Colourful, magical and heart-warming, The Snowman continues to charm new generations
Presented by Birmingham Repertory at the Peacock Theatre, this stage adaptation of Raymond Briggs’ book The Snowman (and the beloved 1982 animated film it inspired) remains what it has long been: a timeless Christmas offering aimed squarely at young children and their families. Directed by Bill Alexander, with choreography by Robert North and design by Ruari Murchison, it’s jubilant, festive and fun, and makes for an ideal introduction to ballet and dance theatre for many little ones. Howard Blake’s evocative score, conducted live, adds the final layer of warmth and nostalgia.
The story, familiar to generations, unfolds with comforting clarity: a young boy builds a snowman who, on the stroke of midnight, magically comes to life. Together they fly — to the unmistakable strains of Aled Jones’ We’re Walking in the Air — to the North Pole, encountering Father Christmas, an assortment of animals, a ballerina fairy, Jack Frost, and a crowd of snowmen in wonderfully eccentric getups. The wordless storytelling, narrated via expression, movement and music, remains one of the show’s strongest assets. Even the smallest audience members can follow every beat.
The themes that make The Snowman endure — childhood, magic, escapism, imagination — are all lovingly intact. Much of the production’s charm lies in its attention to visual delight: the costumes and set pieces are colourful, inviting, and rich with small details that reward even the briefest attention span. Murchison’s gently shifting sets, from cosy festive living room to shimmering winter garden, draw children straight into the story, while Tim Mitchell’s lighting adds the soft glow of a picture book come to life. The audience was packed with families, and the reactions from younger viewers were often the highlight — gasps at the boy and Snowman soaring across the stage, shouts of delight at Father Christmas’ first appearance, and occasional bafflement (“What’s happening?!” cried the child beside me as three dancers dressed as a banana, a coconut, and a pineapple burst out of a giant fridge).
Structurally, the evening is slightly uneven. The first half feels much longer than it is, and a few scenes could easily have been trimmed or tightened. But the second half — the journey to the North Pole — is where the show truly comes alive, buoyed by pace, colour, and a palpable sense of adventure.
For all its quirks, The Snowman remains a lovely Christmassy introduction to ballet and dance theatre for young audiences. And crucially, the grown-ups won’t be bored either, especially those (not so) secretly delighted to revisit a story that has become a seasonal staple.