Tag Archives: Emily Bestow

PETER PAN: A PANTOMIME ADVENTURE

★★★★

Greenwich Theatre

PETER PAN: A PANTOMIME ADVENTURE

Greenwich Theatre

★★★★

“The whole cast is slick, confident and bursting with energy, driving this gloriously bonkers show with gusto”

Looking for a panto to keep you laughing all the way to Christmas? Look no further than Greenwich Theatre’s latest instalment, ‘Peter Pan: A New Pantomime Adventure’. This riotous show is packed with slapstick, silliness and sparkle for all the family. It’s cheeky, cheerful and utterly charming – catch it while you can!

It’s 2025 and Wendy’s great granddaughter (also called Wendy) is stuck working at a car wash. Luckily her necklace doubles as a distress beacon, summoning Peter Pan who whisks her off to Neverland. Meanwhile, Captain Hook frets about his ‘old’ age, and Tinker Bell – jealous of Wendy’s arrival – tips Hook off about a fountain of youth. Cue pirates, puppets, misadventures, double entendres and more fish puns than you can shake a hook at.

Award winning writer Anthony Spargo returns with his fourth Greenwich panto, a gloriously bonkers spin on J. M. Barrie’s classic tale. Modern twists abound, from a Gen Z Tinker Bell to a flying Vauxhall Astra. The script is crammed with jokes of every flavour: puns, dad jokes and cheeky double entendres, with as many groans as belly laughs. Spargo’s fresh spin has plenty of fun for families and even more for the grown ups. I would argue not every song is necessary, but the sheer comic energy keeps the show fizzing.

Directed by James Haddrell, Greenwich Theatre’s Artistic Director, expect the traditional campy villains and strait-laced goodies. Inventive video transitions, slick turntable scene changes and flying antics keep things lively, while Tink’s Heelys and a pile of puppets add extra fun. There are some genius moments, such as the age-defying fountain of youth, and the ‘Indiana Jones’ style boulders bouncing over the audience. The pace zips along until the shout outs and sing off at the end, leaving the finale a touch flat. Still, it’s a cracking good time.

The music is directed by ‘Uncle’ Steve Markwick on piano, with Gordon Parrish on guitar and Chris Wyles on drums. The trio create a full, lively sound. A panto isn’t complete without song parodies, though not every number feels necessary – the over used ‘Anything You Can Do’ duet springs to mind, though this does allow Smee (Louise Cielecki) to show off her pipes. Some songs rely on rather simple word swaps, though the fish pun medley is a genuine hoot.

Set and costume design by Emily Bestow is a glitter laden gift with impressively detailed hand-painted sets. Costumes embrace DIY panto charm, with Hook’s enormous hat stealing the show. Aidan Good’s sound design could do with more balance, as the band overpowers the singers and Tinker Bell’s (Olivia Williamson) vocals struggle to cut through. That said, the varied use of sound effects and incidental music adds real sparkle. Henry Slater’s lighting design becomes increasingly playful with moments of real theatrical flair. Nancy Kettle’s choreography is suitably playful, keeping the action lively. Hannah Schlenker’s video design is slick and inventive, with some standout moments including the ‘Mario Kart’ style sequence. Puppets by Pavlov’s Puppets and Naomi Oppenheim are a delight.

Spargo’s Hook is the star of the show, brimming with all the charisma, swagger and camp flair befitting a panto villain. Spargo commands the stage with impeccable timing and sharp asides and is a joy to watch. Samuel Bailey’s Peter Pan brings infectious energy and a strikingly powerful voice. Nikita Johal’s Wendy matches this with a perky presence and equally impressive vocals. Alex Marshall’s mermaid is a surprise highlight, oozing unexpected charm. The whole cast is slick, confident and bursting with energy, driving this gloriously bonkers show with gusto.

If you’re pining for a pun-packed panto, ‘Peter Pan: A New Pantomime Adventure’ is the one for you. Brimming with laughs for children and adults alike, it’s a glittering treat worth catching while you can.



PETER PAN: A PANTOMIME ADVENTURE

Greenwich Theatre

Reviewed on 5th December 2025

by Hannah Bothelton

Photography by Greenwich Theatre


 

Shows most recently reviewed at this venue:

THE LUMINOUS | ★★★ | November 2024
THE RIVER | ★★★ | October 2024
VINCENT RIVER | ★★★ | June 2023
AN INTERVENTION | ★★★½ | July 2022

 

 

PETER PAN

PETER PAN

PETER PAN

POP OFF, MICHELANGELO!

★★★★★

Edinburgh Festival Fringe

POP OFF, MICHELANGELO!

Edinburgh Festival Fringe

★★★★★

“this camp, fairy-tale romp of a show is going to be the best hour and fifteen of our day”

A cloud drifts across the stage. Six tall columns stand proud, with a scattering of shorter ones—Doric and Ionic, naturally—not a Corinthian in sight. The cloud becomes a marvellous projection surface, alive with images that reveal the inner thoughts and inner musings of this gloriously queer fantasia.

We begin with Beyoncé’s 2022 triumph—her Renaissance, the album that changed everything. And then, we’re told, this show is about the other Renaissance. Of course.

Cue art history gags—the sort of jokes that send art historians into delighted squeals. Like how everyone “hates” Raphael (not true, of course, but who doesn’t enjoy taking potshots at the popular girls?). Our guides are the gay ghosts of the Italian Renaissance, and instantly we know: this camp, fairy-tale romp of a show is going to be the best hour and fifteen of our day.

Enter the brothers: Michelangelo and Leonardo. Yes, those guys—but here they are flaming, fabulous, and gloriously, unapologetically gay. Gay in both the homosexual sense and the whimsical, theatrical sense. Yet, in their time, love like theirs was forbidden. Cue a parade of songs so cheeky you can’t help but grin: mischievous “truths” such as the Mona Lisa being nothing more than a cute boyfriend in drag. When asked about new student orientation, the cast cracks: “heterosexual.” The show revels in falsification, camp exaggeration, and rewriting history with fabulous flair. And yes—there is a great Pope. Of course there is.

The scenic world of this piece is a clever use of tall and short columns, which shift and support the ever-morphing scenes. Michelangelo discovers a chisel, conjures the Pietà, finds a twenty-year-old block of marble, and miraculously liberates David from the stone. But in this work, what’s truly freed from the marble is love itself.

The message is simple, yet profound: we are all brothers, sisters, siblings, lovers, or none of the above, if we are aromantic, and that is okay, too. Whether we fall in love, never love, love differently, or love not at all, every expression—or non-expression—of love is vital. That is the rainbow light bathing the white columns. For it is not the pillars that hold this world aloft, but acceptance, love, and—let’s face it—talent.

There are moments when we must cry, “Pop off, Michelangelo!”

Moments when we must sculpt the seemingly unsculptable.

Moments when we ourselves must be freed from the rock—or pried away from the orgy.

And there are moments when chapels of acceptance are built not from stone, but from art and theatre. For theatre has always done this: told whimsical, joyful stories that whisper—no, sing—to the world: it doesn’t matter what you are, or who you are. You are special. Especially if you are Marisa Tomei.

The cast is outstanding: Max Eade (Michelangelo), Aidan MacColl (Leonardo da Vinci), Michael Marouli (Pope), Laura Sillett (Savonarola), Kurrand Khand (Salai), Aoife Haakenson (Mother), and Sev Keoshgerian (Italian Chef).

The creatives are equally dazzling:

Dylan Marcaurele (Book, Music and Lyrics), Sundeep Saini (Choreographer & Intimacy Director), Emily Bestow (Costume Designer), Adam King (Lighting Designer), Joe McNeice, Emily Bestow & PJ McEvoy (Set Design), Joe McNeice (Director).

So don’t be a Pick-Me Girl. Pick this. Let it erase the homophobia of the past and remind us that love is only ever love. For love does not separate us—it connects us. Or, at the very least, gets us through “ten years of art therapy.”



POP OFF, MICHELANGELO!

Edinburgh Festival Fringe

Reviewed on 17th August 2025 at Udderbelly at Underbelly, George Square

by Louis Kavouras

Photography by Danny with a Camera

 

 

 

 

 

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