DEEP-HEAT RIVALRY

The Other Palace

★★★★

“Mitchell Harper’s choreography is a standout, full of bravado, athleticism and personality”

You wait all year for a parody of the hit hockey drama ‘Heated Rivalry’ and then three turn up at once. That’s right, ‘Deep Heat Rivalry: The Porno Panto On Ice’ is the latest addition to the parody phenomenon sweeping the nation, making its world premiere as a gloriously camp, unapologetically queer and laugh-out-loud celebration of the show’s cultural impact.

Ice hockey superstars Shane Hollandaise and Ilya Stroganoff are known for their public friction. But a different kind of heat’s rising behind closed doors. Can they make room for love on such a public platform? And how many divas must Diana Vickers spoof to get there?

Writers Trevor Ashley and Phil Scott gleefully raid the panto playbook for this hilariously irreverent romp. A talking puck – naturally named Puck – guides us through the action with all the sparkle of a Fairy Godmother, firing off rhyming couplets until even they give up. There’s a larger-than-life Diva with more costume changes than a panto dame, plenty of audience participation, and a barrage of parody songs. Though the first half is stronger than the second – with momentum dipping slightly towards the end, and a couple of songs lacking the same punch – the show’s greatest achievement is its accessibility. You don’t need to know the series to have a great time: going in blind, it’s wickedly funny and deliciously naughty; after frantically bingeing the series, you appreciate how cleverly it spoofs the source material without being overly tethered to it. Better still, it pursues an even happier panto-style ending of its own. A thoroughly entertaining and winningly silly night out.

Ashley’s direction is knowingly irreverent, delivering a lovingly camp take on the central romance. Where ‘Heated Rivalry’ leans into sincerity and emotional depth, ‘Deep-Heat Rivalry’ packs in musical theatre moments, pop culture nods and a carousel of cultural icons. It leans into the series’ steamy reputation, with cheeky (literally) bedroom scenes and plenty of innuendo, all without crossing into full nudity. Like any self-respecting panto, it’s fuelled by parody songs, many of them queer anthems, which drive the story while keeping the laughs coming. It makes smart use of the compact space, regularly spilling into the auditorium and kidnapping audience members to create a lively sense of complicity. The pacing is brisk for the most part, though loses a little steam in the second half. Mitchell Harper’s choreography is a standout, full of bravado, athleticism and personality, while still allowing space for some vulnerability. I especially love the tongue in cheek take on ‘Anything Goes’, complete with tap track gags. One or two numbers feel more static by comparison, but overall this is a slick, playful and irresistibly fun production.

Reuben Speed’s set is a cut above the usual DIY panto aesthetic, with wraparound sports fans, an LED-edged rink and a glittering title perched above it all. Matt Hockley’s lighting channels sporting spectacle with a camp twist, with roving coloured spotlights setting the mood before the show’s even begun. Joshua Robins’ sound design is slick, if occasionally a touch overpowering, with some lyrical gags getting lost in the mix. Angie White’s costumes range from eye-catching to barely-there, with Puck’s daringly revealing leotard a particular highlight.

The show’s greatest asset is its superb cast. This fierce foursome (wink) attack every gag, lyric and dance break with infectious energy, razor-sharp comic timing and impressive precision. Sario Solomon brings just the right mix of angst and devotion to Shane, while Jason Leigh Winter nails Ilya’s brooding, laconic cool before gleefully unleashing his camp side. Diana Vickers is a comic chameleon as The Diva, switching effortlessly between characters while showing off a powerhouse vocal range. Though the glue of the show is Ross Chisari’s Puck, a mischievous master of ceremonies who keeps the audience firmly in the palm of his hand with boundless energy throughout. A fabulous ensemble.

‘Deep Heat Rivalry’ is a worthy addition to the ‘Heated Rivalry’ canon and, with Christmas officially less than 100 days away (sorry), it’s the perfect excuse for an early dose of panto.

DEEP-HEAT RIVALRY

The Other Palace

Reviewed on 16th September 2026

by Hannah Bothelton

Photography by Mark Senior

DEEP-HEAT RIVALRY

★★★★

“layered, provocative and endlessly interpretable, it deserves to be seen”

Manfred Karge’s groundbreaking solo play ‘Man To Man’ returns with undimmed force. Reuniting Tilda Swinton, director Stephen Unwin and designer Bunny Christie from the original premiere, this bold reinvention cements its status as a modern classic.

Ella’s husband is dead. As a working class widow in 1930s Germany, she makes the only rational choice – assume Max’s identity. But with Germany hurtling towards its most turbulent decades, how long can she keep up such a dangerous façade?

Translated from Manfred Karge’s original German by Anthony Vivis and revised by Stephen Unwin, the text has a disorientating, dreamlike quality. Built from fragments of hauntingly vivid script, it’s akin to a great epic – albeit grimier and more ambiguous. Max’s monologue is both revealing and evasive, propelled by sheer force of will. Two new stanzas – one charting the fall of the Berlin Wall, the other the rise of contemporary fascism – bring the play sharply into 2026 and demand to know what the decades of sacrifice were for. My only reservations are the work’s density: its lush imagery and emotional complexity require attention. The episodic structure can also feel a little uneven, lacking a clear dramatic peak. However, I can see why it’s hailed a modern classic – layered, provocative and endlessly interpretable, it deserves to be seen.

Stephen Unwin’s direction masterfully captures the play’s dreamlike logic – both heightened yet undeniably true. Scenes are linked with evocative transition sequences, snapping into place with surreal assuredness. Max almost feels grotesque – from the shock of electrocuted hair to the garish Y fronts and brazenly bare legs – yet is grounded by his simmering emotions and precarious vulnerability. Movement director Kane Husbands similarly treads the line between realism and surrealism, blending naturalistic movement with symbolic flourishes. Altogether, it’s a commanding piece of theatre.

Bunny Christie’s sparse design channels the fragmented narrative beautifully, with enough props to furnish key moments but otherwise bare white walls. It’s quietly claustrophobic, perfectly capturing Max’s exposed position – completely reliant on the persona he’s contrived. Christie’s costumes remain brilliantly defiant, with the iconic red Y-fronts, bare legs and oversized boots evoking bravado and fragility. Ben Ormerod’s lighting is remarkably subtle, shifting almost imperceptibly in intensity and angle to create shadows from nowhere. Combined with Matt Powell’s evocative projections, it creates a deeply unsettling atmosphere. Elena Peña’s sound design layers ominous distortion with fleeting musical fragments, and Campbell Young Associates’ cartoonish wigs are spot on.

From the moment the screen rises, the inimitable Tilda Swinton has you in the palm of their hand. Her piercing gaze hooks you and East London accent disarms you. Swinton then proceeds to nail every beat of this complex play, shifting effortlessly between Ella, Max and a host of supporting characters without ever losing clarity or depth. Her swagger is magnetic and moments of vulnerability quietly devastating. Rarely does a solo performance feel so alive.

This reincarnation of ‘Man To Man’ for the Royal Court’s 70th anniversary season is both a fitting and powerful reminder that history’s darkest chapters are always closer than they seem. Demanding but richly rewarding, it’s not to be missed.

Tag Archives: Hannah Bothelton

DEEP-HEAT RIVALRY

★★★★

The Other Palace

DEEP-HEAT RIVALRY

The Other Palace

★★★★

“Mitchell Harper’s choreography is a standout, full of bravado, athleticism and personality”