THE SNOWMAN

Peacock Theatre

★★★★

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 Even more outdated are characters with Middle Eastern and East Asian overtones, a pervasive feature of ballet tradition which could do with graceful retirement.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

THE SNOWMAN

Peacock Theatre

Reviewed on 22nd November 2025

by Hannah Bothelton

Photography by Tristram Kenton

Recently reviewed at Sadler’s Wells’ venues:

MARKING TIME | ★★★½ | November 2025

MIMI’S SHEBEEN | ★★★★ | October 2025

THE MACHINE OF HORIZONTAL DREAMS | ★★★ | October 2025

PRISM | ★★★★★ | October 2025

A DECADE IN MOTION | ★★★★★ | September 2025

SHAW VS CHEKHOV | ★★★ | August 2025

PEAKY BLINDERS: RAMBERT’S THE REDEMPTION OF THOMAS SHELBY | ★★★★ | August 2025

SINBAD THE SAILOR | ★★★★★ | July 2025

R.O.S.E. | ★★★★★ | July 2025

QUADROPHENIA, A MOD BALLET | ★★★★★ | June 2025

THE SNOWMAN

★★★★

“a snow-kissed poem of a show”

Based on Emma Dodd’s beloved picture book, Me is a tender and beautifully judged piece of early-years theatre from Little Angel Theatre, capturing the enormity of love through the eyes of the little ones.

The theatrical experience begins before the lights even dim: children are instantly drawn to the striking parent-penguin puppet perched atop a gleaming white iceberg, a visually charming beacon that sparks curiosity and excited whispers across the theatre. Little Angel Theatre—long established as a leader in high-quality puppetry for young audiences, understands its audience deeply— expertly folds this anticipation into the dramaturgy, turning waiting into play.

Directed with warmth and clarity by Samantha Lane, the production offers a visually cohesive and elegantly minimal world. Simon Plumridge’s crisp, monochrome design evokes the Arctic with simple, clever transformations, ensuring that focus remains on the central relationship rather than visual clutter. The show’s most delightful surprise is that it is powered entirely by a single performer: Clarke Edwards brings irresistible charm and humour to the tiny protagonist, imbuing “Me” with a lively spirit through quick vocal shifts, expressive puppetry and playful physical comedy. Every shake of snow from the baby penguin’s feathers earns collective giggles, and Edwards transitions between multiple characters with an ease that keeps young audiences fully engaged.

Jimmy Grimes’s puppet design adds soft textures and expressive nuances that encourage connection — which is exactly why little hands repeatedly stretch toward the stage before parents gently pull them back. With very minimal spoken text, Arran Glass’s lyrical score becomes an essential storyteller, seamlessly guiding emotional shifts and helping children follow the journey. Audience participation is woven in with care: cheers erupt each time the little penguin succeeds, while the chorus of children calling out “Little one?” adorably dissolves the fourth wall. Even the playful moment of counting penguins in the theatre reinforces the show’s central theme — that in an enormous world, love makes you feel visible, valued and big.

If anything, a touch more variation could benefit children at the upper end of the age bracket; a few repeated waddling and sliding sequences feel slightly prolonged. But this is a minor note within an otherwise perfectly pitched work.

Ultimately, Me knows exactly who it is for and honours that audience with generosity. It is a snow-kissed poem of a show — celebrating wonder, protection and the courage of growing up. A heartfelt reminder that love, quiet and constant, is the biggest thing of all.

Tag Archives: X25

THE SNOWMAN

★★★★

Peacock Theatre

THE SNOWMAN

Peacock Theatre

★★★★

“a seasonal delight that will see families gasping with wonder”