ONCE upon a time (2007) a small Wiltshire village had its first pantomime for many years. Jack and the Beanstalk was the seventh in the series. Produced and directed by Fi and Stewart Dobson, who have been heavily involved throughout, it presented Oli Madders’s vision of the story. As writer and narrator she made a major contribution.

Concerns that so many people were involved in the production that there would be nobody left to make up the audience proved unfounded as full houses were attracted throughout. The village hall was transformed into an extended entertainment complex, thanks to the addition of a large “ski bar” at the entrance, offering a seasonally appropriate pit-stop to thirsty visitors of all ages.

The suitably refreshed audience had much to absorb from a cast of 41, plus the ever reassuring prompter Tess Wilding - always a prominent figure.

Jules Harbottle attacked the role of Jack’s mother with vigour. Jack (Matt Shipp, giving a bravura performance) was a naïve but adventurous figure. Pressed by his mother to generate much needed funds to feed her coffee habit, he took on the challenge of selling the endearing Daisy, the dancing cow (Holly and Ali Jay). Sinister purchaser Has Bean (Raymond Falconer) handed over a few beans in exchange, promising great returns.

Grittlethorpe seemed beset by money worries. Experienced performer Julian Brunt convinced as local bigwig Lord Knows, who was seeking to sustain an expensive lifestyle, including the employment of his assertive maid Molly (forcefully played by newcomer Sarah Gill). He also had to indulge and finance his fetching but spendthrift daughter (Trudy Harwood). He pondered various property development initiatives, but gloomily decided that the best course was to marry her off to someone rich.

Things were looking worrying. Right on cue the confident and capable fairy godmother of Jack (Tamsin Attiwell) aided by her flash son Jake, reprising an earlier role as the agent of transformational change, did something to one of the Has Bean beans.

Jack’s mother was not impressed with the beans. She angrily threw them away on the ground.

Pantomimes can generate wear and tear. It emerged that the fairy godmother, multi-tasking, ran a retirement home for former star characters. Things had not gone quite as well as hoped for Cinderella (Maggie Gordon) Sleeping Beauty (Jan Jeffcoate) Dick Whittington (Edward King) or Red Riding Hood (Carole Barber). There was a certain amount of morose sitting around reading about Grexit in the Grittlethorpe Times. More life was shown by cross dressing Buttons (Matt Delargy) complete with nipple tassels and a still flirtatious Aladdin (Andy Barber). Nonetheless they stayed in the background. It is probably bad etiquette to intrude too much into someone else’s panto.

In a spectacular coup de theatre, the beanstalk grew impressively, albeit in large measure at 90 degrees from the vertical. Gamely clambering up it, Jack, to his astonishment, found himself in a different, alarming, world. Here things were ruled by a fearsome giant. Grittleton pantomimes do not go for heightism. An earlier effort presented us with six foot four dwarfs. Here we had a short giant (Arthur West) resplendent in a gangster suit. Necessary menace was provided by his remarkably tuneless wingmen, inappropriately named Shorty and Tich (Charlie West and Norman Brown).

There was another figure at the top of the beanstalk. Goose (Darren Hubbard) was special. Via mysterious processes that may not be for the sensitive to enquire about, she produced wonderful golden eggs, live on stage. There was also the welcome, soothing presence of the beautiful golden harp (Andrea Porter/Felicity West) who added her dulcet contribution to a production that was full of varied music. Prompted by her, Jack showed unexpected presence of mind. He made his getaway. Soon he, Harp and Goose were safely at ground level. Jack’s loyal friend Bert (Becky Bardwell) secured their position by hacking down the beanstalk.

Armed with his golden eggs, Jack was now wealthy and in position to win the hand of Lord Knows’s daughter. Showing new found open handedness, the local dignitary invited everyone to the resultant wedding, leading to a grand finale. Thanks to skilled stage management, the entire cast fitted on to the stage, including the ever agile Daisy the cow.

The pantomime was full of music, masterminded by Eric Gough and delivered with the help of a tuneful chorus. They were assisted by a large contingent of village children, who also added slick dance moves. Dance was not confined to them. It extended to the cow and at least one scene shifter. Splendid costumes added much to the spectacle.

Each production has built on its predecessors. This was the biggest and grandest yet, drawing on the contributions of about 100 people. They were rewarded at the end of the run with something that fitted into the Grittleton way of doing things: a party in the impressively decorated ski bar.

The productions have not been without sadness. Both Di King and Gilly Madders contributed enormously, at various times as writers, directors and performers. Nick Hole Jones made notable on stage appearances, always larger than life. They are no longer with us. The pantomimes are part of their legacy.

Peter McGarrick