BEAUTY AND THE BEAST

New Theatre Royal

★★★★

“this show will leave you smiling, laughing and thoroughly entertained”

The New Theatre Royal Portsmouth’s Beauty and the Beast is an enchanting pantomime that captures the magic of this cherished Christmas tradition. Created in association with Jordan Productions and directed by Hannah Boyce, it expertly blends humour, heartfelt moments and dazzling stagecraft, offering an unforgettable experience for the whole family.

Chris Jordan’s witty script offers a refreshing twist on the classic tale. Instead of rushing to the cursed Beast, the story takes time to explore the vain, arrogant Prince, setting the stage for a more meaningful transformation. Bored with admiring his own reflection, the Prince ventures to a nearby village to find a bride as beautiful as himself. Confident his charm will suffice, he’s stunned when Beauty shows no interest. Meanwhile, two others vie for his attention: the fabulous Dame Dotty, his housekeeper, who dreams of marrying him until she falls for a man in the front row (cue endless winks and double entendres) and the wicked enchantress Malevolent, who curses him into his beastly form when spurned.

Malevolent, with her wicked schemes, drives the conflict at the heart of the story. She’s perfectly counterbalanced by Fairy Formidable, whose comically heavy French accent and rhyming couplet battles keep the plot on track amidst the panto’s many diversions. Supporting the story are Dame Dotty’s hapless son, Potty Pierre and Beauty’s father, Jean Jacques, whose blunder at the Beast’s castle sets Beauty on her fateful journey.

The cast shines throughout. Breanna Bradshaw, in her stage debut, exudes charm and warmth as Beauty, anchoring the emotional heart of the story. Lewes Roberts skilfully portrays the Beast’s journey, transforming from a preening Prince to a shambling creature and finally a dashing hero. Chris Aukett’s Dame Dotty is a comedic powerhouse, with impeccable timing and audience interaction. Becky Vere’s Fairy Formidable and Rachel Stanley’s Malevolent create a captivating dynamic, with Malevolent’s campy villainy countered by Fairy Formidable’s bubbly optimism. Brendan Hooper as Jean Jacques and Christian James as Potty Pierre round out the cast with slapstick charm and warm-hearted humour.

Dotty and Potty frequently steal the show with their comedic timing and cleverly crafted routines. Highlights include a plate-smashing sketch, a tongue-twisting number set to I Am the Very Model of a Modern Major-General and the ever-popular ghost routine, which had the audience gleefully shouting “It’s behind you!” and singing along to Ghostbusters.

The French setting inspires playful musical nods: Dotty makes her grand entrance with I Love Paris, the Prince belts out a reworked Lady Marmalade and Dotty serenades her front-row amour with La Vie en Rose. Jean Jacques’s heartfelt rendition of Charles Aznavour’s She is hilariously upstaged by Dotty and Potty’s antics, while Malevolent mocks France’s military history before launching into Waterloo. This leads to a show-stopping ABBA medley, with Dotty and Potty donning flared lycra half-and-half costumes to represent both Agnetha and Anni-Frid.

Shelley Claridge’s costumes are a visual feast, especially Dame Dotty’s outlandish ensembles, including a superhero costume, a breakfast table and a festive Christmas pudding. Beauty’s gorgeous yellow-gold ballgown, reminiscent of Belle’s iconic dress from the Disney film, is another highlight. The finale, with the cast in dazzling white and blue sparkles reminiscent of the Pompey FC strip, adds a local flourish to the magical conclusion.

Visually, the production is stunning. Andy Newell’s vibrant backdrops and David Coull’s sparkling lighting design transport the audience to an enchanted kingdom, while inventive stagecraft – including fireworks and wirework – enhances the spectacle. The ballroom dance between Beauty and the Beast, floating gracefully above the stage, is a breathtaking end of act one highlight that perfectly encapsulates the show’s romance.

Adam Haigh’s choreography and Patrick Stockbridge’s musical direction are equally impressive. High-energy dance numbers and catchy songs keep the audience engaged, while the clever mix of classic tunes and cheeky panto parodies ensures something for everyone.

The New Theatre Royal Portsmouth’s Beauty and the Beast is a shining example of pantomime at its best. With no celebrity names, the production relies on the immense talent of its cast, who give their all with skill and enthusiasm. Whether you’re a lifelong panto fan or a first-time visitor, this show will leave you smiling, laughing and thoroughly entertained.

BEAUTY AND THE BEAST

New Theatre Royal

Reviewed on 15th December 2024

by Ellen Cheshire

Photography by Martin at Origin8 Design

More reviews by Ellen:

REDLANDS | ★★★★ | CHICHESTER FESTIVAL THEATRE | September 2024

BARISTA THE MUSICAL | ★★★ | CAPITOL THEATRE | September 2024

THE BELT | ★★★★★ | THE CORONET THEATRE | September 2024

THE WEYARD SISTERS | ★★ | RIVERSIDE STUDIOS | August 2024

BEAUTY AND THE BEAST

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★★★★

“a strong and heart-warming performance by all”

There is nothing that heralds Christmas more than a joyous classical choral music concert, and A Choral Christmas, in the beautiful Smith Square Hall, was just that. Performed by the youthful emerging musicians of both Sinfonia Smith Square and National Youth Voices, energetically conducted by Nicholas Chalmers.

The programme was full of traditional and contemporary carols and music with festive themes; with welcome opportunities for the audience to join in, including the opening carol Unto Us Is Born A Son.

The programme started perhaps with too many slow carols including Judith Weir’s ethereal The Guardian Angels and the wistful melody of John Ireland’s The Holy Boy. But then came Matthew Martin’s joyful Novo Profusi Gaudio. The colourful and exuberant music with its memorable motifs and rhythmic phrases saw all on stage relax into an evening of festive joy.

Baritone, Dominic Sedgwick, joined the concert singing the solo in Gerald Finzi’s In Terra Pax, serenely telling the Nativity story, making it a very attractive piece to close the first half of the programme.

The evening was top heavy with John Rutter, but no one was complaining – least of all me! The second act opened with Rutter’s sprightly Shepherd’s Pipe Carol – the carol became a modern classic whilst he was still an undergraduate at Cambridge.

Ralph Vaughan Williams quintessentially English folk Fantasia on Christmas Carols conjures up a merry vision of a rustic village covered in a blanket of snow. With other hidden Christmas carols in the orchestral setting and warmth in the voices, it was a strong and heart-warming performance by all, especially from the sinfonia’s string sections and Sedgwick’s strong baritone.

The pace slowed again with the bleakness of winter and a troubled world in Errollyn Wallen’s Peace on Earth. The slowly spinning ostinato on solo harp over which the voices sing is a difficult carol to convey, especially when the harpist, beautifully played by Chris Clarke, is so far away from the choir.

Then it’s non-stop John Rutter to the end, with his The Twelve Days of Christmas – and the audience standing to sing “five gold rings” and quickly sitting down as the next verse begins, to ready themselves to repeat the line and action again! Fast on its heels comes O Holy Night, followed by the audience, choir and sinfonia joyously singing Joy to the World.

One housekeeping note: maybe don’t allow a baby/toddler into a classical concert, especially if it is being recorded for a wider audience to enjoy. Luckily, said sprog had either fallen asleep or been taken home, by the start of the second act. And my only other gripe was a staging note: if you have a young soprano soloist, keep her on stage in her spotlight for the whole song. Do not let her walk off back to the choir halfway through the song and be lost. Let her have her moment centre stage, and enjoy the immediate applause for her, at the end of the carol.

A Choral Christmas was recorded tonight for broadcast on Classic FM on 22 December – so everyone can enjoy pure Christmas in a concert, which this is.

BEAUTY AND THE BEAST

New Theatre Royal

★★★★

“this show will leave you smiling, laughing and thoroughly entertained”

BEAUTY AND THE BEAST

New Theatre Royal

Reviewed on 15th December 2024

by Ellen Cheshire

Photography by Martin at Origin8 Design

More reviews by Ellen:

BEAUTY AND THE BEAST

BEAUTY AND THE BEAST

BEAUTY AND THE BEAST

A CHORAL CHRISTMAS

Sinfonia Smith Square

★★★★

“a strong and heart-warming performance by all”

A CHORAL CHRISTMAS

Sinfonia Smith Square

Reviewed on 12th December 2024

by Debbie Rich

More of Debbie’s reviews:

A CHORAL CHRISTMAS

A CHORAL CHRISTMAS