Joining Brenda Edwards in this festive family favourite are the hilarious duo John Kimmons, known for his ventriloquism and comedy, as Baron Hardup, and Steven Dalziel who takes on the role of Buttons.

Brenda Edwards rose to fame in 2005 as the last woman standing on ‘The X-Factor’. Since then she has conquered the world of musical theatre with acclaimed performances in ‘Chicago’, ‘We Will Rock You’, ‘Carousel’ and ‘Hairspray’. Her recent spellbinding portrayal of the Killer Queen in ‘We Will Rock You’ at the London Coliseum received widespread acclaim, solidifying her status as a musical sensation.

John Kimmons embarked on his professional journey at the tender age of 15 as a children’s entertainer, eventually clinching the Children’s Entertainer World Championships at Blackpool Opera House in 2008. With an illustrious career as a comedy magician and ventriloquist, he has left audiences in stitches worldwide. John’s TV credits include ‘The Sorcerer’s Apprentice’, ‘The Slammer’, ‘Dick and Dom’s Hoopla’, and the recent revival of ‘Crackerjack’!

Steven Dalziel, a versatile Scottish talent, currently takes the stage as the title character in ‘Blippi: The Wonderful World Tour’. His musical repertoire includes standout performances in ‘A Night at the Oscars’, ‘The MGM Story’, ‘News Revue’, ‘Grease’, ‘The Kissing Dance’, and ‘Seasons of Larson’.

Matt Powder, the General Manager at the Churchill Theatre, expressed his excitement, stating, “The Churchill Theatre is thrilled that the utterly magical ‘Cinderella’ will be taking over our stage this Christmas after our record-breaking panto last year! We’re looking forward to welcoming this hugely talented cast who are sure to put on a fabulous show, perfect for the whole family.”

‘Cinderella’, a production by Crossroads Pantomimes, the world’s largest pantomime producer and the driving force behind Churchill’s pantomimes since 2016, promises to whisk Bromley theatregoers on a magical journey this Yuletide. Audiences can expect to witness ‘Cinderella’s transformation from rags to riches, her clever triumph over her wicked stepsisters, and, with the assistance of her whimsical friend and a truly magical Fairy Godmother, her enchanting encounter with her Prince Charming.

Don’t miss your chance to experience ‘Cinderella’, the Fairy Godmother of all pantomimes. Secure your tickets to the Ball today and be part of this unforgettable Christmas extravaganza! Book now.

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I confess to allowing the joyful world of PG Wodehouse to enter my heart during childhood, where affection for his dazzling wit, cracking plots and beautifully pithy prose has remained ever since. This manifests itself in various ways, most notably in saying, “right-ho” (an affectation stolen directly from Bertie Wooster) or “indeed” (I’ll borrow that, thank you Jeeves), where most normal people would say “yes” – a habit dating back three decades and counting. An entire night’s entertainment filled with the archaic but alluring language of the inter-war period so compellingly evoked in PG Wodehouse’s writings was an opportunity I was not going to pass up on. Better yet, the author is personified by Robert Daws, who so memorably brought Drones Club regular Tuppy Glossop to life in the splendid Granada adaptations of ‘Jeeves and Wooster’ in the 1990s. It has to be said that Daws’ characterisation of Wodehouse is a million miles from that of the choleric, ruddy-cheeked Glossop. We had previously seen deliver “a performance of comic genius” on stage in ‘Yes, Prime Minister’ some years ago, which has lived long in the memory. It was a treat to see him take on this part, which showcases Daws’ brilliant comic timing but also the vulnerability and humanity of PG Wodehouse. He seems to have an innate understanding of the man and his world, and he conveys it with great skill to his audience.

Playwright William Humble introduces songs penned by Wodehouse that reflect or lighten the mood, and they are carried off with excellent physicality and with fine voice by Robert Daws. As they are in the style of Ivor Novello or Cole Porter, the musical interludes give the show a lightness of touch and a comedy review atmosphere that belies the increasingly truthful psychological profile of the author that unfolds on stage. Without giving away too many spoilers, it’s after the interval that Wodehouse drops his defences and begins to reveal his innermost thoughts. We learn more about his childhood (there’s a reason why he created so many fearsome aunts who eat glass bottles for breakfast), his profound grief over the loss of a loved one, and about his notorious wartime broadcasts whilst enduring internment by the Nazis in France. Is Wodehouse living in America because he loves the country, or because he is in exile?

Humble doesn’t impose an answer to such questions on the audience, but he certainly, and probably rightly, takes a sympathetic view of his subject. In one clever twist, we learn how the author lives in his own neatly-ordered fantasy world, pushing away painful reality in order to maintain his sense of self. We learn too of the opinions literary giants had of Wodehouse. The words Humble gives to Wodehouse suggests that he always knew he was old-fashioned, but he was never pretentious or pretended to have anything profound to say. He simply wanted to make readers worldwide laugh. And what is wrong with that?

‘Wodehouse in Wonderland’ successfully gets under the skin of an author whose character Jeeves never had to come through doors, he simply appeared, and whose world is that of an England where the sun is always shining and never sets without first asking permission. It is a gently probing analysis of why an unsurpassed comic author, perhaps the funniest novelist who has ever lived, came to construct such a world around him, despite the enormous societal changes he lived through. It invites audience members to ponder why the world of Wodehouse and all of his extraordinary comic characters is so compelling. At one point, Wodehouse expresses outrage at the vulgar new musical ‘My Fair Lady’. It is no throwaway line, but out of many glimpses of a private man that builds into a holistic picture.

The only downside of this biographical play is that if you aren’t a fan of the work of PG Wodehouse and steeped in the adventures of ‘Jeeves and Wooster’ then ‘Wodehouse in Wonderland’ will simply leave you baffled. We also found that it saves its best material for after the interval, with perhaps a shade too much detail in the first half. But for fans of the great author’s work, ‘Wodehouse in Wonderland’ is charming and magical. Robert Daws’ top-hole performance is timed to perfection and is an unremitting joy to witness.

‘Wodehouse in Wonderland’ is only playing at the Churchill Theatre, Bromley, for another few nights, so don’t delay. But you can catch it on tour at other venues across the country until late April.

Cast: Robert Daws Director: Robin Herford Writer: William Humble Theatre: The Churchill, Bromley Running time: 110 mins Performance dates: 9th – 11th March 2023 Buy tickets for ‘Wodehouse in Wonderland’

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It’s not hard to see why, since it so effectively blends together many elements of great theatre. In its simplest dramatic terms, ‘Blood Brothers’ is the tale of twins Mickey and Eddie who grow up apart, unaware that they are related. Despite their different backgrounds, Mickey from the slums of working class Liverpool and Eddie from affluence, they are drawn together in friendship. However, this threatens to expose the lie their mothers tell, creating the conflict that drives the story. Unable to afford two extra mouths to feed, cleaner Mrs Johnstone gives up one of her twins to her rich employer, Mrs Lyons, who then severs contact with the biological mother.

Yet ‘Blood Brothers’ is also a devastating critique of the English class system, highlighting how the socio-economic circumstances of your birth generally determine your outcomes later in life. Those born into poverty generally stay and die in poverty. Those from affluence can access better opportunities. It’s true that social mobility has improved in recent decades, but nobody watching ‘Blood Brothers’ could say that its central premise doesn’t ring true. On top of that, Willy Russell uses the technique of the Chorus from Ancient Greek dramaturgy in the character of the Narrator to constantly address the audience directly. His ominous yet omniscient presence, removed from the main action, reminds us of the inevitability of the tragedy to come. This device is seldom used in contemporary plays, but it’s pulled off to brilliant effect here.

Liverpool-based playwrights tend to sentimentalise their home city, and with ‘Blood Brothers’, Russell is no exception. But it’s all done with such good humour that it is never cloying. After the initial set-up, in which Mrs Johnstone and Mrs Lyons seal their deal, much of the first act is incredibly funny. It’s not easy for adult actors to capture childhood innocence and juvenile speech patterns, but this cast is superb at pulling off this illusion, especially Sean Jones, Olivia Sloyan and Timothy Lucas. ‘Blood Brothers’ is at its most emotionally-engaging as the children become teenagers. With deft observation, Russell poignantly captures the endless summer and the limitless dreams of being just seventeen. When the cracks in the friendship begin to show, as Mickey is forced to grow up and face the real world ahead of Eddie, the writing is similarly effective at revealing the end of childhood and the death of innocence.

Audience members who are (like me!) from the Liverpool area will enjoy the references to Skelmersdale, the posh George Henry Lee department store and other such names that only locals would know. At a distance of four decades since its inception, ‘Blood Brothers’ has started to feel like more of a period piece. Some of the cultural references and childhood games have changed, and there are no mobile phones or internet. It’s all rather nostalgic for those of us who remember the 80s, but the story and the truth of the characters is so universal that we hope ‘Blood Brothers’ is still drawing the crowds a century after it opened.

This production of ‘Blood Brothers’ has a top-drawer cast that work brilliantly together, and it’s clear from watching their interactions that a strong bond has formed among members of the company. Last night, understudy Paula Tappenden played Mrs Johnstone and rose to the occasion, delivering a flawless, sympathetic and deeply moving performance. She so perfectly captures the contradiction at the heart of Mrs Johnstone: she radiates motherly love and yet lives with the internal pain of her terrible secret. Sean Jones as her youngest son Mickey is equally impressive. His is the most profound change undertaken by any character, progressing from a sweet, mischievous and adorable little boy through to an embittered and troubled young man. Jones has the audience in the palm of his hand for every step of this journey, and we experience the emotional highs and lows with him. It’s an exceptionally good portrayal of Mickey. There is excellent chemistry between Jones and Olivia Sloyan, who plays the love of his life Linda. She brings the part a lot of humour and dignity, offering the audience that vital optimism. Finally, Joe Sleight provides a creditable foil as the posh and well-meaning Eddie. The scenes between the three actors are a joy to behold.

A note perfect live orchestra plays Willy Russell’s sumptuous score. Everyone will have their own favourite song. For us, it’s hard to look beyond ‘Tell Me It’s Not True’, the showstopper that delivers the gut-punch, which was so brilliantly belted out by Paula Tappenden and had half of the audience sobbing. The feel-good ‘Bright New Day’ brings the curtain down at the end of the first act and is inevitably the song that rattles around in your head afterwards. That’s if you’re not finding words or phrases that rhyme with ‘Marilyn Monroe’.

Relentless cheering and applause ensured that the audience brought the cast back onto the stage for three curtain calls at the end of the show, and many were still clapping even as the safety curtain came down. During the performance there were audible gasps and cries at moments of high drama. There were more than a few folk holding handkerchiefs to their eyes as they filed out of the auditorium. Proof that ‘Blood Brothers’ is a show that hits you in the heart and is the definition of once seen, never forgotten. What an amazing experience to share the show with an audience that was so completely under the spell of the brilliant cast from start to finish. We laughed, we cried, and we loved every second of it.

Cast: Paula Tappenden, Richard Munday, Sean Jones, Joe Sleight, Olivia Sloyan, Timothy Lucas, Gemma Brodrick Director: Bob Tomson and Bill Kenwright Writer: Willy Russell Theatre: The Churchill, Bromley Running time: 175 mins Performance dates: 28th February – 4th March 2023 Buy tickets for ‘Blood Brothers’

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If the Children’s Theatre Partnership’s intention with this full-blooded production is to introduce the political satire at the heart of Orwell’s novel to younger audiences, then they undoubtedly succeed. But they do so unapologetically, with a brutally honest and unflinching dramatisation of the famed novella, its violent scenes intact. Nevertheless, older children will be enthralled by the brilliance of the puppetry and absorbed by the powerful storytelling.

The Children’s Theatre Partnership offers a faithful retelling of Orwell’s first great satire on Stalinist Communism (he would follow it up with ‘Nineteen Eighty-Four’ a few years later). The animals of Manor Farm are many and varied. Yet the pigs, horses, dogs, goats and geese are all ruled over by Farmer Jones. They dream of a time when they could be liberated from their human overlords and live in freedom. Old Major, an elderly trotter on his deathbed, gives an old man’s vision of the perfect future, when all their work is done and they no longer live under human rule. When Old Major dies, the pigs, led by Napoleon, Snowball and Squealer, persuade the rest of the animals to enact their deceased leader’s prophecy, and they turn against Farmer Jones and free themselves from serfdom. Following a revolution, a new world order is established, and Manor Farm becomes ‘Animal Farm’. Eight rules, somewhat akin to the Ten Commandments, are brought in, the most important of which is, “All animals are equal”.

At this point, it may be expected that, with their new-found liberty and comradeship, the animals of ‘Animal Farm’ achieve utopia and live out their lives in harmony and plenty. Though of course, in satirising the Russian Revolution, Orwell’s fable reveals that the animals simply replace one set of chains for another, and one version of slavery and servitude for another. And the eight rules keep on subtly changing…

The themes of ‘Animal Farm’ are easy to grasp, yet difficult to wrestle with. As an inoculation against the seductive fantasies of left-wing utopianism, there is no more persuasive or accessible a story as ‘Animal Farm’, which is in part why Orwell had such a devil of a job seeing it published. But it remains the moral lesson of our times.

From the opening scene, in which the puppeteers blend seamlessly into the background as a crow demands our attention, it’s clear that we are in the company of master storytellers and theatre practitioners of inestimable skill and professionalism. From there, the production becomes ever more engrossing. The absence of an interval is inspired, since the pacing is unrelenting and any suspension might just break the spell that is created.

The faithful retelling of an incredible story may well provide a satisfying night out, but the brilliance of the puppetry has to be seen to be believed. The recreation of the pigs, dogs, birds, cat and goat is the indelible impression this production leaves on the mind. The technical control over the creatures, the animalistic sounds and the acutely-observed movements are breathtaking to behold. Moments in slow-motion or in smaller-scale puppetry simply add to the overall impressive effect. This is stunning, visceral, living and immersive theatre. It commands and holds the attention. It leaves audiences in its thrall.

Wisely, the opening scenes introduce a touch of levity and humour. There is enough bleakness to come to ensure that this is a sensible choice by director and adapter Robert Icke. Even up to the expulsion of Farmer Jones from his own home, we are willing to laugh along with the antics of the animals. Banter between the chickens is inspired and hilarious. Another ingenious idea is the electronic sign above the stage, and the tolling bell which counts every animal life lost in the revolutionary struggle to establish ‘Animal Farm’.

There were only minor criticisms of this production. The narration, fed in over the live action, and using the voices of actors of the calibre of Robert Glenister and Juliet Stevenson, isn’t always fully audible. Certainly, the louder creatures such as Napoleon and Boxer can always be heard, but the Liverpudlian goat’s dialogue was sometimes lost amongst the activity on the stage. There is a complexity to the plot of ‘Animal Farm’, and the similarity in appearance between Napoleon, Snowball, Squealer and the other pigs can make it harder for those less familiar with the story to follow the events on the stage.

However, any detractions from first-rate storytelling and truly stunning puppetry are miniscule. From first to last, this production of ‘Animal Farm’ gripped us and held us entranced. Indeed, the moment when the hardest-working of the animals is taken to his fate produced the same tears that the passage in the book always achieves. Whether this is your first experience of ‘Animal Farm’, or you are a devoted admirer of the book, this production is sure to enthral you. Younger audience members will be enraptured by the extraordinary skill of the puppeteers and the incredible storytelling in equal measure. Catch this near-perfect production of ‘Animal Farm’ whilst you can. It is a thrilling theatrical experience.

Cast: Robert Glenister, Juliet Stevenson, Ashleigh Cheadle, Matthew Churcher, Darcy Collins, Ailssa Dalling Director: Robert Icke Writer: George Orwell, Robert Icke Theatre: Churchill Theatre, Bromley Running time: 90 mins Dates: 24th – 28th May Book ‘Animal Farm’ now

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The transfer to stage is handled well in this revival of the 2010 Broadway hit, which is currently playing at the Churchill Theatre in Bromley. Not all is well in Wednesday Addams’ world. Ordinarily happy to torture her brother and mope about in mourning black, she has suddenly and unexpectedly fallen in love with a young man called Lucas and they’ve begun dating. What’s more, he’s bringing his parents to meet her family. Every teenager’s worst nightmare is exacerbated by Wednesday’s macabre home life in a dilapidated mansion in the middle of Manhattan’s Central Park. Surely the zombie butler or her crazy Uncle Fester who is in love with the moon will scare them off?

This production has much in its favour. The cast is universally strong and ably led by Cameron Blakely as Gomez Addams, who comes across as a Hispanic Vincent Price with great comic timing, and former ‘Strictly Come Dancing’ professional Joanne Clifton, who is suitably sultry and sexy as Morticia Addams. Their tango in the second act is a highlight that brings the best out of their excellent on-stage chemistry. It’s Kingsley Morton as Wednesday who has the strongest singing voice and plays the stroppy adolescent to perfection. The best scene-stealing moment comes from Kara Lane as Lucas’s shy mother Alice, who bursts into song in a moment of confidence and left last night’s audience stunned and impressed. Supplying the lion’s share of the laughs throughout the evening is Scott Paige as Uncle Fester, who invites you into his strange, obsessional and rather whimsical world.

‘The Addams Family’ is also a feast for the eyes – the set design and costumes are superb and used with great invention. At its heart, it tells a good moral tale about being true to yourself and accepting that all families are crazy in their own way. On the downside, the production is a touch too long. This wouldn’t be noticeable if more of the jokes landed, but there’s a nagging feeling that the one-liners need to come faster and be funnier. There’s also a lack of focus in the plotting. If you embrace somewhat anarchic storytelling, then you’ll be happy enough to allow the main story about Wednesday and Lucas to be sometimes sidelined in the second act. This is definitely a show for those who enjoy a touch of the madcap.

Judging it as a musical, some of the songs are pretty good, though a highlight is undoubtedly Alice’s song ‘Waiting’, which is sandwiched between verses of ‘Full Disclosure’ and brings the curtain down on a strong number at the end of the first act. There are a few throwaway songs that fill enough time to cover for a scenery change, some of which are more successful and deserved than others.

By the end of this thoroughly enjoyable show, we were impressed by the stunning visuals and brilliance of the cast. The weaknesses lie in the source material, rather than in the production. However, with so much talent on the stage and plenty of good humour, the audience has more than enough to keep them entertained until the last ghoul leaves the stage. ‘The Addams Family’ is good, fun family entertainment.

Cast: Cameron Blakely, Joanne Clifton, Scott Paige, Carol Ball, Kingsley Morton, Grant McIntyre, Ryan Bennett, Sean Kingsley, Kara Lane, Ahmed Hamad Director: Matthew White Writer: Rick Elice, Andrew Lippa, Marshall Brickman Theatre: Churchill Theatre, Bromley Running time: 150 mins Dates: 1st – 5th March 2022 Book now

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The story follows young, overweight but eternally optimistic high school student Tracy Turnblad (Katie Brace), who is bursting with enthusiasm for the cool new sounds and styles of the Sixties, even down to her beehive hair style. Desperate to be on her favourite local television programme, The Corny Collins Show, she busts some dance moves learned from her stylish new black friend Seaweed (Reece Richards) and wows the host. She even gets to dance with teen heart-throb Link Larkin (Ross Clifton) and wins a sponsorship deal that impresses her parents. But something is rotten at the heart of her new showbiz world. Producer Velma Von Tussle (Rebecca Thornhill) is a racist who seeks to undermine Tracy and her friends at every turn. Undeterred, Tracy vows to take on the authorities and use her charm and talents to stand up for what she knows to be right.

‘Hairspray’ impresses with its breathless energy, witty one-liners and sound moral message. This production succeeds in all of the essential elements and ably conveys the necessary colour and vitality that brings a schoolgirl’s idealistic world so vividly to life on the stage.

The casting is perfect. Director Paul Kerryson brings out the best in several highly enjoyable double-acts. Rebecca Jayne-Davies and Reece Richards are adorable as young couple Penny and Seaweed, whereas glamorous-yet-bigoted Velma and Amber Von Tussle (Rebecca Thornhill and Jessica Croll) are entirely believable as the ghastly mother and daughter. The biggest laughs of the evening are won by Tracy’s parents, Edna and Wilbur Turnblad. Alex Bourne, who towers over Norman Pace, is paired with him to comic perfection. Their rendition of ‘You’re Timeless to Me’ is hilarious, and it took some time for the audience to recover from hysterics!

There are individual performances of note too. Brenda Edwards may be singled out for her powerful singing voice and stage presence as Motormouth Maybelle. The leads Katie Brace and Ross Clifton enjoy a great rapport and provide the production with sustained levels of excitement and innocence.

Audiences will recognise one or two songs. The opening number, ‘Good Morning Baltimore’, sung by Tracy, suitably establishes the world of the story. ‘Run and Tell That’, which takes place at Motormouth Maybelle’s record shop, is an excellent set piece, and the final song, ‘You Can’t Stop the Beat’ is perhaps the best of all. It’s certainly an earworm – the melody will rattle through your mind as you leave the auditorium and for hours afterwards!

There are one or two moments in the first act where the energy dips, and not all of the musical numbers are as strong as the standouts. It’s also wise not to study the plot too hard. But ‘Hairspray’ isn’t aiming at plausibility or psychological realism. It sweeps its audience along with its confidently told moral message and leaves everyone with a warm glow after a thoroughly-earned walk down. There’s no preaching, just an enjoyable absence of cynicism and a representation of all that was great about the Sixties. Even the ostensible villains of the piece aren’t entirely irredeemable, so irrepressibly endearing is Tracy’s crusade. In this production, act two was pretty much flawless, and the exuberant energy held until the final curtain call. Little wonder that the audience loved it so much.

This production of ‘Hairspray’, carried off by an excellent cast, is great family fun and is sure to leave you wanting more. If you’ve been starved of theatrical entertainment in recent years, then this is a great one to lure you back in!

Cast: Alex Bourne, Brenda Edwards, Norman Pace, Rebecca Thornhill, Katie Brace, Richard Meek, Reece Richards, Ross Clifton, Jessica Croll, Rebecca Jayne-Davies Director: Paul Kerryson Writer: Mark O’Donnell, Thomas Meehan, Mark Shaiman, Scott Wittman Theatre: Churchill Theatre, Bromley Running time: 150 mins Dates: Monday 7th to Saturday 12th February 2022 Book now

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When Prince Harry of Holby (Lee Mead) arrives seeking the hand of his true love Princess Beauty (Claudillea Holloway) on her twenty-first birthday, it seems like a fairytale marriage is in the offing. The one snag is that the Wicked Fairy Carabosse (Myra DuBois) intervenes, and uses her magic to kill the princess. Thankfully, the Lilac Fairy (Bonnie Langford) is on hand to stave off the worst effects, holding Beauty in a permanent sleep until the spell can be lifted. The goodies must team up to defeat the Wicked Fairy, revive the princess and allow the royal wedding to take place.

Of course, the gist of the Fourteenth Century story, later popularised by the Brothers Grimm, is lodged deep within our national psyche. For that reason, the plot is pretty tenuous, and an excuse for a series of hilarious set-pieces. In true panto tradition, the morality tale plays second fiddle to madcap and up-to-the-minute jokes and songs. This is children’s annual invitation to let their hair down at the theatre, and there are enough bawdy double-entendres and outrageous performances in ‘Sleeping Beauty’ to keep the parents and the rest of the grown-ups thoroughly entertained too.

Pantos are always at their best if the actors are clearly enjoying it, and this production of ‘Sleeping Beauty’ boasts a fantastic cast who give the show their all. Lee Mead has the necessary charm for the dim-witted Prince Harry of Holby, and braves jokes at his own expense as he forever attempts to launch into a rendition of ‘Any Dream Will Do’, the song from ‘Joseph’ that made his name. He has great chemistry with Claudillea Holloway, who is suitably bright-eyed and sweet as the Princess. Joelle Moses is good fun as the feisty and flirty Queen Voluptua.

But the leads are never the funnest parts in a panto, and there’s no absence of flair in the supporting roles. The evergreen and effervescent Bonnie Langford perfectly encapsulates everything you’d want from a ‘fairy godmother’, though this one has a permanent cheeky glint in her eye and pulls off some serious dance moves. The only one with more pep in his step than Bonnie is Lloyd Hollett who plays Muddles, the court jester. Perhaps the most demanding part, Hollett is required to keep up the energy of the children in the audience and dictate the supersonic pace of events on the stage. He is more than equal to the task, and had the audience in the palm of his hand from his first appearance. Finally, taking the role of the ‘dame’ is Myra DuBois as the Wicked Fairy. She delivers the most cutting of put-downs and near-to-the-knuckle suggestive jokes with immaculate timing and killer precision. If Lloyd Hollett kept the youngsters laughing along, it’s Myra DuBois who had the adults splitting their sides.

It’s fair to say that we haven’t laughed so much since we saw the last panto, two years earlier (and we mean even beyond the world of theatre!) Pretty much every gag landed, and there were enough belly laughs that you’d only just recovered from the last one before the next one hit you. By the time a projectile crossed the stage and caused Carabosse a wardrobe malfunction in the wig department (sorry, Myra!) during a riotous rendition of ‘The Twelve Days of Christmas’, we were howling.

Everyone will have their favourite moments. We loved Muddles singing about his comedy influences and about what he wanted for dinner – both displaying a breathtaking capacity for linguistic acrobatics. Another daring scene saw him racing between the Lilac and Wicked Fairies, conveying tongue-twisters where the slightest slip would have resulted in language unsuitable for the core audience. The hilarity was in the tension the set-up creates, especially with DuBois’ poker face contrasting with Langford’s ever-increasing excitement. The two hours zips by with such relentless shenanigans to occupy you.

There is much else to commend about the production, including the colourful sets, lavish costumes and live musical accompaniment. ‘Sleeping Beauty’ is a slick production that really gets the true spirit of pantomime. The actors fed off the energy in the audience and kept it high throughout. If you want good, wholesome family fun this Christmas that provides all ages with plenty to laugh about, then you don’t want to miss this ‘Sleeping Beauty’.

Cast: Lee Mead, Bonnie Langford, Myra DuBois, Lloyd Hollett, Claudillea Holloway, Joelle Moses Director: Gary Lloyd Writer: Alan McHugh Theatre: Churchill Theatre, Bromley Running time: 120 mins Dates: 4th December 2021 – 2nd January 2022 Book now

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Oh yes it is! Panto season is here again, and the Churchill Theatre in Bromley has a treat in store for families. Aladdin runs there until January 5th. The legendary Christopher Biggins (I, Claudius/I’m A Celebrity) as Widow Twankey ought to be enough of a draw on its own to guarantee bums on seats – there are few dames that come close to rivalling his for larger-than-life entertainment – but even beyond the star casting, the show has plenty going for it.

Aladdin is the biggest laugh we’ve had at the theatre for many a long year. The script is full of classic pantomime humour – bad puns, double entendres, tongue-twisters – and almost all of them hit the target. The actors clearly relish performing the jokes and routines (there’s an inspired one using lines from pop songs to comic effect), and you’ll find yourself still recovering from one belly laugh before the next one hits you.

The story is set in Peking. Widow Twankey (Christopher Biggins) and her three sons, Aladdin (Yazdan Qafouri), Wishee (Rikki Jay) and Washee (Max Fulham) work at a laundrette, but Aladdin has his heart set on wooing Princess Jasmine (Emily Hawgood). Thrown into the mix is the nefarious Abanazar (Ryan O’Gorman), who manipulates Aladdin into finding a magic lamp amongst buried treasure so that the genie will grant him enormous power. An enjoyable subplot sees the Emperor Ming (Derek Elroy), appalled that his daughter has fallen for a commoner like Aladdin, rather hypocritically fall in love with Widow Twankey…

All of the main performers bring individual talents to their parts. Max Fulham is an impressively gifted ventriloquist, and he’s ably supported in some scenes by Gordon the monkey. Rikki Jay is tasked with keeping the kids on their toes and their energy levels high – no easy job! – but his cheeky chappie routine had every child in the auditorium fully participating with events on stage. Ryan O’Gorman is suitably maniacal as the villainous Abanazar, earning himself many choruses of boos. Christopher Biggins is delightful from start to finish, effortlessly commanding the stage and never missing a trick to win a laugh. He’s also delightful with the kids plucked from the audience – kind enough to keep them on side but with just enough sarcasm to entertain the adults.

Together though, the cast works brilliantly. In some ways the leads, Yazdan Qafouri and Emily Hawgood as Aladdin and Princess Jasmine, have the least rewarding parts, straight-laced and heroic as they are – but they are fine singers and have the lion’s share of the modern pop songs adapted for the stage that the youngsters will know. Ryan O’Gorman singing the theme from James Bond’s Casino Royale is another inspired choice.

All of the scenes, from the comedy set-pieces to the song and dance routines, are slickly executed, and director Paul Robinson maintains a cracking, almost breathless pace (one or two individual mistakes creep in as a consequence – but it’s worth it for such a high-energy show). There are a few especially impressive moments – a flying carpet is a staggeringly good special effect.

One of the best things about this production of Aladdin is how un-PC it is. Rigid snowflakes may baulk at the kind of humour on offer, and the easily-offended who worry about concepts like ‘cultural appropriation’ would be advised to stay home and read the Guardian. But if you’re bothered by how much PC zealotry is crammed down the throats of children in schools, bringing the little blighters to the panto may even reset the balance and prove a tonic.

On the downside, Aladdin is a little rough around the edges. Mostly, the actors play this to their advantage. There was an audible gasp when Max Fulham tripped up during a tongue-twister – and a naughty word popped out of his mouth. He was clearly mortified, and recovered his composure quickly, but hey, part of the fun of energetic live theatre is the danger, and seeing how the actors improvise when errors occur. However, we found the ending a little abrupt, lacking the big wedding walkdown that had been set up.

Despite those few concerns, there’s no doubt that Aladdin is a palpable hit with the punters. Following the audience towards the exits at the end of the show, it was clear that everybody from ages four to ninety-four had loved it, as they discussed favourite bits, most risque jokes, best puns and favourite performers. Aladdin at the Churchill Theatre warms the heart, tickles the funny bones, and offers a festive treat guaranteed to keep the winter chills away. Go see.

Cast: Christopher Biggins, Rikki Jay, Max Fulham, Ryan O’Gorman, Emily Beth Harrington, Yazdan Qafouri, Emily Hawgood, Derek Elroy Director: Paul Robinson Writer: Alan McHugh and Jonathan Kiley Theatre: Churchill Theatre Bromley Running time: 140 mins Dates: 7th December 2019 – 5th January 2020 Book now

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Henry James’ 1898 ghost story novella The Turn of the Screw is notoriously difficult to adapt. It was managed successfully, once, with the 1961 film The Innocents, and there have been notably less fruitful attempts since then. However, Steven Spielberg is producing a big screen updated adaptation, and Tim Luscombe’s 2016 stage play, faithful to the late Nineteenth Century period, is currently embarked upon a major UK tour, starring Janet Dibley as the unfortunate Governess.

James’ story is nuanced and ambiguous. Is the governess protecting innocent children from malign supernatural forces, or is she completely mad and endangering the children through her paranoid delusions? Are the children delightful and angelic, or are they only pretending to be, where they are really manipulated by ghosts? The story can be read legitimately either way, and the suspense is created and maintained by the author’s clever concealment of his hand.

This stage production introduces the Governess (Janet Dibley) thirty years later, lured to meet her former ward Flora (Amy Dunn), to explain the events at her uncle’s country house Bly during her childhood that have traumatised her ever since. This allows the Governess to be played by an older, more experienced actor, but it invites the unwelcome question of why the Governess didn’t recognise her much-loved former ward. Rather than serving as a bookending device to frame the narrative, the ‘present’ story runs parallel to the ‘past’, requiring the audience to keep adjusting to different timeframes as well as locations. The confusion is compounded by having actors double or even triple up on parts, so that Elliot Burton, the only male in the cast, is required to play the Uncle of the children, the child Miles and the ghost of Peter Quint. Consistent lighting helps to root the audience in time and place, but this stifles a more creative approach.

The performances are not unproblematic. Janet Dibley is assured in the conversational moments, but doesn’t fully carry the audience with her as she shifts through the gears to moments of angst or terror. Unsteadiness on her lines unfortunately contributes to the impression that the central performance needs to be much more compelling. There is something unsettling about adults playing children, and it is one of the creative choices that works in support of the creepiness of the story. Amy Dunn and Elliot Burton are at their best as Flora and Miles, but neither oscillates between the juveniles and the other demands of the script especially successfully. Plaudits must go to Maggie McCarthy who is effortlessly warm and endearing as the housekeeper, Mrs Grose. She is also by far the most comfortable with the verbosity of Henry James’ lines.

Coming down so firmly on one side of the text’s ambiguity at the start of the second act undermines the tension that would otherwise be created, but the payoff for the audience in terms of evoking terror is insufficient. The moment has not been earned. Overall, there simply isn’t the conviction in the performances, nor the tension within the script to create and sustain the chilling atmosphere needed for Turn of the Screw to be effective. Without truly nailing the duality of the story and keeping the audience questioning and disconcerted, any adaptation of The Turn of the Screw will inevitably fall flat. Unfortunately, this production falls into that category, with too much working against it to be considered a near miss. There is something of the period of the piece that is captured, but not nearly enough of its spirit.

Cast: Janet Dibley, Amy Dunn, Maggie McCarthy, Elliot Burton Director: Daniel Buckroyd Writer: Tim Luscombe (adapted from Henry James) Theatre: The Churchill Theatre, Bromley Running time: 120 mins Dates: 23rd – 27th April 2019 Tickets: Box Office

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The show features popular songs from the fabulous and freewheeling decade of the Swinging Sixties such as ‘Don’t Sleep In The Subway’, ‘These Boots Are Made for Walkin’’, ‘To Sir, With Love’, ‘Those Were The Days’, ‘Downtown’, ‘Colour My World’, ‘I Couldn’t Live Without Your Love’, ‘I Just Don’t Know What To Do With Myself’, ‘I Only Wanna Be With You’, ‘One, Two, Three’, ‘Tell The Boys’, ’You’re My World’ as well as that trio of lovable numbers ‘You Don’t Have To Say You Love Me’, ‘Son Of A Preacher Man’ and ‘Goldfinger’ not forgetting the big hit number that takes the show’s name, ‘SHOUT!’

The well-loved scenario surrounds the lives of five women in their ’20s, ’30s and ’40s who all face tough situations, usually involving love, friendship and relationships. They all write to Gwendolyn Holmes, an agony aunt working on the magazine Shout!, for help and advice. Each girl is trying to find true happiness.

Cast in the pivotal role of Green Girl is Sonia who was destined for a career in show-business as shortly after leaving school she made appearances in the popular sitcom ‘Bread’ as well as the equally-popular soap opera, ‘Brookside’. The release of her début single, ‘You’ll Never Stop Me from Loving You’, released in 1989, shot to No. 1 in the UK charts selling a staggering 350,000 copies while her début album, ‘Everybody Knows’, sold half a million copies and included a string of top singles such as ‘Can’t Forget You’, ‘Listen To Your Heart’ and ‘Counting Every Minute’.

The role of Orange Girl falls to Niki Evans who made the X-Factor semi-finals in 2007 capturing the hearts of the nation and a legion of fans along the way as well as being highly praised by Simon Cowell.

Playing the role of Blue Girl is Helena Blackman who forged a very successful career in musical theatre. A host of top roles has come her way such as Maria von Trapp and Elsa Schraeder in ‘The Sound of Music’, Eliza Doolittle in ‘My Fair Lady’ and Nellie Forbush in ‘South Pacific’.

You can catch the show at the Churchill Theatre, Bromley, from Thursday 13th – Saturday 15th April 2017.

See churchilltheatre.co.uk to book.

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This particular adaptation relies on comedy timing and performance. Not so much on meaningful closes ups, character analysis or the visual splendour of a fancy Georgian environment; although  set designer Max Jones employs a flexible revolving stage to switch between interior and exterior locations with a wrought iron effect to portray a sense of wealth and prosperity. Minimalistic but effective.

The characters were pleasingly portrayed: Matthew Kelly plays his Mr Bennet very dryly understated for the most part, which works well as Mrs Bennet is his over-the-top polar opposite – an excellent performance from Felicity Montagu. One forgets that although the character is portrayed as a ‘silly woman’ she is also, unlike Mr Bennet, able to see in practical terms how her family of five daughters can survive:  and that is only within a ‘good’ (wealthy) marriage. This fact is underscored by the less silly character of Charlotte Lucas who, in accepting Mr Collins’ proposal, sacrifices personal feelings and wishes for one of solid, pragmatic security. So it is women’s lot in the Regency era in which the play is set.  If we need to see true ‘silly’ in a female, this is embodied by the character of Lydia. Foolish, selfish and flighty, Mari Izzard’s effectively silly and babyish Lydia has scant regard or even complete ignorance to the potential damage she inflicts upon her family by flouting societal decorum.

Tafline Steen’s Elizabeth Bennet is not unlike Jennifer Ehle’s TV performance in its strength and wit but with more theatrical physical comedy than in the TV adaptation. Dona Croll’s Lady Catherine De Bourgh is just as grand and overbearing as you would expect. But it is Steven Meo as the greasily irritating Mr Collins who pretty much steals the show (indicated later when the players bow on stage, receiving a very loud cheer). Overblown? Yes. Almost pantomime in nature? Yes. But he can be completely forgiven:  his over the top comedic toadiness was a delight to watch and very funny indeed.

Pride and Prejudice is a pleasing play in that all conflict is resolved despite the rigid world in which it is set. In Shakespearean terms it is very much a denouement of ‘all’s well that ends well’ as eventually Lizzie’s and Darcy’s feelings of prejudice and pride are resolved by dismissing initial false judgements and discovering each other’s true inner feelings and character. Lydia’s folly is smoothed over by Darcy’s decency and sense of personal responsibility. Likewise Jane and Bingly are reunited by him and it is the unorthodox (not necessarily socially-approved) route to marriage that saves the day and gives us our happy ever after. Decency and responsibility and (eventual) good judgement win the day. There are a LOT of words and proclamations and, frankly, ‘Austen speak’ –  which are ably spoken by all the actors in a light, pleasing, yet unchallenging way that doesn’t delve too deeply into the characters or their situation.

Having said that, this theatrical adaptation by Simon Reade incorporates characters’ private thoughts into the action: for example we actually hear Mr Bennet ruefully proclaiming his own marriage to have been a mistake of poor judgment and confessing to Elizabeth that his wife’s “ignorance and folly greatly contribute to my amusement”. Despite such insights, unlike reading the novel, you do miss on the true, meaningful, historical context in which these characters live and breathe and how the expectations and limitations society imposes weigh heavily upon them.  However in purely entertainment terms, director Simon Reade has done a great job translating the novel to the theatre: the production looks good and has good comic vigour and timing.

Cast: Daniel Abbott, Francesca Bailey, Anna Crichlow, Dona Croll, Benjamin Dilloway, Hollie Edwin, mari Izzard, Matthew Kelly, Steven Meo, Jordan Mifsud, Felicity Montagu, Charlotte palmer, Leigh Quinn, Mark Rawlings, Kirsty Rider, Tafline Steen Director: Deborah Bruce Writer: Simon Reade Theatre: The Churchill, Bromley Duration: 150 mins Dates: 21st-24th September 2016

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It is this which forms the very solid, yet fiery, basis of the musical of the same name. It starts with real life flickering footage of news reports about 9/11 and political speeches made by Bush et co around that time – lending to a sense of impending doom and ‘side taking’: “Either you are with us or you are with the terrorists,” opines George W Bush. It underpins a sinister tone we are now so familiar with – even more so now – in a post-Snowden whistleblowing era.

This is the set up: manipulation and spin, we are all being lied to etc. We all know it is happening and are powerless to cut through it. Standard. Oh and the public is either misinformed, apathetic or simply stupid – as a reporter on the flickering news screen asks a clueless American citizen, “Where should we invade next?” “Italy” he answers. Um.

But back to the plot: the songs are what successfully transpose ‘American Idiot’ to the stage, gluing together stories about three bored, apathetic teenagers in a post-George W. Bush America. They seek escape and adventure, but this journey to the city – ‘My city’ – goes horribly wrong as each of them face personal choices which have far–reaching consequences : one is forced into growing up fast thanks to impending fatherhood, one descends into drug abuse and another suffers horribly in war. Their original youthful hopes and dreams zig zag awkwardly and violently though to adulthood to a painful conclusion and a hard-won ‘wisdom’ of sorts. One flaw: it’s really a story about boys: the girls are supporting characters at best but, hey, this is about the disaffection of young men and was written by the same.

As with all musical theatre it can feel a tad unreal and even a bit ‘stage school’ in places given the subject matter. But you have to give yourself a shake and remember that this is musical theatre and not a rock show, hence its very form has to be more simplistic, gesticulatory and over-enunciated and even symbolic . None of this dampens the enjoyment to be had from ‘American Idiot’ – we already know the score is amazing (yet another listen to the album as I write this) , the acting and performances were vibrant and energetic. The direction was good, the set was minimal but completely right for the production with flickering TV screens and news reports underscoring our modern attention deficit disorders.

The socio political truths revealed here and the dramatised personal agonies notwithstanding – this was an enjoyable show: a less ‘angry’ and more a ‘warm and perky’ experience, I would say. It was made even more enjoyable (and dare I say ‘sweet’) to see young kids and teenagers attend tonight on their own and with parents / grandparents .The cast themselves would have been very young when the original album came out but they conveyed the themes with true vigour earning them a sincere standing ovation at the end. Alexis Gerred and Alice Stockoe were especially impressive.

The only thing that could have been even better would be that Green Day themselves form the key cast performing the show. That would have been unspeakably brilliant. (Ah the nostalgic 40+ rock lover’s dream!) As it stands, the young actors did an excellent job and represented Green Day’s energy very well indeed. “… I hope you had the time of your life” the ensemble cast sing at the end.

And do you know, I sort of did!

Cast: Alexis Gerred, Alice Stokoe, Matt Thorpe Director: Racky Plews Writer: Green Day Theatre: The Churchill, Bromley Duration: 115 mins Dates: 30th March – 2nd April 2016

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