Cinderella - Review

Richmond Theatre, Richmond

*****

Written by Harry Michaels & Alan McHugh

Additional material by Gary Wilmot

Directed by Gary Wilmot

Jak Allen-Anderson, Charlie Stemp & Stephen Guarino

Richmond Theatre’s Cinderella is an absolute fairytale of a pantomime. With countless recent years’ featuring in London’s Palladium panto, Gary Wilmot steps off the stage to direct at Richmond and he helms an absolute blast of a show!

Helen George takes the show’s starriest billing as the story’s enchanting Fairy Godmother, and with a stunning voice to match. The evening quickly launches into a cover of Petula Clark’s Downtown covered instead into Richmond. It's fabulously sung by all the cast and sets the tone for top-notch pantomime humour, brilliantly delivered.

Taking the honours as Buttons is one of the nation’s greatest musical theatre triple-threat performers, the incomparable Charlie Stemp. His is a brilliantly bashful, bungling Buttons, combining physical comedy with bursts of sensational dance numbers. Stemp has also polished his pantomime craft at the Palladium and it shows. Adults and children alike, he holds the audience in the palm of his hand, working the room magnificently. 

Stemp and George have to share the spotlight however with that venerable old fox, Basil Brush as Baron Basil Hardup . With 63 performing years to his name Brush knows his way around a panto and while the kids in the audience may have been confused as to what the role was of this on-stage ventriloquist’s *mouse* (I kid you not, I heard them call Basil a mouse. Oh yes I did!), the grown-ups groaned with laughter at every one of the puppet’s trademark “Boom Booms”.

Did I mention dance? Well it helps that the show is choreographed by the world-class legend that is Stephen Mear. Rarely (maybe even never) are out-of-town pantomimes performed with such classy choreography, as Mear coaxes brilliance not just out of Stemp, but from his entire ensemble. Don’t ask how they fit into the narrative, but the cutest routine of tap-dancing polar bears, drilled to pawed perfection, has to be seen to be believed!

The show’s baddies are wickedly played by Jak Allen-Anderson and Stephen Guarino as the ugly stepsisters, American actor Guarino making his panto debut! The pair are great fun, well-earning the evening’s boos.

Hope Daw, Tom Major and Michael Lin respectively play the relatively straight roles of Cinderella, Prince Charming and Dandini, with all delivering fine work that makes the evening soar.

The second act rolls out the comedy highlights, with a hilarious tongue-twisting scene, matched only by a hilariously and (almost) perfectly co-ordinated take on the physically demanding If I Were Not At Hardup Hall Someone Else I’d Rather Be. Equally, the show’s penultimate number, the little know ABBA gem, Gimme Gimme Gimme A Slipper That Fits Me is another festive gem!

It’s not often that one sees pantomime of top-notch West End quality for the cost of a local ticket. Don’t miss Cinderella at the Richmond theatre. It’s a Christmas cracker! 

Runs until 4th January 2026

Photo credit: Ian Olsson

Cinderella And The Matzo Ball - Review

JW3, London

***

Written by Nick Cassenbaum

Directed by Abigail Anderson

Talia Pick and Debbie Chazen

Cinderella and the Matzo Ball marks the JW3rd pantomime from Nick Cassenbaum at London’s eponymous community centre.

Talia Pick plays the titular heroine in a fantastic performance. Talya Soames as Buttons is equally strong. 

Yet again however, Cassenbaum and his director Abigail Anderson choose not to cast a man (or men) in drag for some of this classic fairytale’s famously monstrous roles. There’s scope for hideousness (which both adults and children adore) in Cinderella’s famously ugly sisters and while the competent Libby Liburd and Rosie Yadid dutifully fulfil their sisterly responsibilities with strong turns, the show would have been so much funnier if they’d been replaced by men in frocks. At long last however Debbie Chazen is perfectly (and appropriately) cast in a JW3 panto as the story’s Fairy Godmother.

It is also hard to fathom why Cassenbaum has upended the traditional narrative by making the usually anodyne (but charming) Prince Charming, in this iteration, a money-grabbing villain. There’s enough antisemitic tropery in the world as it is, without such a troublingly unhelpful blunder.

For the most part Cassenbaum's gags are weak. The one truly sparkling gem of humour is his take on Wicked’s Popular, reworked here into Secular. Josh Middleton’s musical adaptations are excellent, with Yael Lowenstein’s choreography similarly an impressive treat in the tight confines of the JW3 space.

Children will love the show with its strong acting and visuals - Cinderella's transition into her ballgown is a delight - and parents will enjoy their kids' laughter. But this show could have been so much more.

Runs until 4th January 2026

Photo credit: Charlie Flint

Beauty and the Beast a Horny Love Story - Review

Charing Cross Theatre, London

****

Written by Jon Bradfield and Martin Hooper

Directed by Andrew Beckett

Keanu Adolphus Johnson and Matt Kennedy

Writers Jon Bradfield and Martin Hooper have transferred the classic fairytale over the sea from France to the Scottish village of Lickmanochers. With the town of Suckmacoch nearby, the scene is perfectly set for one of the capital’s filthiest, funniest pantomimes this year.

Deliciously de-Disneyfied, and with a wonderfully improbable storyline that is best not subject to too much scrutiny, it’s no real spoiler to say that Keanu Adolphus Johnson’s gay Beast does follow the tale’s traditional path, winning the love of Matt Kennedy’s virginal Bertie.

Matthew Baldwin’s Dame Flora (she’s “easily spread”) is a blast, with an array of costumes that include a fabulous take on Angela Lansbury/Mrs Potts’s teapot. Dani Mirels (as Juno) and Laura Anna-Mead (Bonnie) provide the evening’s sapphic love interest.

As Bradfield and Hooper spoof many of the cartoon’s numbers, there’s a terrific rip-off of Belle to get things started, with a sensational Be Our Slave featuring later in the show. Quite how the narrative winds up in the North Sea (with In The Navy transformed into On An Oil Rig) is a conundrum but frankly it doesn’t matter. The dialogue is slick, sassy and coarse, with knowing theatrical nods and references to satisfy even the wisest West End Wendy. The shows production values are fab. Andrew Beckett’s direction is strengthened by David Shields’s simply sumptuous sets and Carole Todd’s imaginative choreography.

Leave the kids at home and treat yourself to a classy night out that's as camp as Christmas.

Runs until 11th January 2026

Photo credit: Steve Gregson

Jack and the Beanstalk - Review

Palace Theatre, Watford

****

Written by Steve Marmion

Directed by James Williams

Jack and the Beanstalk at Watford Palace Theatre makes for fine family fun. From its opening number of Alicia Keys’s Empire State of Mind that delightfully transforms its haunting New York lyric into Watford, the show is off to a cracking start. 

Imad Eldeen puts in a fresh-faced turn as Jack but it is Watford’s favourite dame, Terence Frisch now in his 13th season at the venue, who drives the show’s comedy as Jack’s mum Dame Trott. The other on-stage powerhouse  is Lauren Azania as Fairy ‘Nuff whose energy and vocals are never less than excellent. The evening’s boos are well earned by Jessica Dennis as the Giant’s assistant Judi Henchman while the enormous puppet Giant is boomingly voiced by Stephen Fry.

This is a lovely local panto with a fabulously drilled troupe of local young performers providing the dance and some modest acting backup too. Don’t ask why, but somehow Rent’s Seasons of Love is shoe-horned into the narrative, with credit to the entire on-stage company for delivering gorgeous vocals to that number (and great work too from Associate Musical Director Dominic Bull on keys). There was a smattering of recent pop hits included, that may well have bypassed the over 40s in the audience but certainly had the kids grinning in recognition. 

Frisch’s banter is spot-on throughout, with his dress that sees him as local legend Elton John sprawled across a piano, one of the evening’s highlights.

If smiling, laughing kids and adults are the hallmark of a great pantomime, then Steve Marmion and Watford Palace Theatre have delivered a fabulous show.

Runs until 4th January 2026

Wicked Witches Panto For Adults! - Review

Pleasance Theatre, London

**

Written and directed by Shane Shayshay Konno

Gigi Zahir

Leaping onto Wicked’s broomstick, Wicked Witches is the 2025 panto from the Pleasance. The producers have chosen to split the show into two separate versions, the Adult show plays to a strictly 18+ audience in the evenings while the Family iteration plays to the earlier houses.

Creating classy pantomime is a craft. Typically a show will play to a family crowd, frequently comprising school parties, and the humour has to be pitched very carefully. Saucy and edgy enough to make the grown-ups chuckle, but nothing that would make Granny (or the Headteacher) really blush. That's what a good family panto is all about - Oh yes it is!

Adult panto is a different ball-game, a no-holds-barred genre in which the gloves are (or should be) off. Its language and humour can be, and are expected to be, filthy. In adapting his family panto for an adult audience however, writer/director Shane Shayshay Konno has overreached himself and fallen very short. 

For an "adults-only show", the gags are lukewarm and the filth, smut and innuendo that would be expected, is equally tepid. With a script that is more eye-rolling than eye-watering, the evening turns out to be more of a gender-focussed, politically-correct picket line than the festive, bawdy, offensive entertainment that it should be.

To be fair, there’s solid work from both Gigi Zahir as the Wicked Witch (with stunning makeup) as well as Eleanor Burke as the Good Witch. Zahir turns in a cracking take on Adele while Burke deliciously hams up her Glinda-esque character. 

The much vaunted celebrity cameos come from the (brilliant) Ian McKellen as Toto the dog, lobbing in as many canine-themed puns as his brief slot allows, and Jeremy Corbyn MP. Gracing the show as the Wizard of Oz-Lington, Corbyn's acting skill is matched only by his ability to win a general election. There is however a delicious irony in seeing a failed national politician (locally of course, Corbyn is revered by a majority of Islington's munchkins who think he's wonderful) play one of literature's most celebrated charlatans.

Booking tickets for the Family version is strongly recommended. With a two-hour running time to fill, it’s gotta be better than this!

Runs until 22nd December

(Family version runs until 28th December)

Photo credit: Ella Carmen Dale

Dick Whittington and his Cat - Review

Hackney Empire, London

****

Written by Will Brenton

Directed by Clive Rowe

Clive Rowe

This year’s pantomime at Hackney Empire is Dick Whittington, with local legend Clive Rowe stepping up to the double honours of helming the show as director as well as playing (Dame) Sarah The Cook.

The story of course is a perennial treat and there is fine work from Kandaka Moore in the title role, Hackney’s favourite Kat B as Dick’s cat Tommy. Graham Macduff is King Rat, Tony Timberlake is Alderman Fitzwarren, Aryana Ramkhalawon is his daughter Alice, Beth Sindy throws some magic into the proceedings as Fairy Bowbells and Max Mirza is Sarah's comedy sidekick, Idle Jack.

But, as ever, the night belongs to Rowe who this year surpasses himself with perhaps the best panto ever to grace the Hackney Empire’s stage. Amidst literally countless costume changes Rowe drives the evening’s comedy at a ruthlessly hilarious pace, all the while drawing great work from his supporting cast. The gags are fast, frequent and perfectly timed with none more risqué than cook Rowe entering dressed as a pepper-mill and telling the audience that he’d bought it on grinder (geddit?).

As Rowe pitches his humour perfectly, leaving both adults and children in stitches of laughter, act one closes to the scene of this greatest of dames, clad on this occasion as the ocean liner “Hello Buoys”, and singing Don’t Rain On My Parade from Funny Girl. Rowe’s credentials as an Olivier-winning star of musical theatre are long established and to see him nailing this Streisand classic is to witness genius in action. Not only that, but by including such a classic gem of a song, the show also introduces its younger audience to a taste of Broadway’s golden years. No bad thing!

Act two plays out to include our heroes stranded on Ee El Pie Island after a storm at sea. This turns out to be a psychedelic ashram (yes … me neither) which while being of tenuous relevance to the storyline, allows the show a chance to reference music from Bowie, Beatles, Madness, Elton John, The Kinks and Joan Armatrading. Absolute delight for the grown-ups. 

Cleo Pettitt has done fine design work both in the show’s scenery and in Rowe’s spectacular gowns. In the pit, Alex Maynard directs his five-piece band with finesse.

Dick Whittington at the Hackney Empjre, with Clive Rowe’s damesmanship, is one of the finest traditional pantos in town.

Runs until 5th January 2025

Photo credit: Mark Senior

Red Riding Hood and the Big Bad Pig - Review

JW3, London

***

Written by Nick Cassenbaum

Directed by Abi Anderson

Debbie Chazen

London’s Jewish cultural centre JW3 makes its first foray into the seasonal (and traditionally secular) world of pantomime with a schmaltzified take on the classic yarn of Little Red Riding Hood. Taking an obscure connection into the evil world of corporate greed (ergo the Big Bad Pig) and an even more obscure connection involving the dame’s flatulence, a curious tale emerges that revolves around saving the Jewish festival of Chanukah.

This is a story that the little-ones will enjoy for sure, but if a pantomime is to truly be family entertainment then there needs to be some comedy meat (and sauce) for the grown-ups to laugh at too. Debbie Chazen puts in a game performance as dame Mother Hoodman, but she lacks both the heft and the cojones to make her character soar. A decent dame needs (ideally) to be played by a bloke with the recognised gravitas that enables us to laugh both at, and with, his drag-festooned character. It’s a tough, complex, role to fulfil and one can understand the producer’s casting challenge: Who is there in the Jewish acting world that can fit that bill?

Elsewhere the company all put in a fine shift, Tiago Fonseca’s Bubbah being a classy display of physical comedy in particular. Josh Middleton (who has also arranged the show’s excellent musical accompaniment) directs his 3-piece band from on high.

This is a noble effort from JW3, albeit more purimspiel than pantomime. If there are future plans for a seasonal panto to play here then their script and casting needs a lot more work if they are to succeed in delivering festive fun for all the family.

Runs until 7th January 2024

Photo credit: Jane Hobson

A Pissedmas Carol - Review

Leicester Square Theatre, London

***

Directed by Katy Baker

The company of A Pissedmas Carol

For the festive season at the Leicester Square Theatre, A Pissedmas Carol sees half a dozen actors (no cast list, no names) tell Dickens’ classic morality tale, but with a twist. Each night one of the company has consumed a copious amount of alcohol before curtain-up and takes their part in the show blind drunk.

To be fair, the whole gig has been well rehearsed and there are liberal quantities of modern Xmas songs woven into the narrative to ease the evening along. The pissed performer is, by their nature, a loose cannon on stage and so all the cast are dab hands, not only at their rehearsed lines but also at improvising their way around their inebriated colleague as the story unfolds.

The songs are well sung and on the night of this review (20th December) the drunk female performer sung a spectacular solo number particularly beautifully. The classic yarn is cantered through at a cracking pace too, which all makes for an eclectic, lively show.

Set your expectations low. These are low-brow festive frolics that lack the raunchy filth of a truly adult pantomime. But if you approach the show fuelled with a modest amount of alcohol yourself, you won't be disappointed. Fun times! 

Runs until 7th January 2023

Mother Goose - Review

Theatre Royal, Brighton and Duke of York’s Theatre, London

*****

Written by Jonathan Harvey

Directed by Cal McCrystal

Ian McKellen as Mother Goose

Ponder a while and reflect on the image above. It is a picture of Sir Ian McKellen, one of this country’s finest actors and in this photograph by Manuel Harlan is captured the humour, genius and lifetime of experience that defines him. Now read on…

Mother Goose that has played a week at Brighton’s Theatre Royal before transferring to London’s Duke of York's Theatre and then touring into spring next year, is pantomime at its finest.

In one of those rare theatrical events that sees a Knight become a Dame, Ian McKellen leads the company in a spectacular take on the title role. It’s seventeen years since McKellen last did panto and it’s as if he’s never been away. He holds the role flawlessly in a production that has been built for a long haul on the road and thus denies him both Christmas references and moments of localised fast-moving audience interaction. Nonetheless, his majestic dame captures Goose’s stunning faux-glamour alongside some fabulous moments of self-deprecation and immaculately timed repartee. Heck, McKellen even sings, and for just a brief moment, as he lapses into Tomorrow from Annie that’s prefaced by an autobiographical reference to his 8-year old self seeing panto in Bolton, there is just a hint of poignant pathos as we recognise the man’s remarkable longevity and his place in the pantheon of Britain’s greats. But written by Jonathan Harvey this is panto not pathos - and McKellen’s ability to roll through a script that references Mother Goose’s beaver as well as her (his?) haemorrhoids, hallmarks Harvey's carefully crafted text that will tickle all ages. References to Lord Of The Rings abound, and there’s even a splash of Shakespeare on the closing moments, as McKellen’s Dame treats us to Portia’s “Quality of mercy” speech from The Merchant Of Venice.

McKellen’s supporting cast are outstanding. Sharing the celebrity-billing alongside the venerable Dame is standup comedian John Bishop (mocked throughout by McKellen as not being a ‘real’ actor) as Mother Goose’s husband Vic, making a wonderful foil to McKellen’s high-octane campery. Oscar Conlon-Morrey steps up to the comedy role of the Gooses’ son Jack. Conlon-Morrey is a dab hand at panto, heroically handling Jack’s buffoonery and slapstick.

Oscar Conlon-Morrey, Ian McKellen and John Bishop

The production’s musical references are a delight, with frequent references to classic musical theatre shows - none finer than the Act Two opener of One from A Chorus Line (I can’t explain its relevance to the plot either) with a delivery that is as brilliant as it is hilarious, with Dame Ian providing the number’s visual (if not vocal) climax. It is left to Anna-Jane Casey however, playing the goose of the show Cilla Quack to deliver not only the odd wry menopause gag, but to take the roof off the Theatre Royal, firstly with a brief take on All By Myself, before a simply stunning version of Don’t Rain On My Parade. It is often said that pantomime is, for many children, their first experience of live theatre. In this production they’re also being given a taste of some of Broadway’s finest songs. A nod here to musical director James Keay whose arrangements, delivered by his economically sized three-piece band, are spot on. Lizzi Gee’s choreography is a treat, delivering dance routines (just wait until you see Sir Ian tap!) that has been lavishly designed and immaculately rehearsed.

Anna Jane Casey, John Bishop and Ian McKellen

The show heads into the West End next week and it is a far more traditional pantomime than London’s other highly-priced festive offering. McKellen’s Mother Goose is not about million-dollar costumes shoehorned into a formulaic variety show. Far from it. This is a pantomime created in the mould of hundreds of shows that are playing across the country right now. It just happens to have one of our finest actors ever giving one of his finest performances. What’s more, when the show departs London in February to tour England, Wales and Ireland , all its tickets are affordably priced too.

It is not often that one can say that a pantomime is “coming to a town near you soon”, but this one is. And when it does, don’t miss it.

Touring until 1st April 2023

Photo credit: Manuel Harlan

Mother Goose - Review

Hackney Empire, London

*****

Written by Will Brenton

Directed by Clive Rowe

Clive Rowe

Hackney Empire is celebrating its 120 year anniversary with Mother Goose, an absolute cracker of a festive pantomime. Hackney’s (never hackneyed) perennial Dame, Clive Rowe returns in the title role (and in the director’s chair too) and he has never been better on this stage.

Set in Hackneywood, a parody on Tinseltown, the storyline is a simple fable of love and humanity being worth more than fame and money, with an appropriately 21st century morality pitch that shows up the shallow selfie-seeking values of the mobile phone age. There’s goodies and baddies, slapstick, perfectly pitched comedy and a slickly choreographed company, all contributing to an evening of glorious entertainment.

Kat B (another Hackney regular) is great in the comedy role of Mother Goose’s son Billy, Tony Marshall is fun as a hapless landlord (the chocolate bar routine between those two is one of the night’s comic highlights), while Rebecca Parker as the Demon Queen is as evil a villain as you could hope to boo at.

In this special 120th year there’s also a fine tribute to the history of the Frank Matcham venue, with a 5-minute whirl in the second act that pays a nod to some of the greats who’ve graced that stage - from Marie Lloyd and Harry Houdini through to Morecambe and Wise and Louis Armstrong.  

But the evening of course belongs to Rowe, whose years of panto experience allow him to direct the show brilliantly. His stand-up and put-down work is perfectly timed, a hallmark of his consummate professionalism. Rowe’s costumes are gorgeous (credit to Cleo Pettitt) and as for his voice, when Clive Rowe gets his chops around Ain’t No Stopping Us Now and later on, What Becomes Of The Broken Hearted, one is reminded quite what a star of musical theatre he is.

The sets by Imagine Theatre are colourful and lavish the five piece band under Renell Shaw are equally wonderful. Steeped in and proud of its local community, Hackney Empire’s family pantomime does not get better than this!

Runs until 31st December

Photo credit: Manuel Harlan

Dick Whittington and His Cat - Review

Watford Palace Theatre, Watford

****

Written by Andrew Pollard

Directed by James Williams

Watford's festive offering is a delight.

Taking the traditional tale of Dick Whittington who overcomes all odds to become Lord Mayor of London, Andrew Pollard's iteration sees Dick and his cat TumTum (Louise Cielecki) journey from poverty to the mayoralty via Alice Fitzwarren's Flan Factory and even Xanadu (yes, me neither..)

Anyway - this is pantomime and no-one cares too deeply about the plot so long as the baddie ultimately gets their come-uppance and Dick and Alice can live happily ever after and at the risk of a spoiler, that's exactly what happens!

Reece Evans plays the title role, with his magnificent Dick ultimately vanquishing the equally magnificent Natasha Lewis as the villainous gangster rat, Verminia Yobb. 

Terence Frisch, Watford's resident Dame is sensational as Sherrie Trifle, with stunning costumes and top-notch banter. Frisch's first-act tongue twister, a masterclass in the alliteration of F words (all clean of course, this is a family show) proves a comedy highlight of the show.

Rhiannon Bacchus as Alice proves feisty and demure in equal measure before falling for Dick's charms, and with a Beatles megamix for the grown-ups and loads of slapstick and "he's behind you!" for the kids, this pantomime has it all.

Cleo Pettit's designs and gorgeous backdrops are a delight, while Ryan MacKenzie's three piece band keeps the musical tempo pulsating.

On until the new year, Dick Whittington and His Cat is quite the perfect Xmas treat.

Runs until 2nd January 2022

Frostbite, Who Pinched My Muff? - Review

Eagle, London

*****

Written by Gareth Joyner
Directed by Robert McWhir

It is grim to have to publish the a review of a show that has currently had to dim its lights, firstly due to the imposition of Tier 3 restrictions upon London and which now languishes under the quasi-lockdown of Tier 4.

But rather than mourn the closure of Frostbite, Who Pinched My Muff? this review will celebrate the show’s genius and look forward to its intended revival and return to Vauxhall’s Eagle, when lockdown is lifted. 

There are few finer, sassier, wittier, nor more perceptive directors on London’s fringe than Robert McWhir, who crafts Gareth Joyners filthily yet lovingly created script into an eye-wateringly funny two hour whirlwind of adult-focused Disney-esque spoof.

The deliciously camp plot centres upon the evil Demon Frostbite (Nathan Taylor) and his attempts to lure Dame Herda Gerda (Dereck Walker) from her life of purity and chastity, to become his sidekick. Joyner’s story proves as wonderfully fairytale as the season demands – and is only enhanced by a McWhir’s stunning company who deliver pantomime perfection. Immaculate timing, audience interaction (to the extent that masked social-distancing permits) executed with pinpoint perception and moments of excruciatingly hilarious embarrassment, all make for an evening of entertainment that is absolute succour to a world that has been denied much to laugh at for the last 9 months. Not just Taylor and Walker, but their five fellow performers are all at the top of their game, with special mention to Bessy Ewa’s Greta who as dance captain, makes sure that William Spencer’s imaginative choreography is drilled to perfection in the tiny performing space.

Definitely not for children, Frostbite, Who Pinched My Muff? Is quite simply a theatrical treat whose careful crafting has transformed gloriously filthy lowball comedy into high-class entertainment. When it returns to the Eagle’s back garden, it will be unmissable!

Aladdin - Review

Hackney Empire, London

****

Written and directed by Susie McKenna

Clive Rowe

There’s something truly magical about panto at the Hackney Empire. Writer/director Susie McKenna delivers her 20th (oh yes it is!) festive production with a show that captures the diversity of her London patch, yet cleverly avoids cultural appropriation and all the while managing to maintain the joyous irreverence that makes pantomime such a glorious British Christmas tradition.

Set on the fictional island of Ha-Ka-Ney, McKenna’s company of Mare Street stalwarts launders the age-old Middle-Eastern cum Chinese fairytale into a 21st century iteration that it is anything but washed out. Obeying the genre’s conventions meticulously, Gemma Sutton is the titular Principal Boy (as McKenna lobs in a bravely scripted swipe at gender-fluidity too!). Sutton of course, as this website has long proclaimed, is up there with the best of her generation in UK’s musical theatre and it shows! She brings poise and precision to the role, capping it off with her wondrous voice. Her leading the company in The Greatest Showman’s This Is Me is spine-tingling.

Making his return to Hackney’s panto after a short sabbatical, Clive Rowe shares the bill-topping honours with his wonderful Widow Twankey. Showmen aside, Rowe is arguably The Greatest Dame of our time. His presence is sublime with razor sharp wit and precision timing making each one of the corniest, smuttiest gags sparkle. Rowe’s gift for pantomime is a rarity and his beautifully frocked, twerking Twankey is worth the ticket price on its own.

In time-honoured tradition, McKenna lampoons the lunacy of our leaders, with Brexit and assorted Tories coming in for some well-deserved flack. But if there is one criticism of the piece, it is the bias. Given the current debacle that is manifest throughout our political class, there is no reason to have let Labour off the hook quite so lightly.

Other top-notch Hackney regulars comprise the classy company. Notables are Tameka Empson, released by the Beeb from her duties on Albert Square to play the Empress, Julie Yammanee’s Princess, Kat B's energetic Genie and Tony Timberlake’s dastardly Abanazar. Heck, they’ve even roped in stage legend (and Mckenna’s missus) Sharon D. Clarke to voice a Goddess!

Whilst the show’s budget may not be as palladian as some, not only are Hackney’s tickets affordable but the show's professionalism and panache are a treat, well earning it the moniker of “London’s No 1 panto”. McKenna continues to create the very essence of pantomime - a show that is firmly rooted in its local community, yet packing a hilarious punch with technical excellence. (And did this review even mention Steven Edis' music, the stunning flying dragon scene or Richard Roe’s super-slick tap-dance routine?)

Meanwhile Clive Rowe's Widow Twankey, masquerading as Cher and serenading Abanazar with ABBA’s Fernando, will stay with me for a long, long time.

Runs until 6th January 2019

Photo credit: Robert Workman

Dick Whittington - Review

London Palladium

****

Written by Alan McHugh

Music by Gary Hind

Directed by Michael Harrison

Nigel Havers and Charlie Stemp

Following critical and commercial success with last year’s Cinderella, QDOS Entertainment have again invested millions to make Dick Whittington the biggest, boldest and glitziest pantomime on the London circuit with what looks like a degree of overkill, taking a sledgehammer to crush a rat perhaps.

Alan McHugh’s script covers all the bases in the narrative – Dick meets Alice, is charged with ridding London of rats, is falsely charged with theft, goes to Morocco, comes back a hero and is hailed Lord Mayor – but the plot is subsumed to the procession of ‘turns’ hired to do their own excellent thing.  It’s normal in a pantomime to have a comedian, but here there are three – Julian Clary’s campery, Gary Wilmot’s clowning, Paul Zerdin’s ventriloquy – as well as Elaine Paige’s vintage vocals, and street dancer Ashley Banjo and his troupe Diversity who are rather oddly interposed as the Sultan and his bodyguards

This is an extraordinarily boldly costumed show which must have kept lurex manufacturers on overtime for months: at every scene change the 22-strong ensemble appears in a different saturated hue, with elaborate hats and a tonnage of feathers, and there are flashes of theatrical wit like in Fitzwarren’s sweetshop where mannequins pay homage to the ‘Beautiful Girls’ in Follies – or possibly ‘Springtime for Hitler’ – with headdresses and appendages made from giant liquorice allsorts.  

As the Spirit of the Bells Julian Clary's costumes are so elaborate with crystalline accessories they almost hamper his movement - although he doesn't need any excuse not to do choreography because he's nearly as bad at is as he is at singing although he’d defy you to point it out. But he's endlessly, wickedly funny especially at the expense of Elaine Paige who he refers to constantly as E.T.   His bone dry delivery, feigning ennui at the whole process is perfectly timed.

Julian Clary

There are a lot of Dick jokes, and a surprising number of very old jokes which haven't been brushed up for 2017: political topicality is limited to one glancing reference each to Brexit, Trump and Mrs May.  The audience love the old stagers - Nigel Havers is game for a laugh as a sort of self-propelled running gag about wanting a bigger part and being too old for it. Paige is markedly better at the singing than the comedy acting but the parodies of her greatest hits are well written, and Wilmot reminds you that he is every bit as much a musical theatre performer as a comedian when the routine he does naming every tube station to the tune of the can-can is the hit of the show.

But despite being fourth on the bill - and this really is a variety show - the best performer is the ventriloquist Paul Zerdin, British winner of America's Got Talent. Both his routine with his boy dummy Sam, and the words he puts in the mouths of the volunteer kiddies up on stage are terrific, and he's the closest this rather strange confection comes to traditional pantomime.

There is no top over which this production won’t go, whether it’s the rich innuendo in Clary’s script, or the tremendous mechanical effects of an animatronic giant rat, flying London bus or shipwreck where Clary and Charlie Stemp as Dick parody My Heart Will Go On from Titanic while sailing over the heads of the audience.  

At this point any visiting producer with a regional pantomime budget must have lost the will to live.

Ashley Banjo and Diversity

Runs until 14th January 2018

Reviewed by Johnny Fox

Photo credit: Paul Coltas

The Gruffalo - Review

Lyric Theatre, London


****

Adapted from the picture book by Julia Donaldson and Axel Scheffler

The Cast

Returning to the West End for a remarkable fifteenth year, the Tall Stories Theatre Company again bring Julia Donaldson and Axel Scheffler's tale of delightfully scary goings on in the deep dark wood, to London's Lyric Theatre.

The stage is vividly set with trees and logs as we meet Ellie Bell's Mouse who bravely and imaginatively scares off all her would-be foes with tales of the terrifying Gruffalo. Charlie Guest puts in three deliciously deplorable appearances as a fox, an owl and a snake in turn - with the kids in the audience being whipped into frenzies of participatory delight as the story unfolded.

Making up the cast of the three, Steve McCourt metamorphoses delightfully into The Gruffalo for the story's thrilling conclusion. It all makes for great seasonal children's theatre, with Rachel, my 5yo assistant for the visit, being thrilled throughout, declaring the Gruffalo her favourite character of them all!

If there's one criticism it's that the current casting carries just a hint of gender stereotyping with not one but four predatory males out to consume Bell's female mouse. Even so, at just under an hour's length The Gruffalo makes for perfect entertainment for the little ones, with Tall Stories promising a sequel of The Gruffalo's Child for next year!

Runs until 8th January 2017

Photo credit: Tall Stories

Peter Pan - Review

New Theatre, Cardiff


****


Adapted from the original story by J.M. Barrie by Jonathan Kiley and Alan McHugh
Directed by Tudor Davies

Matthew Chase and David Hasselhoff

Peter Pan at Cardiff's New Theatre is a fabulously traditional panto. J.M.Barrie's original work has been helpfully truncated (no Mr and Mrs Darling in this gig, though the canine Nana has been reprieved) and the fun and games kick off with the eponymous Peter flying in to the Darling nursery. Pixie dust duly sprinkled, Peter Pan is leading the kids across the skies to Neverland.

Matthew Chase puts in a sweetly assured turn as Peter, though the production is heavy on young women in the featured supporting roles - Emma Prosser's Tinker Bell, Julie Cullen's Wendy, Natalie Winsor's Tiger Lily and last year's The Voice performer Stephanie Webber as Mimi The Mermaid all vie for Peter's attention. The four are a delight in the story's telling, however they make for just a hint of eye-candy sexism in this Cardiff narrative that marks a distinctive contrast from London's more metro-sexual offerings. Likewise, the banter in Wales is nothing stronger than knocking local city rivals Swansea and Newport. There's not a reference to Trump or Brexit to be found and you know what? In this most turbulent of years, it actually makes for a refreshing change to enjoy a politics-free panto. 

Mike Doyle's dame, Mrs Smee, is a polished delight. A local talent, Doyle's masterful comic presence is a saucy treat that keeps just to the right side of acceptability. His gags are as corny as they come but he works the crowd wonderfully - and as a big feller, spoofing himself as a Bond movie title-song singer named Burley Chassis (another local hero, think about it) truly tickled.

Of course a good Peter Pan is all about the star-billed talent playing the dastardly Captain Hook – and to be fair, they don’t come much bigger or more dastardly than David Hasselhoff. 'The Hoff', as he is known, has featured on the UK's pantomime scene for some years now and his involvement is remarkable. He certainly doesn’t need the money - and my word a panto season is hard work too - but for an American (former mega) star to immerse himself in this most quintessentially British of theatrical traditions, along with the self-deprecation that accompanies the part, is just brilliant. Baywatch (referenced by Doyle in a Pamela Anderson, bikini sporting, fat suit) and Knight Rider both get a mention and even if those shows' appeal is to the parents rather than kids in the crowd, Hasselhoff clearly revels in the boos - which briefly turn to cheers as along with Doyle he corpses his way through a tongue twisting routine about pleasant peasant pheasant pluckers.

And as Hasselhoff is flown off stage (spoiler alert) to be fed to the crocodile, he sings My Way. The cheesy, guilty, ridiculous pleasure of the moment is quite simply off the scale!

It's a Qdos Production, so as expected the flying, the scenery and the dance routines are all top notch. Veteran director Tudor Davies helms the affair with a profound understanding of both the material and his provincial audience.

It all makes for fine fabulous family entertainment and if you’re in Cardiff over the festive season, it’s unmissable too!

Runs until 8th January 2017

Photo credit: Brian Tarr

Potted Panto - Review

Garrick Theatre, London


****


Written by Daniel Clarkson, Jefferson Turner and Richard Hurst
Directed by Richard Hurst

Jefferson Turner and Daniel Clarkson

Potted Panto, the Olivier nominated offering from Daniel Clarkson and Jefferson Turner, the pair behind Potted Potter that was acclaimed on both sides of the pond, returns for a fourth seasonal West End run at the Garrick Theatre

As the title suggests, Clarkson and Turner bring together all that's fun in the traditional Xmas pantos currently playing up and down the land, condensing the mayhem into a fun-packed 80 minutes (plus interval).

The pair spoof classic yarns that include Jack And The Beanstalk, Cinderella and Sleeping Beauty, filletting the stories down to the bare bones and between them, donning a variety of costumes as they double-handedly tackle all the show's key characters. Clarkson's dumb but handsome Prince Charming makes for recurring chuckles as Turner valiantly tackles the title roles of the various tales. Memorable moments include Clarkson's take on a pantomime cow, as well as his remarkable interpretation of (both of) Cinderella's ugly sisters.

It's all bonkers and rather brilliant, as the pinpoint comic timing and moments of ridiculous slapstick have the kids (and a few of grown ups too) in the audience in hysterics. Guest reviewer Layla (5yo) thought the whole show was "really good" and couldn't stop laughing throughout - while her brother Arthur (3) was held rapt from start to finish.

All the usual panto routines are all there (oh yes they are) and with plenty of audience participation and sweets (and super soakers) being sprayed from the stage, the whole gig makes for fabulous family fun. Note that many dates over the holiday season are already sold out, so book now.

Runs until 15th January 2017

Photo credit: Geraint Lewis