Hull New Theatre – until 31st December 2025

Reviewed by Dawn Bennett

5*****

Crossroads Pantomimes presents Beauty and the Beast The Spellbinding Pantomime.

I always enjoy the Hull New Theatre panto and this year was no exception, it was funny, had fabulous costumes and sets, a great script and a brilliant cast.

Prince Sebastian (Scott Royle) is not a nice Prince, he rude and arrogant and is nasty once too often and upsets The Enchantress (Sharon Sexton) who turns him into The Beast as a punishment. The Beast can only take back to his previous self if someone falls in love with him and this has to be done before the last petal of an enchanted rose fall. The Beast won’t leave his castle and he is looked after there by Mr Chuckle (Paul Chuckle), Mrs Potty (Sue Cleaver) and Silly Billy (Jack Gleadow).

Silly Billy loves Belle (Liv Newcomb) from afar and he talks to her mum, Dame Betty Bouffant (Jack Land Noble) about how he can get her to notice him which doesn’t really go to plan. Now there is someone else who has their eye on Belle and who thinks he’s really in with a chance and that is Flash Harry (Cameron Vear) and he’s really not a nice person and Belle isn’t impressed to say the least! Dame Betty goes to the palace and meets the Beast who is very angry that someone has seen him and he thinks she will tell the village about how he looks. When Belle goes to the palace as she wants a beautiful rose from the palace gardens and she finds out that the Beast won’t let her mum leave so she offers to take her place. Flash Harry also goes to the palace and it’s there he also sees the Beast and threatens to tell the village about him! We then find out if the path of true love will win and will Belle fall in love with the Beast.

This panto had everything you could wish for, a baddy to boo at, great songs played brilliantly by a live band (under musical director Jon Chamberlain) a very talented cast, Paul Chuckle, who was as fabulous as always, a great storyline and laughs a plenty.

A quick mention is definitely needed for Hull born Jack Gleadow who played Silly Billy. I’ve seen Jack a few times doing stand up and I wondered how he would be in panto, and the answer is he was brilliant. He was very funny and a complete natural!

Oh, and I’d never been on the New Theatre stage before tonight, but this “Goldilocks” really enjoyed it, I didn’t expect to share a stage with three bears and Paul Chuckle when I woke up!!

You will not be disappointed if you’ve got tickets and if you haven’t you need to get them quickly before they sell out! It really does deserve to be sold out at every performance!

St Martins Theatre, London – until 4th January 2026

Reviewed by Bobbi Fenton

4****

This year’s production of The Nutcracker at St Martin’s Theatre is a wonderfully fun and delightfully silly reimagining of the classic Christmas story. Aimed squarely at children and families, it manages to capture that rare combination of genuine heart, infectious humour, and festive charm. From the moment the lights dim, it’s clear that this is a show made to make people smile — and it succeeds beautifully.

The Nutcracker tells the story of two siblings, Clara (Lakeisha Lynch-Stevens) and Fritz (Dominic Conway), whose frantic father (Shamira Turner) has just moved them into a new, ‘fixer-upper’ house for their first Christmas since the passing of their mother. The two siblings must work together to defeat the Mouse King (Clare Beresford) and stop him from stealing their dad’s special cheese. Along the way we meet many fun characters, such as the Sugar Plum Fairy (Shamira Turner) and The Elder Mouse (Caroline Partridge).

The production bursts with colour, energy, and imagination. The staging is clever without being fussy, and the pace is brisk enough to keep even the youngest audience members thoroughly engaged. The humour leans into the playful and the absurd — plenty of slapstick, larger-than-life expressions, and even a giant poo that the siblings must survive — but it never feels overdone. It’s the kind of joyful silliness that makes the whole room laugh together, parents and children alike.

At the heart of the show lies a sense of genuine warmth. The performers clearly relish every moment, and their enthusiasm is contagious. The choreography is lively, the direction sharp, and the script smartly balances traditional storytelling with modern wit. There’s a strong interactive element, too, which helps keep the children’s attention and makes them feel part of the magic unfolding on stage.

A special mention must go to the show’s villain the Mouse King (Clare Beresford), who completely stole the spotlight every time they appeared. Clare Beresford’s commanding stage presence and truly impressive singing voice lifted each scene she was in, turning what could have been a simple musical baddie into a show-stopping highlight. It’s not often that a villain earns cheers as well as boos, but this performer managed exactly that.

If you’re looking for a deep, dramatic retelling of The Nutcracker, this probably isn’t it. But if you want an afternoon of laughter, colour, and festive fun — something to delight children and adults alike — this production is a perfect choice. It’s unapologetically silly, filled with heart, and staged with care and creativity. The Nutcracker at St Martin’s Theatre is a joyful, family-friendly romp that captures the magic of Christmas with a wink, a grin, and a song you’ll still be humming on the way home.

FROM DRAG ROYALTY TO DEMIGOD DUTY: 
DANNY BEARD
JOINS THE CAST OF 

BRINGING OLYMPIAN ENERGY TO AUDIENCES ACROSS THE UK IN 2026

 “A bolt of stage magic.

A show that whisks you to another dimension.”
The Times

“A heartfelt musical romp that joyously entwines modern-myth with a story of self-acceptance”The Stage

RuPaul’s Drag Race UK champion Danny Beard will be joining the cast of The Lightning Thief: The Percy Jackson Musical for the next leg of its UK tour, starting in January 2026. With a dazzling track record—from their unforgettable performances on Britain’s Got Talent, to winning RuPaul’s Drag Race UK in 2022, and finishing runner-up on Celebrity Big Brother earlier this year —Danny is set to bring their signature charisma, powerful vocals, and stage presence to the mythical world of Camp Half-Blood as the delightfully grumpy god of wine, Mr. D.

Danny Beard has said, “Who knew the Greek gods were crying out for a camp, bearded diva? I’m thrilled to be joining the incredible cast and creative team of the UK tour of The Lightning Thief: The Percy Jackson Musical, playing Mr D – who just so happens to be the God of wine and drama. This show truly has something for everyone, and I’m looking forward to bringing the myth, magic and mayhem to audiences around the UK in 2026!”

The mythical musical continues its quest into 2026 and leading the charge (and wielding the lightning bolt!) is Vasco Emauz (Back To The Future: The Musical) as the one and only Percy Jackson, Kayna Montecillo(Starlight Express) as the wise and fearless Annabeth, and Cahir O’Neill ([title of show]) as everyone’s favourite satyr sidekick, Grover. 

They are joined by Simone Robinson (Coming to England) as Sally Jackson, Niall Sheehy (Miss Saigon) as Mr Bruner, Ellie-Grace Cousins (Mamma Mia!) as Clarisse, Paolo Micallef (who was cast following open auditions) as Luke with Alex Anderton (making his professional stage debut), Abe Armitage (The Wizard of Oz), Joseph Connor (Sister Act), Ellouise Delooze (making her professional stage debut),Becca Francis (Iolanthe at ENO) and Amy McEvoy (making her professional stage debut) as the ensemble.

The Lightning Thief brings the hit stage adaptation of Rick Riordan’s bestselling novel to audiences across the country. Beginning 2026 in Cardiff Wales Millennium Centre (14 – 17 January) before heading to Hull New Theatre (27 January – 1 February), Malvern Theatres (4 – 7 February), Manchester Home (11 – 21 February), Birmingham Hippodrome (24 – 28 February), Peterborough New Theatre (3 – 7 March), Darlington Hippodrome (10 – 14 March) and finishing at Leicester Curve (17 – 21 March). 

Based on the beloved book series (with over 180 million copies sold worldwide), Percy Jackson’s story has been adapted into both films and a major hit TV series for Disney+. The musical first premiered off-Broadway in 2014 to rave reviews and went on to have two US tours, another off-Broadway run in 2017 and a 16-week limited run on Broadway in 2019. The Lightning Thief made waves in the West End during its critically acclaimed, record-breaking run at The Other Palace.  

When New York City teenager Percy Jackson discovers that he is the half-blood son of the Greek god, Poseidon, his life takes a dramatic turn as he is plunged into a world much bigger than he could possibly have imagined.

With newly discovered powers he is unable to control, an unwanted destiny and a whole textbook’s worth of mythical monsters on his trail, Percy must learn what it means to be a hero.

It’s the perfect adventure for gods and mortals of all ages with a gripping story that shows that ‘normal’ really is a myth!

This dynamic musical adaptation of Rick Riordan’s bestselling The Lightning Thief has a book by Joe Tracz(Be More Chill), music and lyrics by Rob Rokicki (Monstersongs) and is directed and choreographed by Lizzi Gee (Groundhog Day). Set and costume design is by Ryan Dawson Laight (Burlesque), lighting design by Tim Deiling (SIX), sound design by Dan Samson (Heathers The Musical), video design by Matt Powell(Chess), musical supervision is by Jeremy Wootton (Heathers The Musical) with musical direction by Will Joy (Cruel Intentions – The 90s Musical),illusions by Richard Pinner(Ghost) and fight direction by Lisa Connell (Heathers). Associate Director & Choreographer is Libby Watts (Wicked) and Associate Set & Costume Designer is Christophe Eynde (Your Lie In April).

LISTINGS

BILL KENWRIGHT LTD & PAUL TAYLOR-MILLS PRESENT 

THE LIGHTNING THIEF
THE PERCY JACKSON MUSICAL

Book by Joe Tracz
Music & Lyrics by Rob Rokicki
Adapted from the book The Lightning Thief by Rick Riordan

Lizzi Gee                      Director & Choreographer 

Ryan Dawson Laight  Set & Costume Designer

Tim Deiling                   Lighting Designer

Dan Samson                 Sound Designer

Matt Powell                   Video Designer

Jeremy Wootton           Musical Supervisor

Will Joy                          Musical Director

Richard Pinner              Illusions

Lisa Connell                  Fight Director

Libby Watts                   Associate Director & Choreographer

Christophe Eynde       Associate Set & Costume Designer

Run Time: approximately 2hrs 10 minutes including interval

UK TOUR

2026

21 – 24 Jan                 Wales Millennium Centre                   029 2063 6464

27 Jan – 1 Feb            Hull New Theatre                                01482 300306
4 – 7 Feb                     Malvern Theatres                               01684 892277

11 – 21 Feb                 Manchester Home                              0161 200 1500

24 – 28 Feb                 Birmingham Hippodrome                   0121 689 3000            
3 – 7 Mar                    Peterborough New Theatre                01733 852992

10 – 14 Mar                Darlington Hippodrome                     01325 405405 
17 – 21 Mar                Leicester Curve                                   0116 242 3595

Socials: 
Instagram and Tiktok: @percyjacksononstageFacebook: @percyjacksonlondonTwitter/X: @PercyOnStage

DAMIAN WILLIAMS CELEBRATES 1000^TH PERFORMANCE
AS SHEFFIELD LYCEUM’S PANTOMIME DAME  

On Tuesday 16 December, Lyceum pantomime history will be made as dame Damian Williams makes his 1000th performance. Since his first appearance in 2008, Damian has been delighting audiences with his hilarious antics in the Lyceum’s spectacular seasonal show.  

This year, he stars as Dame Dolly in Aladdin which is open now at the Lyceum. Damian has also announced his return for next year’s panto, Cinderella, continuing his role at the Lyceum for Christmases to come.  

On reaching his 1000th show, Damian said: 

 “I’m really pleased to have reached this milestone performance – I’ve loved doing every single one of them. I’ve said many times before that I see Sheffield as my second home and it’s always such a buzz at Christmas, so to step out on to the Lyceum stage for the 1000th time will feel really special. I hope that everyone will enjoy it as much as I will.” 

A fondly-adopted Sheffielder, Damian was born in Essex and lives in Southend. 2025 marks his 18th year performing as dame at the Lyceum, in the city he now considers his second home.  

Damian has toured the country for over 25 years and has a wealth of experience in theatre, as well as roles in television for the BBC, Sky One and more. A well-respected farceur, Damian’s first love is comedy, with his heroes including Laurel and Hardy and Tommy Cooper, the latter of whom he has performed as in a number of plays. After a season at Edinburgh Fringe last year, his performance as Cooper in new play The Last Laugh, was enjoyed on the West End, off Broadway and up and down the UK on tour. 

The Lyceum pantomime is produced by Sheffield Theatres and Evolution Productions, a partnership that has been forged since 2007. The Lyceum pantomime has become a firm family tradition for thousands across Sheffield and has won multiple awards, including most recently Best Pantomime at the UK Pantomime Awards 2024.  

Aladdin is open now and runs at the Lyceum until Sunday 4 January 2026. Next year’s pantomime, Cinderella, is on sale now and opens on Saturday 28 November 2026. Tickets can be booked through the Box Office in person, over the phone on 0114 249 6000 or at sheffieldtheatres.co.uk. 

Leicester Square Theatre – until Sunday 4 January 2026

Reviewed by Julia Spargo​

5*****

It’s Christmas time, and the West End is alive with glittery people staggering out of work parties, some of which may have been in questionable venues with mediocre food. Fear not, I have found an excellent work Christmas night out.

The premise of Sh!tfaced Showtime is that the main cast member of the production is spectacularly drunk, and this production begins with a commanding compere showing the audience how much the cast member (Scrooge) has drunk before the show. This is the point at which some, unfamiliar with Sh!tfaced Showtime, might question the morals of cheering along to the blood poisoning of a stage actor. The programme, however, is keen to highlight that as the cast is rotated, the main actor is never required to drink (for the purpose of the show) more than four times in a month; “this makes us the most sober cast of actors you are likely to find in the West End!” Fair enough.

The (in last night’s case incredibly) inebriated main actor ispropped up by a small but sober cast, who must be prepared to go off-piste, ad-lib, rein in the madness and keep to time. 

The show started with audience members engaged in holding musical instruments or a Christmas cracker to be deployed during the show and a person seated in the front row was tasked with holding a bucket which may be needed for bodily secretions during the course of the performance. I had a large glass of wine. If you can’t beat ‘em, join ‘em. The compere explained he would carry an airhorn, which he would use to bring the inebriated actor back on track if he went too rogue. 

And rogue, he did. Scrooge (Ashley Gerlach) arrived on stage using a cane which was less for dramatic effect and more for his own welfare. In the first scene, his watch was removed by the compere, he slumped into a fit of giggles and refused to put on his hat. Credit to the cast, who keep the action moving while making their way through a host of Christmas songs. Themes of last night included premature ejaculation, mothers eating their young, and “chugging” for the NSPCC. Incredibly, these themes were brought into the songs and looped back at various points during the show. The show is chaos, but an absolute riot. The audience last night were hugely engaged and the laughter was consistent.At one point, Scrooge snuck off stage and sat giggling in the audience before being dragged back up by two unfazed cast members.

Assuming that every night on stage, this production will look very different, I was impressed by the small cast (some playing multiple roles, kudos to the absolutely brilliant Dan Quirke and Alice Merrivale for humour and improvisation), simple set changes, few props, and engaging use of lighting for a dream sequence that nearly had me off my seat in hysterics. 

A front-row audience member ended up on stage in an uncompromising position on stage as a Christmas turkey. Sh!tfaced Showtime is complete carnage. It’s like a drunken adult panto read-through. The trick is that the audience is in on the joke, and invited to revel in the madness. They definitely did. Everyone left grinning. Knowing that the anarchy of last night can’t be replicated, I might go again, and take all my colleagues with me.

Jack Studio Theatre – until 4 January 2026

Reviewed by Claire Roderick

4****

The Jack’s Christmas show is always a wonderful alternative to the tinsel and tiaras of panto. This year’s revival of Charles Ludlam’s camp comic horror is a real rib tickler.

Karl Swinyard’s atmospheric set immediately sets the tone for a gothic potboiler. Housekeeper Jane and servant Nicodemus provide the exposition needed in the first scene, as the fate of the late Lady Irma and her son are discussed. Lord Edgar’s new wife, Lady Enid, is a poor replacement for Irma Vep in Jane’s opinion, but Nicodemus is smitten. 

All characters are played by James Keningale and Joe Newton, with admirable quick changes of Martin J Robinson’s costumes. The set up is a little slow, building up the tension to the appearances of the creatures that haunt Mandacrest Estate, but from then the pace quickens and the jokes come fast and furious as Lady Irma’s shrine is violated and Lord Edgar suddenly goes to Egypt on a quest to reanimate an ancient mummy after Lady Enid is bitten by a vampire. As you would. Laurel Marks’ lighting and Julian Starr’s sound design are gloriously OTT as the supernatural shenanigans begin.

Ludlam’s lampooning of penny dreadfuls gothic horrors and melodramas is relentless, and the play feels like the dream you’d have after binging Carry On Screaming, League of Gentlemen, The 39 Steps and an Ernie Wise’s Play What I Wrote. The humour is camp, silly and knowing, and full of references for movie and theatre buffs. Director Kate Bannister directs smoothly and skilfully and James Keningale and Joe Newton are wonderfully po-faced as the insane characters.

Slick and silly escapism with a supernatural twist, The Mystery of Irma Vep is an ideal ghost story for Christmas.

#TheMysteryOfIrmaVep #JackStudioTheatre #JamesKeningale #JoeNewton #CharlesLudlam #KateBannister #KarlSwinyard #LaurelMarks #JulianStarr #MartinJRobinson 

STORYHOUSE THEATRE, CHESTER – UNTIL SUNDAY 4^TH JANUARY 2026

REVIEWED BY MIA BOWEN AND BERTIE (7 YEARS OLD)

4****

Storyhouses production of Beauty and the Beast serves as a brilliant testament to why this Chester venue has garnered such affection as a cultural centre. As soon as the curtain rises, the show is alive with colour, energy, and warmth, offering a pantomime that seamlessly blends comforting tradition with refreshing modernity. 

The entire cast delivers exceptional performances, but the standout of the evening is undoubtedly Pierre, portrayed by Pranav Viswanathan. With his flamboyant and delightfully exaggerated acting, Pierre captivates every scene he graces. Viswanathan’s impeccable comic timing and fearless approach to performance make him a joy to behold. Audience participation is seamlessly integrated into his character, most notably through his ongoing interactions with “Lee,” a member of the audience. This running gag becomes a genuine highlight, culminating in Lee being invited on stage at the start of act two to assist Pierre with his suitcases – a moment that had the audience in fits of laughter and truly engaged in the show. 

Visually, the performance is a true spectacle. The imaginative set design by Amy Jane Cook is expertly staged, maximising the intimate space of Storyhouse while maintaining a sense of magic and expansiveness. Cook’s costumes are equally striking—bold, colourful, and delightfully extravagant in the best panto tradition, eliciting both gasps and laughter from the audience. The musical numbers, directed by Rebecca Applin, are upbeat and infectious, complemented by choreography from Christopher Tendai and Chloe Vickers that ensures a lively pace, keeping the audience thoroughly engaged and entertained. 

What makes this production stand out is its strong sense of inclusivity and joy. The humour is suitable for all ages, striking a perfect balance – it’s clever enough for adults to enjoy while capturing the attention of younger audience members. The warmth and good-humoured encouragement of audience participation fosters a shared sense of celebration throughout the theatre. 

On this occasion, I was joined by a very honest “little critic” aged seven, whose insights underscored just how remarkable this performance is. For him, the thrill began even before the curtain rose. “I was so excited to go to the Storyhouse – I’ve never been there before,” he remarked, instantly setting the stage for an afternoon brimming with wonder. One of his most joyful moments occurred when the characters returned home from the castle, a scene that clearly resonated with warmth and celebration. However, his absolute favourite part of the show was the dramatic climax: when the Beast “dies on the third day after lasting 100 years and then comes back as a prince.” This transformation left a lasting impression on him and encapsulated everything he adored about the story’s blend of drama and magic. He was also mesmerised by the sensory spectacle, particularly the music and the moment when paper fell from the sky, which he recounted with visible excitement long after the performance ended. From his perspective, the show was nothing short of “incredible and very funny,” a compliment that holds special significance coming from such an enthusiastic young viewer.

Birmingham Hippodrome- until 4th January 2026

Reviewed by Emma Millward

5*****

There’s No Such Thing As Wolves began its festive run at Birmingham Hippodrome’s Patrick Studio this week. This gentle, family-friendly show is the second production in the Hippodrome’s ‘My First Musical’ series, following the success of last year’s five-star hit The Jingleclaw. The initiative aims to create new musicals and offer younger children the chance to experience musical theatre, possibly for the first time. With book, music and lyrics by TV’s Horrible Histories writers Gerard Foster and Richie Webb, the show succeeds in providing a theatrical experience that is both accessible and genuinely entertaining.

The story follows Hettie Hedgehog (Faye Campbell) and her father, Harry (Matthew Rutherford), as they prepare to hibernate for winter. Hettie struggles to sleep because she is worried about wolves being nearby. Her father assures her there’s no such thing as wolves. As they settle down to sleep, the excitable Sydney Squirrel (Beth O’Rorke) appears with plans for a woodland celebration, much to Harry’s frustration. Their preparations are interrupted when two unfamiliar, sharp-toothed creatures appear, claiming they want to join the festivities. The wolves are portrayed as comically villainous rather than scary. Wiffy (Oliver Sidney) and Woofy (Elinor Peregrin) quickly win over the audience. Woofy is a playful wolf who wears a Wolverhampton Wanderers football top (one of many nods to the West Midlands within the show) and just wants to play party games. Wiffy has grand plans to cut down all the trees to sell as flat-pack furniture, although he would also secretly love to be a ballet dancer.

The small but perfectly formed cast bring the forest creatures to life with a mixture of beautiful costumes by Hannah Sibai, character-specific physicality, and playful vocal work that makes each of their characters believable. Oliver Sidney, in particular, is a joy to watch as Wiffy, with his over-the-top mannerisms and posh accent. I would happily see the show again just to hear the way he pronounces the word “forest”! Each performer seems keenly aware that they are playing to a younger audience, but it never feels like they are talking down to them. Gerard Foster’s writing is clever enough to keep the children engaged, but also makes the parents in the crowd laugh too. Meanwhile, Richie Webb’s songs are ridiculously catchy, especially the earworm number ‘More Than Wolves’ that is still firmly stuck in my head. The music is played live by musical director Sarah Morrison, drummer Jonathan Antil, and alternating cast members all wearing eye-catching bird costumes. They are tucked away on a cleverly designed balcony built into the forest set. There are a few lovely little twists built into Hannah Sibai’s intricate woodland set design, including an ‘Alexa’-like cuckoo clock voiced by local legend Sir Lenny Henry. Director Emily Ling Williams ensures the show is tight and never becomes too chaotic. The show runs at just sixty minutes long, but every minute is used wisely.

An enchanting and fun-filled winter story, No Such Thing As Wolves is a must-see this festive season. It perfectly blends humour, a top-notch cast and a catchy soundtrack with toe-tapping tunes that stay with you long after the show ends.

Hull Truck Theatre – until 4th January 2026

Reviewed by Dawn Bennett

5*****

Hull Truck Theatre presents The Little Mermaid written and directed by Tom Saunders. This is an ideal introduction to the world of theatre it is aimed at three- to six-year-olds and is a really lovely show. It’s an hour long and it kept the young audience around me enthralled from beginning to end. We had a brightly coloured set and costumes (designed by Alexandrea Hopkin-Spratt), some fantastic puppets (design and direction by John Barber) and very effective music (composed by Joe Roper) and very atmospheric lighting (Adam Foley) and sound (Mathew Clowes). Along with the fabulous actors all these parts came together to make an excellent show.

The show is set in the bottom of the sea and it’s there we meet Coral (Elizabeth Green) a Mermaid and also a Princess who really doesn’t want to sing at her parents’ party. She’s got a beautiful singing voice but we find out that she’s also very shy. Fin, the fish, tries to persuade her to sing at the palace party for the King and Queen but she won’t and decides to do what she not supposed to do and go to the surface and onto dry land. It’s there she meets Charlie (Alex Fairweather), a young boy who is getting a Christmas present for his Nan. Coral sees Charlie and realises that he can’t hear, because of his headphones, that there is a storm coming and poor Charlie manages to be swept out to sea, Coral swims down to rescue Charlie and when she finds him she is shocked to remember that land dwellers can’t breathe under water. It is then that Coral meets The Sea Witch (Alex Fairweather) who is really not very nice and he wants something that Coral has, her beautiful voice, and if she gives it to him only then will he save Charlie. What happens next shows how brave Coral really is but will this help Charlie and what will happen to the horrid Sea Witch…only time will tell.

This show is well worth a visit; the two actors are very talented and played their parts beautifully, there is audience participation and a fabulous story that will keep children and adults alike entertained. This production is definitely worth every one of the five stars I have given it.

DeMontfort Hall Leicester – until 3 January 2026

Reviewed by Leanne W

3***

Starting with our good and evil leads introducing the show, this production then opens with a big number – a rewrite of ‘Welcome to the 60s’ (City) from Hairspray. With nearly the full cast on stage to set the scene. We are quickly introduced to the lead characters and the story set. Alderman Fitzwarren (Richie Anderson) has rats in the town and his shop and needs some help to remove them. Step up Dick Whittington (Jarred Christmas) and his cat Boots (Jack ‘Hobbit’ Hobbs).

The story doesn’t really evolve or develop. There is a suggestion that the niece of the Alderman, Alice (Rebecca Keatly) will fall in love with Dick, but it is lost, the relationship is never really suggested beyond the occasional coy exchange. Somewhere within the story is Fairy Bow Bells (Suzanne Shaw) and her enemy Queen Rat (Djalenga Scott) attempt to steer it in some direction but it doesn’t really begin or conclude. We see a whole dream scene for Bow Bells to suggest to Dick that he should become Mayor of London, but he didn’t – or at least I didn’t notice that he did. There are some good songs and dance numbers, but the story never really happens. I enjoyed the exchange between Bow Bells and Queen Rat making use of the film of the moment a rendition of ‘Loathing’. An adaptation of the Cell Block Tango provided Djalenga Scott an opportunity to showcase her vocal ability.

Richie Anderson is a newcomer to the world of panto and here on opening night it showed, perhaps as the run progresses, he will relax into the role and be able to land the jokes he has. The jokes for the entire production are amusing but fall short. Sarah The Cook (Jack Ballard) had many smutty jokes, but at times the actions to accompany them became a little too much and unnecessary.

Jarred Christmas does a suitable job of Whittington with some good jokes landing well but the character never really becomes a hero we root for. The absolute standout aspect of the performance is the casting of beat box artist Hobbit as Boots the Cat. He brings an entirely new slant to the role and completely lifts the performance – the only real talking point post show.

In all, its pantomime. It has all the ingredients and sparkle, it just lacks and story and soul.