The sparkling jewel in the Playhouse’s crown, their annual panto, is a must-see romp for families across Oxfordshire. And this year’s iteration is a fiercely inventive spin on Sleeping Beauty, a rich blend of warming nostalgia and on-the-pulse pop music. It goes down a treat and is sure to delight young and old.
The story of Sleeping Beauty is a familiar one – a Princess pricks her finger on her eighteenth birthday and fulfils a curse that puts her into a deep sleep, only to be woken by a day-saving Prince. Some of this is here, there is still a princess and still a curse, but writer-director Toby Hulse’s witty new take jettisons the obvious and throws in some time travel and a sweetly judged enemies-turning-into-friends narrative that hints at something even more interesting.
The ensemble is a joyous burst of energy here. Sophia Lewis is a warm, inviting presence as Princess Aurora, whilst Max Guest is an endearing fool as Billy the Silly. Robin Hemmings returns to the Playhouse stage for villain duties, raising plenty of laughs and boos. Lucy Frederick’s Nelly the Nurse makes a strong argument for a female Dame every single panto, a raucous, cheeky delight. Finally Daisy Ann Fletcher particularly stands out as Ursula, finding nuance and depth, becoming interesting and crucially, captivating as the narrative continues.
The craft here is remarkable. Bronia Housman’s set design is gorgeous and packed with detail, transforming as the narrative hurtles across time and space. I particularly enjoyed the shop that pops up in the third act and the neon lit finale. It marries beautifully with Immy Howard’s costume design, which draws creatively from the production’s duel eras. Pantos are always a fabulous excuse for outlandish costuming and Howard’s work doesn’t disappoint, with hero and villain alike decked out in wonderful creations. A particular shout-out must go to each of Nelly the Nurse’s outfits.
If there is a weakness here it comes with the production’s pacing. The first half starts strong but seems to slow down as we wait for the key pricking of the finger. The second half gallops at a terrific pace, so much so that it feels we don’t fully get to wallow in the 80s-ness of it all. But by the show’s dazzling finale this will be long forgotten for most, particularly as we all sing along to Chappell Roan’s ‘Hot to Go’.
And so I return to what this show really gets right. It takes a familiar story and offers something fresh, blends the new and old gloriously and finds a rich, sweet message of the power of love in all forms. The Playhouse panto has earned its reputation as one of the best in the country, and Sleeping Beauty is so good you’ll be eager to book next year’s show.
My 8 year-old daughter had these thoughts – “I liked the first bit, when they got us ready for the main show. I liked the people who kept trying to do their show routine (ED: the Jitterbugs). I also really liked the villain; he was really funny and included the audience. I liked the time travel and the time machine they used. I enjoyed when we had to swing our pants and Billy’s realization of making a mistake was really funny. I liked the importance of love in the show. I really liked Ursula because she learns a valuable lesson about being good. My favourite song was ‘Hot to Go’.”