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Duchess Theatre, London – Monday 24 November 2025

Reviewed by Elizabeth Smith

5*****

Murder She Didn’t Write, the improvised murder-mystery comedy by Degrees of Error, has arrived at the Duchess Theatre in London, and it is an absolute riot from start to finish. Combining the structure of an Agatha Christie-style whodunnit with complete improvisation, the show delivers a uniquely unpredictable night that feels both comfortingly familiar and wildly inventive.

At the helm of the chaos is Agatha Crusty, the fictional detective who guides the entire mystery with sharp wit and theatrical confidence. She’s joined by her loyal but entirely unpredictable sidekick, Jenkins—played each night by a brave volunteer plucked straight from the audience. Their dynamic is one of the show’s standout elements, as Crusty navigates the plot while Jenkins brings spontaneous, often hilariously off-script reactions.

The audience shapes the mystery too, selecting both the setting of the murder and the murder weapon. Suggestions range from the brilliantly imaginative to the outright bizarre—one moment the crime takes place at a Titanic support group, the next on a group trip to Bradford. Even the murder weapons take a wonderfully absurd turn, with items like an orange wooden leg being offered up and enthusiastically embraced by the cast. These unexpected ingredients send the performers vaulting into unpredictable scenarios, yet they adapt with effortless quick-thinking and impeccable comedic timing.

What makes the show so consistently entertaining is the ensemble’s ability to balance narrative coherence with joyful chaos. Even when the story veers into outrageous territory, the cast stays entirely committed to their characters and the world they’re building. Their knack for weaving callbacks, running jokes, and improvised character arcs into a “coherent” mystery is astounding.

Each performer shines through their eccentric portrayals, from pompous aristocrats to suspicious boiler room operatives and misleading red herrings. Their chemistry is seamlessly collaborative; they listen to one another, support each improvised choice, and transform even the smallest slip-up into comedy gold.

Audience involvement—warm, inviting, and never intimidating—adds a sense of collective creativity. There’s genuine delight in watching your own absurd suggestion become a crucial clue or an exquisitely silly dead end.

The Duchess Theatre’s intimate space amplifies the show’s lively energy, making the audience feel truly part of the performance.

Murder She Didn’t Write is a sharp, joyful, and completely unique theatrical experience. If you love improv, mysteries, or simply a night of clever, unpredictable comedy, it’s absolutely worth seeing—especially since no two performances are ever the same.

Queens Theatre, Hornchurch – until 3rd January 2026

Reviewed by Bobbi Fenton

4****

There’s nothing quite like a pantomime to mark the start of the festive season, and Jack and the Beanstalk at Queen’s Theatre, Hornchurch is the perfect example of why panto remains a firm family favourite. Bursting with energy, dazzling costumes, and more jokes than you can shake a magic bean at, this show delivers the full package — from groan-worthy puns to pop culture references that had the audience roaring with laughter.

This fresh take on the classic tale follows the ever-hopeful Jack (Toby De Salis), who dreams of helping his mum, Dame Trott (Fred Broom) pay off their debts, only to find himself climbing a giant beanstalk with his mother Dame Trott (Fred Broom), best friend Jill (Inés Ruiz) and Green Fingered George (Beth Hinton-Lever. While atop the Beanstalk in Cloudland, they manage to rescue adorably clueless Pat the Cow (Lauren Chinery) from becoming a meal for the Giant. The cast bring the story to life with infectious enthusiasm, winking knowingly to the adults while keeping the children utterly enthralled. The script is packed with topical gags, local references, and a few cheeky double entendres that perfectly toe the line, everything a true panto lover could ask for.

Of course, no pantomime would be complete without a larger-than-life Dame, and this production’s Dame is nothing short of sensational. From the moment she steps on stage, she commands attention with her outrageous humour, brilliant comic timing, and an endless parade of fabulous costumes that seem to get bigger, brighter, and more ridiculous with every scene. Each entrance brought a fresh wave of laughter from the audience, whether it was thanks to a sparkling sequin number, a towering hat, or a dress so over-the-top it deserved its own applause. Fred Broom’s quick wit and playful banter with the audience perfectly captured that classic panto magic.

The villain of the piece, Fleshcreep (Roddy Lynch) absolutely stole the show for me. With a commanding stage presence and a truly incredible singing voice, his big number was easily my personal highlight of the evening. It’s rare that a baddie makes you want to cheer and boo at the same time, but his vocals were so good that I couldn’t help but be impressed.

Equally deserving of praise is Beth Hinton-Lever, whose voice is nothing short of stunning. Her performances added a real touch of magic and warmth to the production, balancing out the mischief and mayhem with genuine heart.

One particularly special element of the evening was the inclusion of a BSL interpreter, who seamlessly brought the magic of the show to Deaf and hard-of-hearing audience members. It was wonderful to see accessibility embraced in such a joyful way, and the interpreter’s expressive delivery added an extra layer of fun for everyone watching.

Overall, Jack and the Beanstalk at Queen’s Theatre, Hornchurch is everything you could wish for in a pantomime: big laughs, brilliant performances, catchy songs, and plenty of heart. It’s the perfect mix of old-school tradition and modern sparkle — a magical night out for audiences of all ages. Don’t miss it!

Dominion Theatre – 23^rd November 2025

Reviewed by Heather Chalkley

5*****

Creator Ged Graham and his crew have produced a show to raise the Christmas spirit, sprinkled with a big dose of Irish magic. Come prepared to clap hard and singalong to familiar Christmas favourites and well known Irish staples. 

Set in a scene outside McGrath’s Irish bar, the musicians create high energy from the get go with a troupe of dancers well versed in Irish high kicks and complex tap steps. We are greeted by Narrator Shane Morgan, who sings and plays with the best of them, swinging an Irish kilt in the second half that gets the audience whooping! Fiddle player Caitlin Forbes is an essential element, providing the familiar Gaelic notes that float on the air. An accomplished player who clearly loves her instrument. Oliver Cave is by far the best vocalist of the night, happy to be ribbed because of his Englishness! His dulcet tones resonated clear as a bell through the swell of Irish fiddle and audience appreciation.

The lighting programme takes some getting used to, with the players sometimes silhouetted and other times the colourful glare coming straight at the audience. The use of spotlighting to pick out the dancers and musicians, really helps guide your attention to where the action is happening on a busy stage. The singers and players are a smooth machine, moving about the stage in a fluid and familiar manner. We are treated to an eclectic range of favourite songs from Slade’s ‘Merry Christmas Everybody’ to ‘O’ Danny Boy’. The dance troupe, although slipping out of sync very occasionally, maintain their technique and enthusiasm throughout, really making it an Irish Fairytale for Christmas. 

Forum Theatre, Malvern – 23rd November 2025

Reviewed by Courie Amado Juneau

5*****

Malvern Concert Club presents another wondrous afternoon of music played by exceptionally gifted musicians. Today’s visitors were singer Mark Le Brocq with the London Mozart Players – neither of whom I had had the pleasure of seeing before.

First on the programme was Franz Schubert’s String Quartet No 12 in C minor, D.703, “Quartettsatz”; a one movement work which was the opening of a proposed Quartet that the composer never finished. That may sound like a throwaway “reject” piece but this superb morsel is nothing of the kind – it’s a masterpiece and only “miniature” in length, not scope. After a joyous tutti outburst, the piece unfolded very much in keeping with that early Romantic era’s oeuvre; drama and tenderness rubbing shoulders in equal measure. I particularly enjoyed the florid runs from first violin Simon Blendis and second violin Antonia Kesel, flowing to violist Judith Busbridge and finally cellist Ella Rundle – the entire passage creating a rather thrilling effect.

Next up was Ralph Vaughan Williams’s On Wenlock Edge, in which the Quartet were joined by pianist Anna Tilbrook. Tonight’s singer, Mark Le Brocq, began this song cycle in the audience, entering from behind us, and made his way to the stage. He finished as he had begun but in reverse. Mr Le Brocq had a powerful, full bodied voice that carried much emotion, holding the emotional power in the quieter sections also. His story-telling of the text was marvellous throughout with the third song in the cycle “Is My Team Ploughing?” being the standout moment for me. A tragic tale of a dead man discussing with his living friend his burgeoning affair with the dead man’s love being particularly affecting.

As a fan of musical biographies, I do love it when artists give us some background information on the works being performed or the composers. There was, unfortunately, only a brief introduction at the start of the second half – leaving the first half to remain context and anecdote free. A missed opportunity, I felt. But what we did have was interesting and welcome – that Robert Schumann wrote his Piano Quintet in E flat, Op. 44 at a time when he was enjoying his status of newlywed to his sweetheart Clara, giving us an insight into this passionate masterpiece. I always feel that Schumann is overlooked somewhat as one of the true greats in the classic firmament – understandable given the contemporary talent of course. But this piece is one of those which proves what a genius he was and is testament to his inclusion among the “Great Composers” pantheon – and he would no doubt have been overjoyed with tonight’s rendition.

The musicians were all expert at their craft and they displayed a real connection with each other. It was exactly what chamber music should be – an intimate dialogue. I absolutely loved tonight’s concert and cannot wait to see them again.

So, yet another triumphant afternoon’s music making of the highest caliber courtesy of Malvern Concert Club. If you haven’t yet attended this club’s concerts do yourself a favour and sign up immediately. For music lovers everywhere it’s the gift that keeps on giving. Bravissimo again (and again).

Durham Gala Theatre – until 31 December 2025

Reviewed by Becca Bramfitt

4****

Durham Gala’s Jack and the Beanstalk springs to life with all the heart, humour and homegrown spirit you’d hope for from a true North East Christmas tradition. Written by Gary Kitching and directed with a lively, generous touch by Jacob Anderton, this year’s panto is a joyful reminder of why families return to the Gala year after year: it feels like home, only louder, brighter and a whole lot sillier.

From the moment the curtain rises, the show wraps the audience in that unmistakable family feel—full of warmth, familiar faces, and a comforting sense that everyone, from the littlest audience member to the biggest giant, is in on the fun. The performance strikes a perfect balance between the traditional pantomime spirit and fresh local flavour, peppered with Durham jokes, cheeky knowing winks and a big helping of community pride.

Leading the charge is Kieron Michael as Jack, whose charm and enthusiasm anchor the adventure beautifully. Jude Nelson’s Muddles is a nonstop whirlwind of energy, winning over the crowd with playful mischief and spot-on comic timing. Sarah Bulmer shines as the ever-loving (and ever-loud) Mrs Tinkler, delivering some of the night’s funniest lines with gusto. Adam Donaldson makes a wonderfully boo-able Professor Hangclaw, while Lucy Davis brings warmth and wit as Bridget. And Susie Barrett’s Bronwen adds a lovely mix of sparkle and strength, rounding out a cast that works together with infectious joy.

The creative team deserves huge credit for crafting such an enchanting world. Gabrielle Ball’s musical direction fills the theatre with toe-tapping arrangements that have adults humming and children singing along without hesitation. Choreographer Helen West keeps the stage buzzing with dazzling dance routines, each one packed with energy and tight teamwork. And Emily Baxendale’s costumes are nothing short of stunning—bold, colourful and full of character, they elevate every scene and help make the show a true visual treat.

Of course, no panto is complete without the gags, and this production delivers them thick and fast. From silly set-ups to perfectly timed physical comedy, the laughter never dips for long. Add in a few clever surprises, some well-loved traditions, and more than a handful of audience participation moments, and you’ve got a show that keeps families grinning from start to finish.

Durham Gala’s Jack and the Beanstalk is a warm, hilarious, and wonderfully wholesome festive treat—an easy choice for families looking for a panto packed with heart, humour, and hometown magic.

WATERMILL THEATRE ANNOUNCES

SUMMER 2026 MUSICAL

A WATERMILL THEATRE PRODUCTION

TUESDAY 26 MAY – SUNDAY 13 SEPTEMBER 2026

TICKETS ON SALE TO BULRUSH, FERN, WATER LILY & WILLOW MEMBERS Tuesday 2 December

FRIENDS & REEDS MEMBERS Tuesday 16 December 

General on sale Thursday 8 January

BOOK ONLINE AT WATERMILL.ORG.UK OR VIA THE BOX OFFICE ON 01635 46044

Licensed by Music Theatre International

Joint CEOs, Artistic Director Paul Hart andExecutive Director Claire Murray, and the whole team at Newbury’s Watermill Theatre are delighted to announce that the 2026 summer musical will be a brand-new production of the family classic CHITTY CHITTY BANG BANG, playing from Tuesday 26 May to Sunday 13 September 2026, with a national press night on Thursday 4 June 2026.

Soar far above the clouds and across the seas with a fantasmagorical new Watermill Theatre production of the iconic Chitty Chitty Bang Bang.

Delve into the hearts and imaginations of eccentric inventor Caractacus Potts, his children Jeremy and Jemima, and Truly Scrumptious as they set off on an audacious adventure in a car with a big personality.

With music and lyrics by Richard M Sherman and Robert B Sherman, adapted for the stage by Jeremy Sams, and based on the MGM motion picture, Chitty Chitty Bang Bang will be directed by Paul Hart, with the Watermill’s signature storytelling, inventiveness and actor-musicianship at its heart.

This new production will feature classic songs played live by an ensemble cast, including “Truly Scrumptious”, “Hushabye Mountain” and “Chitty Chitty Bang Bang”.

The creative team will include set and costume designer Katie Lias, musical supervisor and orchestrator Stuart Morley, choreographer Anjali Mehra, puppet designer, maker and director Marc Parrett, and lighting designer Jai Morjaria, with further creatives and casting to be announced in the spring.

Following three consecutive sell-out and critically acclaimed summer musicals — The Lord of the Rings, Barnum, and Jesus Christ Superstar — the last of which is one of the most successful productions in the Watermill’s history and won the prestigious 2025 UK Theatre Award for ‘Best Musical Production’ – the Watermill will once again transform its beautiful theatre and gardens into a spectacular world of music, magic and imagination.

Paul Hart said “We are beyond thrilled to announce we will be staging one of the greatest pieces of musical theatre ever made in a version unlike anything seen before. We’ll be giving audiences the opportunity to step inside the creative mind of Caractacus Potts who sets out to do the impossible and create a flying car for his beloved children. How the hell are they going to do that at the Watermill? All will be revealed…”

Claire Murray said, “The summer musical is the linchpin of our year. From The Lord of The Rings to Barnum and Jesus Christ Superstar, we’ve seen audiences grow and diversify over the last three years, and we can’t wait for every generation to see this much-loved classic in a new version for 2026. Transforming our site and placing actor musicianship at the heart of the show, audiences can expect a truly scrumptious experience full of imagination and pure joy!”

Tickets will go on sale to Bulrush, Fern, Water Lily and Willow members from Tuesday 2 December, Reeds and Friends from Tuesday 16 December with memberships available from £35 a year.  General on sale will follow on Thursday 8 January. 

The Watermill Theatre is also launching a search for young performers to join the company of Chitty Chitty Bang Bang. The theatre is seeking local young people to play Jeremy, Jemima and the children of Vulgaria, with all applicants required to have unbroken voices and live within one hour of Newbury. For the roles of Jeremy and Jemima, the young people must be aged between 9 and 12 and under 4’7”.  All other young people must be aged between 9 and 14.  First-round auditions will take place by self-taped video submission, with selected candidates invited to in-person recalls at the Watermill on Sunday 18 January 2026. Full details and guidance are available at https://www.watermill.org.uk/events/chitty-audition and applications close at 9am on Friday 11 December 2025.

Park Theatre – until 6 December 2025

Reviewed by Claire Roderick

4****

After convincing her boss that she could be just as brilliant a PA working from home, Bea (Libby Rodliffe) has been juggling 3 jobs for a year. She is the concierge/security/plumber of a luxury block of flats and also does data input when she gets home at night. Although it isn’t her home: she is living in her friend India’s house and looking after her ugly little dog Parsley while India is off spending her late grandparents’ money on a trip to South America. But Bea can handle this chaos – she just needs to be more efficient picking up Parsley from doggy daycare on time.

What starts as a sharp and witty quickfire comedy about the gig economy, the cost of living and toxic bosses evolves into a darker, deeper examination of financial stress and mental health as a series of chaotic events causes her career house of cards to tumble.

Rodliffe is phenomenal, switching between oddball characters with ease and never missing a comic beat. Whether portraying Bea’s smooth and laidback Northern Irish boss Julian, his uptight Australian wife Gillian, self-obsessed influencer Miranda, or building boss Agatha – a monstrously bonkers character somewhere between Julie Walters’ Petunia and Joanna Lumley’s Patsy – each characterisation is precise and consistent. Even her father, who never speaks is drawn clearly as she describes the man she adores, who just happens to take his snakes out for a walk on leashes!

Nicky Allpress directs the dynamic Rodcliffe slickly on Matthew Cassar’s pristine white set, gorgeously lit by Oliver McNally’s array of paper lanterns which light office spaces starkly and fade to mellow pastels as Bea’s mood lightens.

Libby Rodliffe’s writing is as exceptional as her acting: she and co-writer Isley Lynn have created a layered, compelling character and found absurdity and pathos from the dire financial straits she is in. Revealing Bea’s motivations and obligations late on is a masterstroke ensuring that any lingering suspicions that Bea is a cocky character with selfish, self-inflicted debts are banished and her altruistic and desperate actions to save her family are still not enough to stop the spiral into more debts. The drop in energy as the final scenes play out works brilliantly as Bea is such a compelling character that you can’t help but root for, so the audience is hanging on her every word. It would have been easy to end with a big comedic moment, but the quiet hope amid the disasters around her is much more satisfying.

Bold and witty writing and a tour de force performance make Jobsworth a must see show this month.

Birmingham Hippodrome- until 13 December 2025

Reviewed by Emma Millward 

5*****

Sir Peter Wright’s The Nutcracker at Birmingham Hippodrome has become one of the city’s most cherished festive traditions since the world premiere first took place there 35 years ago. This year’s revival reaffirms why it continues to captivate audiences of all ages.  Under the exceptional direction of Carlos Acosta, Birmingham Royal Ballet achieves just the right balance of grand spectacle with emotional warmth. Created by Wright in 1990 as a thank you for Birmingham’s continued support, the production celebrates its 650th performance next week and can still surprise and enchant audiences after all these years.

From the moment the curtain rises on the Stahlbaum family’s lavish Christmas party, the production’s meticulous craftsmanship is evident. The bustling, atmospheric opening scene sees child performers racing about with believable seasonal excitement, while the adults mingle, recreating the familiar buzz of a family social gathering.  Wright’s choreography ensures every performer onstage has a role to play.

We follow the story of Clara (Reina Fuchigami), a young aspiring ballet dancer who receives a Nutcracker doll from the charismatic magician Drosselmeyer (Lachlan Monaghan). Clara is intrigued when her mischievous brother Fritz (Lawson Hateley) breaks the doll and it magically mends itself.  Later that night, as the clock strikes midnight, strange and magical things start to happen.  The onstage Christmas tree grows, giving the illusion that Clara has shrunk to the size of the toys. The Rat King (Mason King) and his rat soldiers appear and attempt to kidnap Clara, but toy soldiers underneath the Christmas tree come to life and help Clara to chase them away.  The Nutcracker doll transforms into a handsome Prince (Max Maslen) and dances with Clara.

One minute we are in an opulent house, the next we are in a snowy forest as the Snow Fairy (Yuki Sugiura) and her snowflakes and winds dance for Clara and the Prince as the glorious sounds of the Waltz of the Snowflakes bring the first act to a conclusion.  The second act opens with Clara flying across the night sky on a huge goose, this drew gasps and applause from the audience.  She flies to a magical land where Drosselmeyer introduces her to interesting and exotic people from all over the world, including the mesmerising Arabian, Chinese, Russian and Spanish dancers. Drosselmeyer uses his magic to turn Clara into the Sugar Plum Fairy (Miki Mizutani) before they perform a beautiful Grand pas de deux, followed by the dance that was a standout moment for me, The Dance of the Sugar Plum Fairy.

The Royal Ballet Sinfonia, conducted by Jean-Claude Picard, brings Tchaikovsky’s score to life with energy and warmth.  The music feels closely connected to the onstage action, without ever overpowering the dancers.  Visually, the production is gorgeous.  The costumes (Elaine Garlick) shimmer without appearing gaudy, the sets feel rich and immersive.  The clever, ever transforming stage design by John Macfarlane, combined with lighting by David Finn, is exquisite throughout.  The homely warmth of the house in the first act contrasts with the wintery elegance of the second act.

Although there are too many dancers to name individually, Birmingham Royal Ballet has once again created an exceptional production that transports the audience to a spellbinding world and is the perfect start to the festive season.

New Vic Theatre, Newcastle-under-Lyme – until 24 January 2026

Reviewed by Charlotte McWilliam

4****

On a crisp November afternoon, the New Vic Theatre unveiled a reimagined and visually enchanting adaptation of Hans Christian Andersen’s The Little Mermaid, offering an experience filled with magic, imagination, and theatrical innovation. This new interpretation blends the beloved fairy tale with dynamic circus theatre, vivid puppetry, and live music, creating a production that feels both warmly familiar and refreshingly original. It confidently earns a glowing four stars for its creativity, heart, and immersive flair.

The New Vic’s unique in-the-round theatre elevates the entire performance. Surrounded by the action, the audience is drawn straight into the heart of an underwater world brought to life through movement, light, and sound. The staging transforms the space into a living seascape, immersing viewers in the ebb and flow of ocean life and enhancing the sense of wonder that runs throughout the show.

Co-directors Theresa Heskins and Vicki Dela Amedume guide this imaginative retelling with assurance and playfulness. Their blend of aerial choreography, grounded storytelling, and atmospheric music celebrates themes of discovery, courage, and connection. The circus elements feel woven naturally into the narrative, capturing the fluidity and freedom of undersea life.

The cast — including Rhiannon Skerritt, Ines Sampaio, Darcy Braimoh, and a versatile ensemble of actor-musicians and circus performers — deliver unified, spirited performances. Among them, Coralie stands out as a truly memorable character. Fresh, funny, and enchanting, she lights up every scene she enters, adding humour and warmth that beautifully balance the story’s more emotional moments. Her presence becomes a lively anchor in the mermaid’s world, charming audiences of all ages.

One of the production’s most captivating touches is the skillful puppetry. Puppeteers use glowing lights on flexible sticks to animate shoals of fish, drifting creatures, and shimmering underwater movement. These illuminated puppets ripple and swirl around the actors, creating an ever-changing ocean environment that feels playful, graceful, and constantly alive. The effect is both simple and magical, adding texture and charm to every scene beneath the waves.

The visual design further enhances the storytelling. With its clever use of silks, ropes, and suspended structures, the stage becomes a coral kingdom filled with colour and fluid motion. Lighting shifts mimic the dance of sunlight through water, while carefully crafted props help transform the theatre into a fantastical aquatic world. The aerial work is particularly striking, offering moments of floating grace that capture the mermaid’s longing and curiosity.

Live music from the on-stage “Sea Urchins” adds depth and atmosphere, supporting each moment with warmth and energy. Their presence gives the production a cohesive musical thread, enriching both the joyful and reflective scenes with equal care.

What makes this adaptation truly shine is its ability to delight audiences young and old. It honours the classic tale while inviting viewers to experience it through inventive new forms of artistry. With its imaginative staging, heartfelt performances, glowing puppetry, and uplifting spirit, The Little Mermaid at the New Vic Theatre is a festive, feel-good adventure that lingers long after the final moments.

EVERYMAN THEATRE, LIVERPOOL – UNTIL 17TH JANUARY 2026

REVIEWED BY MIA BOWEN AND JOSHUA (4 YEARS OLD)

5*****

The Everyman Rock ’n’ Roll Panto, Jack and the Beanstalk, is anything but a typical fairy tale. While it preserves the fundamental elements of good versus evil and Jack’s ascent up the beanstalk, it completely reimagines the story and amplifies the excitement to new heights! Writer Chloe Moss has infused the story with pure magic, presenting the classic tale with a daring new rhythm brimming with crystal energy, hearty laughter, and memorable tunes. Featuring guitars, glitter, and characters who truly know how to rock the stage, this panto offers a vibrant, contemporary adventure that is both thrilling and enchanting. It’s time for the traditional fairy tales to take a back seat—this one is ready to take centre stage!

Jack and his mother, Dame Vera, are facing significant financial difficulties. Their sole valuable asset is their cherished cow, Daisy. Their modest enterprise, a crystal shop called Cosmic Crystals, located on What-a-Lark Lane, is in a precarious situation. The main antagonist is Alan Sucre, a conceited con artist who presents himself as a “spiritualist” and boasts of his multi-millionaire status. With the assistance of his sidekick, Roginald, Sucre aims to seize control of the shop by orchestrating a deceitful romance with Vera to trick her into relinquishing the shop’s deeds. Meanwhile, with the help of Fairy Spacecake and his apprentice, Jill, they sell the family’s saxophone-playing cow, Daisy, in exchange for a bag of magical crystals. Remarkably, these crystals grow into a towering structure that transports Jack to a magical realm high in the clouds. There, he encounters a fantastical world filled with peril and adventure, offering him the opportunity to transform his life in more ways than he ever imagined.

The cast members are exceptionally talented actor-musicians who effortlessly transition between their comedic and dramatic roles while playing a wide array of instruments on stage. This versatility creates a vibrant and dynamic performance that distinguishes it from traditional pantomimes. The setlist stands out as a major highlight, featuring iconic, high-energy pop and rock hits spanning several decades. These musical selections resonate with the audience, prompting them to sing along and dance in their seats. Among the featured artists are Prince, The Beatles, Celine Dion, Meat Loaf and K-Pop, to name just a few. When Dame Vera performed ‘Cell Block Tango‘ from Chicago, the audience erupted at her lyrics: ‘snap, crackle, pop, sausage roll, chipsticks.’

The ensemble’s combined talent as actors, comedians, and musicians is vital to the success of Everyman’s “Rock ‘n’ Roll Panto” style. Their undeniable chemistry enhances the comedic moments, resulting in a lively and fluid performance throughout the show. Performers like Adam Keast, who portrays Fairy Spacecake, excel at engaging the audience, ensuring that everyone participates in the delightful chaos and enjoyment of the panto. Liam Tobin, in the role of Dame Vera, brings forth brilliant quick-fire humour paired with powerful vocals. Rebecca Levy, as Ruby, delivered an outstanding, vocally flawless performance while also serving as the show’s choreographer.

The show is completely outrages, wonderfully noisy and truly unforgettable.

My little critic, Joshua, who is almost five years old, provided some insightful commentary throughout the performance. His final verdict? The underdog Roginald, played by Theo Diedrick, was the standout star. When asked why, his simple and honest response was, “He saved Jack’s mother from jail! He’s a good man.” Joshua clearly knows his priorities. The loud, live music was a significant attraction, but his favourite instrument to watch was the classic drums. While the adults chuckled at clever innuendos, it was the traditional panto humour that captured his heart: “The funniest bit was when the giant said, ‘I can smell a little bum!'” And the best part? Joshua declared, “He would watch it again!” Such high praise for the fantastic cast and crew of Jack and the Beanstalk, demonstrating that it truly is a hit for audiences of all ages.