Written and performed by Michael Hughes, The Last Bantam tells the interesting true story of the “Bantam Battalions”: British WWI battalions composed entirely of men between the height of 5’ and 5’3”. If – like I hadn’t – you haven’t heard of the Bantam Battalions, then the story of how such battalions came to be is intriguing. From the various reasons short men would go out of their way to enlist, to the logistical considerations such as outfitting the soldiers in their uniforms, to having to raise the trenches’ firing steps, this play is full of fascinating historical titbits.

It’s pantomime season once again, that magical time of year when theatres fill with laughter, music, mischief, and festive cheer. Robin Hood is my second pantomime of the season, and it captures everything that makes panto such a cherished Christmas tradition for families. It remains the perfect introduction to musical theatre for children as it’s colourful, silly, interactive, and bursting with joy.

The first I time I saw the Rock ‘n’ Roll Panto in Leeds the Iraq War had just ended, Novak Djokovic has secured his first Wimbledon crown and Prince William got hitched to Catherine Middleton Since then, this traditional pantomime with a musical edge has become a must see for families across the generations – oh, yes it has – and taken its place in the pantheon of great shows in one of the North’s most historic theatres.

Travelling Dancers: Cabaret Show was a memorable showcase. One could sense the joyous celebration that was deeply meaningful for each of the dancers, some of whom were on stage for the first time. Curated and performed by SWANA artists, the evening had something for everyone. Ana Gabriela Hernández curated the endearing programme featuring her Bellydance Lab group; a percussion duet by Ana and Seda; Juzour Dance Collective; Politika; a work-in-progress by Lucia; and her own character performance, Venus.

What a great way for families to start the Christmas Panto season with The Pantomine Adventures of Peter Pan written by Fortina Stone, directed by Laura Newnes and produced by Dreamworld Entertainments. The Gladstone Theatre is transformed into Neverland and Dreamworld Entertainments bring J M Barrie's magical tale about the boy who never grew up to life delivering traditional family entertainment.

Unbridled joy. A tonic. In an almost panto-style atmosphere this brilliantly written work of Edinburgh-based duo Stephen Christopher and Graeme Smith is brought to life in celebratory fashion, complete with audience participation, and the themes (NOT memes); addiction, isolation and depression. Still with us? The set is comprised of five chairs and an Eric’n’Ernie curtain through which, eventually, reluctantly, steps our Byrne-esque hirsute hero Donny (Stephen Docherty).

There are times in the theatre when you can feel an entire room surrender to delight, when a show strikes the rare balance between clever writing, full throttle performance and joyful mischief. ‘The Liar, the Bitch and the Wardrobe’ at the Union Theatre delivers exactly that kind of night. It is, without exaggeration, pure writing genius. Joshua Coley’s unapologetic and confident script spins a riotous adult panto that is as sharp as it is shameless, packed with more wit, filth and surprise than should reasonably fit into two hours.

The Rose Theatre hosts Chris Bush and Roni Neale’s Christmas characterisation of Cinderella featuring a cast of professionals and the young company. What strikes you immediately is the set, with its small compact house, with its larder fridge, cereal boxes, chairs emulating stepping stone access to the attic bedroom above. The illusion of a fully functional home was truly amazing. Throughout the production the revolving house becomes the scenes of the pumpkin carriage, the castle and the forest.

Private View is the debut play by playwright Jess Edwards, a vulnerable portrayal of queer love that burns itself by moving too close to the flame, too soon. It is held together by sincere performances from Patricia Allison (Sex Education) and Stefanie Martini (The Gold), who draw you in from the tantalising portrait shots on the show poster to their believable portrayals.

Written & directed by Michael Pirks Returning once again to review a Michael Pirks Soup Production feels less like an assignment and more like coming home. Since first meeting Pirks in 2024, I’ve been hooked on his brilliantly spirited writing, and Pantoville - my fifth of his shows, proves yet again that his creative well runs deep and delightfully wild. While his previous works I’ve seen have been plays, this venture into pantomime is nothing short of a triumphant stroke of genius.

What a start to my Christmas celebrations, a joyous and heart-warming new adaptation of the Charles Dickens classic – A Christmas Carol. Set in Sheffield and dripping with the festive custom of Carols, these harmonic vocal bells charm the local audiences and provide the grounding human link between our past and our present. Long before the well-known choral carols in churches, Christmas regional songs were sung ad hoc in pubs and this tradition remains strong and striving in Sheffield.

Mel Brooks' Young Frankenstein has tickled the funny bone of many over the years. It's no wonder it works so well on stage in this fantastic musical adaptation. The show was packed with energy from all of the cast, right down to the versatile ensemble who played a range of different characters. Each actor brought the silly comedy you expect from a piece like this.

We all know that Manchester has a reputation for enjoying a drop of rain, so it was entirely apt that a downpour greeted ‘Singin in the Rain’ as it landed in the Victorian splendour of the Royal Exchange for the festive period. The weather did nothing to dampen the palpable sense of excitement of the packed press night audience and were not to be disappointed.

It's the most wonderful time of the year, and what a better way to get yourself into the Christmas spirit than immersing yourself in one of the best loved Christmas tales which has stood the test of time, Charles Dickens, A Christmas Carol. Wonderfully produced and directed by Charlotte Holguin. Thingwall Players have yet again produced a magical and captivating show that will engage adults and children alike.

Alaa Shehada’s one man show about growing up in Jenin is a funny and powerful tale of Palestinians trying to lead ordinary lives under the ever-present threat of violence. Comedy is the tone from the outset, as Shehada begins by engaging with the audience, getting us to laugh, clap along to music and interact with him to ease us in. He then tells us about his birth, the first boy born to his parents, passed around by all his aunts and uncles in celebration.

Tom Clarkson and Owen Visser have returned with their anarchic Christmas show, The Christmas Thing. The vague title is perfect for a show that veers wildly between songs, slapstick, games and skits. It harks back to the Morecambe and Wise Christmas Specials of the 1970s, with music, sketches, slapstick, cracker jokes and a bit of topical satire thrown in - if that legendary duo had been high on magic mushrooms.

It’s December and that can only mean one thing: it’s almost Christmas—well, two things, because now it’s panto season. Last night’s offering was Dick Whittington at St Helens Theatre Royal, who regularly put on four pantos per year. However, they go all out for their Christmas pantomime. It’s a Regal Entertainment production, written by David Phipps-Davis and directed under the helm of Chantelle Joseph.

How do you live a life as beautiful as the one that’s in your head? This is the question facing the characters of Dale Robertson's one act play. Described as a ‘dramedy for today’s generation’, it is a commentary on navigating the modern world told through the eyes of two friends, Alex and Petunia, both broke and in their 30s. …

Published as a serial between 1836 and 1839, Charles Dickens’ Oliver Twist has undergone a myriad of adaptations, and Deborah McAndrew’s dramatic and highly theatrical take on this age-old classic is currently wowing audiences at Hull Truck Theatre. The venue was packed on Tuesday night with all ages of theatregoers eagerly awaiting curtain up at 7pm. Of course, regular Truckers will know there never is a curtain to actually rise; every nook and cranny of the stage for whatever production is always totally on show giving one a chance to have a pre-production nosy.

When I was a student in London I saw all the big musicals, but for some reason I missed Miss Saigon which was smashing box office records at the time. Thankfully legendary impresario Cameron Mackintosh and Michael Harrison have joined forces to bring this sung through musical about the Vietnam war back on the road, exactly 50 years after that bloody conflict ended.

Roald Dahl’s classic Matilda, turned into a musical by scriptwriter Dennis Kelly and Songwriter Tim Minchin, arrived at the Empire this week to great applause from the Liverpool audience. This nostalgic journey back into a well-known children’s book was a fun filled and laugh out loud exploration of the story. Many may have seen the film version out in 2022 and the hype around this musical continues.

This summer’s Sofia Opera Wagner Festival was bookended by performances of Richard Wagner’s Tannhäuser so it was fitting to see a winter revival from director Plamen Kartaloff and a lovely prelude to next summer’s Wagner Festival where it will once again feature alongside Der Ring des Nibelungen. Tannhäuser (Martin Iliev) awakens in Venus’ (Radostina Nikolaeva) embrace at her cave where she reveals to him the wonders of her kingdom, but when he utters the name of the Holy Mary, her spell is broken.

Disney’s Freaky Friday has had several incarnations over the decades, yet this musical version manages to feel lively, warm, and surprisingly moving. Rather than leaning on nostalgia, it approaches the familiar story with modern humour, heartfelt character work, and two central performances that elevate the entire production. At its heart are Katherine, played with effortless comedic timing by Rebecca Lock, and Ellie, portrayed with sharp wit and authentic teenage exasperation by Jena Pandya.

There’s something delightfully odd about stepping into one of the colossal cattle halls of the Royal Highland Centre and finding yourself transported into Monet’s luminous world of haystacks, lily ponds, and steam trains. Edinburgh’s Beyond Monet is the smaller sibling of last year’s Glasgow Beyond Van Gogh installation, but size, as it turns out, is only part of the story.

Well, this is a panto full of creative Christmas joy! The word BALTIC is the jokey Scottish colloquialism for the word FROZEN, so the audience arrived in anticipation of being treated to a narrative which involved at least some of the much-loved characters of the Disney movie. It turns out that they weren’t to be disappointed. According to the promo blurb, brave young Elspeth, with magical powers still to be unleashed, lives in the snowy village of Glenfrost.