★★★★

“a seasonal delight that will see families gasping with wonder”

For many Brits, it’s not Christmas until ‘The Snowman’ graces the TV. At the Peacock Theatre, the beloved figure steps off the screen and onto the stage once again, returning to deliver festive magic for all ages.

The plot shouldn’t be a surprise. A boy’s snowman miraculously springs to life, leading to a night of mischief and adventure. A magical flight to the North Pole culminates in a lively gathering with Father Christmas and friends. Additional characters, the Ice Princess and Jack Frost, add a touch of drama before the inevitable bittersweet return.

‘The Snowman’ is based on the beloved book by Raymond Briggs and film by Dianne Jackson and John Coates. Adapted by Birmingham Repertory Theatre, it’s been a winter West End staple since 1997. The perfect concept for a dance show, Howard Blake, Bill Alexander and Robert North’s scenario fleshes out the plot, adding a little drama and showing off the Snowman’s technical abilities. More female characters balance the male centred narrative, though casting the Ice Princess as an object of male rivalry feels dated in 2025. Even more outdated are characters with Middle Eastern and East Asian overtones, a pervasive feature of ballet tradition which could do with graceful retirement.

Director Bill Alexander sprinkles stage magic throughout, from fruit nose swaps and surprise confetti to perfectly timed snowfall. The extended flying sequence is a highlight, capturing the film’s wonder in real time. A softened ending, complete with a hopeful dusting of snow and jubilant curtain call, appeals to younger children. Still, at nearly two hours, it could do with tightening – especially the more static first act. Furthermore, frequent blackout scene changes slow Act 1’s pace, some of which could be swapped for more dynamic on stage transitions.

Choreographer Robert North keeps movement child friendly with clear, cleverly directed choreography. Dance lovers are rewarded with a charming pas de deux from the Snowman and Ice Princess, Jack Frost’s virtuoso solo, and a lively pas de trois. That said the opening scenes feel a bit stilted with long passages of walking, miming and costume changing, lacking the vitality of the stronger second half.

Musically, Howard Blake’s score retains all the beloved elements of the original while enriching this adaptation with thoughtful extras. Familiar themes mesh seamlessly with new compositions, offering nostalgia for long time fans and freshness for newcomers. The iconic ‘Walking in the Air’ features additional harmonies, transforming it from a solo moment into an elevated expression of Snowman and Boy’s shared adventure.

Ruari Murchison’s design faithfully evokes the book and film with clever set, while Tim Mitchell’s lighting adds magic with inventive storytelling touches. Richard Brooker and Chris Campbell’s sound design impresses with realistic effects and balanced mixing. Most memorable are the flying effects by Flying by Foy, sending the Snowman and Boy soaring in perfect sync with the score.

A strong ensemble delivers cohesive, well drawn performances across multiple roles, though smaller moments – like the parade of fridge fruit – lack a little polish. Despite a hidden face, the Snowman communicates remarkable emotion in their extended lines and physicality, though their dancing only truly emerges in Act 2. The Boy captures naïve excitement with confident stage presence, expressive detail and musicality. The Ice Princess brings grace and precision to both serious and comic choreography, while Santa injects colour and joy with energetic, angular movement. Jack Frost, meanwhile, delivers virtuosic leaps and turns, embodying menace with flair.

A flurry of festive fun, ‘The Snowman’ is a seasonal delight that will see families gasping with wonder. Imperfections aside, it remains a charming staple of seasonal celebration.

BAT OUT OF HELL THE MUSICAL

Peacock Theatre

★★★★

“a non-stop blockbuster of a musical”

Jim Steinman’s epic rock and roll masterpiece returns to London as part of its UK tour.

Whispers of Meat Loaf’s original song greet the incoming audience, like hearing a ghost from the past. There are no doubts when the band starts to play in earnest, the bass vibrating through one’s very soul and the audience – many dressed in tour T-shirts – whoops in expectation.

The unassuming but excellent eight-piece band (MD Iestyn Griffiths) are rescued from the invisibility of a pit and displayed high above the stage action. The black stage (set and costume design Jon Bausor) is dominated by a large central sewer pipe leading into who-knows-where and opening out onto the relatively small playing space. A small back room serves as Raven’s bedroom, her bed curiously made from flight cases; a nod to the rock and roll origin of the production, perhaps. Scenes from this room are screened above the stage filmed live by an on-stage video cam-operator (video design Finn Ross).

Strands of Peter Pan, Romeo and Juliet, even West Side Story abound in the wafer-thin plot, though Jay Scheib’s direction shines. A rag-taggle group of boys and girls (The Lost) live in the sewer tunnels below a dystopian, post-apocalyptic Gotham-esque city controlled by a despot ruler who sends in his riot squad for summary beatings of the youth. He fears for the safety of his daughter Raven (Kate Tonkinson), who on the eve of her eighteenth birthday, declares her love for Strat (Glenn Adamson), the unofficial leader of the pack. Falco declares she shall never have him and so the scene of rebellious teenager versus parent who doesn’t understand is set.

Steinman’s songs are, of course, legendary and their narrative content ripe for stage performance and all our favourites are here. Paradise by the Dashboard Light – an anthem for failed marriage – is performed almost straight as from the LP. Falco (Rob Fowler) and Sloane (Sharon Sexton) make out in an open top Chevy (in flashback), awkwardly fumbling their clothing until Sloane commands Falco to ‘stop right there’. Including a girl in referee’s uniform going through the baseball commentary as Falco thinks he’s going to make it to last base, black and white baseball footage is screened above the action to reinforce the imagery. Including too a line-up of twitchy and giggling dancers, there’s so much going on in this scene that it’s hard to know where to focus. But Fowler and Sexton’s voices win-out; together the couple are superb.

The full youth ensemble in their grungy hip-hop attire (shades of Mad Max) give their all and their energy levels are phenomenal. But the choreography (Xena Gusthart) verges on the twee. There is little sense of rock and roll danger and hip thrusts are comedic rather than sexually threatening. For Crying Out Loud is the standout song as the ensemble share the solo lines, and pairings are made amongst the gang, some individual characterisation becoming evident. Bat Out of Hell closes the first act and as Strat’s ‘silver black phantom bike’ breaks up, confetti cannons fire pieces of the broken metal into the air and pyros shoot out tongues of flame. It’s wild, dramatic, over the top, and totally thrilling.

In the second act there’s time for some deceit and treachery, instigated for the best possible reasons, by Tink (the excellent Carla Bertran) but it’s a foregone conclusion that young love will out. I’d Do Anything for Love (But I Won’t Do That) is inexplicably the show’s closing number, and the only ensemble piece that feels to go on too long.

Of course, the strength of the singers is the be all for a production of this type and Glenn Adamson and especially Katie Tonkinson do not disappoint. They are both excellent throughout and well supported by the full ensemble. This is a non-stop blockbuster of a musical, sung powerfully and tunefully throughout, and danced with total commitment. An absolute blast.

THE SNOWMAN

Peacock Theatre

★★★★

“a seasonal delight that will see families gasping with wonder”

THE SNOWMAN

Peacock Theatre

Reviewed on 22nd November 2025

by Hannah Bothelton

Photography by Tristram Kenton

Recently reviewed at Sadler’s Wells’ venues:

THE SNOWMAN

THE SNOWMAN

THE SNOWMAN

BAT OUT OF HELL THE MUSICAL

Peacock Theatre

★★★★

“a non-stop blockbuster of a musical”

BAT OUT OF HELL THE MUSICAL

Peacock Theatre then UK Tour continues

Reviewed on 22nd May 2025

by Phillip Money

Photography by Chris Davis Studio

Last ten shows reviewed at Sadler’s Wells venues:

BAT OUT OF HELL

BAT OUT OF HELL

BAT OUT OF HELL

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