Tis the season to purchase your theatre tickets for your favourite Christmas pantomime and join in the merriment! If you are looking for some special tickets and wondering if your hard-earned cash should be spent on this pantomime, then the answer is a big fat yes…read along to find out why.
Almost everyone knows the tale of Cinderella, the hard working, hard-done-to, kind sister, unfortunate enough to live with her evil ugly stepsisters. When the Royal Ball is announced, she yearns to go. With the help of her Fairy Godmother, she manages to attend, meets the wonderful Prince who falls madly in love with her. In a rush to leave, with the clock striking midnight, she leaves her infamous glass slipper behind. Will the Prince be able to reunite the Glass slipper with its owner?
The cast and crew of this rendition of Cinders have clearly worked tremendously hard, to produce a very well-polished and tight 2 hours of magic, right from the start, the capable cast and ensemble swoon you with the catchy musical numbers. Some excellent vocals right at the start from ensemble member Cameron Duncan. What a beautiful voice he has. As we wander through the famous tale, the solid talent keeps on coming. With the most wonderful version of ‘Obviously’ delivered by Buttons (played by Tasha Dowd) what perfect tones and musicality they have. Joe Parker playing Prince Charming has the most beautiful musical theatre voice, many of his moments sound pre-recorded, it is that faultless. Keeley Fitzgerald needs a big round of applause with being able to deliver the performances she does, two extremely contrasting characters, with playing both the Fairy Godmother and Dandini. The Dame duo really need to take an extra bow as they had the auditorium belly-laughing right from the start. Great performance from both of the multi-talented pair, Ben Eagle (Donna) and Adam Porter Smith (Cassie). Dames always impress when they manage to be so quick witted, off script, with the audience participation, which is something that doesn’t go amiss when they have some children on the stage and there are some local gags made, creating a wave of giggles.
The set was aesthetically splendid to the eye right from the start with glitter splashed all over the stage surround, rapid changes to keep the audience on their toes and some props were really quite wonderful, like the glowing horse and cart which seemed to be almost flying with its animatronics as it was ready to take Cinderella to the ball. Hats off to the production team. They also impressed with the costumes, especially Cinderella’s sparkly gown and the multiple hilarious outfit changes that the ‘Babes from Bawtry’ (Ugly Sisters) wore.
Everything that a pantomime should be – fun, current, sparkly and the perfect Christmas treat.
Intermission Youth’s annual showcase of the talents of the young Londoners that have taken part in their 10-month Youth Theatre Programme are always special. Darren Raymond, Intermission‘s artistic director and writer of this show describes the passionate mission to bring Shakespeare to young people, and vice versa, by meeting in the middle. This cohort have obviously done so, blending the playfulness and rhythm of Shakespeare’s lines with modern language with exuberant wit.
This playing with language enriches Comedy of Errors magnificently. In this remixed production, Anthony and Dominique have arrived in London from the country of Shakespeare with their father, who has lost them and is immediately arrested by the police. Not speaking street, he is viewed with suspicion and fear by one nervous police officer, but another remembers his Shakespeare from school and understands his plight as he explains that his wife and the twin brother and sister of Anthony and Dominique were thought dead years ago but he has never given up hope of finding them. Unknown to him, Anthony and Dom are living in London and Anthony is getting married in a couple of days. As both sets of twins encounter other characters, mistaken identity, suspected betrayals and confusion abound.
The murkier parts of the plot are handled well, with Dominique having an encounter with a male kitchen wench, making the descriptions of his monstrosity easier to stomach after fighting him off. The production brings a wonderful modern feminism and confidence to the female characters which begins to rub off on Dominique as she becomes bolder throughout the play. The gold chain MacGuffin is split, now a mobile phone and a ring made by Angela, whose debt is owed to two fantastically characterised comedy villains – ridiculous but terrifying in equal measure.
The suspicions of “foreign” merchants in London in Shakespeare’s time is a clear entry into exploring the play through modern eyes and examining immigration in the UK. This isn’t done in a heavy-handed way, the cast portray the expectations, prejudices and limitations of the characters’ lives; sometimes with fatalistic humour, sometimes with fury, but always with a natural charm and dynamism, and a ferocity to defend their family, whether born or found. The cast are wonderful. The comedic timing is pristine, not only from the named characters, but the chorus too. The chorus share lines of soliloquies to build up the emotional heft of confrontations and also provide exposition. Their expressions and reactions to the nonsense unfolding in front of them are a joy to watch.
Astonishingly, this is Stephanie Badaru’s directing debut. The connection and trust the cast have with her and each other is incredible to see, and the light and shade between the fabulous comedy and the serious moments is woven skilfully and with great intuition. Two casts perform the play on different dates, Ephesus and Syracuse. Having seen the marvellous Ephesus cast perform, I am hoping to return to see the Syracuse cast and their take on this glorious production. The professionalism and passion on stage, and in the entire production crew, is captivating and highlights, once again, the vital work of Intermission enabling these exciting new creatives to develop the confidence and skills to find their audience.
The Old Rep Theatre Birmingham – until 31st December 2025
Reviewed by Emma Millward
4****
Pantomime season has arrived in Birmingham, and The Old Rep Theatre is celebrating its tenth year of collaborating with the Birmingham Ormiston Academy (BOA) group on its festive productions. The BOA group is a multi-academy trust that specialises in creative, digital, and performing arts education. The students work with the theatre, director Lorna Laidlaw, and production team to bring the show to the famous stage of The Old Rep, while gaining invaluable work experience and an opportunity to showcase their talents.
BOA Group’s Cinderella certainly showcases the commitment and team effort required to bring such a production to life. Not only is the show staged in Birmingham, but the story is also set in the second city. Brummie (and Black Country) accents are used throughout, and I lost count of the local references and in-jokes. This gives the show a unique charm that local audiences will really enjoy. Many of the songs in the show have a Birmingham twist to them, most notably “Good Morning Birmingham”. Although this was a clever spin on a classic show tune from Hairspray, unfortunately some sound issues slightly dampened my enjoyment. The music overpowered the vocals, and many of the lyrics were lost and hard to understand. Similar sound issues occurred throughout the show, causing certain portions of dialogue to be missed.
The show begins with the Fairy Godmother (Therese Collins) giving us a little backstory. A backdrop projected introduction cleverly used slick set and AV design by Ebrahim Nazier and lighting design by Stephen Abbiss to show us how Cinderella (Jaiden Tsang) ended up as a maid to her dastardly Stepmother, Baroness Hardup (Julie Ann Baker) and her two daughters, Kim (Victoria Tew) and Chloe (Sam Yetunde). The daughters are a more modern spin on the ‘Ugly Stepsisters’ trope reimagined as neon-clad social media influencers always asking the audience how they looked. They become surprisingly endearing characters who just enjoy shopping at Primark! Cinderella herself is also given a more modern twist, rather than just seeking love, she has ambitions of being a dancer. The Baroness is as wicked as expected, albeit with a slightly robotic edge!
Jaiden Tsang and Stefan Davis have believable chemistry as Cinderella and The Prince. Their shared love of dance makes for some showstopping routines. The ensemble cast features students from BOA’s academies who all deliver outstanding performances. I also enjoyed that Buttons (Henry Hart) isn’t written purely as a lovelorn suitor for Cinderella, he is a genuine friend to her, and Hart’s ad-libs to the crowd when things didn’t quite go to plan were well received. Standout performances come from Stefan Davis as The Prince and Jordan Laidley as Dandini. They work well as a comedic duo and Laidley was especially adept at dealing with any unexpected audience participation with a witty comeback. Therese Collins excelled as a slightly cheeky Fairy Godmother who popped up at unexpected times throughout.
Pantomime writing and staging can be tricky, requiring just the right mixture of the familiar and the unexpected to keep all audiences happy. I think scriptwriter Janice Connolly achieves this. There were a few surprises along the way, and some very modern references. Not all of them land well with the audience, but pantomimes often like to push their luck and get a little near the knuckle. This production manages to avoid going too far into vulgarity. While not without its minor flaws, at its core there is a cast giving their all, and that’s what pantomime is all about. BOA Group’s Cinderella is a charming, funny and beautifully Brummie twist on a classic fairytale.
Fantastic Show – Great Entertainment the Festive season!
Directed by Joseph Pitcher, adapted from George Bernard Shaw’s Play and Gabriel Pascal’s Film Pygmalion, written by Lerner & Loewe, the story of Eliza Doolittle’s transformation from flower seller to a polished lady at the Embassy Ball is a well-known one. Set at a time where women were beginning to voice their discontent and society was on the brink of massive change, Henry Higgins, a confirmed bachelor, believes himself to be linguistically clever but proves to be blind to the privilege he holds and treats Eliza like a social experiment.
As is usual at the Mill the clever set has multiple moving parts enabling transformation to different scenes. Another triumph for set designer (Diego Pitarch), Lighting Designer (Jamie Platt) and Sound Designer (Chris Whybrow). The Choreography excellent (Joseph Pitcher & Alex Christian) with superb dancing energetically delivered. Favorites of mine being A Little Bit of Luck, The Ascot Gavotte and I’m Getting Married in the Morning. Costumes were representative of the time and there are a few very quickly executed costume changes. Well done to Costume Designer (Natalie Titchener) and the backstage crew.
I thoroughly enjoyed all the singing. A cast with lovely voices but of course particular credit must go to Simbi Akande, who shone as Eliza and Mark Moraghan who plays her boozy father Alfred. The whole show was boosted by a talented band of four musicians Directed by Nick Tudor with accomplished performances by the additional ensemble for the more upbeat numbers.
All the cast performed to a very high standard without exception – Simbi Akande (a credible Eliza), Nadim Naaman as the truly unlikeable (Henry Higgins), Jo Servi as Henry’s more compassionate friend (Colonel Pickering), Sophie-Louise Dann as the formidable (Mrs. Higgins), Mark Moraghan as Eliza’s no good father (Alfred Doolitle), Christopher Parkinson as the Hungarian (Zoltan Karpathy) and Alfie Blackwell as the besotted (Freddy Eynsford-Hill). I must also mention those who adapted to two parts including Francesa Ellis, Emma Fraser, James
William-Pattison, Conor McFarlane plus the super dancers Zaynah Ahmed, Imogen Bailey and Nadia Kramer.
Having seen My Fair Lady many times, this was indeed a thoroughly enjoyable and professional production. See this if you are looking to cheer yourself up over the next few weeks. It will lift your spirits!
WITH SEAN NYBERG & PAUL DANFORTH AND PASCAL ULTEE PRODUCTIONS
PROUDLY ANNOUNCE
JINKX MONSOON
AS
JUDY GARLAND
IN
PETER QUILTER’S
END OF THE RAINBOW
DIRECTED BY
RUPERT HANDS
IN A STRICTLY LIMITED RUN AT
SOHO THEATRE WALTHAMSTOW
15 MAY – 21 JUNE 2026
Lambert Jackson with Sean Nyberg & Paul Danforth and Pascal Productions are delighted to announce Jinkx Monsoon as Judy Garland in a strictly limited run of Peter Quilter’s END OF THE RAINBOW, at Soho Theatre Walthamstow from 15 May until 21 June 2026. Tickets on sale at 10.00am on Thursday 4 December. sohotheatre.com
Presale will open at 10.00am on Wednesday 3 December. Sign up here.
London, 1968. At the legendary Talk of the Town, Garland readies herself for a series of concerts that will both captivate and haunt. The world adores her, yet behind the glittering spotlight lies a fierce struggle for control, survival, and the relentless drive to perform at whatever the cost.
Blending the voice, the sparkle, the chaos, and some of Garland’s most unforgettable songs, END OF THE RAINBOW is a theatrical depiction of Judy Garland in the final chapter of her life. Pulling back the curtain on Hollywood’s sweetheart and revealing a life lived under the relentless gaze of fame, where every triumph and heartbreak is played out in technicolour. Witness and celebrate Garland’s extraordinary talent, resilience, and the human story behind the legend in a performance that will stay with you long after the lights go down.
Jinkx Monsoon said: “Judy Garland came into my life, like many, through entertainment, but she stays in my life because of her story. We know all too well the toll that fame took from her. Looking back, we can see more clearly the many factors that played a part in her storied life. I know people know me for impressions and imitation, but I’m thrilled for this chance to explore beyond the laughter and into the heart of why we still think so much about Judy today. Her tale is one that we can’t forget, especially as women in entertainment are still fighting for autonomy and agency in their own careers. I’m ready to bring new aspects of her story to the stage, and to share what I find so tragically beautiful about her life, with my UK audiences.”
The producers said: “Lambert Jackson are so thrilled to announce Jinkx Monsoon in our production of End of the Rainbow. Jinkx stepping into the role of Judy perfectly captures her extraordinary talent, humour and truly honours her legacy in Peter Quilter’s remarkable play. End of the Rainbow is full of heart, endurance and that unmistakable razor-sharp Judy wit. We look forward to working with the wonderful Soho Theatre in their state-of-the-art new Walthamstow theatre and sharing this show with audiences.”
Steve Lock, Head of Comedy at Soho Theatre, said: “Jinkx made her UK debut at Soho Theatre in 2016 in The Vaudevillians and we were instantly blown away by her comic brilliance and undeniable star quality. Since then, we’ve worked with Jinkx on multiple sold-out Soho Theatre runs, UK tours, and most recently a smash-hit Edinburgh Festival Fringe run in 2022. She has gone on to become a Broadway star, and we are so excited to see her make her debut on our biggest stage in Walthamstow, exactly 10 years after first working together.”
Jinkx Monsoon (Hera Lilith Hoffer) is an award-winning actress, comedian, recording artist, and the first and only drag queen to win RuPaul’s Drag Race twice. In just two years, she has become a Broadway breakout star and box office draw with critically-acclaimed performances including Mary Todd Lincoln in the Tony-winning smash hit, Oh, Mary! (where she sold out her entire 8-week run), Matron “Mama” Morton in Chicago (where she broke box office records during an extended 10-week run), Audrey in Little Shop of Horrors off-Broadway opposite Corbin Bleu, and Ruth in the Tony-nominated revival, Pirates! The Penzance Musical – which landed Jinkx her first Drama League Award nomination. Variety hailed her performance as a “triumph” adding, “Broadway should be honored to have her gracing the boards, as she is sure to be canonized as one of the all-time comedy greats.”
In addition to Broadway, Jinkx blew audiences away last year with her masterful and frightening performance as Maestro on the beloved British sci-fi series Doctor Who (BBC / Disney+). She has toured the world performing original cabaret shows with music partner Major Scales, including the hit Off-Broadway sensation The Vaudevillians, as well as six international tours of the wildly successful The Jinkx & DeLa Holiday Show with longtime collaborator and RuPaul’s Drag Race alum BenDeLaCreme. In 2023, she embarked on her first major concert tour with a live band titled “Jinkx Monsoon: Everything at Stake” which performed in sold-out theaters across 44 cities, and in 2025 she headlined her first Carnegie Hall concert which also sold out.
Additional accolades include the Gregory Award for her portrayal of Hedwig in Hedwig and the Angry Inch and The MAC Award for original show, The Ginger Snapped. As a recording artist, Jinkx has released three critically-hailed albums of original music written by Major Scales including The Virgo Odyssey, The Inevitable Album and The Ginger Snapped.
As a voice actor, Jinkx has voiced characters for animated shows such as “Adventure Time: Fionna and Cake” (playing the iconic character Lemongrab), “Steven Universe” (playing Emerald), “Helluva Boss,” “Mighty Magiswords,” “Bravest Warriors,” and more.
Jinkx first garnered an international fan base following her win on RuPaul’s Drag Race Season 5 (2013), and continued her winning streak on RuPaul’s Drag Race All Stars 7 (2022) where she was crowned “Queen of All Queens,” winning the competition against all previous winners.
END OF THE RAINBOW is directed by Rupert Hands with musical supervision by Leo Munby, lighting by Prema Mehta and sound by Tony Gayle.
Jafar Iqbal and PW Productions are thrilled to present a work-in-progress performance of BABYFACE – THE FIERCE WRESTLING MUSICAL, written by Seiriol Davies. With an 11-strong cast comprising musical theatre performers and professional wrestlers, this one-off performance, presented as part of Storyhouse Queer festival on Wednesday 11 February 2026, will be the very first time audiences can buy tickets to see this show. Tickets are £15 and on sale to the public from 11.00am tomorrow, Friday 28 November. www.babyfacemusical.com
BABYFACE is the rags-to-spandex story of best friends Gruff and Rezi, two tender queer souls from Rhyl, climbing the ranks of an industry where selling your persona is everything. Gruff wants to be a poet but his Nanna Dela needs money to keep the local bailiffs at bay; so Gruff must follow the path of his late grandad, the legendary wrestler Rhyl Dryll. Rezi wants to be the first ever female wrestling world champion. But can their friendship survive this crazy, sweaty, hyper-charged world? Will they turn into villains, or will they be… Babyfaces?
Fusing musical theatre and pro-wrestling (yes, with ACTUAL wrestling in an ACTUAL ring!) it’s a laugh-out-loud thrill ride that asks: in a polarised world, what happens when your need for community conflicts with your urge to WIN?
BABYFACE has been in development for three years and was presented in May 2025 in Birmingham as part of BEAM2025, a national showcase of new musicals. Producer Jafar Iqbal has now partnered with leading West End production company PW Productions.
The producers said: “We could not be more excited to bring this fabulous fever dream of a show to audiences in Chester. We look forward to welcoming them and sharing this show at a crucial stage in its development.”
Seiriol Davies said: “This will be a work-in-progress performance of a sizeable chunk of the show. Audiences have the chance to be in at the ground floor of this explosive new musical, seeing it in its rawest, earliest form. There may be casualties! (for insurance purposes we must stress: there will be very few casualties). Get the chance to say you were there at the start! For me it’s terrifying… and electrifying!!”
It follows the success of Davies’ How To Win Against History, which premiered at the Edinburgh Fringe in 2016, returning in 2025, winning The Stage Edinburgh Award and receiving critical acclaim, including:
★★★★★
The Daily Telegraph
‘A work of genius.’
★★★★★
The Stage
‘A glittering production.’
★★★★
The Times
‘Sparkling piece of musical theatre.’
Seiriol Davies is a writer, composer and performer from Anglesey. As well as How to Win Against History, Seiriol has written shows including Milky Peaks (Theatr Clwyd and touring), Betty! A Sort of Musical with Maxine Peake (Manchester Royal Exchange) and Branwen:Dadeni for the Donald Gordon Theatre, Wales Millennium Centre (as co-writer). They have also created work with companies such as Punchdrunk, English National Opera, The Gate Theatre, Underbling & Vow, The Unicorn Theatre and Le Gateau Chocolat. Currently, Seiriol is developing a musical with Hijinx, a queer medieval Shakespearian epic about Henry the Fifth and Welsh folk hero Owain Glyndwr, entitled Sweet Henry Vee with the Birmingham Rep, and Charles Actual Dickens and the Death Ship of Gold with Francesca Moody Productions.
Storyhouse Queer is a week-long community festival held in partnership with Chester Pride celebrating the LGBTQIA+ community in Chester and beyond with film, performances, workshops and more.
Original Theatre presents The Unquiet: Stories for Dark Nights – a unique theatrical ‘lights off’ audio experience – Episode 1: adaptation of E. Nesbit’s Christmas tale The Mass for the Dead starring Jemma Redgrave, Philip Franks and Susie Blake
with cutting-edge sound design and music from Max Pappenheim –
available to stream from 1 December 2025
A new podcast The Unquiet: Stories for Dark Nights, produced by the acclaimed Original Theatre, will take great ghost stories from the ages and adapt them for aural theatre. The first episode, The Mass For The Dead, starring Jemma Redgrave, Philip Franks and Susie Blake, will be released on Monday 1 December – an eerie and atmospheric sonic experience perfect for dark December evenings.
A brand-new dramatisation of a short story by E. Nesbit (The Railway Children), The Mass for the Dead is a haunting gothic tale of love, guilt, and the supernatural. When Jasper learns that Kate, the woman he loves, is to marry another man his sleepless night turns into a waking nightmare. The Mass for the Dead is adapted by Max Pappenheim and Philip Franks, and directed by Max Pappenheim.
Using cutting-edge sound design and specially written music by award-winning composer and sound designer Max Pappenheim to create a unique sonic experience, The Unquiet: Stories for Dark Nights is theatre for the imagination – with the lights off. Each 30-minute episode of The Unquiet podcastwill be individually introduced to give some context to the writer and production. Expect thrills, chills and some familiar voices bringing these other worldly tales to life.
The Unquiet: Stories for Dark Nights will be available for free across major platforms including Apple, Spotify, Google, as well as Original Theatre’s website: originaltheatre.com. Episode 2 will be released in early 2026.
Theatre Royal, Windsor – until Sunday 11th January 2026
Reviewed by Kirsty Thomson
5*****
This year’s pantomime at the Theatre Royal Windsor is the captivating traditional story of Cinderella, a classic fairy tale which brings a delightful blend of spectacle, humour, and joy to the stage.
The cast were sensational, bringing well-loved characters to life. Brogan McFarlane was enchanting as Cinderella, perfectly portraying the battle through tough circumstances with kindness and resilience. The magic really shone during the dress reveal before Cinderella goes to the ball as well as the flying Pegasus which flew above the heads of the audience, leaving everyone in awe, thanks to the skills of Burnt Toast SFX.
Equally impressive are the ‘ugly stepsisters’, Lavitia (Steven Blakeley) and Potitia (Jeffrey Harmer), who delivered over-the-top performances leaving the audience in stitches. A shoutout to Emma Foltran as head of wardrobe is definitely needed with the showstopping costumes and hairstyles for the two sisters, including McDonald’s themed dresses with burger hats, and ballgowns covered in candles and lampshades.
Hilary O’Neil as the Fairy Godmother is captivating with everything from her magical entrances onto the stage, to her hilarious impression of Catherine Tate’s nan in the woods, to her half and half outfit and impressions of Tess Daly and Claudia Winkleman. Kevin Cruise is a Windsor classic playing the part of Buttons, who keeps the whole audience entertained throughout. Whether it be through his 80s tunes on a Walkman to keep the adults entertained, or getting kids onto the stage to do the ‘Bird Song’ dance routine, Kevin Cruise has a real skill of appealing to all.
Of course, no pantomime would be complete without a generous dose of audience interaction, and this production excels in that department. Whether it’s encouraging kids to shout out when a character gets too close to the Care Bear or getting everyone on their feet to dance the Hokey Cokey, the cast does a fantastic job of engaging the audience throughout.
Let’s not forget the 12 Days of Christmas song which was a personal highlight. With sparkly swords, toilet rolls, and welly boots being thrown around the stage and audience, and the need for the conductor of the band to wear a hard hat and hold an umbrella, it’s a classic song, re-imagined in the most bonkers way, but you won’t be disappointed. It’s this level of participation and enthusiasm that keeps the energy high and ensures everyone leaves the theatre with a smile on their face.
The chaos of this pantomime continues through sparkly mobility scooters, multiple Jet2 holiday adverts, the famous dirty dancing lift requiring the assistance of three backstage crew, and Baron Hardup (Michael Praed) constantly thinking he’s in a Robin Hood pantomime.
Cinderella at the Theatre Royal Windsor offers a feel-good experience that’s perfect for the festive season. It’s a pantomime that will get you laughing, cheering, and up on your feet dancing. This production is a must-see, don’t miss out!
The Playhouse Theatre in Leeds has once again ignited the festive spirit with its enchanting adaptation of A Christmas Carol, skilfully composed by Deborah McAndrew and brought to life under the direction of Amy Leach. McAndrew’s adaptation shines in its clever weaving of humour and pathos, ensuring that the story resonates with both young and old. From the very beginning, the relocated bustling streets of Victorian Leeds are brought to vivid life through cohesive period costumes of the workers who sing a blend of carols and original composed music in unison to set the scene.
The cast were equally phenomenal; their energy and commitment never faded, ensuring that the audience remained attentive throughout. Reece Dinsdale was successful in his portrayal of a miserly yet comical Scrooge who was able to transform into a ‘merry schoolboy’ and spread Christmas cheer by the end of the play. Dinsdale delivered a remarkably accurate, yet surprisingly humorous performance of a northern Scrooge allowing the younger members of the audience to easily follow the narrative. Dinsdale’s bitterness was contrasted by the heart-warming Lucas Kerr (Tiny Tim) who brought an undeniable sweetness to the stage, alongside Stephen Collins and Nadia Nadarajah (Mr and Mrs Cratchit) who perfectly captured the essence of a loving and resilient couple.
The entrance of the outstanding Obioma Ugoala as Marley (and Fezziwig) was a particular favourite part of mine providing a visually stunning and unforgettable moment on stage. Aided by clever stagecraft and haunting lighting, the phantom didn’t just appear, but he marched through the stage from a swirling haze of smoke as his ghostly echo bellowed through the theatre. The scene was a perfect balance of ominous lighting, eerie visuals and an accurate reflection of Dicken’s novel.
Following this, both the wonderful Bea Glancy and Claudia Kariuki flawlessly executed the role of the Ghost of Christmas past and present. Through graceful movements, Glancy brought the past to life, embodying whimsy and enchantment to portray the luminous figure. It is also clear that Kariuiki the perfect and only choice for the Ghost of Christmas present as she instantly shone – bringing instant joy and life to the stage and the audience were in hysterics at what came to follow her entrance: the display of dancing baubles.
The ensemble wasn’t just a backdrop; they were a dynamic and comical force, masterfully used to both tease and haunt Scrooge but also embody the Christmas spirit when frolicking on stage as lively baubles. Due to the exceptional works of Hayley
Grindle’s costume designs, the cast were able to present themselves as fully believable characters and elevate their performances further. The Ghost of Christmas present’s beautiful dress was truly memorable, shimmering with every move.
However, the true standout of the evening was the Ghost of Christmas yet to come – a tall, ominous figure created from dark cloth ascended from beneath the stage. Rather than the traditional spectral figure cloaked in dark robes, this version of the ghost is made entirely of cloth and material, to create a larger impact on stage as audiences watch the figure tower above the characters. The haunting, deliberate way the fabric moves and undulates in the dim light lends an unsettling quality and is visually impressive for audience members.
The production of A Christmas Carol truly shines in its accessibility, welcoming all ages and audiences to be a part of Scrooge’s transformative journey. The timeless story is presented with clarity and heart, ensuring that even the youngest viewers can grasp the central themes of redemption and compassion. I would highly recommend A Christmas Carol as it was a thoroughly enjoyable experience which brought out the Christmas mood.
Brilliant. Joyful. Colourful. Marvellous. Wonderful…. The Magic of Christmas is a new festive variety show from Brick Lane Music Hall.
This show is a great production which brings a mixture of Christmas music, old school London songs and all-time classic rock/pop/folk tunes, all of which help create a show for those who enjoy music and a lovely atmosphere with brilliant performances.
It’s Community Theatre at the best level.
The show is hosted by Vincent Hayes MBE founder of Brick Lane Music Hall, (recognised in 2013 with the award of an MBE for his services to British Music Hall). He plays the role of a compere with humour and creativity. He is very smart in coming up with spontaneous, off the cuff jokes, as well as creating hilarious characters in different scenes. He is very funny and makes the audience laugh at most jokes he makes.
We can see a combination of musical acts delivered by a very talented group of singers with wonderful voices who create perfect and beautiful harmonies together, as well as singing in individual acts, bringing a high level of performance with each song.
The pianist and musicians accompany the singers very well throughout and join this group of talented artists, which is a delight to see. One of the singers also performed some lovely solo violin pieces.
There is a lot of hard work and effort put in the costumes department led by Zara Kattan. They change in each scene and bring a Christmas spirit that goes very well with the show. Shiny, bright, colourful outfits which add extra points to the show, as well as the scenery designed by Chris Floyd and Shannon Topliss which change frequently. Great job from the set designer as well as the costume team. The special effects also help add to the colour and vibrancy of the show.
Be prepared to find a joyful experience with classic British entertainment; part show, part celebration.
Live music, comedy and cabaret are part of the entertainment with a three-course Christmas meal or afternoon tea depending on the performance.
The singers invite the audience to participate by singing and clapping which adds a nice feeling to the sociable experience.
If you want to have the whole festive experience, join the meal which is lovely food, followed by the live show.
The food combined with the show makes it a great day out for those who love Christmas in all its glory and the venue is also beautifully decorated and has an old London music hall feel to it.
The Magic of Christmas Brick Lane Music Hall, 443 North Woolwich Road, London E16 2DA
19th November – 19th December 2025
Evening, lunchtime, and matinee performances available
