Category: Star Rating

REVIEW: The Fit Prince (who gets switched on the square in the frosty castle the night before (insert public holiday here))

Published on by marinacusie7202f8670Leave a comment

Rating: 5 out of 5.

A whirlwind of the campiest silliness and the most cathartic celebration of queer joy

If you enjoy cheesy rom-coms, cameos by queer icons, and Europop bangers, this show is the one for you!

‘The Fit Prince (who gets switched on the square in the frosty castle the night before (insert public holiday here))’, written and performed by Linus Karp & Joseph Martin and produced by Awkward Productions & King’s Head Theatre Productions, will be at the King’s Head Theatre until January 3rd, 2026.

With a plot reminiscent of those formulaic Hallmark Christmas movies – humble baker meets fit Prince – it explores clichés of the genre whilst subverting our expectations through incredibly witty humour and pure and unapologetic queer chaos. It’s also worth mentioning how refreshing it is to see the heteronormative nature of rom-coms being challenged by the company, who present Swedonia, the fictional kingdom where the action takes place, as a queer utopia where being gay is not part of the show’s conflict.

In this show, we follow the adventures of Aaron Butcher, a somewhat frustrated New York baker fighting to keep his family business afloat, played by Joseph Martin, who sets off to Swedonia with a commission to bake the cake for the upcoming royal wedding of Prince Elian, played by Linus Karp, who has to marry before Christmas to be able to inherit the crown to his kingdom after his father’s passing. Both performances are outstanding, swinging from deeply heartfelt moments to quick-witted ad-libs and masterful audience interaction. Praise is also due to the company’s ASM, Ciara Pidgeon, for a series of stellar appearances in supporting roles throughout the show. It was a delight to see this love story unfold within a whirlwind of the campiest silliness and the most cathartic celebration of queer joy.

The pace of this show never drops. There’s always more surprises looming at every corner, from celebrity digital cameos to top-tier audience participation (one must come to Awkward Productions shows knowing about the possibility of having to put on a horse head mask and be ready to jump on stage when prompted) and full-blown musical numbers masterfully choreographed by Sam Carlyle that had audiences drowning in hilarity.

James Appleby’s lighting design and the work of designers Stella Backman, Wez Maddocks, and Zack Pinset was pure eye candy. The sound design, by Kate Marlais, and soundtrack, original music by Golden Globe-nominated writer and producer Leland, elevate the piece and its comedy by including some great reinterpretations of pop classics that had the whole audience dancing and singing in unison. If you enjoy ABBA, you’re in for a treat!

After seeing this show, one can understand the cult following Awkward Productions has amassed over a relatively short time span, all their shows becoming a must-see at the Edinburgh Fringe after garnering a myriad of five-star reviews and multiple awards and accolades.

If you want to escape the stress and turmoil that plagues our current times and want to dive head-first into the holiday bliss, start by booking a ticket to the campiest fringe comedy in town at the King’s Head Theatre for an early Christmas treat. ‘The Fit Prince […]’ might well be the crown jewel of Awkward Productions.

REVIEW: Dracapella

Published on by jaybinghamLeave a comment

Rating: 4.5 out of 5.

A hilarious musical retelling of Dracula, with awesome sound effects and jokes for days! 

Suitable for ages 11+. 

Dracapella is a wildly entertaining show, with scarcely a moment passing without raucous laughter from the audience. The whip-smart jokes land with relentless energy, keeping the room eruptive from start to finish. This well-known, frequently retold tale of Count Dracula is reimagined through musical numbers, epic sound effects, and deliciously English humour, making Dracapella a wonderfully entertaining night out.

The ensemble is truly delightful, bouncing lines and actions off one another with remarkable ease. There is no weak link in this cast of eight; they hit their marks with precision and display outstanding chemistry. Standout performances come from Keala Settle as the overzealous Lucy and Ciarán Dowd in the dual roles of Dracula’s servant Sinister and the screamingly funny hospital assistant Van Helsing. Both deliver bold, outlandish performances that elevate the production. The entire cast demonstrates excellent comedic timing, allowing co-writers Jez Bond and Dan Patterson’s script to burst with zest and vitality.

Dracapella is a jukebox musical featuring hits such as “Somebody to Love,” “A Thousand Years,” and “Insane in the Brain,” all performed a cappella. Since the release of Pitch Perfect (2012), this vocal style has proven both challenging and highly enjoyable. While one or two musical numbers, such as “Eye of the Tiger,” feel somewhat unnecessary, the familiar favourites remain great fun to listen to.

The sound design is exceptional. Staying true to the a cappella nature of the production, the majority of sound effects are created vocally. Alexander Belgarion Hackett, also known as ABH Beatbox, fulfils the crucial and highly respectable role of generating the atmospheric and surrounding sounds. Gentle wind accompanies the opening of a window, intricate clicks and clacks bring Dracula’s frustratingly archaic lift to life, and, in a scene-stealing moment alongside Settle, the brutal “pulverising” of what might have been a fox is hilariously realised. Hackett’s sound work is impressively synchronised with the cast’s physical performances. If the jokes are the most successful element of the show, the sound design is an exceptionally close second.

Dracapella feels tailor-made for a lively Friday night audience. It is joyous entertainment, perfect for families, friends, date nights, or solo theatre-goers. The cast and crew are wonderful, and the enthusiastic atmosphere created by the audience only amplifies the show’s infectious fun.

REVIEW: Fireside Tales

Published on by Ke MengLeave a comment

Rating: 3.5 out of 5.

winter-warm imagination

It’s not a bad idea to be invited to a “fireside” in Wembley on a freezing, rainy Sunday morning. And although there’s no real fire in Punchdrunk Enrichment Wembley, imagination and community make up for it.

Fireside Tales is Punchdrunk Enrichment’s new immersive performance for children aged 7 to 11, welcoming young people (and beyond) into a local store that collects stories. The concept of a “story shop” is genuinely intriguing, reminding me of countless manga I read that sell similar concepts, such as Petshop of Horrors, xxxHolic, and Kino’s Journey. What’s even more compelling is the idea of characterising stories by elemental forces of fire, water, earth and air. Among these, fire stories are the most tricky: rare, mysterious, dangerous, but paradoxically carries with hope.

As usual, Punchdrunk is never stingy when it comes to props (Designer Mydd Pharo). The story shop, feels nostalgic, timeless and spaceless, as if it could be in anywhere, either in New York’s Chinatown, or a suburban Japanese snack shop, or even Shanghai in the early 90s. You can explore, touch and play with them: a fortune-teller’s crystal ball, a book, or an old telephone that many young kids nowadays may not even recognise. You feel you could spend hours in the shop. 

After a “fire story” is delivered but escaped, the crowd is led to the backyard, where a big bonfire stands in the middle. Shop staff Cosi (Rebecca Clark) and Ali (Amari Harris) tells their stories about home, childhood and friendship. Clark has a warm, resonant voice that is not only soothing but also intelligent; she lends Steve McCourt’s script a vivid, poetic texture. Harris on the other hand, is energetic, playful, and wonderfully improvisational, forging easy conversations with the children. However, their stories, feels merely adequate. It’s difficult to work out why the stories of Cosi and Ali matter to illustrate the importance of storytelling. 

Throughout the script, there are too many layers of meta-storytelling to demonstrate that significance. Yes, stories matter. Yes, they define us. Yes, they are the way of thinking beyond dialectics. But do the kids really know? Do they know why story matters? Our whole journey lacks that solid story to be defining and inspiring, and to justify its own magnificent world-building. At the moment, the whole production feels like unwrapping an onion, only to find nothing in the middle.

Besides, I also have another lingering concern. For an interactive, immersive performance aimed primarily at children, how does the production respond to kids who don’t behave in the “expected” way? At the show I attended, most children were participatory and collaborative. But I overheard one boy quietly say “no” when asked if they felt brave enough to explore the backyard. What would happen if he had been the one chosen for further interaction? Would the cast ignore him, or leave him alone? Or would they adapt? How does the show make space for children who are shy, anxious, or simply different from the participatory norm? On my way home, I couldn’t stop thinking about that.

Credit as follows: © Glyndebourne Productions Ltd. Photo: Andy Paradise

REVIEW: Glyndeborne’s Messiah at Royal Albert Hall

Published on by Ke MengLeave a comment

Rating: 4 out of 5.

delicate and precise

Transferred for one night only from Glyndebourne’s autumn season to the Royal Albert Hall, this Messiah under Aidan Oliver and the Glyndebourne Sinfonia (leader Richard Milone), with the Glyndebourne Chorus and soloists Soraya Mafi, Claire Barnett-Jones, James Way and James Platt, offered a strikingly intimate reading of Handel’s oratorio in a resolutely non-intimate space.

Before Glyndebourne, my sole understanding to Handel, especially Messiah, was quite Karajanian – grand, assertive and intense. This night refreshed my reading. Milone lead a Sinfonia that sounded lush, saturated and opulent, in stark contrast to Karajan’s metallic brightness that I was so used to. The playing was delicate and slightly sentimental, which matched Oliver’s conducting in a consistent way. On the way home with my friend, we discussed that even his gestures were notably gentle and tender as if he was tending a velvet carpet. This gave the sinfonia a soft and transparent texture going hand in hand with Handel’s dance rhythms and affective details. 

The chorus feels a little bit intentionally held back in a good sense. Their voices were carefully curated and dynamically controlled, offering a precise, nuanced texture. Even in the most climatic choruses (e.g. the Hallelujah when everyone in the hall stood up), it felt humanely joyful rather than overwhelmingly grandiose. Soprano Mafi’s voice was crystal-clear and pure. In the softer passages she leaned into a delicate light mix with uncanny evenness. Even in a venue like Royal Albert Hall, she mastered the art to let her voice linger in the air. Barnett-Jones, as mezzo, brought a complementary, modest energy: slightly weighted, but still carefully curated.

Tenor James Way sang with exquisite delicacy and nuance, sometime his soft timbre even shading towards an almost countertenor-like colour, deftly comforting. To support that exquisiteness, Bass James Platt offered his vocal depth in quality not quantity. He did not lean heavily into his chest resonance; thus, while his low notes were well-present and grounded, they never sounded over-pouring.

If you are already tamed to the Germanic aesthetics of the 1960s and 70s, this will be a challenge for you to refresh your reading of early Baroque music. You may feel reluctant and disoriented because the familiar Wagnerian weight of sonority has gone. In its place emerges a chamber-scaled world of transparency and rhetorical precision. This chamber-scaled sensibility, I reckon, would have worked even better at Glyndebourne’s own opera house rather than at the Royal Albert Hall that might be a bit “oversized”, and thus loses some focus on intimacy and fine engraving. However, for myself, I am so ready to go to Glyndebourne Opera House very soon.

REVIEW: The Boline Inn

Published on by jaketurnerchanLeave a comment

Rating: 3 out of 5.


“A well realised aesthetic vision overcrowds the show’s insightful narrative”

A woman looking for her missing uncle stumbles upon a strange hotel run by witches—welcome to The Boline Inn. It’s a cool premise, and the periodic eighties setting is a fun addition, allowing it to be soundtracked by a mix of live folk songs and Madonna. There’s a lot of whimsy in this play, paired with an interesting storyline which could make it something that really appeals to a specific audience. Like many of the films of its eighties setting, it has the ornaments of a cult classic itself. With some work on the clarity of the narrative, the show could really have the potential to reach this kind of appeal. 

The design of the play is all-round wonderful to look at, especially considering the smallness of the space. The decor on the walls was intricate and brought the atmosphere of the room alive. There was some fabulous use of materials, which made for a spectacular display when assisted by some great lighting choices. The costuming too was impressive and fashionable without feeling out of place. There was clearly a very strong aesthetic put together for the play. The concept is rich and fun. However, it felt sometimes, as though the visual element of the play preceded the plot. 

Many of its key plot points felt missed by the dialogic cluster of very varied language uses. Regional variation is definitely an addition to the show, but it felt as though some of them were speaking from different time periods, which felt inconsistent at times. If this was the intention, it’s definitely an interesting one, but the challenge of being able to communicate a narrative through such varied uses of language requires some serious precision. If the script was edited with a little more of this in mind, I think it could make for a really attentive story. 

Whilst the set was very appealing, the space itself often felt misused. Having the audience sat on diagonals to the stage made the room feel larger, but also meant the space itself was more limited. A gap between the audience also was not big enough to accommodate the actors walking through it, and made for a slightly uncomfortable viewing experience for some of the audience members who were sat close to it. Discomfort is fine, sometimes brilliant, if used productively, but this felt like more of an oversight and something that could have been solved by either widening the gap or just using offstage space. On stage, there was an odd scene change where a table is slightly tilted to signify something, though what this signified I could not decipher. Keeping it static would have felt more appropriate, or its movement could have been more seamless if done during blackouts. 

The cast were distinct in their performances, and you could tell they had a real love and understanding of their characters. Notably, Marley Craze was commanding with her performance of Betty, and Grace Mia Harvey and Natasha Jobst brought a humorous chemistry as the duo Val and Caroline respectively. Sometimes the characters leant a little on regional stereotypes, never particularly offensive, just a little bit lacking in consideration. With the limited space though, a lot of scenes involved having them all on stage, making the space a bit crowded. Cutting down some of the appearances of the cast, perhaps even the cast number itself, would help with the show’s clarity. 
The Boline Inn was an enjoyable watch, clearly with a strong vision. The storyline it offers has some good twists and insightful societal observations—they just get a little lost in the crowd. It would be fantastic to see this fleshed out a little further, making clear exactly what has brought each of the characters to the Inn, and why we too should come in.

REVIEW: Nutcracker

Published on by Savinay SoodLeave a comment

Rating: 4 out of 5.

“Traditional Festive Fun”

The Scottish Chamber Orchestra’s Nutcracker was not a performance of the famous ballet. Instead the piece chose to highlight the music and storytelling of the show, putting a spotlight on the musicians who are often tucked away in the pit. Whilst this certainly means there was much less in the way of visual spectacle compared to the ballet, the show was a fun and festive night out. 

The musicians, led by conductor Maxim Emelyanychev, played through the full score as opposed to the traditional Nutcracker Suite. This meant that lesser known sections of Tchaikovsky’s score were highlighted, which was nothing short of lovely. Unsurprisingly the musicians were all incredibly good at their instruments, and played together as a tight and focused unit. It was also a wonderful treat to hear the celeste being played live by Peter Evans, I feel that it is impossible to hear the celeste and not feel festive and enchanted. The score is more than strong enough to stand on its own, and it was lovely that the SCO took the opportunity to play through the full score. The choir helped tie it all together, with some angelic moments.

One would be forgiven for going into the show with a level of skepticism about how visually interesting it would be. The piece was, after all, composed to be a ballet. However, stripping back some of the spectacle, allowed the audience to appreciate the movement of the musicians. Stripped back visual spectacle does not mean there was nothing of visual interest. The different sections picking up their instruments and playing together formed a kind of dance all on their own. It was really wonderful to be able to track the movement of the music with the movement of the musicians, and it felt as though one could clearly follow individual musical lines.

My only sticking point with the show was the approach to the narrative. As stated earlier, the Christmas classic was composed as a ballet, and therefore there is a defined narrative that runs through the entire piece. A girl named Clara receives the titular nutcracker for Christmas, that comes to life on account of festive magic. She embarks on a successful war against the evil mouse king, and is thanked for her efforts with a celebration in the Land of Sweets. The approach the SCO took to the narrative was to have Associate Composer Jay Capperauld present a plot summary of each act before the musicians played. Whilst I understand why the decision was made, I couldn’t help but feel distracted at points, trying to map the plot onto the music. It needed either more signposting throughout the act, perhaps between movements, or no signposting at all, and the music should have been trusted to stand on its own. 

Something that struck me was the incredible diversity of age in the audience. Everyone from the elderly to young families had gathered to listen to Tchaikovsky’s timeless score. It was a timely reminder of togetherness and commonality during these dark winter nights.

REVIEW: Dancing Shoes

Published on by Finn BaldwinLeave a comment

Rating: 4.5 out of 5.

“Hilarious and Heartwarming – Without Ever Pulling Its Punches”

Dancing Shoes isn’t quite the play you might expect from its title. The words ‘dancing shoes’ suggest something light and playfully funny, and certainly not a story about addiction, recovery, and above all, loneliness. Dancing Shoes manages to be all of these things and more. 

The play starts with three characters who we find all midway through their own particular stories. All addicts who meet at a recovery meeting in a community centre, each of them at some point tries to give his backstory and is shut down. There is no exploration of why or how these men became addicts, what their lives were like during their period of addiction, and especially not what their lives were like before. Rather than diminishing the characters this refusal of elaboration only serves to give them even more depth. 

We meet Craig, Donny, and Jay as we would meet anyone. They are complete people with complete lives that happened entirely before we knew them. This clearly informs their every action and most importantly their every reaction. Constantly these men say or do something that comes across as bizarre, or paranoid, or reckless, and you understand—like you would with anyone—that it’s a reaction coming from some other place and some other trauma, though what exactly that is, you’ll never know. 

It makes it so easy to really grow to love these characters, flaws and all. Over the course of the hour as they become friends with each other, it starts to feel as if you’re becoming friends with them as well. 

The way Dancing Shoes navigates friendship is similarly hidden behind subtext and odd sentiments. One of the most heartwarming and affirming aspects of the play is what it has to say about how difficult it is to make friends as an adult and how the hardness of Scottish culture rejects acts of love and kindness between friends. It’s hard to find almost anything that can truly be said to tackle these issues, let alone with as much pathos and care as Dancing Shoes does. 

More openly, Dancing Shoes is about recovery. Recovery from addiction but also recovery from isolation and arguments and anxiety. It weaves between these ideas and themes with adept grace, knowing exactly when to hit every beat that it has to. 

Most impressive of all, Dancing Shoes manages all of this without ever feeling very heavy. The excellent comedic timing and the tongue-in-cheek fourth-wall breaks make the play skate by without ever getting bogged down in anything overly-sentimental or unearned. 

This is of course due in large part to the all around excellent cast. Lee Harris in particular delivers a stand-out performance as Craig, perfectly capturing the subtleties of his character which make him the heart of the show. Stephen Docherty also shines as Donny, bringing a physicality to him that makes him so endearing and rootable while also being completely believable. Donny feels at once like a fantastical joke and a kindly man who you might meet in the streets, or at a community centre. It would be wrong to not also mention Craig McLean, whose comedic talent completely shines through his role as Jay. 

Simply put, Dancing Shoes knows exactly what it wants to be and exactly what it should be, and it meets every criteria it sets out perfectly.

REVIEW: Swing Into Christmas

Published on by Ross BevanLeave a comment

Rating: 4.5 out of 5.

This orchestra will definitely prepare you for the holidays.

Any opportunity to go to the Glasgow Royal Concert Hall is a treat and watching The Down For The Count Swing Orchestra was no exception. This collective return each year with their annual Swing Into Christmas concert. As a first time attendee, I was overjoyed with the atmosphere they were able to create!

The enthusiasm of The Down For The Count Swing Orchestra was infectious. Even just little things like the musicians swaying along in moments when they weren’t playing or the smiles on their faces kept the audience in high spirits. This orchestra will definitely prepare you for the holidays.

Sammy Davis Jr., Duke Ellington and Ella Fitzgerald are just a few of the titans whose songs you’ll hear that really capture the spirit of jazz in this Christmas concert. “White Christmas” and even “Zat You, Santa Claus?” are on a set list well curated to provide a mix of jazz, swing and Christmas that will cater to everyone. The most awe-inspiring song of the night goes to “It’s Beginning To Look A Lot Like Christmas” sung by vocalist Lydia Bell. This was no simple rendition as it was performed in fast-paced 7/4 time. There is barely a glimpse of a moment for the individual singing to breathe and Bell’s breath control is exceptional. Her ability to remain conscious and not pass out during this song is a true feat. 

Saara Kaldma didn’t shy away from excellence herself and only got better with every song she sang. Her rendition of “Angel” could have convinced me she was one and was easily one of the highlights of the evening. She excelled in those quieter songs where it felt like she was having an intimate moment with the audience. I look forward to hearing her heavenly voice in future concerts. 

Marvin Muoneké brought the stage to life with the enthusiasm to which he took to everything he did. Any time he made his way onstage, did a little jig during an orchestral moment, teased the conductor, he brought the audience in on his fun. It’s clear this is a performer who loves what they do and does it well. Aside from being one of the happiest singers I’ve ever seen, he has a voice smoother than velvet. Muoneké provided a lot of highlights including “Mr Bojangles”, a song which he clearly mastered over the years but my personal favourites of his were “What A Wonderful World” and “You’re Sensational”. His voice just sets the listener at ease, an underrated quality in any performer as it’s really the thing that draws an audience in and makes them return to hear it all over again.

This orchestra is full to the brim with superb musicians. This was probably demonstrated best in the songs requested by audience members, some of which they had no time to prepare for and had to sight read. If the composer hadn’t mentioned it, you would not have been able to tell as they sounded beautiful and these were perhaps some of the best examples of true jazz. It felt like everyone had their moment to shine and there were points where some musicians would chime in and add their own flavour if they felt it was right. While I can’t shout out every musician in this collective (as the composer so thoughtfully took the time to do before the evening ended), Alex Clarke deserves a special mention. No jazz collective worth their salt lacks a strong sax player but Clarke’s dedication was undeniable, especially when recreating music note by note without any sheet music. A quick nod also to the inclusion of tubular bells in this orchestra as it just isn’t Christmas without some tubular bells. 

Whether you’re there for jazz, swing, Christmas vibes or all of the above, this group has you covered. The performers infuse passion into every number and ultimately, seem to be having a wonderful time doing it. Live music would be nothing without the people behind it and neither would Christmas. They have fully embodied the spirit of the season and I look forward to seeing them again in the future.

The Down For The Count Swing Orchestra sound amazing and make you feel even better. They brightened my week and they’re sure to brighten yours.

REVIEW: Beyond Van Gogh 

Published on by ruthiooLeave a comment

Rating: 3 out of 5.

Beautiful moments at a slightly painful price

Beyond Van Gogh promises an immersive journey into the mind of a genius, and to be fair, it does deliver moments of genuine charm. Whether it delivers £26 worth of charm is another matter entirely, especially once the Royal Highland Centre pops another £10 on top for parking. At that point, you’re already wondering if Van Gogh himself would have raised an eyebrow.

The visit begins with a corridor of backlit information boards. They contain plenty of words, although seeing them clearly is a challenge unless your retinas and attention span are both made of iron. They are especially unforgiving for anyone with dyslexia and don’t do a huge amount to help you feel truly connected to the man behind the art. You get a broad timeline and a sense that his life was quite tragic, but blink too slowly and you may miss the key bits. I didn’t check if accessible reading materials were available but if so this would address the problem and ensure nobody is left behind in this section.

Once you reach the main immersion room, though, things do improve greatly. This is where the magic happens. Van Gogh’s paintings glide, bloom and swirl across every surface like they have decided to audition for a music video. You can sit, you can wander, or fully commit and lie on the floor with everyone else who has decided to surrender to the experience. It’s relaxing, hypnotic and genuinely lovely. If the whole exhibition had been this room, no one would complain.

Sadly, once you leave this digital dreamscape, things become a bit more… children’s area of the garden centre. The sunflower room features a few large foam sunflowers and a wooden bridge, which is very much trying its best but does feel a little lacklustre. It leads straight into the gift shop, which is perfectly fine, although a little uninspired. Prints, water bottles, some cherry blossom themed items and not a great deal that feels truly thoughtful or connected to Van Gogh himself. A nice biography or two wouldn’t go amiss.

The whole experience is clearly an attempt to make classic art more accessible to new audiences, which is a fantastic idea, though the price point does somewhat defeat the purpose. You can’t help but consider the irony that Van Gogh lived in poverty, was barely recognised in his lifetime and struggled terribly, yet his work now fuels a global industry of ticketing fees and foam foliage.

Still, if you enjoy a bit of digital whimsy and don’t mind paying for it, the immersion room alone is worth seeing. Just don’t be surprised if you leave feeling that the art is magical but the trimmings are a little less starry, starry night and a bit more mild Scottish drizzle.

He's Behind You!

REVIEW: Beauty and the Beast: A Horny Love Story

Published on by jaketurnerchanLeave a comment

Rating: 4 out of 5.

He’s Behind You! Strike gold again with another hilarious pantomime for all to see

Pantomimes are a cultural staple in the UK, marking the lead up to Christmas with family inclusive interactive theatre. In Beauty and the Beast: A Horny Love Story, that family-friendly appeal is similarly broad, perhaps though for a different kind of family. 

Targeted to a more gay (particularly male) audience along with all the staples of classic panto, the result is a relatively raunchy parody of the classic fairytale. One could argue that with the 18+ rating, they could afford to be even raunchier! But the story itself is actually quite fresh, replacing France for north Scotland, creating a setting that is actually quite vivid in its world-building. Its primary settings are a motorway service station, the Beast’s castle (of course), and an oil rig. It feels believable, not forced, whilst also transforming some of its more ordinary locations into something more fantastical. The adaptable set design by David Shields really helped bring this to life. 

The humour throughout is clever without being patronising. It works really well as a reflection on gay culture that generally doesn’t rely on simply calling out references, but working them further into the story and punchlines. There is a strong sense of gay men being the main demographic of the show, and diversifying the voices involved in making it somewhat might broaden the show’s appeal even more. Some jokes about lesbians felt a bit outdated and contradictory to our better contemporary understandings of lesbian relationships and sexuality. But still, there is a real effort made to capture a wider demographic, which is commendable.

The musical numbers are some of the highlights of the show, with tight choreography by Carole Todd and songs by Jon Bradfield that are musically brilliant and lyrically hilarious. They felt regularly fresh, considered and referential in all the right ways. 

He’s Behind You!

The cast were all an incredibly talented bunch, bringing a camp energy to their performances which put the audience at ease enough to actively participate in the show. Laura Anna-Mead and Dani Mirels were excellent at this, as well as Chris Lane, who played the classic panto villain in a brilliantly hateful fashion. Props must also be given to Keanu Adolphus Johnson, who played the beast with a great, consistent use of voice, and with a bit of genuine heart which made his character all that more appealing. Matthew Baldwin as the panto Dame was an absolute highlight of the night, and in no doubt held the reins of the show with ease. He made the show comically self aware, and if anything were to go wrong, Baldwin could play it off with hilarity, making it a moment of addition to the show’s appeal. Truly a class act, it is clear why this has been his role for nine of the company’s Pantomimes. 

With Beauty and the Beast: a Horny Love Story, you are guaranteed a good night. The script just never lets up. It is clear that not only did a lot of work and focus go into making the show, but also a great deal of love, which is felt and extended throughout the room to the audience.