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.