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St Philips Cathedral, Birmingham -10th December 2025

Reviewed by Emma Millward

5*****

St Philip’s Cathedral provided a breathtakingly atmospheric setting for Songs of the Season-A Celebration of Joy. The beautiful Baroque building can be found in Cathedral Square, or Pigeon Park, as locals usually refer to it. The Cathedral had been illuminated for the occasion and was looking particularly festive. The lights from the craft market outside were also shining through the intricate stained-glass windows, adding even more sparkle to proceedings.

The event was hosted and performed by the ever-charismatic James Edge. Edge is the founder of West End Best Friend Productions, which has organised this show, and he is also the theatre manager at The Old Joint Stock Theatre, which is just over the road from the Cathedral. Edge guided the audience through the show with ease, offering gentle humour and storytelling that made the show feel more intimate despite the grandeur of its setting. His opening performance of Christmas (Baby Please Come Home) really captured the show’s playful energy and set the tone for the evening to come. Joining him were featured performers Caprice Lane and Jack Carr, each bringing their own distinctive style and flair to the show. Lane’s beautifully clear soprano vocals suited both the contemporary arrangements and traditional carols. Jack Carr’s shy demeanour made his amazing voice all the more surprising when he started belting out such festive classics such as ‘Winter Wonderland’ and ‘Jingle Bells’.

A vital creative force behind the evening was musical director Callum Thompson, whose arrangements were nothing short of spectacular. Thompson has worked on many shows I have seen at the Old Joint Stock Theatre, and his ability to add his own twist and create something new from well-known songs never fails to amaze me. Some of the songs are currently appearing in The Old Joint Stock Theatre’s Christmas show ‘Sleigh Miserables’. One such number was an epic medley combining ‘I’ll Be Home for Christmas’ and ‘Bring Him Home’ from Les Misérables, sung with power and control by Jack Carr. Caprice Lane brought an extra bit of Christmas magic to the show with a mash-up medley of ‘When She Loved Me’ from Toy Story 2 blending seamlessly into Wham’s ‘Last Christmas’. The bittersweet nostalgia created something genuinely beautiful and fresh.

A huge highlight of the evening came from the talented students of the School of Theatre Excellence (SOTE). Their energy was infectious, and their professionalism was clear to see. Their rendition of ‘Carol of the Bells’ was exhilarating to hear in such a grand venue. They also performed the show-stopping ‘Seasons of Good’, another outstanding arrangement from Callum Thompson that blended ‘For Good’ from Wicked with ‘Seasons of Love’ from Rent. Though neither song feels particularly festive, when combined they seem very fitting for this time of year.

Songs of the Season was created with the hope that it would become a new annual tradition in Birmingham’s festive calendar, and I think all involved have achieved this goal. It is not only a concert of superb performances, but also a celebration of community, creativity and festive spirit. It reminds us how music really can bring people together at Christmas.

Songs of the Season will return for another performance on 21st December 2025.

Kings Theatre Portsmouth – until 31 December 2025

Reviewed by Lucy Hitchcock

4**** 

Pompey Panto presents ‘Aladdin’ for their Christmas entertainment extravaganza of 2025, and it is certainly a must see. 

Shaun Williamson and Rustie Lee join the seasoned Jack Edwards for this performance and there are certainly some surprises in store. Following the traditional plot of the Disney classic, we follow Aladdin through his journey to wed Princess Jasmine, but he gets tricked by the mysterious Aba’Barry’Nazer (Shaun Williamson), giving away his lamp and most importantly his genie (Rustie Lee). Widow Twanky and Wishee Washee (Jack Edwards and Joe Pollard) hilariously accompany this journey, with their delightful pantomime classic pantomime antics. Accompanied by Esme Bowdler as the Spirit in the Ring, this is a great show. With a chorus of dancers and younger members, this is a feast for the eyes. Every member of the company were superb, however there is always one member of the chorus stands out-and for us it was Bobby Watkins. He was engaging and really expressed his passion and talents. 

The interval posed much excitement from the audience, as there was talk of toilet paper buzzing around the room. As a first time viewer of a Pompey Panto, this was confusing for me, but it all became clear in the ‘12 Days of Christmas’-I was totally blindsided and found myself feeling faint from how much I was laughing! It was bliss to hear the excitement of the children in the audience as the perfectly choreographed scene began. Also, the ‘Ghost’ song had me again, crying with laughter-it was a joy to behold. 

This is a stellar piece of theatre, one I will be talking about to everyone I meet and I am excited to see what 2026 brings for Pompey Panto!!! 

JW3 – until Sunday 4th January 2026

Reviewed by Laura Mobilia

5*****

Cinderella and the Matzo Ball is a vibrant and refreshing reimagining of the classic fairy tale, delivered with humour, cultural flair and the unmistakable spirit of British pantomime. While it includes all the traditional elements — audience interaction, lively dance routines and recognisable musical numbers — it also offers a distinctive twist, presenting Cinderella’s story through a joyful blend of Jewish and British identities.

One of the production’s strongest assets is the sheer calibre of its cast. Every performer brings exceptional talent, commitment and charm to the stage. Their character work is finely tuned, with expressive physicality, confident delivery and a clear sense of play. As a result, the audience remains fully engaged from start to finish, drawn in by the energy and cohesiveness of the ensemble.

The musical choices are particularly memorable. Alongside familiar hits such as I Don’t Wanna Miss a Thing by Aerosmith and Wilkommen from Cabaret, the show incorporates Jewish songs including Yasis Alayich by Rabbi Ben Zion Shenker and Moshiach by Mordechai Ben David. These numbers create warm, celebratory moments, encouraging the audience to join in and adding a unique cultural richness to the evening.

Described by its writer as “unforgivingly Jewish and undeniably British,” the production embraces its identity without hesitation. It knows its audience and speaks directly to those who appreciate the fusion of these two worlds. Rather than aiming for broad universality, it celebrates specificity — and does so with pride.

The cast features excellent performances from Michael Cowan, Lilith Freeman, Libby Liburd, Talia Pick, Ronan Quiniou, Talya Soames and Rosie Yadid. The onstage band — Oliver Presman, Migdalia Van Der Hoven and musical director Josh Middleton — adds vitality and rhythm, positioned cleverly within the set, so they become an active part of the storytelling rather than a hidden backdrop. Special guest appearances by Emma Barnett as the News Reporter and Debbie Chazen as the Fairy Cake add further humour and delight.

Directed by Abigail Anderson and written by Nick Cassenbaum, Cinderella and the Matzo Ball brings together a creative team working seamlessly in harmony, including strong contributions from Amy Daniels (lighting), Yael Loewenstein (choreography), John Fiber (sound), Laura Hopkins (set and costumes), Beth Qualter-Buncall (associate costume), Lauren Connolly (puppet maker) and Plotnek Productions in association with JW3.

This exuberant Jewish pantomime blends music, comedy and cultural celebration into an evening full of warmth, joy and charm — a festive treat that stands proudly apart from more conventional seasonal offerings.

The Epstein Theatre – until 4th January 2026

Reviewed by Jennifer Daley

5****

On a wet, windswept Liverpool night, the Epstein Theatre proved that a little rain is no match for a lot of sparkle. Their production of Cinderella burst onto the stage in a riot of sequins, satin and sheer showmanship—an unapologetically glitter-drenched panto that delivered everything the genre promises and then some.

From the moment the curtain rose, producer Chantelle Joseph served up the full festive feast: dazzling costumes, immaculate makeup, powerhouse vocals, and a generous helping of cheeky adult innuendo layered beneath child-friendly chaos. In a world where “6/7” may no longer be cool (if it ever was!) this show leaned joyfully into pure, unfiltered fun.

What really elevated the evening was the cast’s infectious energy. They didn’t just perform a panto, they lived it. Connor Barrie’s Dandini ricocheted around the stage with such ferocious enthusiasm that the audience felt breathless just watching him. His quick-witted ad-libs landed perfectly, keeping both cast and crowd deliciously on edge.

Leanne Campbel, a familiar voice to Liverpool radio listeners, brought a sensational, surprising vocal punch as the Fairy Godmother. She flipped effortlessly between ethereal enchantress and sharp-tongued Scouse auntie, delivering each line with irresistible local sass.

Buttons, played with heart-melting warmth by Kevinn Duala, balanced tenderness with daring innuendo, charming both children and adults in equal measure. His rapport with the audience felt authentic, never forced, exactly what a panto sidekick should be.

Then came the Ugly Sisters, and it’s no exaggeration to say they stole the show. Rechristened Mounjaro (Shania Pain) and Ozempic (Brenda LaBeau), this dynamic duo blasted onto the stage in a whirlwind of camp, cruelty and couture. Their comedy was outrageous, their timing razor-sharp, and their costumes? Worth a standing ovation on their own. If ever brows deserved their own billing, it was here.

One of the evening’s undeniable highlights was an utterly anarchic rendition of “The 12 Days of Christmas”, a scene so chaotic, so carnage-filled, and so gloriously silly that it deserves instant entry into the Panto Hall of Fame. For those planning to attend: bring a shower cap. In this production, dodging Nerf gun crossfire is practically a rite of passage.

And of course, at the heart of the madness was Cinderella herself, travelling to the ball in the fluffiest unicorn-drawn carriage imaginable. Her romance with Prince Charming (Michael Nelson) unfolded with storybook sweetness, delivering the happily-ever-after the audience had been rooting for since curtain rise. By the finale, goodness gleamed brighter than the fairy lights and anyone over 16 was once again reminded that we truly have no idea what “6/7” means.

A sparkling, side-splitting, sequin-soaked triumph. The Epstein’s Cinderella is everything a Christmas panto should be: heart-warming, hilarious, and brimming with community spirit.

Aylesbury Waterside – until Sunday 4th January 2026

Reviewed by Rachel Clark

5*****

FUN, FUN, FUN – AMAZING! A MUST SEE PANTO!

What an amazing pantomime, from the 1st second to the end, fun, vibrant, exciting, if I could give it more than 5 stars I would. I’ve been going for years to the Aylesbury Waterside panto’s and each year they get better and this was no exception it was the best they have ever done – Well Done Aylesbury Waterside, I am still buzzing from it!

The cast is relatively small for a powerful panto and all had such clarity, you could hear every word spoken clearly, along with every word in the songs and jokes.

The baddie Fleshcreep played by Nigel Harman – know for Dr Max Cristie was awesome, he was really into the role and has some great dance moves! The Aylesbury Waterside panto won’t be the same with Andy Collns who again gave it his awe as Silly Simon, (Andy Collins is a BBC 3 Counties Radio presenter) Jacks brother. Leon Craig played the Dame – Dame Dot Trott it is his 20th year as a Dame in pantoland, and the inneundo’s kept coming, whilst wearing numerous eccentric costumes and wigs a great character.

You could feel the great rapport they all had, all the cast were smiley and vibrant and looked like they were all having as much fun as the audience. The Ensemble were foot perfect along with the children that were faultless. The audience were shouting back, laughing and just having a great time, which is what panto is about.

Jack Trott wasn’t a stranger to the Aylesbury Waterside, Jack was played superbly by Joe Sleight, Joe was back after playing Eddie in Blood Brothers early in the year. We also had Jill Pickle played by Emma Crossley who has plenty of theatre credits and then we had brilliant The Spirit of the Beans – Shani Cantor, couldn’t fault her performance and she was definitely full of beans herself – perfect for the part, she was very professional, fun and dressed in her glamorous but over the top, but right for the part fairy outfit and of course had a wand.

The second half you were provided 3D glasses, and oh wow the effects were brilliant causing squeals and laughter, 100% for the graphics. Make sure you take a raincoat unless you want to get wet as you definitely need it for the second half of the panto and bring a water pistol . Then of course we had the 12 Days of Christmas song always causing great chaos.

It is a bang up to date panto with songs from Ps and K-Pop Demon Hunters which all the children will know and love.

A big shout out to all the production team, creative, wardrobe (outfits were brilliant), orchestra that all made it happen and not forgetting all the staff, ushers, bar staff, security , marketing, management they all worked together to put on a great panto.

Fe Fi Fo Fum this panto was packed full of FUN.

Lyceum, Sheffield – until 5th January 2026

Reviewed by Alison Beaumont

4****

Get yourself ready for an evening of fun and laughter for this year’s panto, Aladdin.

You are greeted with a small welcome and Christmas warm up by the enthusiastic and talented musical director James Harrison. You will not find anyone with as much passion for panto’s as this man.

I felt the panto was a little slow in getting people warmed up, the first half felt a little bit too rehearsed and scripted rather than the funny ad-libbing that comes with pantos. As with all pantos the flow of them is helped along by audience participation and this was lacking a little at first. The second half however was much better, the cast seemed more relaxed and the audience were getting more involved and the hilarities were flowing.

Sheffield’s very own panto legend Damian Williams plays Dame Dolly, and as in previous years does a great performance.

Strictly Come Dancing star Kevin Clifton plays the villain of the show, Ivan Tochacha, and there were references to Strictly throughout. Kevin as always amazes with his dancing but who knew that he could also sing.

Evie Pickerill who the kids will know from Cbeebies took on the part of the Spirit of the Ring. She had an element of funniness about her as well as impressive vocals.

Aladdin himself was played by Sario Solomon and Princess Jasmine by Lauren Chia. I loved Lauren’s vocals and she certainly looked the part. The pair performed well together and showed a good connection.

You had to laugh at the Policeman, if only for his name “PC World” which made me chuckle every time, played by George Akid returning after doing an amazing performance in last year’s Panto.

When Aladdin flies on the magic carpet, this is cleverly done with the use of projection and lighting.

The costumes were vibrant and bright and how Dame Dolly manages all the costume changes is beyond me.

There was a range of songs throughout and I especially like the part when the cast press the buttons and little snippets of different songs are played as a funny conversation type scene.

There is reference to the 6-7 viral meme, that for the older generation probably goes over your head, but this made the younger generation laugh.

The show ended with the classic fairytale wedding, and everyone got up to have a bit of a dance and you were invited to take photos and videos.

Christmas is not Christmas without having seen a panto and you are never too old to shout out and get involved.

DUTCH ACTOR AND SINGER JOY WIELKENS TO JOIN THE
WEST END PRODUCTION OF HADESTOWN AS ‘PERSEPHONE’ FOR 7 WEEKS ONLY

NICOLA ROBERTS’ FINAL PERFORMANCE IN THE ROLE WILL BE SUNDAY 18 JANUARY 2026

uk.hadestown.com

Dutch actor and singer Joy Wielkens will join the critically acclaimed West End production of Hadestown as Persephone from 20 January until 8 March 2026. She joins the London production having performed the role at the Royal Theatre Carré in Amsterdam earlier this year where the AD hailed “Weilkens blows the audience away with her soulful voice that cuts straight to the Heart.” Other credits in the Netherlands include Beneatha’s Place, Billie!, A Raisin in the Sun, The Mountaintop, and Dear Winnie.

Wielkens takes over the role in London from BRIT Award-winning Girls Aloud star Nicola Roberts whose last performance in the production will be on Sunday 18 January 2026, as previously announced.

Wielkens joins Desmonda Cathabel as Eurydice; Chris Jarman as Hades; Cedric Neal as Hermes; and Dylan Wood as Orpheus.

Melanie Bright, Allie Daniel and Lauran Rae play the Fates; Femi Akinfolarin, Michelle Andrews, Ollie Bingham, Laura Delany and Sebastian Lim-Seet play the Workers, with Lucinda Buckley, Juan Jackson, Oisín Nolan-Power, Lindo Shinda and Jasmine Triadi as Swings.

Hadestown is currently booking until 27 September 2026, at the Lyric Theatre, London. Casting for performances from 10 March 2026, will be announced soon.

Blending American songwriting traditions, from indie folk, to pop, blues, and New Orleans-inspired jazz, Hadestownhas music, lyrics, and book by acclaimed Tony® and Grammy®-winning singer-songwriter and BBC Radio 2 Folk Award-winner Anaïs Mitchell whooriginated Hadestownas anindie theatre project and acclaimed album, before transforming the show into a genre-defying new musical alongside artistic collaborator and Tony® Award-winning director Rachel Chavkin.

Hadestowntakes you on an unforgettable journey to the underworld and back, intertwining two mythic love stories – that of young dreamers Orpheus and Eurydice, and that of King Hades and his wife Persephone.  A deeply resonant and defiantly hopeful theatrical experience, Hadestowninvites you to imagine how the world could be.

The Hadestown creative team includes David Neumann (Choreography), Rachel Hauck (Scenic Design), Michael Krass (Costume Design), Bradley King (Lighting Design), Nevin Steinberg and Jessica Paz (Sound Design), Liam Robinson (Music Supervision and Vocal Arrangements), Michael Chorney and Todd Sickafoose (Arrangements and Orchestrations), Ken Cerniglia (Dramaturgy), Maria Crocker (UK Associate Director), and Tarek Merchant (Musical Director & Associate Music Supervisor). Casting by Jacob Sparrow. Additional casting by Rob Kelly.

Hadestownis produced in London by Mara Isaacs, Dale Franzen, Hunter Arnold, Tom Kirdahy and the National Theatre in association with JAS Theatricals.

All biographies for the cast, as well as information on Hadestown and how to buy tickets, can be found at uk.hadestown.com

CAN’T FIGHT THE MOONLIGHT…..

THE WORLD PREMIERE OF

COYOTE UGLY – A NEW MUSICAL

TO HIT THE WEST END IN 2027

WITH ORIGINAL MUSIC & LYRICS BY THE GRAMMY AWARD WINNING AND 16 TIME ACADEMY AWARD NOMINATED 

SONGWRITER DIANE WARREN

WITH A STAGE ADAPTATION BY ORIGINAL FILM SCREENWRITER 

GINA WENDKOS

ALONGSIDE OLIVIER AWARD WINNING 

VIKKI STONE

AND DIRECTED & CHOREOGRAPHED BY THE MULTI TONY AWARD WINNING JERRY MITCHELL

Jamie Wilson Productions (JWP) alongside Nederlander Studios will bring to the West End in 2027 the musical stage adaptation of the cult hit film Coyote Ugly, based on the iconic New York Coyote Ugly Saloon bar, with the original multi award winning team behind the music, lyrics and script.

The film, Coyote Ugly, was released in the year 2000 and became an instant cult smash hit, making over 113 million dollars at the worldwide Box Office. It was directed by David McNally and produced by Jerry Bruckheimer and Chad Oman. The film was based on Elizabeth Gilbert’s 1997 GQ article, The Muse of the Coyote Ugly Saloon, about her experiences as a bartender at the renowned bar.

Diane Warren, the multi award winning original songwriter, will bring to the musical the iconic tracks she wrote for the film; Can’t Fight The Moonlight, Please Remember, The Right Kind of Wrong and But I Do Love You, as well as writing original new songs for the production.

The original film screenwriter, Gina Wendkos (The Princess Diaries 1 & 2), will be writing the book alongside Olivier Award winning writer Vikki Stone (Caroline, Hey Duggee) with musical theatre impresario, Jerry Mitchell (Hairspray, Legally Blonde, Kinky Boots) directing and choreographing, following his enormous success with The Devil Wears Prada, one of the biggest hits in the West End in recent years. 

Diane Warren said, “For over 20 years I’ve been saying someone needs to do a Coyote Ugly musical. I’m so excited it is finally happening and that I will be a part of it! Both the movie and the soundtrack are guilty pleasure classics and now a fun guilty pleasure musical just when we need it most!”

Jamie Wilson, on behalf of the Producers said “We are incredibly proud to collaborate with such an exceptional, award-winning creative team to bring a new musical stage adaptation of this cult-classic to the West End in 2027.

We are thrilled that the production will feature not only Diane Warren’s iconic tracks from the original film, but also an unparalleled slate of brand-new songs written exclusively by Diane for the stage.

We’re inviting audiences to join the coyotes for a wild theatrical experience, where the music will capture all the heart and heat of the original story whilst igniting it anew for the next generation.”

Coyote Ugly is presented with special permission from Buena Vista Theatrical Group Ltd.

2026 tour dates announced for a drag show
about family break ups, car breakdowns and how to get over them

Fixing

Co-created by Matt Miller and Peader Kirk
Performed by Matt Miller

Fixing – a show by Matt Miller and Peader Kirk about family breakups and trying to make things better, learning car maintenance and choosing the right shade of lipstick to do it in – has announced a series of UK tour dates for Spring 2026.

When Matt was little, their dad bought a classic car. A 1952 Sunbeam Talbot Mark II. Dad had ideas that he and Matt would do it up, repair, rebuild together. They never did, and the car festered in a garage. I mean, Dad had just been through a divorce. Now in their 30’s, Matt would like to learn how to fix a car engine. They’d like to learn a bit more about Dad, and that time, when Dad and Mum split up. The time when Matt and Dad were closest. Matt can’t do this alone, which is tricky for a solo show. That’s where Matt’s drag alter-ego Natalie Spanner comes in. She knows all about things that girls like Natalie know about. Like how to build an engine. About maintenance, care and repair. Together, Matt and Natalie will try to ask, in an increasingly broken world, how might we repair ourselves, together?

At a time when connections in the world seem to be breaking down more than ever, through global divisive politics, but also on a one-to-one level, Fixing seeks to initiate conversations around care, nurture, rupture and recovery. Fixing invites audiences to consider what maintenance means to them in the context of personal relationships.

Fixing, which premiered last year at Newcastle’s Alphabetti Theatre and enjoyed a short run in Autumn 2025, is the third full length show that Matt and Peader have made together and their first foray into the world of drag. Throughout their work, Matt and Peader combine personal stories and bigger social questions to create work which is entertaining and thought provoking for a range of audiences.

From February – April 2026, the Fixing tour will visit: Storyhouse, Chester; Arena Theatre, Wolverhampton; Midland Arts Centre; Theatre Royal Wakefield; The Hat Factory, Luton; Gala Theatre, Durham; Alphabetti Theatre, Newcastle; Barnsley Civic; Nottingham Playhouse; ARC Stockton Arts Centre; Stanley Arts, London; The Spring Arts Centre, Havant; Ripon Theatre Festival; Lowry, Salford; Slung Low, Leeds and Attenborough Arts Centre, Leicester. 

For more information about the tour, visit: mattmillertheatre.com

LISTINGS

Show title: Fixing

Age Guidance: 14+. 

Running Time: 75 minutes

Wednesday 4 February                                                                                         Storyhouse, Chester

https://www.storyhouse.com/whats-on/fixing

Friday 6 February                                                                              Arena Theatre, Wolverhampton

wlv.ticketsolve.com/ticketbooth/shows/873679302

Saturday 7 February                                                                                            Midlands Arts Centre

macbirmingham.co.uk/events/matt-miller-fixing

Monday 9 February                                                                                       Theatre Royal Wakefield

www.theatreroyalwakefield.co.uk/events/fixing-2026

Friday 13 February                                                                                            The Hat Factory, Luton

www.culturetrust.com/whats-on/fixing

Friday 20 February                                                                                             Gala Theatre, Durham

galadurham.co.uk/galapost/fixing

Friday 27 – Saturday 28 February                                                     Alphabetti Theatre, Newcastle 

https://www.alphabettitheatre.co.uk/ – ON SALE SOON

Thursday 5 March                                                                                                             Barnsley Civic

Saturday 7 March                                                                                         ARC Stockton Arts Centre

Thursday 12 March                                                                                              Stanley Arts, London

https://stanleyarts.org/ – ON SALE SOON

Wednesday 25 March                                                                        The Spring Arts Centre, Havant 

www.thespring.co.uk/event/fixing

Friday 27 March        Ripon Theatre Festival

https://www.ripontheatrefestival.org/ – ON SALE SOON

Friday 10 April                                                                                                                   Lowry, Salford 

thelowry.com/whats-on/fixing-dwx9

Saturday 11 April                                                                                                         Slung Low, Leeds 

www.ticketsource.co.uk/slunglow/fixing/e-qmgrdr

Friday 17 April                                                                            Attenborough Arts Centre, Leicester 

https://attenborougharts.com/whats-on/fixing-by-wild-open-hearts

New Wimbledon Theatre- until Sunday 4^th January 2026 

Reviewed by Brooke Burlinge 

5***** 

Robin Hood at the New Wimbledon Theatre delivers exactly what a Christmas Panto should: colour, chaos, comedy and plenty of fun. It’s a high energy, interactive production that leans heavily on spectacle with moments of genuine magic- whether that be from the spectacular dancing of Robin Hood and his Merry Men (Ashley Banjo and Diversity) or the actual magic performed by the amazing Will (Pete Firman) – even despite some storytelling occasionally getting lost in all the fabulous glitz and sparkle. 

From the exact moment the curtain rises, the show makes its intentions  very clear: this is a panto powered by dance and modern pop staging. Ashley Banjo and Diversity are the spectacle of the evening, creating awe and astonishment with their sharp choreography and a contemporary feel that keeps the younger audience members thoroughly engaged, along with the older audience members watching in wonder too. Whenever they’re on stage, the energy spikes, the auditorium practically vibrates, constantly matching the energy of the dance group. 

Will Scarlet (Pete Firman) is another standout, fitting tightly timed comedy and slick magic tricks into the narrative. He nails the panto sweet spot; cheeky but not overstepping the family-friendly line. The Sheriff of Nottingham (Steve Arnott) is gloriously villainous- boo-hiss panto perfection- played with just the right amount of wicked glee. Maid Marion (Lauren Hampton) is simply radiant from her first moment on stage, her singing beautiful alongside her warm and confident presence. And, of course, we have the Spirit of Sherwood (Amelia Walker) who acts as the heart and guide of this whole pantomime adventure.  

In true panto fashion, the plot is more of a loose thread than a tight weave, with Ashley and Banjo being the main spectacle with set-pieces and crowd participation aplenty- and that’s fine, because the production never pretends to be anything other than that. Younger children will simply love the effects and audience shouts; adults will enjoy the innuendos and knowing winks. 

The show is at its best in big set-pieces with large ensemble numbers, comedy bits that escalate into absurdity, and phenomenal dance sequences throughout. All the vocals are solid throughout, but it’s the choreography and staging that provide the evening’s most memorable moments. 

Overall, it was a wonderful and magical production with everything needed for a fun-filled festive time with family and friends. One to definitely watch if you’re seeking an entertaining, uplifting but slightly different pantomime.