Jack and the Beanstalk

Huddersfield Light Opera Company’s Jack and the Beanstalk at the Lawrence Batley Theatre was a triumphant celebration of everything audiences adore about panto. Warmth, spectacle, cheeky humour and big-hearted performances. With a script by Chris Brearley and Dom Moccia, the production leaned fully into classic panto tradition while injecting fresh comic moments and charm, resulting in a show that sparkled from start to finish. 

Chris Brearley’s Dame Dotty Trott was the beating heart of the production, delivering a masterclass in dame performance. His comic timing, irrepressible energy and effortless rapport with the audience created a constant sense of fun, while each outrageous entrance, made even bigger by Charades Theatrical Costume Hire’s gloriously flamboyant costumes, heightened the laughter. From impressive wigs to bold colour palettes, the dame’s wardrobe was a visual feast and Chris wore every look with unstoppable confidence.  

As Jimmy Trott, Dom Moccia bounced through the show with infectious enthusiasm, embodying the classic Silly Billy role with boundless physical comedy and a playful innocence that won over the audience instantly. Moccia’s interaction with the audience was charmingly chaotic in all the right ways and his costumes, from bright quirky pieces to cheeky accessories, added to the lovable mischief of the character.  

Kim Booth made a strong and compelling Jack Trott, delivering the principal boy role with confidence, warm stage presence and a clear, assured singing voice. Her costume design embraced the traditional style of the heroic lead, combining classic tunic shapes with bold colours that made her instantly identifiable as the story’s central figure.  

The pairing between Booth and Isabelle Barker, who played Poppy Crackpot, was sweet and genuine, with Barker bringing a lovely blend of poise, humour and innocence to her princess role. Her elegant costumes captured the fairy-tale sparkle expected of a panto princess and her singing voice was first rate. 

Sharon Whitehead’s Lady Crackpot and Grahame Whitehead’s Lord Crackpot were a wonderfully eccentric duo. Their comic chemistry brought a delightful reality to their scenes and their costumes, with aristocratic embellishments, perfectly underscored them. Both gave over-the-top performances without slipping into caricature. 

The dynamic comedy pairing of Tori Taylor as Giggle and Amy Blackburn as Tickle was a standout highlight. Their timing was razor‑sharp, their physical comedy inventive, and their interplay constantly engaging. Their matching yet contrasting costumes helped define their double-act identity, while playful makeup touches contributed to their youthful, energetic characterisation. 

Colin Harris as Old Ned provided a grounding within the fast-paced panto world. His gentle delivery and steady engaging presence offered balance against the show’s more chaotic elements. His costume captured the rustic simplicity of his character, and his subtle, yet direct adlibs were delightfully delivered. 

Craig Squance was a delight as The Spirit of the Beans, delivering good‑natured charm with an uplifting presence. His costume had a touch of ethereal vegetation with magical flair and the shimmering makeup work added to his fairy-like qualities, ensuring he truly felt like the benevolent magic of the story personified. 

In stark contrast, Jonny Kain’s Blackthorn was a deliciously dark villain. His voice, commanding posture and wickedly theatrical delivery earned enthusiastic boos from the audience. Costuming for Blackthorn was particularly striking with rich, dark fabrics that sold the character’s power. His makeup, bold and shadowed, enhanced the sinister aesthetic beautifully and was one of the visual highlights of the show. 

Emma Sykes and Ben Maffin gave Buttercup the Cow personality and humour. Their coordination and physical comedy brought Buttercup fully to life, and the costume, both adorable and expressive, allowed the pair to perform with clarity and character. 

The supporting company, Katie Beadle, Caz Brough, Mya Brough, Michelle Crossley, Mark Denton, Dan Fallows, Sam Lockwood, Susan Roberts, Shivonne Smith and Tom Waltham, added real depth and vibrancy to the production. Their collective energy enriched every ensemble moment, whether bringing crowd scenes to life or adding harmonies that lifted musical numbers. Each performer contributed with enthusiasm, precision and strong character work, ensuring the world of the pantomime felt full, dynamic and constantly engaging. Their presence helped elevate the overall polish of the show and added an extra layer of warmth and professionalism to the performance. 

The direction and production by Chris Brearley, with Dom Moccia and Zoe Cook as assistant producers, shaped a show that was tight, lively, and full of personality. Choreography from Pam Strickland, assisted by Cook, was sharp, joyful and well‑executed, especially by the dancers from the Strickland Cook Theatre School, who brought precision and enthusiasm to every routine. 

Scott Kitchen’s work as Musical Director lifted the entire production, ensuring every number landed with clarity, confidence and full-bodied warmth. Under his guidance, the music felt vibrant and well-balanced and the cast’s vocals were tight and assured.  

The set, created by Scenic Projects LTD, was magnificent. Rich in detail, colour and theatrical scale. From charming village scenes to towering giant land vistas, each moment felt like a storybook brought to life. 

Behind the scenes, the stage crew deserve enormous credit for keeping the production slick, seamless, and wonderfully paced. Complex scene changes appeared effortless, with props, backdrops, and lighting transitions handled smoothly, allowing the show’s momentum to flow uninterrupted. 

With vibrant costumes, expressive makeup work, strong direction, a skilled creative team and a cast bursting with talent, Jack and the Beanstalk proved to be a joyous, polished and thoroughly entertaining panto. Huddersfield Light Opera Company delivered a production that captured the very essence of what makes panto so beloved, laughter, spectacle, and a whole lot of heart. 

I had the great pleasure of seeing the Adult version of this Panto but I feel it is more apt to review this production from the wider viewpoint as I’m not sure I could type what I witnessed that night, safe to say though my ribs still hurt.  

My congratulations must go to all involved and my warmest regards to the hard working front of house team that made myself and my wife feel ever so welcome.

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