Robin Hood and Babes in the Wood -- BMDS production at City Hall -- December 7-16.

Anxious, perhaps to make up for last year's pantomime debacle which wasn't really a pantomime at all, BMDS have pulled out all the theatrical stops for a blockbuster show this time around. They have actually given double value for money, with not one, but two heart-stopping plots where the exploits of brave Robin Hood merge seamlessly with the tale of those poor Babes in the Wood.

Confusing? Who cares? This is an occasion when the play is not the thing -- just the tomfoolery that goes with it.

The audience, in a state of enthusiasm that almost approached ecstasy at the return of traditional pantomime, was kept busy all night long in hearty sing-alongs, shouts of disapproval for dastardly villains and roars of approval for the goodies. They even laughed at the corny jokes. In short, everybody had a wonderful time, which is what pantomimes are all about.

Our annual pantomime, bewildering to non-Brits until they actually see, and irresistably, join in all the nonsense themselves, has long been a highlight of Bermuda's festive season -- and this year certainly explains its constant appeal.

For those who ponder these things, pantomime is unique to Britain, and one of its oldest forms of theatre, probably having evolved from the early 18th century. By Victorian times it had shedded the original mix of music, dance, masques and harlequinades, and added popular songs and the comedians of Music Hall, culminating this century, in the topsy-turvy tradition which found a principal boy being played by a girl in fishnet tights and high heels, and a Dame played strictly for laughs by a man in drag.

Bermuda threw its own little twist this year, by having two teenagers play the principal boy and heroine but, thankfully, retaining the services of a male for the role of the Dame.

And what a Dame! The incomparable Gavin Wilson, dressed in a gorgeous array of comely costumes (cheeks rouged like a Coppelia doll and starting off the proceedings in a white lace bonnet and pinny), played Nurse Fanny Fettlebuttock to the hilt -- and beyond. This was the kind of brilliant performance we have come to expect from this actor, but, even so, few professionals could so triumphantly carry a show. He is a professional, of course, to the tips of his twinkling toes, and through every seductively modulated tone, but he has that indefinable gift which not only holds his audience in thrall, but the cast as well.

The other joy in this show (come to think of it, there are quite a few performances which evoke this sentiment) is the duo act of Connie Dey ('Orrible 'Orrace) and Ed Christopher as Daft Dave. He provided the much-loved Bermudian slant, where the local worthies (and unworthies) come in for a bit of flack. Together, they are a priceless pair, who kept the audience on a steady wave of laughter, with the usual `Echo' jokes and the marvellous timing and miming of `Watch the Watch' in the Hypnosis Scene.

John Instone, another of Bermuda's finest actors, made a wonderfully wicked Sheriff of Nottingham, ably abetted by Steve Watts as a particularly slimy sidekick.

From the moment he stepped onstage, slapped his thigh and declared `My name is Robin Hood', Daniel Frith revealed a natural thespian talent. At only 17, but with a string of school drama successes already behind him, this is a young actor to watch. In a way, this role, and that of Maid Marion, is rather thankless in that it is their task to keep the plot rolling along. They have to play it straight while mayhem of the comic kind is erupting all around them. There was a distinct feeling that the other wonderful discovery of the night, 15-year old Happy Lindsey, as Maid Marion, was dying to join in the fun. She is a natural comedienne, so all the more praise for a beautifully restrained performance. Obviously talented, with a lovely singing voice (`Somewhere Out There' was quite melting), natural grace of movement and a bubbly, bright stage presence, she should go far. Both of these teenagers hope to study for the professional stage and it would seem that they have the kind of raw talent which should be actively encouraged in the future.

Impressive, too, were the even younger Jason Eddy as Jack and Samantha Tavares as Jill, the aforementioned Babes in the Wood. John Thomson, a relative newcomer, also showed much comedic promise as Muddles, and Shirley Cook was an unusually ironic Fairy godmother with a droll line in narrative verse.

Marjorie Pettit arranged and directed all the music with a lively band consisiting of Stan Gilbert, Peter Profit, Doug Frith and Dennis Fox guiding a well rehearsed chorus.

The beautiful sets, painted in brightly harmonious colours, captured the sense of rustic yesteryear, were designed by Elmer Midgett and Michelle Pasquin, and Coral Waddell provided the choreography.

The costumes (Kim Buchanan and Tracey Harding) were outstanding, especially the wondrous creations worn by the Dame who brought new meaning to the phrase `dressed up like a Christmas tree' at the final curtain.

Finally, but not least, a big bouquet to the director, Jonathan Owen, who was imported for the occasion, and got it just right.

PATRICIA CALNAN