SLEEPING BEAUTY

Cambridge Arts Theatre

★★★★

“a spellbinding cast, laugh out loud comedy, and plenty of panto sparkle”

Fresh from refurbishment, the Cambridge Arts Theatre reopens the stage that helped launch stars like Sir Ian McKellen and Sir Derek Jacobi. Kicking off its reawakening is ‘Sleeping Beauty’, a pantomime for all the family with a stellar cast, sparkling energy and laugh out loud fun. Come and add your applause to this iconic theatre’s history.

In the magical kingdom of Trumpington, Princess Rose is cursed by the fame hungry Carabosse – until Fairy Strawberry saves the day by softening the spell. The King hides Princess Rose deep within the Botanic Gardens to escape the curse. But will their plan succeed and can Rose’s friends help her find true love?

Written by Chris Jarvis of BBC fame, the story offers some fresh turns: Carabosse craves online fame, Prince Ken sends up the ‘prince charming’ trope, and the nanny is of course a panto dame. The script brims with puns and local jokes, including a whole song about Cambridgeshire towns. Consent is neatly included before the kiss. Extra scenes earn their place with laughs despite adding little to the plot – especially the riotously funny slip and slide sequence. New characters don’t all seem necessary (sorry Happy Harry!), and extended rhyming couplets and repeated introductions wear a little thin after a while, but overall it’s an entertaining update full of panto magic.

Director Michael Gattrell and Assistant Director Amy Kinnear deliver impressive sets, vibrant costumes and larger than life puppetry. Lively asides, slick transitions and seamless audience interaction keep the pace brisk and the energy high, with a group song led by eager volunteers proving a delightful highlight.

Musical Director Dean McDermott and Deputy Sam Fluskey (also on bass guitar) deliver an upbeat, well chosen score packed with modern hits for all ages. The lyrics are playfully adapted to each scene, and the band – completed by Alex Ward on guitar and Alan Dale on drums – delivers a rich, full sound far exceeding its size.

Kevan Allen’s choreography bursts with energy, blending ballet, jazz, Charleston and other styles in routines that flow well.

Ian Westbrook’s set design features hand painted detail and plenty of sparkle. The giant dragon is a showstopper and its comic disappearance earns big laughs. Mike Robertson’s vibrant lighting syncs seamlessly with the action, punctuating Carabosse’s dramatic entrances to great effect. Will Thompson’s sound design occasionally threatens to overpower the singers but is cleverly timed with playful effects sharpening the comedy. The costumes are a triumph, with the Dame parading an impressive array of increasingly outlandish outfits, and the glittering red finale a striking sight.

The stunning cast is packed with seasoned West End performers. Daisy Twells enchants as Princess Rose, with crystal clear vocals to match her refined elegance. Tricia Adele-Turner delivers delicious sass and powerhouse vocals as Carabosse. Tanisha Butterfield delights as Fairy Strawberry, her gentle presence lifted by soaring alto tones. Matt Harrop infuses King Truman with whimsical charm, crowned by a thrilling burst of vocal firepower. Joseph Hewlett charms as Prince Ken, fusing adorable sweetness with magnetic American cool and another stunning vocal performance. UK Pantomime Award winner Steven Roberts makes Happy Harry a lovable sidekick to the panto dame, brimming with sweet silliness. Matt Crosby as Nanny Nutkins steals the show with sharp improv, impeccable comic timing, and a towering personality. Taylor Alman, Charlie Barnard, Morgan Broome, Danielle Cato, Oliver Imeson, and Sophie Karaolis shine as a dynamic ensemble, bursting with energy and commitment.

‘Sleeping Beauty’ kicks off the return of the Cambridge Arts Theatre with a bang. With a spellbinding cast, laugh out loud comedy, and plenty of panto sparkle, it promises a dream night out.

SLEEPING BEAUTY

Cambridge Arts Theatre

Reviewed on 7th December 2025

by Hannah Bothelton

Photography by Richard Hubert Smith

Most recently reviewed at this venue:

CINDERELLA | ★★★★★ | December 2024

1984 | ★★★★ | October 2024

THE HISTORY BOYS | ★★★★ | October 2024

REBUS: A GAME CALLED MALICE | ★★★ | September 2024

CLUEDO 2: THE NEXT CHAPTER | ★★ | March 2024

MOTHER GOOSE | ★★★★ | December 2023

Sleeping Beauty

★★★★

“a warm, playful introduction to theatre for very young audiences”

From the moment the signature theme music swells through the theatre, audiences of every age are gently ushered back into Peppa Pig’s bright, familiar universe. When the much-loved song “Today is the Day” starts up, the tiniest theatregoers practically lift out of their seats, sensing that a full day of play and adventure is about to unfold. The unexpected heart of this new stage outing, however, lies in the introduction of baby Evie — a storyline fans have only just begun to encounter in recent announcements. Seeing it play out live gives the production an immediate emotional charge, as if the young audience has been invited to witness a family milestone from inside the Pig household itself.

Daisy, the show’s human guide, anchors us inside the oversized puppetry world with warmth and clarity. Through her perspective, the children learn what it means to prepare for a new sibling: decorating the house, helping the grown-ups, and sharing in the anticipation. Scenes with Peppa and George preparing baby Evie’s room gently invite children to think about pregnancy, family change, and what it means to welcome someone new. The narrator’s performance is sharply tuned to the cartoon’s vocal style, giving the sense of a television episode brought to life. Music drives the production, with nearly every number built around interactive dance moments — from decorating the house to playing outdoor games — ensuring young viewers seldom sit still for long.

The most inventive sequences come from the show’s playful use of theatre magic. When George cries real water tears, droplets shoot out toward the audience, causing delighted shrieks across the stalls. Later, a glowing nighttime tableau appears as fluorescent ducks, a rising moon, and three enchanted paint buckets emerge from behind a lowered black curtain. Brushes seem to dance and paint on their own, transforming the set in a moment of genuine stagecraft charm.

The second act quietens in tone as baby Evie finally arrives. The entire auditorium lowers its voice to greet the newborn — a surprisingly tender communal moment. A song about Evie learning and growing resonates with parents, especially when the sound of a newborn’s soft cry drifts through the theatre. The finale returns to high energy with a game of musical statues and an appearance from Santa, who, despite resembling a very slim Santa image, delights the children nonetheless.

Where the production falters is in its target age range, the storytelling and interaction level skew strongly toward children aged two to four. For older children, the narrative may feel too simple, closer to an early-years activity session than a full theatrical experience. Meanwhile, for toddlers under two, the long running time can feel demanding.

Overall, this Peppa Pig stage outing delivers exactly what its core audience hopes for: bright colours, gentle humour, familiar songs, and moments of theatrical magic that feel lifted straight from the cartoon. While its age targeting could be clearer, the production succeeds as a warm, playful introduction to theatre for very young audiences — and a charming celebration of Peppa’s ever-expanding family.

Tag Archives: Review

SLEEPING BEAUTY

★★★★

Cambridge Arts Theatre

SLEEPING BEAUTY

Cambridge Arts Theatre

★★★★

“a spellbinding cast, laugh out loud comedy, and plenty of panto sparkle”