Ask anyone in Cambridge and they’ll be bound to agree: there is no niftier, glitzier show in Cambridge theatre than the CUADC/Footlights Michaelmas Pantomime. For it is true, the Cambridge panto does everything big. Its budget is significantly larger than any other ADC main show’s and it is also scheduled for a two-week run. 15 performances in total, including matinées, of the best that Cambridge comedy and musical theatre can offer: this is what can be expected of Rumpelstiltskin, this year’s instalment. 

The intensity and professionalism required (for this can hardly be deemed an ‘amateur’ performance) from every single member of the cast and crew is known to students and locals alike, who flock en masse to experience this very unique event. No one understands the kind of commitment demanded by such a production better than its directorial team, Lucy Moss (Director) and Lily Lindon (Assistant Director). It is on them, after all, to meet the soaring expectations and outdo last year’s spectacular Robin Hood – a show they both worked on. 

I had the pleasure of speaking to them after witnessing part of a rehearsal to get their personal take on the intricate process of the making of Rumpelstiltskin. Both of them exuded enthusiasm for the duration of the rehearsal, never hesitating to improve minor details and striving for perfection at all times. At my question of what, for them, has proven to be the most important aspect of putting on a successful pantomime, both stared at me in disbelief. Of course, a large part of this relies on the writing: Declan Amphlett, Mark Bittlestone and Haydn Jenkins’ script is, according to Moss, the backbone of the show. 

However, it is only by harnessing the talent and effort of everyone involved and bringing everything together, be it acting, music, lights, sound and set design, that panto can provide the audience with such a fun, carefree and cheerful atmosphere. I could perfectly appreciate this in rehearsal – be it in their very detailed choreography, coordinating the most minute sounds, motions and gasps, to their close communication with the performers to exalt humorous moments and showcase different kinds of comedy, from slapstick to irony. It is only by uniting such a high-quality cast and crew that such a feat can be realised. 

The copious amounts of time and effort put into Rumpelstiltskin are clearly discernible. From the close collaboration of the writers and composer (Oliver Vibrans) in pre-production, to the four long days of auditions, to an intensive month-long period of rehearsals and preparation, no details have been overlooked in the play’s conception.

But still, how is it possible to create something new, vibrant and different from previous pantos? Moss insisted that the writing has much to do with this, given that the story itself is not traditionally panto material. Rumpelstiltskin introduces a main villain who is ironically the most likeable of all characters, and presents an intriguing narrative where nothing is black and white and everything is changeable. Their challenge is turning this rather dark and gloomy storyline, concerning lies, deceit and even the stealing of a baby, into an amusing, audience-friendly representation, catering to a varied public. 

It seems like the directorial and production design decisions are very interesting indeed: Moss and Lindon, along with Production Designer Alice Attlee, are attempting to portray the crookedness and wonkiness of a fairytale-like, surreal land, making everything on stage slightly askew. This will even be displayed throughout the musical score, which is “more Sondheim than Schwartz”, according to Lindon. Expect to be in for a treat listening to Oliver Vibrans’ tunes, very different to the ones previous pantos have included. 

But after being shown around Rumpelstiltskin’s set in the ADC Workshop by Attlee and Producer Jack Rowan, I must say that what promises to be the highlight of this production is the set itself. And, though I don’t intend to give too much away, I can’t go on without mentioning what looks to be one of the most significant innovations in ADC set design history: a revolving stage built on an inner and outer set of steel rings, controlled electronically. Yes, Jack Swanborough’s design will definitely steal the show from the looks of it. The various different sets, including the classic panto forest and castle, will be displayed on here. 

Their production design appears to be very exciting. In our conversation, Attlee emphasized how even details such as colour schemes have been conceived with the utmost care, to convey this skewed, unrealistic image. The set, production posters and costumes are all set to display the same colour combination to immerse the audience in a far-off fairytale land, a distant realm far removed from our banal reality. These nuances in the design, accompanied by a technically laden performance brandishing a snow machine and even various theatrical devices such as shadow puppetry, cannot but satisfy Cambridge’s demanding audiences and exceed expectations. 

It is almost time for us to meet the villagers of Alpenberg in their adventures. It is that time of the year when panto will attempt to showcase the best that the Cambridge theatre scene has to offer. I shall end with a point that Jack Rowan reiterated several times: that, despite the fact that more than 120 people are involved in the staging of the show, everybody in the Rumpelstiltskin team is key to the show’s success. This collaborative approach to the production of panto is key. The commitment and attachment of every individual I have spoken to is unquestionable. After witnessing and working in last year’s Robin Hood myself, I was convinced that the panto couldn’t get any better. Turns out I was wrong.

I am beyond thrilled to experience all of what Rumpelstiltskin promises to offer. A unique take on comedy, music, set and traditional panto components promises to charm audiences from beginning to end. Be sure not to miss it!

Rumpelstiltskin is on from Wednesday 23rd November to Saturday 3rd December at the ADC.