Aug 30
2018

The first stand-out skit was the hilarious and heart-wrenching lament of the Christmas cracker. Played by John Holland, decked out in full festive costume involving green tights and a cracker barrel body, Holland sang about the cracker's sad fate as the only one left in the box. With a confident, tuneful voice, the cracker described his lonesome agony and longing to be pulled - it really touched my heart strings and made me laugh out loud. The entrance of Lucy Gwynne-Evans' Miss L. Toe to the stage was another glorious moment. Sashaying in her sexy berry suit, she sang her seduction in a sultry Marilyn Monroe voice that sent shivers down my spine.

Skipping onto the stage as a reminder of that frequent Christmas time repeat, Jean Warner made a great pastiche of Judy Garland's Dorothy and exuded a professional ease throughout the entire show. Audience participation was a unique idea that was resisted at first, but as soon as an element of competition was introduced, took off well. And the introduction of Sir Stanton Davenport, aka Santa, as a forgetful volunteer from a nearby old folk's home was a clever touch. I loved seeing him wander across the stage , hip flask in hand, apparently off cue.

The range of takes on popular cultural icons, including Lawrence Llewelyn-Bowen, and Posh and Becks, brought extra wit to the ensemble and could have been disastrous, but again was pulled off with ease. Lyn [sic] Beaumont's Mrs Beckham wouldn't have seemed out of place on Smack The Pony and her stunning singing voice reached its fullest potential as Julie Andrews' Maria. I probably shouldn't say that Eyes, Teeth and Tinsel was lead by the hugely talented Richard Beaumont, because this was one show that has a truly all-star cast, but his timing and bundles of versatility made him positively elastic. Honestly, the best bits [sic] of local theatre I've ever seen.

Yvonne Gavan