Frosted

Frosted, a pantomime written by Warren McWilliams, is a heart‑warming and imaginative retelling that blends classic pantomime traditions with a fresh, modern twist. The story follows a magical kingdom blanketed in eternal winter, where friendship, bravery, and love ultimately thaw even the coldest of hearts. This year’s production by New Mills brought that world to life with charm, humour, and a surprising emotional depth that resonated with audiences of all ages.

On our arrival, we were once again warmly greeted by the front‑of‑house officials, who set the tone for the evening with their friendliness and efficiency. Their welcoming smiles and helpful guidance created an atmosphere of community and excitement before we had even stepped into the auditorium. It’s clear that this team takes pride not only in the show itself but in the entire experience of attending the theatre, and that level of care never goes unnoticed.

Taking our seats, we were immediately whisked away into the delightful opening number, Dancing in the Street. This energetic ensemble piece was perfectly chosen to open the show, instantly lifting the audience’s spirits. The staging of the opening scene, set in a bustling, colourful town square, was vibrant and full of life. The choreography filled the stage with movement, and the cast’s enthusiasm radiated through the auditorium, making it impossible not to smile. It was a strong, confident start that promised an afternoon of fun and spectacle.

The ensemble were fantastic throughout, taking to the stage as villagers, magical creatures, palace attendants, and everything in between. Their commitment to character, even in the background, added richness to every scene. They moved with precision and confidence, and their vocal blend was consistently strong. Their Act 1 closing number, You Will Be Found, was simply stunning. The use of lanterns, soft blue lighting, and gentle snowfall created a breathtaking visual tableau. The staging was thoughtful and emotive, allowing the message of unity and hope to shine through. It was one of those rare moments in amateur theatre where everything vocals, lighting, choreography, and emotion aligned perfectly, leaving the audience genuinely moved.

The direction by Kim Cooper was brilliant. Every moment of the pantomime was told with clarity, intention, and a deep understanding of the genre. Kim balanced the humour, heart, and magic of the story beautifully, ensuring that the pacing never lagged and that each character had their moment to shine. The transitions were smooth, the comedic beats were well‑timed, and the emotional scenes were given space to breathe. The effects incorporated by the production team were no small feat either. From swirling snowstorms to sparkling magical bursts and clever illusions, the technical elements elevated the show far beyond what one might expect from a local pantomime. These effects were integrated seamlessly into the storytelling, enhancing rather than distracting from the action.

The choreography by Cathryn Yates was lively, polished, and perfectly suited to the abilities of the cast. Cathryn created routines that were visually engaging without ever overwhelming the performers, allowing them to shine confidently. The variety of styles from upbeat pop numbers to more lyrical sequences kept the show dynamic and entertaining. The ensemble’s synchronisation was impressive, and the younger cast members in particular performed with admirable discipline and enthusiasm.

Musical direction by Oliver Jodrell was another standout element. The harmonies in the ensemble numbers were rich and well‑balanced, demonstrating careful rehearsal and strong leadership. Oliver’s work was especially evident in the duets, which were both powerful and beautifully sung. Come What May, performed by Kristian (as Tom Farris) and Keira Lambe (as Princess Hannah), was a highlight. Their voices blended effortlessly, and the emotional connection between the characters was conveyed with sincerity and warmth.

Taking to the stage as the Dame was Darren Cooper, playing Dame Florrie. His performance was a masterclass in pantomime comedy. The recurring line “A‑a‑a‑choo!” to which the audience enthusiastically responded “A choo!” became a running gag that grew funnier each time. Darren’s comedic timing was impeccable; he delivered each line with confidence, flair, and just the right amount of cheekiness. His audience interactions were equally strong, drawing laughter from children and adults alike. He had a natural rapport with the crowd, and his improvisational moments added spontaneity and charm to the performance.

No stranger to the New Mills stage, Ross Provart delivered a standout performance as both Duke Wesley and Frosty. His characterisation was masterful switching between the roles with ease, clarity, and a delightful sense of fun. Ross has a rare ability to fully inhabit a character, using physicality, voice, and expression to bring them to life. His engagement with the audience was exceptional, guiding them through the story with confidence and humour. Whether delivering witty lines or reacting subtly in the background, Ross commanded the stage with a professionalism that belies his age.

On stage we also had Princess Ella, played by Grace Tildsley, and Princess Hannah, played by Keira Lambe. Keira’s diction was stunning every word clear and expressive and her ability to convey emotion through both speech and song was impressive. Grace Tildsley played the ever‑optimistic and kind‑hearted Princess Ella with warmth and charm. Her stage presence was captivating, and she brought a lovely sincerity to the role that made her instantly likeable, yet we fell deeply immersed by her magical powers.

The Snow Fairy, played by Grace Vickers, provided a magical touch to the production. Her calming presence, graceful movement, and confident delivery made her scenes feel truly enchanting. She handled the rhyming narration with ease, guiding the audience through the story with poise. Prince Anders, played by David Brittles, brought humour and charisma to the stage that made him so self‑obsessed you really did wonder what on earth he saw when he looked in the mirror each morning. His exaggerated vanity, delivered with perfect comic timing, became one of the running jokes of the show. David leaned fully into the character’s over‑the‑top confidence every hair flick, every smug grin, every dramatic pose was played with such commitment that the audience couldn’t help but laugh.

The overall production was a success because it combined strong performances, thoughtful direction, impressive technical elements, and a genuine sense of joy. It was clear that every member of the cast and crew poured their heart into the show. The result was a pantomime that was not only entertaining but also emotionally resonant, a celebration of theatre at its best.

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