Category: Pantomine

REVIEW: Adult Panto Tour presents Beauty and the Beast

Published on by Ross Bevan5 Comments

Rating: 2.5 out of 5.

Big personalities, small laughs, this script ultimately disappoints

Adult Panto Tour presents Beauty and the Beast with a quartet of celebrated drag queens, Paige Three, Icesis Couture, Elle Vosque and Cheryl. All winners of different iterations of Drag Race, so much talent and personality in one place should have made this a clear success. Unfortunately, that is not the case.

To be clear, all cast members did well with what they were given. It is by no means down to anyone onstage but instead poor writing that let this company down. A twist on the tale as old as time, the narrative itself was not terrible. It just didn’t seem to have a clear idea of what was going on and what it wanted to achieve. One change to the source material is that we actually meet the Prince before he is turned into The Beast. This itself isn’t necessarily a problem, nor is the reason he is transformed as it initially translates well enough. Due to his poor treatment of Belle and the other women of the town, The Enchantress changes him. Now, the initial stance is that he is supposed to be a bit of a lecher, especially since “Womanizer” is what drag queen Paige Three sings as she uses her magic on him. However, it pulls a 180 and decides as we go into the 2nd act that The Beast is actually gay. It doesn’t exactly come out of nowhere as there are jokes made to set this up for act 2 but the change in how the character is played from act 1 to act 2 is drastically different. Which begs the question of why he was so forward with characters like Belle and Giselle to begin with. One could claim overcompensation but it just doesn’t ever really translate well enough in the writing to hit home. It also completely nullifies the point of why he was changed in the first place as is later mentioned at the end by The Enchantress herself. There were interesting elements such as The Beast’s castle being turned into a nightclub which, given the adult nature of the show and The Beast’s lecherous nature, weirdly sort of worked. While the nightclub setting did provide one of the best jokes regarding sticky floors and black lights, the humour is largely what lets this panto down.

On the whole, it just wasn’t particularly funny. Adult pantos can be a great opportunity for crude humour and NSFW themes to shine through in a medium that is generally family friendly but the writing still has to be intelligent. This is vital when it comes to the jokes. Constant swearing and random sex jokes without direction aren’t enough. What should be noted is that the funniest moments were often unscripted, which again highlights that the cast were giving whatever energy they could to salvage poor writing. The funniest scripted parts were ironically things that led to improvisation, such as The Enchantress having a controller to pause or mute certain moments of the show to interact with the audience or Giselle having a clipboard due to constantly forgetting her lines. The 4th wall breaks were often and actually very much appreciated. Usually, too many would feel like too much as it would take the audience out of the story. However, being taken out of the story actually wasn’t such a bad thing truthfully.

There were some highlights that acted as a saving grace to the production, the queens being one of them. All four drag queens really did their best to hold things together. Their big personalities and charm were definitely the standout of the entire evening and the only other thing on this level was of all things, the choreography. The dance numbers were slick and genuinely impressive. This was where a large percentage of the entertainment value came from and if the rest of the show had lived up this high standard, they really might have had something here. It is also worth mentioning that the lip sync battle was highly enjoyable and easily the best moment of act 1. At least it ended on a high before intermission. This is of course classically known for being a staple on Ru Paul’s Drag Race and it’s moments like this where drag and panto really go hand-in-hand in the best way. More moments like this would have welcomed. It should be said, once the 2nd act leaned into the fact it didn’t really know what it was doing with the plot, it did become much more narratively enjoyable but, in all honesty, it was a bit late to fully save itself.

Overall, Beauty and the Beast didn’t really meet expectations. Those who wish to attend purely for the known cast members may get something out of this but this company are sadly let down by a script that doesn’t cater to their talents in a fitting way. Hopefully, this group can work together again with a script worthy of them.

REVIEW: The Ugliest F***** Tree in Vanity Lane

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Rating: 3 out of 5.

Heartfelt and festive new writing from Glasgow’s newest theatre company

In the season where panto feels inescapable, it’s a treat to see something that can keep the festive humour, while still telling an emotional story. Inksplat Theatre Company’s first show, The Ugliest F***** Tree in Vanity Lane, is a fun two-hander that while rough around the edges, has a lot of heart.

Ugliest F**** Tree centres on George (Holly Ferguson) and Avery (Elena Gower), a couple who delight in their annual tradition of spying on their neighbours’ Christmas decorations and awarding one truly heinous foliage the Ugliest Tree award. However throughout the following year, while George stays fixated on the one tree that hasn’t been taken down (rather than writing that book she is supposed to be working on), Avery’s career starts taking off, her social life is thriving, and they begin to realise that perhaps their relationship isn’t as perfectly matched as they once thought.

The story is simple but well plotted by co-writers Kathleen Tierney and Noah McGarrity, filled with fun gags and zany one liners – particularly from Holly Ferguson’s George, who perfectly epitomises the weird tangents your mind takes you down when you have nothing to keep you busy (I’m totally convinced by the Jeff Bezos/evil mushroom argument she launches into around the mid-point of the show). Her peppy optimism always keeps the play in motion, and got a lot of love from the audience in a packed Old Hairdressers. Gower’s Avery is a subtler character that balances her clear love for George with her refusal to let herself be slowed down when seeking things she wants. Gower made this dichotomy delicate and meaningful, adding the heart underneath the jokes.

The show was smooth and pacy thanks to the slick work of the stage and tech team, taking us through a whole year in 45 minutes. It felt like every prop and transition had been minutely calculated, never distracting from the story being told but adding fun little moments. The flip chart was a particular masterstroke, creating a visual window into George’s mind. It was a pleasure to watch something where everyone clearly cared so much about creating the best show they could.

Ultimately I feel like the one let down was simply a lack of ambition in the story – it was a well-crafted story of falling out of love with your first big relationship, but it never really dug deep into the issues each character was facing, or the universal appeal of those challenges for an audience. George and Avery simply say goodbye and walk away from each other, but what has this year meant to them, and to us? Inksplat brands itself as a company with a focus on political theatre – so it seems odd that their first show sets itself so firmly in the domestic sphere. I’d love to see how they can apply their narrative and production polish to something with a larger premise.

Author:
Innes Goodall

Robin Hood and Maid Marion by PLESTED, BROWN and WILSHER; CAST; Harry Sweetman as Robin Hood; Samara Rawlins as Maid Marian; Alex Crandon as Sheriff of Newburyshire; Graham Mackay-Bruce as Nursemaid Nellie; Grace Kelly Miller as Willamina Scarlett; Jenny Perry as Fairy Ferne-A-Dale; Sophie McKinnon as Ensemble; Abby Fell as Ensemble; Finley Davies as Ensemble; Creatives; Directed by Amanda Wilsher; Choreography by Miranda Wilford; Musical Supervisor, Ben Barrow; Set Design, Mark Wlaters for Glitter Pantomimes; Casting by Brunton Casting; Shot at Newbury Corn Exchange, Newbury, United Kingdom on 28.11.25 by Rich Lakos Copyright Rich Lakos / ArenaPAL

IN CONVERSATION WITH: Amanda Wilsher

Published on by Tabitha JamesLeave a comment

We sat down for an exclusive interview with artistic director Amanda Wilsher to discuss Newbury’s Christmas Panto, Robin Hood and Maid Marian. The show comes from production company Plested Brown and Wilsher, which is made up of Clare Plested,
Adam Brown (The Hobbit, Warner Brothers; Pirates of the Caribbean: Dead Men Tale No Tales, Disney), and Amanda Wilsher.

This show runs at Corn Exchange, Newbury until 3rd January – Tickets here.

What excites you most about returning to the Corn Exchange to direct Robin Hood and Maid Marian this year?

Firstly, creating something magical and joyous for our audience! Robin Hood isn’t a glitzy glamorous Panto with a big dramatic reveal – so my task was to create many small moments of magic, pathos, silliness and belly-laughs which build to a gorgeous, riotous whole  – like when the little Robin magically appears and then flies across the stage, or the ‘will they won’t they’ get it together for Robin and Marian, or the overworked ensemble only just appearing in the right costume in the right scene at the right time. 

Secondly, Panto is a huge collaboration between myself, the actors and the creative team in rehearsal. So it’s exciting to bring all these elements together – great tunes with fantastic original arrangements; extraordinary choreography which is dynamic, funny, beautiful, breath-taking and ultra modern; wonderful characters brought to life by our exceptional band of actors; daft sound effects, gorgeous lighting and stunning, clever costumes. 

Backstage our tech team – crew, props and wardrobe – runs like a military exercise. And if you’re lucky you might catch our follow-spot operator dancing his pants off on his perch. The support we get from the whole Corn Exchange team including our nattily dressed ushers makes it a dream job to return to. 

You’ve previously directed Jack and the Beanstalk and Beauty and the Beast in Newbury. How does this new production build on your past work with the venue?

In Beauty and the Beast, we had teenage boys spellbound at the moment when the beast dies. It made me trust my gut that Panto doesn’t have to be an all-out bonkers, party atmosphere for two solid hours – there is room for a sprinkling of sadness, nuance, romance, pathos, quiet moments of realisation or connection between characters – but you have to earn those moments – AND keep the pace up! We love that light and shade, even in Panto. We try to iron out any plot/logic issues in our final draft, but from my previous experiences, I know that once we’re in rehearsal, anything can happen. Actors consistently offer you wonderful ideas, so you grab those and constantly try stuff out. Encouraging the actors, the costume designer, the MD, the choreographer to go with their instinct or make offers all adds up to a fabulously collaborative show, bringing the best of all our talents.

As one-third of Plested Brown and Wilsher, how do you and your collaborators develop the tone and style of a pantomime? 

We’ve worked together for over 25 years which has given us a shared language and a style and tone that we know works. When writing, we work from basic questions like: Is it funny, does it work, is it inclusive, is it logical for the character, can we show that in a reaction or action rather than say it in a load of words? But mostly we ask “how can we make it funnier?” 

We love to include local references and choose songs from different eras, sources and styles. This year – more than ever – we have had so many people joining in with the songs and dancing in their seats!

We love our pantos to have traditional elements (the ghost gag, ‘If I were not in Panto’ song, “he’s behind you!” etc) we like our Dame to be deeply loveable AND full of cheeky innuendo, we love our baddie to be redeemable, we love tradition and anarchy, we love it when things go wrong, and in performance we want spontaneity and freedom for the actors to play off the audience, so every night feels unique and special. 

What aspects of Robin Hood’s story were most important for you to highlight in this year’s adaptation?

The fun, Marians’ role, and the importance of pulling together to fight for a common cause. We love the medieval vibe and wanted to mix it up with a modern take. Our brilliantly evil “Sheriff who shafts us” has put taxes and tariffs on the good folk of Newburyshire, who are now so poor, they have to choose between heating and eating – like its 2025 not 1195. Robin has run away because the Sheriff was rude to him, so Marian steps up to lead the Merry Gang, with gusto and guts. Robin is a bit of an arrogant twit, but we wanted him to look and sound heroic, with the possibility of redemption with Marian. We wanted him to earn her love. And we always like to highlight love and friendships of all kinds. Fairy Ferne-a-Dale and Willamina Scarlett are both geeky in their own way, but find a magical friendship through their ability to speak fluent Squirrel…

I’m a big fan of prat falls, visual jokes, running gags and rubbish magic! I love it when things go wrong. The ensemble is pivotal to this anarchy, as our Merry Gang and the Knights. Due to the tariffs, they have to play many parts – resulting in them arriving on stage as the wrong characters in the wrong costumes at the wrong time. I love the tension, energy and mayhem this brings to the show.  

What do you hope audiences will take away from this year’s festive production?

Joy! Panto is a fabulous, joyous escape from the doom and gloom that might overwhelm us. It creates wonderful, shared memories for family and friends and is often a big part of peoples Christmas celebrations. There is so much joy in this years’ panto – in the dancing, the singing, the silliness, the outrageous characters and the risqué ad-libs  – it all adds up to a cracking evenings’ entertainment. 

@sarahhendriecreative / @buttonnose_tinytoes

REVIEW: Beauty And The Beast @ The Churchhill Theatre

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Rating: 4 out of 5.

A fabulous performance full of warmth, laughter, sparkle and joy from start to finish!

Balerno Theatre Company (BTC) kick off our panto season in Edinburgh this year with their production of Beauty and The Beast. Setting the story against the backdrop of Auld Reekie, we meet beautiful Belle McTavish, played by Kirsten Kegg, and her quick-witted mother, the local baker Dame Brenda McTavish, played by George Mackie.

They soon embark on a magical adventure to the cursed castle of Eidyn Palace, where Prince Sebastian (Mark Jones) has been transformed into a hideous beast by a beautiful enchantress (Debbie Spurgeon). Arriving one night at his lavish ball disguised as an elderly beggar woman, she offers him a rose in exchange for shelter. His cold-hearted refusal triggers his downfall, as she casts a powerful spell over the castle and all who live there. To break the curse before the last petal of the rose falls, the prince must learn to show kindness to those less fortunate than himself.

Meanwhile, the McTavish family and the townspeople face the wicked Baroness Morag De Bagg, played by Jessica Russell, who aims to seize control of the city in Prince Sebastian’s absence. Upon her invitation to the castle, Belle must teach the unhappy Beast to be a better person and break the spell in time to stop the Baroness’ plan to take over Auld Reekie once and for all.

Kirsten Kegg does a stellar job as our heroine, adapting well into the lead role with beautiful vocals to boot. George Mackie drives the show with high energy and excellent comedic timing as the pantomime dame. Teaming up at times with Michael Davis, who plays Hector, the pair bounce off each other brilliantly and deliver some truly hilarious exchanges.

Malcolm MacFayden, playing Squire Jimmy — the evil but slightly dim-witted sidekick of the Baroness — excels with well-crafted one-liners and slapstick humour throughout. Russell’s top-class performance as the Baroness is everything a pantomime could hope for, with superb vocals and slick interactions that encourage the audience to revel in all her pomp and splendour. Pantomime traditions shine throughout, with characters venturing into the audience and keeping the energy high from start to finish.

The strong ensemble executes Sophie Douglas’s choreography with confidence. Though the stage can feel a little crowded at times, it never detracts from the sheer talent within the chorus. Special mention goes to the younger cast cameos, particularly Roman Mitchell as Senga, who delivers a feisty, comical performance and engages the audience wonderfully in the dynamic duo of Senga and Hector.

Debbie Spurgeon does a great job as the enchantress, showcasing her undeniable singing and dancing talents during her song “Ripple”. Mark Jones brings sincerity and vulnerability to the Beast, creating lovely moments of humour and connection with Kirsten Kegg. There were perhaps one or two tuning issues during larger solo numbers, but these didn’t hinder the professional execution across the cast and creative team.

Musical Director James McCutcheon leads his four-part band with great energy and enthusiasm through a repertoire of upbeat and recognisable numbers. MM’s sound and lighting design are slick and impressive, supporting seamless transitions. The colourful costumes add warmth and charm, perfect for a winter’s night of magic and joy.

Lewis Baird’s directorial choices strike a strong balance, using projections for locations and key set pieces to create quick, effective transitions. Magical moments are cleverly woven into the dialogue and character interactions, and Baird’s trust in his talented cast is evident throughout. He should be proud of the high standard of work delivered.

This pantomime will leave you feeling ready for Christmas and is not to be missed. Catch it this week at the Churchill Theatre, running from 3rd to 6th December 2025. Don’t miss out on getting your tickets!

Tickets here.

REVIEW: Jack and the Beanstalk: Adults Only

Published on by Mark LloydLeave a comment

Rating: 4 out of 5.

Forget the goose and the harp, this naughty panto is the real golden treasure

The Kings Head Theatre is offering both a family-friendly and an Adults Only version of the classic tale, Jack and the Beanstalk. While this review focuses on the decidedly naughty edition, its underlying camp spirit suggests the family version will be just as fabulous. Expect all the traditional trappings of your classic panto. Over-the-top characters, superb silliness, and a constant, infectious energy, with the “Adults Only” label signalling extra helpings of innuendo, swearing, and adult themes.

The crown jewel of this production is Victoria Scone as Dame Trott. Scone absolutely shines, delivering a masterclass in Dame comedy blending high camp, strong physical presence, and fantastic dance skills. The entire cast is top-notch, though Pavanveer Sagoo warrants special mention for their portrayal of Pat the Cow. Sagoo’s commitment to impeccable cow mannerisms is a constant, hilarious highlight. Crucially for the “Adults Only” concept, the actors maintain the family-friendly intensity and exaggerated, kid-ready characterisations, which brilliantly amplifies the absurdity of the adult-themed jokes and situations.

Andrew Pollard’s script is a very strong, classic camp panto foundation. It’s peppered with beloved, traditional jokes but is cleverly updated with topical songs and gags referencing modern content. The musical numbers are well-selected and executed. Some, like a rendition of “Golden” from Kpop Demon Hunters, are destined to be big crowd-pleasing moments for children. Others are more tailored for the older audience, such as a version of “Sweet Caroline” changed into “Sweet Cow of Mine.”

A truly unnecessarily excellent dancing standard elevates the show. Sagoo (Pat the Cow) is clearly a powerhouse dancer, and Elliott Baker-Costello (Jack Trott) pulls off some wildly impressive, showstopping moves. This commitment to high-calibre choreography adds genuine entertainment value beyond the typical panto requirement.

While the set is admittedly minimal, perhaps leaving a little more to be desired, the costumes more than compensate. Victoria Scone’s wardrobe as Dame Trott is a highlight with a parade of fabulous and ridiculous outfits.

The “Adults Only” show features a different special guest each night. On press night, this was the delightful Kate Butch. Their role, however, is limited to a single moment where they deliver a song as the Golden Harp. While a fun segment, it’s one of the show’s less humorous and engaging parts. Prospective attendees who are solely fans of a specific special guest should be warned that their limited stage time may not feel substantial enough to warrant a visit based on their appearance alone.

All in all, Jack and the Beanstalk: Adults Only is a celebration of great, good camp panto fun. It’s highly recommended for anyone who wants a pure, unadulterated good time at the theatre. It delivers all the beloved trappings of the classic panto, seasoned with enough adult extras to heighten the fun factor. Just remember to leave the kids at home for this one!

Jack and the Beanstalk (Adult Only) is playing at the Kings Head Theatre until January 4th.

REVIEW: Dick Whittington

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Rating: 4 out of 5.

A riotous Britpop makeover that proves panto can be both nostalgic and brilliantly new.

The Oxford Playhouse has long been known for delivering lively, crowd-pleasing pantomimes, but this year’s Dick Whittington takes that expectation and spins it in an energising new direction. Rather than relying on the usual grab-bag of chart-toppers from the past twelve months, the creative team opts for an inspired soundtrack of 90s Britpop classics, a decision that instantly sets this production apart from the plethora of pantos I’ve seen before. The result? A show that not only delights younger audiences but gives parents and older theatre-goers a nostalgic reason to join in with the interactive sections, singing along with clear joy.

Director Toby Hulse leads this reinvention with confidence, reworking the story to reflect modern sensibilities without losing the warm heart of traditional panto. One of the most refreshing choices was casting Daisy Ann Fletcher as a female Dick Whittington, affectionately known as Dot, bringing a contemporary energy and relatability to the role. Equally notable was the inspired casting of Lucy Frederick as the Dame, a role almost always played by a man. Frederick’s comedic timing was nothing short of genius. Her playful engagement with the audience, especially one very bemused yet willing participant, produced some of the night’s biggest laughs and anchored the show with a charismatic presence that truly “sold the story.”

Another standout was Robin Hemmings, returning for his third consecutive year at the Oxford Playhouse. His performance as Liam Rattagher was a highlight, leaning fully into the Liam Gallagher persona with pitch-perfect gestures, swagger, and iconic Mancunian attitude. It was a brilliant creative touch that resonated across generations, proving that even the villains can be crowd-pleasers. The clever incorporation of local jokes, from congestion charge references to nods at Gloucester Green Market, further grounded the production in the Oxford community and drew knowing laughs throughout.

Visually, the show bursts with creativity. The costumes are vibrant and characterful, with Liam’s signature parka standing out as both hilarious and weirdly stylish. His entrance on a makeshift motorbike crafted from a VOI scooter was an inspired moment of low-budget brilliance, perfectly in tune with the playful irreverence of panto. The staging also leaned into sensory fun: bubbles, foam, and high-energy choreography filled the space with excitement, and children were especially enthralled.

Before the curtain even rose, the atmosphere was lifted by a spirited mini-performance from Fintan Hayeck, Macy Dermody-Blythe, and Stefanos Petri, who warmed up the audience and got everyone, adults included, on their feet. This early energy carried through the whole show, contributing to the sense of shared joy that makes panto such a uniquely communal experience.

Despite its fresh musical choices and contemporary framing, the production remains rooted in the traditional feel-good heart of pantomime. Its ultimate message, the importance of individuality, shines through clearly and warmly, tying the whole experience together with sincerity.

Dick Whittington at the Oxford Playhouse is a clever, heartfelt, and thoroughly entertaining reimagining of a classic story. With its smart Britpop twist, fantastic performances, and spirit of inclusive fun, it’s a riotous treat for all ages.

IN CONVERSATION WITH: Talya Soames

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We sat down for an exclusive interview with Talya Soames who plays Buttons in Cinderella And The Matzo Ball. Written by Nick Cassenbaum, directed by Abigail Anderson and brought to musical life by Musical Director Josh Middleton and his onstage band.

This show runs from 7th December 2025 to Sunday 4th January 2026 at JW3 – Tickets here.

How do you approach balancing Buttons’ traditional role as the lovable sidekick with the unique Jewish cultural twists in this reimagined pantomime?

I think I’m quite lucky because, unlike other magical or fantasy lands, Kosher Kingdom has tangible elements that I personally connect with through my Jewish background. That connection has helped me understand the world of the story on a deeper level, which means I can relax and just have a lot of fun! 

How do you keep Buttons grounded and emotionally resonant amid the comedy?

    Button’s is a human being after all, just wonderfully exaggerated. All the comedy is coming from his real emotions, which is what will keep him grounded. As long as I stay connected to what drives him, the comedy will come from a truthful place. 

    What has been your biggest challenge in bringing such high-energy clowning and warmth to a character that also delivers key emotional beats, like the duet with Cinderella?

      Buttons is rooted in genuine emotions. His feelings are real and valid, so even in the most heightened moment, I want to make sure I connect to those beats. A lot of his energy is from his love for Cinderella, wanting to impress her, please her and be a good friend. That sincerity is what will give the comedy its heart!

      As a performer in a uniquely Jewish pantomime, how do you think Buttons helps bridge the cultural and comedic elements for audiences who may not be familiar with all the references?

        Comedy is the perfect vehicle to invite people into something unfamiliar. Buttons & Cinderella act as the audience’s best friend and will hold their hand through the story. They set the tone of “If you don’t understand everything, that’s okay – just have fun with us!” 

        Pantomimes is, by nature, a very warm, open and generous space, both for performers and audiences. Our Panto is unique because it’s rooted in Jewish culture. So those who recognise the references will feel right at home and for those who don’t, they will be welcomed into our home, with warmth and open arms! 

        What was your process in developing Buttons’ physicality and voice to fit both the traditional panto world and the specific world of the Kosher Kingdom?

          Button’s and I are quite similar, mischievous, naughty and a joker – so I am just using my natural bonkers instincts. 

          How does performing in a live klezmer-infused pantomime shape your timing and interaction with both the band and the audience night after night?

          Nothing beats performing with live instruments, it makes everything feel very present and exciting! This is first time I’ve worked with an accordion in the band, and I’ve been fascinated. The sound is so magical and brings such a special type of feeling to the songs, that I can’t quite put into words – but you will understand once you hear it. 

          Also, I feel very grateful to be sharing the stage with such talented and generous performers and musicians. Their energy keeps every show fresh. I can’t wait to feed off them (and the audience’s) to make every performance unique.  

          IN CONVERSATION WITH: Elliot Baker

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          We sat down with Elliot Baker to talk about their latest show Jack and the Beanstalk: Adults Only. It’s a full-on, no holds barred spectacle packed with show tunes, slapstick and a cheeky twist on traditional pantomime fun! King’s Head Theatre returns after 2024’s five-star Cinderella for North London’s most scandalous panto.

          Tickets here.

          Elliott, congratulations on taking on the role of Jack! What was your first reaction when you found out you’d be leading the Adults Only panto this year?

          I was delighted! I’ve never worked at the king’s head before and knew how much of a success last year’s panto Cinderella was, so I couldn’t wait to get started. 

          Jack is often the heart of the story – brave, a little naive, but full of hope. How are you putting your own spin on the character this year?

          Well everyone knows Jack and the beanstalk so well; in a way I don’t want to break tradition too much- people have a pretty standard expectation when they come to watch panto of who and what the character(s) should be, so I just hope I’m balancing his naïvety and growing sense of bravery enough to read for the audiences and the kids especially

          Panto is such a uniquely British art form. What does it mean to you personally to keep that tradition alive in such an inclusive and modern way?

          I love panto, so getting the chance to create one ground up with a group of genuinely lovely creatives and cast is so much fun. I feel grateful that I can go through the festive period essentially just joking around, whilst also bringing joy to kids and families. Plus, our writer/director Andrew really strikes a fine balance between the traditional panto gags everyone knows and loves, whilst also staying up to date in terms of trends & jokes, as well as social awareness and inclusivity.

          There’s such a strong sense of community in panto – onstage and off. What’s the vibe like in the rehearsal room?

          Fantastic. I don’t think I’ve laughed this much in a rehearsal process, which is what you want in a panto. For what can sometimes be a stressful period (what with such a short rehearsal time and lots of lines/music/choreo to learn), my cast mates have made this a genuinely enjoyable and hilarious experience. Vic especially (who plays my mum Trotty) is literally a laugh a minute, whether they’re acting or not.

          Finally, in three words, how would you describe Jack and the Beanstalk: Adults Only?

          Hilarious, heartfelt and relevant.

           

           

           

          IN CONVERSATION WITH: Dan Clarkson

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          We sat down with Dan Clarkson to talk about his show Potted Panto, London’s longest running pantomime! Returning to Wilton’s Music Hall in December, get tickets here.

          Potted Panto has been delighting audiences for years – what keeps it feeling fresh for you each time you perform it?

          I feel one of the joys of any pantomime, is the ability to be able to sprinkle it with current pop culture, and Potted Panto is no exception. So although the core of the show remains the same we are always able to have so much fun adding in new references and the odd cheeky dig to a current politician or two! Plus I’m performing this year with ‘Gary Trainor’ and he’s a real life proper actor, he just played ‘Doc Brown’ in the Back to the future musical, and does actual vocal warm ups and everything! So he’s guaranteed to keep me on my toes! 

          The show is such a celebration of pantomime tradition – what do you think makes panto such a uniquely British and timeless form of theatre?

          I think it combines everything we (the British) love, wordplay, absurdity and a healthy dose of self-mockery. No matter what’s happening in the world, panto reminds us that it’s okay to laugh at ourselves. We can cheer on the heroes and openly boo the villains, sing our hearts out without caring if we’re in tune, and let our inner child loose as we leave our worries at the door. It’s all of us coming together in this absurd yet magnificent Christmas tradition. Almost makes you proud to be British… doesn’t it?

          Comedy timing is everything in a show like this. How do you strike the balance between clever writing and spontaneous fun?

          Wow, clever writing? I’m going to tell my mum you said that, she’ll be so proud! I think the key is to make it so you can never really tell where the writing ends and the spontaneous begins. I once had an audience member ask if we just made it all up on the spot, that’s when I knew we’d succeeded! For me, the best comedy feels alive, it keeps the audience guessing, and sometimes even us too!

          You’ve performed everywhere from London to Las Vegas – what feels special about bringing Potted Panto back to Wilton’s Music Hall?

          Wilton’s is such a magical place to be, especially at Christmas. You can’t help but be caught up in the festive magic as soon as you enter the building. And being an old music hall, it feels so intimate, with the audience right there in on the fun, it’s like panto the way it was meant to be, full of laughter, chaos and Christmas spirit.

          If Potted Panto had a message for the world right now, what would it be?

          It would be to remember that no matter who you are, or where you come from, we all share one thing in common , we all love to laugh. So keep laughing, especially when things feel a bit upside down. Panto reminds us that no matter how big the villains get, good will always triumph (usually with the help of a silly song and a man in a dress). It’s a celebration of joy, chaos and community, bringing generations together for a shared laugh and a healthy dose of Christmas cheer, which I think we could all do with now more than ever!

          FEATURE: Little M premieres at The Place Ahead of its 2026 UK Tour

          Published on by Ke MengLeave a comment

          How can we envision Hans Christian Andersen’s The Little Mermaid in our modern days? What message can it still carry? What transformation are we expecting? Co-directed by choreographer Anders Duckworth and writer Luke Skilbeck, Little M, a brand-new, bold reimagination of this age-old tale, invites audiences, especially those young kids, to be immersed into an underwater dreamscape interweaved with movement, puppetry and life-affirming storytelling. In this production, curiosity, confusion and identity all intertwine and flow together like currents beneath the sea.

          At The Place, the audience are immediately arrested by E.M Parry’s fantastical, atmospheric stage design where ropes are entangled with coral and turquoise set as the backdrop, with a bathtub on stage right covered with white sheet. On top of that is a miniature of the prince’s castle, standing high in-between human land and sea. A moveable iron bed sits in the centre of the stage, inviting the audience to peep into the underworld of mermaid.

          Duckworth’s choreography is especially striking, vividly capturing the fluidity of the dancers’ bodies as if they truly are creatures of the sea, floating, swift, but at the same time full of vibrant strength. The ensemble of four (Jose Funnell, Áine Reynolds, Naissa Bjørn and Tylee Jones) moves with an extraordinary smoothness that fuses dance and storytelling into something effortlessly captivating. Funnell’s performance, in particular, stands out in the scene where the little mermaid walks on land for the first time, showcasing her tentative, trembling steps convey both wonder and pain with touching sincerity.

          Nicole Raymond’s composition and sound design provide a melodic, ambient undercurrent that sustains the show’s emotional backdrop without overemphasising it. The music flows around the movement gently enough to guide the audience through waves of awe and joy.

          Designed by Scamp Niemz, the puppetry adds a more playful and cheering layer that delights both children and adults. A charming anglerfish puppet with its glowing “lamp” and sharp teeth quickly wins the hearts of the kids. I am especially impressed by Ursula’s eerie form that reminds me of the puppet of “No-Face” from the stage adaptation of Spirited Away. Following its London premiere, Little M will start its UK tour in 2026, with dates including Chichester Festival Theatre on Friday 16 January and Leeds Playhouse on Tuesday 17 February. Presented by The Place, the production continues its mission to celebrate difference and self-discovery through dance, puppetry and storytelling, bringing this reimagined underwater adventure to new audiences across the country.

          Tickets are available here.