Stage: Let it all hang out

Boys in the Buff
words & music Chris Burgess
with Rowan Armitt-Brewster, Adam Norton, Liam Bradbury, Max Rizzo, Tish Weinman
director-choreographer Robbie O’Reilly
musical director Aaron Clingham
lighting Richard Lambert • sets & costumes Alan Meggs
Golden Goose Theatre, London • 10.Dec.25-10.Jan.25 ★★★★

This latest production of the venerable musical comedy has had some of its songs updated, while the story itself remains a rather engaging mix of coy and cheeky. It seems a bit dated to treat nudity as if it's something naughty or transgressive, but the ultimate explosion of happiness is infectious, as if they were making a lot of fuss about nothing really. And the lively, hugely likeable cast is superbly up for this story about conquering insecurities about our body, delivering full-on song and dance performances that are hugely likeable.

The story sees host Maxie (Tish Weinman) cast a group of young guys in a show that requires nudity, and each of them has a distinct reaction. Dan (Rowan Armitt-Brewster) puts on a near-naked comedy dance in which his bits remain cleverly covered as he proclaims his love of running around in the altogether. Luca (Max Rizzo) is a fitness addict who used to be fat and has lingering trauma from bullying. Theatre boy Richard (Liam Bradbury) wants to get on with the show. And Phil (Adam Norton) isn't sure he can go through with this.

The key idea here is that we don't need to be ashamed of our bodies, however we look, because everyone is different and the ideal body is a fantasy. This theme is expressed throughout the songs in a variety of sparky, often very funny ways, with smartly written lyrics and eye-catching staging that augments a range of choreography, from Fosse-style pizazz to a French fan dance, with added ballroom, ballet and tap. Plus a Shakespearean burlesque. And the buoyantly performed songs address such questions as whether size matters, the prevalence of the fat jab (a lively Charleston) and the intensity of gym obsession.

More serious moments take on peer pressure and bullying. And Richard sings a power ballad lamenting the loss of his foreskin. Yes, the tone veers entertainingly between the sublime and the ridiculous. But the running theme punches the importance of accepting our imperfections and loving ourselves as we are. While it seems like the cast and crew are jumping through hoops to put off the inevitable, when these guys finally strip off completely, it's a joyous expression of freedom in a variety of personal dance styles. It's as if like they would have rather been performing like this right from the start.

For details, LAMBCO PRODUCTIONS >

photos by Peter Davies • 10.Dec.25

Critical Week: She's behind you!

This past week has been a flurry of awards voting deadlines, watching both contender and holiday releases. Then after several critics' groups started announcing their year-end winners, the Golden Globe nominations came out on Monday, and awards season is now in high gear until Oscar night in March. Among the eclectic group of movies I watched this week, perhaps the most fun was had with The Housemaid, Paul Feig's latest female-led blackly comical thriller, starring Sydney Sweeney and Amanda Seyfried. It's twisty, nasty and entertaining.

BEST OUT THIS WEEK:
Goodbye June • Lurker
The President's Cake
Baby • Scarlet
ALL REVIEWS >

And then there was Nia DaCosta's sequel 28 Years Later: The Bone Temple, picking up the story from Danny Boyle's movie last summer, starring Ralph Fiennes and Jack O'Connell. It's brutally nasty, with intriguingly thoughtful moments along the way. Rose Byrne gives a tour fe force performance in If I Had Legs I'd Kick You, a staggeringly immersive drama abotu a woman grappling with motherhood. H Is for Hawk stars the excellent Claire Foy as a woman dealing with grief by raising a feisty goshawk. It's warm, earthy and very moving. From Japan, Kokuho is a lavish, powerfully involving epic about a boy determined to become a great kabuki artist. The scale is both enormous and vividly intimate. Rosamund Pike and Matthew Rhys play frazzled parents in Hallow Road, almost entirely set inside their car. The plot doesn't quite work, but it's riveting. I also finally caught up the wonderfully warm and funny comedy The Ballad of Wallis Island, a ridiculously likeable music-infused British movie starring Tim Key, Tom Basden and Carey Mulligan. And there were two live performances, The Fit Prince at King's Head Theatre and Boys in the Buff (ooh err!) at Golden Goose Theatre, all before flying out to see my family in California for the holidays. 

Coming up this next week, I don't really know what I'll be watching, as I'm spending time with my parents and family members. I'll no doubt see something on the flight! And at some point I do still need to watch The Plague with Joel Edgerton, Rebuilding with Josh O'Connor and, now that it has a Golden Globe nomination, Demon Slayer: Infinity Castle.

Stage: Make the yuletide gay

The Fit Prince
Who Gets Switched on in the Square in the Frosty Castle the Night Before (Insert Public Holiday Here)
writers, directors, actors Linus Karp & Joseph Martin
video guests Tove Lo, Sebastian Croft, Malte Gardinger, Joshua Whitehouse, Misia Butler, Yshee Black, Kate Butch, Geri Allen, Julia Bender
music Leland • choreography Sam Carlyle
design Stella Backman • puppets Hugh Purves
sound Kate Marlais • lighting James Appleby
King's Head Theatre, Islington • 2.Dec.25-3.Jan.26 ★★★★

Awkward Productions brings their latest Fringe hit to London, appropriately during panto season, and it's a riotously camp show that chaotically plays with the traditions of holiday movies and all things Scandinavian. The cast features two gifted actors, plus a harried stage manager, a raft of sparky video performances and several up-for-it audience members, whose dialog appears on screens just as they need to say it. As the show spirals through its deliberately silly plot and messy improvised moments on-stage, the show becomes increasingly absurd and very, very funny.

As it opens, the king of Swedonia has died, and Crown Prince Elian (Linus Karp) can only inherit the kingdom if he marries before Christmas. But he hasn't yet met the man of his dreams. Nevertheless, time is short, so while Elian interviews eligible princes, the palace hires top New York baker Aaron Butcher (Joseph Martin) to make the wedding cake. As they meet-cute, clash, connect and fall out, Elian and Aaron of course are falling in love. Aaron also convinces Elian to leave the castle and explore his country, and they discover an orphanage in need of royal assistance. Meanwhile, the prince's doppelgänger (an audience member) is making a nefarious power move.

Along the way, we also get a raucous concert by national-treasure popstars BAAB, performing a medley of hilarious pastiche hits, from The Loser Gets Nothing to the anthemic Movement King. Yes, this show spins gleefully out of control at every turn, while the engaging Karp and Martin miraculously keep things on track. Alongside their lead roles, they play a variety of amusing side characters, including the female BAAB singers (audience members play the guys) and a couple of puppet characters that have enormous personalities (orphanage director Gerta McMurder is iconic). Meanwhile, starry guests chime in on video screens. To add to the surrealism, the audience member playing the doppelgänger in our performance was Sebastian Croft (Heartstopper), leading to some amusing romantic interaction with himself on video.

Of course, all of this is resolutely queer, with some surprisingly sweet romantic beats alongside the madcap nuttiness. Dialog is packed with witty wordplay and meta-gags, while mercilessly poking fun at Swedishness from saunas to Ikea. Original songs written by Leland are hilariously epic. And the story has a lot of fun subverting the usually strait-laced nature of Christmas romantic comedies. All of this plays out with a slapstick sensibility that will make each performance a different experience. With its rather abruptly tidy ending, the thin narrative even wraps up with a point about the place for a monarchy in the modern world. But we're too busy laughing and cheering to worry about that.

For details, KINGS HEAD >

photos by Dave Bird • 8.Dec.25

Stage: Tale as old as time

He's Behind You! presents
Beauty and the Beast: A Horny Love Story
by Jon Bradfield and Martin Hooper
director Andrew Beckett
with Matthew Baldwin, Matt Kennedy, Chris Lane, Keanu Adolphus Johnson, Laura Anna-Mead, Dani Mirels, Ben Mabberley, Owen Arkrow, Olivia-Grace Weaver
composer Jon Bradfield • choreographer Carole Todd
sets David Shields • costumes Robert Draper
sound Andrew Johnson • lighting Matt Hockley
Charing Cross Theatre, London • 21.Nov.25-11.Jan.26 ★★★★

While this lively pantomime definitely hasn't been made for the kiddies, its bouncy childishness is hugely engaging. The grown-up audience at Charing Cross Theatre may continually roar at the raucously smutty wordplay, but it's the comfy self-aware nuttiness that keeps a smile on our faces. It definitely helps to have such an eye-catching array of sets and costumes, and such an up-for-it cast as this one, led by indefatigable panto-dame legend Matthew Baldwin.

The story is set in the Scottish village of Lickmanochers, where young Bertie (Matt Kennedy) and his sister Bonnie (Laura Anna-Mead) are struggling with their queer identities, because there are so few potential partners here. Their "easily spread" mother Flora (Baldwin) runs the local shop and is also on the prowl, while the villainous Cornelius (Chris Lane) plots against everyone. His big secret is that his cursed beastly brother Charlie (Johnson) is locked up in the family's Traitors-esque castle, and soon both Flora and Bertie get stuck there as well. Flora gets on with the resident ghosts, cooking bouncy scones and a shenanigan-filled Christmas dinner, while Bertie and Charlie of course have a more romantic trajectory.

The plot is resolutely simplistic, but the snappy dialog gives the actors a lot to work with. There's a barrage of hilarious zingers, current political asides and lots of references to the Disney classic. Indeed, the fabulously irreverent pastiche songs include Be Our Slave, crooned by the castle ghosts. And the climactic scene on Cornelius' drilling platform resounds to the strains of Village People-style anthem On an Oil Rig. Romance is on the cards for everyone, as Flora falls for local Harris (Ben Mabberley) and Bonnie meets the tourist Juno (Dani Mirels) and settles down alarmingly quickly.

While Baldwin owns the stage with his razor-sharp timing, iconic costume changes and astonishingly snappy improv, the skilful surrounding cast hold their own. Kennedy is an endearing hero who is very easy to root for, creating terrific chemistry with Johnson's amusingly tetchy beast. Both are able to punch the comedy while also finding deeper resonance. Everyone has a lot of fun with the elaborate costumes, witty songs and riotous Highland Fling-inspired choreography. Most impressive is how the show manages to be both silly and sexy at the same time, with a happy ending that comes complete with an enticingly dubious moral.

For details, HE'S BEHIND YOU! >

photos by Steve Gregson • 4.Dec.25

Critical Week: Things are heating up

The big awards season screening this week was for James Cameron's sequel Avatar: Fire and Ash, shown to us in all of its 3D glory. It's certainly an epic experience, with eye-catching action and increasingly realistic motion-capture effects. Although the story felt a bit familiar, as if that matters. Michelle Pfeiffer leads the charge as a bedraggled mum in the Christmas comedy Oh. What. Fun., which enjoyably riffs on the full range of holiday comedy classics. There were two animated movies: The SpongeBob Movie: Search for SquarePants is another frantic and very silly undersea romp, while the Japanese epic Scarlet uses distinctive imagery in its involving underworld twist on Hamlet.

BEST OUT THIS WEEK:
Merrily We Roll Along
It Was Just an Accident
La Grazia • Eternity • Folktales
ALL REVIEWS >

Other awards offerings included Jim Jarmusch's Venice-winning Father Mother Sister Brother, a lovely family-connections triptych with a superior cast including Cate Blanchett and Adam Driver. Fred Hechinger and Sebiye Behtiyar are excellent as young people who fall for each other in the warm, funny, emotional Preparation for the Next Life. Jonathan Majors goes very deep indeed as a bodybuilder in the delayed drama Magazine Dreams, impressively written and directed by Elijah Bymun. There were two documentaries: the chilling Cover-Up profiles journalist Seymour Hersh in a career exposing government misdeeds, while Folktales is a warmly involving look at a Norwegian high school that specialises in dog sledding.

Beyond film, I attended the outrageously lavish premiere of Fallout season 2, attended by the cast and crew (see below). And I also managed to fit in three seasonal stage performances: Ebony Scrooge at Sadler's Wells East, the panto Beauty and the Beast at Charing Cross Theatre and The Great Christmas Feast in West Kensington.

Coming up this next week, I'll be watching Jack O' Connell in 28 Years Later: The Bone Temple, Joel Edgerton in The Plague, Rosamund Pike in Hallow Road, Rose Byrne in If I Had Legs I'd Kick You, Josh O'Connor in Rebuilding, plus a live performance of The Fit Prince at King's Head Theatre, and probably a bit more, all before flying out to see my family in California for the holidays.

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Dance: The boss' new groove

ZooNation's
Ebony Scrooge
writer, director, choreographer Dannielle "Rhimes" Lecointe
with Leah Hill, Portia Oti, Malachi Welch, Liberty Greig, Deavion Brown, Elijah Smith, Jackie Kibuka, Lindon Barr, Megan Ingram, Melissa Bravo, Robert Dunkley-Gyimah, Sia Gbamoi
composer Michael "Mikey J" Asante
sets Joanna Scotcher • costumes Natalie Pryce
lighting Charlie Morgan Jones • sound Sarah Victoria
Sadler's Wells East, Stratford • 26.Nov.25-4.Jan.26 ★★★★★

With plenty of attitude, the gifted team at ZooNation breathe fresh new life into the Charles Dickens' classic A Christmas Carol, transforming it into a fabulous explosion of hip-hop set in London's fashion world. For this first holiday production at Sadler's Wells East, the story has been carefully reworked to draw attention to themes of legacy and cultural impact, expressed through buoyant choreography and a range of soaring songs. It's impossible not to stand up and cheer at the end.

Ebony (Leah Hill) runs her design house with an iron fist, like Miranda Priestly crossed with Cruella DeVil, specialising in striking black and white couture. But it's Christmas, and she refuses to give her workers time off, let alone a holiday party, while the rest of London celebrates in the streets. Then the ghost of her late partner warns her that she will be visited by three spirits on Christmas Eve. Present reveals the truth of her ruthless work ethic, while Future shows her the logical conclusion of this trajectory. After the interval, Past takes Ebony back to her Caribbean roots, forcing her to confront generational trauma and plot a new path forward.

Aside from cleverly reordering the spirits, this adaptation defines fewer side characters, principally Ebony's tearaway niece Freddie (Portia Oti) and grounded assistant Bob (Malachi Welch). They offer their own textures, with distinctive dance styles that contrast with Hill's skilfully sharp-edged moves. Welch steals the show with his seemingly weightless, swooping movements. Watching him float is exhilarating. But then everyone on-stage is also expertly popping, breaking, waacking and vogueing to an eclectic live mix of riotously uplifting tunes. 

The musicality of these performers is jaw-dropping, playfully diving into the wonderfully kinetic choreography, augmented by gorgeous lighting and costumes. While the plot is fairly simple, the ambitious thematic shift is important. Rather than a cautionary tale about greed and social connection, this version is a provocative comment on the importance of remembering your personal heritage. The designers could have perhaps pushed the shift from Ebony's monochrome empire to her technicolour transformation, but this show is an infectious blast of pure seasonal joy.

For details, SADLER'S WELLS >

photos by Pamela Raith & Johan Persson • 3.Dec.25

Stage: A Victorian night out

Lost Estate presents
The Great Christmas Feast
director Simon Pittman • writer Adam Clifford
with Tama Phethean
musicians Guy Button, Charlotte Kaslin, Beth Higham-Edwards
sets Darling & Edge
menu Ash Clarke • chef Rob Hallinan
Lost Estate, West Kensington • 14.Nov.25-4.Jan.26 ★★★★

Back for its eighth year, Lost Estate's astonishingly big-scale immersive experience sends its audience back to 1843 for a period-style three-course meal that is interwoven with a full-on performance of Charles Dickens' A Christmas Carol. The attention to detail is seriously impressive, both the meal and the performance, which is expertly staged to bring this oft-told tale to life in ways that are surprisingly thrilling and emotional. This is a wonderful way to spend three and a half hours, celebrating the holidays with some first-rate  food, drink and entertainment.

Entering the West Kensington venue, we walk through a museum that explores the state of London in the mid-19th century, most notably the situation for poor families like the Dickenses, who spent time in prison and workhouses trying to get out of debt. Then Charles' success as a novelist changed things, and after seeing copies of his early works we arrive at a snowy doorway that leads into the extravagant dining room with its flickering gas-lit effect lanterns and elaborate set designs. The food is seriously tasty too, as is a progression of cocktails from the Smoking Bishop (yes, it's hot and smoking) to the Cafe Noir, a luxuriant variation on the expresso martini.

In between courses, actor Tama Phethean performs an outrageously demanding one-man show, welcoming us and narrating the story as Dickens while also playing most of the characters himself, charging around the enormous space with wonderful bursts of energy. He brings real passion to the show, diving fully in to make the most of the inventive sound, lights and live music played by a trio of musicians. And a few high-profile audience members get to take part in guest roles, while various extras and even the food service team get in on the act.

A Christmas Carol is such a familiar story that we could recite it ourselves, but this all-encompassing experience adds a wonderful new slant to things. It helps that the cast and crew lean into the ghostly narrative, providing some terrific horror-style moments with an inventive use of sound, music, lighting and mist, plus some superbly flashy surprises. Phethean has such kinetic physicality that we can't take our eyes off him, and he performs with a charming theatrical flair that playfully keeps us enthralled. Then he allows us to catch our breath with another course of food and drink before the next act. And of course the tale itself continues to get deep under the skin with its timeless themes about connecting to the world around us.

For details, THE LOST ESTATE >

photos by Hanson Leatherby, from the 2024 production with David Alwyn

2.Dec.25

Critical Week: Do some digging

Awards season continues to surve forward, as I work to catch up on contenders. Jodie Foster stars in the French-language comedy-thriller A Private Life, an engaging mystery with a terrific all-star French supporting cast. Josh O'Connor leads Kelly Reichardt's delightful comedy-drama The Mastermind, about a quirky art theft and the unexpected fallout from it. And Wagner Moura leads the Brazilian offbeat thriller The Secret Agent, an involving epic packed with comical moments and wonderfully colourful characters.

BEST OUT THIS WEEK:
Hamnet • Pillion
Wake Up Dead Man
The Secret Agent • Eternity
The Thing With Feathers
Zodiac Killer Project
ALL REVIEWS >

Even more epic, Filipino master filmmaker Lav Diaz's gorgeous biopic Magellan traces the life of the 16th century Portuguese explorer (played by Gael Garcia Bernal) from a surprising point of view. And then there was Oliver Laxe's Spanish adventure Sirat, which takes us far into the North African desert and leaves us changed. Yes, it's that good. I also caught two animated films: this week's release Zootropolis 2 (aka Zootopia 2) is another extremely lively madcap, action-packed romp; and Little Amelie is a beautifully bright-hued trip into the mind of a cheeky little Belgian girl growing up in Japan. I also somehow found time to attend three live performances: Ballet Black: Shadows at Sadler's Wells, Growled at the RVT and The Magic of Christmas at Brick Lane Music Hall.

Coming up this next week, I'll be watching the mega-sequel Avatar: Fire and Ash, The SpongeBob Movie: Search for Square Pants, Jim Jarmusch's Venice-winning Father Mother Sister Brother, Fred Hechinger in Preparation for the Next Life, Agniezka Holland's Franz, Brazilian drama Manas, the documentary Cover-Up, and the premiere of Fallout season 2, plus three live holiday-themed stage performances: Ebony Scrooge at Sadler's Wells East, Beauty and the Beast at Charing Cross Theatre and The Great Christmas Feast in West Kensington.

Dance: Deep under the skin

Ballet Black
Shadows
artistic director Cassa Pancho
with Isabela Coracy, Megan Chiu, Acaoã de Castro, Taraja Hudson, Mikayla Isaacs, Love Kotiya, Bhungane Mehlomakulu, Helga Paris-Morales, Elijah Peterkin, Ebony Thomas, Ruby Runham
lighting David Plater • set Richard Bolton
Sadler's Wells, London • 26-29.Nov.25 ★★★★

With their strikingly visual style, Ballet Black debut a fascinating double bill that churns with psychological intrigue. These are two very different pieces, but they share an introspective approach that continually catches us off guard, challenging ideas about motivations and inexplicable yearnings. The gifted dancers perform them with full-bodied precision, gorgeously soaring physically while digging into the, yes, shadowy internalised elements. So the performances become thoughtfully provocative.

A Shadow Work is directed and choreographed by Chanel DaSilva, springing out of the therapeutic practice of exploring and healing repressed parts of ourselves. It centres around a woman in white (Taraja Hudson) who is encircled, lifted and swirled by the rest of the company, dressed in black mesh costumes (by Natalie Pryce). The dancers around her begin displaying their own features, sometimes in their own spotlights, mirroring and echoing movements, both working together and challenging each other. 

The movement is lyrical and elegant, mixing classical ballet with modern dance to the rhythmic pulse of Cristina Spine's electronic score while dramatic lighting shines from the back or sides. There are several achingly cool moments, including the company quietly swaying like reeds on an ocean floor and clever movement that creates floating and falling effects. It's hugely expressive, reflecting strength and vulnerability, and it gets increasingly insistent as it moves into a powerful climax.

My Sister, The Serial Killer is choreographed, directed and adapted from Oyinkan Braithwaite's novel by Ballet Black founder Cassa Pancho. There's a clear plotline here, and it's expanded by several wonderfully eye-catching flourishes that explore darker underlying ideas. The story centres on the nurse Korede (Isabela Coracy), who finds herself repeatedly cleaning up after her flirtatious sister Ayoola (Helga Paris-Morales) murders her boyfriends in "self-defence". This begins to weigh on Korede, and the situation becomes even more desperate when Ayoola locks eyes on Dr Tade (Ebony Thomas), Korede's colleague and secret crush.

Along with a fabulously colourful pool party, there are scenes involving scary groups of circling ghosts. And a river comes eerily to life as one victim's body is disposed into the water. The characters are beautifully rendered by the dancers, who reveal personalities through inventive details. And Tom Harrold's score (with additional music by Toots & The Maytals and Fela Kúti) adds waves of emotion as Korede grapples with her loyalties. So if the storytelling feels a bit heightened and soapy, and the props are perhaps overthought, this is a darkly involving piece that leaves us thinking.

For details, BALLET BLACK >

photos by Ash • 26.Nov.25

Stage: We need a little Christmas

The Magic of Christmas
director Jordan Langford
with Vincent Hayes, Victoria Yellop, Andrew Robley, Lucy Reed, Samantha McNeil, Jake Lawrence, Charlotte Fage, Joe Payne
musicians Scott Hayes, Martin Layzell, Andy Pook
choreographer Jack Pallister
sets Chris Floyd, Shannon Topliss • costumes Zara Kattan
Brick Lane Music Hall, Silvertown, London
19.Nov-19.Dec.25 ★★★★

Having never experienced anything like this before, my first afternoon at the Brick Lane Music Hall was a steady stream of surprises, from the delicious three-course Christmas dinner to the riotously enjoyable vintage-style show that followed. This is a fully packed five hours in a fabulous venue, a church that has been converted into a quirky and cosy dinner theatre. I attended an afternoon lunch; evening performances include dancing afterwards.

Happily digesting the superbly prepared and served meal, the show kicks off with our host Vincent Hayes, who founded the venue, delivering a hilariously ribald comical riff that leans heavily into double entendres and sets the tone for a music hall variety show. What follows involves violinist Victoria Yellop, soaring tenor Andrew Robley and an ensemble of singers performing a very wide range of numbers with light choreography and a blinding array of colourful costume changes. This is old-school entertainment with the tone of a lively holiday party. And the songs range from popular classics (including a sing-song section featuring Yellow Submarine and Daydream Believer) to evergreen hits and traditional Christmas carols.

Bright-hued lights reflect off of the heavily sequinned outfits, with some added fireworks and confetti for good measure. Yellop plays a medley of Scottish classics on her violin, including Auld Lang Syne and a sparky Highland fling. There's some bell-ringing schtick. Hayes and Robley appear as choirboys with The Camp Him Book ("ah men") for some eyebrow-raising antics to Walking in the Air, which somewhat roughly segues into a lovely rendition of Silent Night/O Holy Night. Yes, the transitions are somewhat jarring, including the shift between sections featuring yee-haw country and western and beautiful movie standards.

The second half kicks off with a fabulous medley of pop Christmas classics from Mariah to Wham, including a terrific take on Fairytale of New York led by Jake Lawrence. And Hayes returns to stage as a middle-aged woman with another amusingly rude comedy set before his final transformation into an outrageous fairy princess. In other words, almost anything is possible in this show, and the audience was her for all of it. This is the energetic blast of holiday cheer that we all need.

For details, BRICK LANE MUSIC HALL >

photos courtesy Brick Lane Music Hall • 26.Nov.25

Stage: Step back in time

Growled: Beauty and the Beast Continues...
by Paul Joseph, Tim Benzie
director Tim McArthur
with Lucy Penrose, Matthew Ferry, Ada Campe, Robert McNeilly, Jo Wickham, Katherine Leyva 
musical director Annemarie Lewis Thomas
costumes Michelle Taylor • set Jessie Huckin
sound and lighting Andy Hill
Royal Vauxhall Tavern, London • 25.Nov.25-3.Jan.26 ★★★★

Each year, the Christmas pantomime at Royal Vauxhall Tavern is a joyous explosion of pure silliness, playfully indulging in time-honoured traditions while giving everything a happily queer spin. This year's show plays out like a deranged sequel to Beauty and the Beast that has been spiked with multiverse nonsense, audience interaction, fresh gags and musical numbers ranging from Broadway classics to current pop hits. And while it's never as sexy as we wish it would be, it's a generous blast of festive fun.

The plot catches up with Belle (Lucy Penrose) as she is now married to the Prince (Matthew Ferry) and bored with the life of a happily-ever-after princess. And the Prince is longing to once again run wild in the woods with his furry friends. Meanwhile, Mrs Spout (Robert McNeilly in the panto dame role) hopes to complete her transition from crockery to human. And the sneering villain Asston (Jo Wickham) is conniving to get Belle for himself. Enter Belle's father the Inventorer (Ada Campe, also gender-swapping), who has built a time machine (played by perpetually sidelined "understudy" Katherine Leyva) that propels everyone back two years so they can sort out the mess before it happens.

As these characters meet their past selves, things get so convoluted that even the cast members struggle to maintain the narrative thread. Of course, this doesn't matter at all, as they continually break out into an eclectic range of songs, augmented by outrageously ridiculous props and hilarious throwaway gags. There's even a witty nod to the West End's recent Evita triumph as Belle ventures to an upstairs window to croon If I Could Turn Back Time to fans gathered in the street. The ghost of Laurence Fox makes a menacing appearance. And Asston poses as an AI bot to cause mischief at the Beast's big ball.

Marginally less chaotic than previous years, this show is able to mix the usual self-aware mayhem with slickly realised theatricality. It's perhaps even more well-honed this year than the performers seem to believe. Indeed, this cast is especially strong, properly skilled actor-singers who belt out the numbers with power while diving into the colourful costumes and goofy choreography with gusto. Penrose shines as always, and Ferry is adorable. The understudy even gets her big One Moment in Time, complete with a timeless spotlight gag. As required, everything ends in an unexpected wedding (or two) and a generous blast of Mariah to get us in the holiday spirit.

For details, RVT >

photos by Chris Jepson • 25.Nov.25