MOG’S CHRISTMAS

Royal and Derngate Theatre

★★★★★

“this enchanting production is a festive treat not to be missed”

Step into ‘Mog’s Christmas’, a charming, beautifully staged adaptation of Judith Kerr’s beloved books. With its inventive direction, energetic performances and festive spirit, this production is a true Christmas delight for the whole family.

It’s been a busy year for Mog and the Thomases. They remember how her forgetful antics saved the day in spring, and a summer mishap led to a chaotic trip to the V-E-T. Now, amid the hustle and bustle of the festive season, Mog finds herself making a break for the calm of the roof (!). Can the Thomases coax her back in time for Christmas?

The Wardrobe Ensemble’s adaptation blends ‘Mog the Forgetful Cat’, ‘Mog and the V.E.T.’ and ‘Mog’s Christmas’ into a year of antics. It stays largely true to Kerr’s prose while adding playful asides, music, dance and vibrant staging to bring the beloved books to life.

Helena Middleton’s direction channels Kerr’s gentle humour and warmth, lifting the stories off the page with wit and heart – from Mrs Thomas’ pea aria to her polite offer of tea to a burglar. The staging deftly unites three tales within the Thomas home, with inventive set changes marking new spaces and the passage of time. Portraying Mog with an actor (Faye Lord) perfectly embodies feline idiosyncrasies, communicating entirely through physicality and meows. Performances are lively enough to keep children enthralled yet nuanced enough to engage adults, with standout comic highlights including Mog’s expressive reactions and the cry dancing finale.

Composer Joey Hickman, with contributions from David Ridley and onstage musical direction by Daniella Agredo Piper, crafts a rich and varied soundscape that carries us through the seasons of Mog’s life. From plonky comic interludes to sweeping, grandiose passages, the score deepens the emotion of every scene. Songs add character and cheerfully portray key beats from Kerr’s books. The only number that feels slightly overlong is ‘Bother Mog’ – though as a cat owner, I’m biased against the gleeful smear campaign (justice for Mog!).

Catriona Giles’ movement direction is slick and well choreographed. Buoyant dancing appeals to children while capturing Kerr’s sweetness. Scene transitions are impressively tight and dynamic. A standout moment is the V.E.T. sequence, where simple yet inventive movement transforms a static waiting room into a burst of comic fun.

Laura McEwen’s set and costume design shifts effortlessly through moods, spaces, and seasons. The geometric, stripe tinged set evokes Kerr’s pencil illustrations, while the colourful costumes bring a quintessentially British spirit. Lucía Sánchez Roldán’s lighting design is artful and dynamic, using subtle shifts in tone and focus to mask set changes and define contrasting spaces. The Christmas lights encircling the auditorium is a delightful touch. Beth Duke’s sound design brilliantly mirrors the chaos of a forgetful cat, with a slickly handled effects desk amplifying the comedy. Mog’s yowls are perfectly balanced within a cohesive mix that ties the production together.

Faye Lord adorably embodies Mog, stealing our hearts with charming physicality and expressiveness. Tom England proves a versatile and engaging narrator across multiple roles, bringing energy, charisma, and strong vocals. Heather Porte’s Mrs Thomas shines with a beautiful soprano voice and quirky expressiveness, especially in the frantic V.E.T. dash. Ben Vardy’s Mr Thomas is grounded yet cheeky, while Aimee Louise Bevan’s Debbie and Jesse Meadows’ Nicky bring an endearing playfulness. The ensemble is rounded out by Daniella Agredo Piper, impressively juggling music, acting, and puppetry.

Mog has captured the hearts of generations of children, and ‘Mog’s Christmas’ does her story proud. Tenderly adapted and beautifully staged, this enchanting production is a festive treat not to be missed.

MOG’S CHRISTMAS

Royal and Derngate Theatre

Reviewed on 10TH December 2025

by Hannah Bothelton

Photography by Manuel Harlan

Previously reviewed at this venue:

TAMBO & BONES | ★★★ | March 2025

MOBY DICK | ★★★★★ | April 2024

THE FROGS | ★★½ | January 2024

2:22 A GHOST STORY | ★★★ | January 2024

MOG’S CHRISTMAS

★★★

“delivers on festive cheer and wholesome family entertainment”

Upon arrival, the corridor to the theatre is packed with an expectant audience, all of adult size barring one. Nonetheless there is a feeling of festive excitement. It seems no matter how suited up and cynical we become, everybody wants a little bit of magic this time of year, and a Christmas Cinderella show seems just the ticket.

Four of the five cast members begin as puppeteers for paper birds and an infant Ella, whilst Bryan Pilkington plays a benevolent and charming father. We’re introduced to Ella first as a crying bundle in a basket, then as a marionette; a clever bit of prop use sees a pair of empty boots being puppeteered about to portray Ella’s adolescence, and finally we are introduced to Molly Byrne as the fully-grown Ella.

Her father’s death is announced by the arrival of step-siblings played by Aimee Louise Bevan and Joel Black, wearing private school uniforms and punishing scowls. Bryan Pilkington transforms effortlessly on stage from kindly father to evil step-mother as he dons a haughty countenance, house coat and matching snood.

The general plot plays out as we expect, with Ella flung in to the role of lowly servant Cinderella, generally being tormented by her new and nasty family. She of course retains a twinkle in her eye and, whilst playing in the forest, she encounters the prince, as played by Charlie Bateman. Here the two bond over a shared avian passion, and Cinderella impresses with her great knowledge of bird calls rather than an innate delicacy and ladylikeness as the classic fairytale would have it, whilst Bateman’s prince is all limbs and enthusiasm, over the sullen and rebellious heir we have come to expect. Instead of glass slippers we have studded Dr. Martens, and instead of the dreaded panto audience participation, we have a pleasantly awkward chat with the prince, trying out his party banter. Most pleasing of all the production choices, though, is Ella’s stepbrother who, rather than conforming to the two-dimensional spoilt brat trope, shows some character nuance, developing a kinship with Ella and gaining her trust as a confidante. Black plays both nasty and nice equally convincingly, and though he’s let down a little by his singing, he pulls off the part very well.

Whilst it’s near impossible to avoid the syrupy sweetness of the Cinderella fairytale, the slightly bloody ending smacks a little of Roald Dahl’s take on proceedings rather than Walt Disney’s, and we enjoy a fairly ominous minor pastiche of ‘The Birds’ in serving the evil step-mother her just deserts.

Well-timed lighting and sound give the illusion of a much grander set-up than a fifty-seat pub theatre, and on the whole, the production does a lot with a little. There are some ropey vocals, and at times there’s a bit too much acting considering the intimacy of the auditorium, nonetheless, the Jack Studio Theatre delivers on festive cheer and wholesome family entertainment.

Reviewed by Miriam Sallon

Tag Archives: Aimee Louise Bevan

MOG’S CHRISTMAS

★★★★★

Royal and Derngate Theatre

MOG’S CHRISTMAS

Royal and Derngate Theatre

★★★★★

“this enchanting production is a festive treat not to be missed”