Every so often you see a pantomime that reminds you exactly why this chaotic, glitter-soaked tradition is the heartbeat of British theatre.
Sleeping Beauty at The Carriageworks doesn’t just remind you, it grabs you by the baubles, spins you round, and shouts “OH! YES IT DOES!” into your soul. Without a doubt, this is the best panto I’ve ever seen. No contest. Fast-paced, jam-packed with jokes, and bursting with joy from start to finish, this production fires on all cylinders… and then adds flaming sparks for good measure.
At its heart, Sleeping Beauty tells the classic tale we all know and love: Princess Ariana is cursed at her Christening by the fabulously wicked Carabosse, who swears that on her 21st birthday, she’ll prick her finger and fall into a deep, never-ending sleep.
Thanks to the good fairy’s magic, the curse is softened, but not completely stopped, so when the inevitable happens, the kingdom is plunged into despair. However, with the help of the fairy (whose assistance seems random rather if truth be told), the heroic Prince Benedict is able to break the spell, helped along the way by the Princess’ father the King, her good friend Muggles and his mother, the sassy servant Dame Dolly.
Together they defeat the villain and make her good (I’m not sure I understand that part of the story but it matters not!) and bring the princess, and the kingdom, back to life.
It’s a whirlwind of magic, mishaps and mayhem…everything a proper Christmas panto should be. What makes it so special is how perfectly it balances humour for all ages. Kids were howling. Adults were in hysterics. Grandparents were clutching their sides. One of the stand-out gags was the prince being carbon-frozen in time, appearing on stage as a perfect Hans Solo tribute that sent the grown-ups into nostalgic meltdown. And if the Oasis finale of ‘Don’t Look Back in Anger’ made it feel like the end of a brilliant night out… well, that’s because it absolutely did.
But let’s get to the heart of the magic: Jez Edwards as Muggles. He doesn’t just steal the show, he breaks into the palace, nabs the crown jewels, and sashays out with a wink. His comic timing is ridiculous. His ad-libbing? Expert level. His crowd-work? Sheer genius. The man was born for panto, and he proves it in every single moment. This is Panto stagecraft at its absolute finest.
Matching him laugh for laugh is Aaron Steadman as Dame Dolly, delivering everything a classic panto dame should be: fabulously flirtatious, outrageously inappropriate, and absolutely adored by the audience. He struts onto the stage like he owns the place, and by the end, he absolutely does. Audience…be prepared to share your men for the night because no one is safe with Dame Dolly (and his live on stage man camera!) around!
All your favourite pantomime traditions are here: the bench ghost scene (“We’ll have to sing it again then!”), the classic call-and-responses and the “oh no it isn’t!” battle cry. However, they feel fresh, fizzy and full of energy, making the kids practically airborne with excitement. If you’re never been to a panto before, this is a great time to try one and you’ll soon understand why this is a precious British tradition like nothing else you will find in the theatre.
Nick George’s fantastic script may not be the most logically coherent piece of theatre ever written (but honestly, who comes to panto for Shakespearean structure?), but it is immensely clever. Packed with up-to-the-minute references, it weaves in TikTok fads (yes, the children screamed when the 6-7 trend appeared…many times), viral songs like Lava Chicken and Chicken Banana, and some of the biggest pop hits of the year, including APT and Golden.
The young in the audience were living their best lives…mine most definitely included! From start to finish, the jokes were relentless and razor-sharp, hitting the mark every time and keeping both kids and adults in stitches. Sure, not every vocal moment is perfectly on-key and a couple of characters feel more “fairytale extra” than “headline act”, but none of that matters when the show is this much fun.
The performances from Edwards and Steadman are worth the ticket price alone, but director Paul Giddings deserves huge applause for shaping a production that feels tight, joyful, and gloriously silly. The costumes are vibrant, the staging is full of flair, and the final encore of All I Want For Christmas leaves you floating out of the theatre with enough festive cheer to power the Blackpool Illuminations.
If you see ONE show this Christmas…make it this. It’s also brilliantly priced compared with many pantos, making it a perfect gift (plus no wrapping required!). And please, for the love of all things pantomime, encourage your audience group to be LOUD. A panto lives or dies on audience energy, and while Jez Edwards is practically superhuman, even he needs someone shouting “BEHIND YOU!”. Ignore your inhibitions for the night, join in with the chants and get up and dance along like you’re a little kid at Christmas again.
And before you head inside or at the interval, don’t forget to scan the QR code outside the theatre. Muggles will then read out your message live at the end, which is such a lovely personal touch which had my own children bouncing with excitement when they heard their name called. It’s just one more way this panto sprinkles a bit of extra magic over the whole evening. It’s safe to say my children, my husband and I all left completely immersed in the Christmas spirit, thanks to this truly outstanding theatrical experience.
It’s safe to say that this is a laugh-a-minute, joy-exploding triumph. Get your tickets. Get your mates. Borrow someone else’s children if you don’t have your own. And get ready to howl…you’re in for a treat! It’s on until 4 January.
https://www.carriageworkstheatre.co.uk/whats-on/sleeping-beauty-bcdv
Photography by Robling Photography unless otherwise captioned.
