It’s hard to categorise this show, but it’s essentially a piece of stand up combined with a lot of clowning. The clowning animates an hour-long monologue that circles the issues raised by an obsession, in this case getting married before your twenty-seventh birthday.
There are a number of sketches – narrative moments which take us to a ball, a lunatic asylum and the house of an aged aunt. Jane Austen is invoked along the way, of course, but so is Fleabag, the intention being to show the continuity of the central issue over two hundred years. Love Island is not referenced, probably due to copyright issues. Depth and range are added to the stories by the use of black and white film clips shown on the backdrop which are punctuated by ironic remarks. There are a lot of asides and a lot of audience participation, with one hapless individual being invited on stage to play a prospective suitor. (He told a good joke.)
The monologuer, comedian Rosaline Minnitt, is energetic and friendly. She has an appropriate repertoire of facial expressions, and she flips her tones of voice easily. She can sing and project and imitate accents. She is confident of her material, throwing everything bar the kitchen sink at her subject. There is no let-up, but she wins over her audience completely. I was pleased that in all the verbal torrent there is only one expletive which could have been deleted.
Personally, I was interested and amused rather than blown away. Still, credit where credit is due. Most members of a Saturday night audience at Theatr Clwyd are the ‘wrong’ side of 40 and you might have expected them to be staid and unresponsive but Minnitt got on the right side of them/us straightaway. Everyone sang a bit and we waved little electric lights in the air on cue One of the high points of the evening was an audience member’s rendition of a screech owl’s call.
Not being either overwhelmed or partisan, I was well placed to appreciate how much effort had been put into the show by ensuring the incomprehensible storylines stayed on a crazy track. The technical back up was efficient. Lighting and sound effects happened – apparently – on time and the film clips ran smoothly (things like that have a habit of going wrong on the night).
In the end, the stage was left in a mess, with Clementine’s dolly figures of her parents and 67 sisters mixed up with the scores of love/hate letters that fluttered down at one point, but despite everything she had been doing for an hour, Minnitt still looked fresh and up for her next performance. I’d be curious to see what she and Liebenspiel do get up to next. It would be nice to see her working with or off another performer or two and -tackling a subject a tiny bit more – demanding? Just a suggestion.
It’s a statement that makes sense once you stop asking it to behave. It’s also an excellent way into Meet Fred — a show that invites us to loosen our grip on certainty, definition and systems that insist on being right. Walking into the space to a David Bowie track immediately helps me feel settled. It’s a small act of care that signals this is a room where arrival matters, where bodies and minds are allowed to take their time.
Meet Fred is a quietly assured piece of theatre that reflects Hijinx Theatre’s long-standing commitment to reimagining how learning disability is understood, represented, and lived with on stage.
Rather than negotiating with the disability models, the production rejects that school of thought entirely, exposing how institutional frameworks repeatedly fail the very people they claim to support.
At its heart, the show is about identity — how we find out who we are, and how others decide who we should be. Fred reminds us that we can be more than one thing simultaneously.
He is a puppet, (who f*****g loathes the Muppets and don’t get him started about children) He is also sensitive and kind (his attempts to compliment are legendary), foul-mouthed and funny, fearful of change and incandescent with anger at systems that do not work for him. His fury, particularly when directed at the DWP — reimagined as the Department of Work and Puppets — lands with sharp humour while pointing clearly to institutional failure rather than individual deficit.
Structure becomes a form of care. The board outlining each plot point serves as a reminder of what is to come — reassuring, steady, and revealing how much comfort there can be in knowing what happens next. Routine here is not mocked or overcome; it is respected. Access is not added on but fully integrated. The interpreter is woven into the show, moving through the space and responding to the cast in real time.
Responding to subtitles is strange at first — a productive strangeness — reminding us that genuine integration requires adjustment from everyone, to feel at home having 3 languages available simultaneously, not just those most often asked to adapt.
The use of music carry cases is remarkably simple and yet transformative. As they move, the space reshapes itself, demonstrating how environments are continually constructed — and how small shifts can radically change experience.
Each performer is given moments of focus, paying homage to the collective labour and care that animates the piece. I found myself noticing how white the room and the stage were.
It didn’t undo the care or intelligence of the work, but it did linger — a reminder that access and representation are not the same thing, and that some stories are still easier to tell than others. Those moments on stage hold humour, tenderness, and fury — particularly the anger that comes when a support system is removed or withdrawn. This rage is not softened or made palatable; it is held as a justified response to systemic neglect. Silence is one of the production’s most powerful tools. Here, silence feels safe, not abandoning. It slows time, holds the space, and allows us to root for Fred without explanation. Even as a faceless bunraku-style puppet, he feels profoundly human — shaped by attention, care and collective effort.
For those familiar with Housemates, Meet Fred feels like a continuation of Hijinx Theatre’s essential work. It does not ask for a better world — it demonstrates one, and trusts the audience to recognise it.
Meet Fred left me thinking about how often we celebrate access without interrogating who that access is currently working for.
The production models care, patience and integration with clarity and confidence, yet the lingering whiteness of the space suggests that inclusion is never a finished task — even within work that resists dominant systems. This doesn’t diminish the power of the piece. If anything, it sharpens its relevance.
By rejecting institutional logic around disability, Meet Fred opens the door to further questions about race, visibility and whose bodies are most often permitted to take up space — gently, slowly, and without having to explain themselves. Like the show itself, this reflection isn’t a demand. It’s an invitation: to notice, to stay with the discomfort, and to imagine how care might expand if we keep asking who is still missing.
You can find our more about the production and book tickets for the current tour at the link here
Rebecca Reid’s adaptation of the 1992 film of the same name ramps up the tension and psychological thrills as Single White Female takes to the Donald Gordon stage at the WMC. The 34-year-old classic film is brought bang up to date with Reid’s references to social media, Mounjaro, Vinted and Matcha Lattes! It ensures that the story remains timeless and relevant to a modern-day audience.
The set is exceptionally designed; detailed enough to mean we totally believe that we are inside a small city flat shared by mother and daughter, and claustrophobic enough to mean that the tension is ramped up exponentially once the action starts proper. The sound effects of the temperamental building also add to the drama, as both actors and audience react to the sudden moans and groans of the old city block. Light and darkness are used to great effect too, with the stage plunging into darkness for the passage of time with lights streaming around the proscenium arch, showing us both the passage of time and increasing the feeling of unease throughout the audience.
In a small but mighty cast, each actor delivers here, in absolute spades. Lisa Faulkner is completely believable as divorcee Allie; doggedly working to set up her business and make a better life for herself and daughter, Bella. She captures the growing uncertainty around roommate Hedy perfectly, adding complete believability to the final climactic action of the show. Allie’s friend, Graham, is brought perfectly to life by Andro, who ably adds a slice of well needed comedy to the piece. He is a great balance to Faulkner’s Allie.
Jonny McGarrity as Sam and Amy Snudden as Bella complete the cast. Their exchanges as slightly absent father and daughter are delivered very well; their interactions completely believable and realistic. McGarrity walks the line between deadbeat ex and trying father very well, it is very hard to dislike his charming swagger. Snudden captures the physicality of teenage girl with ease, in turns sassy and awkward, clashing with Allie at one moment and craving her mother’s affection in the next.
Kym Marsh portrays Hedy perfectly here, building the unease with expertise. She begins as an incredibly likeable new lodger and the descent into unbalance is cleverly woven into her performance. Her presence is commanding and instantly makes you want to see exactly what the nefarious Hedy is getting up to in this scene!
This could feel like a dated piece with the inspirational material now being over 33 years old, but this is a clever adaptation that is easily accessible whether you’ve seen the source material or not. It’s a great evening of theatre; one that’ll have you gasping and on the edge of your seat throughout.
Based on the hit television series sharing the same name, This production is a well crafted reimagining of ITV’s long-running Inspector Morse, hailed by Radio Times as ‘The greatest British crime series of all time’.
Inspector Morse- House of Ghosts written by Alma Cullen based on the characters by Colin Dexter offers a new generation of Morse fans to take a look behind the scenes of a production of Macbeth and view the unraveling web of lies and deception in real time. Director Anthony Banks plays well with the balance of comedic devices and well placed quips alongside the harsh themes of Suicide, Marital affairs, Deceit and Murder. This adaptation is the first of its kind and is an impressive reimagining from the screen to the stage, staying true to the original tone of the well loved television classic.
The manipulation of perspective allows the cast to shift the audience and place them exactly where they are needed, with limited set this directional choice was fundamental in creating various locations and moments in the piece so that we too are moving with the performers through the story as it unravels.
The titular character of Inspector Morse is played by the notable Actor Tom Chambers who is dedicated in his performance of this beloved character. His physicality was instrumental in capturing the essence of the inspector, blending the inspectors stolid professional life with his desire to peruse a romantic relationship with Ellen. Another performer of note was the delightful Jason Done responsible for the role of the antagonistic Director Lawrence and the contrasting saintly Father Paul. The juxtaposition between these roles allowed us to see the extensive range of the performer, from the notable change in vocal mannerisms to the way in which each character held themselves we were engrossed with Jason’s performance from the moment he entered the auditorium.
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Inspector Morse- House of Ghosts at the New Theatre Cardiff is a delightful evening for Morse enthusiasts and fans of detective fiction and mystery alike. The production hides nothing from the exposed wings to the secrets laced within the delicious writing, the lighting and set design much like the writing plays with the light and dark elements of the production. A great evening of entertainment that leaves you wanting more.
It was never going to be easy. The task of staging the celebrated 1982 Stephen King novella Rita Hayworth and Shawshank Redemption and the 1994 film version starring Tim Robbins and Morgan Freeman, would be marked by the setting of a very high bar indeed. With this production, writers Owen O’Neill and Dave Johns have met the challenge with aplomb.
The story centres around the miscarriage of justice meted out to Andy Dufresne, who is now serving a double life sentence for murdering his wife and daughter, at the Shawshank Maximum Security Penitentiary (“The Shank”). Narrated via Andy’s friend Red, we learn the fate of the protagonist told over two decades of incarceration, creating a vivid depiction of corruption, bullying and violent abuse.
Joe McFadden (Holby City; winner, Strictly Come Dancing), shines in the role of Andy. Capturing his obvious intelligence and skill in accounting, desire to do anything he can to make the lives of (most of) his fellow inmates a little more tolerable, while at the same time delivering a steely character and a fastidiousness many on the outside would fail to achieve, McFadden manages to inject a boyish charm into the role, difficult to achieve when portraying an alleged double murderer.
The role of Ellis “Red” Redding is played by Ben Onwakwe (London’s Burning; Professor T). Drawing the audience in to the narrative with his witty, sardonic storytelling, Onwakwe is a fitting contrast to McFadden, portraying Red as a world-weary prison fixer who has seen it all. Shout-outs must also go to Kenneth Jay as poor old Brooksie, terrified of gaining parole as he feared lack of purpose on leaving his role as prison librarian, and Bill Ward as Warden Stammas, a frightening figure open to corruption and intimidation with a vicious cruel streak thrown in.
The prison setting worked extremely well in being versatile enough to depict the prisoners’ cells, the courtyard, the refectory and the library with a few deft adjustments. A one-colour greyness enveloped the stage, which is only augmented by the blue denim of the inmates and their drab shirts. With a few more switches of furniture, we are transported to the parole office, all carried out seamlessly and with conviction.
And what a joyous scene to end the play, with Red leaving the prison then a clever switch of scene (kudos here to the lighting team) to a full backdrop of Andy on his long-dreamt-of Mexican beach at sunset in Hawaiian shirt, shorts and sandals. Reminiscent of a Martin Parr colour-saturated photograph, the contrast with, and relief following, the dreary prison interior, was palpable amongst the audience members around me, and a fitting ending to a glorious production.
The productions runs till the 17th Jan. You can find out more and purchase tickets here
We all know the rags-to-riches fairy-tale Cinderella: a beautiful, kind-hearted young woman, stuck scrubbing floors while her stepsister’s parade around in all their wickedness. However, with a little help from her Fairy Godmother, Cinderella is whisked off to the Royal Ball, where she promptly falls in love with the Prince. There’s just one catch- the magic expires at midnight. Cue a frantic exit, one abandoned shoe (sorry, slipper), and a Prince determined to search the entire kingdom for the foot that fits. Spoiler alert: he finds Cinderella and, of course, they live happily ever after. Throw in her bestie, Buttons, a Fairy Godmother with a wardrobe fit for a queen (I’ll let you decide which type of queen!) and a blend of fantastical sets, props and dancing villagers and you’ve got yourself a recipe for a standout Venue Cymru production!
A brilliantly written script, this panto does not disappoint in its nod to tradition with plenty of hilarious one liners, often alluding to well-known North Wales locations, lots of ‘oh no, you didn’ts’ etc., a frenzied 12 Days of Christmas complete with custard pies and, a highlight, Buttons and the Fairy Godmother discussing ‘Billy from Bala’s Bullocks’…you can imagine where this sketch has the potential to go…! The chemistry between John Evans (Buttons) and Simon Nehan (Fairy Godmother/Dame Dolly Penrhyn) is unmistakable- both consummate professionals and no stranger to Venue Cymru’s stage (in fact, Dame Dolly mentions how confusing her feelings are for Buttons as she played his mother last year!) Evans is the master of improvisation and clearly extremely comfortable in this role and Nehan excels as the Dame, with wonderful comic timing and just enough bawdy behaviour!
Another duo with a clear connection is 2025 Britain’s Got Talent finalists Hannah Roberts and Fran Cottington as wicked stepsisters Whitney and Britney Bardashian (see what they did there?!). Both local, Han & Fran are literally ‘living the dream,’ riding on the wave of their talent show success. However, these two are not to be underestimated. They have already proved they can sing and that they’re comfortable in front of the cameras and now this powerhouse pair are conquering the professional theatre world. Both seem very ‘at home’ here and bounce off each other perfectly, neither one stealing the limelight from the other. Performing a laugh-out-loud rewrite of ABBA’s Fernando (an ode to popular restaurant chain Nando’s!) along with other ABBA classics and more, continue like this and Team Han & Fran will no doubt go a long way!
Another local performer is Corrine Cherish who simply shines as Cinderella. Despite being the title character, this role can often be forgettable. However, Cherish truly puts her own stamp on the story’s heroine, and not only does she make a stunning lead, her vocals also stun- no more so than at the end of Act One- as Cinderella makes her way to the ball in her newly transformed coach, Cherish’s soaring vocals, combined with a beautifully magical piece of stagecraft (which I won’t spoil here), create a surprisingly emotional and memorable end to the first half.
This year’s ‘celebrity’ panto stars are Strictly Come Dancing’s AJ Pritchard and his brother, also a professional dancer, best known for Dancing with the Stars, Ireland, and his appearance on Love Island. Unfortunately, both give disappointing performances, often stumbling over lines, and displaying acting talent about as wooden as Cinderella’s broom! I’m not sure I’ve ever attended a production of Cinderella in which the Prince (AJ Pritchard) doesn’t sing at all and, although Curtis Pritchard as Dandini is given a few musical moments, he mimes every time which is very off-putting! I can’t help but think the production would have benefited from some more local talent rather than being reliant on ‘names’ to put bums on seats!
The cast is mostly strong, with a lively and dynamic ensemble who keep the energy up and whimsical, cartoon-like sets, clever lighting design and fabulous costumes all add to the magic. The musical numbers strike a fun balance between timeless classics and modern hits- though, like Cinderella’s night at the ball, some feel a tad rushed. All songs, however, are played live by the company’s fantastic band, led by Musical Director Shaun Critten, who even pops up for his own mini moments in the show, adding an extra sprinkle of charm!
Overall, Venue Cymru’s Cinderella is a true spectacle which could have been propelled to a five-star production with a handful of minor alterations. It was wonderful to see the theatre full on a Sunday afternoon and a pleasure to hear families thoroughly enjoying themselves in the lead up to Christmas. For a feel-good, festive experience with lots of laughs and local talent, I wouldn’t hesitate to recommend a visit to Venue Cymru this panto-season!
Cinderella. Venue Cymru, Llandudno Friday December 12th, 2025- Saturday January 3rd, 2026 Cinderella | Venue Cymru
CAST AJ Pritchard Curtis Pritchard John Evans Hannah Roberts Fran Cottington Simon Nehan Corrine Cherish Ella Goody Connor Pearson Sadie Wagstaff Sam Woods
CREATIVE TEAM Associate Producer Laura Taylor Second Associate Producer Jo Longworth Writer Tam Ryan Director Alli Coyne Choreographer Eddie Slattery Musical Arranger Steve Clark Musical Director Shaun Critten Lighting Designer Ben Payne Sound Designer Matt Karmios
BAND Md/Keys Shaun Critten Drums Michael ‘Ozzie’ Osborn Bass Dominic Palmer
FOR CINDERELLA Production Manager Andy Pye Company Manager Matthew Ollerhead Deputy Stage Manager Heather Milne Assistant Stage Manager Mali Barratt Wardrobe Supervisor Paula Cain Wardrobe Assistant Imogen Duke Dresser Alaw Broster Production Carpenter Simon Somerset Holmes Lighting Programmer Sophie Schmidt Production Sound Matt Gibson Sound No 1 Jason Jones Dance Captain Ella Goodie
The Riverfront in Newport presents its 20th year of pantomime and invites the audience to ‘let their hair down’ with the classic tale of Rapunzel! This is a great, bang up to date, version of the fairytale, with some fantastic song choices, hugely energetic dance routines and a super talented cast and ensemble.
I loved the use of the full stage area, including the side balconies to introduce Rapunzel’s parents, the king and the queen, and for our first view of Rapunzel herself. The set is impressive; the transitions between scenes are also particularly slick. I loved the village with its bright colours, the bottom of the tower and the internal of Rapunzel’s tower. There are some lovely touches, including a swing made of plaits for Rapunzel to sing ‘Unwritten’ on and at one point the evil Ceridwen bounds onto the stage from a trap door.
I really enjoyed the traditional mixed with the modern. There were so many 2025 trends in this pantomime, I could barely keep up! Of course, the ‘6, 7’ obsession makes an appearance, we have ‘Golden’ sung by Ceridwen and Gruff, Jet 2 Holidays gets an outing of its jingle and many more. There’s plenty of the traditional too, which are performed with precision and expertise. There was a great ‘ghost’ scene, but featuring a bear, and the songsheet also utilised the ‘bear’ theme and was led with aplomb by Muddles (Richard Ellis).
The cast are full of vigour and the joy of Christmas as they each hold the audience in the palm of their hands. I especially enjoyed Gareth Tempest as Dame Winnie Wiggins, though I must say, my favourite part was the rather unscripted section where his wig fell off! He is an hilarious dame though, exactly understanding the brief. Delivering inuendo that goes straight over little ones’ heads one minute, and bringing delightful family humour the next. I don’t think I’ve ever laughed so hard as I did during the quick costume change for ‘Pink Pony Club’ which was a moment of pure panto magic.
The cast is brilliant all round, each bringing their own unique spin to the characters. I also thought the ensemble were excellent, including the children. The dancing was high quality and delivered with such passion and sheer enjoyment that it was a joy to behold. The children’s ensemble also held their own and it was nice to see them have a good deal of involvement with the plot.
In its 20th year of producing pantomime, it’s safe to say that The Riverfront continues to deliver pantomimes that are punchy, energetic, incredibly humorous, traditional yet with a distinct modern flavour. There’s definitely something for the whole family here, which means that everyone, no matter how young or old will have a fabulous time at the Newport pantomime!
Snow White at the Lyric Theatre, Carmarthen, certainly earns the title of the ‘fairest pantomime of them all.’ On a cold, wet evening in West Wales, this pantomime certainly blew away the winter blues and had us in absolute stiches!
Theatrau Sir Gar, in association with Imagine Theatre, present a beautifully colourful, lively pantomime, which is strong on plot and all the classic pantomime tropes. The set is lovely, light by Jonny ‘JR’ Rees and sound by Alun Walters all make the stage pop and create a gorgeous stage for the performers to present the classic tale. I was also really impressed with the costumes! In particular, I loved Dame Dolly Mixture’s stunning array of costumes, with so many fast-paced changes that I could barely keep up! I also adored the puppetry design used for the Dwarfs, which was really magical.
The ensemble/dwarfs were one of the best I’ve seen in pantomime. They delivered fantastic, high energy dance routines and created loveable, believable characters in their respective Dwarfs. We saw Team White, the ensemble of children, and I must say, they also performed admirably. Ceri-Anne Thomas makes a picture-perfect Snow White, capturing the essence of the original fairytale character with lovely vocals and a great relationship with Abe Armitage’s Prince Michael of Monmouth. Abe plays Michael fantastically, a picture book prince with lovely vocals, which mix really well with Ceri-Anne’s. Alexandra George is a delightfully sassy Evil Queen, revelling in the boos of the audience and owning the stage whilst singing Poison surrounded by an ensemble of evil cockroaches!
Elis James appears ‘in spirit’ as the Spirit of the Mirror, bringing loads of local flavour and humour in a performance that is pre-recorded but is so well rehearsed that it really seems like he’s in the theatre with us! Our comedic pair are Nathan Guy as Jingles the Jester and Steve Elias as Dame Dolly Mixture. Jingles is delightfully hapless, clumsy and of course, head over heels in love with Snow White. Nathan is an adorable Jingles, taking everything in his stride, even sliding, without control across the slosh scene! He is paired with his ‘mam,’ Dame Dolly Mixture. Steve Elias was a fantastic Dame, ad libbing at the speed of light, the audience were in absolute stitches. He mixed exactly the right level of inuendo, naughtiness and family friendly humour to make a really fantastic Dame.
Some great song choices, (including the inevitable 2025 favourite, Golden), a great script that was packed full of local references, hilarious slapstick, naughty bits for the adults and a whole shed load of traditional pantomime tropes, Snow White was an absolute delight and really put us in the Christmas spirit. Snow White at The Lyric, is the perfect balance of well-rehearsed, slick pantomime, mixed with the crazy, silliness that makes pantomime such a perfect family treat.
It’s a great big festive, ‘How’s it going, alrigh’?’ from the annual Christmas pantomime at the New Theatre, Cardiff. Sleeping Beauty is packed full of inuendoes, fast paced slapstick, fabulous musical numbers and a fabulous, mostly returning cast who brought the house down with ease.
It’s the classic fairytale, but with plenty of Welsh flavour; Aurora has been cursed by the wicked, Carabosse, but not to fear, the Spirit of the Pantomime has protected her until the eve of her 21st birthday! When she pricks her finger on a spinning wheel, it’s up to Nurse Nelly, Muddles and the Spirit to rescue Prince Gethin (of Gabalfa, of course…) and return him to the castle in Cardiff so he can bestow true love’s kiss and awaken the princess! Will true love save the day? Will Aurora ever awaken? And will we all be going ‘alright!’ all the way home? Oh yes, we will!
It’s a spectacular affair, as we’ve all come to expect from the New Theatre pantomime; the set is beautifully done, I loved the slick lighting and sound, and the orchestra perform toe tapping numbers with ease, led by Musical Director, Michael Morwood. The special effects are definitely special; the ending of act one takes the audience’s breath away…all I’ll say is that it was definitely gravity defying for Muddles! The choreography by James Bennett is slick and delivered with much aplomb by the talented ensemble and director Matt Slack clearly has a flair for slapstick and comedy, there’s laughs and heart aplenty here. The script by Alan McHugh is delightfully naughty in places, with plenty of jokes for younger and older ears alike!
The all star cast is led by Gethin Jones who is delightful, with a heartfelt performance as Prince Gethin of Gabalfa. He is joined by Emma Kirk as Aurora, who delivers the role with huge enthusiasm and energy. Aurora is usually a smaller role in the pantomime, but Emma really makes her presence felt with great personality, immediately earning her place in the hearts of the audience. Owain Wyn Evans is a force to be reckoned with for Carabosse and delivers fast paced weather puns with ease. Jalisa Phoenix-Roberts is a delightfully evil, but likeable Carabosse, with vocals and sass to die for. Jack Ryan is instantly loveable as Muddles, often at the butt of many jokes and much slapstick. I particularly loved his interaction with Nurse Nelly in the ‘Wonder of You’ section, which was delivered exceptionally well. My personal favourite was Mike Doyle as the fantastically naughty Nurse Nelly. His speech delivered so many fast-paced innuendos, it was hard to keep up! His voice is excellent, and he holds the audience in the palm of his hand throughout the whole production.
All in all, it’s a slick, well-oiled pantomime, full of laughs aplenty, tight dance routines, toe tapping musical numbers and a great deal of heart. It’s guaranteed to have something for every member of your family and is a great night out over this Christmas period. It’s a spectacular show which needs to come out of your dreams and become a family tradition this Christmas time!
You can find out more about the production and book tickets here
Jack Frost is a brand new, family musical for the Cardiff Christmas Festival, which bursts onto the Spiegel Theatre Stage with boundless energy and fun. It’s a show that is great for all ages, but the magic will especially capture the imaginations of the youngest theatre goers, with a magical tale, larger than life characters and toe tapping musical numbers!
There’s no let-up in this high-octane production; I lost count of how many times Jack and Gwen Frost did laps around the theatre! The plot is an apt one for parents currently drowning in Christmas presents! The evil Kringle the Toy Tycoon is trying to steal Christmas and force parents around the world to buy his cheap plastic toys, which only last a day before breaking. To do so, he’s stolen the power behind the Northern Lights, the very thing which powers the reindeers to pull Santa’s sleigh! Enter the mischievous Jack Frost, joined by a cohort of colourful, magical friends, to thwart Kringle’s evil plans and bring back Christmas joy for all the children of the world!
The whole cast work exceptionally hard and give stellar performances all round. Logan Burrows is an instantly likeable Jack Frost; as charming and boyish as Peter Pan, with balletic grace and an instant rapport with the audience. James Rockey is malicious and spiteful as Kringle, and his song is delightfully evil. I adored the sassy Mrs Claus played by Kate Powell, especially her musical number, which brought the house down! Mia Jae plays a loveable, hilariously dry Gwen Frost; the delivery of her lines in a thick Cardiff accent brings lots of comic relief to the dramatic moments! Molly Mae Fisher multi roles and is a beautiful dancer, her pirouettes were to die for! Finally, Bryn the Bear is brought to life by David Morgan-Harding with voice by Mathew Preece. I must say, Bryn was a particular favourite of mine; a 6-foot, Welsh accented Polar Bear has got to be a highlight for anyone! I loved his dry humour, and I was very impressed with Bryn’s dancing ability!
The show is really immersive with the cast bounding amongst us all, engaging with audience members, and even taking the time to give high fives and hugs. There are some good moments for the adults in the audience with some knowing jokes in a script penned by Richard Tunley and there’s some lovely musical numbers, with music and lyrics by John Manders.
Although the set is simplistic, there’s some lovely moments, including some aerial work from Jack, soaring high above the stage, some great dance numbers which make the best use of the thrust stage, (choreographed by Holly Corsi) and some great use of the entire space which really makes the audience feel like they are a part of the magic.
If you want something to get the entire family into the Christmas spirit, from the very youngest to the vert oldest, this is a great option. There’s always a plethora of pantomimes available over the Christmas period so it was nice to see something a bit different; still full of pantomime charm, but with original songs and a plot that’s still full of fairytale charm but is a bit different from the usual Christmas theatre offering. Grab a ticket to help Jack Frost save Christmas, and you’ll leave feeling full of festive fun and cheer, whether you’re 6 or 106!
Creating opportunities for a diverse range of people to experience and respond to sport, arts, culture and live events. / Lleisiau amrywiol o Gymru yn ymateb i'r celfyddydau a digwyddiadau byw
(4 / 5)
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