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The Maltings, Farnham – until 24 December 2024

Reviewed by Rebecca Scott

5*****

Farnham Maltings are delivering us Christmas cracker! This show will enchant audiences of all ages. From start to finish it was funny, festive and captivating!

This production, directed by Max Hutchinson, adapts the cherished story written by Diana Hendry and John Lawrence. The play starts with Maggie Mistletoe (Tricia Adele-Turner) fretting about where her expected relatives will stay for Christmas. However, Christmas Eve has rolled around and guest after unexpected guest arrives…so where will all 37 people sleep? The house becomes so full that Father Christmas has trouble keeping track of everyone!

All 37 characters are played by the 4 actors you see on stage. You would think something like this would appear chaotic, but it was an absolutely delight to watch and so seamless too. The audience gets to meet the likes of Uncle Bartholomew who has arrived from Australia, the local Vicar and Maggie’s five aunts from Abingdon.

Finlay McGuigan was particularly impressive with his accents and facial expressions. He was so playful on stage and his mannerisms were so quirky. Olivia Williamson was loveable as her characters, and she has a wonderful singing voice! Pete Ashmore was humorous, and my daughter loved him as Father Christmas at the end. Tricia was particularly impressive. She had so many lines to deliver, and how she remembered all 37 characters on repeat in her song was magnificent!

There was no standout performance because this quartet bounced off each so well, that they all stood out equal. They are all so charismatic and joy to watch perform together. They moved so effortlessly across the stage, remembering all the props needed and effortlessly transforming into each character. It reminded me that you don’t need to do something dramatic when playing several roles. A simple hat change, body language tweak or accent replacement was all was needed. They made it appear so effortless!

A production like this cannot be done without the support of an excellent crew. A special mention to the stage management team, who made sure everything was in the right place at the right time. I also loved the staging and the design of set in the Mistletoe family’s attic. The lighting was impressive, created by Chris McDonnell, and this really added to the festive ambience that was being portrayed.

At the heart of this production is the message being given out. Christmas in Exeter Street shares the importance of generosity and being together, not about what you get under the tree.

There is nothing I would have changed about this production. I thoroughly enjoyed the 90 minutes (inc interval) it was on for. I only wish it went on longer! The audience will enjoy real magic, catchy songs and comedy all wrapped up in a story that leaves you with a warm glow inside. It made me feel excited to enjoy the chaotic Christmas I have coming up, and how grateful I am for it.

The Wycombe Swan, High Wycombe – until Sunday 5th January 2025

Reviewed by Rachel Clark

5*****

The best Pantomime I have been to – truly magical

From the minute you walk into the theatre until you leave there is the buzz of excitement. There was a DJ playing festive tunes and lots of brightly lit merchandise in the atrium, then you go into the main theatre and are hit by the led lights of the set and you just know it is going to be good and you will not be disappointed.

The cast were brilliant when they sometimes went off the script and tried not to laugh the audience couldn’t help but laugh for them, there was plenty of laughter but also the boo’s and hisses and the ‘its behind you’. The audience participation was 100% and lots of clapping along.

The story is about Aladdin (played by Kyle Richardson who has played in the Lion King) who is a son of Lola Lankey (played by La Voix – as seen on Ru Paul Drag Race) he also has a brother Vernon Lankey (played by Vernon Kay – Radio 2 DJ and TV presenter). Aladdin a poor son of a washer lady falls for Princess Jasmine (Amiyah Goodall) and goes to find his fortune but so is the Baddie – Sven Gali (played by Gerard Carey) and they battle to who has ownership of the lamp. Sven is from Sweeedun and is looking for the Lurmmp and his broken Swedish made the audience have a good laugh.

Lola’s costumes were as brilliant, no expense spared they were bright and elaborate like Lola, a very strong funny character. The whole cast were brilliant and they had great rapport and they looked as they were enjoying themselves as much as we were. The scene of Aladdin on board the magic carpet was very cleverly done.

My 3 year old Grandson was mesmerised by the whole show, the show is suitable for all ages from the young to the eldest, there is something for everyone, plenty of adult humour. Other characters were the Genie – Anton Stephens, Spirit of the ring – Alexia played by Natalia Brown and a big shout out to the behind the scenes crew, creative tea, band, video and effects team the set as magical

Such a magical Pantomine so colourful and creating so much laughter – outstanding.

Blue Elephant Theatre – until 22 December 2024

Reviewed by Claire Roderick

4****

This year’s Christmas offering at the Blue Elephant is a charming story of self-acceptance and celebrating differences.

Dami (Kaya Slawecka-Williams) just can’t get things right, she is always bumping into things, needs reminding about using her “indoor voice” and feels like she does everything wrong. Focussing on creating a song and dance for the end of term show, she forgets what’s around her and knocks over the Christmas tree, breaking the headteacher’s special star. Even though Mrs Brady (Rachel Waters) has always said that this was a special star from the North Pole that can’t be replaced, she remains calm. But Dami is convinced that she makes everything bad and writes to Santa saying that she deserves to be on the naughty list. When Mrs Claus (Waters) sees Dami’s letter, she sends Elvie the Elf (Comfort Fabian) – usually in charge of Elf and Safety and VERY risk averse! – to bring Dami to the North Pole.

Mrs Claus sends Dami and Elvie on a quest to collect the magic needed for the reindeer to fly, and together the pair work through their differences and begin to appreciate each other, and themselves, for the extraordinary beings they are.

Niamh de Valera’s story is a delightful mix of clowning, pratfalls, silly voices, song and dance, and dad jokes that entertains people of all ages in the audience. Director Aaron Blackledge moves the cast around Alice Carroll’s adaptable set with a zippy pace and the cast pitch their performances perfectly, never going too over the top with the physical comedy and interacting with the young audience intuitively. If your child finds larger theatres and full-on pantomimes overwhelming, this is the show for you. The younger children are gently encouraged to join in call and response and are bopping along to Dami’s song at the first reprise. The theme of neurodiversity and differences is portrayed sensitively, with Dami’s explanations of how she feels, and Elvie’s acceptance and encouragement and admiration sends a positive message about how different people see and cope in the world. “Defeating” the dragon with calmness and kindness is a lovely antidote to the noisier shows around.

A cheerful and cute Christmas treat – full of fun with a wonderful understanding of its audience and a heartfelt message.

Jack Studio Theatre – until 4 January 2025

Reviewed by Claire Roderick

4****

This year’s Christmas offering at the Jack Studio Theatre is an absorbing and atmospheric play by Luke Adamson. A wonderful mashup of British film noir and classic short stories, Montague’s Millions tells the tale of 3 strangers travelling on a sleeper train to Cornwall.

Each character has financial woes, and the arrival of three letters containing enigmatic instructions to attend the reading of a will at Montague Manor in Cornwall could be their salvation. None have met Montague, and the warnings to trust none, along with other rules about how to claim a share of his fortune, make the trio suspicious of everybody. A parade of obstacles means that the three must work together and rely on each other’s’ skills on their journey to reach the manor in time. Adamson follows Christmas short story tradition, and the characters’ histories are touched on and then tied together neatly and satisfyingly with a big Christmas bow.

The cast of three portray the main characters and multirole as the colourful people they meet on their journey. Adam Elliott plays the uptight but upright Dr Gordon Henderson – unable to take on as many patients as he would like, Tice Oakfield is James McDonald – an embattled dockworker desperately trying to raise funds for his daughter’s medical treatment, and Julia Pagett plays Lady Penelope Cunningham – searching for freedom away from her wastrel husband. All three are wonderful with excellent comic interplay and suspicious glances aplenty as they reveal their inner thoughts to the audience.

Kate Bannister’s slick direction keeps the necessary expositional passages playful and witty as the cast move around sharing the lines. Laurel Marks’s lighting adds a cinematic air to these scenes and the cast inherently understand the style of performance this material requires and lean into it with charm. The physical comedy and dexterity as they shift props around Karl Swinyard’s ingeniously adaptable set is delightful and Adamson’s writing balances the emotional reminiscing and downright silliness of the trio’s journey masterfully. It’s the type of play that makes you wish theatres had armchairs you could curl up in to relax and enjoy the story unfolding in front of you.

A wonderful winter’s tale to warm your heart and make you giggle – a superb alternative if you can’t face another panto.

Pleasance London – until 21 December 2024

Reviewed by Claire Roderick

5*****

Returning to London after runs in Edinburgh, Utah and a UK tour, Awkward Productions’ version of Gwyneth Paltrow’s moment in court is bigger, better and more bonkers than ever.

Linus Karp and Joseph Martin’s irrepressible charisma keeps the well-polished chaos just about on track as their genius/insane antics relate the story of how Gwyneth lost half a day’s skiing.

Retired optometrist (you’ll be surprised how many jokes they can wring from that fact!) Terry Sanderson suing Gwyneth Paltrow for damages after their collision on a ski slope in Utah resulted in one of the most bizarre trials possible, and this fiesta of songs, puppetry and audience participation revels in the ridiculousness of that situation: during the trial scenes, they often add clarifications that some of the most bizarre moments actually DID happen.

The first act introduces Gwyneth (Karp) and Sanderson (Martin), riffing gloriously on Paltrow’s pseudoscience grift with Gloop. Linus Karp tosses his hair and nails the faux humility as Gwyneth reminds everyone of her achievements in nearly every serenely delivered line. The self-absorbed persona is dazzling as her pep talk to Sanderson uses the titles of her cinematic hits as a wonderfully shallow, but intensely delivered, motivational speech. The naming of daughter Apple is a fantastic running joke, with the part played by an actual apple, and poor Chris Martin takes a few hits as well. In contrast, Sanderson is a sad, angry failure of a man with a hint of madness in his eyes in Joseph Martin’s brilliantly OTT portrayal. Both parties’ love interests are played by audience members reading their lines cold – risky, but worth it when they are just the right level of drunk. The inclusion of a legendary deer to shoehorn in a Snow White-esque song shouldn’t have worked, but by the time the deer is wheeled on, Karp and Martin could have just sat in silence and the audience would probably have loved it – that’s how good this pair are. With a video performance from Trixie Mattel as Gwyneth’s mother bringing howls of appreciation, the defiantly low budget (but intricate) effects also involve the audience on the slopes.

The second act is set in the courtroom, and it is here that the line between reality and theatre gets fuzzy as many of the most nonsensical lines are taken straight from the trial. There are more of Leland’s songs in the second act – the best being sung by Martin as Sanderson’s puppet lawyer (not as batshit crazy as their Camilla performance, but still a fabulously unhinged delight) – as expert and surprise witnesses are called and the jokes pile up until the climatic final statements are given. Darren Criss and Cat Cohen’s vocals allow Karp and Martin to lip-sync with glee in their superb duet. The audience are the jury and vote, meaning that there are two possible endings to the show – leaving many of us very tempted to go back hoping to see the alternative ending.

Forget 12 Angry Men, this is the best trial drama that you will ever see. Bonkers and brilliant – get a ticket and get Gooped.

Arcola Theatre – until 11 January 2025

Reviewed by Claire Roderick

4****

A shot-for-shot version of Jurassic Park with just two actors and a Foley artist sounds an insane idea, and this fabulously bonkers but affectionate parody is insanely good.

Created by Recent Cutbacks, with sellout runs in New York and Edinburgh, Hold On To Your Butts is refreshingly silly and a must see for fans of the film, or those busy people who can only spare 75 minutes. It’s basically stoned SparkNotes.

Directed by Kristin McCarthy Parker with associate director Charlie Richards, and developed with Nick Abeel, Kyle Schaefer, and Blair Busbee, the show immediately leans into the cinematic experience with spoof trailers for blockbuster films and even a Pearl & Dean parody before launching at breakneck speed into the plot. Performers Jack Baldwin and Laurence Pears share roles as the major characters, with sunglasses, hats and other props marking who they are for the uninitiated. Greasy lawyer Gennaro is a red tie around a wrist, while all other characters have unique body language and voices. Changes of location are handled with description, or if there’s just no time, a slow whisper to the audience “We’re in the KITCHEN!”

The show takes the mickey out of certain characterisations from the film – Samuel L Jackson’s technician has an increasing number of cigarettes in their mouth as tension rises, while Muldoon’s manly poses become more ridiculous as the show goes on and, of course, Jeff Goldblum’s famous pose as he lies injured does not escape mockery.

The props are brilliantly low tech, with umbrellas for helicopters (the iconic waterfall scene is a hoot) and easily copied dinosaur costumes that could inspire any children in the audience to terrorise their parents for months. Even though they are so silly, the production still manages to include some jump scares between the laughs. Charley Ives’ skill on the Foley desk is incredible, and sometimes it is hard to tell who is having more fun – the cast or the audience. This playful prehistoric parody is a delight.

Laurence Pear appears until 4 January, Charlie Richards appears from 6 January

Find details of 2025 UK tour here: http://www.holdontoyourbutts.com

PRINCES HALL THEATRE, ALDERSHOT – UNTIL 31 DECEMBER 2024

REVIEWED BY REBECCA SCOTT

4****

This show is sure to charm audiences of all ages. It’s a timeless story depicting that true beauty lies within…but with lots of pantomime magic added too!

The show tells the enchanting story of reserved Belle (Naomi Cowe) and the Prince Etienne (Matt Bond), where his greedy and vain ways has led him to being cursed by the evil sorceress (Melanie Masson). The Beast must find his true love, otherwise he will remain a monster forever. The story is narrated by a flirtatious Fairy Fantastique (Natalie Turner) in her wonderful French accent.

But let’s be honest…we go to pantomimes for the silliness and laughs. And this show delivers just that!

Seasoned performers and producer Robert Hopkins as Harry Kane (get it?), and Donovan Christian Cary as Sugar Kane, were a witty mother and son duo. These two lit up the stage and were so engaging with the audience. Cary’s outfits were outlandish and quirky too! They had no fear in mocking audience members and lapping up the laughs. I also loved that Masson was a glamourous sorceress, and she played off the audience’s boos and hisses really well.

Cowe and Bond have been well cast, and I was particularly impressed by Bond’s solo number. He has an exceptional voice! The scenes when something supposedly went wrong were well executed, and I loved that the show had lots of nostalgic jeers of ‘he’s behind you’ and ‘oh no it’s not’. It was joyful to be apart of, and my daughter who came with me loved these elements too.

I had two reservations, the first one being the story sometimes felt a bit confusing. Beauty and the Beast isn’t the easiest story to explain to young children, and my daughter would quite often ask me what was happening. The rose was a prominent feature on the stage, but only mentioned once. I also felt the ensemble was too big, which feels foolish to say because the bigger the better right? But having a big ensemble drowned out the main characters, and the dancing was a little amateur.

Huge kudos to the staging and lighting though! The change in scenes were seamless, and the set design gave that fairytale feel too.

I think it is important to remember that pantomime isn’t meant to be perfect! The mix of the characters, humour, dancing and singing will leave children feeling enchanted after this show. This pantomime really involved the audience, and you could tell from the amount of children shouting, stamping their feet, and clapping their hands, that it is a real treat for them. If you are looking for a festive family-friendly outing, then this show is right up your street!

Hull New Theatre – until 31st December 2024

Reviewed by Dawn Bennett

5*****

Hull New Theatres and Crossroad Pantomimes are always brilliant but I think that this year they have out done themselves. From start to finish it kept the audience, young and old, laughing, cheering, booing and singing along!

Dame Betty Barnum (Jack Land Noble) runs Barnum’s circus along with their daughter Goldilocks (Sheri Lineham) they really need a headline act for the circus and are having a lot of trouble finding one. Joey, the clown (Neil Hurst) offers to do his levitation act as he wants to impress Goldilocks, who he is secretly in love with, but they really want a big opening number instead. Things get worse when Baron Von Bolshoi (Brendan Cole) arrives with his circus, the Baron is awful and thinks animals should be locked up in chains and cages! Betty, Goldilocks and Joey go into the woods and come across a house, and as the story goes, they find porridge that is too hot, a bed just right and a chair too small. But what they don’t expect to find is three bears that can talk! Mummy Bear (Lauren Bimson), Daddy Bear (Jonny Weston) and Baby Bear (Jessica Daugirda) who can not only talk but they can sing and dance! Baron Von Bolshoi soon hears about the bears and really wants them for his circus. Does the Baron capture the three Bears? Does Joey get together with his true love? Well, I really don’t want to spoil the fun so you’ll have to go and watch!

This is a magnificent show, the double act between Neil Hurst (panto, in Hull, wouldn’t be panto without him, just brilliant)) and Jack Land Noble (one of the best Dames in the business in my opinion) is hilarious. Brendan Cole was amazing, his dancing was, of course fabulous, and the more he got booed the more he seemed to enjoy it! Sheri Lineham, played Goldilocks to perfection, what a voice!

The pieces when costume/scene changes were needed were very well done particularly El Mariachi Marquez (Gordon Marquez) the most fabulous juggler and the “12 Days of Christmas” skit which had us all crying with laughter!

Everyone involved in this show, from the band (Jon Chamberlain, Lisa Featherston, Mark Knight), the ensemble, who worked so hard and deserve a special mention (Katie Faulkner, Olivia Jones, Harvey Morris, Max Parrish, Nikki Seymour and Katie Shannon) to the back stage crew made this into the brilliant show it is.

It is well worth going to watch and absolutely deserving of the 5***** I have given it!

Farehma Live – until Sunday 5th January 2025

Reviewed by Emma Barnes

5*****

Fareham Live’s debut pantomime, Cinderella, is a sparkling treat for the whole family—bursting with laughter, dazzling costumes, and show-stopping performances. The star-studded cast, including TV and dance sensations AJ & Curtis Pritchard as Prince Charming and Dandini, bring a fresh burst of energy to this timeless tale.

AJ and Curtis’s dance moves, as expected, were nothing short of electrifying—each routine leaving the audience in awe. The choreography rightfully took center stage, with Dandini in particular stealing the show. He moved with such flair that you almost forgot his lips were simply along for the ride, delivering jaw-dropping routines while the soundtrack did the vocal heavy lifting. While their choreography was no surprise, it was Curtis’s remarkable stage presence and knack for physical comedy—especially in the beautician scene—that had the whole family howling with laughter. We could have watched that sketch again and again!

Cinderella herself, played by Rhiannon Bacchus, was everything a panto princess should be—beautiful, graceful, and with a voice that was both powerful and pitch-perfect. Her transformation into the ball gown was an absolute spectacle, as was the sparkling fairytale carriage. The Fairy Godmother, played by Eleanor Wainwright, dazzled with magical charm and flawless vocals.

Paul Burling, as Buttons, stole the show with his quick wit and hilarious impressions, keeping the audience laughing throughout. I’d wondered whether a panto this year would resonate with our pre-teens, but it was the scenes with Buttons that had them on the edge of their seats, shouting with excitement—completely immersed in the moment. The Ugly Sisters (Gareth Mitchell and Garnon Davies) were as over-the-top as you’d hope—sporting outrageous costumes and delivering riotous performances full of cheeky Gen Z references that kept the show fresh for younger audiences. My 11-year-old especially delighted in their “skibidee rizz” moment!

The show is packed with all the magical panto elements you know and love—mayhem and mischief around every corner, memorable musical numbers, slapstick comedy, audience participation, and plenty of gags to keep everyone grinning from ear to ear. The wonderful set, costumes, and effects all come together to create an unforgettable experience. We particularly appreciated the quality and attention to detail—every moment, even the scene changes, was packed with content, making the pacing feel seamless.From start to finish, it’s pure fun and laughter, leading to a most definitely happy and memorable night out. Whether you’re young or just young at heart, Cinderella as Fareham Live’s debut Pantomime is a gem this season, surely cementing its place as one of the region’s top performances. This is a must-see, full of magic, excitement, and festive fun. Highly recommended from our family to yours—get your tickets before the clock strikes midnight!

Lyceum Theatre, Crewe – until Sunday 5th January 2025

Reviewed by Carla Whittaker

4****

A Magical Twist on a Classic Tale – Beauty and the Beast Panto Will Have You Laughing All the Way to the Ball!

As December rolls around, it’s safe to say that attending the annual pantomime has become a beloved family tradition, one that stirs up excitement and puts us all into the festive spirit. And this year, the Crewe Lyceum Theatre is once again delivering a truly magical experience with its dazzling production of Beauty and the Beast, running from now until the New Year. With a full house on opening night, the theatre was brimming with anticipation, the air thick with the rustling of sweet wrappers, the giggles of children, and the general buzz of festive cheer.

Like any good pantomime, Beauty and the Beast is clearly aimed at a younger audience, but its universal appeal ensures that there’s plenty of fun for all ages. From breakdancing wolves to cheeky adult jokes that fly over kids’ heads, the show’s energy is infectious. Throw in a fantastic West End-style finale, and you’ve got a pantomime that hits all the right notes. Produced by Imagine Theatre and directed by the talented David McNeill, this show truly is a festive spectacle you won’t want to miss.

At the heart of this panto is the timeless tale of Beauty and the Beast, a family-friendly narrative filled with magic, love, and personal transformation. Belle, a young woman with a kind heart, must help a cursed prince find true love before the last petal falls from a magical rose. Along the way, themes of inner goodness, love’s transformative power, and looking beyond surface-level perceptions are explored, all in a way that is both accessible and exciting for children and adults alike.

The talented cast brings this whimsical world to life in grand style. Jenny Ryan, best known for her role as a Chaser on The Chase, surprises audiences with her beautiful singing voice, playing the Enchantress with a touch of elegance and magic. Her vocal talent is simply delightful, especially during the enchanting ballads.

Malcolm Lord, a pantomime veteran with 36 years of experience, brings his exuberant flair to the role of Cynthia Scrub-It, donning outrageously colourful costumes that only he could pull off. His comedic timing is impeccable, keeping the audience in stitches. Similarly, Ste Johnston, known for his roles in The Batman and The Snarling, steals the show as Sammy Scrub-It. His performance is a masterclass in slapstick humour, his village-idiot persona engaging kids with his antics while delivering cheeky adult innuendos with perfect timing. It’s clear that Johnston knows exactly when to let others shine while ensuring his own moments land perfectly.

David Higgins, playing Belle’s father Harold, adds a heartfelt and grounded presence to the production. Hollie Smith-Nelson, as Belle, starts off nervously but blossoms into her role as the show progresses, with her voice reaching soaring heights in the second half. Michael Quinn takes on the role of the charismatic and vain Gaston, delivering the character’s pomposity with excellent comedic skill. Last but certainly not least, James Wilkinson, playing both the Prince and Beast, is captivating in both his human and monstrous forms, bringing depth and humour to a role that could easily veer into cliché.

The set design and costumes in this panto are nothing short of spectacular. The world created on stage is vibrant, exaggerated, and full of whimsy, pulling the audience deep into the magical atmosphere of the story. Belle’s transformation from humble rags to a dazzling yellow gown is a showstopper, with the dress sparkling under the lights in a moment that feels truly magical. The Beast’s costume, on the other hand, is a large, imposing masterpiece of fur and theatrical elements, perfectly emphasizing his wild, untamed nature.

Cynthia and Sammy’s cartoonish outfits are packed with vibrant colours and fun accessories, adding humour and charm to their already larger-than-life personalities. The costumes strike a perfect balance between conveying the fantasy of the story and enhancing the comedic elements of the panto. Amy Whittaker and Joshua Goode, the wardrobe staff, deserve a standing ovation for their incredible work.

The set design is equally immersive, with various key locations like the village square, the Beast’s castle, and the enchanted forest coming to life with oversized trees, sparkling lights, and dramatic props. The grand finale is an especially stunning visual moment, with shimmering chandeliers and rich, dramatic curtains setting the stage for the ultimate conclusion of this fairy tale.

While there were initial sound issues during the opening night, including some screeching and music overpowering the vocals, the team quickly addressed the problem at the interval. Once rectified, the sound was crystal clear, and the music brought the magic of the panto to life. Under the direction of musical director Christopher Bond, the live band—featuring Wes Wood on bass and Dave Griffiths on drums—delivered vibrant, energetic performances. The songs were a blend of contemporary pop-style hits and fairy-tale ballads, with plenty of audience participation, ensuring that both children and adults were swept up in the fun.

The vocal performances were phenomenal, especially from Jenny Ryan, Hollie Smith-Nelson, and James Wilkinson, whose voices soared during the second half. A particular highlight was Ste Johnston’s hilariously off-key rendition of “Sweet Pantomime,” which had the whole audience joining in, clapping, and singing along with gusto.

The humour in this panto is a delightful blend of slapstick, wordplay, and visual gags. The Beast’s gruff exterior hides his softer side, creating comedic moments that feel both absurd and endearing. Gaston’s over-the-top, self-absorbed antics are guaranteed to have the audience laughing at his every misstep. The real comedy gold, however, comes from Cynthia and Sammy. Their adult-oriented jokes and playful exchanges, while flying over the heads of younger viewers, add a layer of humour for the grown-ups without ever feeling inappropriate.

Audience interaction is a core part of the experience, with moments where the actors invite the crowd to cheer, boo, and join in the fun. While there were some opportunities for more audience participation, particularly during certain scenes that felt a little long, the overall experience remained engaging and joyful.

Choreographer Jenny Phillips has infused the production with dynamic dance routines that appeal to every age group. The wolves, in particular, deliver an electrifying performance that keeps the audience on their toes. The choreography elevates the energy of the show, creating memorable moments of spectacle and fun.

The pacing of the production is fast and dynamic, keeping the audience engaged with quick scene changes, lively numbers, and non-stop energy. However, certain acts, particularly in the first half, felt a bit drawn out and caused some moments of disengagement. The action picks up toward the end, leading to an exciting and satisfying finale that wraps everything up in a burst of colour and music.

While the performance itself is a must-see, the overall theatre experience does come with a few practical considerations. Parking at the Crewe Lyceum can be somewhat challenging, with limited spaces available, so it’s worth arriving early to secure a spot. Once inside, the staff are friendly and welcoming, making the whole experience feel warm and inviting. The theatre provides plenty of clean toilets. Accessibility for disabled guests is excellent, with good access to the building and seating areas.

The opening night atmosphere was electric, with families and theatregoers buzzing with excitement. The audience was fully immersed in the world of the panto, reacting with laughter and applause, and enthusiastically participating in the fun. The energy in the theatre was palpable, and as the curtain rose, the joy of the audience echoed through the theatre. The catchy tunes, engaging characters, and whimsical set design made for an unforgettable experience.

Beauty and the Beast at the Crewe Lyceum is a delightful, enchanting, and absolutely hilarious pantomime that is perfect for the whole family. With a fantastic cast, spectacular costumes, and plenty of magic, this production ticks all the boxes for a memorable festive outing. While there could have been more audience interaction in some areas, and the practicalities of parking and bar prices leave room for improvement, the overall experience is one that will leave you laughing, singing, and thoroughly entertained. Highly recommended for families looking to dive into the Christmas spirit!