Charing Cross Theatre – until 11 January 2025

Reviewed by Claire Roderick

4****

He’s Behind You! return to Charing Cross Theatre for another Christmas season of filthy fun and saucy shenanigans.

Dame Dolly Trott (Matthew Baldwin) has lost her job on a famous Northern soap opera and has moved to a farm. She and her son Jack (Keanu Adolphus-Johnson) are not taking to the agricultural life however, with the dairy herd depleted to just two cows – Tess and Claudia – and Jack’s attempts at crop production resulting in some laughable lettuces. Used to a hedonistic life in Leeds, Jack has taken to cruising the local graveyard as no one is on the apps out there in Upper Bottom. Dishy Reverend Tim (Joe Grundy) could be the perfect man for Jack, but Tim wants to keep their relationship on the downlow and Dolly thinks he fancies her.

Local fairy and jack-of-all-trades Dale (Chris Lane) pops up everywhere while the villagers despair as evil lady of the manor, Lady Fleshcreep (Jordan Stamatiadis) plots to evict tenants on technicalities to fulfil her ambitious dreams. Meanwhile her hapless niece, Simone (Laura Anna-Mead) lusts after local midwife Alice (Caitlin Swanton) but is too shy to approach her.

Claudia is reluctantly sold for a bag of magic beans and Jack (and Dolly) venture up the phallic plant to seek their fortune. The traditional magic harp is there, but also the giant’s bagpipes, whose magical effects boost their bank balance and the local menfolk’s prospects.

David Shield’s set is a candy-coloured delight and with wonderfully camp costumes by Robert Draper and Sandy Lloyd, this looks like a traditional panto. Jon Bradfield and Martin Hooper’s script is anything but family friendly, and the gags about fisting and rimming are crammed in, along with jokes about Huw Evans and the Archbishop of Canterbury. Bradfield’s songs are lots of fun and the filth is countered by the nostalgic panto staples of call and response (beavers are involved – obviously), sweetie throwing and audience singalongs and in director Andrew Beckett’s assured hands, the show is a fast-paced treat.

Jordan Stamatiadis is brilliantly OTT as the dastardly Fleshcreep, and Chris Lane flirts wonderfully while Matthew Baldwin is at his dry and manic best as Dolly – still one of the best dames out there. The cast perform with boundless energy and create an infectious and joyful atmosphere.

Bawdy and bonkers, this is gloriously silly adult Christmas fun

Greenwich Theatre – until 5 January 2025

Reviewed by Claire Roderick

4****

Anthony Spargo’s swinging sixties-set Dick Whittington is a riot of fun and silliness.

When Dick (Samuel Bailey) and Tommie the talking cat (Inés Ruiz) come to London to seek their fortune, they are puzzled by the lack of cats, but the voice of Bow Bells predicts a great future for Dick. In Pudding Lane, Dick falls for Alice Fitzwarren (Jasmine Jules Andrews), but Dick’s happiness is in jeopardy as the daft but dastardly Ratticus (Anthony Spargo) and sidekick Muffy (Louise Cielecki) frame Dick for theft. Bow Bells grants Dick’s wish to change the past and provides a time machine, and the panto gets all wibbly-wobbly timey-wimey as Ratticus hijacks it and changes history to ensure that he will be all powerful. It’s all wonderfully unhinged, and writer Spargo crams in heaps of pop culture references to delight all the adults in the audience. The jokes are brilliantly judged – double entendres for the grownups and silly visual gags and puns for the children.

Emily Bestow’s bright and cartoonish set and costumes are a delight – with Ratticus’s and Meggs the Baker’s outfits being the highlights. Director James Haddrell knows the Greenwich audience, and keeps things running smoothly, with MD “Uncle” Steve Markwick on stage with guitarist Gordon Parrish while drummer Chris Wyles is out of sight in Ratticus’s lair. The sixties setting is genius, each song is a classic and gets the audience clapping and singing along.

Samuel Bailey and Jordan Jules Andrews gamely keep straight faces as the sweet lovebirds while the Greenwich tradition of Trinity Laban students making their professional debut in the ensemble continues with Nabi Brown, Archie Fearon and Annabelle Lane nailing Nancy Kettle’s slick choreography. Phil Yarrow as Meggs the Baker is a hoot, decked out in dough-based products and simpering over Alderman Fitzwarren (Paul Kemble) while delivering the obligatory Dick jokes. Inés Ruiz is lots of fun as Tommie, playing some fine sax. Louise Cielecki returns as a sidekick for Spargo, and their physical and verbal comedy is incredible. Spargo is an incredible baddie, channelling too many comedy legends and rock stars to mention and giving the audience everything you’d expect from a panto villain, dialled up to eleven.

Dick Whittington and his Cat is another Christmas cracker from Greenwich Theatre – fabulous family entertainment.

Curve Theatre, Leicester – until 4th January 2025

Reviewed by Leanne W

4****

My Fair Lady is the Lerner & Loewe smash hit musical, which opened on Broadway in 1956. It follows the story of lowly flower girl Eliza Doolittle (Molly Lynch), who becomes the experiment of Professor Henry Higgins (David Seadon-Young), a language expert and enthusiast. Under his tutelage she is given lessons to lose her cockney accent and rise above her current situation. At the same time, Higgins stands to win a bet if he can succeed in convincing people that she is a lady. Initially, Eliza struggles to alter her speech, but soon enough she is able to speak with the eloquence of the lady he is hoping to create. The Curve production of this classic is a spectacular piece of theatre which realises Nikolai Foster’s vision.

Visually, this production is outstanding. The set (expertly designed by Michael Taylor) spans beyond the edge of the proscenium arch stage and we are treated to moments of action that require a full turn of the head. As the action opens to the busy Covent Garden we are immersed fully in the scene, iron arch ways, huge pillars and windows a plenty. This set then seamlessly lifts away and revolves to the chaotic, museum-like, home of Henry Higgins, with books, sound equipment and even a grand piano. Additional scenes requiring a mention are the racecourse (complete with a magnificent set of costumes) and the arrival of a huge bar for a rousing rendition of ‘I’m getting married in the morning’. One thing I noted was how nice it was to go back to a traditional set, no need for projections or fancy camera work, something we have seen far too much of in theatres recently. If I were to rate the production on the set alone, it would be without doubt 5 star.

The reason for dropping the star has to be the lack of chemistry between characters. This was my first time seeing My Fair Lady and unfortunately did not believe in the various relationships Eliza has, at no point did I even question that we may see a romance between our protagonists – no lingering glances, not a single awkward accidental touch, and no words shared that might suggest it would happen, until the closing vocal numbers. The intended potential relationship with Freddy (Djavan Van De Fliert) also, seeming to come from nowhere – besides his beautifully delivered solo of ‘The Street Where You Live’.

Molly Lynch performed the role of Eliza Doolittle, in the over the top style of a musical theatre actor. At times her diction in her cockney accent was poor. She did not convince me that she had come from hardship, nor that she felt desolate once the goal of making her a lady had been realised. Whilst there is no doubt she is a talented performer, I’m not sure she fully realised it in this role.

Initially I had thought that we were seeing the same from David Seadon-Young as Higgins, however as the character progressed it became more obvious that he was playing a more eccentric and chaotic character which suited him and the set perfectly. Minal Patel as Colonel Pickering brings the calm balance to Higgins and delights with some perfectly delivered one liners.

Eliza’s father, Alfred P Doolittle, played by Steve Furst, expertly bringing the comic relief throughout, with his creation of the drunk, only out for himself, cheeky Chap.

My Fair Lady is full of songs which sets toes a tapping and heads bobbing. musical Direction brings them to life ably supported by a talented cast and chorus (including a group of young performer) as well as Jo Goodwin’s fabulous choreography.

In summary this is a fantastic production, with a fabulous cast, great songs and a stunning set.

Theatre Royal, Windsor – until 12 January 2025

Reviewed by Kirsty Thomson

5*****

As the colder nights begin to draw in, Dick Whittington has arrived at the Theatre Royal, written by Steven Blakeley and directed by Charlotte Peters. A festive treat for all the family, this pantomime has it all. An enthusiastic, talented cast, adept staging and lighting, everyone’s favourite fictional fox, and even a flying turtle!

As act one, set in London Town begins, we’re introduced to Fairy Bowbells (Hilary O’Neil) who talks us through Dick Whittington’s (Mikko Juan) plans to settle in the city. Dick is introduced alongside his adorable cat ‘Tallulah’ (Rina Punwani) and they soon stumble upon Alice Fitzwarren (Mia Welsh). As Alice takes Dick to meet the rest of her family, the lighting dims and the audience are brought face to face with Queen Rat (Lyn Paul) who expertly depicts your typical pantomime villain. As the boos began to die down, the audience meet the rest of the fitzwarren family, Jack (Kevin Cruise), Sarah the Cook (Blakeley), and Alderman Fitzwarren (Basil Brush), who are all hard at work. The audience first get to meet Sarah the Cook via a FaceTime call followed by a musical montage filmed in the streets of Windsor, adding to the community feel this panto aims to produce. Something that really stood out to me is how Dick communicates with Tallulah through sign language, in addition to their verbal dialogue, which is an understated but very important touch for those in the deaf community.

There are many pantomime musts that are met throughout the show but what nobody will have expected is the dance-break performed by Jack to a throw-back 90’s mash-up. This got the whole audience, young and old, to their feet and was the perfect way to set the tone for the rest of the show. The first half goes by in no time at all as the audience are fully engrossed in the on-stage action, and before you know it, the first half, well… It’s behind you!

The cast and crew have gone above and beyond with this production to make sure it caters to everyone. From flying toilet rolls and water pistols, to a ‘bra that only holds 3’, and some mild adult humour along the way. There really is something for the whole family. The performance from Rina Punwani was particularly impressive through her ability to make the audience feel her character’s emotions without even speaking a word. The exceptionally quick costume changes by the whole cast were also remarkable and must be applauded.

I would absolutely recommend this exciting, funny and brilliantly performed pantomime to anybody that’s ready to get into the Christmas spirit. The whole audience gave a standing ovation to the entire cast at the finale and left the theatre with huge smiles etched across their faces.

If you’re struggling for plans with the family on the lead up to this Christmas, give Dick Whittington at the Theatre Royal, Windsor a go.

Wondering if you’ll have a good time?

Oh yes you will!

Moondance Theatre, Theatr Clwyd. Yr Wyddgrug – until Sunday 19th January 2025

Reviewed by Julie Noller

5*****

Here we are again, it’s Panto Season and the excitement is high not only for the fun and high jinx to come but for the fact we are back in the main theatre, it’s looking slick with new carpets and plush new seats. If they do an air freshener for new cars then I think I want new theatre scented candles. Newly named for the occasion as Moondance, theatre gives my head festival vibes. Panto is always a cracking night or matinee if the afternoon suits you more. I’ve come to view the cast of regulars as firm favourites, in fact perhaps next year my panto buddy and myself will take a panto bingo sheet along as we discussed beforehand would we hear old familiar lines (looking lush, love) perhaps dated to some but nevertheless worth every chuckle. This years offering has been written by Christian Patterson and I wonder how relaxed he feels when things go wrong (personally I love this it especially when you watch performers lose all composure, forget lines even if it is on purpose and just have an absolute blast on stage) is he relaxed with ad-libbing?

Adrian Gee is set and costume designer, the colours are bright and cheery, cartoonesque with more than a touch of pink and green Wicked hues. Panto design must be amazing to see the finished articles but such such hard work along the way, we the audience often overlook the backstage team. Last year I enjoyed the different setting we were given with the Big Top, performers were given a much bigger setting as a playground and our eyes were able to feast on so much more. I had forgotten how restrictive and hard work a stage can be. But on a positive it was good to be back and I thought the fact we saw the characters mingling amongst the audience as we were making our way to our seats a nice touch, a way of shaking memories and relaxing us ready for the boos, hisses and squeals not to mention the singing which is unique to the Rock’n’ Roll Panto. Mother Goose is often referred to as the Dames Panto, yes this means even more of Phylip Harries as Gwladys Goose; will it be another record breaking , award winning year?

Absolutely it should be!!! If ever there was a school for Pantomime Dames then Phylip should be Headmaster. It’s great to watch and be involved with a cast who just enjoy the whole performance and have bonded so well together. Steve Simmonds (Lord Larry Parry) deserves his huge cheer for adding a little ditty within his solo to the butterfly or was it a moth who decided it wanted it’s own time in the spotlight such is the widespread love of this panto team it’s obviously the stage to be. Wow; but the rest of the cast are just incredible also from Celia Cruwys-Finnigan (Mari Goose) and Ryan Owen (Glennie Goose) Imad Eldeen (Hari Parry) raising the roof with amazing singing which was moving at times especially the cover if I just lie here.

Alice McKenna (Billie Eyelash) as fairy with such a great accent full of warmth I just wasn’t sure if its Yorkshire or Lancashire that if I choose wrongly I might just wake up sleeping giants and restart the wars of the roses. Joe Butcher (Freddie the Fox) a henchman with compassion a true hero deep down. But Georgina White (Suella De Rhyl) a voice dripping with irony. She was absolutely born to play a villain, it must be so much fun to be the baddie just as long as you don’t mind those boos.

Pantomime that great British tradition where audience both old (100 being eldest) and young alike can come together and share seasons cheer and greetings. Go celebrate an old favourite refurbished that’s both the theatre and Mother Goose, can anybody be truly disappointed with Panto? ‘oh no your not’

ROLL UP, ROLL UP TO SEE PANTO JOIN THE CIRCUS!

BRENDAN COLE TO LEAD THE CAST OF GOLDILOCKS AND THE THREE BEARS

With rehearsals already underway for this year’s production of Sleeping Beauty starring Lee Mead and Su Pollard, which opens at Darlington Hippodrome on Friday 6 December, the venue has today announced that former Strictly Come Dancing professional and Dancing on Ice finalist Brendan Cole will lead the cast of their 2025 pantomime, Goldilocks and the Three Bears.

Brendan Cole, who will be taking on the role of the Evil Ringmaster, appeared on every season of Strictly Come Dancing since it began in 2004 up until 2017. In 2022, Brendan starred in ITV’s Saturday night entertainment programme Dancing on Ice where he was one of the finalists. As a dancer, producer and entertainer, Brendan has staged his own song and dance show on eleven nationwide tours of the UK. Now an international phenomenon, Brendan was a member of the judging panel of Dancing with the Stars in New Zealand for four years.

Goldilocks and the Three Bears is a fantastic circus-themed panto, which will see Darlington Hippodrome transformed into a sensational circus, where everything is possible, and anything could (and will) happen. This festive extravaganza is packed with riotous comedy, extraordinary special effects, hair-raising stunts and international circus acts.

Tickets are on sale from Friday 6 December 2024 for Goldilocks and the Three Bears which runs from Friday 5 December to Wednesday 31 December 2025, with priority booking open to Darlington Hippodrome Members from Friday 29 November. Don’t forget that tickets for this year’s panto, Sleeping Beauty, are also on sale now.

For full details or to book call the Box Office on 01325 405405 or visit darlingtonhippodrome.co.uk

The Barn Theatre, Cirenceste – until 4 January 2025

Reviewed by Josie Aburrow Smith and Bea Aburrow Smith (aged 12)

4****

We are in France in the mid 17th Century. D’Artagnan (played by George Shuter)  wants to travel to Paris to join the recently disbanded Three Musketeers group and avenge his father. His mother is not so sure but soon allows him to as he can see his oldest friend, the beautiful Conny (played by Hayley Canham). D’Artagnan arrives in Paris and meets Conny and is soon plunged into an adventure along with Athos (AJ Jenkins), Porthos (Marc Serratosa) and Aramis (Georgia Leila Stoller) and the femme fetale Milady (Ella Rose Thomas). Together they must preserve the honour of the Queen, avert a war with England and defeat his father’s arch enemy, the evil Cardinal Richelieu (Sam Denia). 

Throughout the whole performance some of the actors play different characters which they switch between slickly.  They are all incredibly talented as they can all act, sing and play multiple instruments. At some points there are 2 on one single instrument. The pink piano on the stage is central to the production and cleverly used. 

The Three Musketeers: Trois is written by Alan Pollock. It is a reimagined version of classic story The Three Musketeerss by Alexandre Dumas. This new version although still set in 17th century has walkie talkies and a rockband. The set and costume are designed by Laurence Llewelyn-Bowen. The set is all black and white line drawings whilst the costumes are full of bright colour and flamboyance.

12 year old Bea says: It’s really interesting to see people on the stage who all act, sing and play musical instruments as you don’t often see this. Sam Denia who plays Richelieu, Rochefort and Buckingham has really funny facial expressions. Together this makes this production really fun. People my age should definitely go and see it. I laughed a lot too.

This musical adventure is full of talented musicians, lots of action and some real laugh out loud moments with a touch of panto. The Barn Theatre has one again produced a great Christmas production. 

Octagon Theatre, Bolton – until Saturday 4th January 2025

Review by Rebecca Hampson

3***

Based on the novel by Rudyard Kipling, adapted for the stage by Andrew Pollard with music by music by Ziad Jabero, The Jungle Book is Octagon Theatre’s Christmas special for 2024.

If you were hoping to sing along to bare necessities, I am afraid to inform that this song did not make the cut. Despite this I did enjoy the musical rendition and ‘Jungle Groove’ which gave a slight homage to the spirit of bare necessities.

The staging design of this play were to be commended as this production takes place in the round. It was clear that there had been extreme thought put into blocking and sight lines of the audience had been meticulously thought out to ensure that each patron received a spectacular view. I particularly loved the use of ropes which allowed the actors to climb and swing across the stage, truly transporting us to a jungle filled with vines and leaves.

What let it down for me however was the lack of differentiation between characters. There were some roles which felt blended within one another due to a lack in change of tone of voice, accent or pitch.

The costumes were questionable, and I found myself unable to understand why Kaa, our well-loved sneaky snake, was wearing mermaid tail leggings. The characterisation of Kaa was fantastic though which made up for this as Harveen Mann-Neary’s vocal emphasis on the ssss pronunciation felt true to the Kaa we know and love.

The standout performance for me came from Shere Khan played by Rachel Marwood. Her sass and true embodiment of the role made me giggle several times and left me almost feeling sorry for this fatally flawed feline.

Overall, I did not feel truly immersed enough to believe that I was watch animals not actors which led to disappointment in the end.

While this production is great at engaging with the audience with good elements of direct address which landed well with its younger audience, I would recommend you be aware this adaptation is different from the Disney classic you may expect to see on the west end.

Leeds Playhouse – until 25 January 2025

Reviewed by Dawn Smallwood

5*****

The Lion, The Witch and The Wardrobe returns to the Leeds Playhouse as part of a new national tour and 75th anniversary of when C S Lewis’ novel was published. It is also the author’s first of his seven Narnia Chronicles. Michael Fentiman’s production is based on the original production by Sally Cookson and unravels the story of four children who are relocated following an evacuation during Wartime Britian. In their new home they visit Narnia, via a magical wardrobe, where they meet talking animals and mythical creature who are under the control of the White Witch. The children are on a mission to save Narnia and also eliminate evil over good which involves their personal survival.

The spectacular and appealing story narration transfixes members of the audience with its stunning puppetry especially Aslan the legendary Lion, handled by Andrew Davison, and the stagecraft which spellbinds and delights throughout. Some of the actors play multiple characters and some double up as musicians and play their instruments simultaneously . Choreographed by Shanelle ‘Tali’ Fergus, all of the cast members energetically contribute so well to the spirit of the story, which is supported with Barnaby Race and Benji Bower’s musical composition and under the direction of Ben Goddard.

Tom Paris’ staging and costumes works so well with the story and the characters including the talking animals, the mythical creatures and the White Witch. The stage sets work spectacularly and in harmony with Jack Knowles’ lighting and Tom Marshall’s soundscapes.

Excellent portrayals of the four children by Joanna Adaran (Susan), Jesse Dunbar (Peter), Kudzai Mangombe (Lucy) and Bunmi Osadolor (Edmund) along with Katy Stephens as the wicked White Witch and Stanton Wright as Aslan who both fought evil and good in Narnia.

The Lion, The Witch and The Wardrobe absolutely appeals to all, and it is theatrically immersive and spectacular. It is appealing, fantastical and magic for escapism and yet many appreciate the important themes the story brings such as family, loyalty, bravery, the fighting for good over evil and power struggles. There are also links to the Christian faith with Aslan, the Lion, who is often considered like a Christlike figure.

An absolute treat for all the senses and it is a spectacular and unmissable production to see during the festive season.

Royal & Derngate Theatre, Northampton- until 30th November 2024

Review by Amanda Allen

3***

If I’m honest I didn’t like the game of Cluedo as a child, I could never work out who was where, with what, when and sadly last nights performance was very much like that. The frantic pace of the story unfolds in 1968 in a country house not far from London. We are introduced to the cast cantered around Rick Black, a fading rock star played by Liam Horrigan, his manager, Colonel Mustard, played by Jason Durr and his rather posh wife Mrs Peacock played by Hannah Boyce. The first half was so fast paced, with comic dialogue coming at you from every direction so quickly, you didn’t have time to laugh at one bit before you had been subjected to 2 or 3 more gags on the way! Many of them falling flat and passing the audience by. Unfortunately, many of the jokes and gags were rather worn and overdone, the “Butler / I’m not a butler I’m an actor” gag was repeated far to often and became boring.

For me the highlight was the staging and costumes, this was truly innovative and imaginative. The use of hanging and moving doors, windows, pictures and furniture to create the illusion of a large, many roomed, manor house really worked. All the cast took part in creating the scenery moves, this must have taken a great deal of choreography and practice. The set designer David Farley has done an excellent job creating the image of a large manor house with a limited space and using the transitions from one room to another as part of the story was genius. The colour of the characters depicted in the costumes was another great ploy, the only disappointment in that respect was Professor Plum (Edward Howells) who was in a multi coloured outfit that seemed a bit out of place.

Written by the Laurence Marks and Maurice Gran the story has more twists and turns than I could keep up with, I’m sure I missed quite a lot as the whole thing was at such a fast pace I think you need to see it twice to get the whole story! Many of the character’s seemed a bit two dimensional, some having detailed back stories and some remaining a mystery. I was a bit disappointed with Ellie Leach’s Miss Scarlet. She never really seemed to get going, the character was a bit flat. Reference was made to her Strictly Come Dancing win with a few dance moves, but I felt she could do more with the role, it needed exaggerating somehow.

Colonel Dijon Mustard played by Jason Durr, a TV favourite from Casualty and Holby, was one of the standout performances of the evening. His over exaggerated American accent and enthusiastic portrayal of the rock star Manager was most entertaining. Mrs White played by Dawn Buckland was also extremely entertaining popping up all the time in unexpected places. The surprise arrival of Rev Green (Gabriel Paul) was another highlight, his character loomed large over the stage and the rest of the cast. Played with just the right amount of both soft concern and menace he forged an immediate connection with the audience. The only downside for me in his appearance was the overworked Al Green / Hal Green joke, I think anyone in the audience younger than me would struggle to get the musical references to Al Greens songs. In conclusion, for me, the second half was much better than the first with more action, more characters and more murders than the first half. I enjoyed the performance but would like to see a bit more connection with the audience and a slowing down of the dialogue particularly in the first half. If you are a fan of the Cluedo game go along and see Cluedo2 you will enjoy a good night out and an evening of funny, easy, entertainment.