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

★★★

“The cast appear to be constantly fighting to maintain the dynamics against an unchanging, and quite dire, backdrop of what sounds like a cheap Casio keyboard”

Jules Verne’s classic nineteenth century novel, “Around The World In Eighty Days”, despite containing over a hundred characters, crossing eight countries using six trains, five boats and an elephant has inspired many stage adaptations over the years; undaunted, in the spirit of its main character, Phileas Fogg, by the challenges. The latest is Phil Willmott’s musical running at the Union Theatre. Although Willmott has been closely associated with the venue of late, especially with his ‘Essential Classics’ series earlier this year, this production is staged independently of him.

As with all well-worn stories, we all know the ending and so the onus is on the maxim that the journey is more fun than the destination; and it is clear from this punchy production that the cast are taking this to heart and patently enjoying themselves as they follow Fogg’s race against time to circumnavigate the world. There is a warm energy between Sam Peggs’ adventuring Fogg and Connor Hughes’ Passepartout as man and servant. Peggs neatly conveys the self-important imperialism of his character, dismissing other people, and other cultures, as mere dressing for his heroism. What he lacks, though, is the sense of satire inherent in Verne’s writing.

But we are not here for social commentary. This is billed as a fun filled musical comedy and, for the most part, the company and audience embrace this. There’s a star turn from Ceris Hine who adopts multiple roles with easy versatility; from a jaded, Scottish-born Moulin Rouge chanteuse to the upper-class wide-eyed Miss Fotherington. While in between practically stealing the show with her hilariously understated, blink-and-you-miss-it, portrayal of the birds and the wind that steer Fogg’s hot air balloon across the continent.

The music is full of crowd pleasers, particularly the anthemic overture which shows off the strong ensemble singing and sets the spirit of optimism that pervades the show. It is a shame, though, that the sound mix often makes it difficult to appreciate the music. The backing is frequently lost. While this is understandable within a score that swings from rousing choruses to intimate ballads, what is unforgivable is the musical arrangement. The cast appear to be constantly fighting to maintain the dynamics against an unchanging, and quite dire, backdrop of what sounds like a cheap Casio keyboard. I don’t know how this lack of respect, for Willmott’s songs and Annemarie Lewis Thomas’ score, wasn’t addressed during rehearsals.

That aside, Brendan Matthew’s direction keeps the energy throughout and the strong cast maintain the stamina and vitality to navigate the numerous and sometimes fantastically fast costume changes. There is enough magic and inventiveness to keep us going and, despite the various hurdles, we are ultimately glad we stayed the journey.

Reviewed by Jonathan Evans

Photography by Mark Senior

Tag Archives: Mitchell Harper

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”