★★★★

“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 Even more outdated are characters with Middle Eastern and East Asian overtones, a pervasive feature of ballet tradition which could do with graceful retirement.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.

TOP HAT

Chichester Festival Theatre

★★★★

“polished, good-looking, and filled with tap, tails and timeless tunes”

There’s a certain magic to old-school glamour and Chichester’s revival of Top Hat taps into it with style and affection. Adapted from the beloved 1935 RKO movie starring Fred Astaire and Ginger Rogers, this stage version is a well-turned tribute to the golden age of musicals – immaculately dressed, packed with theatrical flair and brimming with toe-tapping, tap-tap-tapping delight.

Broadway star Jerry Travers arrives in London to open a new show, only to fall head-over-heels for fashion model Dale Tremont. A classic case of mistaken identity leads Dale to mistake him for Horace Hardwick – her friend Madge’s husband – setting off a flurry of misunderstandings, flirtations and fancy footwork, from London to Venice.

Musically, it’s a feast. Drawing from Irving Berlin’s rich songbook, Gareth Valentine (musical supervisor) and Stephen Ridley (musical director) bring warmth and wit to every number – from the suave syncopation of Puttin’ on the Ritz to the dreamlike sway of Cheek to Cheek and, of course, the iconic Top Hat, White Tie and Tails.

Phillip Attmore steps into Jerry’s top hat and tails, bringing precision and considerable dance finesse. A seasoned Broadway performer, he’s at his best when in motion, whether gliding through ballroom routines or tapping with crisp, stylish flair. Vocally, he’s less commanding, and while his performance is confident and capable, he doesn’t quite radiate the charisma needed to make Jerry truly magnetic. Still, his polished technique and assured presence anchor the role with poise. Opposite him, Lucy St. Louis brings a graceful strength to the role of Dale Tremont, the fashion model who finds herself swept up in Jerry’s chaotic orbit. With credits spanning both London and New York, St. Louis gives Dale both sophistication and steel. Her voice is velvety and assured, her movement elegant, and her presence compelling.

There’s excellent support throughout the ensemble, who keep the world of the show buoyant and bright, but it’s the quartet of comic sidekicks who provide some of the most memorable moments. Clive Carter is enjoyably flustered as Horace, the increasingly frazzled producer caught in the crossfire. Sally Ann Triplett’s Madge, arriving in Act Two, delivers deadpan bite and terrific timing, arching an eyebrow with expert precision and adding sharp wit to every droll aside. Their duet Outside of That, I Love You is a particular highlight. James Clyde, as Horace’s solemnly inventive butler Bates, and Alex Gibson-Giorgio, as the exuberantly ridiculous designer Alberto Beddini, lean fully – and delightfully – into their comic types. Their performances don’t just flirt with over-the-top – they leap right over it, yet remain infectious and full of fun. Between them, it’s a toss-up who steals more scenes, though Gibson-Giorgio’s Latins Know How may just tip the balance.

Kathleen Marshall directs and choreographs with clarity and style. Her routines – from sweeping ballroom numbers to crisp ensemble tap – are stylish and deftly handled, if occasionally hemmed in by the physical limits of the stage. The pacing keeps the farce buoyant and the storytelling is clear, even if some of the romantic ideas feel a little dusty by today’s standards.

The production looks stunning. Peter McKintosh’s set is framed by a sweeping illuminated Art Deco arch and anchored by a semi-circular revolve that shifts locations smoothly – from sleek hotel lobbies to the canals of Venice. It’s a smart, fluid design that keeps the action moving and always gives the eye something pleasing to settle on. Tim Mitchell’s lighting adds lustre and atmosphere throughout.

Costumes, also by McKintosh with Yvonne Milnes, are a triumph. The daywear is chic and sharply tailored, capturing the elegance of the era. Dale’s “designed by Beddini” gowns shimmer with 1930s fantasy, while the revue costumes for Jerry’s show add a burst of colour and pizzazz, nodding to vintage showbiz spectacle with theatrical flair.

In the end, Top Hat doesn’t quite dazzle from start to finish, but it’s polished, good-looking, and filled with tap, tails and timeless tunes — a thoroughly enjoyable evening of nostalgic escapism.

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

TOP HAT

Chichester Festival Theatre

★★★★

“polished, good-looking, and filled with tap, tails and timeless tunes”

TOP HAT

Chichester Festival Theatre

Reviewed on 24th July 2025

by Ellen Cheshire

Photography by Johan Persson

Previously reviewed at this venue:

TOP HAT

TOP HAT

TOP HAT

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