Jack and the Beanstalk

From the moment the curtain rose, it was evident that this year’s production of Jack and the Beanstalk by Tynemouth Priory Theatre was committed not only to celebrating the joy and tradition of pantomime, but also to acknowledging the remarkable history that underpins this enduring tale. Jack and the Beanstalk predate the pantomime stage by centuries, with origins that stretch through folklore, early printed fairy‑tale collections, Victorian theatre, and the wider evolution of British panto traditions.

This rich cultural heritage makes Jack and the Beanstalk a natural foundation for pantomime, bringing together all the essential elements audiences expect: a courageous hero, a larger‑than‑life villain, a princess, a dame, a comic lead, one or two fairies, and of course the much‑loved pantomime cow. Building on this timeless pantomime, the cast of Tynemouth Priory Theatre captured the very essence of what makes pantomime such a cherished tradition. Through an assured blend of humour, musicality, visual spectacle, and enthusiastic audience participation, they delivered an evening that honoured classic panto conventions while demonstrating genuine theatrical creativity.

Credit must be given to Director Beccy Gilmore, whose experience and creative vision were evident throughout. Her direction ensured that each scene was delivered with pace, comic timing, strong characterisation, visual flair, and consistent audience engagement. The result was a polished production that was clearly appreciated by the audience on the evening I attended.

One of the most notable features of this production was the decision by the management and production team to use a live band rather than pre‑recorded backing tracks. Under the expert leadership of Musical Director Susie Jones, supported by musicians Noah and Brodie Jones, the live music added warmth, vibrancy, and energy to the performance. Their contribution significantly enhanced the overall atmosphere and elevated both the production and the musical numbers well beyond what is typically achieved with prerecorded tapes.

The whole production team worked seamlessly to ensure that this performance was a true credit to the long‑established reputation upheld by Tynemouth Priory Theatre. The set was outstanding, thanks to the work of Andy Gilmore, who also delivered excellent sound management throughout the show. Clever and imaginative props created by Dave Cooper and Trevor Bell, combined with effective projection work by James Elliot, contributed to an overall production that looked impressively professional, all coordinated under the steady leadership of Stage Manager Laurence Hill.

Lighting design by Mathew and Tony Hall enhanced every scene, creating the right mood and atmosphere to support the storytelling, while the sound remained well balanced and clear under Andy Gilmore’s direction. A production of this calibre relies heavily on strong visual impact, and the costumes certainly delivered. From the vibrant outfits worn by the Dame to the colourful and well‑matched costumes for the dancers, every piece felt thoughtfully designed and entirely fitting. This was made possible by the hard work of Jess Watson, Anne Hogg, Abi Ross‑Jackson, Ann Leake, and Judith Bell, with wigs skilfully managed by Chris Carr and Beccy Gilmore. Backstage, Jen Woods worked tirelessly as dresser, ensuring swift and seamless costume changes for the entire cast.

Overall, the production team played an instrumental role in creating a visually polished, professionally executed pantomime one that was most certainly worth its weight in gold (and far more valuable than a bag of beans).

As the curtains opened the audience was transported into the enchanting Fairy Forest, where we were introduced to Fairy Too and Fairy Tutu, portrayed with exceptional charm and confidence by Lyndsey Spark and Sharon Cummings. These two performers guided the narrative of the story throughout with assurance, maintaining a strong presence throughout the production. Their interpretations were thoughtful and engaging, and both delivered their musical numbers with clarity, warmth, and a professionalism that lifted each scene they appeared in.

In contrast, Alex Heppell delivered an outstanding performance as the pantomime baddie Slyrot, and what a villain she proved to be. From her very first entrance, she commanded the stage with a mischievous presence that instantly set the audience against her, in the best possible panto tradition. She elicited a chorus of enthusiastic boos every time she appeared, demonstrating her strong grasp of timing, characterisation, and audience engagement. Her portrayal balanced menace with humour, ensuring she remained compelling without ever overshadowing the lighter spirit of the production. Her costume further enhanced the role, giving her a striking, memorable look that perfectly matched the character’s sly and scheming nature.

As we were transported to the village of Knaphill, we were introduced to the remainder of the cast, beginning with the royal household. Anne Hogg, as The Queen, brought a dignified and commanding presence to the stage, delivering her role with an authentic sense of regal authority and elegance. Her characterisation was poised, confident, and entirely fitting for the monarch she portrayed. Alongside her, Ayla Brown as Principal Girl gave a beautifully judged performance as Princess Izzy, capturing the warmth, grace, and gentle charm expected of a panto princess. Her interactions with both the ensemble and principal characters were natural and engaging, and her strong vocal performances added further depth to her role, making her a delightful presence throughout.

What a standout performance from Dame Trott, brought to life with exceptional skill and charisma by Stu Bowman. His characterisation was truly larger than life, embodying all the humour, warmth, and flamboyance that audiences expect from a traditional panto Dame. Stu’s comic timing was impeccable, with every entrance, line, and facial expression delivered with confidence and precision. He maintained a wonderful rapport with the audience, effortlessly drawing them into the fun with cheeky innuendos, perfectly judged physical comedy, and an infectious energy that lifted every scene he appeared in. His costumes only added to the spectacle, bold, imaginative, and full of personality which enhanced a performance that was both engaging and memorable.

We were then introduced to her two sons, including Jack, played by Fraire Armstrong, who took on the role of Principal Boy with confidence and charm. Her performance was professional throughout, delivering both the acting and vocal elements of the role with clarity, precision, and genuine enthusiasm. Her musical numbers were particularly well executed, showcasing a strong vocal range and a bright, expressive delivery that suited the character perfectly. She formed an excellent partnership with Princess Izzy, with both performers displaying a natural on‑stage chemistry. Their interactions were engaging and dynamic, allowing the characters to bounce off each other with ease and contributing to the warmth and momentum of the story.

Playing the pantomime comic was Phil Emmerson as Simple Simon, and it is genuinely hard to believe that this was his first appearance on stage and in a principal role no less. Usually found supporting productions from behind the scenes, Phil stepped into the spotlight with remarkable ease, taking to the role like a duck to water. His natural rapport with the audience was evident from the outset, and he delivered the classic panto comic energy with confidence, warmth, and impeccable timing. His audience participation was a particular highlight; he handled every interaction with charm, keeping both children and adults fully engaged. His scenes with the rest of the cast were lively and well‑coordinated, demonstrating strong chemistry and a clear understanding of the comic rhythms essential to the role. This performance marked an impressive on‑stage debut, and Phil should be commended for delivering Simple Simon with such assurance, enthusiasm, and genuine comic flair.

Playing the character of Daisy the Cow were Charlotte Norman and Anastasia O’Donnell, who together delivered a thoroughly enjoyable and well‑coordinated performance. Although it was not clear who was at the front or back of the costume, both performers demonstrated excellent teamwork and comedic timing, bringing Daisy to life with personality and charm.

Although we never see this character in person, Jon Mills delivered one of the biggest performances of the night in the role of the Giant. His booming vocal presence filled the theatre, creating a commanding and suitably intimidating character that had the audience trembling. Supported by an impressive and imaginative costume, his portrayal added real impact to the production and ensured the Giant remained a memorable force within the story.

Well done also to all the villagers both youth and adults confidently portrayed by Isla Palmer, Ava Coe, William Bowman, Olivia Clough, Holly Bowman, Georgina Volpe, Callum Hardy, William Trenell, Alice Armstrong‑Godfrey, Alice Armstrong, Jon Mills, Lauren Thompson, and Oli Pages. Their collective energy, enthusiasm, and commitment added vibrancy and depth to every village scene. Whether through choreography, ensemble singing, or character interactions, their contribution significantly enhanced the overall production and helped create the lively community atmosphere essential to the story.

And finally, a special mention must go to the dancers from Stages School of Dance, whose beautifully choreographed routines and polished movement work added energy, colour, and vibrancy to the production, well done to the choreographers Samantha Greener and Lizzy Drew. Their precision, discipline, and enthusiasm enriched every scene they were part of, contributing significantly to the overall visual impact of the show.

Well done to everyone involved in this production of Jack and the Beanstalk. You should all be incredibly proud of yourselves for delivering such a well‑produced, engaging, and thoroughly enjoyable pantomime. Your collective hard work, talent, and commitment shone through in every scene. I cannot wait to return later this year to see We Love You Arthur and The Lady in the Van. Congratulations once again on an excellent production.

From the moment the curtain rose, it was evident that this year’s production of Jack and the Beanstalk by Tynemouth Priory Theatre was committed not only to celebrating the joy and tradition of pantomime, but also to acknowledging the remarkable history that underpins this enduring tale. Jack and the Beanstalk predate the pantomime stage by centuries, with origins that stretch through folklore, early printed fairy‑tale collections, Victorian theatre, and the wider evolution of British panto traditions.

This rich cultural heritage makes Jack and the Beanstalk a natural foundation for pantomime, bringing together all the essential elements audiences expect: a courageous hero, a larger‑than‑life villain, a princess, a dame, a comic lead, one or two fairies, and of course the much‑loved pantomime cow. Building on this timeless pantomime, the cast of Tynemouth Priory Theatre captured the very essence of what makes pantomime such a cherished tradition. Through an assured blend of humour, musicality, visual spectacle, and enthusiastic audience participation, they delivered an evening that honoured classic panto conventions while demonstrating genuine theatrical creativity.

Credit must be given to Director Beccy Gilmore, whose experience and creative vision were evident throughout. Her direction ensured that each scene was delivered with pace, comic timing, strong characterisation, visual flair, and consistent audience engagement. The result was a polished production that was clearly appreciated by the audience on the evening I attended.

One of the most notable features of this production was the decision by the management and production team to use a live band rather than pre‑recorded backing tracks. Under the expert leadership of Musical Director Susie Jones, supported by musicians Noah and Brodie Jones, the live music added warmth, vibrancy, and energy to the performance. Their contribution significantly enhanced the overall atmosphere and elevated both the production and the musical numbers well beyond what is typically achieved with prerecorded tapes.

The whole production team worked seamlessly to ensure that this performance was a true credit to the long‑established reputation upheld by Tynemouth Priory Theatre. The set was outstanding, thanks to the work of Andy Gilmore, who also delivered excellent sound management throughout the show. Clever and imaginative props created by Dave Cooper and Trevor Bell, combined with effective projection work by James Elliot, contributed to an overall production that looked impressively professional, all coordinated under the steady leadership of Stage Manager Laurence Hill.

Lighting design by Mathew and Tony Hall enhanced every scene, creating the right mood and atmosphere to support the storytelling, while the sound remained well balanced and clear under Andy Gilmore’s direction. A production of this calibre relies heavily on strong visual impact, and the costumes certainly delivered. From the vibrant outfits worn by the Dame to the colourful and well‑matched costumes for the dancers, every piece felt thoughtfully designed and entirely fitting. This was made possible by the hard work of Jess Watson, Anne Hogg, Abi Ross‑Jackson, Ann Leake, and Judith Bell, with wigs skilfully managed by Chris Carr and Beccy Gilmore. Backstage, Jen Woods worked tirelessly as dresser, ensuring swift and seamless costume changes for the entire cast.

Overall, the production team played an instrumental role in creating a visually polished, professionally executed pantomime one that was most certainly worth its weight in gold (and far more valuable than a bag of beans).

As the curtains opened the audience was transported into the enchanting Fairy Forest, where we were introduced to Fairy Too and Fairy Tutu, portrayed with exceptional charm and confidence by Lyndsey Spark and Sharon Cummings. These two performers guided the narrative of the story throughout with assurance, maintaining a strong presence throughout the production. Their interpretations were thoughtful and engaging, and both delivered their musical numbers with clarity, warmth, and a professionalism that lifted each scene they appeared in.

In contrast, Alex Heppell delivered an outstanding performance as the pantomime baddie Slyrot, and what a villain she proved to be. From her very first entrance, she commanded the stage with a mischievous presence that instantly set the audience against her, in the best possible panto tradition. She elicited a chorus of enthusiastic boos every time she appeared, demonstrating her strong grasp of timing, characterisation, and audience engagement. Her portrayal balanced menace with humour, ensuring she remained compelling without ever overshadowing the lighter spirit of the production. Her costume further enhanced the role, giving her a striking, memorable look that perfectly matched the character’s sly and scheming nature.

As we were transported to the village of Knaphill, we were introduced to the remainder of the cast, beginning with the royal household. Anne Hogg, as The Queen, brought a dignified and commanding presence to the stage, delivering her role with an authentic sense of regal authority and elegance. Her characterisation was poised, confident, and entirely fitting for the monarch she portrayed. Alongside her, Ayla Brown as Principal Girl gave a beautifully judged performance as Princess Izzy, capturing the warmth, grace, and gentle charm expected of a panto princess. Her interactions with both the ensemble and principal characters were natural and engaging, and her strong vocal performances added further depth to her role, making her a delightful presence throughout.

What a standout performance from Dame Trott, brought to life with exceptional skill and charisma by Stu Bowman. His characterisation was truly larger than life, embodying all the humour, warmth, and flamboyance that audiences expect from a traditional panto Dame. Stu’s comic timing was impeccable, with every entrance, line, and facial expression delivered with confidence and precision. He maintained a wonderful rapport with the audience, effortlessly drawing them into the fun with cheeky innuendos, perfectly judged physical comedy, and an infectious energy that lifted every scene he appeared in. His costumes only added to the spectacle, bold, imaginative, and full of personality which enhanced a performance that was both engaging and memorable.

We were then introduced to her two sons, including Jack, played by Fraire Armstrong, who took on the role of Principal Boy with confidence and charm. Her performance was professional throughout, delivering both the acting and vocal elements of the role with clarity, precision, and genuine enthusiasm. Her musical numbers were particularly well executed, showcasing a strong vocal range and a bright, expressive delivery that suited the character perfectly. She formed an excellent partnership with Princess Izzy, with both performers displaying a natural on‑stage chemistry. Their interactions were engaging and dynamic, allowing the characters to bounce off each other with ease and contributing to the warmth and momentum of the story.

Playing the pantomime comic was Phil Emmerson as Simple Simon, and it is genuinely hard to believe that this was his first appearance on stage and in a principal role no less. Usually found supporting productions from behind the scenes, Phil stepped into the spotlight with remarkable ease, taking to the role like a duck to water. His natural rapport with the audience was evident from the outset, and he delivered the classic panto comic energy with confidence, warmth, and impeccable timing. His audience participation was a particular highlight; he handled every interaction with charm, keeping both children and adults fully engaged. His scenes with the rest of the cast were lively and well‑coordinated, demonstrating strong chemistry and a clear understanding of the comic rhythms essential to the role. This performance marked an impressive on‑stage debut, and Phil should be commended for delivering Simple Simon with such assurance, enthusiasm, and genuine comic flair.

Playing the character of Daisy the Cow were Charlotte Norman and Anastasia O’Donnell, who together delivered a thoroughly enjoyable and well‑coordinated performance. Although it was not clear who was at the front or back of the costume, both performers demonstrated excellent teamwork and comedic timing, bringing Daisy to life with personality and charm.

Although we never see this character in person, Jon Mills delivered one of the biggest performances of the night in the role of the Giant. His booming vocal presence filled the theatre, creating a commanding and suitably intimidating character that had the audience trembling. Supported by an impressive and imaginative costume, his portrayal added real impact to the production and ensured the Giant remained a memorable force within the story.

Well done also to all the villagers both youth and adults confidently portrayed by Isla Palmer, Ava Coe, William Bowman, Olivia Clough, Holly Bowman, Georgina Volpe, Callum Hardy, William Trenell, Alice Armstrong‑Godfrey, Alice Armstrong, Jon Mills, Lauren Thompson, and Oli Pages. Their collective energy, enthusiasm, and commitment added vibrancy and depth to every village scene. Whether through choreography, ensemble singing, or character interactions, their contribution significantly enhanced the overall production and helped create the lively community atmosphere essential to the story.

And finally, a special mention must go to the dancers from Stages School of Dance, whose beautifully choreographed routines and polished movement work added energy, colour, and vibrancy to the production, well done to the choreographers Samantha Greener and Lizzy Drew. Their precision, discipline, and enthusiasm enriched every scene they were part of, contributing significantly to the overall visual impact of the show.

Well done to everyone involved in this production of Jack and the Beanstalk. You should all be incredibly proud of yourselves for delivering such a well‑produced, engaging, and thoroughly enjoyable pantomime. Your collective hard work, talent, and commitment shone through in every scene. I cannot wait to return later this year to see We Love You Arthur and The Lady in the Van. Congratulations once again on an excellent production.

 

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