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

★★★★★

“overflowing with heart, sincerity, joy, imagination, and unapologetic silliness”

Derrière on a G String welcomes you to a fairytale-like stage, with set design by Emily Bestow immediately making us feel as though we are about to witness a beautiful tale unfold. Except this tale is bonkers, inventive, clever, and bursting with laughter and heart – a brilliant piece of physical theatre. From the very first moment, it has the audience laughing to tears, captivating everyone with the performers’ infectious energy and wonderfully expressive performances. The humour often feels reminiscent of silent cinema and classic sketch comedy, while still feeling entirely fresh and original.

Directed and choreographed by Alfred Taylor-Gaunt, the way moments are communicated is pure genius. The show transforms everyday experiences into exaggerated theatrical vignettes that anyone can relate to, delivered with incredible energy and imagination. The idea that humans become objects – an alarm clock, for instance – while ordinary actions, such as showering with a plant-watering bottle, are reimagined in hilariously inventive ways brings a child-like sense of creativity vividly to life. It reminds us that theatre and imagination are limitless if we allow them to be. The possibilities are endless, something we too often forget as we grow older. What makes the production particularly special is how accessible it makes dance and physical theatre feel, inviting even audiences unfamiliar with the form into its wonderfully absurd world.

The production uses classical music as its score, with arrangements by Luke Bateman that are both hilarious and respectful of the technical beauty of the music itself. Running throughout the show is the recurring motif of the G-strings, cleverly woven into the comedy. The costumes, designed by Reuben Speed, are equally wonderful, enhancing the fairytale-like atmosphere while seamlessly supporting the constant transformations taking place on stage. The show also embraces a gloriously camp and queer energy without ever losing its emotional sincerity.

The performances are exceptional throughout, with expressions and physicality that keep the audience enthralled from start to finish. Every cast member deserves recognition. Sammy Moore as Flop is utterly charming, with extraordinary lip-syncing skills and brilliant audience interaction. Cam Tweed as Drip offers a fresh interpretation of Swan Lake and shines particularly in scenes alongside Grunt, played by Ryan Upton, where the pair hilariously dismantle traditional masculinity while showering the stage with rainbows and love. Upton’s performance throughout is equally memorable, providing countless standout moments. Alice O’Brien’s Slosh is endlessly charming, and audiences will undoubtedly remember the warmth she radiates whenever she connects directly with them. Courtney Cyrus as Twitch delivers deliciously edgy and twisted dreamlike sequences, while Ena Yamaguchi brings equal charm and versatility to every character she portrays. All six performers are exceptional dancers who give everything to the production. What is perhaps most impressive is the company’s razor-sharp ensemble timing, with every movement and reaction landing with astonishing precision. Even when some sketches land more strongly than others, the infectious commitment of the cast ensures the energy never drops, with the fast-paced transitions and constant transformations keeping the audience fully immersed throughout.

The show uses almost no spoken language, relying instead on mumbling, movement, and expression – a choice that feels both beautiful and inventive. It demonstrates how emotions and meaning can be communicated powerfully with minimal words. It is also clear that the cast and creative team share a deep connection, something essential in making a production like this feel so alive and cohesive.

Derrière on a G String is an absolute must-see: a show overflowing with heart, sincerity, joy, imagination, and unapologetic silliness that will stay with you long after you leave the theatre. Created by the wonderfully inventive company Somebody Smith and Moore, it is a reminder of just how limitless theatre can be when it fully embraces play, absurdity, and human connection.

Tag Archives: Reuben Speed

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”