Review - Wizard of Oz - People's Theatre

The Wizard of Oz

People's Theatre

13th December 2025

This year's Panto at The People's Theatre is The Wizard of Oz. It's a move away from the more traditional fairy tale pantomime, that is to say it is not the usual handsome prince falls in love and saves his heart's desire from an evil witch/queen/wizard and they get married and live happily ever after...

There are witches and wizards, some good, some not so good, and one is a sort of fairy godmother, or witchy godmother if we're being fair. And there is plenty of danger and enchantment. 

The panto follows the original story of Dorothy's adventures in the land of Oz pretty accurately, with the addition of Hickory, Dickory and Dock as the farm hand characters who transform into the Scarecrow, the Tin Man and the Cowardly Lion and who provide the panto characters who engage with the audience most - the "Buttons" type character. The main one being the Scarecrow who initiates the call and response with the audience each time he comes on stage. Jess Chapman plays this really well, creating a good rapport with the audience and delivering some great jokes and puns along the way, supported by Alison Carr as the Tin Man, whose comic delivery shines throughout the show, and Joe Moore is engaging as the loveable scaredycat Lion. 

Ian Willis as Aunty Em/Glinda the Good provides both the "fairy godmother" and the "panto dame" 
roles. His sparkly pink Glinda frock is a sight to behold. She pops up when needed to sprinkle a little good magic to help the story on its way.  The evil element is provided by Hattie Eason as Miss Gulch/Wicked Witch of the West, with her minion Winkie, the flying monkey (Rachel Potts). Her shrill laughter is enough to scar the bravest of children in the audience! 

Uncle Henry/the Mighty Oz is played by Steve Parry - the gentle Uncle a contrast to the bumptious Wizard, though his kinder side does show once Toto reveals his true identity! Erin Hattrick is a competent Dorothy,  and last but not least, Toto the dog is an endearing puppet operated by Rosa Cole - which is definitely more reliable than having a real dog and handler on stage! 

There is plenty of music with the show starting with a boot stomping line dance number to Steps 5-6-7-8. And the refrain throughout the show of Is This the Way to the Emerald City (amarillo).  (Though considering Glinda's Scottish accent I was a little disappointed not to have a Proclaimers' number in there - walking 500 miles surely was a dead cert?)  

The costumes are fabulous - from the gingham and denim farm wear to the rainbow sparkles and poppy petals of the dancers,. The sets are well presented from The mundane farm in Kansa....erm...Heaton, to the enchanted land of Oz. I loved the twister scene with the cacophony of music and weather as stage hands spun the scenery around creating the tornado that transports Dorothy to Oz and lands her house on the Wicked witch of the East, and the beautiful poppy field scene with dancers providing the soporific poppies to enchant Dorothy and her friends, and then snow floating from the skies to save them. 

Finally the Wizard's Head is an impressive piece of giant puppetry  and a credit to the set designers. 

This is quite different for a pantomime. there is a definite story to be told though it does still have the good versus evil, and audience participation but it feels less structured than the traditional format, and at times it felt that the "panto" elements were being shoehorned in. There are still lots of jokes and innuendo but it's all a bit more subtle and sometimes the jokes were missed by the audience which is a shame because this is more sophisticated humour than you'd normally see in panto. 

That said, the audience on opening night was fully engaged - with plenty of booing for the wicked witch and clearly the supporters clubs for the dance troups were all present in the audience, which definitely added to the atmosphere! 

If you want something a little bit different to the usual panto fayre then the People's Panto might be just the show you need to see! 

It runs until 21st December - and you will need to book in advance to be sure of a seat! 

Book online here.   

*images by Paul Hood

Denise Sparrowhawk

 

Review - Goldilocks and the Three Bears - Little Theatre

Goldilocks and the Three Bears
Little Theatre

11th December, 2025

Presented by Lee Brannigan Productions

Written by Philip Meeks and Lee Brannigan

Directed by Lee Brannigan

Musical Director John Hudson

Choreography Chantal McCartney

Well, here we are at panto time of year again! Oh yes we are! And doesn't it seem to come round faster and faster each year? Feels like we've barely had time to sweep up the fairy dust from last season before we're back again...bit less glamorous this year, we'll likely be mopping up elephant pee...(more of that later!) 

This year's panto from Lee Brannigan Productions is Goldilocks and the Three Bears. I've never seen a Goldilocks panto before and I did wonder about the storyline - there's no handsome prince to sweep a girl off her feet in the story of Goldilocks and the three bears and the story I remember as a kid was pretty brief, Goldilocks was a bit of a naughty girl who never did as she was told, always getting into trouble, doing stuff she wasn't supposed to do - like wandering off into the woods and eating other people's porridge! So how would that translate into a good versus evil, good overcomes evil, fairy godmother saves the day kind of show? Well, it doesn't exactly but when has sticking to the plot ever been the most important thing in a panto?

 

So how do we get a girl with Golden curls and three bears into a panto plot? Easy - we all run away to a circus!  

Dame Bella has inherited her husband's circus and his fortune. Unfortunately the once fabulously popular circus has fallen on hard times, audiences are sparse, and the takings are slim, but there is still money in the honeypot so things are not too grim just yet. But, (and isn't there always a but?) a rival circus comes to town, with an evil ringmaster who wants to be the only circus in town! He tries bribery and threats to convince Bella to sell up, but she's having none of his shenanigans! But (oh, there's another one!) with ticket sales non-existant and the honey pot of money stolen (I wonder how that happened?) Bella now needs to find a new act to save the circus. Enter stage left, three talented bears to save the day. They're a sensation and the Circus is saved! Hurrah for the circus! (I squeezed in a little Enid Blyton reference there, those of you of a certain age might have spotted it!) But no! Not hurrah! Because you all forgot about the evil rival ringmaster, didn't you? (oh yes, you did!) He plots a devious plan to kidnap baby bear, lure her parents away from Bella and force them to work in his own circus, which means, of course, that Bella and her crew have to plot a rescue mission so that evil is defeated and everyone can live happily ever after! ( You see, we got the gist of a panto plot in there after all!) 

Obviously all this doesn't happen without some magic, some singing and dancing, some jokes (really, really bad jokes!) and a lot of silliness - a bit of shouting, a bit of screaming, and a lot of laughing and booing. Audience participation is key in a panto and I have to say, the cast had their work cut out on Thursday night. I think there were probably more adults than children in the house that night and it took some encouragement for the grown ups to find their inner child! You can't not join in at the Little Theatre Panto - it's too small, there's nowhere to hide, and Bella and the cast are very, very good at breaking the fourth wall and engaging the audience. 

Which brings me nicely to the characters - 

Ringmaster Schnizzlehouser (not easy to say, and even harder to type!) played by Chris McCreery is a fabulously evil bad guy. He oozes onto the stage, full of charm and smooth talk, and yet instantly recognisable as the baddy, eliciting a cacophony of boos and hisses from the audience! He gives a blinding performance - particularly in the opening number in act two which got him a rousing round of applause, despite the fact that he is the bad guy and we really should have been booing! Showing that not only can he do a fabulously awful evil accent, but he can also sing like an angel! 

Fannie the Fortuneteller is the alternative good fairy/fairy godmother in the tale. She brings the magic, that doesn't always go as planned, down to earth, outspoken, Fannie is the glue that binds the Cannyville circus together. Melissa Cavanagh brings such a warmth to the role and her physical humour is  hilarious. 

Goldilocks is played by Laura Fulgenzi. I've seen Laura in other shows and I know how good she is, but I think she has a tough gig with this one, because she's fighting that old chestnut of the leading female role in panto not being very demanding - you mostly just need to look pretty and be rescued. Goldilocks makes a valiant attempt to break out of this but it's a tough gig! That said Laura's performance is solid - she sings and dances her way into danger and back out again with flair! 

The Three Bears are cute and just what you'd expect - a slightly spoilt Baby Bear (Megan Laing) sways from cute to brattish and back again, Mammy Bear (Dawn Wolfe) is kind and reassuring, and super protective of her family, Daddy Bear ( Justin Alistair Ward) is rather grumpy, tries to be a bit authoritarian but mostly get over-ruled in the nicest way by Mammy Bear, and he has the most beautiful singing voice! 

Silly Willy provides most of the slapstick and silliness throughout - alongside his baby elephant Peanut. Don't ask what he feeds him on! Especially, if you're in the front rows. (see earlier mention of mopping up Elephant pee...that's all I am saying!) Rhodri James brings a lovely gentle sense of fun to the show, with his terrible jokes and slapstick humour. 

Dame Bella Big Topp - still the most glamorous Dame of all no matter what the panto might be, keeps the show zinging along with quips and innuendo that could make your hair curl, dressed in an array of costumes that sparkle and wigs that defy gravity at times (at least one wig that succumbs to the gravitational pull!).

Supporting through out are the dancers, choreographed by Chantal McCartney who bring a little bit of sparkle and in Act Two a bit of scary! If you don't like clowns, beware! 

The sets and scenery are great - I especially loved the minibus ride to Sunderland, comic genius from the set designers!  (And being from Sunderland I love all the Wear wolf jokes!)  

As always this company have produced a show with big heart in a little theatre. the cast give 100% throughout and they will have you screaming with laughter, (and occasionally gasping with surprise at the jokes). 

Don't forget, if you have seats in the front half, take a raincoat! 

You might be lucky and find some tickets available but it's a sell out pretty much every year so get booked for next year now to avoid disappointment! 

Denise Sparrowhawk

Review - Cinderella - Little Theatre

Cinderella 

Little Theatre

15th Dec 2022

It's Panto time again - infact it's been panto time for a while now but this has been my first opportunity to get along to one! Life has been getting in the way of any festive feeling of late, and though I admit to being a bit of a grinch when it comes to early festivities, I do look to panto time as the signal for the celebrations to start. So I have been grinchy for longer than usual this year! However, The Little Theatre is providing some much needed seasonal cheer this week with Lee Brannigan Productions' Cinderella! 

This is pretty much a stock panto format - you'll find everything you would expect - goodies, baddies, fairy godmothers, silly songs, bad jokes, singing, dancing, ...and a happy ending! Sorry to give that bit away, but to be fair, if you don't know by now that pantos ALWAYS have a happy ending , then you simply haven't been paying attention! 

So, Cinderella is living at Hard-Up Hall with her friend Buttons, her father has been away on a trip and has tragically died soon after remarrying. His widow and two daughters are returning to his ancestral home in Cannyville in the hope of claiming any riches her husband has left her. I can't help feeling she wasn't too bright if she thought someone called Baron Hardup was a good catch! But hey - this is panto, and we're suspending our disbelief over everything! Obviously Baroness Hardup and her daughters, Fanella and Stella are not impressed with Cannyville, or Hardup hall, or their new step sister Cinderella - not even the rhyming name impresses them. She is quickly despatched to the scullery and the new Hardups take over the hall. 

Meanwhile, Prince Charming is out and about in the neighbourhood on a Royal Hunt, hunting not only a poor defenseless fox, but also a wife! Rivalry and hilarity ensue as the prince and Cinders fall for each other while the wicked step mother and sisters vie for his attentions. Devious plots are plotted, and heaven sent help from the fairy godmother saves the day. 

Thrown into the mix are musical numbers, dance routines, scary puppets, cute puppets, and a huge hat or two. Obviously.

Bella Bluebell is fabulous as the very glamorous, wicked (in more ways than one!) stepmother, sashaying on stage in an array of sparkling and outrageous frocks and wigs.  Her daughters Fanella (Megan Laing) and Stella (Melissa Cavanagh) bicker and backbite their way through the story in increasingly gaudy outfits. Kate Drysdale is a suitably sweet and forgiving Cinderella - I always find the heroine's a little insipid (not the fault of the actors playing the part, mostly it's down to the "tradition" of pantomimes) so it's a credit to Kate that she manages to make Cinders a little bit interesting, and she is also saved by a great singing voice for the musical numbers! Simon Stuart as the Prince, and Adam Davison as Dandini are a great pairing. Adam's facial expressions tell a great story!  Perhaps the surprise voice of the show is Rosie Diaz who is quite reserved and quiet for a fairy godmother - but her musical numbers revealed a strong singing voice! Last but not least we have Buttons - always my favourite in Cinderella and Brodie Daniel did not disappoint! There was great chemistry between Buttons and the Fairy Godmother and between Buttons and Baroness Hardup. His physical humour had the audience in stitches - especially when he goes all wibbly-wobbly under the fairy godmother's spell. 

We can't go without mentioning the dancers - no panto is complete without them - from Lee Brannigan Performance Arts Academy, CM Dance and Timeless Academy. A lot of dancers in a small space at times,  all beautifully and skillfully choreographed by Chantal McCartney. 

The show moves along at a cracking pace - the banter and one liners are nonestop, the jokes come thick and fast, and the singing is top class, not a bum note to be heard! 

It's fun, it's saucy, it will make you laugh out loud, and at times you'll gasp and think that's a bit much - we shouldn't be laughing at that in a family show...but it's funny and if you can't get away with a bit of the risque in a panto, then when can you?  

There are very limited tickets available, so if you're at a loose end one night next week grab one of the last remaining seats and go along to top up your festive spirit. Or, book now for next year's Beauty and the Beast to be sure you don't miss out! It'll be worth it - oh yes it will! 

Denise Sparrowhawk

Sleeping Beauty - Review - People's Theatre

Sleeping Beauty

People's Theatre  
14th December 2021

The People's Panto is back this year with the classic fairy tale, Sleeping Beauty. After a two year Covid hiatus it bursts back onto the stage with a flashbang and Fairy Canny (Emma Cockburn) introduces us to Geordieland and the sad tale of Princess Beauty who was cursed at birth by the wicked fairy Carabosse - on her 21st birthday she will prick her finger on a spindle and die. 

The panto begins 21years later, the day before Beauty's birthday and the day the curse should be fulfilled. Queen Sadie has done everything to keep her daughter safe, spinning wheels have been banned and Beauty has never set foot outside the Palace. So, everything will be fine, and the curse will never come to fruition! (Oh no it won't!)

The jokes come thick and fast, relentless at times! There are silly ones for the kids and plenty of innuendo for the grown-ups - there was a lot of raucous laughter from the row behind me at one or two of the more riskee jokes! The chemistry on stage between Queen Sadie and Chester the Jester keeps the panto bowling along at a cracking pace. Steve Robertson slips back into the Dame's Frock with ease, while Callum Mawston does a brilliant job of engaging the audience with his cheeky grin and quick repartee. Jonathan Goodman plays a blinding bad guy as Carabosse ably assisted by his sidekick Radgie Gadgie - a role played with unnervingly laidback malevolence by Daniel Magee. The level of booing is a good indicator of the quality of the bad guys, and on Tuesday night it hit the top level - booing started as soon as Carabosse and Radgie Gadgie appeared - no prompting needed! The two characters ooozed badness from the moment they stepped on stage! 

Of course it all ends with true love's kiss and a wedding - though there might be a little twist at the end. Is it Prince Frederick of Fenham who wins Beauty's hand, or does someone else bring her back from her hundred year's slumber? You'll have to buy a ticket to find out! 

This is a traditional Panto - with everything you would expect. It has all the jokes poking fun at neighbouring rival towns (Sunderland naturally comes in for some stick) and recent news stories (Boris gets a bit of stick too!); there are dastardly bad guys, sugary sweet good guys, cute little dancers (some of whom don't quite remember their steps), sing-alongs, sweetie hoy-outs, and lots of booing, hissing and cheering. And, of course, a happy ever after, because it wouldn't be a proper panto without that so am not giving away too much by saying that! 

Panto season is back and the People's Panto does not disappoint! Grab a ticket and enjoy an evening of good old fashioned family fun!!

Denise Sparrowhawk

Preview - Robin Hood - Royalty Theatre

ROYALTY THEATRE TO STAGE ROBIN HOOD PANTOMIME

Sunderland’s Royalty Theatre will see Christmas in with their annual pantomime, which this year is Robin Hood.

Written by the Royalty’s James Errington, who also stars as the legendary lincoln-green outlaw, the show follows the adventures of Robin Hood and his band of merry men, as he tries to foil evil-doers and win the heart of Maid Marian.

Director Helen Bowie says, “I absolutely love panto and am thrilled to be directing Robin Hood at the Royalty Theatre.  It isn't a panto you see every year and you've definitely not seen a version like ours. The cast and crew have worked so hard and I hope as many people can see the fruits of their hard work.”

Alex Goodchild, James Errington and Andy Barella.

Credit: Royalty Theatre

Joining James in the cast are panto regulars Andy Barella as Munchy Bob and Alex Goodchild as Friar Tuck.  Erin Moyse stars as Maid Marian.

The show runs from 12 to 22 December with evening shows on Tuesdays to Saturdays, and matinées on Saturdays and Sundays, some of which are close to selling out.

Tickets are £8/£6.50 in advance, £9/£7.50 on the night and canb booked via www.ticketsource.co.uk/royaltytheatre or on 0333 666 3366.

Plays remaining this season are Robin Hood (12-22 December), Two (22-25 January), Shadowlands (17-22 February), God of Carnage (23 to 28 March), Wait Until Dark (18-23 May) and Dirty Dusting (22 to 27 June).

Group bookings for parties of 10 or more can be arranged via rtboxoffice@gmail.com.

Preview - Jack and the Beanstalk - Royalty Theatre

ROYALTY THEATRE RETURN TO PANTO WITH JACK AND THE BEANSTALK

The Royalty Theatre’s annual pantomime is back, and this year it's Jack and the Beanstalk.

The much-loved kids’ classic has been given the panto treatment by local writer David Farn, and features Royalty Theatre newcomer Erin Moyse. Jack's magic beans cause merry mayhem and a fearsome encounter with the giant who lives atop a beanstalk.

Artistic Director Nikki Slack says “This year’s panto will entertain the whole family, with jokes and songs for all generations. It’s a must-see in the run up to the festive holidays.”

Also appearing is Royalty panto favourite Andy Barella as Simon, and writer David Farn steps into the high heels as Dame Flossie.

Tickets are already being snapped up, with many shows – including the four afternoon performances – already reduced to a small number of remaining tickets.

The pantomime will be performed from Thursday 13^th to Sunday 22^nd December, with evening shows taking place Tuesdays to Saturdays, and afternoon shows Saturdays and Sundays. 

Get your tickets in advance to avoid disappointment. Book via www.ticketsource.co.uk/royaltytheatre or on 0333 666 3366. Group bookings for parties of 10 or more can be arranged via rtboxoffice@gmail.com.

Cinderella - Review - People's Theatre

Cinderella
The People's Theatre
8th December 2018


Written by Philip Meeks
Directed by Emma Jane Richards

Panto season has started again, and this year The People's Theatre have returned to the old classic Cinderella for their seasonal offering. I first saw Cinderella here back in 2011 with Emma Jayne Richards in the title role. This year she is directing the show and though the basic formula is intact, there are one or two little tweaks to the recipe.



To begin with, the stage doesn't give much away - just the curtain with Cinderella in suitably sparkly letters (so we know what we're here to see!) I admit to be being a touch surprised. This is pretty bare, no hint of a town, no castle in the distance, no branches suggesting a creepy forest? Two doorways either side of the stage draped with pink swags are the only clues to the princessy tale about to unfold. But, oh when the lights go down and the music starts! It's like the build up to the Oscars with music that builds to a fanfare crescendo and lights that dance across the stage and up into the audience like fairy dust...searchlights beam across us, as if looking for the stars on the red carpet! And then a flash and a bang - we screech in surprise and laugh at ourselves as Fairy Moonglow (Lynn Huntley) appears to introduce the story. She doesn't have it all to herself though - her evil sister Countess Malady (Cat White) muscles in to break the bad news that she has just married Count Hardup (Roger Liddle)  and is now Cinderella's new mother. I can't help but feel parents should take more care when naming their supernatural offspring - calling a fairy "Malady" is just asking for trouble.  

You all know the story - Cinderella (Georgia White) is forced out of her place in the family by the new stepmother and the ugly sisters, Buttons (Joe Robson) loves her but she only likes him, a handsome prince comes to visit but swaps places with his manservant and is taken down a peg by Cinders and is immediately smitten by her. He arranges a ball, Cinders can't go, cue Fairy Godmother and pumpkins and glass slippers and romance till midnight. 


Thrown into the mix are the usual panto ingredients:
There are the cross-dressing dames - Calpolla and Covonia, played by Stephen Waller and Dan Dickinson - who bicker and bite their way through the show, arguing with each other, with Buttons, with the audience...with everyone and anyone, except the good looking guys, basically! These two pretty sisters(!) are living examples of why proper blending is SO important when applying your make-up. 
There are helpful woodland animals, played by the ensemble from Jill Errington School of Dance, and the scary haunted bedroom scene (so scary one little girl had to be taken out until the scene was safely over!) 
And of course there is the community singing which this year is the ubiquitous Baby Shark - you know it had to be in there somewhere!

The script is pretty standard, but nice touches that raise this up from standard panto fayre are the ensemble of footmen and Dandini (James Harvey), the prince's right hand man, who are a rather hipster troup, looking very smart in their frock coats and stockings. While Prince Charming (Nick Warneford) is a deliciously swaggering youth. There is a distinct tongue in cheek feel to their scenes and dance numbers. Director Emma Jane Richards has chosen to dispense with the tradition of having a female actor playing the leading man so both prince Charming and Dandini are played by male actors. Only the Dames remain in that traditional comedy role.    

The lynch pin of Cinderella is of course Buttons and Joe Robson does a sterling job of keeping the audience engaged and joining up the dots in the story. On Saturday he gave a mammoth performance clearly struggling with a seasonal bug, and had almost no voice by the end of the show. I hope someone had a hot whisky and lemon ready for him in the green room after the show!

Photo credit: Paula Smart

This is a very colourful, visual production, scenery is at a minimum but the costumes and lighting work to give a sumptuous and glamourous feel and the "awwhhh" factor comes with the young ensemble dancers who are beyond cute, and the real, tiny pony pulling the carriage is a lovely touch. It has everything you need for a sparkly Christmas treat for the family.

Cinderella plays until 16th December and booking midweek is recommended - the weekend shows are already sold out!

Denise Sparrowhawk

Season Preview - Royalty Theatre

ROYALTY THEATRE ANNOUNCES 2018/19 SEASON 

The Royalty Theatre have announced the programme for their 2018/19 season, and it is a strong programme with a great mix of plays which we are very much looking forward to!

They begin a packed season with classic comedy No Sex Please, We’re British. 

The farce by Alistair Foot and Anthony Marriott kicks off a season that theatre bosses believe has something for everyone.  It’s joined in the comedy stakes by May’s Barefoot in the Park, the film version of which starred Robert Redford and Jane Fonda.

For fans of suspense drama, Daphne du Maurier’s My Cousin Rachel will be performed in October and November, and the time-honoured favourite Dial M for Murder is the Royalty’s March offering.  Hobson’s Choice in February and Jane Austen’s Emma in June add to the drama.

The annual pantomime this year is Jack and The Beanstalk by local writer David Farn.

Once again, the studio is put to use for intimate small scale productions with the premier in  January of Billy Towers’ Mary, Mary, based on the life of Jack the Ripper victim Mary Kelly.  April’s studio production is John Godber and Jane Thornton’s Shakers (Re-stirred)

Thanks to the popularity of last year’s A Night at the Musicals, The Royalty are reprising this for two nights only on September 7^th and 8^th.

Visiting companies include Pink Floyd tribute act What the Floyd, appearing on 5^th October.  Sunderland Stages return to the Royalty with Red Ladder Theatre’s The Damned United, the story of Sunderland and Middlesbrough legend Brian Clough’s ill-fated 44 days at Leeds United, on 13^th and 14^th November.

Artistic Director Nikki Slack says, “We’re now raring to go for the 2018-19 season. We have a year packed with a range of diverse plays that will appeal to all. Recent media has been much focussed on equality and ‘Girl Power’ is certainly coming back with a bang! Our programme of plays this coming season shines the spotlight on our female talent from more female-centred plays to our female directors and technicians.”

Tickets are on sale now at www.ticketsource.co.uk/royaltytheatre.  
Tickets for The Damned United are available from the Sunderland Stages website.

Snow White - Alun Armstrong Theatre - Review

Snow White
Alun Armstrong Theatre
15th Dec 2017

Directed by Lee Brannigan

My second foray into Pantoland this year took me to Stanley to the Alun Armstrong Theatre, for their in-house production of Snow White (the fairest panto of them all!).

At curtain up we meet the villain (villainess?), Queen Morgana of Cannyville. Once the boos have died down she sets the scene: you know the score, her kingdom is skint, the lucrative diamond mine is protected by magical dwarves and she can’t get her hands on the treasure, her step daughter is more beautiful than she, and the wealthy prince falls for her instead of the Queen. It’s the age old struggle, of good versus evil, true beauty versus vanity, greed versus generosity of spirit.

Will goodness and beauty prevail? Of course they will. But in order for that to happen we, the audience must be subjected to the gruelling ordeal of bad puns and awful jokes that is panto. And there are plenty of them! They come thick and fast from Nurse Bella and her son Muggles, and from the evil Morgana and her sidekick Seymour Snarl. There are puns to make you groan and jokes so bad your toes will curl - but of course this is what we expect, and the punchlines are eagerly anticipated and are cheered for and groaned at in equal measure.

As always Philip Meeks’ script is adapted to include local references - Beamish and Consett come under fire as does Stanley itself with references to The Big Asda and The Aldi that’s not even built yet (you can see both as you come into town). These local jokes always resonate with the audiences. We Brits are nothing if not willing to laugh at ourselves.

It’s not all about the jokes though - there is also the singing and dancing, the set and the costumes. The set is impressive - from the painted scenery of the castle, the forest and the dwarves’ cottage to the special effects with lighting and pyrotechnics, it creates a land of magic and mystery. Costumes are sumptuous - from Morgana’s dark and dramatic glamour, and Nurse Bella’s array of frocks for all occasions to the simplicity of Snow White and the villagers outfits, and the smart elegance of Charlie’s princley attire.

There are plenty of musical numbers to show off the singing talents of the cast, Sara Lumley has a fresh, light voice well suited to the character of Snow White, while Jon Dylan Brown’s solo shows why he graduated with a distinction in musical theatre! For me the showstopper is Andrea Atkinson’s rendition of Get the Party Started! She is fabulous, evil, but fabulous!

The dance routines, choreographed by Kathleen Knox are fresh and fun, and the ensemble and three principle dancers (Beth Shannon, Rachael Ward and Rhiane Finlay) work hard throughout the production. There must be some impressive fast changes going on back stage as they swap back and forth from village girl dirndls to skintight lycra and leotards.

Pantos are always full of over the top characters and this one is no exception. Lee Kyle is the archetypal best buddy, fall guy Muggles who garners the sympathy of the audience, while Martin Anderson as Seymour Snarl is the antithesis of this - he is brilliantly over the top with his shambling gate, gurning expression and elaborately obsequious grovelling. Neither of these can beat Bella Bluebell as Nurse Bella however, as she appears in an array of glorious frocks, hats and wigs. I think she must be the most glamorous Pantomine Dame ever, she certainly has better legs than most!

Interaction with the audience is great throughout but especially in the hilarious 12 Days of Christmas number. You have to experience it to beleive it. All I will say is, maybe take an umbrella or wear a mackintosh for the second act.

The programme says this is the theatre’s first pantomime and it’s a corker! The small cast work their socks off to create a panto that has more sparkle than Mr Sheen! And it has the voice of Alun Armstrong himself as The Mirror! It deserves a bigger audience so if you are looking for an outing this Christmas and are within driving distance of Stanley then book a ticket for this show. I came up from Hartlepool and it was worth every mile.

Snow White plays until 24th Dec. Tickets can be booked online at www.civichallstanley.co.uk or by phone on 01207 299110. It’s just £14 (£12 conc) or £38 for a family ticket.

Denise Sparrowhawk

Aladdin – People’s Theatre Newcastle - Review

Aladdin - People’s Theatre, Newcastle - 13th December 2017

Now having gone to see Jack and the Beanstalk last year at the same theatre and not being overly impressed,  I was hoping for a better experience with Aladdin.

I will always think of Robin William’s portrayal of Genie in the Disney version and ‘A Whole New World’ but this is panto and I admit I’m a pantophobe but I decided to come and see if this was any good.

Let’s start with the positives; Leon Gill (the guy’s an absolute legend) played Genie, He doesn’t have too much to do in the show but he is great and his singing is excellent. The other great singer that I went “wow” to is the princess, played by Madeline Carter. I have never seen her perform before but I do think that musical theatre is what she should go into.

The Princess is aptly named for this panto written by a Geordie - Philip Meeks - and performed in a Heaton theatre, and who could that be? Why Cheryl, of course!

Wishee Washee is played by Joe Robson - I think he’s found a role that suits him well - alongside the beautiful Widow Twanky, played by Steve Robertson. I think these two are great comedians and their comedic talent balances out their singing!

PC Tickle and PC Slap were played Nathan Hussain and Emma Cockburn. I would have liked to hear and see more of them as I couldn’t really see what the point of them is, and so I wasn’t really invested in their characters. 

Empress Ezmeanie played Sara Jo Harrison. She plays an evil person well (she must have needed lots of acting lessons as I’ve heard she’s actually really nice). Her on stage husband Emperor Jor-di who really only came to life in the 2nd half of the show has a great voice, and when Steve and Stephen sing a duet it is the latter who carries the song.

The real baddy in the story is Abanazar. Paul Gaitskell is absolutely fantastic. He plays to the crowd and his comedy timing is just on point. He is great even though sometimes the techie guys let him down, (more on that soon).

In the scene where they sing a song and someone disappears each time, the Mummy was played briefly by James Lane.

Have I missed anyone out?? Oh Yes I have!

The lead was played by Laurence Hussain and unfortunately I’m not 100% sure that he is one, in most of his songs he is overshadowed by more accomplished singers.

There is a large ensemble made up of many different people from the Chorus, Tap Dancers, Dancers from Newcastle High School and lots of little people who all did well.

The Lighting was amazing especially the final scene of the first act which you need to go and see for yourself. Designed by Scott Sweeting and crewed by Martin Collins, Dave Harvey and Amy Hardman.

The Choreography was fantastic and praise needs to go to Julie Bowman, Jill Taylor and Ruth Gibson and Joe Butcher for this.

But - here goes nothing!! As someone who is hard of hearing and a sound engineer, I have to say at times it sounded terrible. As last year, the music is played through a computer and it would be so much better live!

Directed by Emma Jane Richards and Assisted by Craig Fairbairn. 

The production is okay. Some things are amazing but there are some parts of it that let it down so much unfortunately, hopefully they will get better.

On until 17th of December 2017.  

Reuben Hiles

Preview - Dick Whittington - Royalty Theatre

ROYALTY THEATRE’S 2017 PANTOMIME IS  DICK WHITTINGTON 

The Royalty Theatre will see out 2017 with their annual family pantomime, and this year it is  Dick Whittington.

The much-loved family classic follows the story of Dick Whittington and his cat, who travel to London in the hope of seeking Dick’s fortune.  Along the way he meets the beautiful Alice, but also the evil King Rat – whose villainous plans soon cause trouble for Him. 

Helen Bowie writes and directs the pantomime, following her overwhelming success last year with  Aladdin.  She says, “I love everything about panto and, after the success of last year, the Royalty have very kindly asked me back, which is another dream come true. We are having a riot in rehearsals and I hope that the audience enjoy watching it as much as we enjoy performing it!” 

Award-winning panto actor Andrew Barella is once again in the comedy role as Idle Jack, and he’s joined this year by David Armstrong as Dame Sarah, Olivia Bowern as Dick, Lauren Hawkes as Alice and James Errington as Dick’s cat. 

The pantomime runs from 7^th to 17^th December, with evening performances Tuesdays to Saturdays at 7.15pm, and afternoon shows on Saturdays and Sundays at 2.15pm.

Tickets can be purchased in advance from the theatre website www.royaltytheatre.co.uk

Alice in Wonderland - Review - Northern Stage

Alice in Wonderland
Northern Stage
30th Nov 2017



On the coldest most wintery day of the year so far I made the journey up the A19 from Hartlepool to Newcastle to see Alice in Wonderland at Northern Stage. The sudden change in the weather made for a strange journey. The glaring headlights and fiery tail lights of queuing traffic refracted and distorted in reflections on the wet road as it snaked its way northward - not unlike the writhing, red eyed jabberwock I was soon to encounter.

Northern Theatre is transformed for the show, creating a huge space with audience on three sides of the stage. Ramps lead down from the stage bringing the action right out into the audience. Colourful, curious, clown like characters enter from side doors, from the rear of the auditorium, from the back of the stage. They appear on balconies high above and they pop up through trapdoors below the stage. It creates movement and excitement, a sense of the unexpected and a degree of disorientation, mirroring Alice's own experience of the bizarreness of Wonderland. The audience is swept along with Alice on a tide of music and song, as each new set of characters dance and prance across the stage, each bringing their stories and strange adventures. The music is live and jazzy, played by the band who are also characters in the play which makes it all the more fluid and dreamlike as the characters move in and out of the action.

The fact that other members of the cast play several parts adds to the surrealness and the confusion, and they all morph seamlessly and convincingly from one character to another - you are left feeling "just a minute - wasn't he/she just something else....?" It is brilliant! (have I said that already?)


Is it possible to pick out outstanding performances? They are all so good - but Tweedle Dee and Tweedle Dum (Michael Blair and Andrew Bleakley) get the most laughs for their contrariness. We love Chris Price as the White Rabbit, Great Blanco and the Mad Hatter, and Clara Darcy as The Cheshire Cat (unnerving and great use of parasols!), the Mad March Hare (I think, maybe, my favourite?) and Ma. The Ensemble. which included students from Newcastle College, are magnificent, keeping the action and the confusion and the laughter going throughout.

Alice herself is a very real character - a child with challenges of her own in life, she is tough and resourceful, inquisitive and curious. Alex Tahnee plays the part beautifully; her Alice is an entirely credible and engaging child and is the one point of sanity in this weird, wonderful, completely bonkers world!


Written by Theresa Heskins and directed by Mark Calvert this Alice in Wonderland is far removed from Disney's homogenised animation. Inspired by the Moulin Rouge, it takes Carroll's story and adds an extra element of fantasy. It has the feel of a circus with hints of clowns and acrobats and larger than life characters. It is a huge, energetic show bursting with colour and fun. Mark Calvert and Zoe Murtagh have excelled at producing a show that keeps both children and adults fully absorbed and entertained. The rapturous applause at the end of is completely and utterly deserved.

Alice in Wonderland plays until 6th Jan - if you see nothing else this festive season, see this! It's more than worth a trip through ice and snow.

*photo credit Pamela Raith


Denise Sparrowhawk

Robinson Crusoe - Review - Gala Theatre

Robinson Crusoe

Gala Theatre
25th Nov 2017

We launch straight in to the action with the flamboyant Capt Blackheart casting his crew off the plank into the sea! Rolling waves and crashing music give way to the siren's song and the appearance of Aquamarina, Queen of the Sea, fabulous in her watery fountain. She sets the task for Capt Blackheart - to find the Pearl of Wisdom on the Island of Flames he must first recruit a young lad Robinson Crusoe. Only he has the secret to finding the island and the pearl. And so it begins...

This panto is packed full of terrible puns, and awful jokes; poop-decks and parrots are an abundant source, obviously! But it is lifted up a notch by the preponderance of positively perilous tongue twisting alliteration scattered throughout. None of the characters escape this and they deserve a medal for getting through them without tripping up or

corpsing! The song and dance routines upbeat and the choreography by Amanda Woods has a refreshing originality.

The cast do a tremendous job throughout - Neil Armstrong as Horatio "Hooray" Blackheart is a mean but rather understated baddie - he secretly longs for us to join in the "Hoorays" rather than the boos? Lauren Waine's Percy/Polly Perkins has more than a touch of Blackadder in her thigh-slapping delivery. Paul Hartley is completely over the top as Billy Bob, the (ahem) younger brother to Robinson, as he his gurns and flounces his way through the play. Jamie Brown is an engaging hero with just the right amount of innocent naivety. Glamour comes in the form of Jayne Mackenzie as Aquamarina and Paul Dunn as Dame Connie. It's a toss up as to who has the best frock, but Jayne wins hands down on the singing! The youngsters in the cast are all great - stepping up to their moment in the spotlight and delivering with confidence and a good deal of stage presence.
And finally there is John Murdoch as Pecky the Parrot - who saves the day! My one disappointment is that he doesn't get to go through the Cave of Diminishing Returns but I suppose that would have spoiled the ending - I can't explain that any further without spoiling it myself, so you'll have to buy a ticket to see what I mean!

The set is quite fabulous and there are lots of special effects with lighting and props, dry ice and water (watch out if you sit in the front stalls). The scene changes are quick and slick. Costumes are colourful and fun from Blackheart's dandy captain's coat to Dame Connie's ludicrous outfits (my favourite is the shipwrecked barrel and seagull).

This version of Robinson Crusoe bears little (none at all, actually) resemblance to the story by Defoe - there's a desert island and some marooned people and a passing reference to Man Friday but that's about it. Not that that matters at all because this is pantoland and anything goes! The plot is a quest for the Pearl of Wisdom - the baddy (Captain Blackheart) wants it and it will be a bad thing if he succeeds so the goody (Robinson Crusoe) is sent in (unknowingly) to the save the day and redress the balance of good and evil. And isn't that what panto is all about?

Despite having  all the right ingredients the cast had a hard job keeping the audience on board last night, though I don't know what more they could have done. It's an early start to a long run for Robinson Crusoe and I'm sure as the season progresses the audience participation will only get better.

Robinson Crusoe is fun, flamboyant and makes a interesting change from the usual fairy-tale panto fayre.

Denise Sparrowhawk