HOW DOES SANTA GO DOWN THE CHIMNEY?

Unicorn Theatre

★★★★★

“a show brimming with invention, precision, and joy”

“How Does Santa Go Down the Chimney?” may not offer one definitive answer—but it conjures a hundred possibilities, each more delightful than the last. This enchantingly crafted production at the Unicorn Theatre, adapted from Mac Barnett’s book, turns a childhood question into pure theatrical magic.

The festive magic begins the moment audiences enter the space. Each seat carries a Christmas headpiece, turning the auditorium into a sea of bobbing reindeer antlers and Santa hats. A gentle Scandinavian folk melody drifts in as an endearing reindeer appears, inviting the audience to join in song. Only later do we realise that this reindeer is also Frida Cæcilia Rødbroe, the show’s composer—whose musical wit and stage presence bookend the production with spirited charm. One standout moment is when Frida sings “Daddy put the key under the flower pot!”—to tie the gag together with satisfying wit.

Sonya Smullen’s set design is a masterclass in evocative simplicity: a clean snow-white world accented with deep red velvet, a multi-purpose prop that cleverly transforms into a washing machine, television, chimney and printer. The sudden appearance of a giant Santa leg punctuates the space with playful surprise, while the overall aesthetic remains elegantly minimal—a stage that feels both intimate and infinitely imaginative.

Mikey Ureta’s Santa is a burst of energy, breaking into rhythmic footwork and breakdance-inflected moves that electrify the stage. His Santa is amplified, duplicated and reimagined through the ensemble: Nathan Queeley-Dennis and Giulia Innocenti (hilariously memorable as a disgruntled washing-lady) contribute sharply drawn character moments that keep the energy bouncing across the stage.

What truly sets this production apart is its fearless embrace of interaction. The fourth wall isn’t so much broken as joyfully dismantled. Children are invited to sing, shout clues, tighten Santa’s belt, and even join “dog” patrols sniffing through the aisles. One particularly triumphant moment sees a young audience member “rescue” the key—a gesture that sparks cheers across the room. Even the modern dilemma of Santa entering flats and high-rises is handled with humour and contemporary flair.

Throughout, the sound design by Esther Kehinde Ajayi and live foley effects performed by the cast create a delicious sonic landscape: from “Santa Baby” riffs to playful Mission Impossible beats to a hand-tapped “Merry Christmas.” With minimal spoken text, the show relies on rhythm and precision—and it never loses its audience for a second.

Director Paul Hunter demonstrates an impeccable understanding of children’s theatre. His adaptation balances clarity with imaginative mischief, ensuring every setup receives its payoff. The puppet-to-actor translation is handled with generosity and playfulness, keeping the world inventive and emotionally alive.

The emotional climax arrives quietly yet powerfully: a child from the audience is invited to “switch on” the great Christmas tree. As lights surge and the opening melody returns, the space glows with a sense of shared wonder. This is a show that understands imagination as a collective act—one where children and adults play side by side.

This is a show brimming with invention, precision, and joy—every element tightly interlocking in a way that feels both thoroughly modern and deeply magical. If there is one regret, it is only that the imaginative answers to how Santa goes down the chimney must eventually come to an end. A triumph of festive theatre, and a gift to audiences of all ages.

HOW DOES SANTA GO DOWN THE CHIMNEY?

Unicorn Theatre

Reviewed on 26th November 2025

by Portia Yuran Li

Photography by Manuel Harlan

Previously reviewed by Portia:

THE FIREWORK MAKER’S DAUGHTER | ★★★★ | POLKA THEATRE | November 2025

ME… | ★★★★ | LITTLE ANGEL THEATRE | November 2025

HATER | ★★★★ | THE SPACE | November 2025

NARAN JA | ★★★★ | PLAYGROUND THEATRE | November 2025

WOO WOOLF | ★★★ | COCKPIT THEATRE | November 2025

PUBLIC SHARING: DICK FIDDLER IS DEAD | ★★½ | ETCETERA THEATRE | November 2025

BLOODY MARY AND THE NINE DAY QUEEN | ★★★½ | UNION THEATRE | October 2025

GETTING THROUGH IT | ★★★★★ | OLD VIC | October 2025

DWEEB-A-MANIA | ★★★★★ | POLKA THEATRE | October 2025

HOW DOES SANTA

CHEEKY LITTLE BROWN at the Theatre Royal Stratford East

★★★ ½

“a grower of a piece whose meaning lingers after it’s done”

Described by writer Nkenna Akunna as ‘an ode to your early twenties’, ‘cheeky little brown’ follows Lady, played by Tiajna Amayo, for a night on the town as she attempts to reconnect with recently estranged childhood friend – Gemma – with indications there may have been something more than friendship.

Lady is a pretty complex character. At times she is an uncomfortably hateful extrovert – commanding attention at Gemma’s birthday party whilst dismissing her friends and housemates. Yet we see from Tiajna Amayo’s deft performance how much of this bravado is a front for the deep rejection she feels. The occasional glimpse of a low, inward facing moment is accompanied by subtle lighting cues under Jodie Underwood’s direction, drawing you in to consider what’s left unsaid.

Whilst it’s at the party that we get to know Lady and her quirks, the piece really comes into its own in the second half when Amayo’s Lady leaves the party and is in a more reflective mood on the night bus home. After the highly-strung antics which result in an explosion of glittering vomit (to the delight of the audience) a laid-back Lady emerges.

Amayo gamely steps in to voice other characters Lady encounters on her way. She affects an exaggerated laid back drawl for Jessie, one of Gemma’s posh, uni friends, and a bang on Nigerian Auntie, berating her for being out so late. Amayo switches between characters with ease. Extra credit must also be given to her also for continuing to indulge in much of Chinonyerem Odimba’s direction despite the use of crutches adopted after an injury in rehearsals.

‘cheeky little brown’s’ considered aesthetic is perfectly matched to the drama. Set by Aldo Vazquez packs a punch from gold streamers and two-foot-tall, hot pink balloon letters spelling out ‘HAPPY BIRTHDAY GURRRL’. Balloons are a key ingredient for other moments too, to great effect. The sound design is equally impressive, with a rich auditory landscape of techno beats through to birdsong meaning Amayo never seems lonely on the stage.

The few musical numbers unfortunately lack creativity. The melodies are not memorable nor the lyrics particularly clever – but Amayo does a good job working with what she’s given. What the songs are successful at is emphasising Lady’s extroverted tendencies, thereby building her character.

It’s a character we are still left questioning as the curtain falls. Back at home she vomits again… and again… and it slowly starts becoming clear that there’s more than just heartbreak ailing Lady, hiding in plain sight.

‘cheeky little brown’ is a grower of a piece whose meaning lingers after it’s done. With cleverly subtle writing and direction, fun design and a confident performance from Tiajna Amayo it’s a specifically contemporary piece that explores young, black, queer love and mental health in a surprisingly light-hearted and fun way.

Tag Archives: Esther Kehinde Ajayi

HOW DOES SANTA GO DOWN THE CHIMNEY?

★★★★★

Unicorn Theatre

HOW DOES SANTA GO DOWN THE CHIMNEY?

Unicorn Theatre

★★★★★

“a show brimming with invention, precision, and joy”