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

REVIEW: Cinderella at Seaton Delaval Arts Centre

Cinderella

Seaton Delaval Arts Centre

Until Saturday 6 December 2025

A fun-filled pantomime is pleasing packed houses in North Tyneside proving that satisfying pantomimes don't need to break the bank of the audience. An engaging cast and live band bring the Tom Whalley script to life.

This show also represents a big panto anniversary as the shows Director (and also appearing in the comic role as Buttons) Stu Bennett reaches his 20th year with the panto society here in Seaton Delaval.

This is a classic pantomime that believes in telling a story rather than stroking the cast's egos. Zoe Buckthorp is poor Cinderella who has been relegated to the role of maid after her Dad, the Baron Hardup (Jennifer Foulkes) marries Baroness Vindicta (Ellee Jacobson) after Cinder's mother had died. Vindicta is more interested in her own personal wealth and advancing her daughters Dannie (Chris Orchard) and Fannie (Sam Kennedy). Thus, when the Prince's servant Dandini (Zach Hardy) announces a ball for Prince Charming (Lewis Hill) in order to find a wife, Vindicta is keen that her daughters scoop the prize and Cinderella is made to stay at home in a humiliating way. Fortunately for Cinders, she has a Fairy Godmother (Katie Jackson) who can help level the field.

The show works because it sticks to the the story, whilst the cast are cracking jokes with almost every interaction, it is not at the expense of the pace of the show. We have a few songs accompanied by the live band, under musical director Gareth Miller, and a large (for the size of the stage) ensemble of dancers. The music spanned the decades, classics juxtaposed with current trending hits - with some rewritten to fit in with the story.

But here's an observation. I'm lucky in that I get to see most pantomimes in our region and I get to compare shows. Whilst the bigger shows have upped their game - so have the smaller shows. The quality of sets, costumes, lighting and sound has improved massively in the past decade. The pace of the direction and set changes in shows such as this one shows that the lessons learnt in the bigger shows is having an effect on the smaller shows and, as such, the gap is not as big as you think.

Then add the freshness of the Tom Whalley script, in which the jokes work - without offending - and keep the show local. This is the first show that we have seen this season to have a classic "take off" scene or the 12 Days of Christmas.  It is also the first show to run with the peril of bringing the kids out of the audience to assist with the community singing - Stu Bennet was able to adapt really professionally as the larger than expected group of kids added the chaos that comes from unrehearsed members of the public to create something that was charming. 

This show is fun. The cast appear to get on and are having fun - the audience likewise had a fun couple of hours too. The "ugly sisters" had fun with Owen, a good sport at the front of the audience, Buttons got to soak the audience and roam around the hall with his microphone to encourage engagement during the community singing. The Baron comes across as being on a run of bad luck, rather than a total loser (as happens in some shows). 

Cinderella is an entertaining pantomime that hits the right note and those involved in the show should be proud of what they have achieved.

Review: Stephen Oliver

Tickets:

This year's show: https://seatondelavalartscentre.com/whats-on/cinderella/

Next year's show will be Mother Goose and tickets are already on sale: 

https://seatondelavalartscentre.com/whats-on/mother-goose/

REVIEW: Aladdin at Newcastle Theatre Royal

Aladdin

Newcastle Theatre Royal

Until Sunday 18 January 2026

The Theatre Royal Christmas show is something unique amongst the shows in the North East. It is a spectacular variety performance that has the audience laughing, clapping and cheering throughout its 2 hour run. At its core is the dynamo with the funny bones - Mr Danny Adams and his father Mr Clive Webb. They know how to make the silliest moment become a memorable joke.

This is a show in which you are immediately struck by the lavish set, fresh lighting and hanging clouds - and the show has not even started yet. When it starts you also witness the sublime costumes and special effects.  

This year is different in one respect though... it is Danny and Clive's 20th (along with writer/director/writer - Wallsend's very own Michael Harrison). It opens with the Spirit of the Ring, South Shield's Joe McElderry singing about the 20 years of productions. The ensemble, and Mick Potts, appear as a variety of characters from Snow White and Hook through to the Beast as Joe works through the impressive back catalogue. Even one of the big special effects appears during the number. I'm going to suggest that the budget on the opening number was possibly greater than some entire shows. This is going to be a special event.

Danny and Clive then make their entrance. Danny is Aladdin - though he immediately points out there's not going to be much of the usual story as he introduces his Dad as Mr Goose. Here's the thing - there is not much plot at all. Aladdin still wants to date the Princess Jemima (Billie-Kay) and her Dad Old King Cole (Wayne Smith) isn't interested as Aladdin is poor. We have the evil Wicked Witch of Wallsend (Rachel Stanley) wanting a lamp that only the chosen one (Aladdin) can retrieve but that's about it for the normal story, as this show is replete with Geordie references, centred as it is around the Royal Kingdom of Pantomania - and the Theatre Royal. That's right, there's no laundry in this show. But there is a flying carpet.

Mick Potts appears as the Genie as uses his unique physical comedy to create a lot of laughs. Another non-speaking part is Priscilla the Goose (Oliver Moriarty) who, again , is funny by the use of physical theatre.

That leaves one final ingredient that makes the Theatre Royal experience different. Chris Hayward has been as much a part of the success of these shows as the front two. Amazingly quick costume changes means that this dame, Mother Goose, can spring up at any time in a completely different - and spectacular - outfit. Chris is also the element that brings the audience closer to the performance.

So, as is often the case, chaos ensues - Danny cracks jokes, Joe sings, Clive does some magic, occasionally a bit of story begins.. but not for long before we have another song, more jokes and more effects that make you go "wow". 

This is not a show for the fans of storytelling or the traditional elements of pantomime. This is a show for those who want a funny, sensational show that celebrates the positivity of the region. It is a grand affair that considers its mission is to make the audience leave with a smile on their face and a warm feeling as they leave. It is also a show that makes you wonder where the intentional "mistakes" are in he script - and where the genuine mishaps are.

This is a celebration is two decades of entertaining the Geordie nation - and long may it continue.

Review: Stephen Oliver

Photos: Paul Coltas   

Tickets:

Aladdin plays Newcastle Theatre Royal Tue 25 Nov 2025 – Sun 18 Jan 2026. Tickets can be purchased at www.theatreroyal.co.uk or from the Theatre Royal Box Office on 0191 232 7010. 

The Silence of the Lambs World Stage Play Premiere Coming to Sunderland Empire

World Stage Play Premiere Coming to Sunderland Empire

 

The Silence of the Lambs

Sunderland Empire 

21-26 June 2027

Prepare for a theatrical experience like no other as the iconic psychological thriller The Silence of the Lambs makes its world stage play premiere at Sunderland Empire next summer. The globally renowned story of FBI trainee Clarice Starling and the infamous Dr Hannibal Lecter arrives as part of a major UK and Ireland tour in this groundbreaking new adaptation.

Celebrated playwright Gina Gionfriddo, whose previous works have been finalists for the Pulitzer Prize for Drama, brings Thomas Harris' multi-million-selling novel to the stage. Under the direction of Nikolai Foster, Artistic Director at Curve Leicester, audiences will be drawn into the chilling psychological game between Clarice and Lecter as the FBI races against time to catch serial killer Buffalo Bill.

When a new serial killer emerges, FBI trainee Clarice Starling is sent to interview brilliant psychiatrist and convicted murderer Hannibal Lecter in hopes his insights might help catch the sadistic Buffalo Bill. Another victim is missing and the clock is ticking. But Dr Lecter has his own agenda, forcing Clarice to make an impossible choice: maintain professional distance or allow the notorious cannibal into her mind.

Thomas Harris' quartet of Lecter novels has sold over 50 million copies worldwide and spawned multiple acclaimed film and television adaptations featuring legendary performances from Anthony Hopkins, Jodie Foster, Mads Mikkelsen and others. Now, for the first time, this gripping tale of intellect, horror and psychological warfare comes to the stage in a production that promises to be both electrifying and terrifying.

Tickets:

On sale Wednesday 26 November at 11am
Book online: ATGTickets.com/Sunderland
More information: www.silenceofthelambsplay.com

REVIEW: Fiddler on the Roof at Sunderland Empire

Fiddler on the Roof 

Sunderland Empire

Until Saturday 29 November 2025

The Olivier Award-winning production of Fiddler on the Roof arrived at Sunderland Empire this week, running until Saturday 29th November 2025. This highly anticipated UK tour brings the critically acclaimed musical directly from its summer season at London's Barbican Theatre, offering North East audiences a rare opportunity to experience this theatrical masterpiece. Following its triumphant wins at this year's Olivier Awards for Best Musical Revival, Best Set Design, and Best Sound Design, the production has already proven its ability to captivate both audiences and critics alike during its celebrated West End run. 

I know that I personally have been looking forward to seeing the show for the first time as I grew up listening to the cast recording and remember seeing the film on television. Those songs really told me a story before I had the opportunity to see shows for myself. 

Fiddler on the Roof first premiered on Broadway in 1964, with original direction and choreography by the legendary Jerome Robbins and production by Harold Prince. The musical has since become one of the greatest shows ever written, featuring a score that includes some of theatre's most beloved songs. This marks the first UK tour of the classic in over twelve years, making it a significant theatrical event for regional audiences. The show's enduring appeal lies in its perfect balance of heart, humour, and humanity, telling a story that has resonated across generations and continues to speak powerfully to contemporary audiences. It understands that an audience needs to connect and care about the characters.

Set in 1905 in the tiny village of Anatevka, the musical follows Tevye, a Jewish milkman who lives his life according to proud traditions. With five daughters to raise, Tevye expects the matchmaker to arrange suitable marriages according to custom. However, as each daughter begins to challenge his beliefs and choose her own path in love, Tevye finds himself caught between honouring ancient traditions and embracing the changing world around him. Against the backdrop of growing political tension and social upheaval, the story explores whether Tevye can hold firm to his roots or must bend to the will of his children and learn to accept the unfamiliar. The musical weaves together themes of family, faith, and the struggle between tradition and progress with both comedic warmth and poignant depth.

Matthew Woodyatt leads the company with remarkable presence as Tevye, bringing both gravitas and gentle humour to the milkman's philosophical musings and his iconic numbers including 'If I Were A Rich Man'. His chemistry with Jodie Jacobs, who plays his wife Golde, grounds the production in authentic emotional warmth, particularly during their touching rendition of 'Do You Love Me?'. Beverley Klein, an Olivier Award nominee, delivers a wonderfully comic yet nuanced performance as Yente the matchmaker, bringing mischievous energy to the proceedings. The three eldest daughters are portrayed with individual charm and determination by Natasha Jules Bernard as Tzeitel, Georgia Bruce as Hodel, and Hannah Bristow as Chava, each bringing depth to their characters' journeys of self-discovery.

The supporting cast enriches the production immeasurably, with Dan Wolff endearing as the gentle tailor Motel, whose rendition of 'Miracle of Miracles' is genuinely moving. Greg Bernstein brings passionate idealism to the revolutionary student Perchik, while Gregor Milne creates a sympathetic portrayal of Fyedka. Michael Siegel commands the stage as Lazar Wolf, the butcher, particularly in the celebratory 'To Life', whilst Mark Faith as the Rabbi and the entire ensemble breathe vibrant life into the community of Anatevka. The ensemble work during numbers such as 'Tradition' and 'Matchmaker' showcases the strength of the entire company, creating a living, breathing village before our eyes.

One of the production's greatest strengths is its use of a live band, with musicians remaining visible at the rear of the stage throughout the performance. This choice adds an authentic, intimate quality to the storytelling, reminding audiences of the folk traditions at the heart of the narrative. The acoustic sound is fabulous, allowing every note of the magnificent score to shine through with clarity and emotional power. Olivier Award nominee Raphael Papo brings the iconic role of The Fiddler to haunting life, his presence both mystical and grounding, serving as a constant reminder of the traditions that bind the community together. The fiddler's music weaves through the production like a thread, connecting past to present and providing moments of pure theatrical magic.

Director Jordan Fein, choreographer Julia Cheng, and Tony Award-winning designer Tom Scutt form a powerhouse creative team whose vision has earned deserved acclaim. The lighting design deserves particular mention, creating atmospheric shifts that transport audiences from the warmth of family gatherings to the chill of winter and the darkness of persecution. The visual storytelling is subtle yet powerful, with lighting helping to delineate time, place, and mood whilst never overwhelming the intimate human drama at the story's core.

In these uncertain times, Fiddler on the Roof feels remarkably relevant, reminding us of the importance of community, the courage required to embrace change, and the enduring power of hope. This is a feel-good show in the truest sense, one that doesn't shy away from difficult themes but ultimately celebrates the resilience of the human spirit and the strength found in family and tradition. It's a production that earns both its laughter and its tears, leaving audiences uplifted and moved in equal measure. This is essential theatre that speaks across generations, and Wearside audiences should seize this rare opportunity to experience such a sublime revival of a genuine musical masterpiece.

Review: Stephen Oliver

Photo: Marc Brenner

📍 Fiddler on the Roof at Sunderland Empire

🗓️ Tuesday 25 – Saturday 29 November 2025
🕰️ Running Time: Approx. 2 hours 40 minutes (including interval)
👤 Age Guidance: 12+
🎟️ Tickets: Available now at ATGTickets.com/Sunderland (Transaction fee may apply)

REVIEW: Jack and the Beanstalk at Durham Gala

Jack and the Beanstalk

Durham Gala

Until Wednesday 31 December 2025

Written by Gary Kitching

Directed by Jacob Anderton

Musical Director & Arrangements: Gabrielle Ball

Choreographer: Helen West

Costume Designer: Emily Baxendale

The pantomime season has begun and the Durham Gala have a family friendly show that has many of the traditional elements that make up a good panto wrapped around consistent storytelling in a well paced show that will keep the youngsters happy.

Like many theatres, the Gala has kept the same team together for a few seasons and they are hitting the right notes with many of the decisions being made. Jude Nelson is, once again, in the comic role - this time as Muddles. Introductions are kept short and sweet and this goes down to the expected greeting when they enter the stage. The lack of a protracted set up was a sign of things to come as the show feels like it moves at a brisk pace. Jude is friendly, fun and Gary Kitching's script means that she doesn't punch down with her jokes.

Quickly we are introduced to tired Jack (Kieron Michael) who keeps dropping off asleep through out the show, and his mother Mrs Tinkler (Sarah Bulmer) who runs the dairy in Consett that has fallen on hard times. She sacks Muddles and entrusts Jack to sell their cow. In a subplot, Muddles is training to become a fairy godmother and has already learnt how to speak to animals, thus we discover Bronwen the cow is Welsh. Jack doesn't make it to the market and sells it to Prof Hangclaw (Adam Donaldson) and his daughter Bridget (Lucy Davis) in return for fake magic beans. The Prof is the closest that the show has to a baddie for the kids to boo at.

When Bronwen escapes she meets up with a cow herd and decides to hide as a pink pony. This leads to one of the musical highlights of the show as Susie Barrett sings a Chappell Roan mash up. The other big number was act one closing number Defying Gravity which left a smile on the audience as they headed off for their interval ice creams.

This is a gentle panto that sticks to storytelling rather than having the title as a vague theme. The youngsters were keen to take part and the cast made the audience feel a part of the show. There are a number of traditional panto elements like a messy scene and the community singing at the end. Having said that, the messy scene was probably the one element that seemed to be there for the sake of it. It just consisted of chucking glasses of coloured liquid at Jack who fell over at random moments. 

One of the better decisions was to include a live band, which kept the energy levels up. The small adult ensemble cast danced through the show, there's no kids on stage in this show.

Jack and the Beanstalk is a safe fun show with a likeable cast.

Review: Stephen Oliver

Tickets:

https://galadurham.co.uk/galapost/jack-and-the-beanstalk/   

Accessible performances:

They have a number of accessible performances of Jack and the Beanstalk including a British Sign Language (BSL) interpreted performance on Saturday 6 December, 2.00pm and a captioned performance on Saturday 13 December, 6.30pm.

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Preview: Priscilla Queen of the Desert at Newcastle Theatre Royal

 Hit Musical Rolls into Newcastle Theatre Royal

Priscilla Queen of the Desert

Newcastle Theatre Royal

Monday 6 – Saturday 11 April 2026

Get ready to climb aboard for a dazzling journey across Australia as the exuberant musical celebration Priscilla Queen of the Desert arrives at Newcastle Theatre Royal this April, bringing with it over 100 iconic costumes, a hit parade of disco classics, and a story bursting with humor, heart, and spectacular glamour.

Based on the 1994 Oscar-winning film, this joyful production follows three friends as they travel across the Australian outback in a dilapidated bus nicknamed Priscilla to put on the show of a lifetime. At its heart lies a moving exploration of identity, diversity, and the journey toward self-acceptance, as the characters confront prejudice and adversity while discovering the strength found in unity, friendship, and authentic expression.

The production boasts an exciting cast led by Kevin Clifton (Strictly Come Dancing, Chicago) as Tick/Mitzi, who describes the show as "bold, joyful, and unapologetically full of heart." He's joined by Nick Hayes (Groundhog Day at The Old Vic) as Felicia/Adam, Peter Duncan (The Dame) as Bob/Preacher, and the previously announced Adèle Anderson—best known as one-third of internationally acclaimed satirical cabaret trio Fascinating Aïda—in the role of Bernadette.

Adding to the production's visual spectacle, Strictly Come Dancing's BAFTA award-winning costume designer Vicky Gill and her team have created over 100 stunning costumes for the show. Renowned for her show-stopping designs on Strictly since 2012 and Dancing On Ice, Gill brings her signature blend of glamour and functionality to this vibrant production. Reflecting on the project, she called it "a dream come true," recalling how the original film filled her with "such a sense of freedom and joy" when it was released.

Directed by Olivier Award-nominated Ian Talbot OBE with choreography by Olivier Award-winner Matt Cole, the production features dazzling dance routines and an iconic soundtrack packed with 80s and 90s disco anthems including 'Hot Stuff', 'It's Raining Men', 'I Will Survive', 'Girls Just Wanna Have Fun', 'Finally', and more.

The show's enduring appeal lies in its heartfelt celebration of being true to yourself, challenging societal norms, and embracing the importance of acceptance and belonging. As Clifton puts it, it's about "identity, family, and love in all its forms"—a story that celebrates being yourself "no matter what the world thinks."

From its sparkling costumes to its uplifting message and irresistible soundtrack, Priscilla Queen of the Desert promises pure theatrical joy from start to finish.

Tickets

Priscilla Queen of the Desert
Monday 6 – Saturday 11 April 2026
Newcastle Theatre Royal

Book at: theatreroyal.co.uk
Box Office: 0191 232 7010

Preview: The Karate Kid - The Musical at Sunderland Empire

Iconic 80s Movie Makes Stage Debut at Sunderland Empire

The Karate Kid - The Musical

Sunderland Empire

Tuesday 14 – Saturday 18 July 2026

Wax on, wax off—the beloved 1984 blockbuster is coming to life on stage in a major new musical production landing at Sunderland Empire this July as part of its UK premiere tour, ahead of planned West End and Broadway runs.

Written by Robert Mark Kamen, the original screenwriter behind the film that launched a 40-year global franchise, The Karate Kid - The Musical transforms the iconic story of Daniel LaRusso and Mr. Miyagi into an emotionally charged theatrical experience. With music and lyrics by award-winning composer Drew Gasparini, this production reimagines the heartfelt coming-of-age tale through movement, music, and raw, energetic storytelling.

The original Karate Kid film, starring Ralph Macchio and Pat Morita, became a cultural phenomenon that has spawned three sequels, a 2012 remake with Jaden Smith and Jackie Chan, the hugely popular Netflix series Cobra Kai, and this year's Karate Kid: Legends. Morita's performance as the wise Mr. Miyagi earned him an Academy Award nomination, cementing the story's place in cinema history.

At the heart of this stage adaptation is the powerful bond between student and teacher, exploring themes of resilience, mentorship, and the quiet strength that bridges generations. Mr. Miyagi's philosophy remains central: karate isn't about fighting—it's about balance, dignity, and respect.

The production received its world premiere in St. Louis in 2022, playing to sold-out houses and rave reviews. Now, a Tony Award-winning design team brings those iconic cinematic moments to the stage with kinetic choreography and stunning visuals that honour the timeless story while creating something fresh and theatrically dynamic.

Director Amon Miyamoto, who became the first Japanese director to helm a Broadway musical with Pacific Overtures, leads the creative team. He's joined by choreographers Keone and Mari Madrid, whose work spans Disney animation, music videos for artists like Justin Bieber and BTS, and Broadway productions. The design team includes scenic designer Derek McLane (Moulin Rouge!, MJ The Musical), costume designer Ayako Maeda, lighting designer Bradley King (Hadestown, Water for Elephants), and projection designer Peter Nigrini (Hell's Kitchen, Dear Evan Hansen).

Reflecting on bringing his 43-year-old screenplay to the British stage, Kamen notes that the story remains "as fresh and universally relevant as it was four decades ago"—a testament to the enduring appeal of Daniel's journey from bullied teenager to confident young man, guided by an unlikely mentor who becomes far more than just a karate teacher.

Tickets

The Karate Kid - The Musical
Tuesday 14 – Saturday 18 July 2026
Sunderland Empire

Book at: ATGTickets.com/Sunderland

A £3.95 transaction fee may apply to online bookings

For more information visit: thekaratekidthemusicalUK.com

Preview: The Wizard of Oz at People's Theatre

The Wizard of Oz: A Wicked Pantomime Adventure

Newcastle People's Theatre, 

Saturday 13 – Sunday 21 December 2025

There's no place like the People's Theatre this Christmas for a magical pantomime journey to the Land of Oz! With excitement building around all things Oz-related, the People's Theatre in Heaton presents their delightfully wicked take on The Wizard Of Oz.

Dorothy dreams of a life beyond her little farm in Heaton, but when a terrible tornado sweeps her and her faithful dog Toto away to the magical land of Oz, she finds herself on an extraordinary adventure. Guided by Glinda The Good, Dorothy must seek out The Wizard—but the Wicked Witch of the West is hot on her ruby heels!

Joined by an unlikely trio of companions—a Scarecrow seeking brains, a Tin Man longing for a heart, and a Cowardly Lion in need of courage—Dorothy embarks on a quest that will test them all. Will they save Oz and help Dorothy find her way home?

This fun-filled family pantomime promises an unforgettable adventure down the yellow brick road, packed with toe-tapping tunes, silly jokes, and heartwarming moments that will delight audiences of all ages.

With afternoon and evening performances throughout the run, plus a Relaxed Performance on Tuesday 16th December, there's plenty of opportunity to experience this wonderful festive treat.

Tickets

The Wizard of Oz by Tom Whalley
Saturday 13 – Sunday 21 December 2025
People's Theatre, Stephenson Road, Newcastle upon Tyne, NE6 5QF

Tickets: £16/£13.50
Relaxed Performance: Tuesday 16th December

Box Office: 0191 265 5020
Website: www.peoplestheatre.co.uk

This amateur production of "The Wizard of Oz: a wicked Pantomime adventure" is presented by arrangement with Tom Whalley Pantomimes

Preview: Our Little Hour at Alphabetti and Alnwick Playhouse

The Musical Story of Walter Tull Comes to the Northeast 

Our Little Hour

Alnwick Playhouse
Wednesday 4 March 2026 

Newcastle Alphabetti Theatre
Thursday 5 - Saturday 7 March 2026

Show Racism the Red Card brings its critically acclaimed musical Our Little Hour to Northumberland and Tyne & Wear this March, telling the inspirational true story of Walter Tull—the first black footballer to play at the highest level of domestic football in the UK and the first man of his heritage to be commissioned as an officer in the British Army.

Following a sell-out 2024 tour, the 2026 revival features Leon Newman returning in the lead role, having received widespread critical acclaim for his portrayal of this pioneering figure. Newman is joined by Neil Reidman, fresh from London's West End production of The Mousetrap, who reprises his role as Daniel Tull, and Geebs Marie Williams as Walter's mother, Alice.

Described as "an intensely moving new musical drama" and "highly emotionally charged and utterly compelling," the production combines sixteen hauntingly beautiful original songs with a powerfully poetic script. Written by award-winning playwright Dougie Blaxland and celebrated composer Chris Anthony, Our Little Hour dramatises the astonishing story of the grandson of a Barbadian slave who, orphaned at eight years old, rose to prominence against all odds.

Geebs Marie Williams, Leon Newman, Neil Reidman

Tragically killed in action just weeks before the end of World War 1, Walter Tull's pioneering achievements have earned him a distinguished place in British history. Director Amanda Horlock describes the show as "a celebration of the life of an extraordinary man whose pioneering spirit continues to inspire the campaign for justice and equality."

The production honours the memory of one of the most significant figures in British sporting and military history, combining power-packed drama with hauntingly original music to tell a story that resonates strongly with contemporary audiences.

Tickets

Alnwick Playhouse
Wednesday 4 March 2026
https://alnwickplayhouse.co.uk/event/our-little-hour/

Alphabetti Theatre, Newcastle
Thursday 5 to Saturday 7 March 2026
https://www.alphabettitheatre.co.uk/ourlittlehour

News: Double Bill of Festive Theatre Coming to the North East

 

Double Bill of Festive Theatre Coming to the North East

Red Ladder Theatre Company and Wrongsemble are bringing two contrasting Christmas productions to Stockton Arts Centre and Gosforth Civic Theatre this December. The tour features Red Ladder's adult comedy A Proper Merry Christmess and Wrongsemble's family show A Town Called Christmas, with the same cast performing in both productions.

A Proper Merry Christmess, written by Leeds-based playwrights Seeta Wrightson and Leon Fleming, takes place on Christmas Eve at a West Yorkshire garden centre. The story centres on Team Grotto as they compete for a seasonal bonus, with only one department able to claim the prize. The production promises a more honest take on the festive season than traditional Christmas fare, incorporating elements that emerged from workshops with local communities including Belle Isle Tenant Management Organisation and St George's Crypt, a Leeds charity supporting homeless people.

Red Ladder - A Proper Merry Christmess - image: David Lindsay.

The comedy marks the playwriting debut for Wrightson, a stand-up comedian who reached the semi-finals of the BBC New Comedy Awards in 2021 and has been selected for the BBC Comedy sponsored 2025 Female Pilot Club initiative. She attended Red Ladder's playwriting courses in 2024. Her co-writer Fleming is co-artistic director of 5Pound5 Theatre, with previous writing credits including The Chechnya Plays and The Boy Next Door. The production is directed by Cheryl Martin, who became Red Ladder's artistic director in January 2024.

A Town Called Christmas tells the story of Clementine, who imagines a gingerbread village where chocolate coins serve as currency and laughter decorates the air. Aimed at children aged three and above, the show follows Clementine as she works with a caretaker and a malfunctioning robot to restore festive spirit to the town. The production features original music by Bay Bryan and Claire O'Connor.

Writer and co-director Elvi Piper founded Wrongsemble and trained at Rose Bruford College of Speech and Drama and the Institut del Teatre in Barcelona. Recent directing work includes The Wizard of Oz at The Dukes and A Midsummer Night's Dream at Grosvenor Park Open Air Theatre. She co-directs with Richard Priestley, a Manchester-based director and choreographer originally from Northern Ireland who has spent over 15 years creating movement-led theatre.

Wrongsemble Christmas - Artwork: Bethan Woollvin

The cast features Charles Doherty, who trained at the Western Australian Academy of Performing Arts and has recent screen credits including The Pentaverate, Citadel and The Tattooist of Auschwitz. He received a NODA award for his performance as King Arthur in Spamalot. Maryam Ali, based in Teesside and trained at Manchester School of Theatre, is currently developing her first full-length play commissioned for research and development with ARC Stockton. Roo Arwen, a recent graduate of The Arden School of Theatre, makes her professional theatre debut with these productions.

Red Ladder, founded in 1968 in London, has roots in the radical socialist theatre movement known as agitprop. Now based in Leeds, the company has over 55 years of history producing new theatre and supporting emerging creative talent. Wrongsemble, formed in 2015 and based in Leeds, specialises in creating work for young people, schools and families. The company won the Child Friendly Leeds Award in 2020 and Best Theatre Company in the Yorkshire Prestige Awards 2022.

Tickets:

A Proper Merry Christmess plays at Stockton Arts Centre (ARC) on December 3, 4 and 10 at 7.30pm, and at Gosforth Civic Theatre, Newcastle on December 20 at 7.30pm. Age guidance: 16+

A Town Called Christmas plays at Stockton Arts Centre (ARC) from December 2 to 13, and at Gosforth Civic Theatre, Newcastle from December 19 to 21. For adventurers aged 3+ and their grown-ups.

For more information and tickets, visit redladder.co.uk