The Met, Bury – until 26th December 2024

Reviewed by Cathy Crabb

5*****

Do panto villains just need love? Big Tiny gives a great message to kids- sometimes kindness can change a person. But they let us have a good ole panto time before that happens.

The Big Tiny Production Company is well established now, giving high quality and fair priced panto to the northwest with excellent production value and progressively written stories. I really enjoyed this take on Rumpelstiltskin and thanks to director Will Cousins there are some terrifying, cute and eye-popping treats for the audience.

Lieblingsberg is a town where love is lacking as whimsical Cupid (Laura Wilson) can’t be arsed visiting. Prince Dierdrick (Josh Radcliffe) falls for Maria (Sophie Trueman) regardless of the fact he has to marry royalty. Alas, Maria’s already under the influence of nasty little Rumpelstiltskin (Charlie Hodgkinson). Ashen looking Rumple resided in a dark, hollow tree, gnashing his teeth, rubbing his hands and keeping his jazz shoes impeccable, until the moment when Maria was conned into saying his name three times. He then offers her anything she wants, with terms and conditions. Maria is blinded by her desire to snag this fit rich lad, so she agrees to let Rumple help her hoodwink the Prince. Rumple spins gold for her and she gives over her first born to him. And we the audience clap, shout boo and sing our way through this high peril with Badges (Toby West) and Winnie the Warden (Andrew Truluck) helping us along the way.

I love the sound of kids screaming and shouting in the theatre, just being kids having a great time. This, in turn, encourages adults to let themselves go. There’s nothing quite like panto for allowing break free of our pass-agg shell, and boo and hiss at life’s cruelty and injustice. Also, there’s some funny sausage jokes. At this performance, they were aimed at Winnie the Warden’s love interest on the front row, who was given a badge saying ‘I love sausage’ to wear in his hometown of Wigan.

Writer Ben Richards has also treated the audience to a lot of breaking character moments for the actors, and this landed particularly well on the press night. ‘You’re 27,’ says Cupid to Prince Dierdrick ‘and your agent is still putting you up for the Prince roles?’ I know Josh’s lovely agent Rachel who was there at this performance, on her 3rd visit to 12 clients pantos this year across the country! I was utterly delighted by these moments. And also loved the bits where Winnie couldn’t keep her wig on.

Even though the fiend Rumpelstiltskin takes Maria and Dierdrick’s baby, he makes a very good point that he had saved a dog, gave her the life she wanted and only took what was agreed. It was actually quite moving when Maria sang True Colours to Rumpelstiltskin and changed him for the better. And I’m sure will be equally as moving when Maria is up in front of Lieblingsberg’s child protection board. Though I imagine that Prince Dierdrick will get away with his part in the whole thing. But Maria forgets all about it when Rumple retrieves the baby by fighting off the real monster- a huge and terrifying beast that takes children and destroys them. We all cheered that the day was saved by the one we least expected.

I had the most wonderful evening. And I couldn’t see a single person, young or old in the audience who wasn’t having the best time as well. I must make a point to come and see a Big Tiny panto every year.

The Rose Theatre Kingston-on-Thames  – until Saturday 5 January 2025

Reviewed by Louise Ford

5*****

The pleasure’s all mine.

This year’s offering at the Rose is a much gentler show than your traditional pantomime. Oh yes it is! Gone are the brash colours, the slap stick, the double entendres and the general chaos that usually accompanies your annual pantomime. In its place is a muted tableau of costumes and sets (Anisha Fields), a gentle story with a twist and some  magical music that doesn’t rely on rehashing pop songs. Having said that it does still contain some of the essential pantomime components rousing songs that got the audience clapping along, comedy and jokes, a villain, a hero and a good sprinkle of Christmas magic. There was also an enchanted puppet stag (Matthew Forbes. puppetry director) which at times stole the show.

Whilst the production has four adults in the main roles the show really belongs to the children and young adults in the cast. There are 38 young people from local communities and the Rose Youth Theatre. At the production I saw it was team blue, they were all excellent; word perfect and gaining confidence and presence as the show unfolded.

The show is a retelling of the legendary figure Robin Hood by Chris Bush and music by Matt Winkworth and is directed by Elin Schofield. The adult members of the cast all play musical instruments to accompany the songs which adds another dimension to the story and added impact to the quieter moments on stage. The titular role is played by Matthew Ganley (Robin Hood) a hero with a social conscience. The gags about trickle down economics and anarcho communists are great. Behind every hero is a strong woman, in this case the brains behind the bow is Maid Marian (Emma Manton). The story teller and musical link is Much (Jodie Cuaresma). The villain of the piece, played in Henry VIII style is the Sheffield Wednesday, sorry I mean Sheriff of Nottingham (Andrew Whitehead). One thing I really liked was the proper Nottingham accents adopted by Robin and Marion. Sadly no ayup me ducks just solid Nottingham accents! Well done Josh Mathieson.

Back to the story. It’s nearly Christmas and the village children are making home made gifts and dreaming about the annual Christmas feast given by the Sheriff. The chance to eat their fill of swans beaks and all manner of delicacies and there could be left overs, whatever they may be. Little do they know that there’s a new Sheriff in town. He’s been moved to the provinces and he isn’t too happy with his new job or location, even if it is a promotion . He’s out to impress his royal visitors so he needs to clean up the forest and fill his coffers. He’s also doing a spot of redecorating in the castle, a Medieval Farrow and Ball paint chart.

The stage is set for a battle of wits and arrows, as Robin and the gang look to thwart the Sheriff’s plans and bring festive joy to all. A great evening’s entertainment for all ages.

PLAYHOUSE THEATRE, LIVERPOOL – UNTIL SATURDAY 4th JANUARY 2025

REVIEWED BY MIA BOWEN

5*****

The Rocky Horror Show is a vibrant cult musical that first delighted audiences in 1973, crafted by Richard O’Brien. It was later transformed into the iconic 1975 film, The Rocky Horror Picture Show, featuring O’Brien as Riff Raff and Tim Curry as Frank-N-Furter. This film holds the record for the longest-running release in cinema history!

Since its original production, The Rocky Horror Show has been unstoppable and has gone on to perform around the world consistently, with countless UK tours! It has truly earned its place as one of the most cherished musicals, and the more you experience it, the deeper your affection grows! The real draw for the audience is always going to be the musical set-pieces.

The Rocky Horror Show has a distinctive audience, known for their enthusiastic participation. Many attendees come dressed as their favourite characters, and audience interaction is a key part of the experience, with smutty and humorous comments shouted out during the performance. Patrons also commonly join for the ‘Time Warp’ finale. For them this is much more than watching a musical, they are here to be part of the show! Also, the beautiful Playhouse Theatre provides an intimate environment, enhancing the audience’s ability to engage with the show and each other.

The characters are as colourful as the musical itself. At the press evening, Jason Donovan took centre stage as the iconic Frank-N-Furter. His casting was spot on, as he confidently donned every outfit, showcasing his impressive jumps and choreography, all while expertly managing his striking high heels. Donovan brought drama, sass and comedy to the role, always leaving the audience in fits of laughter.

The narrator, portrayed by Pete Price, was undoubtedly the standout feature of the show. Clad in a purple velvet suit, he resembled a charismatic pastor delivering a Sunday service. However, rather than a traditional sermon, he presented a ludicrous, partly improvised tale while engaging in an utterly chaotic “conversation” with the audience. The combination of the serious expression on his face, interspersed with random Everton jokes and cheeky sexual puns, created a truly unforgettable experience!

If you like musical theatre that breaks the norm and adds a touch of excitement, The Rocky Horror Show offers a unique and memorable experience. Overwhelmingly, it’s all about enjoying yourself and having fun, just like the magic of Rocky Horror.

ORANGE TREE THEATRE ANNOUNCES

SPECIAL UNDER THE ORANGE TREE FUNDRAISER

HOSTED BY GYLES BRANDRETH FOR

PRIMARY SHAKESPEARE PROJECT

With guests featuring Judi Dench, Stephen Fry, Penelope Wilton, Paul Chahidi, Anne Reid, Robert Lindsay and Derek Jacobi

With Tom Littler’s critically acclaimed production of Twelfth Night currently in performances, Orange Tree Theatre (OT) today announces a special Shakespearean Under the Orange Tree fundraiser celebrating Twelfth Night on Sunday 19^th January. The afternoon hosted by Gyles Brandreth will feature guests including Judi Dench, Stephen Fry, Penelope Wilton, Anne Reid, Paul Chahidi,Robert Lindsay and Derek Jacobi in support of the OT’s Primary Shakespeare, which introduces young people to Shakespeare through interactive workshops and performances.

For one afternoon only this cast of legendary Shakespearean actors will look back on their performances in Twelfth Night, Shakespeare’s masterpiece of mistaken identity – all accompanied by Stefan Bednarczyk, currently performing as Feste in Twelfth Night for which he is also composer.

For over 30 years, the OT’s Shakespeare in Schools projects have ignited a love for theatre and Shakespeare, reaching over 10,000 children last year with timeless stories of magic, drama, and inspiration. The proceeds from this event will ensure children across the borough of Richmond and beyond have access to a creative education via workshops and live performance.

Orange Tree Artistic Director Tom Littler said today, “Every child deserves to enjoy a creative education, but years of cuts risk making creativity the preserve of a privileged few. At the Orange Tree, we are redoubling our commitment to our Shakespeare in Schools projects. For thousands of local children every year, our Primary Shakespeare project is their first experience of stepping into a theatre; their first time watching the lights go down; the first time they have encountered the thrill of live performance. With workshops in schools followed by a specially adapted performance at the OT, this project creates joy and laughter, inspires imagination, enriches language, develops empathy, and ignites a spark to last a lifetime. We are so grateful for the generosity of these amazing artists in creating this utterly unique fundraising event. By coming to the Twelfth Night Party, you will help keep these vital projects surviving and thriving.”

Additions to the lineup will be announced shortly. Artist lineup subject to change.

Tickets for Orange Tree Patrons and Ruby Members are now on sale. Tickets for Bronze, Sliver and Gold Members will go on sale at 11am on Tuesday 10 December, before general sale for any remaining seats opening at 11am on Wednesday 11 December, subject to availability.

Tickets are £150, including complimentary fizz on arrival, with proceeds directly supporting OT’s Shakespeare in Schools projects. You can also support the OT further with a £250 pay-it-forward ticket, which also includes complimentary fizz on arrival, as well as supporting access to Shakespeare for an additional six children.

There will be an allocation £35 tickets for Under 30s and standing tickets will be available for £25.

Next year, OT will also present Julius Caesar for Primary school audiences directed by Community Director Francesca Ellis and brought to life in a lively, interactive retelling. The programme includes a two-hour workshop in school and a visit to the Orange Tree Theatre for a performance of Julius Caesar. Full details and how to book can be found via www.orangetreetheatre.co.uk/community

ORANGE TREE THEATRE

LISTINGS

1 Clarence Street, Richmond, TW9 2SA

Box Office: 020 8940 3633 (Mon-Sat, 10am-6pm)

orangetreetheatre.co.uk

Performance times:

Monday – Saturday 7.30pm

Thursday and Saturday 2.30pm

GUARDS AT THE TAJ

Until 16 November

TWELFTH NIGHT

23 November 2024– 25 January 2025

OT UNDER 30 Night: Friday 13 December

TREASURE ISLAND

18 – 22 December 2024

2025 Season

CHURCHILL IN MOSCOW

3 February – 8 March 2025

OT UNDER 30 NIGHT: Friday 21 February

Audio Described Performance: Wednesday 5 March at 7:30pm

Captioned Performance: Tuesday 4 March at 7:30pm

Relaxed and distanced performance: Tuesday 25 February at 7:30pm

OT on screen: Tuesday 11 – Friday 14 March

PLAYHOUSE CREATURES

15 March – 12 April 2025

OT UNDER 30 NIGHT: Friday 28 March

Audio Described Performance: Wednesday 9 April at 7:30pm

Captioned Performance: Tuesday 8 April at 7:30pm

Relaxed and distanced performance: Wednesday 2 April at 7:30pm          

OT on screen: Tuesday 15 – Friday 18 April

Touring to:

Yvonne Arnaud Theatre, Guildford

Theatre Royal Bath

BEN AND IMO

19 April – 17 May 2025

OT UNDER 30 NIGHT: Friday 2 May

Audio Described Performance: Wednesday 14 May at 7:30pm    

Captioned Performance: Tuesday 13 May at 7:30pm

Relaxed and distanced performance: Wednesday 7 May at 7:30pm

OT on screen: Tuesday 20 – Friday 23 May

IN PRAISE OF LOVE

24 May – 5 July 2025

OT UNDER 30 NIGHT: Friday 20 June

Audio Described Performance: Wednesday 2 July at 7:30pm

Captioned Performance: Tuesday 1 July at 7:30pm

Relaxed and distanced performance: Wednesday 25 June at 7:30pm

OT on screen: Tuesday 8 – Friday 11 July

ABOUT THE ORANGE TREE THEATRE
We are a local theatre with a global reputation.

A show at the Orange Tree is close-up magic: live, entertaining, unmissable. We’re an intimate theatre with the audience wrapped around the stage. We believe in celebrating what it means to be human. We believe in putting people at the centre of the stories we tell. And we believe in the power of a writer’s words, an actor’s voice, and an audience’s imagination to transport us to other worlds and other lives.

We punch above our weight to create world-class productions of new and contemporary drama, revitalise classics and re-discoveries, and introduce children and young people to the magic of theatre.

We are deeply rooted in our local community in South West London. We work with thousands of people aged 0 to 100 in Richmond and beyond through participatory theatre, bringing generations together to build confidence, connection, and joy. Our ground-breaking Primary Shakespeare and Shakespeare Up Close projects pack the theatre with children and ignite a spark to last a lifetime.

We’re a registered charity (266128). With only 180 seats and no support from Arts Council England, we rely on the generosity of our audiences and donors to raise £650,000 a year. These funds support our outstanding work on stage and in the community and invest in the next generation of talent.

Artistic Director Tom Littler 
Executive Director Hanna Streeter 

Website orangetreetheatre.co.uk | Email [email protected] 
X @OrangeTreeThtr | Facebook/Instagram OrangeTreeTheatre

Dominion Theatre, London – until 31 May 2025

Reviewed by Emily Smith

5*****

Based on the 2006 film of the same name The Devil Wears Prada has now been brought to life in London’s West End at the Dominion Theatre, and fans of the film won’t be disappointed! The musical adaptation has kept the majority of the film’s plot, including the classic sarcastic remarks and dry humour, but it is the staging, costumes and talented cast that make this show come to life on the stage.

Everything about the show has been carefully crafted to be as quintessentially ‘fashion’ as possible. From entering the Dominion and seeing beautiful gowns and RUNWAY in big red lights, to the spotlights that surround the stage, this feels like an exclusive fashion show that you’re lucky to have got a ticket to! The background music before the show starts, typical of a runway show, build the excitement and anticipation.

The Dominion is one of the largest theatres in London’s West End and Tim Hatley’s scenic design certainly fills the space, assisted by Bruno Poet’s lighting design. The back of the stage is set to the iconic New York skyline, which turns from day to night, and is supplemented by moving set pieces including Andy and Nate’s apartment, the offices of Runway and the truly spectacular closet at Runway during the infamous make-over scene. When the story takes us to Paris, a dazzling Eiffel tower replaces the New York skyline. Other standout moments include the red carpet and stairs at the Met Gala (alongside the dazzling costumes), and the James Holt runway show in Act 2 where the audience are made to feel part of the action. This is achieved with the flashes of the paparazzi in the audience’s direction, and the use of the aisles as an extension of the runway.

Gregg Barnes’s costume design, which includes pieces from famous fashion brands such as Prada, Tom Ford and Dior, fits the brief with all the cast looking like they just walked straight out of the Runway offices in the mid-00s. The costumes felt authentic to the plot – from the day-to-day work wear at the Runway office, to the stunning red carpet dresses at the Met Gala, to the Paris fashion week outfits in the colours of the French flag.

With music by Elton John, and lyrics by Shaina Taub and Mark Sonnenblick, the songs fit the story well, though none are stand-out numbers that you may expect from a big musical such as this. There’s no Defying Gravity moment; instead, the songs compliment the narrative, bringing emotion – such as in Seen, humour – such as in Bon Voyage, and feel-good show tunes – such as in Dress Your Way Up. The music is quintessentially Elton John with his influence apparent in numbers such as I Only Love You For Your Body, and it is clear throughout that he has taken inspiration not only from his own music career, but also from other classic bands such as Abba. The songs are catchy, fun, and showcase the talent of the cast onstage. This is complimented by Gareth Owen’s sound design which fills the Dominion.

Director and choreographer Jerry Mitchell delivers a fantastic show, with clean and precise choreography that is aligned to the fashion industry. From the clever use of sliding carpets to the ability of the cast to deliver the choreography while wearing Runway-worthy heels, there is skill everywhere. While most of the show is true to the film, one or two jokes have been added, and a sub-plot gives Emily her own romance and happy ending, helping the stage production to feel more complete.

This show is really brought to life by the cast and the large ensemble. Vanessa Williams delivers the classic Miranda Priestly lines with a dead-pan intensity that we expect from the character. While there are one or two moments where her vocal talents are highlighted, it felt that the majority of her songs were spoken rather than sung. While this worked for the production, it is Matt Henry (Nigel), Georgie Buckland (Andy) and Amy Di Bartolomeo (Emily) that stole the show with their vocal talents.

Matt Henry, who plays Nigel, delivered a fantastic performance, including his poignant and moving rendition of Seen, which is reminiscent of his Olivier-award winning performance of Not My Father’s Son in Kinky Boots. Equally, the catchy Dress Your Way Up could be paralleled to other numbers from Kinky Boots which may explain why he felt so at home playing this character. As a big fan of Matt Henry for many years, I was thrilled to see him back on stage delivering a performance that gave me goosebumps!

Georgie Buckland makes her West End debut as Andy and what a debut it is! Arguably the main character with the most challenging vocals, Buckland delivers a standout performance including the brilliant Who’s She?

Meanwhile, Amy Di Bartolomeo is a phenomenal Emily! From the moment she walks on stage at the start of the show to remind the audience to turn off their phones, she absolutely embodies the character. Her performance was funny, charming and utterly captivating, and she expertly delivers vocals, in particular the catchy and humorous Bon Voyage. She even has the opportunity to show her operatic range!

Both Rhys Whitfield (Nate) and James Darch (Christian) deliver great performances. The large ensemble bring together this production with great choreography (avoiding the spotlights built into the stage!) and vocals.

For me, The Devil Wears Prada is a classic film, it’s funny, it’s an easy-watch and it captures a moment in time for the fashion industry in the 00s. The musical adaptation retains the charm of the film with the added pzazz of a West End show that is glitzy and glamorous, delivered by a hugely talented cast. While the songs are usually the stand-out part of a show, for me, the magic of this musical is in the staging and costumes. There are moments that will have you saying ‘wow’ or leave you in awe, and the music compliments this, without detracting, which for a show that is all about fashion, feels appropriate!

THE MONTGOMERY TO BECOME PART OF SHEFFIELD THEATRES FROM JANUARY 2025

Sheffield Theatres and the Montgomery Theatre and Arts Centre announce that the Montgomery will become part of Sheffield Theatres from January 2025.

The Montgomery Theatre and Arts Centre is an important part of Sheffield’s cultural provision. Built in 1886, it has been a home for children and young people to explore creativity and the performing arts, as well as the performance home for many of the city’s community companies, schools and dance schools.

While looking at ways to safeguard the long-term future of the theatre, the Montgomery Board and management approached Sheffield Theatres to explore possibilities for its next chapter. It is planned that Sheffield Theatres will take over operation from 2 January, ensuring the continuation of the activity, strategic direction and ethos of the Montgomery.

Sheffield Theatres is consulting with the Montgomery staff team, with the aim of transferring and integrating all contracted employees to Sheffield Theatres. The Montgomery reopened in October, following a period of capital development, with a programme of events scheduled for the year ahead. All scheduled performances are retained.

Tom Bird, Chief Executive, Sheffield Theatres said, “We’re overjoyed to welcome the Montgomery into Sheffield Theatres, joining the Crucible, Lyceum and Tanya Moiseiwitsch Playhouse. The Montgomery is a much-loved part of the local cultural landscape and a vital creative hub for many. As part of our organisation, it will continue supporting the children and young people of South Yorkshire to unleash their creative potential.”

Linda Bloomfield, Interim Executive Director, The Montgomery Theatre and Arts Centre said, “We’re excited and relieved to have finally opened our doors to the public again after a challenging 16 months’ closure for redevelopment. The charity’s new future, as part of Sheffield Theatres, will ensure the Montgomery can continue to be a home for children, young people and communities for many more years to come. We’re grateful to our funders, partners, audiences and participants for coming on this journey with us, and we can’t wait to welcome you back into the incredible 138 year old building in the new year, which is now accessible for the first time in its history.”

THE CHOIR OF MAN

TO PLAY A FURTHER SEASON AT THE ARTS THEATRE,

AS REDEVELOPMENT TIMELINE YET TO BE FINALISED

THE DRINKS ARE ON US!

12 MARCH – 31 AUGUST

TICKETS AT THE ARTS THEATRE AVAILABLE TO BOOK HERE

The producers of Olivier-nominated international stage sensation THE CHOIR OF MAN are delighted to announce that – due to changes to the timeline of the proposed major redevelopment of the Arts Theatre – the show will be able to return to its current West End home in 2025 for a 5-month engagement until the end of the summer.

The final performance of the current season will remain as 31 December, and then the theatre will close for 10 weeks for some preparatory work ahead of the redevelopment.

Tickets are on sale now for performances from 12 March until 31 August, with casting to be confirmed.

Nic Doodson said on behalf of the producers, “We are absolutely thrilled to be able to go into our fourth year at the Arts Theatre in the heart of the West End. We want to thank our wonderfully loyal and passionate audiences, who have supported us through our journey, by offering free pre-show beers on stage for the first two weeks of performances…”

Louis Hartshorn said on behalf of the Arts Theatre “we are very excited for the redevelopment of the Arts Theatre and the huge opportunity it presents to future-proof our historic theatre. As we work closely with the building owner to finalise plans, we are thrilled to be able to continue presenting this phenomenal hit show for another season.”

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.

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 show, which remains virtually sold out for the remainder of 2024, kicked off its West End journey at the Arts Theatre in October 2021. It has welcomed over 280,000 audience members through the doors over 1000 performances.

The current cast is Luke Conner Hall (Bat Out of Hell – International Tour, Australia/New Zealand, Peacock Theatre, QUEENZ: The Show With Balls! – Coventry, Edinburgh Fringe, UK Tour) as ‘Romantic’, Sam Pope (Bat Out of Hell – UK Tour) as ‘Joker’, Rob Godfrey (Choir of Man – Sydney Opera House)as ‘Beast’, Tyler Orphé-Baker (Disney’s The Lion King, Lyceum; The Choir of Man, West End) as ‘Pub Bore’, Shane McDaid (Titanic the Musical, UK/International; The Choir of Man NCL and Chicago) as ‘Poet’, Ifan Gwilym-Jones (The Choir of Man, NCL; Australia and Chicago) as ‘Maestro’, Kristian Morse (The Corn is Green, National Theatre; The Choir of Man, Chicago) as ‘Barman’, George Knapper (Joseph and the Amazing Technicolour Dreamcoat, UK Tour and The Choir of Man NCL; Canada; Australia; Chicago; Florida and West End) as ‘Handyman’ with Bradley Walwyn (We Will Rock You, Royal Caribbean; The Choir Of Man NCL and Australia) as ‘Hardman’ and David Shute (Once: The Musical, Barn and The Choir of Man NCL; Chicago; Tampa; Australia; Edinburgh; Coventry) and Tom Carter-Miles (Frankenstein Illyria; The Choir of Man, NCL and West End), Seán Keany (Once in Concert – West End, China and Japan, The Choir of Man – Korea), and Paul Deegan (The Choir of Man NCL and Chicago) as swings.

The on-stage band has Jacob Evans on drums, Jack Hartigan on guitar, Darius Luke Thompson on violin and Sam Tookey on bass.

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. In 2023 the show announced partnerships with suicide prevention charity CALM (The Campaign Against Living Miserably), and Big Drop Brewing Co – the world’s first brewer dedicated to alcohol-free beer – as the show’s Official Alcohol-Free Beer Partner.

THE CHOIR OF MAN is created by Nic Doodson and Andrew Kay, directed by Nic Doodson, with Daniel Harnett as associate director and resident director; monologues written by Ben Norris; with musical supervision, vocal arrangements and orchestrations by Jack Blume, with Lee Freeman as resident musical director, and Alistair Higgins as associate musical supervisor; movement direction and choreography by Freddie Huddleston, with Adam Hilton as associate choreographer and movement director; scenic design by Oli Townsend, lighting design by Richard Dinnen, costume design and co-scenic design by Verity Sadler, sound design by Sten Severson, with Liam McDermott as associate sound designer; casting by Debbie O’Brien.

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

Hackney Empire – until 5^th January 2025

Reviewed by Heather Chalkley

4****

Writer Will Brenton, Director and Dame Clive Rowe are celebrating the 25^th pantomime at Hackney Empire in style! From traditional elements that happen every year that everyone loves, to up to date gags, that everyone groans at, the pair have packed it all in. 

Sarah the Cook (Clive Rowe) has the most superb and outlandish costumes that would be the envy of any panto dame. Rowe balances the fun and appeal to children and families with a sprinkle of adult humour that made every man in the front rows a little nervous!

King Rat (Graham MacDuff) is an exemplar villain, who adds a twist to the tail! MacDuff has a rasp to his voice with a proper heavy rock vibe.

The sweet tones of Dick Wittington (Kandaka Moore) cuts through the bluff and bluster that is the pantomime norm. The music and dance throughout is an unexpectedly high quality that you do not always experience in local panto. 

Sniff (Jemima Reeves) and Scratch (Alfie Simmons) bring the childish fun to the stage, with children laughing out loud at their capers, especially when Sniff swoons at the wonderful smell of Scratch’s armpits!

Tommy the Cat (Kat B) is the real hero of the piece, encouraging every child and adult in the audience to have courage and believe in their dreams. 

This Panto cast is a well-oiled machine that provides Christmas entertainment at its best.

Southwark Theatre, London – until 11 January 2025

Reviewed by Claire Roderick

4****

A huge hit down under, A Very Naughty Christmas brings some rude and raunchy laughs to London this festive season.

Not as filthy as some of the adult pantos in town, this is a fast-paced cabaret filled with burlesque and comedy skits and a talented cast (Alexia Brinsley, Kirby Burgess, Shay Debney, Stephen Hirst, Jack Lark, Rachel MacDougall, Chris O’Mara and Rebecca Rolle), this will make the perfect start to a Christmas night out with your mates.

The show is an irresistible blend of chaos and slickness. With Naughty Santa (the fantastic Stephen Hirst) running the show, familiar Christmas favourites are given a twist – Walking in Women’s Underwear and Santa Loves You Less Because You’re Poor – you get the idea! Musical director Jo King and Lisa Martin provide stellar accompaniment: Kirby Burgess and Jack Lark’s vocals are incredible, and director Daniel Venz’s choreography has the cast shifting between seduction and silliness with ease.

The comedy is VERY Australian, and when it lands, is absolutely brilliant, but some jokes just don’t work, but the cast react in a flash and get the audience giggling again. There’s obviously a Rolf Harris joke (how could they not?) along with an attempt to curb Santa’s non-PC Christmas announcement, and some obligatory audience participation in Santa’s Sacrilegious Storytime as the story of the nativity is retold in chaotic style.

Get yourself on the naughty list this Christmas and have a blast at this cracker of a show.

St Helen’s Theatre Royal – until 15 January 2025

Reviewed by Carla Whittaker

5*****

Regal Entertainment’s Snow White and the Seven Dwarfs is a glittering jewel in the crown of pantomime tradition, proving once again that St Helen’s Theatre Royal knows how to deliver a festive feast for the senses. Brimming with wit, wonder, and a hearty dose of cheeky humour, this production is the epitome of feel-good entertainment, leaving audiences young and old beaming from ear to ear.

The theatre was buzzing with anticipation as families and excitable children filled the seats, eagerly waiting for the curtain to rise. From the moment the first note played, the atmosphere was alive with festive energy. True to panto form, this rendition of the classic tale delivers a perfect blend of tradition and innovation. Snow White’s familiar story is retold with flair, packing every scene with laughter, music, and festive cheer. The narrative whisks the audience on a whirlwind adventure, complete with dazzling twists and audience-pleasing surprises that keep everyone on their toes.

The cast is a powerhouse of talent, each member adding their unique sparkle to the show. Chantelle Morgan shines as Snow White, bringing grace and charm to the role. She embodies the character’s pure-hearted nature with effortless warmth and a voice that melts hearts. Maureen Nolan, of the world-famous Nolan Sisters, is a commanding presence as the Wicked Queen. Her delightfully sinister portrayal is captivating and brings just the right amount of theatrical panache to her villainous antics. Opposite her, Emrhys Cooper’s Prince Frederick exudes charisma and charm, delivering his role with a twinkle in his eye and a sense of genuine affection for his princess.

However, it’s Lewis Devine as Muddles who steals the show. His side-splitting humour and comic timing are a triumph, leaving the audience in fits of laughter. From his hilarious “12 Days of Christmas” skit to his water-pistol escapades, Devine bridges the gap between cheeky adult humour and child-friendly comedy with remarkable ease. The audience, particularly the children, adored him, laughing uproariously at his mishaps and cheeky innuendos. My son, like many others, was in hysterics, shouting along and thoroughly enjoying every silly moment. Richard Aucott’s Nurse Nelly is another standout, clad in increasingly outrageous costumes (designed by himself) and delivering larger-than-life humour that had everyone roaring with laughter. Special mention must also go to Leanne Campbell as the Magic Mirror, whose pre-recorded segments were seamlessly integrated, her witty Scouse humour adding a modern twist to the classic role.

One unique and delightful feature of this production was the celebrity dwarf voiceovers, with a lineup including Johnny Vegas, Pete Price, Joel Ross, Louis Emerick, Craig Phillips, the Queen of Scotty Road, and John May. Their humorous contributions added a star-studded touch to the show, bringing smiles to every corner of the theatre. What’s more, it was heartwarming to learn that most of the celebrities donated their fees to local Merseyside charities, spreading festive goodwill beyond the stage.

Adding even more magic to the evening, Jema Leopold and her impeccably trained Doggy Delights performed a series of fabulous tricks that had the audience “awwwing” in unison. The dogs were an absolute delight, showcasing not only their talents but also the creativity of a production that continually found ways to surprise and charm.

Musical numbers are always a panto highlight, and this production does not disappoint. The songs range from timeless classics to modern pop hits, each performed with infectious energy. The choreography was vibrant and polished, with every number adding excitement and momentum to the show. The ensemble deserves applause for their high-energy routines and the perfect synchronization that brought each scene to life.

Visually, the production is a treat for the eyes. The sets transported the audience from the regal palace to the enchanted forest, dripping with glitter and festive sparkle. Nurse Nelly’s costumes deserve a special mention; each was a work of art, more outrageous and colourful than the last. The attention to detail in the visual design created a magical, immersive world that captivated the audience.

Audience participation is, of course, at the heart of any pantomime, and this production excelled in involving the crowd. Children shrieked with delight as they booed the Wicked Queen at every opportunity. Even the parents couldn’t resist joining in, creating a lively, communal atmosphere that’s uniquely panto.

In every way, Snow White and the Seven Dwarfs is a triumph. Regal Entertainments has once again demonstrated its mastery of the pantomime art form, blending comedy, music, and festive spirit into a production that’s impossible not to love. Under the expert guidance of Jane Joseph and Chantelle Nolan, this show sparkles with joy and professionalism, ensuring a magical experience for all.

St Helen’s Theatre Royal is a cozy, family-friendly venue with helpful staff and easy parking, making it the perfect place to start your Christmas celebrations. Whether you’re a panto veteran or a first-timer, this production is an enchanting experience not to be missed.

Verdict: A five-star festive extravaganza that will leave you laughing, clapping, and brimming with Christmas cheer. Book your tickets before the curtain falls on 15 January 2025—you won’t regret it!