Category: Brett Herriot Review

“A Joyous celebration of all that’s good in panto! “

***** 5 Stars

The Edinburgh King’s Panto return’s one more time to the Festival Theatre owing to a delay in the revamp of the King’s the team bring Jack and The Beanstalk to Edinburgh’s biggest stage and delivery a production that’s pure west end but with the beating heart of Edinburgh’s rich panto heritage and that essential touch of magic that the triumvirate of Stewart, Stott and Young can only produce, this is a giant of panto in every respect and see’s the team leave the Festival theatre with an almighty bang.

Written by Harry Michaels & Allan Stewart, with additional material by Matt Slack, Grant Stott & Jordan Young this is a panto that’s admittedly light on story but embraces wonderfully the formula that works brilliantly at the London Palladium and that’s good old-fashioned Variety. Spectacular musical numbers blend with excellent comedy as the team blast there way through a sleigh full of sketches all wrapped around the familiar story of Jack and The Beanstalk, but the writers give the audience the credit that they know the tale inside out and that allows for a joyous celebration of all that’s good in panto to unfold.

Allan Stewart marks his golden anniversary, yes! 50 years, in panto this year, with 28 of those in frocks as dame, and he proves he still in the form of his life as Dame May McTrott makes her entrance and becomes the driving force of the show. His legs are still the best in the business and once again Stewart gets through a plethora of outrageous frocks including the biggest boobs in pantoland that leaves the audience in stitches. Grant Stott returns to his original baddie “Fleshcreep” and he simply has to step out onto stage and the boo’s ring out loud and clear and he laps them up, there isn’t better baddie to be found and Stott gives his creations the right flavour of local “ned” but still brings enough of a scary edge to give the child in all of us a thrill, he really Is the big tidy of villains. Jordan Young brings out the best in his daft laddie character as he takes the title role of Jack McTrott, and he is adored by the audience and has become a cherished corner stone of the Edinburgh panto team. Clare Gray returns as a couthy “Pat the Cow” sadly she is a little underused, but boy does she make every moment on stage count and the emotional nods to her father by Clare as well as Stewart and Stott don’t go unnoticed and adds an endearing quality to the show. Local lass Gail Watson shines as the Spirit of the Beans often great things come in smaller packages and Watson delivers in spades. Amber Sylvia Edwards brings sweetness and great vocals to the role Princess Jill.

The principals are joined by a ten strong ensemble who shine equally when on stage and never more so than when delivering Karen Martins inspired choreography. Director Ed Curtis takes the helm for his 12^th panto with the Edinburgh team and fully understands what Edinburgh audiences want and delivers that in spades with a show which is tight throughout and cracks along at a great pace.

Production wise this is simply a triumph. Olivier nominated and award-winning set designer Mark Walters London Palladium set looks absolutely gorgeous on the Festival stage it sparkles like a story book come to life and is enriched by Rory Beaton’s sublime lighting design that’s every inch pure west end. Ryan Dewar delivers the goods with a fun video and projection design with a live camera sketch given a hilarious outing. Richard Brooker’s sound design is perfectly balanced with musical director Andy Pickering and his five strong pit band bringing polished music to the show.

Special mention must go to costume designer Teresa Nalton and her team, (Additional Costume design by Ron Brings and speciality costume design and construction by Mike Coltman) the costumes this year drip luxury and big budget from the get-go and encapsulates the magic of pantomime.

Speaking of magic, the cherry on this panto cake are the special effects from those talented boys at Twins FX and this year the biggest of giants and beanstalk appear to spectacular effect that has the audience gasping in wonder.

Jack and the Beanstalk delivers everything it sets out to do and that’s allowing our beloved King’s panto team to take a spectacular final bow at the festival theatre whilst delivering the perfect festive treat that’s now become beloved by generations of families.

As the curtain fell its clear all eyes are on a spectacular return home to the Kings with the debut of Pinocchio an until now unseen panto in Edinburgh but rest assured the triumvirate will be back, but my word they have a job on there hands to top this years dose of pure panto perfection that’s selling out performance after performance so you’d better rush up the beanstalk and to the festival theatre for those last remaining tickets for this year’s spectacular!.

Jack and the Beanstalk, the Festival Theatre, Edinburgh Runs until Sunday 11^th January 2026 for tickets go to: Jack and the Beanstalk – Capital Theatres

Capital Theatre’s has confirmed that pantomime will return home to the King’s Theatre with Pinocchio from Saturday 28^th November 2026 to Sunday 17^th January 2027 and tickets are now on sale at: The Adventures of Pinocchio – Capital Theatres

***** (5 stars)

“Celebrates a decade of decadent panto joy”

The biggest panto in the United Kingdom marks its 10^th anniversary since its revival at the world-famous London Palladium with a brand-new production of Sleeping Beauty the pantomime of your dreams. This really is a dream of pantomime that celebrates a decade of decadent panto joy with a show that imbues everything the Palladium Panto has come to stand for.

This Sleeping Beauty while thin on story line is filled with laughter, music, comedy including a crescendo of smut and innuendo alongside an eye-popping set, costumes and special effects that can only truly be found at the Palladium.

Leading the cast is the true queen of Camp Julian Clary as “King Julian” who once again dawns a knockout collection of costumes from acclaimed designer Hugh Durrant and proves once more that he is at the top of his game. Within just 30 seconds of his arrival on stage the palladium auditorium is a roar with laughter, no one does it quite like Julian Clary. Also returning to the stage are the regular gang of Paul Zerdrin “The Great Zerdini”, the beloved Nigel Havers “The keeper of the privy” and the simply outstanding Rob Madge as “The Diva of Dreams”. Making their Palladium panto debuts are Catherine Tatre “Carabosse”, Jon Culshaw “The King’s private detective”, Emily Lane “Princess Aurora”, Amonik Melaco “Prince Peter” and David Knox “Master of The Royal Flame”.

Performances are beyond compare with every member of the principal cast simply reveling in there moment in the spotlight Clary is on fire and the depth of his bond with Havers (who is never better) reaches new heights especially in a moment that drips with Pathos. Zerdrin and his little friend Sam bring childlike wonder that captures children young and Old. Catherine Tate who makes her first foray into pantoland and she is a natural! Getting boos with ease and there are also appearances from some of her many sketch characters and the moment a certain OAP Joannie Taylor takes a liberty and makes an appearance in an outrageous musical number! brings the house down. Jon Culshaw delivers a 21 one-gun salute of impressions, and he impresses with his incredibly gifted talent. Special mention goes to Rob Madge, they are the glue to holds the panto together with a rich stage presence that’s much by their honey-soaked vocals and comedy pedigree.

The palladium panto also features a sixteen strong ensemble who shine especially when delivering Karen Bruce’s exquisite choreography. There can’t be a more tightly drilled ensemble than this one as Burce’s choreo runs the gamut of dance styles and the boys in the ensemble show their comedy vigor as on more than one occasion they dawn the skirts and high heels to hilarious effects.

Production wise director Michael Harrison, again at the height of his pantomime powers, and his team have delivered a triumphant tour de force of a production. Mark Walters excels himself with an enchanting set design that’s brought to further vivid life by Ben Cracknell’s awesome lighting design that not only makes the set sparkle but also Teresa Nalton’s inspired costume design (with specialty costume design from Mike Coltman) which sets a new standard of excellence for pantomime costumes. Matt Peploe’s sound design is pitch perfect and to a total west end standard. The balance between performers and Gary Hind’s outstanding 12-piece pit orchestra is flawless as it is faultless.

The cherry on this anniversary pantomime cake comes from those boys at Twin’s FX who have pulled all the stops out to not only revive some awesome effects from across the previous decade but also raise the bar in a jaw dropping finale to act one that pops the eyes and the senses and ensures the Palladium Panto retains its title as the most spectacular panto in the UK and well beyond.

Sleeping Beauty at the London Palladium brings west end chutzpah to the world of pantomime and proves that when the magical formula works there is no limits to what can be achieved especially if you dream big enough. With Confirmation that panto returns to the Palladium for Christmas 2026 its clear a new golden era has established itself with a show that sparkles and proves itself to be the ultimate festive treat! So, dream big and dream quick and head to Argyle Street and the palladium for a pantomime we have all been dreaming of!

Michael Harrison in association with Crossroads Pantomimes presents Sleeping Beauty, The London Palladium, London, runs until Sunday 11^th January 2026 for more information and tickets go to: Sleeping Beauty | Palladium Pantomime Returns in 2025 | The London Palladium

**** (4 stars)

“A Joyously Enchanting Pantomime!”

The team at Stage Door Entertainment return to there home of the Portobello Town Hall for there third pantomime season with a joyously enchanting pantomime production of Beauty and the Beast.  This time a brand-new cast is joined by new writer and director Mark Kydd at the helm accompanied by Musical Director Tommie Travers and Choreographer Aiden O’Brien.

This is very much a show of two acts with act one feeling very much like a glorious children’s Christmas show in the vein of Edinburgh’s Lyceum or Glasgow’s Tron Theatres. Which then gives way to a second act that ramps up the panto goodness to give a wonderfully balanced show that will appeal to audiences of all ages. Set in the world of old Portobello the familiar tale of a Prince, the gorgeous Grant Maciver, following a selfish act is condemned by the curse of the wicked enchantress Beira, Christine Mills in wickedly wonderful form, to live life as a hideous Beast. He must learn to love and feel loves true kiss before the last petal of the rose falls. Here enters Bella, Sarah Alexandra Brown and her father Laird Murdo, Christopher Craig who stumble upon the castle and encounter Dame Bonnie Scone, a wonderfully Doric Alex Westwood and her son Tattie Scone, Ross Jamieson debuting in the comic role. With a little help from the good spirit Will-o, Erin Robertson. They set out to defeat the wicked Beira and who knows may love keen sting will show its face along the way.

Performances are uniformly wonderful throughout especially in act one which relies on great acting to unfold the well-paced story which is peppered with well-judged songs. MacIver’s Prince/ Beast is excellently realized with just enough edge to be scary to the little ones but also letting that giant heart shine through. Craig Laird Murdo is bumbling and charming in equal measure and plays well against Aleandra Brown’s Disney princess type “Bella” and she has the vocal chops to match the character in spades. Christine Mills is a triumph of a baddie really mining the material to bring out the villainy of Beira to wonderful effect. Robertson delivers well as Will-O adding a real mythical flavor to the overall production. Jamieson proves he is made for the comic role as Tattie Scone and gives a good dash of silly laddie which the audience greets with genuine warmth. The standout must be Alex Westwood sublime Dame Bonnie Scott. This is a warm heart old school dame character, very much a man in frock style but with a lovely hint of doric Aberdeen that gives the whole show additional charm. The principals are joined by six sets of eight babes who shine especially when delivering Aiden O’Brien’s stylized and inventive choreography.

Production wise this is a pantomime that’s utterly charming with Stage Doors Set featuring a giant story book really supporting the magical feeling that runs deep throughout this show. This is boosted by Laura Hawkins exquisite lighting design really making the most of the venue as well illuminating the story in fabulous style. Ian Cunningham’s sound design is well up the job ensuring every line and lyric is heard and the balance between vocals and pre recorded tracks is pitch perfect. Musical Director Tommie Travers delivers the goods with an inspired selection of songs, including a hilarious nod to the Disney musical and special mention must also go to his divine musical underscore which is a triumph of its own. One thing that would see the show scale even further heights would by to have even a small live band, but this might just happen in a future panto. Lesley O’Brien delivers a truly regal and royal costume design and ensures as panto tradition dictates, that the dame gets more than one outrageous frock to wear!

Director and Writer Mark Kydd has delivered well with lush blending of Christmas show meets pantomime and even the classic “Ghost” and “Kitchen” sketches make an appearance and are executed well.

Stage Door entertainment has delivered a panto which is a real step up for them and puts the tale as old as time at its heart and brings a real Christmas treat to the heart of portobello and ensures excellent value for the ticket money that makes this Beauty and the Beast a must see this festive season.

Stage Door Entertainment presents Beauty and The Beast, The Pantomime, Portobello Town Hall runs until Sunday 28^th December for more information and tickets go to: Panto Tickets | Stage Door

**** (4 stars)

“An Old School Panto that sparkles!”

For over one hundred years Glasgow’s Pavilion theatre has produced a pantomime that has a hard-earned reputation as the peoples panto, truly making the art of pantomime accessible to as wide and as varied an audience as its possible to have in one auditorium. Three years ago, the Pav made the decision to collaborate with Imagine Theatre for there annual extravaganza bringing new levels of production qualities alongside quirky titles and writing and this year Jock (not jack) and the Beanstalk gets the pavilion treatment in an old school panto that sparkles.

Co Written and Co Directed by Rob Marsden and Liam Dolan (Dolan also stars as Jimmy Trot) this is a distinctly Scottish show that retells the classic tale of Jock Trott, the always handsome Scott Fletcher, who lives with his brother Jimmy and his mammy Dame Tina Trott, the simply divine Craig Glover in the village of cowcuddles on the Clyde. Jocks in love with Jill Clanky, Jennifer Neil, the daughter of King Clanky, Grado, who is accompanied by Mayor Manky, Stephen Purdon. Love must wait as the nasty Fleshcreep, Jack Jester, doing the work of the nasty giant Glaikitguts wants to rule Cowcuddles and eat Buttercup the Cow. With a little help from some magic beans can Jock slay the giant, defeat Fleshcreep, save Buttercup and win the heart of Jill? This sparkling show will give you the answers.

Performances are excellent across the board with Liam Dolan leading the charge as Jimmy Trott a wonderful old school style comic that utilizes some of the oldest panto gags going including some nods to the legendary and much missed Rikki Fulton. Dolan is a class act and a natural at Panto. Grado and Stephen Purdon team up for there usual mix of nonsense although they are a little underused. Scott Fletcher and Jennifer Neil deliver well as Jock and Jill. Jack Jester gives it his all as Fleshcreep whilst not a natural panto performer he does succeed as good core baddie. The true stand out is Craig Glover as Dame Tine Trot his is a magnificent big-hearted Dame with an incredible wardrobe of frocks a true Glesga mammy who shines every moment there on stage.

The principals are joined by a six strong ensemble who get moments to shine as additional characters but also, they bring real joy, precision and polish to Stephanie Fulton’s inventive choreography. Rounding out the cast are four team of eight babes who clearly love every moment there on stage.

Production wise the limitations of the Pavilions smaller stage space are over come thanks to a clever digital set designed by Iain MacPherson with beautiful lighting design by Jason Taylor that brings out both best in the show and the venue. Yes, the beanstalk is present but is a little underwhelming, but it adds to the charm if the show. Musical director Chris Pugh and his three-piece pit band deliver the goods and the balance between pit and performers is well balanced thanks to the excellent sound design from Sam Vincent.

This is a Jock and the Beanstalk that delivers well with both adult and kids humor landing especially well and reflects the heritage of the pavilion and pantomime and reaffirms that the pav panto remains very much the peoples panto a truly wonderful magical adventure.

Jock and The Beanstalk, Pavilion Theatre, Glasgow runs until Sunday 11^th January 2026 for more information and tickets go to: Book Jock and the Beanstalk tickets | Pavilion Theatre Glasgow

***** (5 stars)

“Scotland’s Wee ‘Est Panto is a Triumph!”

One of Scotland’s true pantomime hidden treasures is the intimate King’s Theatre on the esplanade in Kirkcaldy especially its annual “Wee” pantomime which notches up its fifth year with the regular team returning. Following last years five start “Ya Wee Dickie McWhittington” the gang are back the King’s with a simply sublime “Oor Wee Mammy McGoose” proving that Scotland’s wee’est panto is a triumph with the biggest heart!

Once again written by Mark McDonnell who also stars as “Bampot” this is a thrilling adventure reinvention of the mother goose story. Mammy McGoose, the legendary and beloved dame, Billy Mack who once again proves he is at the top of his game, owns the links market fun fair in Kirkcaldy. Johnny Waltzer, Ross McKenzie, spins the Waltzer’s but is also in love with Mammy’s daughter Frankie McGoose, Sarah Brown Cooper, and there’s Bampot, who is Mammy’s assistant and boy does Mammy need Bampot’s help as the evil Madamme Roxette, the divine Shona White wants the links market for herself. With a little help from a golden egg laying goose the gang set out on adventure that takes them from Kirkcaldy to Blackpool and back again as they seek to save the market and discover true love in all its forms!

Quite simply panto doesn’t come much better than Oor Wee Mammy McGoose thanks to McDonnell’s exquisite writing, that blends the rich heart of great pantomime with a love for the town the venue inhabits, this is very much a panto for and about Kirkcaldy but also opens its heart to all visitors with up to the date topical references and abundance of comedy and musical choices that captures audiences of all ages. Director Suzi Budd has delivered a panto firing on all cylinders and yes the intimate King’s cant pull off the dazzling special effects of much bigger venues but Budd ensures her wonderful cast bring the right blend of panto magic alongside making sure every inch of the space is used to its full potential.

Performances are uniformly excellent with one of Scotland’s greatest working dames Billy Mack proving once again what a traditional man in a dress dame can and should be. A plethora of ever-increasing whacky frock’s, excellent comedy timing and rich line in pathos ensure Mack is truly a dame of dames. Mark McDonnell shines as the comedy foil in the role of “Bampot” as his line of “knock knock” jokes get ever increasing groans however it really works for the show. Sarah Brown Cooper is wonderful in the “princess” role, but she can sing and charms the audience in sublime fashion.  The gorgeous Ross McKenzie brings a 50’s Elvis style polish to the role of Johnny Waltzer and he has the vocal and acting chops to shine every moment he is on stage. Graham Scott takes on puppetry duties playing Gus Goose a couthy but always funny goose. Special mention must go to Shona White who is simply outstanding as Madamme Roxette she delivers the right does of evil without stepping over the line of terrifying the kids but what a voice! Its pure west end joy as she belts out a cleverly re-written take on Amy Winehouse’s “Rehab” that has the audience in stitches.

Production wise its once again a tour de force triumph with John Lithgow wonderfully multicoloured set design being beautifully lit by Lewis Milne’s full throttle lighting design to ensures the show really pops the eye! Musical Director Stephen Roberts once again delivers in spades as his live keyboard accompaniment is blended with a prerecorded click track that gives the show wonderfully full sound that’s aided but an on point sound design.

Oor Wee Mammy McGoose really does prove that sometimes smaller is better and it can tap into the true heart of what brilliant pantomime can be and this year just before the song sheet a brave choice is made as the cast reflect on the years gone by in Kirkcaldy but also the hope for the future especially as every summer the Links Market still rolls into town to bring the same level of joy that the wee panto does each Christmas.

Due to the intimate nature of the show this is one panto which will sell out! So be sure to grab those tickets and join Mammy on a golden adventure of a lifetime as the Wee team once again prove that panto doesn’t get much better than this!

Oor Wee Mammy McGoose, The King’s Theatre, Kirkcaldy runs until Saturday 10^th January 2026 for more information and tickets go to: Pantomime | The King’s KDY