Birmingham Town Hall – until 29th December 2025

Reviewed by Emma Millward

4****

Based on the hit Sky TV show, Brainiac Live! arrived in Birmingham this weekend for a short festive run at Birmingham Town Hall, before embarking on a UK tour next year. The show was conceived by producer Dan Colman and has been touring for over 17 years, including shows in Australia and Dubai. This year it also received an Olivier Award for ‘Best Family Show’ following a successful run at London’s Marylebone Theatre.

From the moment Brainiac Ned (Andy Joyce) and his trusty gang of fellow Brainiacs Ed (Rik Warren), Raz (Katie Santhouse) and Dave (Ian Plimley) took to the stage, it was clear this was not a conventional educational show. Birmingham Town Hall’s formal, historic interior provided a striking contrast to the controlled chaos unfolding on stage. Fire, smoke and explosions were used with theatrical precision, capturing the attention of younger audience members, while keeping the adults entertained through sharp comedic timing and a few jokes that went over the children’s heads. Experiments included airzookas blowing smoke rings, launching socks with rockets into the audience, running at speed through plasterboard-covered doorways and plenty of explosions. The show features numerous noise warnings throughout, as it is very loud. The audience are reminded to cover their ears frequently, so this may be something to consider for noise-sensitive audience members.

My favourite experiment was the ‘Best Way to Spin a Chair Challenge’, in which Brainiac Ned was spun round in an office chair using both a fire extinguisher and jet-propelled rockets with flames bursting out. This was quite a sight to behold, and proved that the cast (especially Writer/Director Andy Joyce) really throw themselves into the spirit of the show. The cast worked well together and ensured they kept the crowd as hyped up about the experiments as they were. Special mention must be given to Rik Warren as Brainiac Ed, his deadpan delivery of certain phrases really added to the comedy. I never expected to laugh so much at the words ‘hot water bottle’.

The show was not without a few minor flaws. The pace became relentless at times, and some explanations felt a little rushed. Spectacle also occasionally overshadowed substance. That said, younger audience members were clearly delighted throughout and enjoyed the continual mayhem, which is exactly the point of this kind of show.

Technically, the production was slick and professional. The ‘Hazard Warning’ sign-filled set design by Damien Stanton definitely built up the audience’s expectations of what was to come. Lighting and sound cues were tightly coordinated with the experiments and added to the audience’s anticipation. The sound occasionally became a little echoey and muffled, though this may have been due to the size of the venue. The sound issues were mostly noticeable during the otherwise hilarious ‘Misheard Lyrics’ section. I may be nit-picking, but in a very loud show, if “O Fortuna” is being played, I want it played loud!

Brainiac Live! at Birmingham Town Hall delivered an energetic, hilarious and frequently loud afternoon of science-based entertainment that largely lived up to its reputation. It was a noisy, chaotic, and highly enjoyable reminder that science, when presented with imagination, can be both accessible and exhilarating.

Old Joint Stock Theatre, Birmingham – until 30th December 2025

Reviewed by Emma Millward

5***** 

The Old Joint Stock Theatre’s festive production of Pinocchio is an inventive and warmly delivered reimagining of Carlo Collodi’s classic tale of the little wooden boy. The production is perfectly suited to the venue’s intimate setting and immediately benefits from the close proximity between performers and audience. In a space as compact as the Old Joint Stock, this could easily feel limiting, but instead it enhances the sense of involvement and playfulness. Before the show even began, the five performers appeared and interacted with the audience, showing the children the various musical instruments they would use during the show. This added a lovely informal start to proceedings.

The show follows Pinocchio’s (Jasmine Metcalfe) familiar journey as an impulsive and inquisitive puppet that comes to life after being carved from a wooden log by Geppetto (Miyu Potin-Sawada). As Pinocchio prepares to attend his first day at School he meets many characters along the way. He comes across a cat (Caoimhe De Brun) and a Fox (Morwenna Brown) who trick him into meeting the Puppetmaster (Miyu Potin-Sawada) who locks Pinocchio in a cage. Pinocchio is helped by The Girl with Azure Hair (Caoimhe De Brun) who discovers Pinocchio’s nose grows when he tells a lie, which he then uses to unlock the cage. Throughout the show, a mysterious storyteller called Jim (Edie Milton Williams) offers guidance to Pinocchio, as well as telling others about the wooden boy.

The cast of five performers is small, but perfectly formed. They portray multiple roles without any confusion. Their performances are confident and full of charm. Pinocchio himself is portrayed with a naive and gentle nature, while the other characters bring lots of humour. The cast’s evident enjoyment creates a lively and engaging experience for the audience. Writer/Composer Holly Mallett’s intention to connect the story to nature is evident throughout, from the recurring wooden imagery to the beautifully crafted wooden stage area, which also serves as the backdrop for the Old Joint Stock Theatre’s other Christmas show It’s A Wonderful Knife- Christmas Dundee. Musical elements add a magical edge to the production. The folk-inspired songs are lively and played by the performers on a variety of instruments.

George P Martin’s set design choices are imaginative and well-judged. Without elaborate sets, the show uses props and physical storytelling to take us into Pinocchio’s world, particularly in the more fantastical sequences. This approach encourages audience imagination to fill in the gaps. Martin’s costumes are also exquisite, and really add to the whole feel of the story. The puppets (directed by Ellie Begley) used throughout are inventive. Ranging from tiny marionette puppets, shadow puppets and a beautifully crafted donkey that the children in the front row especially enjoyed getting to meet up-close. Pinocchio is depicted as a traditional wood-carved puppet, with visible wood grain and movable limbs. Jasmine Metcalfe’s puppetry skills are outstanding at portraying how Pinocchio is feeling as he moves about the whole theatre, interacting with the cast and audience alike. The only flaw I could possibly point out, is that the puppet was initially a little unsettling for the very young children sitting near me, but they were soon captivated by the performance.

Overall, Pinocchio at the Old Joint Stock Theatre is a heart-warming and joyous festive offering. With humour, imagination, and warmth at its core, Director Emily Susanne Lloyd and Writer Holly Mallett have succeeded in capturing the magic of a beloved story without relying on spectacle. For audiences seeking a thoughtfully staged, engaging, and thoroughly enjoyable Christmas experience in Birmingham, Pinocchio is worth a visit this Christmas season.

Birmingham Hippodrome – until 1st February 2026

Reviewed by Emma Millward

5*****

Robin Hood rode into Birmingham Hippodrome this week for a high-energy, star-packed festive run. Produced once again by Crossroad Pantomimes and featuring scenery and costumes from last year’s London Palladium production, the show is given a distinctly Brummie adaptation. Robin Hood showcases why the Hippodrome remains one of the UK’s most reliable homes of large-scale panto.

Leading the production is Birmingham panto favourite Matt Slack as Robin Hood. Back for his 12th Pantomime at the Hippodrome, Slack brings warmth, charm and boundless energy to the role, and judging by the rapturous applause when he first took to the stage, the audience are clearly pleased to see him. His natural comic timing helps drive the show forward. Alongside him, Faye Tozer delivers a confident and modern turn as Maid Marion. She gives the character strength, independence and warmth, while still preserving the romance audiences expect. The chemistry between the pair works well, especially during later scenes when they are attempting to sing a duet together.

The supporting cast adds plenty of sparkle. Gok Wan clearly relishes his role as Gok Scarlet, bringing charisma and playful humour that quickly wins over the audience. His infectious laugh just makes the crowd love him more, especially when he mistakenly called our title hero Kevin! Matt Cardle embraces his villainous turn as the Sheriff of Nottingham, delivering exaggerated menace and encouraging enthusiastic boos in true pantomime style. Comedy is in particularly safe hands with Andrew Ryan as Henrietta Hood. His sharp comic timing, physical humour and confident audience interaction generate many of the evening’s biggest laughs. Sandra Marvin captivates as The Spirit of Sherwood, bringing elegance and a touch of magic to the production, and what a voice!

A highlight is the special appearance from pantomime legend Christopher Biggins as King Richard. His presence adds a sense of occasion, and his experience shines through in every scene. A role that is notoriously played as a fleeting cameo, here Biggins randomly pops up throughout declaring he is “back from the war”, only to be met with a chorus of “Not yet Biggins”. He throws himself into the spirit of the show and wears an array of hilarious outfits including a Baywatch-inspired red swimming costume!

Visually, the show impresses from the moment the curtain rises. The set design by Mark Walters transitions smoothly between Sherwood Forest and Nottingham Castle, supported by colourful lighting (Rory Beaton) and Karen Bruce’s direction and choreography keep the pace lively and the action clear. There is always something happening to hold the audience’s attention. The costumes (Teresa Nalton/Ron Briggs) are big, bold and joyfully over-the-top in the very best pantomime tradition, while the musical numbers are bursting with energy.

What really makes this production work is its connection with the audience. There are plenty of opportunities to join in, cheeky jokes aimed squarely at the grown-ups, and enough silliness to keep younger theatre-goers laughing throughout. It may not be the most faithful re-telling of the Robin Hood tale, but the entire ensemble ensure we are thoroughly entertained from start to finish.

Overall, Robin Hood at Birmingham Hippodrome is exactly what you want from a pantomime. It is chaotic, colourful and full to the brim with festive laughs. Birmingham Hippodrome’s pantomime just keeps getting bigger and better each year.

FULL CAST ANNOUNCED
FOR THE HIGHLY ANTICIPATED WEST END PRODUCTION OF

JEFF RAWLE, TONY JAYAWARDENA
AND TIMOTHY WATSON 

TO JOIN THE PREVIOUSLY ANNOUNCED

HUGH BONNEVILLE
(AS C.S. LEWIS)

MAGGIE SIFF
(AS JOY DAVIDMAN)

ALDWYCH THEATRE, LONDON

5 FEBRUARY – 9 MAY 2026

shadowlandsplay.com

Full casting is revealed for the highly anticipated West End production of William Nicholson’s beloved and deeply moving play SHADOWLANDS, directed by Rachel Kavanaugh. which opens at London’s Aldwych Theatre with performances from Tuesday 5 February to Saturday 9 May 2026.

As previously announced,  Hugh Bonneville (Downton Abbey, Paddington, W1A) will play C.S. Lewis — the celebrated author of The Chronicles of Narnia — whose orderly academic life is upturned and transformed by the unexpected love of American poet Joy Davidman, played by Maggie Siff (Mad Men, Sons of Anarchy, Billions).

They will be joined by Jeff Rawle (Drop the Dead Donkey, Doc Martin, Harry Potter and the Goblet of Fire) as Major W.H. Lewis (Warnie), Tony Jayawardena (Nye at the National Theatre, Bend It Like Beckham The Musical, RSC’s The Tempest) as Rev. Harry Harrington, and Timothy Watson (The Archers, A Man For all Seasons, Murder on the Orient Express) as Professor Christopher Riley, with Rebecca Blackstone, Nigel Fyfe, Jemma Geanaus, Sharan Phull, Leighton Pugh, Fode Simbo, Ernest Stroud and Giles Taylor.

Ayrton English, Nathan Jago and Louis Wilkins will alternate the role of Douglas (Joy Davidman’s 8-year-old son).

What begins as a meeting of minds becomes an uplifting and powerful journey of love and the fragile beauty of life. 

Based on a true story, SHADOWLANDS is written by William Nicholson and was adapted from his own original BAFTA Award-winning TV Movie. It soon became a West End smash-hit winning the Evening Standard Award for Best Play, followed by a triumphant Tony Award-winning Broadway transfer. In 1993 the play was adapted into a major feature film directed by Richard Attenborough and starring Anthony Hopkins and Debra Winger, which subsequently won the BAFTA Award for Outstanding British Film.

Jonathan Church Theatre Productions, Trafalgar Theatre Productions and Tilted present SHADOWLANDS by William Nicholson, directed by Rachel Kavanaugh, designed by Peter McKintosh with lighting designs by Howard Harrison, sound designs by Fergus O’Hare and casting by Annelie Powell CDG and Jim Carnahan. Originally produced by Chichester Festival Theatre.

Performances at the Aldwych Theatre from 5 February 2026. A new performance schedule including Tuesday to Saturday evening performances and matinee performances on Wednesday, Thursday and Saturday from 17 February. Further information, full performance schedule and access to tickets at shadowlandsplay.com.

BROADWAY AND TELEVISION STAR DANIEL BREAKER TO JOIN THE WEST END PRODUCTION OF HADESTOWN AS ‘HERMES’ 

uk.hadestown.com

Broadway and television star Daniel Breaker will play Hermes in the critically acclaimed West End production of Hadestown from 29 December 2025. He joins the London cast having played the role at the Walter Kerr Theatre on Broadway since February this year. Other credits include the Broadway productions of Hamilton, The Book of Mormon and Shrek the Musical as well as Billions and Girls5Eva on television.

Breaker (who takes over the role of Hermes from Cedric Neal) joins Desmonda Cathabel as Eurydice; Chris Jarman as Hades; Nicola Roberts as Persephone (until 18 January 2026); Joy Wielkens as Persepone (from 20 January – 8 March 2026) 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

Daniel Breaker is appearing with the support of Equity UK, incorporating the Variety Artistes’ Federation, pursuant to an exchange program between American Equity and Equity UK.

The Hexagon Reading – until 4 January 2026

Reviewed by Rebecca Salveson

5*****

Beauty and the Beast at The Hexagon, Reading – A Roaring Pantomime Success

The Hexagon’s Beauty and the Beast is a dazzling festive treat, bursting with colour, comedy and classic pantomime charm. Performed on a magically immersive digital set, the production instantly transports the audience into a vibrant fairy-tale world, blending modern theatrical technology with traditional panto fun. From the moment the curtain rises, it’s clear this is a show designed to delight audiences of all ages.

Children’s TV legend Justin Fletcher shines as Arthur Pint, Nanny Pint’s lovable son and Belle’s loyal best friend. Fletcher’s warmth, impeccable comic timing and infectious energy have the audience eating out of his hand, particularly during the many moments of audience participation. Equally outstanding is Paul Morse, Reading’s award-winning Dame, who brings heart, hilarity and larger-than-life personality to Nanny Pint, the landlady of the Just Inn. Morse’s sharp wit and confident rapport with the crowd ensure laughter never strays far away.

Samantha Dorrance delivers a charming and spirited Belle, while Carl Tracey’s Hunky Dory is perfectly preened and playfully pompous, aided brilliantly by Adam Pettigrew as the mischievous Smudge. Strong support comes from Ally Cox as Mother Meadow and Eloise Lord as the Enchantress, adding depth and sparkle to the fairy-tale magic.

Packed with slapstick comedy, sing-along moments and enthusiastic audience interaction, Beauty and the Beast at The Hexagon is a joyful, fast-paced pantomime that captures the true spirit of Christmas entertainment. A must-see for families looking for laughter, magic and festive fun.

Mayflower Theatre Southampton – until 4th January 2026 

Reviewed by Lucy Hitchcock

4****

Peter Pan is in Southampton and he needs your help to find the pixie dust keeping Neverland alive, in order to help him fly again! Captain Hook has mysteriously escaped the dreaded croc and is set on causing mayhem, stopping Peter and his friends, but with your help – I think Hook can be defeated! 

Noah Harrison and Carly Joan Furlong as Peter and Tink lead the story, navigating us through Neverland to complete their mission. With multiple songs and brilliant dances, this duo are superb. Furlong is the perfect Tink, bringing magic and excitement, whilst Harrison is the epitome of Peter Pan – a little bit wild, but altogether magically charming. Alexandra Burke stars as Captain Hook – and my goodness does she play a perfect villain! She was revelling on stage and completely entrancing, with her magnificent vocals to boot, she is a perfect cast.  With the added addition of some of her most well known songs (sung with Captain Hook’s flair!), it was hard to take your eyes off her on stage. Dr Ranj makes an appearance as the Magical Merman, one I was confused about prior to entering the auditorium but it quickly became clear as to why he was cast. He was elaborate, elegant and vocally he was extremely good! The star of the show for me however, was Max Fulham as Smee, accompanied by his monkey friend Gordon. These two were incredibly funny, with Fulham having me believe that Gordon was an independent person as he used his fabulous ventriloquism skills to entertain the audience. At points, I was unable to comprehend how he was doing it, he certainly is a master of his craft. He managed to get the audience onside within a split second and kept us completely engaged until the very end-it was truly magical! 

As always, the costumes in Mayflower Pantomimes are mind blowing. From Crossroads Pantomimes, they are the perfect mix of pantomime camp, sequins, glittering and extravagance! 

This is a perfect example of pantomime and one that will have you and your family entranced. The songs are modern and easy to recognise, the audience participation is just as expected (and even better!) but above all, the entire company looked as if they were enjoying every second-there was not a moment on stage when a smile quivered or dropped, it was superb! A definite add on to your Christmas Plans this year!