JAMIE ARMITAGE’S A GHOST IN YOUR EAR ANNOUNCES EXTENSION
With the production currently in preview, HFH Productions and Hampstead Theatre today announce that the world premiere of Jamie Armitage’s A Ghost In Your Ear is extending, now running until the 31 January 2026. Also released today are first-look production images.
Writer and Director Jamie Armitage said today, “Hearing the gasps and screams from audiences during previews has been a true thrill! It’s a special reward for all the phenomenal work by our cast and team throughout the process. What makes me especially happy is how both horror fans and non-horror fans have been responding so positively, and I love that the extension means even more people can come see our spooky ghost story!”.
HFH Productions and Hampstead Downstairs presents
A GHOST IN YOUR EAR
Written and Directed by Jamie Armitage
A collaboration with Ben and Max Ringham
Cast: George Blagden (George), Jonathan Livingstone (Sid)
Creatives: Gurnesha Bola (Dramaturg), Anisha Fields (Set and Costume Design), Ben Jacobs (Lighting Designer), Becky ParisCDG (Casting Director), Matt Russell (Associate Sound Designer), Robert Strange (Movement Consultant)
Until 31 January 2026
‘The ghost is not real, it is only in your ear…’
An actor arrives late at a sound studio for a last-minute job that he is yet to see the script for: an audiobook recording of a particularly chilling ghost story. But as the evening progresses, the horrors start to escape the pages of the story, and haunt the studio itself…
A Ghost In Your Ear is the new play from Jamie Armitage, the writer/director of 2024 sell-out hit An Interrogation. Made in collaboration with Ben and Max Ringham (ANNA, National Theatre and Blindness, Donmar Warehouse).
Using binaural sound technology, the audience wears headphones so they are immersed in the terrifying auditory world of the show.
Health warning: this play is intentionally looking to scare its audience. If you are of a nervous disposition, then caution is advised…
Jamie Armitage’s first play, An Interrogation, opened at Summerhall, Edinburgh in August 2023, where it won the Lustrum Award before transferring to Hampstead Theatre in 2025 – enjoying entirely sold-out runs at both venues. As a director, Armitage’s work includes co-directing SIX: The Musical, which is currently playing in the West End, Broadway, and multiple locations worldwide – Tony Award nomination for Best Direction of a Musical. His other directing credit include The Red and The Black (Tokyo Metropolitan Theatre), Straight Line Crazy (The Shed – co-directed with Nicholas Hytner), Southern Belles: A Tennessee Williams Double Bill, And Tell Sad Stories of the Death of Queens (King’s Head Theatre), Spring Awakening, Sweeney Todd (Royal Central School of Speech and Drama) and Love Me Now (Tristan Bates). He is an Associate Director of the Bridge Theatre. He was a Resident Director at the Almeida Theatre from 2019 to 2021, and an Associate Artist at the King’s Head Theatre.
George Blagden plays George. His theatre credits include The Cabinet Minister (Menier Chocolate Factory), White Christmas (Sheffield Theatres), Company (Gielgud Theatre), Tartuffe (Theatre Royal Haymarket), Platinum (Hampstead Theatre), and The Pitchfork Disney (Shoreditch Town Hall). His television credits include Vikings (as series regular Athelstan – Series Lead 1-3), Versailles (as series regular Louis XIV – Series Lead 1-3) and Black Mirror; and for film, Wrath of the Titans, The Run, Blood Moon, Hello Stranger, Les Miserables, No Postage Necessary, The Land of Dreams, The Gallery, Rubikon, After the Dark, and The Three of Us.
Jonathan Livingstone plays Sid. His theatre credits include Troilus and Cressida, After Edward, Edward II, Romeo and Juliet (Shakespeare’s Globe), Hamlet, Twelfth Night, Now We Are Here (Young Vic), CashCow (Hampstead Theatre), Machinal (Almeida Theatre), Pandora (Arcola Theatre), ‘Tis Pity She’s a Whore (Bristol Old Vic), The Caretaker (Bristol Old Vic, Royal and Derngate), Our Country’s Good, Treasure Island (National Theatre), White Hot And Weak (Old Vic New Voices Festival), Superior Donuts (Southwark Playhouse), 7 New Plays by Young Writers (National Theatre Studio), The Taming of the Shrew (RSC), War Horse (National Theatre production at New London Theatre), and Ignition 2 (Royal Court Theatre). His television credits include Entitled, Bridgerton, Criminal Record, Peacock, The Pentaverate, Pls Like and Chewing Gum; and for film, Hard Truths, The Trouble With Jessica, The Witches, and Still Life.
Ben and Max Ringham are multi-award-winning composers, sound designers, and writers. In a career spanning more than two decades, they have created sound designs and scores for over 200 productions in the UK, West End, and Broadway. Notable productions include The Tempest/Much Ado About Nothing (West End), Prima Facie (West End/Broadway), A Doll’s House (Broadway), Cyrano (West End), and Blindness (Donmar and International). They have created a number of original works for, amongst others, the National Theatre – (ANNA, 2019, created in collaboration with Ella Hickson), and the BBC (EXEMPLAR, 2022-24, cowritten with Dan Rebellato). They are the recipients of five Olivier Award and two Tony Award nominations, two Drama Desk Awards, a Critics’ Circle nomination, a BBC Radio Drama Award, two Off West End Awards, and the H100 Award for Innovation in Theatre.
BRAND NEW AWARD FOR BEST CHILD PERFORMANCE ANNOUNCED
SUPPORTED BY GO LIVE THEATRE,
THE OFFICIAL CHARITY PARTNER OF THIS YEAR’S AWARDS
Hana Ichijo, Gabrielle Lewis-Dodson and Gracie McGonigal today announced the nominations for the 26th Annual WhatsOnStage Awards, the only major UK theatre prize-giving decided by the theatregoers themselves. The announcement of the nominations marks the opening of the final voting stage (until 22 January), with winners revealed at the annual awards ceremony held on 8 March 2026 at The London Palladium.
WhatsOnStage’s Darius Thompson and Alex Wood said: “UK theatre really has looked after the bear! It was no shock to see Paddington The Musical break the record for most nominations after the musical and technological marvel captured hearts and audiences after its Savoy Theatre debut.
“More broadly, we’re thrilled to see the awards reflecting a diverse geographic spread, with nominees being recognised in places like Dundee, Cirencester, Mold, and Sheffield. While the West End often captures the spotlight, the unwavering support from local communities for their shows is always heartwarming to witness – and much deserved!”
Credit: Johan Persson
The newly opened critically acclaimed smash-hit Paddington The Musical leads the field with a record-breaking 14 nominations – the most in WhatsOnStage Awards history. They receive nominations for Best New Musical; Best Performer in a Musical for jointly nominated James Hameed and Arti Shah who bring the beloved bear to life; Best Supporting Performer in a Musical for Victoria Hamilton-Barritt; Best Professional Debut Performance for Timi Akinyosade; Best Direction for Luke Sheppard; Best Choreography for Ellen Kane – who is also nominated for the National Theatre’s Ballet Shoes; Best Set Design for Tom Pye; Best Costume Design for Gabriella Slade and Tahra Zafar – the latter, who designed the bear; Best Lighting Design for Neil Austin; Best Sound Design for Gareth Owen; Best Video Design for Ash J Woodward; Best Wigs, Hair and Make-Up Design for Campbell Young Associates; Best Music Supervision/Direction for Matt Brind; and Best Casting Direction for Natalie Gallacher CDG for Pippa Ailion and Natalie Gallacher Casting, Nick Hockaday and Annabelle Davis. Other major contenders in the musical categories include Evita with 9 nominations, and The Great Gatsby with 6 nominations.
Leading the straight play categories is The Importance of Being Earnest, currently running at the Noël Coward Theatre having transferred from the National Theatre, receiving 5 nominations – Best Play Revival; Best Supporting Performer in a Play for Stephen Fry; Best Costume Design for Rae Smith; Best Wigs, Hair and Make Up-Design for Rae Smith, with Kate Elizabeth, Campbell Young Associates and Adele Brandman; and Best Casting Direction for Alastair Coomer. Snapping at their heels are Much Ado About Nothing, Clarkston, Born With Teeth, The Seagull and Stereophonic, all with 4 nominations respectively.
In a strong year for Sonia Friedman Productions, the company receive 23 nominations from productions including Paddington The Musical, The Importance of Being Earnest – which they are co-producing in the West End with the National Theatre, and Stereophonic; with Jamie Lloyd Productions receiving 13 nominations and the National Theatre and RSC tying with 10 nominations apiece.
In the Best Performer in a Musical category, Hameed and Shah face stiff competition from Rachel Zegler and Diego Andres Rodriguez both for Evita, Jamie Muscato for The Great Gatsby, Lucie Jones for 13 Going on 30 The Musical, and Lauren Drew for Titanique. In the Best Supporting Performer in a Musical category, Hamilton-Barritt is nominated alongside Strictly favourite Amber Davies for The Great Gatsby, Bella Brown for Evita, Layton Williams for Titanique, Grace Mouat for 13 Going On 30 The Musical, and the mighty Muses from Hercules jointly nominated – Candace Furbert, Sharlene Hector, Brianna Ogunbawo, Malinda Parris, and Robyn Rose-Li.
Completing the gender-free performance categories are Best Performer in a Play, which sees previous WhatsOnStage Award winner Tom Hiddleston nominated for Much Ado About Nothing, facing off against fellow Shakespearean performer Jonathan Bailey for Richard II, and a host of new play nominees with Rosamund Pike for Inter Alia, Maxine Peake for The Last Stand of Mary Whitehouse, Ncuti Gatwa for Born With Teeth, and Joe Locke for Clarkston. For Best Supporting Performer in a Play the nominations are ‘Big Dog’ Stephen Fry for The Importance of Being Earnest, Joe Alwyn for The Lady from the Sea, Emma Corrin for The Seagull, Yerin Ha for The Maids, Sophie Meliville for Clarkston and Mason Alexander Park for Much Ado About Nothing.
The final performance categories are for Best Professional Debut which see Akinyosade compete against Mia Carragher for The Hunger Games on Stage, Hannah Dodd for Cabaret, Ruaridh Mollica for Clarkston and both Jess Foley and Asha Parker-Wallace for Burlesque The Musical; and Best Takeover Performance, which once again features a strong showing from Cabaret with both Rob Madge and Eva Noblezada nominated, alongside Karis Anderson for Moulin Rouge! The Musical, Stevie Doc for The Devil Wears Prada, Emma Kingston for Wicked and Alex Young for Operation Mincemeat.
Best New Musical is always a closely fought category, which sees Paddington The Musical take on Hercules, The Great Gatsby, Here and Now, Shucked and Titanique; and Best Musical Revival features two Lloyd Webber nominees in Evita and Jesus Christ Superstar up against The Producers, My Fair Lady, Little Shop of Horrors and Brigadoon.
The Best New Play category sees an eclectic mix of new work – The Comedy About Spies from WhatsOnStage Awards favourites Mischief Theatre, Inter Alia, Stereophonic, Clarkston, Through It All Together and Born With Teeth. In Best Play Revival, The Importance of Being Earnest faces stiff competition from Much Ado About Nothing, The Seagull, The Lady from the Sea, Richard II, and A Streetcar Named Desire.
In the Best Direction category, Sheppard is up against Tim Sheader for Natasha, Pierre & the Great Comet of 1812, Lynette Linton for Intimate Apparel – both at the Donmar Warehouse, Tamara Harvey for The Constant Wife, Jamie Lloyd for Much Ado About Nothing and Thomas Ostermeier for The Seagull.
Best West End Show sees the fan favourites battle it out – with Wicked, Cabaret, Hadestown, Les Misérables, Oliver! and Operation Mincemeat all in contention. Best Concert Event once again sees Rachel Zegler nominated up against Jeremy Jordan, Songs for a New World, Gravity, The Hunchback of Notre Dame, and The Book Thief.
Best Regional Production nominees are Jesus Christ Superstar, 13 Going On 30 The Musical, Come Fall in Love – The DDLJ Musical, Krapp’s Last Tape which saw Gary Oldman return to the stage after 40 years, Pride and Prejudice and Through It All Together; with Best Studio Production nominees including Be More Chill, Brixton Calling, Cul De Sac, The Frogs, The Last Five Years, and Young Frankenstein.
For the first time this year, in association with Go Live Theatre – a charity that uses the power of theatre to create inspiring experiences and unlock possibilities for children and young people and the official charity partner of this year’s WhatsOnStage Awards – there will be the inaugural Best Child Performance category. Nominees will be announced in January, with the winner chosen by Go Live Theatre.
Now in their 26th year, the WhatsOnStage Awards remain the only major UK theatre awards decided by the theatregoers themselves. WhatsOnStage readers will be able to nominate and vote across a range of categories.
The 2026 ceremony will begin at 6.30pm and will see winners crowned across a wide range of categories. Audiences can expect a spectacular line-up of exclusive live performances from leading stage talent. The event is co-produced with creative directors Alex Parker and Damian Sandys. Tickets are now on sale via LW Theatres: https://lwtheatres.co.uk/.
The 26th Annual WhatsOnStage Awards are supported by a wide range of partners from across the industry and beyond, including AKA Promotions Ltd, AudienceView, Boulevard Events, Brent Carpets, Concord, Dewynters, Disney Theatrical, Go Live Theatre, John Good, London Theatre Direct, Outernet Venues, Preevue, Re:Water, RSVP-ify, SINE Digital, Tandem Marketing Worldwide, Theatrical RightsWorldwide, The Londoner, Ticketmaster, Travelzoo and White Light.
Awkward Productions ensure Christmas is merry and gay at the King’s Head this year as they bring their 5-star Edinburgh smash to London slicker and sillier than ever. This gloriously knowing and daft send up of Hallmark and royal romance movies is cheesy, camp and extremely clever. Linus Karp and Joseph Martin’s previous shows involve digital appearances, catchy music by Leland, pop culture references and audience members taking on guest roles. The Fit Prince tests all of these elements to the limit, and the result is hilarious – there aren’t enough stars to award to this pair!
The King of Swedonia is dead, and at his funeral the mourners are reminded that for Prince Elian (Linus Karp) to be crowned, he must marry before Christmas. While Elian unenthusiastically surveys suitable consorts, the action switches to New York. Here baker Aaron Butcher (Joseph Martin), recently dumped, is drifting through daily routines until fellow baker and pushy puppet Jenny’s badgering of Swedonian officials somehow sets him off on the long, multi-vehicle journey to Swedonia. Of course, he bumps into Prince Elian, and they take a tour around the countryside, visiting Gerta McMurder’s House of Orphans (merchandise available!) As someone old enough to have seen The Dark Crystal on the big, terrifying, screen in the 1980s, Gerta’s first entrance was slightly (EXTREMELY) traumatic, but Joseph Martin’s puppetry and characterisation soon had me howling with laughter rather than fear. Hilarious – it’s just a shame Aaron is always in the bathroom and never gets to meet her.
Elian and Aaron ride horses, take a sauna, and go to a BAAB concert. BAAB’s appearance is the sequinned highlight of the show. The most famous group in Swedonia, we are treated to a medley of BAAB’s greatest hits: Dunkirk, Movement King, Is Your Father Aware – you get the gist. Simply brilliant. While Elian is away, his doppelganger keeps things running at the palace. But the doppelganger has nefarious plans – can Elian and Aron foil his fascist plot, and will they find true love? Well, obviously, yes – as Jenny Puppetson screams – “This is THEATRE!”
The show begins with just audience members on stage – madness, but it works brilliantly. Scene breaks are accompanied by clips of the Swedonian national anthem – a real earworm – with different lyrics explaining the plot. Various world dignitaries chip in on royal and diplomatic matters – Michelle Obama (Yshee Black), Angela Merkel (Kate Butch) and The Queen of England (Geri Allen) – and hot, unsuitable suitors court Elian, including Sebastian Croft as Prince Balthazar of Bashington. On press night, Croft was in the audience and was playing the doppelganger, resulting in a wonderfully chaotic scene where he was marrying himself.
Karp and Martin are as endearing and exciting performers as they are writers and you can’t help but get swept along with the joyful onstage nonsense. The Fit Prince is an unmissable Christmas treat – supremely silly and hilariously uplifting. Grab a ticket while you can – you could be lucky enough to play the monstrous corpse of the king!
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.
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!!!
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.
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.
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 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
