What immediately set this show apart was its heart. At its core were seven delightful young performers from the junior group, here reimagined as diamond miners, whose energy and commitment brought a fresh and endearing twist to the familiar tale. Under the artistic direction of Lauren Livesey, these young actors were not simply included for charm; they were integral, disciplined, and consistently engaging, adding both humour and warmth to the production.
Livesey’s distinctive choreographic style was evident throughout, injecting pace and personality into every ensemble moment. The movement felt purposeful and polished, never overwhelming the performers but instead elevating them—particularly impressive given the mixed experience levels on stage.
Direction from seasoned pantomime hand Sara Brockway ensured the production never lost its footing. There was style and panache in abundance, but also clarity: the storytelling remained sharp, the comedy well-pitched, and the audience connection strong. Brockway clearly understands the delicate balance of pantomime—honouring tradition while allowing room for invention—and this show benefited enormously from that expertise.
Musically, the production was in safe hands with Neil Ravenscroft. The score was delivered with confidence and cohesion, supporting both the narrative and the performers without ever overshadowing them. There were some particularly interesting musical choices throughout, which added real variety and energy to the evening and helped give the production its distinctive character.
A real standout was 'Who Do You Think You Are?' by the Spice Girls, which landed brilliantly in the context of the show and brought a burst of recognisable, upbeat fun that clearly delighted the audience.
One of the dwarves’ numbers—an unfamiliar but charming alternative to 'Whistle While You Work'—was also absolutely delightful. It was performed with great confidence, and the children had clearly been extremely well drilled, delivering the piece with precision, clarity, and a real sense of enjoyment.
Vocal coaching from Junior and Youth Production Director Helen Wilkinson was clearly paying dividends, with excellent diction evident from both the children and the adult cast alike, ensuring that every lyric and line landed clearly throughout.
The production and technical elements of the show were also notably strong. The show was very well lit overall, and although it was opening night, there was one moment where the stage briefly fell into darkness. However, it scarcely mattered, as the Dame expertly milked the moment for all it was worth, keeping the comedy firmly alive in the blackout.
Lighting design at the theatre is clearly in very capable hands. Ben Fairhurst has produced some stunning lighting plots here over time, and he demonstrates a strong understanding of the pantomime genre, using light not just for visibility but for atmosphere, pace, and comic effect.
The production team as a whole left their unmistakable mark. There was that familiar PADOS hallmark throughout: stylish, ambitious, and cleverly designed to maximise their intimate yet highly effective theatre space. Rather than feeling limited by the venue, the show embraced it, creating a sense of closeness that larger stages often struggle to achieve.
Performances were in the safe hands of a raft of seasoned PADOS performers, all of whom brought polish and confidence to the stage. However, the standout performance of the night—and a genuine show-stealer—was Bertie, the palace servant, played with exceptional comedic instinct by Hannah Cohen. She absolutely milked the role for every ounce of humour it contained, with her funny bones shining through in every beat, timing every gag with precision and maintaining an infectious energy that kept the audience thoroughly engaged throughout.
Close behind in impact was the accomplished and award-winning PADOS alumnus Dave Livesey as Ma Bumble. His portrayal, delivered with a broad Scotch accent that at times felt like Taggart meets Mrs Doubtfire, was played firmly in the spirit of tongue-in-cheek pantomime comedy. Livesey’s considerable experience shone through, particularly in moments when things didn’t quite go to plan; rather than faltering, he leaned into the unpredictability with assured improvisational skill.
His ability to exploit every humorous opportunity—often with a knowing glance or nod to the audience that broke through the fourth wall with ease—ensured that even the smallest ad-libbed moment was turned into comedy gold. It was a performance that not only embraced the chaos of live theatre but elevated it, much to the delight of the audience.
And also, he had a raft of exuberant costumes to match his personality, each one pushing the comic exaggeration of Ma Bumble just that little bit further. In fact, the entire costume plot was excellent, adding real visual flair to the storytelling.
The comedy duo were a pair of incompetent cowboy builders called Bodget and Legit, played by Emily Bellis and PADOS stalwart Debbie Lewis. They had really good chemistry together, combining strong physical comedy with their portrayal as a pair of well-meaning village idiots.
The decorating scene, which went slightly awry with Legit ending up covered in wallpaper paste, was absolutely hysterical and left the audience chortling. They handled their scenes with real light and shade, maintaining distinct characters while also working seamlessly as a double act. There were some very funny lines throughout, delivered with renewed confidence and a clear sense of fun.
Sophia Taylor’s take on Snow White was just delightful. Typically associated with a classic blonde fairytale Disney princess aesthetic, she appeared in a strikingly different look with dark hair, yet her trademark dainty, elegant, and expertly crafted characterisation of Disney and fairytale princesses still simply shone through on stage. She has a genuinely ethereal quality as a performer—you really can’t take your eyes off her when she’s performing—and she was utterly mesmerising throughout.
She was completely in her element embodying the role, bringing warmth, grace, and charm to every moment. A particular highlight was a beautifully played, tongue-in-cheek scene with the Huntsman, where he tells her he must take her into the woods. It carried a knowingly cheeky edge, with a subtle suggestiveness that was handled lightly and in keeping with pantomime tradition.
The Wicked Queen was in the very safe hands of Freya Fox, who brought a deliciously poised sense of menace to the role. She was snotty, aloof, narcissistic, sneering, and all the other malevolent traits we expect from this character, yet she never tipped into caricature. Instead, there was a controlled elegance to her performance—beautifully judged, with just the right amount of bite to keep her firmly watchable without becoming high panto. She had a lovely timbre to her voice, which gave her an edge to her characterisation, and she milked every last drop of villainy from the role with real relish.
The reimagined diamond miners included Dippy, Zippy, Sarcy, and Fred (the Chief Dwarf), alongside the junior performers Arlo, Lyra, Deia, George, Grace, Amber, Eden, and Annie, all contributing confident ensemble playing, along with the King—complete with his fluffy moustache in the final scene, played by Jordan Lawler—bringing the whole company together in a moment of great fun in this delightful studio space.
Notably, sound quality was excellent throughout the evening, and even though it was opening night, the performance felt very polished. The pace will no doubt quicken as the week progresses and only minor technical hitches are ironed out.
A really great and unexpected pantomime theatre trip at the end of April. Highly recommended. Tickets are still available, but as it’s such a small venue, it is worth moving quickly while you can.
For dates and tickets see https://www.pados.co.uk/
Reviewer - Kathryn Gorton
On - Tuesday 28th April 2026
