REVIEW - Hilarious Backstairs Billy at Droitwich's Norbury Theatre is a right royal romp IF YOU love outrageous and as-far-from-PC-as-it-gets comedy and want to watch a fascinating story, based on true events, unfold -Backstairs Billy at Droitwich’s Norbury Theatre is for you. It is based on the life of the Queen Mother’s most treasured butler William Tallon who – after repeatedly writing to Her Majesty – landed a job at Clarence House at the age of just 15. With questionable morals and lifestyle choices (and that’s an understatement), he remained with the late monarch until her death, despite many scandals filling the pages of the tabloids in the 1970s and 1980s. All this is brought to life in this beautifully written piece – but it takes a talented cast to bring the writing to life and All and Sundry’s ten-strong line-up at the Norbury did just that. The Cast With four members of palace staff and 13 other roles, several members were tasked with playing at least two parts. Senior footman – Beth Ralley – and the palace staff Verity Culleton, Tina Andress, Rueben Whitter and Jess Buttery – all set the scene of a royal household brilliantly in carefully choreographed scenes of them pacing around and moving floral displays and other items, ready for Her Majesty and her reception guests. Buttery was also wonderful as sitcom actress Annabel Maud who has one too many in the Queen Mother’s presence and, a similarly exuberant character, Lady ‘Miffie’ Astlebury. Whitter also plays artist Ian and enjoys sharing some of the most hilarious scenes at the end of the first act with his late night rendez-vous with Billy and in the second act with his rather suggestive sculpture. And he conveys the only political/social comment in the piece which is made even more powerful because of its uniqueness in the production. Andress and John Edward-Bick are great as Hugo and Lady Adeline but even funnier as the straight-laced, tee-total but then ‘literally laced’ WI member and Rotarian Mr and Mrs Harrington Bahr. Playing drunk characters is not as easy as it looks – they both smashed it (pun intended). Charlie Hopkins rose to the challenge of naive Welsh footman Gwydion – he played the part well and his highlight came when he broke into booming song with a traditional hymn – much to the bemusement of the Queen Mother. Ken Messenger presented the pompous Mr Kerr with aplomb. He is the ‘baddie’ in this tale and the way Messenger played him, you just wanted the brilliant bastion to be taken down a peg or two. Cullerton was excellent as Young Billy – she brought some terrific touching moments between the character and Her Majesty among all the crazy comedy. It is hard to pick between Martina Ponsonby and James Ralley as The Queen Mother as Billy. They had a fantastic rapport on stage – which is exactly how you envisaged their relationship in real life. Ponsonby was born to play The Queen Mother. Care was taken with every beautifully delivered line and mannerism. There was plenty of humour as she showed her late monarch’s mischievous side, laughing lots and making observations on other royals and guests. But, there was also pathos performed perfectly as well, as she reflected on her life and her new ‘sidelined’ role. Each time she appeared through those double doors, you felt a rush of anticipation about what she was going to say or do next. And Ralley paced around Clarence House like he owned the place (just how you would imagine William Tallon would have). Like Ponsonby, every movement, line and detail was carefully crafted and you could not help love Backstairs Billy from the start. A shout-out as well to the controller of the radio controlled corgi – there cannot be many shows with one of those in. In each of the acts, the comedy started with giggles and titters and reached a crescendo of hilarity. Huge congratulations to Director Anthony Madden and his backstage team for this right Royal raucous romp of a production. Backstairs Billy runs at the Norbury Theatre from Tuesday to Saturday (October 7 to 11) with performances at 7.30pm. Visit: norburytheatre.co.uk or call 01905 770154 for more information and tickets. I challenge you not to leave the auditorium Googling the incredible life and times of the notorious William Tallon.

PANTOMIME is a quirky British theatrical tradition where men play women and visa versa, the cast dress up in sumptuous and outrageous costumes and everyone has a good time putting new twists on old tales – all to the delight of audiences who come along to boo, hiss and cheer. A phenomenon not just confined to the big city stages to watch actors who have been gracing their TV screens all year but also in every town and village where citizens flock to watch and cheer on their friends, neighbours and family members slap on the lipstick, powder and paint and do the same in their local acting spaces. With various degrees of success of course but all with a mission to bond and banter. It all started up in the late 17th century, where we took the posh Italian art of Commedia dell Arte and turned its harlequins and clowns into dames, princes and princesses, witches and wizards ghouls and ghosties. Bromsgrove is lucky to have the talents of local theatre company ‘All & Sundry Productions’ to bring joy and laughter here for the festive season. All year long our neighbouring towns have laughed at our never-ending roadworks debacles now they can join us at the splendid Cobham Theatre and laugh with us not at us. A&S Cinderella is directed and produced by Alison Berrisford , ably assisted by choreographer and co-director Martina Ponsonby who together have sprinkled fairy dust over the whole proceedings. Audiences’ expectations get higher every year, they are not cognisant of local budgets and want their share of West End tinsel – well safe to say everyone went home happy. The script has just the right balance of sauciness and sentimentality with catchy songs a few local jokes for the flavour. The costumes and settings were joyous and so were the special effects from a glittering Cinderella’s coach and horses to magical sparkling enchanted woods. There is a strong cast of principals supported by excellent senior and junior ensembles and strong dancers including many from ‘The Stage Door Academy’. Melody Hubbard heads up the company in the title role looking and sounding just perfect as Cinderella. Daisy Yarnold pulls it off as Prince Charming and Emma Tarling makes a dapper Dandini. David Mann is flawless as the hapless Baron Hardup, rich in voice and movement and is well-served by Beth Ralley as his bossy wife the Baroness Hardup. Their ‘Anything You Can Do’ song is one of the show’s highlights. Their kids, the Ugly Sisters, Fartina and Alitosis are a dumb and dastardly delight from Tony Madden and James Ralley. Special shout out to Neil Lane who brings a laugh every time he enters as a Bromsgovian Fairy Godmother also, to Tristan Harris as Buttons who makes a majestic stage debut as the perfect ‘Buttons’. He might not get the girl, but he certainly gets the audience – no stopping him now – it’ll be from Buttons to the Bard. Other parts included Zena Schtyk as Wallace and director Alison Berrisford stepping in as Grimace, Mikey Lewis as Major Domo and Poppy Ralley as Jenny. Panto may be fun but it’s also very demanding. Putting all the hard work to the test is a daunting first performance debut – this Cinderella a suffered a technical restart which brought out sterling stuff from the All and Sundry troupers – it gained in confidence as the show went on and ended in the triumph, I am sure it will be so for the rest of the run. Take a bow – in fact take them for the next 10 days – you deserve it