The Somborne Players

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Robin Hood and the Singing Nun by Stuart Ardern Pantomime February 2006 Directed by David Haydon At the beginning of February, the Somborne Players once again entertained and delighted their audiences, this time with their production of “Robin Hood and the Singing Nun”. Written by Stuart Ardern and directed by David Haydon, the traditional story of the outlaw of Sherwood Forest was enlivened by the introduction of a novel slant: the forest being visited by scarlet-clad nuns. “The Little Sisters of the Inquisitive”, who were played by Georgia Canty, Hannah and Lauren Harwood, were led by Mother Mathilda Meddlesome, played by Sue Spurling. After a lively musical introduction, the curtains opened onto a verdant looking Sherwood Forest, the cue for the entrance of Robin Hood, played by Vanessa Sharpe, accompanied by Will Scarlett, played by Lesley Evans. Robin Hood was dismayed to find that Maid Marion, played by Catherine Cartwright, had joined the order of the nuns, all of whom had taken a vow of persistent questioning. His other problems were the unwelcomed ministrations of his over-attentive mother, played by Audrey Thomas, and the unashamed flirtings of an over-amorous countess, played by Sue Jackson. Alan Glynne Jones made a suitably wicked Sheriff with the disconcerting habit of fixing a gimlet eye on the audience. Some of the jokes, consisting of references to the musical “sound of Music”, were perhaps a little subtle for the youngest members of the audience, but they were entertained by a splendid and very realistic looking horse belonging to the hapless Norman soldier, played by Nigel Coleman. In the true spirit of panto, all ended well with Maid Marion renouncing her life as a nun and the Sheriff receiving his comeuppance. The action moved smoothly between Sherwood Forest, the outlaws’ camp and Nottingham Castle – the latter including dungeons, without which few pantos are complete. As always Keith Chapman had designed stunning and visually effective sets and the convincing costumes were in the capable hands of Sue Spurling and Audrey Thomas. The cast were supported by an excellent backstage and front of house crew. The production was greatly enhanced by the sound effects of Bill Sutton, the lighting of Andrew Flanagan, assisted by Trevor Ryan, and the choreography of Audrey Thomas. Reviewed by Jo Finch for the Gauntlet