolm Tresadern as Ma Crusoe. As the dame, Malcolm offered a broadly drawn characterisation that sat comfortably within panto convention, with several well-judged comic moments and a willingness to engage directly with the audience. Alongside him, Sian Rees took on the role of Billy Crusoe, the show’s principal comic turn. Sian brought welcome energy to the part, driving scenes forward with enthusiasm and an evident commitment to the comedy, and together both performers added warmth and humour that enriched the production’s light-hearted spirit.
David Stacey was excellent as Mayor Perkins, Polly’s pompous and perpetually fussy father, delivering a sharply observed performance that drew consistent laughs. His command of timing and physicality made the character’s bluster and self-importance genuinely amusing, and he handled both dialogue and interaction with the rest of the cast with assured confidence. The comedy was further strengthened by the broker’s men, Bernie Slobber and Barney Dribble, played by Ashley Wingham and Natalie Anderton, who worked extremely well together as a double act. Their contrasting characterisations were particularly effective: Ashley’s Bernie was delightfully world-weary and slightly befuddled, while Natalie embraced a sillier, dafter energy, not least in her brilliantly delivered renditions of the comedy poems.
The villains proved to be a particular highlight of the evening, with Kerry James commanding the stage as pirate queen, Captain Kilkraken. She delivered an excellent, gloriously villainous portrayal, relishing the character’s menace while never losing sight of the humour, and her confident stage presence ensured she dominated every scene she appeared in. Opposite her, Vidge Stacey was simply hilarious once again as the scheming sidekick Peggy Sharkfin. Following her unforgettable Oddbob last year, Vidge demonstrated that she has genuine comic instincts — the kind of performer with undeniable funny bones — finding laughs in delivery, expression and physicality with apparent ease. Together, Kerry and Vidge bounced off each other effortlessly, their chemistry a delight to watch, and their scenes crackled with energy, mischief and perfectly pitched pantomime wickedness.
The Captain and Peggy Sharkfin were joined by a motley crew of all-female pirates, each bringing their own distinct flair to the production. Sue Vickers as Nell Skullduggery was delightfully muddled, delivering her malapropisms with perfect timing and clarity that had the audience smiling throughout. Donna Wilkinson as Gertrude Squidsquisher offered a grounded, robust performance, adding warmth and humour to the pirate scenes. Rebekah Hardy returned in quick changes as One-Eyed Wendy, the ship’s hypochondriac doctor, effortlessly shifting from Polly Perkins to pirate mischief, while Gail Barber added both humour and versatility as Flossie Bilge, later appearing as Mermaid Coral, whose ethereal and stern presence provided a lovely contrast to the rowdier pirate energy. Together, the ensemble brought vitality and characterful charm to every scene, enriching the production’s sense of adventure and fun.
Rounding off the cast were two truly standout character performances. Storme Wilson-Eddowes shone as Fairy Marina, combining elegance with a delightful touch of sass that kept the audience engaged from the moment she appeared. Her diction was beautifully clear, her movements graceful, and her timing impeccable, particularly in moments of comic interaction with the audience, which she handled with charm and wit. Equally impressive was Katherine Trevor as Gladys Friday, perfectly embodying a ‘Joyce Grenfell’-style, jolly hockey sticks character. Katherine’s sunny disposition and cheerful optimism, always seeking the positives even in the face of adversity, made her a constant source of warmth and humour. Both performers brought a sparkling energy and distinct personality to their roles, making them a joy to watch and leaving a lasting impression.
The production was underpinned by excellent direction from Natalie Anderton and Ben Harris, who guided the show with a confident hand and an assured sense of pace. Scenes flowed brilliantly from one to the next, allowing the story to unfold smoothly while giving the performers space to shine, and their direction clearly brought out the best in the cast at every turn. Complementing this was the choreography by Storme Wilson-Eddowes, which was slick, energetic, and consistently fun, perfectly suited to the lively spirit of the pantomime. The combination of thoughtful direction and engaging movement ensured that both the story and the spectacle came alive, keeping the audience thoroughly entertained throughout.
The production’s high production values added greatly to the overall enjoyment, beginning with the imaginative set designed and built by Ted Brewer and Peter Thornalley. Scene changes were handled slickly, and the colourful, well-constructed pieces, including the standout mermaid shell, provided a visually engaging backdrop for the action. Costumes were equally effective, clearly chosen to suit each character: Gail Barber’s Mermaid Coral outfit was ethereal and striking, Captain Kilkraken’s red-and-black ensemble perfectly captured her villainous flair, Mayor Perkins looked delightfully nautical with his medals gleaming, and Gladys Friday’s bedraggled evening dress added a wonderfully comic touch. Lighting and sound, expertly designed and operated by Andrew Newton, Jo Johnson, and Megan Allison, complemented the set and performances beautifully, highlighting the actors and enhancing the atmosphere, ensuring the production was both polished and immersive.
Finally, my heartfelt thanks go to the Lindsey Rural Players for choosing to bring one of my scripts to life once again, and for providing such a thoroughly delightful evening of entertainment. From the wonderfully performed characters to the slick production values, the company’s care and enthusiasm were evident at every turn. I also learned from the friendly and efficient front-of-house staff that this year marks a celebration of the Broadbent Theatre’s history and heritage, and I am genuinely proud to be even a tiny part of that story. It was a joy to see my work performed in such a beautiful venue by such a dedicated and talented group, and I leave the theatre with a warm glow and a big smile.