REVIEW: Cinderella at Newcastle Tyne Theatre & Opera House

Cinderella

Newcastle Tyne Theatre & Opera House

Until Sunday 4 January 2026

The "Godmother of all Pantomimes" is a real crowd pleaser thanks to a tight cast and a funny script. Central to the success of the show is Charlie Richmond, who has appeared at the Tyne Theatre for the past 17 years. Cinderella shows that you can have a successful traditional panto in Newcastle.

With a loud bang, that makes you jump, Maureen Nolan appeared as the Fairy Godmother. Sometimes with "celebrity" casting you get some issues as the person has limited acting or singing skills and doesn't understand the panto format. This is not the case with Maureen who looked totally at ease in the role even when chaos is happening onstage. She oozes charm and personality.

Soon we are introduced to the rest of the cast. Now given that this was the final show of a three show day, the cast gave us all plenty of energy. Charlie Richmond has grown from being the comic with the old guard, to being the reason why the audience return every year with the now-not-so-new production company. Whilst some shows don't bother involving the audience, this show is happy to get the kids up. Charlie is so generous as the children do their unpredictable thing. But Charlie also interacts with the cast as the show unfolds. This is less about scripted reactions to planned mistakes, or in the final scene, heckles, it is natural interaction. Through his wonderful funny bones, the show has a positively funny feel throughout. But the comedy never crosses the line (though they have announced some adults only shows at the end of the run that promise to cross that line).

Making her professional debut is local actor Scarlett Robinson as Cinderella who comes across as naturally suited to the role. For a first engagement Scarlett nailed the performance. Panto can be a baptism of fire but she held her own in each scene that she was part of. 

Of course Cinders has to cope with her Ugly Step-Sisters. Lewis Denny and Micky Cochrane are a pair of characters who well well in partnership as the awful twosome. These North Eastern actors compliment each other and never overcook a scene. They add to a production in roles that can easily become annoying, but they don't spoil a joke. A shout out to Mark who was very sporting during the show.

Completing the line up are professional musical theatre actor Jamie Corner as Prince Canny, Twist and Pulse's Ashley Glazebrook-Durbridge & Glen Murphy sharing the man servant role as Dan and Dini, and Carlisle radio presenter Robbie Dee as Baron Hardup. The Prince and Baron come across as traditional panto performers who help keep the show narratively on track. It is the first time I have seen Twist and Pulse and I'm sure there will be members of the audience that enjoyed it when the show stopped so they could do their dance routines.

Which brings me to the writing. The programme lists the writers as "Guy Pascal, Charlie Richmond and Tom Whalley". Baring in mind that we only saw Tom Whalley's Cinderella a week ago elsewhere, I would suggest that the bulk of the show was written by the local talented actor Tom, with funny additional material from Charlie and Guy. I could be wrong but I recognised a lot of script. This means that the show is funny, local and light on its toes.

The thing the makes this show unique in the region is a live band who added energy to the proceedings. The outfits looked lush, and that includes those on the younger dancers. I do wish they'd adjusted Maureen's dresses to make it easier for her to move around. The dancers were fabulous and added value to the music scenes. And yes - this show features that rare species - the children who dance.

There is a special effect, which has thankfully replaced those 3D scenes that were popular a few years ago, as a moment that had many in the Grand Circle around us going "wow" just before the interval - no spoilers here!

Cinderella is a wonderful pantomime. As fans of "trad" panto, we really enjoyed it.

The Tyne Theatre & Opera House is an essential part of Newcastle's cultural scene. Owned and operated by a charity that does not always get the credit for preserving this fine Victorian Opera House, this panto is a really professional display of this venues capacity to entertain. ...and yes we agree with Charlie, the theatre tour is worth doing. 

Now... was that Mrs Claus that we saw on the way in tonight?

Review: Stephen Oliver

Tickets: 

Family Show - https://www.tynetheatreandoperahouse.uk/whatson/cinderella/#Tickets_in

Adults only (18+) show: https://www.tynetheatreandoperahouse.uk/whatson/cinderella-adult-panto/#Tickets_in

Preview: Astell & Woolf at Newcastle Live Theatre

Astell & Woolf 

Newcastle Live Theatre 

Thursday 14 May to Saturday 6 June 2026

Live Theatre launches its Radical North East season with Shelagh Stephenson's surreal new comedy bringing Newcastle's forgotten feminist pioneer Mary Astell into sharp focus. This fast-paced two-hander imagines an electrifying encounter between Astell—largely considered one of the English-speaking world's first published feminists—and Virginia Woolf in an afterlife waiting room.

Written by the prolific Shelagh Stephenson, acclaimed playwright behind The Memory of Water and Harriet Martineau Dreams of Dancing, the play offers an unexpected look at feminism's origins and enduring relevance. Directed by Scottish-born, North East-based director Karen Traynor, who received critical acclaim for her production of Tiny Fragments of Light at Alphabetti, the production promises dark comedy, provocative dialogue, and whip-smart entertainment as it delves into major feminist issues through the wit and intelligence of these two remarkable women.

Writer: Shelagh Stephenson

Traynor reflects on the timeliness of the piece: "Feminism can feel like a challenging word these days. So perhaps this is the perfect moment to examine the idea of it, what it means to us and where it began. Mary Astell is our very own North East pioneer, and like many other great women from history is relegated to its furthest ranks." The play finally allows audiences to imagine Astell's wit and intelligence, bringing her out from history's shadows to claim her rightful place.

 Director Karen Traynor

Stephenson describes her work with characteristic wit as covering "art, God, the patriarchy, two bottles of sherry and wave particle duality. Something for everyone. Plus jokes!" Meanwhile, Artistic Director Jack McNamara calls it "a kind of Endgame with feminists"—hilarious, truly original, and unashamedly packed with ideas that go headlong into the darkness of its subject matter.

The production marks Live Theatre's first exploration of the North East's hidden radical roots, shedding light on the region's pioneering women and their relevance to contemporary debates.

Tickets: £11 to £36. Book at www.live.org.uk 

Preview: Theatre Space North East Presents: Little Red Riding Hood

A Festive Family Adventure Through the Deep, Dark Woods

Theatre Space North East Presents: Little Red Riding Hood

Theatre Space North East returns this December with an enchanting new production that asks a timeless question: what happens when curiosity leads you into the forbidden forest near Loveliton. Audiences across the North East will soon find out as the company brings Jamie Brown's fresh interpretation of Little Red Riding Hood to stages throughout the region.

Building on Success

Following the tremendous local reception of The Frog Prince earlier this year, Theatre Space has chosen another beloved fairy tale for their winter offering. This production continues the company's commitment to creating imaginative, accessible family theatre that resonates with audiences of all ages. The decision to tackle such a universally cherished story speaks to Theatre Space's confidence in their unique theatrical vision and their ability to breathe new life into classic narratives.

A Story Reimagined

While Little Red Riding Hood has been told countless times across generations and cultures, Theatre Space's version promises something special. This isn't simply a retelling—it's a reimagining that weaves together inventive puppetry, original musical numbers, sharp contemporary humour, and a distinctly seasonal flavour. The production celebrates the story's themes of curiosity, caution, and courage while ensuring that audiences leave both entertained and thoughtfully engaged.

Playwright Jamie Brown has approached the material with clear intention. "We always try to explore a moral message in our festive family shows," Brown explains. The production thoughtfully examines themes of social isolation and stranger danger—issues that remain remarkably relevant to modern families—while maintaining the sense of wonder and adventure that makes the original tale so enduring. And naturally, there's the irresistible theatrical opportunity to bring the Big Bad Wolf to life on stage, promising moments of delightful menace and playful scares.

Intimate Theatre, Maximum Impact

One of the most exciting aspects of this production is its scale. With a cast of just three actors, the show becomes an impressive showcase of theatrical versatility and talent. Creative Director Corinne Kilvington emphasizes the importance of this approach: "Using theatre as a space for imagination and music is incredibly important to us, and we know it resonates deeply with our audiences. With a cast of just three actors, the show really showcases their talent while keeping audiences fully engaged."

This intimate casting choice demands exceptional performers who can transform between characters, create entire worlds through suggestion and imagination, and maintain the energy and magic throughout the 70-minute runtime. It's theatre at its most essential and most powerful—where storytelling craft takes center stage.

Bringing Theatre to Communities

Theatre Space's touring model reflects a genuine commitment to accessibility and community engagement. Rather than expecting audiences to travel to a single venue, the production will visit eleven different locations across the North East between 12th and 23rd December. From libraries to community centres, from churches to their own theatre space, Little Red Riding Hood will meet audiences where they are.

The tour opens at Theatre Space's home base at 14a Borough Road in Sunderland on Friday, 12th December at 6pm, before embarking on an ambitious schedule that includes venues in Wallsend, Seghill, Easington Colliery, Washington, Houghton-le-Spring, South Hylton, and Ryhope. Some venues will host multiple performances, ensuring that families throughout the region have the opportunity to experience this festive production.

Accessible Pricing for All

In keeping with their inclusive ethos, Theatre Space has priced tickets to ensure that families can afford to attend without financial strain. Concession tickets start at just £5.50, while adult tickets are £7.50—a remarkably reasonable price point for professional theatre. This pricing structure reflects the company's belief that quality theatre should be accessible to everyone, regardless of economic circumstances.

Supported by Community Partners

The production has received backing from significant partners, including funding from the UK government, Sunderland City of Events, and Sunderland Council. This support has enabled Theatre Space to maximize their creative vision and production values, ensuring that audiences receive a fully realized theatrical experience. It's a testament to the cultural value that regional theatre brings to communities and the importance of investing in local arts organizations.

Why This Production Matters

In an era of digital entertainment and screen-based storytelling, Theatre Space's Little Red Riding Hood offers something increasingly precious: a shared, live experience where imagination takes flight. Kilvington's passion for the work is evident: "It's always a joy to tell a magical story through performance, especially within the creative industries. Children's tales are always a delight to bring to the stage."

There's something particularly meaningful about experiencing a fairy tale in the theatre. The presence of live performers, the immediacy of puppets moving before your eyes, the collective experience of an audience laughing, gasping, and wondering together—these elements create memories that last far beyond the final curtain call.

For children, it may be their first encounter with Little Red Riding Hood as a theatrical experience, or perhaps their introduction to live theatre itself. For adults, it offers the opportunity to revisit a childhood favourite through fresh eyes, to share that experience with younger family members, and to appreciate the artistry and craft that transforms a simple story into theatrical magic.

Perfect Festive Entertainment

Timing is everything, and a 70-minute production hitting stages throughout December provides the ideal festive outing for families. It's long enough to feel like a proper theatrical event but short enough to hold the attention of younger audience members. The seasonal twist promised in the production adds extra festive cheer, making it a perfect addition to the holiday calendar alongside tree lighting, carol services, and Christmas shopping trips.

Complete Performance Schedule

Friday 12th December - Theatre Space Northeast, Sunderland, 6pm
Saturday 13th December - Wallsend Library, Wallsend, 10.30am
Sunday 14th December - Seghill Community Centre, Seghill, 3pm
Monday 15th December - The Welcome Centre, Easington Colliery, 5pm
Thursday 18th December - Seventeen Nineteen, Sunderland, 6pm
Friday 19th December - Theatre Space Northeast, Sunderland, 6pm
Saturday 20th December - Washington Library, Washington, 12 noon
Saturday 20th December - Roker U.R. Church, Sunderland, 6pm
Monday 22nd December - Houghton Library, Houghton-le-Spring, 12 noon
Monday 22nd December - The Tansy Centre, South Hylton, 5pm
Tuesday 23rd December - St. Paul's Church, Ryhope, 1pm and 3.30pm

Booking Information

Tickets are available through Theatre Space's website at www.theatrespace.org.uk/shows/redriding2025. With performances scheduled throughout the day at various times—from morning shows perfect for younger children to evening performances that accommodate working families—there's an option to suit every schedule.

Given the success of The Frog Prince and the limited capacity of many of the touring venues, early booking is strongly recommended. The combination of affordable pricing, convenient locations, and Theatre Space's growing reputation for quality family theatre means that these performances are likely to be popular.

Final Thoughts

Theatre Space North East's Little Red Riding Hood promises to be more than just another holiday show. It's an opportunity to experience the power of live storytelling, to support regional theatre, to introduce children to the magic of performance, and to revisit a beloved tale with fresh eyes. Whether you're drawn by nostalgia for the classic story, curiosity about Theatre Space's innovative approach, or simply the desire for quality festive entertainment, this production invites you to follow the red hood into the woods and discover what theatrical magic awaits.

In a season often dominated by large-scale commercial productions, Little Red Riding Hood offers something more intimate, more accessible, and potentially more memorable—the kind of theatrical experience that reminds us why we gather together to hear stories in the first place.

Don't miss your chance to join Little Red on her journey through the deep, dark woods. Just remember—stay on the path, and watch out for wolves. 

REVIEW: Beauty and the Beast at Playhouse Whitley Bay

Beauty and the Beast

Playhouse Whitley Bay

Until Saturday 3 January 2026

At last! A pantomime that is not afraid to be both traditional and entertaining. In Steve Walls's 15th year at the North Tyneside venue we have a show that celebrates the British tradition of a show that has plenty of jokes, songs and a story that entertains everyone. 

In a year when the professional shows have ditch young dancers ("panto babes") and stopped the peril of bringing children up from the audience during community singing (...and hats off to Seaton Delaval Panto Society for being the other show wiling to keep the tradition), it is nice to see one show that involves the audience throughout the action and not just as an afterthought. If you haven't picked it up - I really loved this one. Seriously I have seen this show grow, year-on-year, with Steve's first outing on this stage, the arrival on Dan Mawston as Dame Patsy and the ingenious arrival of The Bench. But at its heart, it never forgets that for the two hours - the audience is key to make the show work.

Mary J Proud returns, this year as the Fairy of the North and proves that it is possible to narrative this story without being irritating. (Sorry - still annoyed at what we witnessed yesterday in Newcastle, but I digress). We are introduced to Chris McLeish as the Prince who becomes a Beast after he refuses refuge to an old traveller. Dame Patsy makes the mistake of stumbling across his abode and is imprisoned in his castle. 

Bella (Dani Harmer, of CBBC Tracey Beaker fame) has being looked after by Patsy since she was very young and she feels obliged to rescue her. She is followed by Gaston (Stylianos Thomadakis) who cannot understand why Belle is not interested in him, Gaston's side kick Le Shue (Simon Barnard) and of course Patsy's son Frank (Steve Walls). 

The show keeps the traditional elements like the messy scene in the kitchen and of course the Ghostbusters themed take-off scene with the legend that is The Bench. I'm sure there will be visiting cast to the show that have the Bench explained to them in rehearsal that won't appreciate it until it arrives on stage and the kids go crazy. The noise they make as they scream about the ghost is one of the loudest reactions in the North East panto scene this year.

This is a pantomime that sticks to telling the story but packs in the gags and jokes throughout. There is a very special effect that enables Steve Walls to soak people without running up the stairs this year - but no spoilers here. It is a big step up from the days of the old flying carpet on a crane!

Steve Walls is the fearless comic who is willing to involve the crowd despite their unpredictability. He keeps the jokes going at a rate that would please Barry Cryer. He keeps the momentum going. Likewise Dame Patsy rules their roost and is filling the traditional Dame role with a presence.

Dani Harmer brings charm to her role and goes on a journey with the Beast rather than looking like the outcome is inevitable. The show has elements of the Disney version, yet feels very much like the Playhouse panto.

The show has a troupe of committed dancers - both youngsters and professionals - who add movement and colour to the dance numbers. The songs range from this year's chart to some much older songs, especially with the party mix at the end.

The pantomime was wonderful and we all left with smiles on our faces. A strong cast, fabulous costumes and a show that flew by. We'll have to do it again, won't we?!?

Review: Stephen Oliver

Tickets: https://axs-uk.sjv.io/RGx1LN

Tickets are now on sale for next year's panto: Snow White https://axs-uk.sjv.io/YR51jP

REVIEW: Beauty and the Beast at Newcastle Northern Stage

Beauty and the Beast

Newcastle Northern Stage

Until 3 January 2026

The Christmas show at Northern Stage was always a highlight for our family. A show that introduced kids to theatre without descending into panto antics. It is challenging to get that balance right between fun and friendly on one side and storytelling on the other. We've been reviewing these shows for over a decade and, it has to be said, some worked better than others. When the show hits that sweet spot then it is a genuine delight that everyone of all ages can enjoy. When it fails then, usually, it has gone off on a limb trying to be clever and ended up going too dark.

We are introduced to a pair of fairies: Pink (Helena Antoniou) and Cecile (Lucy Doig) who, I think, are trying to create/narrate/interfere with a fairy tale. Within this part of the story Cecile wants to sing a song but Pink, who is an elderly fairy, is in charge and won't let her but it happy to let Rabbit (Maya Torres) eventually sing. If this doesn't sound much like the BATB story that you are familiar with then join the club. This trope didn't land with us and helped the show the drag a little.

Eventually we are introduced to the Beast via a creative shadow play animation which was innovative in the first time that it appeared. On its appearance of the screen on the final occasion it was starting to drag, made worse when there was a struggle to shift the screen off the stage. When then get the best part of the show as Beauty (Bridget Marumo) and her family Father (David Hopper), and sister Lettuce (Maya Torres), stumble over the Beast (Conor McCready) - providing us with the best theatrical moments. As we left a couple was overheard saying they wanted "more beast, less fairy". 

The tale involving Beauty and the Beast follows the line used by the Ladybird book that I read as a kid rather than the Disney version that most pantos head for. As such, the best parts of the action comes from the scenes between the titular pair and around Beauty's family. In fact I'd go far as to say that the family dynamic was under utilised. Hopper is a naturally funny person and it great to see him playing a straight role so well but the show needed some light moments that, with the right material, he could deliver. In fact the fairy element probably made the show darker than it needed to be.

Here's the thing. And I've said this plenty of times - this is subjective. Someone else may love the show. You may love the show. The group of impeccably behaved Girl Guides behind us had at least one individual that was really getting into it, judging by her reaction to some scenes. 

The show has one final niggle for me. The show  is done in traverse, in other words, the stage has audience on both sides. Thus when the cast talk to one side, then the other side just gets to see their back. The solution is then to have the action running perpendicular to the audience, running left to right rather than at the audience. Now this works in the movies but it can make the audience passive observers rather than getting involved in the show. Is it time to go back to using Stage One in the traditional format for the Christmas shows?

So great cast, interesting shadow cinema move to help deliver exposition but the good work, in my opinion, was unravelled by the random fairies for most of the show. At least it wasn't dull.

Review: Stephen Oliver

Photos: Pamela Raith

Tickets:

Tickets are on sale now. For performance dates, access performances and booking, visit https://northernstage.co.uk/whats-on/beauty-and-the-beast/ or call 0191 230 5151. 

Preview: Luke Wright Brings Deeply Personal "Later Life Letter" to the North East

 

Luke Wright Brings Deeply Personal "Later Life Letter" to the North East

Later Life Letter

Northern Stage, Newcastle | 4 March 2026

ARC Stockton | 5 March 2026

Queen's Hall Arts Centre, Hexham | 22 May 2026

Award-winning poet and performer Luke Wright arrives in the North East with his most personal show to date, Later Life Letter—a strikingly honest, funny and deeply moving exploration of adoption, identity and belonging that blends poetic stand-up with memoir and myth.

This autobiographical production unpicks the true story of Wright's adoption through a script brimming with life and the lives he could have had. What's it like to stumble across your birth mother on Facebook? How do you honour the parents who raised you while satisfying a curiosity about where you came from? What does it mean that you married a social worker? These are the questions Wright unpacks within a captivating hour of storytelling.

The title refers to a letter written by a social worker to an adopted child for them to read when older. In this production, Wright directs audiences through moments where a poem can hold more truth than a paragraph ever could, creating a magnificently vulnerable tale of family and the strange coincidences that connect us.

Luke Wright Later Life Letter
Photo: Emily Fae

Wright comments: "Later Life Letter grew out of a need to understand where I came from, and why the idea of belonging still preoccupies me well into middle age. I've always known I was adopted, but only recently started to explore what that really means—not just for me, but for anyone trying to piece together a sense of self from incomplete stories. The show blends poetry, memoir, and stand-up to tell a story about family, privilege, and love in modern Britain. It's about how we edit our pasts to make our presents bearable—and what happens when the old stories no longer fit."

Recognised for his blistering live performances and heartfelt writing, Luke Wright has toured internationally, supported John Cooper Clarke, and MC'd for The Libertines. A regular voice on BBC Radio 4, his work delves into themes of family, politics and modern masculinity. His writing and performance have earned him a Fringe First, a Stage Award, and the 2021 Saboteur Spoken Word Artist of the Year.

Later Life Letter is about looking for meaning and the role luck has in shaping our lives, offering a frank account of what it means to be someone's child. The show is touring the UK throughout 2026 and is also being published as a full memoir in poetry by Little, Brown Book Group, where no emotion is simple or expected.

What the critics say:

"A streetwise panache and a sardonic comic verve to rival Stewart Lee" ★★★★★ Telegraph

"Honesty, humour, ire and wonder. He is at the peak of his powers" ★★★★★ Stage

"His poems shoot arrows through the heart, or leave you dazzled by their virtuosity" ★★★★★ The List

Running time: 60 minutes

Recommended: 14+

Tickets:

• Northern Stage, Newcastle: northernstage.co.uk
• ARC Stockton: arconline.co.uk
• Queen's Hall Arts Centre, Hexham: queenshall.co.uk

Preview: Teechers at Gala Durham

 

John Godber's Classic Comedy "Teechers" Returns in Fresh 2026 Revival

Teechers

Gala Durham

Monday 30 & Tuesday 31 March 2026

The John Godber Company brings its vibrant new production of the beloved comedy Teechers to Gala Durham, offering a sharply funny and fast-paced celebration of school life viewed through the eyes of three ambitious students navigating the chaos of their secondary education.

Written by award-winning playwright John Godber, this much-loved classic arrives in Durham as part of its 2026 tour, re-energised and re-imagined for a new generation. Directed by Jane Thornton, the production updates the rhythm and storytelling of the original while preserving the wit, honesty and anarchic spirit that have made Teechers a firm favourite for four decades.

The show charts the misadventures of three drama-loving pupils as they perform their end-of-term play about life at Whitewall Academy, complete with terrifying teachers, inspirational mentors, and the daily triumphs and humiliations of school corridors. Told with minimal props, comic physicality and lightning-fast character changes, the piece showcases the talent and agility of a tight-knit ensemble cast in trademark Godber style—blending sharp satire with heartfelt humanity.

The production reflects The John Godber Company's ongoing commitment to staging high-quality, accessible theatre in the North and championing regional venues with strong community connections.

Tickets: Available at galadurham.co.uk/galapost/teechers

Preview: Laffs4Kids Celebrates 10th Anniversary

Laffs4Kids Celebrates 10th Anniversary

Utilita Arena Newcastle

Sunday 14 December 2025 | Doors 6:00PM | Ages 16+

The North East's beloved comedy charity event returns for a landmark tenth year, bringing laughter and Christmas spirit back to Utilita Arena Newcastle. Since 2015, Laffs4Kids has collected an incredible 113,000 toys for local children in need, establishing itself as one of the region's most cherished festive traditions.

This anniversary show promises to be the biggest yet, with a stellar line-up already confirmed including Chris Ramsey, Adam Rowe, Scott Bennett, MC Hammersmith, Gary Delaney, Joe McElderry, Glen Roughead, and Jason Cook, with more acts to be announced throughout the year.

The mission remains unchanged: attendees are invited to bring new, unwrapped gifts suitable for children aged 0-18. All donations are collected at the arena and distributed through Cash for Kids: Mission Christmas to families across the North East.

Chris Ramsey shares his excitement: "I can't wait for this years show. The atmosphere is unlike anything else and it's the people of the north east getting together to do the best thing in the world: laugh. And all while helping the most vulnerable children in our community."

Jason Cook adds: "I can't believe it's only been a year! Laffs is such a special thing, the most Christmassy night of the year filled with laughter, singing, dancing and stupidity. And all of this helps kids living in poverty right here where we live."

Tickets: Available through the Utilita Arena website, with standard tickets and hospitality packages on offer. Groups of 10+ receive 20% off.

Ticket link - https://axs-uk.sjv.io/4GQkEM 

REVIEW: Kinky Boots at Sunderland Empire

Kinky Boots

Sunderland Empire

Until Saturday 6 December 

A fun-filled, feel-good and flamboyant show that is guaranteed to make you smile

It may be panto season, but the Sunderland Empire is holding off on the festivities for just one week longer, bringing Kinky Boots back to the region. Whilst it may not be your traditional festive show, this production is guaranteed to get you smiling and feeling all of the joy and love associated with the Christmas season. With plenty of humour, heart and a fine helping of glitter, this show is exactly what you need on a cold December evening. 

Based on the 2005 film, Kinky Boots is the story of Charlie, an unwilling successor to a failing shoe company, who meets the wonderfully loud Lola, a flamboyant drag queen who opens Charlie’s eyes to a whole new world. The original West End show won several Olivier awards in 2016, including Best New Musical, and, almost ten years on, the show still manages to bring a lot of love and pride. 

Taking on the role of Charlie was Dan Partridge, who manoeuvred Charlie’s complex mood changes with style and confident vocals. Wavering between motivation and disaffection as he struggles to live up to what he believed his father expected of him, Charlie is the good guy, the bad guy, and everything in between. Whilst this largely came across as genuine, the show did at times rush through some of the complexities of Charlie’s character, leaving the audience slightly less sympathetic to his plight than they perhaps could be. 

When it comes to the role of Lola, the words fierce, powerful and fabulous come to mind, and all three are entirely embodied by Tosh Wanogho-Maud, who was absolutely electric as the drag queen. Wanogho-Maud stole the stage in every scene as Lola, with killer moves and a remarkable vocal range, he very much embodied the sparkle and joy of drag. Sex is in the Heel was a particular highlight, a riotous affair that was drowning in sensuality and sparkle. 

My one (very small) gripe was that Wanogho-Maud’s flamboyance as Lola seemed to spill over into his musical performance as Simon. Perhaps this comes down to personal preference as someone who has listened to the original Broadway recording many times, but I’m Not My Father’s Son seemed to just fall short of the emotional showstopper that it is, leaning more towards Lola’s penchant for performance than a baring of Simon’s wounded soul. 

Outside of the two leads, Courtney Bowman stole the show with her effervescent portrayal of unlucky in love Lauren. Bowman managed to effortlessly negotiate the comedic side of Lauren, whilst also helping bring the chaotic Charlie back on track whenever needed. Scott Paige also brought his wonderful sense of comedic timing to the show, whilst Billy Roberts (Don), Joanna O’Hare (Nicola) and Liam Doyle (Harry) also performed some impressive musical numbers.

Jonathan Dryden Taylor performed a stellar opening number, showcasing his substantial singing ability. However, the real spark of genius was casting him in a dual role, seeing him return to the stage as one of the drag queens, or Angels. There’s something genuinely heart-warming to see a slightly older, more demure drag queen, dressed in frumpier frocks and square-shouldered jackets, alongside the short shorts and crop tops of the younger Angels. And my absolute respect to Dryden Taylor - he commits to every dance move and, whilst he lacks the finesse of some of the other performers, there is something wonderfully charming about his performance. I found myself watching him in every scene, so compelling was his commitment to the part.

The set, whilst fairly simplistic, allowed the show to move smoothly between drag performances and shoe-making, with carefully choreographed moves allowing the actors to seamlessly swap their work tables for dance stages. There were also some particularly nice lighting choices, from the sunlight drifting through a ventilation fan in the factory, allowing the light to catch the dust and create a genuinely peaceful moment as Charlie slept in his office, to the lighting up of the iron girders of the factory, turning them from industrial chic to full blown rave. 

As mentioned, I am someone who knows the soundtrack reasonably well, which was just as well, as, not for the first time in Sunderland, the mixing of the music and vocals didn’t seem to be quite right, meaning that the audience missed some crucial lyrics of certain songs. At times, it felt like you had to be concentrating fully on hearing the words, which took you out of the moment somewhat, but admittedly was not problematic or frequent enough to make any real dent on the experience. 

All in all, whilst not perfect, Kinky Boots is a feel-good show that gives us a little bit of what we all need during the cold, dark winter. The songs are fun, the performances are entertaining and the show itself reminds you of the real joy of being yourself, whatever that looks like. To paraphrase the great Nancy Sinatra, these boots are very much made for watchin’.

Review: Hannah Daglish

Photos: Pamela Raith 

Tickets:

Sunderland audiences can catch this glitzy, feel-good musical from 2 to 6 December 2025. Tickets are on sale now at ATGTickets.com/Sunderland.

REVIEW: Goldilocks and the Three Bears at South Shields Customs House

Goldilocks and the Three Bears

South Shields Customs House

Until Saturday 3 January 2026

The circus themed pantomime with a big heart has landed in South Shields with its usual dollop of thoughtful storytelling, songs and jokes in a show that is written just for this show. The talented cast deliver a traditional panto that is up to date with its humour.

Always central to the show is co-writer Ray Spencer as Dame Bella Ballcock, who is, this year running a circus that has hit hard times. The character naturally leads themselves as the ring master. They are supported once again by Dennis (Glen Richard Townsend) who dutifully grows in his role as a comic. The Dame also has Goldilocks (Zoe Allan) and Colin (Jonathan Iceton) as acts but is in desperate need for another act.

Meanwhile Three Bears have escaped a rival zoo. Daddy Bear (Jonathan Deakin), Mammy Bear (Jess Brady) and Baby Bear (Nancy Dowling) hide in a forest and raise their child until Goldilocks appears to sample their porridge. The zoo that they escaped is run by Oli Garch, who is aiming to swallow up any rival circus and he has his eyes on Dame Bella's affair. Steven Lee Hamilton is absolutely fabulous in his role as the evil megalomaniac, partly done to his brilliant singing. You find yourself applauding rather than booing the character. Hamilton continues to grow in stature and is a highlight of the show. Having said that, we should also mention Nancy Dowling - whose Baby Bear character had a substantial role and lots of lines, for such a young character, which were executed with charm. They are going to be one to watch in the future.

The young dancers threw themselves into the dance routines and added needed energy into the many dance routines. The downside to the songs was a sound that made it pretty difficult to work out the lyrics for certain performers as the bass levels usually drowned out the vocal performance on stage.

The show's second act had more energy than the first in the Sunday tea-time performance that we attended. Ray Spencer noted a credit to "Aunty - Biotics" at the end which suggests that the cast are going through the health wars. Perhaps the cast could feel the finishing line before a couple of well earnt days off as the show reached its conclusion.  

Regular readers will know that we prefer a panto that stick to story telling rather than an unconnected variety show. The Customs House panto delivers in that respect and includes the traditional elements such as the take off scene, messy scene and community singing. It remains a show that makes the audience feel a part of the experience rather than a show that is "done to them". Perhaps a couple of songs could be cut from act one in order to boost the pace and shorten the first act for the wriggling youngsters.

If memory serves us right, we first saw director Natasha Haws on a panto stage as Little Red Riding Hood (was that 2014?) and it is great to see her gain another director's credit in a local show where it all began.

Goldilocks is a panto, with a local feel, that doesn't forget to tell a story.

Review: Stephen Oliver

Photos: Behind the Eyez Media 

Tickets:

https://www.customshouse.co.uk/theatre/goldilocks-and-the-three-bears/

Access Information:

Audio Described – Sat 6 Dec @ 2:30pm
Relaxed Performance – Sun 28 Dec @ 10:30am
Signed Performance – Mon 29 Dec @ 6:30pm