THE SNOWMAN
Peacock Theatre
★★★★
“a seasonal delight that will see families gasping with wonder”
For many Brits, it’s not Christmas until ‘The Snowman’ graces the TV. At the Peacock Theatre, the beloved figure steps off the screen and onto the stage once again, returning to deliver festive magic for all ages.
The plot shouldn’t be a surprise. A boy’s snowman miraculously springs to life, leading to a night of mischief and adventure. A magical flight to the North Pole culminates in a lively gathering with Father Christmas and friends. Additional characters, the Ice Princess and Jack Frost, add a touch of drama before the inevitable bittersweet return.
‘The Snowman’ is based on the beloved book by Raymond Briggs and film by Dianne Jackson and John Coates. Adapted by Birmingham Repertory Theatre, it’s been a winter West End staple since 1997. The perfect concept for a dance show, Howard Blake, Bill Alexander and Robert North’s scenario fleshes out the plot, adding a little drama and showing off the Snowman’s technical abilities. More female characters balance the male centred narrative, though casting the Ice Princess as an object of male rivalry feels dated in 2025. Even more outdated are characters with Middle Eastern and East Asian overtones, a pervasive feature of ballet tradition which could do with graceful retirement.
Director Bill Alexander sprinkles stage magic throughout, from fruit nose swaps and surprise confetti to perfectly timed snowfall. The extended flying sequence is a highlight, capturing the film’s wonder in real time. A softened ending, complete with a hopeful dusting of snow and jubilant curtain call, appeals to younger children. Still, at nearly two hours, it could do with tightening – especially the more static first act. Furthermore, frequent blackout scene changes slow Act 1’s pace, some of which could be swapped for more dynamic on stage transitions.
Choreographer Robert North keeps movement child friendly with clear, cleverly directed choreography. Dance lovers are rewarded with a charming pas de deux from the Snowman and Ice Princess, Jack Frost’s virtuoso solo, and a lively pas de trois. That said the opening scenes feel a bit stilted with long passages of walking, miming and costume changing, lacking the vitality of the stronger second half.
Musically, Howard Blake’s score retains all the beloved elements of the original while enriching this adaptation with thoughtful extras. Familiar themes mesh seamlessly with new compositions, offering nostalgia for long time fans and freshness for newcomers. The iconic ‘Walking in the Air’ features additional harmonies, transforming it from a solo moment into an elevated expression of Snowman and Boy’s shared adventure.
Ruari Murchison’s design faithfully evokes the book and film with clever set, while Tim Mitchell’s lighting adds magic with inventive storytelling touches. Richard Brooker and Chris Campbell’s sound design impresses with realistic effects and balanced mixing. Most memorable are the flying effects by Flying by Foy, sending the Snowman and Boy soaring in perfect sync with the score.
A strong ensemble delivers cohesive, well drawn performances across multiple roles, though smaller moments – like the parade of fridge fruit – lack a little polish. Despite a hidden face, the Snowman communicates remarkable emotion in their extended lines and physicality, though their dancing only truly emerges in Act 2. The Boy captures naïve excitement with confident stage presence, expressive detail and musicality. The Ice Princess brings grace and precision to both serious and comic choreography, while Santa injects colour and joy with energetic, angular movement. Jack Frost, meanwhile, delivers virtuosic leaps and turns, embodying menace with flair.
A flurry of festive fun, ‘The Snowman’ is a seasonal delight that will see families gasping with wonder. Imperfections aside, it remains a charming staple of seasonal celebration.
THE SNOWMAN
Peacock Theatre
Reviewed on 22nd November 2025
by Hannah Bothelton
Photography by Tristram Kenton
Recently reviewed at Sadler’s Wells’ venues:
MARKING TIME | ★★★½ | November 2025
MIMI’S SHEBEEN | ★★★★ | October 2025
THE MACHINE OF HORIZONTAL DREAMS | ★★★ | October 2025
PRISM | ★★★★★ | October 2025
A DECADE IN MOTION | ★★★★★ | September 2025
SHAW VS CHEKHOV | ★★★ | August 2025
PEAKY BLINDERS: RAMBERT’S THE REDEMPTION OF THOMAS SHELBY | ★★★★ | August 2025
SINBAD THE SAILOR | ★★★★★ | July 2025
R.O.S.E. | ★★★★★ | July 2025
QUADROPHENIA, A MOD BALLET | ★★★★★ | June 2025
