Potted Panto, Garrick Theatre

POTTED PANTO - Nimax Theatres

by Zahid Fayyaz

Panto, as most British traditions, is a deeply weird thing but entertains many families over the Christmas period. Bad jokes, overblown costumes, and instinctive call and response catchphrases are all a constant and comforting part of the tradition. In this instance, the talented ‘Potted’ production franchise are doing their annual Christmas tradition of a performance of all seven panto staples in 70 minutes.

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Sleeping Beauty and the Beast, Battersea Arts Centre

Review: Sleeping Beauty and the Beast, Battersea Arts Centre - Everything  Theatre

by Romy Foster

It’s a wonder that Sleeping Trees have managed to put on a show for kids. Their adult productions are cheeky, provocative, silly and inappropriate but in Sleeping Beauty and the Beast they bring the fun for kids and adults alike in this partially improvised twist on two children’s classics.

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The Wonderful, Theatre Peckham

REVIEW: The Wonderful at Theatre Peckham celebrates diversity and spreads  festive joy

by Romy Foster

It’s opening night at Theatre Peckham and I am one of the first to see The Wonderful performed in front of a real, live audience (they only had their dress rehearsal THAT DAY). I followed the yellow brick road through the foyer to my seats and eagerly awaited this Peckham-ised twist on the lovable children’s classic, The Wizard of Oz.

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FROSTBITE: Who Pinched my Muff? Garden Theatre

REVIEW: Frostbite, Who Pinched My Muff at the Garden Theatre | Pocket Size  Theatre
Natalie Lomako Photography

by Laura Kressly

The lights dangling over the audience in the intimate pub garden theatre look rather like anal beads. It’s a great choice by lighting designer Richard Lambert because they suit the joyously raunchy tone of this adult panto in Vauxhall, or rather, the charming mountain village Vaüxhallen. The town’s residents we meet over the two hour-long show are all out for some action and adventure – in every sense of the word.

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Cinderella, Fairfield Halls

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by Laura Kressly

Croydon’s Fairfield Halls re-opened to much fanfare this year, and their traditional pantomime – with all the glitz, glamour and gags that you’d expect – is ramped up with Disney-quality animations, LED screens and special effects. Though all the problematic elements of panto are still there – like heteronormativity, misogyny, and narrow gender roles – this production showcase the capabilities of tech within what is now a conservative form.

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Robin Hood: The Arrow of Destiny, Theatre Peckham

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by Laura Kressly

Everyone knows the myth of Robin Hood – a heroic forest dweller fights against injustice by stealing from the rich to help the poor in medieval Nottingham. Is there any truth is the story, though? Richard Hurford’s interpretation suggests Hood isn’t particularly ambitious and a bit shy; he just wants to hang in the woods with his mates. The real hero is Maid Marian, but she knows she won’t be taken seriously as a woman.

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Snow White and the Happy Ever After Beauty Salon, Ovalhouse


By Laura Kressly

I’d never considered hair salons to be the domain of estranged, murderous sisters, but this contemporary, actor-muso update of Snow White shows a darker underbelly of this normally jolly place. At the Happy Ever After salon, Trish has built a beauty empire that she rules with an iron fist, toxic pomades and razor sharp scissors. Punctuated by original vintage-style tunes, puppetry and engaging performances, this show is a sophisticated pantomime that’s diverse, accessible and fun.

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Mirror Mirror: A Snow White Pantomime, King’s Head Theatre


They are new to the King’s Head, but Charles Court Opera aren’t new to pantomime. This year’s Mirror Mirror: A Snow White Pantomime is their ninth “boutique” panto. Though an opera company, this show and cast of six are anything but stereotypical opera fare. John Savournin’s script is fresh and witty, the performances are camp and vibrant, and the re-written pop song soundtrack is so well sung that it deserves a cast recording. There’s plenty of typical panto interaction, made easier and more personal in a fringe venue but doesn’t overwhelm the space, either. Though the costumes are detailed and fun, the set is a bit analog and takes up a lot of playing space, restricting movement and choreography. Some of the performances were more genuine than others, but this remains a wonderfully current panto with excellent writing.

Savournin also directs and plays Snow White, the ditzy, ingénue widow of Barry White living with the seven dwarfs, all distinctly and energetically played by Matthew Kellet. Greedy queen Andrea Tweedale uses her mirror (Simon Masterton-Smith) to help her search for a husband, but her plans are thwarted when prince Larry Black (Amy J Payne) and his valet Harry (Nichola Jolly) show up looking for a bride and instead of being impressed by her beauty, Larry falls for Snow. The traditional story veers off in numerous contemporary directions from there, which adds to the audience’s delight and prevents the show from becoming stale or generic. The music is mostly cleverly reworked pop songs, but there’s a bit of musical theatre thrown in and the Act one Finale numbers are fantastic.

No individual performer overshadows the others, instead they are a balanced lot with clear strengths. Payne and Jolly are a charismatic pair, with Kellett’s range of dwarves a hilarious counterpoint to the leads. Savournin’s Snow is shallow but sweet and doesn’t fall short in any of the creative roles he takes on. Tweedale stokes the audiences’ booing and aww-ing brilliantly. The height difference between Savournin and Payne supports the comedy heavily peppering the dialogue, as does the cross-gender casting that goes beyond the dame and principal boy. There is some lovely chemistry between some of the characters but even though it’s a panto, there could be more between Payne and Savournin.

There’s loads of audience interaction and mess, the best being a Great British Bake Off-style competition that results in dough everywhere. Of course, there’s your usual panto call and response but not so much so that the script is otherwise flimsy. The unique visual gags Savournin employs are much more satisfying, anyway (pro tip: look out for Barry). A few give a nod to tradition, but this is definitely a language-focused script. This gives the performance a richness and depth missing from more traditional fare, hence the “boutique” label. Charles Court Opera is certainly onto a winning formula here within London pantomime offerings and is not one panto fans should miss.

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