Panto Review - CINDERELLA - GEORGIAN THEATRE ROYAL, RICHMOND

 

Stepping into The Georgian Theatre Royal for this year’s pantomime, Cinderella, feels like entering a perfectly preserved festive tradition — one that has been polished, sparkled, and joyously supercharged for the 2025–26 season. Running until 10 January 2026, this year’s production carries a fresh burst of energy thanks to a largely new cast and the creative leadership of Jake and Jo Mawhinney, who not only penned the script but also see Jo taking the helm as director.

One of the production’s most delightful quirks comes from the Ugly Sisters — Griselda (Joshua Payne) and Luretia (Aiden MacFarlane) — who double as the show’s musicians. Bursting up from the orchestra pit with impeccable comic timing.

Cinderella, played by Lucy Booton, shines with a beautifully controlled singing voice and warm stage presence. Dan Crookett is perfectly wicked as the Stepmother, inspiring hearty boos at every opportunity, while Sally Ann Staunton brings gentle charm and sparkle as the Fairy Godmother.

Buttons, performed by Matthew Fordy, and Prince Charming, played by Jack McGarry, maintain the show’s momentum with upbeat energy and easy rapport with the audience.

A personal highlight was the surprise appearance of Cinderella’s father, played by Domonic Goodwin, who joins the action through a video call. As one of my all‑time favourite Dames, it was a treat to see him — even if only via screen.

The young company of Cinderella’s mouse friends add another layer of charm, delivering impressively polished acting, singing, and dancing throughout.

This Cinderella has everything audiences have come to love about Richmond’s pantomime tradition: big laughs, catchy songs, local jokes, plenty of audience participation, and, of course, the beloved rituals of throwing knitted items onto the stage and trying to catch a flying Tunnock’s Teacake.

A sparkling, joy-filled production that captures the magic of pantomime perfectly — and keeps the Georgian Theatre Royal tradition alive in style.

Panto Review - GOLDILOCKS AND THE THREE BEARS - DARLINGTON HIPPODROME

 

Darlington’s festive offering this year is a bold twist on a classic tale, and it delivers in style. Goldilocks and the Three Bears isn’t often seen on the panto circuit, but this production proves why it deserves a spot. Crossroads Pantomimes, the world’s largest panto producer, brings its trademark sparkle and scale to the Hippodrome stage.

Don’t expect the story of the Three Bears with Goldilocks with porridge, chairs and the lumpy beds — that section appears perfectly and quickly. In Panto Land, the setting is a circus, which turns out to be the ideal playground for a show like this.

Josh Benson, as Joey the Clown, gets better every year — and he certainly hasn’t disappointed this time. His physicality is incredible, his comic timing perfect, and he delivers a brilliant all-round performance that keeps the audience laughing throughout.

Brendan Cole was certainly a surprise for me. As Baron Von Bolshoe, he was the most perfect baddie — commanding, charismatic and outrageously entertaining. He weaves in touches of his Strictly Come Dancing flair during the dance numbers, giving his villainy an unexpected polish and charm. He’s exactly the kind of panto villain you secretly want to love, even as he leans into his wicked ways.

Jamie Jones as Dame Betty Barnum commands the stage with spectacular presence. His outrageous costumes are a show in themselves, each one more eye‑catching and elaborate than the last, and he pairs them with exceptional timing and razor-sharp delivery. Jones brings a warmth and mischief to the Dame that keeps the audience eagerly waiting for his next entrance.

Taziva‑Faye Katsande as Goldilocks was radiant and instantly likeable. She brings a warm, bright energy to the stage, with a confidence that anchors the story beautifully.

Gordon Marquez suddenly transported the audience into a real circus ring with his incredible juggling skills, executed with precision and flair. His routines were perfectly interwoven with the story.

With slick precision, “The Twelve Days of Christmas” was suddenly thrown into the mix — and it was the best version I’ve seen in years. Fast, funny, and flawlessly executed, making it a perfect moment for all ages.

Overall, this year’s panto is vibrant, well‑paced and full of festive fun — a confident reminder of why Darlington’s Christmas shows continue to delight.

Goldilocks and the Three Bears runs until Wednesday 31st December.

Panto Review - THE WIZARD OF OZ - PEOPLE'S THEATRE, NEWCASTLE

 

Written by Tom Whalley, we are taken to the land of Oz in true panto style, with our Fairy/Dame, Dorothy, Toto and all your other favourite characters. We do not start in Kansas, but Heaton. Which, it seems, also has a tornado problem that leads Dorothy on her adventure down the Yellow Brick Road.

Director Pamela Willis used every opportunity to bring a song for each character that joined the quest, making an all-singing, all-dancing, extravaganza. The end musical number was particularly tight and well performed by the whole cast. Musical Director James Hedges, along with Bass player Richard Rutherford and Drummer Lewis West, created the perfect score for the whole show. Choreographer Julie Bowman and Babe Choreography’s Jill and Julie Taylor (JETS) created magical and charming dances the spurred the story onwards. The set looked incredible, with a swirling Yellow Brick Road and iridescent bubbles to bring the magic of Oz to life. Everyone involved should be very proud of the innovative way the great and powerful Wizard was presented. Costumes and Wigs by Sarah Pearson, Georgina Purvis and Wiggy were exceptional and really helped bring out the different character personalities.

The show was fun and packed with well-loved songs. Although some characters did struggle a little with the more challenging songs they had been given, all the cast are loveable and fun in their different roles.

The whole audience was charmed by the Student Dancers, Junior Team and ‘Babes’ Team as they glided through different scenes. The Adult Chorus brought out much fun as various side characters, such as talking trees and even a very believable David Attenborough. Alison Carr as Tin Man and Jess Chapman as Scarecrow made a humorous pairing throughout. Rosa Cole was simply hilarious as the very expressive puppeteer and voice of Toto. Erin Hattrick was pitch-perfect as the enthusiastic Dorothy.  Steve Parry was wonderfully warm as the Wizard. Rachel Potts seemed rather underused as the funny, sweet and perfectly-costumed Winkie the Monkey. Joe Moore sang the audience into his power and kept us there for the whole show as the Cowardly Lion. Hattie Eason was exceptionally wicked, and yet a musical dream, as The Wicked Witch of the West. Ian Willis is not someone I would usually imagine as Glinda The Good, but is certainly fantastically fun as the slightly bawdy, and very fabulous, Dame.

A delightful journey ‘over the rainbow’ for all the family. If you click your heels together three times you can see The Wizard of Oz at The People’s Theatre until 21^st December 2025.

Panto Review - BEAUTY AND THE BEAST - PLAYHOUSE, WHITLEY BAY

 

Walking into The Playhouse this December feels less like stepping into a theatre and more like coming home. With Steve Walls back at the helm for his fifteenth year, this year’s pantomime—Beauty and the Beast—radiates that familiar, comforting warmth audiences have come to love, wrapped in a dazzling layer of sparkle and festive cheer. From the moment the curtain rises, it’s clear this isn’t just a show; it’s a tradition, a celebration of laughter, magic, and community spirit that Whitley Bay holds dear.

Steve Walls as French Frank this year is as much a fixture of the Whitley Bay panto as the iconic Spanish City that stands proudly nearby. His quick wit, effortless rapport with the audience, and trademark energy make him the heartbeat of the production—a reassuring presence that guarantees fun for all ages.

Dani Harmer, beloved as CBBC’s Tracey Beaker, steps into the role of Belle with a charm and innocence that feels perfectly pitched. From her first entrance, she exudes warmth and sincerity, and her almost instant sensitivity to the Beast adds real emotional depth to the story. Harmer’s performance is complemented by incredible costumes that sparkle under the lights, enhancing the fairy-tale magic.

The Beast, played by Chris McLeish, commands the stage with physical strength and vulnerability, making his scenes with Belle truly heartfelt. Credit goes to director Harry Downes, who keeps the story tight while packing in all the traditional panto fun. Jo Walls’ choreography adds polish, with vibrant routines that keep the energy high.

Comedy comes thick and fast thanks to Daniel Mawston as Patsy the Cook, bursting with energy and a dazzling array of costumes. Villainous duo Gaston (Stylianos Thomadakis) and Le Shue (Simon Barnard) delight younger audiences with hilarious, physical performances.

For me, a panto at Whitley Bay wouldn’t be complete without Mary Proud. Having grown up in a range of panto roles, this year she shines as the elegant and delightful Fairy of the North. She exudes charm as she narrates the story throughout, guiding the audience with grace and warmth while adding that extra sprinkle of magic to the production.

Traditional elements are all here—audience interaction, plenty of mess, and the famous water guns—plus a clever twist (no spoilers!). And of course, the bench needs no introduction, delivering one of the most anticipated laugh-out-loud moments.

The ensemble and panto babes deserve applause for their energy and sparkle in big musical numbers. This year’s talented team includes Alfie Harris, Simeon Barrow, Erin Reynolds, and Millie Roundfell, who help create the vibrant atmosphere that makes this panto a festive highlight.

This year’s Beauty and the Beast at The Playhouse Whitley Bay is everything a pantomime should be—funny, heart-warming, and full of festive magic. With an amazing cast, dazzling costumes, and all the traditional elements audiences love (plus a few surprises), it’s a show that guarantees laughter and joy for the whole family. This panto is yet another triumph for Whitley Bay—and a perfect way to celebrate the season.

Beauty and the Beast runs until 3^rd January 2026

Panto Review - JACK AND THE BEANSTALK - DURHAM GALA

 

The first panto of the season always feels special, and for me, Durham Gala is the perfect place to kick things off. This year’s production of Jack and the Beanstalk, written by Gary Kitching and directed by Jacob Anderton, delivers everything you’d expect from a Gala panto—local flavour, traditional charm, and a fresh twist on a classic tale.

From the moment the curtain rises, the energy is infectious. Jude Nelson, now a firm Gala favourite, shines as Muddles. Full of mischief and armed with impeccable comic timing, she wins the audience over in seconds. Her rapport with the crowd is a joy to watch.

The story itself is strong, as Gala pantos always are, but this version of Jack and the Beanstalk adds clever new turns to the familiar tale.Jack, Kieran Michael, brims with charisma, while Adam Donaldson’s perfectly villainous Professor Hangclaw brings just the right amount of menace. Susie Barrett as Bronwen the cow is a delight—sparkling with personality and charm.

Lucy Davis impresses as Bridget, the Professor’s daughter and Jack’s love interest, with a voice that truly stands out. And then there’s Sarah Bulmer as Mrs Tinkler—larger than life and guaranteed to keep the laughter flowing throughout.

The first act features a great transformation scene as the beanstalk shoots skyward, reaching the clouds and transporting us to the land of The Giant. During the second act, the unique setting takes on a futuristic feel, adding a bold and imaginative twist that keeps things fresh and exciting.

Adding to the magic is the live band, which gives the whole production a vibrant, dynamic feel. Lighting brings plenty of colour and sparkle, creating atmosphere and enhancing the magic of key moments. Costumes are bright and imaginative, perfectly capturing the fun and tradition of panto.

This is a panto that ticks all the boxes: a strong storyline, memorable characters, and plenty of fun for all ages. Durham Gala has once again set the bar high for the festive season.

Jack and the Beanstalk at Durham Gala until 31st December

Theatre Review - BLEAK EXPECTATIONS, PEOPLE'S THEATRE, NEWCASTLE

 

As the title may suggest, Bleak Expectations by Mark Evans is mainly a humorous mash-up of two Charles Dickens’ novels - ‘Bleak House’ and ‘Great Expectations’ - with multiple references to many other classic Dickens’ stories besides. The show follows the optimistic ‘Pip Bin’ as he is thrown from his happy childhood and hurled headlong through various plot points from the aforementioned books. The whole show is very tongue-in-cheek, with plenty of absurdity to keep the audience laughing through even the more serious moments.

Director Steven Wallace saw to it that the audience’s experience of the show was nowhere near bleak. It almost felt like a pantomime of Dickens, minus the audience participation (except through laughter). There was nothing that was not, or couldn’t become, an even funnier joke than before. It was also really nice to see everyone, including stage hands, act like the props were ‘real’ e.g. an anvil was treated as heavy throughout. The simple black-and-white set had an almost cartoonish feel (designed by Kaila Moyers), a blank canvas to highlight the humour. Lighting (designed by Claire Brissenden), set the scenes well and added to the shows’ interpretation. The Wardrobe team, Linda Girling and Heather Allan, had a mammoth task with such a large cast, dressing all of the many characters with exceptional skill. The Props team (led by Sam Sanford), also created some great monotone objects that fitted the overall style and tone of the show perfectly and really added to the show and its humour.

The whole cast had very good comic timing as joke upon joke landed perfectly. The Ensemble (Adam Lowe, Ruariri Reed and Hannah Mitchell), added a great deal of support to other cast members and brought out their own well-timed laughs. Hannah Kisiala was charming as Flora Dies Early.  Emily Jeffery was steamy and yet also sweet as Ripley Fecund. Paul Carding had the audience giggling as the various Hardthrasher Siblings. Sam Burrell was hilarious as Bakewell Havertwitch. I had no idea what the joyful Lauren Alllison would say next as Harry Biscuit, but I felt sure it would involve swans. Steve Robertson was wonderfully different in his two roles of Skinflint Parsimonious and Broadly Fecund. Glen Kingston was endearing as the accident-prone Thomas Bin, while Helen Parker played his wonderfully mad widow, Agnes Bin. Of their children, Erin Thwaites time on the stage was far too short as the delightful and droll Poppy Bin, Ellie Carroll was amusing as the hardworking and innovative Pippa Bin and Thomas Kelly was not just funny but also lovable as the ‘central' character, Pip Bin. Roger Liddle had the whole audience engaged with his tale from the moment he set foot on stage as the narrator of his own life story, Sir Phillip Bin. As his nemesis, Sam Hinton, as Gently Benevolent, clearly had fun as a character who was anything but - his comedy timing was exceptional and a joy to see on the stage.

Harrumble! Bleak Expectations; a suitably silly romp through Literature. Showing at The Peoples Theatre until 22^nd November.

Theatre Review - THE SIGNALMAN - DARLINGTON HIPPODROME

 

Set in 1880 on a desolate stretch of railway line, The Signalman, adapted from Charles Dickens’ classic ghost story, offers a compelling and atmospheric evening of theatre. This production took me into a world of isolation, psychological unease, and supernatural dread with remarkable precision.

The set design is particularly striking. On one side, the raised, cutaway interior of the signal box reveals the confined, solitary life of the Signalman. Opposite, the shadowy entrance to the railway tunnel looms ominously, evoking a sense of danger and the unknown. This visual contrast cleverly mirrors the play’s central tension between reality and the spectral.

Chris Walker delivers a powerful performance as the Signalman, capturing the character’s quiet torment and growing paranoia with subtlety and emotional depth. His every glance toward the tunnel builds suspense, drawing the audience into his haunted world.

John Burton, as the Traveller, provides a calm and grounding presence, acting as both confidant and observer. Their exchanges are natural and compelling, anchoring the ghostly narrative in human emotion.

Brief moments of humour break the tension, offering the audience a welcome breath before the suspense builds again. These lighter touches are well-placed and never detract from the story’s eerie tone.

The supporting cast, though appearing briefly, makes a strong impression. Bruce Chattan brings warmth and authenticity as the Innkeeper, while James Morley (Inspector) and Adam Mort (Tom) add urgency and emotional weight in the play’s final scenes. Their contributions help flesh out the world beyond the signal box, adding realism and resonance to the story.

Lighting and sound design are used to great effect. The echo of unseen trains and the subtle use of mist and shadow around the tunnel create an immersive soundscape that heightens the tension throughout. The tunnel itself becomes a silent, menacing presence—almost a character in its own right.

This production of The Signalman is a triumph of mood. It captures the eerie essence of Dickens’ tale while offering a visually and emotionally rich theatrical experience. A must-see for fans of gothic drama and psychological thrillers.

The Signalman runs until Saturday 8^th November at Darlington Hippodrome.