Review: Snow White and the Seven Maws
Oran Mor, Glasgow ⭐️⭐️⭐️
If the sight of a homocidal Snow White blasting away at ‘poor defenceless puppet creatures’ with her Beretta in the opening number doesn’t tell you this is going to be no ordinary panto, the title should, welcome to Òran Mor’s 2023/24 festive offering, Snow White and the Seven Maws, by Johnny McKnight.
But then this is a postmodern, lunchtime panto for adults that boasts all the self-determination and attitude of its principal girl, a Snow White who needs no charming prince to save her from the inevitable and who eschews the traditional seven dwarfs in favour of a septet of Glasgow maws - Crabby, Bampot, Riddy, Dopey, Scunnered, Nebby and Fullaethefluy, all played by Maureen Carr and Carmen Pieraccini, who between them deftly slip in and out of no fewer than 11 different characters.
With a story that will be familiar to anyone who’s seen more traditional productions, our gun-tottin’ heroine lives in the shadow of her evil step-mother, Queen Valentina Cusine, who, when told by her magic mirror that she has been usurped as the fairest in the land, orders Snow White’s nanny, Hedda Lettuce, to take her youngish charge into the forrest and… rip out her heart.
Naturally, Hedda can’t bring herself to do. In turn, Snow White finds shelter at the home of the Seven Maws, a feminist haven with wry observations on the patriarchy and toxic masculinity, amongst other things. That said, Pieraccini’s brash Queen and Julie Cullen’s no-nonsense Snow White also enjoy their moments of putting the world to right, albeit with an appealing vein of subversive charm.
And then there’s Carr (above left) who plays no fewer than four Maws, a Happy Villager and has a show-stealing turn as Prince Charming, complete with a wee dig at the Edinburgh King’s panto, which goes down well the sell-out audience of ‘West End Wonders’, as Hedda Lettuce calls them.
And talking of the dame, quick-thinking Neil John Gibson delivers snappy one-liners with a mischievous confidence that adds a sense of danger for all those sitting in the front rows - at this performance it was poor Donald who, thankfully, had remembered his trousers.
However, it’s disappointing that director Martin McCormack didn’t consider the venue’s sightlines more - with much of the dame’s audience interaction played out on the floor, its lost to all but the first few rows when the room is busy. Once on the stage, Gibson is a likeable and couthy dame.
If Kenny Miller’s clever design lifts the constants of the small stage, Ross Kirkland’s excellent lighting adds the finish touches; a pantomime can never have too much sparkle and glitter and this production positively shimmers.
A mention too for Amy Scott’s inventive choreography and Yolanda Mitchell, who brings to life the more ‘deconstructed’ elements of the piece with a cheeky bow and knowing wink to audience.
So, if it’s a lunchtime break from the real world you’re looking for, head to Oran Mor for this pint-sized panto which runs just shy of an hour. Naturally, ‘a pie and a pint’ is included in the ticket price, just be sure to arrive in plenty time to claim one of the best seats in the house before heading to the bar for you lunchtime treats.
Runs until 6 January 2024, Tickets here
