The show parodies Robin Hood with raunchy humor and rabid enthusiasm.
While most holiday productions warm hearts with nostalgia, “Throbbin Wood” warms cheeks with titillating humor.
Tom Whalley’s adult pantomime “Throbbin Wood” parodies Robin Hood folklore, placing the legendary outlaw in a provocative light. PrideArts, a not-for-profit arts organization located at 4139 N. Broadway, presented the show’s U.S. debut Nov. 18.
Before the show, director Taylor Pasche and PrideArts Artistic Director Jay Españo advised the audience to fulfill pantomime expectations, calling on crowds to boo, holler and sing in response to on-stage action.
Cheers erupted throughout the intimate theater as the coquettish Fairy Glitterous, played by Daniella Bahn, introduced the audience to Got-wood Forest.
The bumbling Silly Willy, played by Freddy Mauricio, instructed viewers to greet him with “Fuck off, Willy” whenever he entered a scene. His mother, the lustful Nanny Fanny — played by Neill Kelly — quickly established a flirtatious banter with a lucky viewer sitting side stage, winning over the audience with tall heels and clever innuendos.
Hisses snaked through the venue as red lighting and villainous music cued the Sheriff of Frottingham’s entrances, played by Ryder Dean McDaniel. With a deep, silky voice and coin sack situated precariously over his crotch, the Sheriff detailed his plot to seize control of King Dick’s throne and hook up with his daughter, Maid Marian, played by Emma Robie.
The Sheriff’s insurgent plans and tax collection duties are threatened by Throbbin Wood — played by Bryan Fowler — the heroic marauder who steals from the rich to give to the poor. Throbbin Wood is wanted by the Sheriff for his crimes and by Maid Marian for his dashing good looks.
His band of Merry Men bring sexed-up banter and bright green tights along the journey to rid Got-wood Forest of the Sheriff’s crooked deeds.
The cast’s raucous comedic chemistry lends itself well to zealous pantomime theatrics. The jokes are largely one-note — overtly horny, thoroughly seasoned with expletives and innuendos — requiring actors to distinguish their character through physical comedy.
The snug theater cultivated an immersive experience. Got-wood Forest’s melodramatic spirit extended to pennant banners strung above seats, props tumbling in from various points mid-show and direct conversations between characters and audience.
Energetic lighting streamed along a large wooden frame suspending a sheet of forest flora, projecting multicolored rays onto fake stone floors. Beams emanating from two medieval-style tents danced through planes of tree trunks downstage.
The stage was filled with playful choreography, whisking the cast up on a wheeling table, onto the floor and between the rows of seats. Dildos were occasionally used in lieu of handheld microphones to aid in the show’s suggestiveness.
The flashy choreography contradicted a lackluster and meandering setlist. Renditions of Chappell Roan’s “Pink Pony Club” and Sabrina Carpenter’s “Please Please Please” only altered lyrics slightly to fit the show, making the musical numbers seem disconnected from the plot.
Advancing a sensical plot didn’t appear to be a main concern of the production, and perhaps it didn’t need to be. A dirty pantomime can forsake logically storytelling to allow for heightened theatrics.
“Throbbin Wood” aimed its arrow chiefly at provocation and vulgarity. While this hit the bullseye for much of the cackling audience, some grew visibly exhausted by the constant lewdness during the nearly two-hour runtime.
While the dynamic props, slapstick comedy and crowd work maintained the story’s pulse, the chemistry in full-cast scenes breathed life into the show. As characters riffed off each other’s absurdity and libidos, the audience was immersed in horny heroics and teeming theatrics.
“Throbbin Wood” runs Wednesday through Sunday until Dec. 15 with no shows Nov. 25-29. Tickets can be purchased online.
Featured image courtesy of Logan and Candice Conner.
