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

Stage: That's the way I like it

Get Down Tonight
The KC and the Sunshine Band Musical
music and lyrics Harry Wayne Casey
book JF Lawton
with Ross Harmon, Paige Fenlon, Adam Taylor, Annabelle Terry, Aaron Archer, Rachel Kendall Brown, Eve Drysdale, Finlay Oliver
director-choreographer Lisa Stevens
musical director Kevin Oliver Jones
sets Bretta Gerecke • costumes Rachel Ryan
lighting Jai Morjaria • sound Chris Whybrow
Charing Cross Theatre, London • 19.Sep-15.Nov.25 ★★★★

Harry Wayne Casey, also known as KC, provides the songs for this lively meta-musical about his life, including the iconic hits he made famous with his Sunshine Band. Each of these numbers is a total banger, so the show plays out like a raucous party. But it's also sharply well written, humorously deconstructing the stage musical formula to tell Casey's story in a way that's thoroughly involving. Working with a terrific live four-piece band, the performers prove to be seriously gifted, diving into the riotous disco choreography with infectious gusto.

After opening with a full-on glitter-ball rendition of Keep It Comin' Love, the story settles in on Harry (Harmon) and his best friend Dee (Fenlon) as teens dreaming of stardom in early 1970s Miami. Later they are joined by their friends Gina (Terry), who has a crush on Harry, and Orly (Taylor), a groovy Vietnam veteran who helps Harry explore his queer side. These four encourage each other to shoot for the stars, so Harry finds ways to record his music, leading to enormous success that changes his life.

While the basic narrative isn't particularly new, the storytelling is buoyant and often exhilarating, which adds a kick to several quieter, more emotional moments. A soulful rendition of Please Don't Go has particular poignancy as these friends confront the reality that they will need to go their separate ways. And because this is a story about someone who simply wants to make people happy, the explosions of joy are thoroughly irresistible, urging us to get up on our feet and dance along with the cast. Of course, we are encouraged to do just that in the wildly exuberant extended curtain call.

The four leads and four background artists adeptly provide soaring vocals, full physicality and punchy emotional beats. Their talent is explosive, augmented by fabulously sparkly costumes, colourful lighting and iconic period dance moves that feel almost weightless, simply because they are having so much fun on-stage. The story is a gentle reminder that success isn't as instant, as easy or as enduring as we all would like it to be. And the show, like Casey's music, suggests that perhaps we would be happier if we spent more time putting on our boogie shoes, shaking our booties and getting down tonight.

For details, GET DOWN TONIGHT >

photos by Danny Kaan • 30.Sep.25

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