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.

Theatre Review - COME FROM AWAY - DARLINGTON HIPPODROME

credit Scott Akoz Photography

Come From Away is a powerful and uplifting musical that shines a light on an extraordinary act of kindness during a time of global crisis. When the skies over North America were suddenly closed on September 11, 2001, 38 planes were rerouted to the remote town of Gander, Newfoundland, leaving nearly 7,000 passengers stranded in an unfamiliar place.

What followed was a spontaneous and heartfelt response from the people of Gander. With no warning and limited resources, they opened their homes and hearts to complete strangers. Through simple acts of compassion, the spirit of community flowed — warm, generous, and deeply human.

credit Scott Akoz Photography

Now, newly released for amateur performance, Come From Away has been brought to life by DarlingtonOS, who have once again proven their theatrical excellence with a deeply moving and entertaining production. The main cast is split into two teams; I had the pleasure of seeing the Yellow Team on the evening I attended, and they were faultless throughout.

This is truly an ensemble piece of theatre. Every member of the cast was perfectly in sync, bursting with energy, and seamlessly transforming into various members of the Gander community and the unexpected visitors. The mood shifted smoothly from moments of tension to tenderness, humour, and hope — a testament to the cast’s cohesion and emotional range.

credit Scott Akoz Photography

Director Joanne Hand’s choreography and staging were clever and slick. With minimal set changes, the cast used chairs and props to transform the stage into airplanes, shelters, and pubs, maintaining clarity and momentum throughout.

Musical Director Steven Hood led a live band positioned upstage, effortlessly woven into the fabric of the performance, adding drive and emotional depth to every scene.

credit Scott Akoz Photography

DarlingtonOS’s production of Come From Away is a triumph — heartfelt, energetic, and beautifully executed. It’s a story that reminds us of the power of kindness, and this company tells it with sincerity and skill.

Come From Away runs until Saturday 1st November at Darlington Hippodrome — don’t miss it.

Theatre Review - LITTLE WOMEN - DARLINGTON HIPPODROME

Belinda Lang - credit Nobby Clark

Little Women is a classic novel familiar to many, Having never read the book, I approached the story with very different expectations from others in the audience, though I had seen the stage musical version many years ago.

This version of Louisa May Alcott’s story has been adapted by Anne-Marie Casey. Following the lives of the March sisters, Jo, Meg, Beth and Amy with this coming-of-age themes of love, loss and ambition. Set at the time of the American Civil War, their father has gone to war and the family struggles financially. Their mother known as Marmee holds the family together along with the domineering Aunt March.

The four sisters all bring different elements to their characters. Jo, Natalie Dunne, is fiercely independent and goes through the greatest emotional changes and feels she has more depth as the character than her sisters. Meg, Jade Oswald, has an inner strength with a hint of pureness. Beth, Megan Richards, is much more tender and timid. Amy, Jewelle Hutchinson, appears full of self-importance and materialistic before maturing.

Marmee, Juliet Aubrey, is very business-like as she keeps the family together trying to keep everyone protected and safe.

Aunt March, Belinda Lang, is stern, imposing and forceful, but shows humour and a tenderness with possible weaknesses in herself.

The effective set design creates not only the interior of the March family home, but is also interspersed with bare tree trunks giving the sense of the exterior and interior. This is the style of setting I really enjoy as it allows our imagination to enter their world in several ways, especially during the ice-skating scene.

Usually in the second act the pace of a show speeds up towards its conclusion, but here it slows down developing a deeper poignancy leading to the point where we leave the March family.

Join the March family at Darlington Hippodrome, for a mix of humour, love and loss. It will be well worth the visit.

Little Women runs until Saturday 4^th October, Darlington Hippodrome.

Theatre Review - HOME, I'M DARLING - PEOPLE'S THEATRE- NEWCASTLE

 

Johnny (Sam Burrell) & Judy (Kay Edmundson) photo Paul Hood

Written by Laura Wade, ‘Home, I’m Darling’ is an enigmatic dark comedy that questions gender roles in a ‘normal’ marriage; how and why they have changed over the years. The story follows Judy, who (with the support of husband Johnny), is trying her best to live as a ‘fifties’ housewife. It’s a truly fascinating play that certainly seems relevant in a world full of ‘Trad Wife’ influencers. The audience was completely enwrapped as they watched joy turn into private horror as the ‘perfect’ marriage begins to crumble under the weight of an unsatisfying illusion.

Director Eileen Davidson presents a beautiful vision for the play. Transitions were not only swift, but magical - as performers danced (choreographed by Kaila Moyers and Jonathan Goodman) through and into the following scene. Particularly in the first half, it plays out like a series of dream sequences, adding to the idea that living in the fifties is a fantasy. Sound (Kate Scott and Aleks Carver), Lighting (Xander Burbidge, Robbie Close, Kirstie Corfield and Jez Corfield), Props (Rye Mattick, Ashlyn Brook, Helen Parker and Karen Elliott) and Wardrobe (Jenny Davison and Luke McVeigh) all displayed masterstrokes of care and attention that added to the perfection of the play.

The audience was welcomed in with the blare of fifties rock ‘n’ roll music, giving everyone a chance to appreciate the set. Ah, the set! A complete 1950s style two-story house, designed by Kaila Moyers with such attention to detail I heard a lady say “I want that kitchen!”

Sylvia (Jo McEvedy) & Fran (Steph Moore) photo Paul Hood

As to the cast, it was extremely well performed by all. Excentric mother Sylvia (Jo McEvedy), tries to point out why no one lives – or should want to live – in that era anymore. The sleek and stylishly-modern Alex (Sara Jo Harrison), tries to be polite and professional through some very eccentric nibbles. Fran (Steph Moore), was warm, understanding, amusing and very apologetic as Judy’s slightly sweary friend. Marcus (Sam Hinton), was endearingly funny despite his role having such dark and creepy undertones. Johnny (Sam Burrell), and Judy (Kay Edmundson), were both very likable characters with great chemistry. The portrayal of their characters and their emotions was faultless. Kay Edmundson, in particular, deserves an award not just for her stunning performance but also for rarely leaving the stage all evening.

A dramatic, yet warm and funny show; not to be missed.

Home, I’m Darling is showing at The People’s Theatre, until the 4^th October.