Goldilocks and the Three Bears

Sion Pantomime Society once again welcomed a lively, good‑humoured audience for their annual pantomime, this year presenting a colourful and circus‑themed take on Goldilocks and the Three Bears. The hall was buzzing long before the curtain rose, and that sense of anticipation carried straight into the opening number. What followed was a cheerful, good‑natured production full of familiar panto traditions, bright visuals, and a cast clearly enjoying themselves.

This year’s twist on the classic tale placed Goldilocks in the world of Gertie Dollops’ circus, a setting that gave the production plenty of room for spectacle, silliness, and a parade of circus‑inspired characters. Under the direction of Marcia Turner, the show moved with an easy rhythm, balancing story, comedy, and musical moments in a way that kept younger audience members engaged while giving adults plenty to smile about. Marcia’s approach was light‑touch but thoughtful, allowing the cast to play to their strengths while keeping the narrative clear and accessible.

At the centre of the story, Dame Gertie and Silly Billy were struggling to keep their circus afloat, a predicament made worse by the scheming Ringmaster Heinkel, whose plan to kidnap the Three Bears threatened to bring the whole show crashing down. It was a simple but effective structure, giving the production a sense of purpose while leaving plenty of room for the usual panto chaos. The humour throughout was pitched right: cheeky enough to give the grown‑ups a knowing grin but always delivered with a warmth and innocence that kept it firmly in family‑friendly territory and audience participation was embraced with gusto,

Musical Direction and arrangements by Amy Tattersall gave the show a lively soundtrack, with confident vocals and well‑blended harmonies across the company. The opening number, Let Me Entertain You, set the tone with a burst of energy and commitment, and the ensemble kept that musical momentum throughout. Amy’s work ensured the songs felt integrated into the story, and the cast responded with enthusiasm and clarity.

Choreography by Emma Gill added a great deal of personality to the production. Her routines were slick, well‑paced, and made excellent use of the full company. A particularly charming touch was the inclusion of the four youngest society members at the forefront of several ensemble numbers; their enthusiasm was infectious, and their confidence onstage was lovely to see. One of the standout moments of the production came in the cleverly staged mirror sequence, where Emma danced in front of an open “mirror” while the Dame, dressed identically, reflected her movements. It was visually striking, funny, and executed with impressive precision.

Jan Bamber provided a steady narrative thread as Mystic Sharon. Her scenes with the magical crystal ball were delivered with calm assurance, helping younger audience members follow the story while adding a gentle touch of mystery. Jan looked great in her gypsy‑inspired costume, and her clear diction and composed presence grounded the more chaotic moments around her.

Kevin Starkie‑Moore gave an excellent performance as Ringmaster Heinkel, leaning into the character’s sinister side with a deep, rumbling laugh that drew plenty of good‑natured boos. He handled the villainy with confidence but never tipped into anything too frightening, keeping it firmly within the playful world of panto. His switch into a Scottish accent when disguising himself to fool Gertie was a fun touch, and his interactions with his downtrodden sidekick Snot were consistently entertaining. Vocally strong and theatrically bold, Kevin anchored the darker circus scenes with just the right amount of menace.

Lucas Ormerod, as Snot, brought lively energy and well‑judged physical comedy to the role. His slapstick falls and knockabout moments—particularly when Heinkel turned on him—were delivered with sharp timing and a clear sense of fun. Lucas’s expressive reactions and clumsy charm made him an enjoyable presence throughout, and his dynamic with Kevin created a classic panto pairing that the audience responded to warmly.

Evie Parish gave a confident and engaging performance as Goldilocks. Her diction was clear, her presence warm, and she brought a touch of spirit to the role that made her scenes with Silly Billy especially appealing. Their duet, Count on Me, was a highlight, displaying Evie’s strong vocal tone and the natural rapport between the two performers.

Amy Tattersall burst onto the stage as Silly Billy with boundless energy, bouncing through scenes with wide‑eyed enthusiasm and a real sense of fun. Her performance was packed with physical and verbal slapstick, all delivered with sharp timing and a natural connection to the audience. Amy fully immersed herself in the character, and it was clear from the crowd’s reaction that she was a firm favourite. Whether leading audience interaction or tumbling through gags, she kept the pace lively and the laughter flowing.

Rhys Roberts was hilariously funny as Dame Gertie Dollop, bringing a great mix of facial expressions, witty comebacks, and cheeky asides. His comic instincts were spot‑on, and moments like the brilliantly simple hiding gag, where Gertie turned stock‑still to face the wall, landed beautifully. Rhys’s audience interaction was confident and playful, and his fabulous costumes added to the larger‑than‑life presence that every Dame needs. It was a big, bold performance that clearly delighted the crowd.

Richard Parrish brought pomp and bluster to the role of Baron Wasteland, Goldilocks’ father. Playing the town’s richest merchant, he struck a nice balance between authority and comedy, supported by a well‑held accent that added character to his scenes. Richard’s performance fitted neatly into the wider ensemble, giving the story an extra layer of structure.

The Three Bears; Mark Lawless as Daddy Bear, Lottie Parrish as Mummy Bear, and Riley Lawless as a wonderfully cheeky Baby Bear, made a charming family trio. Their scenes together were warm and humorous, with each performer bringing their own personality while still feeling like a cohesive unit. Riley’s cheekiness added an extra spark, and their interactions with Heinkel were jolly funny.

Mila Tattersall brought a lovely burst of humour to the role of Colossus the Giant. As the tiniest member of the society, her appearance as the “giant” was an instantly funny contrast, and she delivered her scenes with confidence and charm. Mila’s clear delivery and playful stage presence made the moments land perfectly.

The ensemble cast added texture and variety throughout the production. Their harmonies supported the musical numbers well, and their character work, whether as circus performers, villagers, or forest creatures, kept the stage visually lively. Their commitment to choreography and movement helped support the show’s pace, and it was clear how much work had gone into shaping a strong, cohesive ensemble.

The technical elements of the production were handled with care and competence. The scenery featured brightly coloured backcloths for the circus ring, a charming village lane, atmospheric forest scenes, and a strikingly realised dungeon for Heinkel’s lair. The painted flats were detailed and well‑executed, reflecting the arduous work of a dedicated team of artists. Scene changes were smooth and well‑paced, thanks to the backstage crew and the steady stage management of Craig Needham, Rob Bennett, and Gabby O’Donnell.

Wardrobe added significantly to the visual appeal of the show. Gertie’s circus‑master outfits were bold and theatrical, Silly Billy’s bright colours suited her exuberant personality, and Heinkel’s darker, sparkly costumes gave him a distinctive presence. The Three Bears looked great, with full makeup and well‑designed costumes that balanced charm and clarity.

Sound Technician George Turner ensured the audio remained clear and reliable throughout, with no microphone dropouts or feedback issues. Music cues and sound effects were neatly timed, supporting the action without drawing attention away from it. Lighting design by Craig Needham, run by Helena Pendlebury, provided effective contrast between the bright circus scenes and the darker atmosphere of Heinkel’s Circus of Horrors. Transitions were smooth, performances were well lit, and the overall effect supported the storytelling without overpowering it.

Sion Pantomime Society’s Goldilocks and the Three Bears was a cheerful, colourful, and good‑humoured production that highlighted the strengths of a committed company. With lively performances, thoughtful direction, bright visuals, and a hardworking backstage team, the show delivered an evening full of fun and panto spirit. The blend of experienced performers, enthusiastic youngsters, and a supportivek ensemble created a warm, engaging atmosphere that clearly resonated with the audience. It was another successful year for Sion, and a production that celebrated everything people love about local pantomime. I would like to thank all at Sion Pantomime Society for their invitation and to the front of house team for the kind hospitality shown throughout their production and I look forward to many more in the future.

 

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