Curve Theatre Leicester – until 3rd January 2024

Reviewed by Amarjeet Singh

3***

Evita is a powerhouse of a musical by Andrew Lloyd Webber and Tim Rice, about Eva Perón, the Argentine actress turned political icon and second wife of Argentine president Juan Perón. The story follows Evita’s struggle, her early life, rise to power, charity work, and her untimely death. Hugely successful, it led to productions in London’s West End in 1978, winning the Laurence Olivier Award for Best Musical, and on Broadway a year later. It has continued to wow audiences with each revival.

This brand-new Made at Curve production, directed by Nikolai Foster, promised to deliver a bold and visually arresting rendition, to try and match the original ambition Tim and Andrew had when they first created this extraordinary piece of musical theatre, and the opening scene was definitely in line with this. Perón’s funeral was pulled off to perfection. We were greeted with a coffin placed on a raised plinth, surrounded by trays of candles and a chorus of mourners whose movements and voices were filled with haunting grief.

However, as the production continued it became confused. There seemed to be very little sense of being in Argentina, and although the scaffolding lined stage and the exposed lighting rigs, designed by set and lighting designers Michael Taylor and Joshie Harriette, added style, ultimately, in this telling, Evita and her story get lost in gimmicks, bells and whistles. Most notably a huge screen which projects live images from a handheld camera. This is excessively used and negates the beauty of being in a theatre. The execution is sloppy at some points as you are focused on a massive screen showing an empty step, or someone’s foot, instead of the actors on stage. Had this technique been used sparingly it may have added to the production, but instead it hindered and detracted.

Martha Kirby was vocally stunning as Eva Perón, but lacked the emotional gravitas needed to fully get to grips with and portray this very extraordinary woman. There is no progression or development from her character as a young actress to the polished political figure. Offered the superb ‘Rainbow High’ to show this transformation, again it’s lost in smoke and literal mirrors. Stuck as a flirty, flighty teen, I was left indifferent to this Perón and unconvinced by her plight. ‘Don’t Cry For Me Argentina’ was sung with sublime clarity but the performance was dispassionate and unanimated, capturing neither Perón‘s charisma, integrity or sincerity. Additionally problematic, is a marked lack of chemistry between Kirby and Gary Milner, who plays Juan Perón. When they sing their destiny duet, ‘I’d Be Surprisingly Good For You’, its awkward, rushed and they stand static with dancers coming in to do what they appear unable to do, connect physically.

Chumisa Dornford-May blew the theatre away with her rendition of ‘Another Suitcase in Another Hall’, combining emotion with a performance powerful enough to bring a lump to my throat. Tyrone Huntley’s narrator is powerful, but you’re never quite sure of his position in the piece. The ensemble brought tons of energy to the production, and it was great to see members of the Young Curve Company amongst them.

This production of Evita is in parts, beautiful to look at, with a wonderfully talented cast, but the confused context, the inconsistencies in performance, the imbalance between production values and characterisation, makes it overall, a tantalising glimpse of what we might have been watching had it been a more coherent and substance driven show.

Salisbury Playhouse – until Sunday 7 January 2024

Reviewed by Alexandra Browning

4****

Embark on a journey to Salisburyshire, where the stage is adorned with twinkling lights, dazzling costumes, and the infectious laughter of a festive extravaganza. As the curtains rise, we are welcomed into the enchanting world of “Dick Whittington,” a Christmas panto that seamlessly weaves tradition with a modern touch. Fairy Bowbells (played by Natalie Winsor) sets the stage, revealing the urgent need for help in Salisburyshire due to the mischievous acts of the panto villain, King Percy Rat, played with a wickedly entertaining charm by Will Jennings.

The panto unfolds with the spirited entrance of Dick Whittington, portrayed by the charismatic Will Carey, armed with his trusty Dictaphone. Alongside his loyal companion, Cosmo the cat, they emerge as the dynamic duo determined to bring change to the city. King Percy Rat, though a villain, adds a comedic twist to the plot, skilfully engaging the audience in laughter with his diabolical suggestions.

The heart of the story takes our heroes, Dick and Cosmo, on a brave adventure to the bustling city of London. Guided by the whimsical Fairy Bowbells, they navigate through challenges, eventually stumbling upon a less-than-ideal London – dirty, dingy, and reeking of despair. However, salvation comes in the form of Mama’s Café, a beacon of hope where they encounter Alice Fitzwarren, played by the charming Olivia Hewitt-Jones. Alice swiftly becomes an integral part of Dick’s plan to rescue both London and Salisburyshire from their dire predicament.

“Dick Whittington” unfolds as a tale of courage, camaraderie, and the transformative power of hope, wrapped in the festive magic of a Christmas panto. With a stellar cast and a delightful mix of humour and heart-warming moments, this production promises an unforgettable yuletide adventure for audiences of all ages.

Theatre Royal, Windsor – until 14 January 2024

Reviewed by Joanna Huggett

5*****

The Theatre Royal Windsor Pantomime is back and is as traditional and wonderful as ever in its 85th year! Audience participation was off the scale from the start with a mixture of excitement and anticipation. The main stay of its success over many years; are the incredible Steven Blakeley, who plays Widow Twankey as well as writing the script, Kevin Cruise who plays Wishee Washee and the fantastic Basil Brush.

Twankey’s Poodle Parlour was a stand out slapstick performance which had both the audience and cast in stitches.

Robby Khala as Aladdin gave an energetic and convincing performance. Both he and Carmen Law, who played Princess Jasmine, gave great vocal and dance performances and made a very convincing couple.

Both Anita Harris, as The Empress and Pattie Boylaye, as Genie of the Lamp, gave gravitas to the show and played their parts with humour and sparkle befitting their many years in show business.

Paul Zenon, as Abanazar, was an excellent baddy who turned out to have a much softer side!

The ensemble (Isabella Everett, Elliot Owen-Cowles, Trezel Sergeant, Darcy Kim, Anthony Pereira and Mia Welsh) provided great vocal and dance backing throughout as well as standing by in their roles as understudies.

Act 2 was great with a brilliant Barbie sequence which had us all on our feet, also an impressive magic carpet ride. This was rounded off with the much anticipated rendition of The Twelve Days of Christmas. The show closed with a spectacular coronation and wedding finale. We can’t wait until next year! We recommend early booking to avoid disappointment! 🙂

Leicester Square Theatre – until 6th January 2024

Reviewed by Fiona Leyman

4****

“Scrooge was pissed to begin with”.

From the creators of Sh!t-Faced Shakespeare, the team at Sh!t-Faced Showtime are back with this not so classic telling of Charles Dickens A Pissedmas Carol. As you’ve probably guessed from the title, there is something quite different about this tale. Scrooge is absolutely, blind stinking drunk! Disregard everything you know about this timeless Christmas story, because you will probably see little of this here.

Our merry inebriated Scrooge this evening was played by John Mitton, who knocked back 2 small bottles of Merlot, half a bottle of Jim Bean Whisky, and who knows how many beers to prepare himself for a performance of a lifetime. During his ‘performance’ he states, “It’s at this point I know I have failed as an actor”. On the contrary, this was pure comedy gold, and the audience erupted into loud laughter throughout. James Murfitt left little to the imagination in his very tight gold leggings as Charles “Dick-in’s”. He tried his best to keep Scrooge on script and on time (failing miserably) for the entirety of the performance.

Somehow and I honestly don’t know how this came about, this tale took an unexpected turn as Scrooge decided he was at Hogwarts, and for the remainder of the show, the Harry Potter theme continued. Spells were being cast, The Ghost of Christmas Past became Dobby, and Scrooge is reminded repeatedly that he is “Not a Wizard”. Modern Cultural references flew in as John failed to remain in character, got distracted by Mike from Stranger Things calling to him through the Christmas lights and decided that he was now Tiny Tim’s father.

The improvisational skills of the sober actors on stage were impressive. They play seamlessly off drunken Scrooge and his inaudible ramblings, managing to continue this strange storyline in the way he is envisioning it. This in turn made this show even funnier as you did not know what was going to happen next. This is the amazing thing about improv comedy, what happens one night, may not happen the next, making each performance unique to the audience watching it.

This show is full of chaos, drunken ramblings and laugh out moments, as some of the best improv actors, try and control the stage around them. Katy Baker, Issy Wroe Wright, Hal Hillman and Daniel Quirke wow the audience with their incredible voices during their array of Christmas and not so Christmas songs. I never imagined The Proclaimers 500 Miles could be turned in to a Christmas Carol, but they somehow managed to pull it off.

I’ve said in previous reviews that A Christmas Carol was my favourite Christmas story of all time. I’ve seen so many different adaptations on this tale (some good, some not so much), but in the darkest depths of my imagination, I could not have possibly constructed the version that unfolded at the Leicester Square Theatre. You do wonder how much of this is just acting, as opposed to being intoxicated, but this is unique concept (probably drunk when they came up with it), that will make audiences laugh, smile and forget their troubles at this wonderful time of the year.

 Marylebone Theare – until 7^th January 2024 

Reviewed by Ben Jolly 

3*** 

Opening at Marylebone Theatre last night was the return visit of Mark Shanahan’s A Sherlock Carol. Shanahan takes two of Victorian London’s most iconic fictional characters and brings them together to play in the same universe; it is a continuation of the Dickens tale culminating with Holmes himself reluctantly tangled up in a plot with the only temptation to pull him out of his recent depression… murder!  

Set several years after “The Final Problem” – Holmes’ final altercation with arch enemy Moriarty, Holmes is feeling jaded, older, and more susceptible to the woes of everyday life. He has become a recluse, and his long-term isolation has birthed paranoia, convincing himself that he’s being spiritually followed by the deceased former foe. 

That is, until a visit from a fully grown and matured Tiny-Tim (he is now known as Dr Robert Cratchit, thank you very much) who has sought out the legendary detective to solve the murder of his former benefactor and much-loved family friend, Mr Ebenezer Scrooge! The game is afoot! 

Combining worlds, especially ones that hold such high renown is no mean feat and Shanahan is clearly fluent in both. His plot, although thin and at times a little drawn out is full of jovial references and his cleverly thought-out dialogue is evident throughout. Shanahan is without doubt a fan of both Holmes and Scrooge, and fundamentally this is what makes the piece as heart-warming as it is. His characters remain truthful, and it is from this firm root that this love letter of a play can be appreciated. 

The cast of six have no easy task with the task of piling character on top of character without having so much as a breath in between. Yet still, each has their own distinguishable characteristics, vocally and physically which can be credited by both performer and writer. There is no weak link here, and the team of players work like a well-oiled machine to keep the comedic pace flowing. There are times when the dialogue and story flutter between drama and comedy but this play lands firmly when the laughs are rolling in, it would of course work with much more gusto if it leaned more into a specific genre instead of toeing the line of both. 

As a production, it is visually highly polished and wonderfully executed thanks to set design by Anna Louizos and lighting by Rui Rita. The direction by playwright Mark Shanahan is clear, concise and bleeds of nostalgia for the genre, which is most clear through the expertly executed use of character dialogue. The play merely needs a clearer construct and bolder decision regarding genre for it to really land. Perhaps this world is too small for these two formidable characters; can they, should they co-exist? After all, there’s a reason why Agatha Christie never put Poirot and Marple on the same case! Ultimately, it is for the audiences to decide and the fanboy of Holmes and Scrooge in me is delighted to see these two together. 

Festival Theatre, Malvern – 30th November 2023

Reviewed by Courie Amado Juneau

5*****

Any excuse to hear String Quartets live and I’m there. Any excuse to visit the wonderful Malvern Theatres and I’m also there. So tonight, with all that and the addition of a Piano Quintet, was like Christmas coming early!

From the very first notes it was evident that the Chiaroscuro Quartet are a class act. Clean, precise playing and the almost dance like quality to the performance – the first half standing with performers swaying with the music was a delight. Their range of dynamics and expressiveness was extraordinary – from full bodied to almost silent, ethereal held notes. Impressive. I also really loved their eye contact which showed an intimate connection to each other.

Tonight’s first piece was Haydn’s Quartet Op9 no 4 in D minor, the ladies giving us a passionate reading which definitely benefited from the use of the gut strings and historical bows which they use. Our first violinist, Alina Ibragimova, dazzled with some high, florid runs in the first movement. An emotional slow movement led to the final one in which I appreciated seeing (as well as hearing) the tune going around the ensemble; giving the players the chance to wow us with their forensic timing.

The second piece was Beethoven’s Op 59 No 2 Quartet in Eminor. The sheer power that the Quartet managed to achieve with wonderful, tight, dramatic, chordal work, really digging into the strings in the opening movement was inspiring. I really loved Claire Thirion (cellist) repeated figures that set the other musicians off – like winding up a spinning top… The filigree passages shared between musicians were exceptionally precise, giving the work a clarity that only players of the highest caliber could achieve. The second movement gave us some lovely melodious, stratospheric first violin playing against the sustained chords from the supporting trio. Beautiful! The end movement’s tripping figures were rather playful and our musicians attacked these with admirable enthusiasm and energy, culminating in the piece hurtling towards a breathless finish and a crowd about to get sore hands from clapping!

After the break was Brahms Piano Quintet op 34 in F minor. The piano’s owner, Peter Salisbury, gave us a very interesting talk about about tonight’s Bechstein piano, tuned down from A440 to A435 – as were the strings to match. This gave the Brahms added poignancy and a slightly darker edge.

Pianist Cédric Tiberghien gave us a performance that was muscular yet tender with plenty of rubato to stretch the phrases and add drama – everything you could want in a romantic work! I was also very taken with Brahms use of pizzicato passages. The violist’s (Emilie Hornlund) tone was sheer perfection and her ensemble work with the other players was sumptuous. The lady playing 2nd violin deserves special mention as she was spellbinding throughout and I could barely take my eyes of her (her facial expressions in response to the music were almost like acting!) – unfortunately the brochure I had didn’t give her name (it had a gentleman listed).

Spectacular music presented from world class performers. The musical stars really came out tonight in Malvern, far surpassing top marks. I can’t wait for the next concert in the series, nor seeing tonight’s musicians again.

JULIAN CLARY TO PLAY HEROD IN

THE AWARD-WINNING PRODUCTION

OF THE GLOBAL PHENOMENON JESUS CHRIST SUPERSTAR

AT MAYFLOWER THEATRE THURSDAY – SATURDAY OF RUN.

It is today announced that Julian Clary will play the role of Herod in the Olivier Award-winning reimagined production of Tim Rice and Andrew Lloyd Webber’s celebrated musical JESUS CHRIST SUPERSTAR at Mayflower Theatre. Julian joins the lead cast, Ian McIntosh (Jesus), Shem Omari James (Judas) and Hannah Richardson (Mary), playing Herod Thursday 28 March to Saturday 30 March 2024 at Mayflower Theatre*.

Julian Clary said: ‘I am thrilled to be re-united with this wonderful production again. My Herod – Sally Bowles meets Captain Hook – has been missing the amazing, talented cast and the standing ovations.’

Produced by David Ian for Crossroads Live and Work Light Productions who present the Regent’s Park Open Air Theatre production, JESUS CHRIST SUPERSTAR is currently on a critically acclaimed major 2023/2024 UK tour 2023/24 UK.

★ ★ ★ ★ ★ ★

“Jesus Christ Superstar like you’ve never seen it before!”

Theatre Talk

★ ★ ★ ★

“Open your mind to this punchy, modern retelling”

Manchester Evening News

Featuring lyrics and music by Emmy, GRAMMY, Oscar and Tony winners Tim Rice and Andrew Lloyd Webber, this production was reimagined by London’s Regent’s Park Open Air Theatre where it originated and is helmed by director Timothy Sheader and choreographer Drew McOnie. Completing the creative team is design by Tom Scutt, lighting design by Lee Curran, sound design by Nick Lidster and music supervision by Tom Deering.

A global phenomenon that has wowed audiences for decades, JESUS CHRIST SUPERSTAR’S iconic 1970s rock score was originally released as a concept album and opened on Broadway in 1971 at the Mark Hellinger Theatre.

The original London production ran for over eight years. By the time it closed, after 3,358 performances, it had become the longest-running musical in West End history at that time. Jesus Christ Superstar has been reproduced regularly around the world in the years since its first appearance, with performances including a Broadway revival in 2012, an ITV competition TV show called Superstar that led to casting Ben Forster as Jesus in an arena tour of the show, and a production at the Regent’s Park Open Air Theatre celebrating 45 years since the musical’s Broadway debut.

JESUS CHRIST SUPERSTAR is set against the backdrop of an extraordinary series of events during the final weeks in the life of Jesus Christ, as seen through the eyes of Judas. Reflecting the rock roots that defined a generation, the legendary score includes ‘I Don’t Know How to Love Him’, ‘Gethsemane’ and ‘Superstar’.

This production of JESUS CHRIST SUPERSTAR won the 2017 Olivier Award for Best Musical Revival and the 2016 Evening Standard Award for Best Musical, selling out two consecutive engagements in 2016 and 2017. The production played a West End engagement at the Barbican in 2019 before returning to Regent’s Park Open Air Theatre in concert version during the summer of 2020. The UK Tour runs in tandem with the hugely successful North America tour of the production which has to date played over 700 performances in over 90 venues since the tour opened in October 2019.

The 2023-2024 UK Tour of JESUS CHRIST SUPERSTAR is produced by David Ian for Crossroads Live and Work Light Productions. The original production was produced by London’s Regent’s Park Open Air Theatre.

*for all other performances the role of Herod is played by Timo Tatzber.

Facebook & Instagram: @JesusChristSuperstar | Twitter: @JCSTheMusical

Tickets for Jesus Christ Superstar (Monday 25 – Saturday 30 March 2024) are on sale at mayflower.org.uk or 02380 711811.

JOANNA AMPIL AND MARIA FRIEDMAN

ANNOUNCED AS FURTHER HEADLINE ARTISTS FOR

“MY FAVORITE THINGS:

THE RODGERS & HAMMERSTEIN

80^TH ANNIVERSARY CONCERT”

WITH 40-PIECE ORCHESTRA

AT LONDON’S THEATRE ROYAL DRURY LANE

FOR TWO PERFORMANCES ONLY ON TUESDAY, 12 DECEMBER  2023

Today, The Rodgers & Hammerstein Organization announce that recent R&H leading lady Joanna Ampil (Rodgers & Hammerstein’s South Pacific) and four-time Olivier Award^® winner Maria Friedman will additionally headline My Favorite Things: The Rodgers & Hammerstein 80th Anniversary Concert. Also announced today, Anna-Jane Casey, Lily Kerhoas and Jordan Shaw join the company. Tickets are available, with some production holds just released.

Previously announced headliners include two-time Olivier Award^® winner Michael Ball; television, film and stage actor Daniel Dae Kim; Emmy^®, two-time GRAMMY^® and six-time Tony Award^® winner Audra McDonald; Olivier Award^® nominee Julian Ovenden; West End sensation Lucy St. Louis; Tony Award winner Aaron Tveit; Olivier Award nominee Marisha Wallace; and two-time Tony, two-time Golden Globe^® and Emmy Awardnominee Patrick Wilson.

Featuring a 40-piece orchestra, the gala will be presented for two performances only on Tuesday, 12 December, at London’s newly restored Theatre Royal Drury Lane – the same venue that premiered the original West End productions of Rodgers & Hammerstein’s Oklahoma!, Carousel, South Pacific and The King and I.

Directed and staged by Tony Award-winning director and choreographer Christopher Gattelli, with associate choreography by Simon Hardwick, the celebration of the historic partnership of Richard Rodgers and Oscar Hammerstein II will feature the Rodgers & Hammerstein Concert Orchestra, conducted by Simon Lee, along with a West End chamber choir, dance ensemble and surprise guest appearances. Artist lineup subject to change – Ashley Park has withdrawn owing to scheduling conflicts.

Tickets are currently on sale at RH80Concert.com.

Presented by The Rodgers & Hammerstein Organization, the concert is produced by Concord Originals, Concord Theatricals and Kilimanjaro Live/JAS Theatricals.

THE CHOIR OF MAN

JOINS UP WITH BIG DROP BREWING CO AS THE SHOW’S
OFFICIAL ALCOHOL-FREE BEER PARTNER, AS COMPANY RAISES OVER £6,000 FOR MOVEMBER

THOUSANDS OF NEW TICKETS ALSO RELEASED – NOW BOOKING AT THE ARTS THEATRE UNTIL 2 JUNE 2024 – BOOK HERE

CHRISTMAS WITH THE CHOIR OF MAN RELEASED TODAY – 6-TRACK EP AVAILABLE HERE AND AT THE ARTS THEATRE

[Friday 1 December 2023] The Choir of Man – The Olivier-nominated international stage sensation now in its second singsational year in London’s West End – will be joining up with the Big Drop Brewing Co – the world’s first brewer dedicated to alcohol-free beer – as the show’s Official Alcohol-Free Beer Partner. From Friday 1 December, Big Drop will supply the show with a variety of non-alcoholic beer for the cast to drink on stage during the show, with future plans to offer audience members who come up to the on-stage bar during the pre-show a choice of alcoholic and non-alcoholic beer, and at the bar at the Arts Theatre, to be announced in the new year.

Welcome to THE JUNGLE, the best pub in the world.

Here, an (extra)ordinary cast of nine guys combine beautiful harmonies and foot-stomping singalongs with first-rate tap dance and poetic meditations on the power of community.

Now in its 2ND SINGSATIONAL YEAR in London’s West End, and brimming with hits from artists such as Queen, Luther Vandross, Sia, Paul Simon, Adele, Guns & Roses, Avicii and Katy Perry to name but a few, this is a pub like no other!

An uplifting celebration of community and friendship with something for everyone – including free beer! Enjoy 90 minutes of feel-good, foot-stomping entertainment unlike anything else in the West End.

The Choir of Man co-creator and director Nic Doodson said, “I’m personally delighted to be partnering with Big Drop to provide non-alcoholic beer for the cast on stage. The Choir of Man is not all about the alcohol – in fact, if anything, we spend more time talking and singing than we do drinking. It’s nice to have a beer in your hand when you’re talking to a mate – but it doesn’t have to mean you get drunk…you’re more often your best self when you fully in the room. Big Drop and The Choir of Man both believe in sharing good times responsibly and we’re particularly delighted to be working with a company that supports Movember, just like we do. Cheers”.

The Big Drop Brewing Co has also teamed up with Movember, the leading charity for men’s mental health, producing a golden-coloured Citra IPA called ParadisMo. As Movember 2023 draws to a close, The Choir of Man company celebrated their fundraising efforts with some ParadisMo at the Arts Theatre – to date, they have manged to raise over £6,000 for the charity.

Rob Fink, Founder of Big Drop, said, “This project is an absolute joy to be involved in and, as partnerships go, is genius. We were already producing the official beer of Movember and being able to pour it on tap in this hugely popular West End run is a natural extension to that. You can now enjoy an authentic evening at the pub and the theatre in one hit and not suffer any ill-effects. The same goes for the cast who need to be top of their game day in, day out. If you love beer and you love musicals this surely goes on your bucket list.”

In addition, thousands of new tickets have also been released for next year, with availability at the Arts Theatre until 2 June 2024.

Christmas with The Choir of Man – a new 6 track album featuring classic Christmas songs all given the incredible The Choir of Man treatment, is also released today via all streaming platforms,  and with physical CDs available to purchase from the Arts Theatre.

THE CHOIR OF MAN previously played three sell-out seasons at the Sydney Opera House and multiple sold-out US and European tours. Following its last run at the Arts Theatre from October 2021 to April 2022, it received an Olivier nomination for Best Entertainment or Comedy Play, and then went on to play in Coventry as part of the City of Culture Assembly Festival season and at the Edinburgh Fringe Festival. The show re-opened at the Arts Theatre in October 2022, and has continued to see many sold-out shows, with loyal audiences returning again and again. The show also has a formal fundraising partnership with suicide prevention charity CALM (The Campaign Against Living Miserably), with the aim to raise £10,000 for the charity’s vital work.

THE CHOIR OF MAN is created by Nic Doodson and Andrew Kay, directed by Nic Doodson, with musical supervision, vocal arrangements and orchestrations by Jack Blume, movement direction and choreography by Freddie Huddleston, monologues written by Ben Norris, scenic design by Oli Townsend, lighting design by Richard Dinnen, costume design and associate scenic design by Verity Sadler, sound design by Sten Severson, casting by Debbie O’Brien. Hollie Cassar serves as musical director and associate musical supervisor.

The show is produced by Immersive Everywhere, Nic Doodson, Andrew Kay, Wendy & Andy Barnes, Gavin Kalin and Hunter Arnold.

Website: choirofmanwestend.com

Facebook: @thechoirofman

Twitter & Instagram: @choirofman

Charing Cross Theatre – until 13 January 2023

Reviewed by Claire Roderick

5*****

He’s Behind You! – the creative team behind the Above the Stag pantos – have hit the sweet spot again with Sleeping Beauty Takes A Prick. This wickedly funny filthfest is guaranteed to warm the wickedest of hearts with its silliness and energy.

In the tiny Eastern European country of Slutvia, evil Prince Camembert (Chris Lane) realises his path to the throne is blocked when his nephew Prince Arry is born. In short measure he murders the king and curses the infant prince with the traditional prick on the finger means death spell. Luckily Daisy the fairy (Jordan Stamatiadis) is on hand to tweak the curse – now Prince Arry will only die if, in his mother’s delicate terms, someone puts their sword in his scabbard before his 21st birthday. Of course, on the eve of this milestone birthday a fabulous and horny alien lands in Slutvia and the curse strikes – leaving Arry and his mother (don’t ask) asleep and hidden for 100 years while Camembert turns the country into the miserable pariah of Europe (and won’t let anyone represent Slutvia at Eurovision but himself). Arry and Queen Gertrude’s quest to rewrite Camembert’s version of history doesn’t go quite to plan, but this is after all a panto – so happy endings are inevitable.

Writers Jon Bradfield and Martin Hooper are masters of creating a perfect balance of nostalgic fun and filth, and do not let the audience down this year. There are gags set up so obviously you can see them from space (as there should be in a panto), brilliantly judged jokes about current affairs and some slick one liners that draw gasps before the audience erupts in laughter. Traditional elements are included with a sly wink, or subverted brilliantly (and judgementally by the imperious queen). Jon Bradfield’s songs allow the audience to take a breath between the onslaught of jokes and silly shenanigans and are performed wonderfully by the cast.

Director Andrew Beckett knows the assignment, and the show is a mix of chaotic stupidity and slickness, with David Shields’ fabulously garish and wobbly set and Sandy Lloyd and Robert Draper’s costume design drawing applause for Gertrude’s costumes. The finale at the races is a stunner.

Matthew Baldwin’s Queen Gertrude is a masterclass in damehood. Performing as if she is in a Shakespeare play and surrounded by idiotic minions, Gertrude is a fabulous creation – snooty, arch and utterly hilarious. Baldwin’s viciously funny “wooing” of audience members is a joy to behold as you squirm in second hand embarrassment for the lucky men involved. Chris Lane is wonderful as the camp and cruel villain, popping up everywhere with a glorious gloating nonchalance, while Jordan Stamatiadis is lots of fun as the coke snorting, maiden-chasing fairy godmother. Tom Mann is wide eyed and energetic as Arry and Myles Hart is weirdly wonderful as Zupp. Nikki Biddington and Matthew Gent are fantastic as the “commoner” love interests, expertly setting up the laughs for the insane royals they meet – who knew there was so much fun to be had with horse semen?

Frenetic, filthy and fabulous fun, this is the best adult panto in town.