5 to 14.

*** The celebratory season got off to an earlier start than usual this year with the first of two Christmas pantomimes being staged in November. For those who like to give their kids a taste of live theatre as well as probably the greater majority, who just happen to love the whacky predictability of traditional pantomime, there is now a chance of enjoying the whole routine all over again -- this time at City Hall, with the BMDS production of `Mother Goose'.

Veteran British panto director Jonathan Owen, invited back after a successful production last year, has once again come up with a marvellous evening of entertainment. Indeed, this time, he has pushed the `tradition' button even harder, for besides the strange pantomimic rule that demands a man playing a dame, he has also celebrated that other example of seasonal gender twisting by having a girl play Principal Boy.

Despite the fact that Bermuda is presently throbbing with theatrical endeavour, two major shows (including `The Three Musketeers' pantomime) just completed and two more local productions already in rehearsal for the Festival, Mr. Owen was fortunately able to produce four unusually strong principals. This, allied with Elmer Midgett's splendidly atmospheric sets, colourful costumes (designed, as usual by the talented Elizabeth Wingate) and some brilliant special effects by Ian Birch, made this a lavish, even professional production. The only disappointment was the chorus which consisted mainly of children with very few adults to either bolster vocal or dance ensemble numbers.

`Mother Goose' is the age-old fairy tale of a goose that magically laid golden eggs, making her owner, Mother Goose, first wealthy, then so selfish and unkind, that there is indeed a danger of `killing the goose that lays the golden eggs' as in the often-quoted proverb. This version, based on a 1902 version at the Drury Lane Theatre, provides a perfect basis for a pantomime combining as it does, an element of suspense lightened with knockabout humour which cloaks that requisite whiff of morality wherein good always triumphs over evil.

Once again, the performance of Gavin Wilson in the title role immediately set a standard which repertory companies across Britain would envy: with apparently effortless ease, wigged, bonneted and booted, and bursting with garish aplomb out of outfits that became more and more resplendently grotesque, the adoring audience was totally in his control with perfectly delivered deadpan humour and masterfully reactive timing. It was to the strains of `Gone With the Wind' that he memorably opened Act II with his spectacular rise from the magic lake, a lilac, purple and sequinned vision of simpering loveliness.

Surprisingly, however, this virtuoso performance was complemented by a magnificent performance by Geoff Yeomans, who took on the more blatantly comedic role, that of her son Billy Goose ("they call me Silly Billy'').

Sharing Wilson's genius for communicating with the audience, it was mainly he who conducted the audience sing-alongs, and generally got them into the participatory swing of things. Clad in bright orange overalls, rouged like a clown, and a sweet impishness that would slap a permanent smile on even the most jaded of viewers, Yeomans eloquently demonstrated that he possesses that rarest of gifts, a natural talent to amuse.

Recognising that a high standard of music is essential for a successful pantomime, director Owen had a strong musical team on hand, headed by Gaynor Gallant who conducted the small band in James Burn's and Douglas Frith's bright arrangements. Convinced that strong singers were essential for the two other principal roles, he chose Deborah Raat for Jill, whose magnificent soprano voice more than carried the day. In the Principal Boy role of Jack, the leggy Pennie Halliwell not only looked jauntily glamorous but also sang her heart out in a most attractive mezzo soprano.

Paul Lowry as Squire Grabbit and the incorrigible Connie Dey as his side-kick, Ben, took the pantomime to its traditionally slapstick heights and Adrian Barnaby was very impressive as a suitably repulsive Demon of Darkness.

Replacing the more traditional pantomime horse, Shirley Brown took on the rather thankless task of bringing Priscilla, the egg-laying goose to life: this she managed to do with grace and managing to invoke `aahs' of pity as her fate became more and more a subject for suspenseful speculation. Completing the cast were Monica Dobbie as Fairy Goodness and Kathi DeCouto as the Queen of Gooseland, both bringing visual beauty and the required poetic delivery to their lines.

Sal Hodgson choreographed the dances, including a short ballet and a cheerful tap routine, but the advertised `Comic Ballet' for four males did not materialise on opening night.

If the first half of the show was a little long, the pace of each scene was very well handled, even though the usual sprinkling of local jokes seemed more contrived than ever. Those who are happier with the `pie in the face' brand of humour were happy to settle for ice cream, and a hilarious wallpapering sequence where sticky paste was thrown all over the place and for a moment, seemed in danger of being chucked all over the audience. They survived, however, to enjoy, to the strains of the Posthorn Gallop, a terrific car chase. Perhaps the best moment of all came when Mother Goose and Silly Billy sang `Rock around the Clock' while the audience frantically and without success, tried to warn of their imminent capture at the furry hands of a big, scary gorilla who, every time they did look round, scampered through a revolving door. All in all, a show that will be greatly enjoyed by children -- and their parents.

Patricia Calnan