The Bodybag, The Panto

The Bodybag is billed as a panto. Being of an age when I can remember vividly the pantos at the Tiv and other venues, with the great dames like Johnnie Lockwood, Jim Gerald, George Wallace and later Reg Livermore, I was looking forward to this panto. This time the dame is Trevor Ashley, and there is nothing like this dame. As clever and funny as the aforementioned dames with the required earthy humour, the difference is that Trevor can really sing, and does so with gusto.

This panto is somewhat different to earlier models, when the humour was twofold, something for the kiddies, and a bit naughty for the mums. This time the kiddies are left out, the humour is bawdy, rude, in your face, and topical. Nothing or no one is spared the delicious barbs of Mr Ashley and Mr Scott. This is not a show for genteel folk, it makes The Book of Mormon seem like a Sunday School Concert (at a fraction of the ticket price), and for my money, much funnier.

The show is a great ensemble piece with a cast of 5 excellent performers playing many roles between them. Leading the players is Trevor Ashley as the dame, or diva Rachel Marmalade, Markesha McCoy as her sister, Gus Murray as the romantic lead Tank Charmer, Heath Keating as the scantily clad back up dancer and a surprising young talent Nicholas Craddock as Rachel’s ten year old son/daughter. All of the cast are great singers, but it’s worth the price of a ticket just to hear Ms McCoy.

In true panto form the dame talks a lot to the audience, the boys and girls. Of course there is audience participation when selected audience members are lured to the stage to help the show along. The audience is also invited to interject. Remember the panto line for the kids, “he’s behind you”. Not in this panto. The audience is encouraged to call out something which cannot be repeated on these pages.  And they do, with gusto. The only panto thing I missed was the dame with a basket of lollies, throwing them into the audience. No doubt an OH&S issue these days.

A simple but effective set combined with terrific lighting designed by Trent Suidgeest enhanced the splendid costumes by Angie White. Busy and interesting choreography by Cameron Mitchell complemented the music and songs used in the production. Collectively the creative input works well for the performers.

A small sound hitch meant that one of the dame’s very naughty lines was not heard by a lot of the audience. Probably just as well, DOCS might have moved in.

The hallowed Playhouse will no doubt need an expensive face lift after Trevor and the gang move out. Understandably a new low has been reached at this icon. And why not.

I am still giggling at some of the gags some 14 hours after the show. This is one of the funniest shows I have seem for a long time. If you like a good belly laugh hurry to get a ticket. A limited season at the Opera House, runs until May 23.

On a more serious side, Trevor Ashley is one of those great Australian performers who don’t sit around waiting for agents or producers to ring. They create their own work, which in turn offers work to others in the entertainment industry. Their efforts must be applauded and encouraged. I hope Trevor and Phil can come up with another panto next year, maybe The Book of Trevor.

Bob Peet