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

★★★★

“The final pyrotechnic display prompts a roar of delight from children and cheers from adults”

In this spirited Polka Theatre production adapted from Philip Pullman’s cherished novel, audiences are ushered into a world of spark and spectacle from the very first moment. The stage opens delicately—a miniature puppet sheltered beneath a toy umbrella, accompanied by the strikingly authentic sound of fireworks crackling to life. It’s an intimate and sensory invitation into Lila’s blazing quest.

We follow the determined Lila on her journey to become a Master Firework-Maker like her father. Along the way, she conjures a “golden sneeze,” faces down demons, and navigates a landscape where sound and light are seamlessly intertwined. Tika Mu’tamir brings a compelling presence to Lila, anchoring the narrative with conviction. She is joined by Lalchand (Chand Martinez) and Chulak (Jules Chan) and the talking white elephant Hamlet—a puppet so exquisitely crafted by Maia Kirkman-Richards that it feels almost magical in its realism.

Yet, not every element ignites with the same intensity. The adaptation remains rigorously faithful to Pullman’s text—at times to its detriment. Scenes unfold in linear succession, mirroring the book’s structure so closely that the dramatic pacing occasionally falters. Expository dialogue, particularly in the first act, feels protracted, dampening the story’s momentum and testing the engagement of younger audience members.

Visually, however, the production is consistently arresting. Anisha Fields’ set and costume designs are richly textured and evocatively detailed, especially within the mysterious jungle scenes. One standout sequence—the Elephant Parade—is rendered through shadow play and circular lamps, enhanced by Ruth Chan’s wonderfully ironic and inventive score. It’s a moment that showcases the creative team’s ability to translate Pullman’s imagination into potent stage imagery.

Jonathan Chan’s lighting design deserves praise; the fireworks are rendered with such brilliance and theatrical flair that they genuinely feel like high-stage magic. The final pyrotechnic display prompts a roar of delight from children and cheers from adults—an emotional, visually breathtaking climax that resonates long after the lights come down.

The five-strong cast performs with admirable versatility, transitioning nimbly between roles. Among the ensemble, Ajjaz Awad brings a commanding presence to the talking elephant Hamlet, while Rose-Marie Christian delivers a scene-stealing performance as the eccentric Auntie Rambashi. Still, certain characters—notably Hamlet the elephant—feel underused. The puppet’s vocal delivery is rushed, leaving too little space for its stunning visual presence to breathe and enchant.

Directed by Lee Lyford, the show reveals that the three essential gifts for any firework-maker are talent, courage, and luck. At its heart, however, it is Lila’s friendships and the love that surrounds her which truly ignite her journey. While the production captures this message with warmth and technical polish, it would benefit from a bolder editorial hand—trimming dialogue-heavy sections in favour of more physical storytelling and visual invention.

Ultimately, this production proves that the most dazzling fireworks are not just those that light up the stage, but those that ignite the imagination—a testament to the technical magic of theatre and the enduring spark of its heartwarming message.

Tag Archives: Portia Yuran Li

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”