Sleeping Beauty

Sleeping Beauty, written by Daniel Shilling and Anna Fail, and directed by Harvey Johnson with musical direction from Christopher Perry and choreography by Lucy Robson, was a joyous celebration of pantomime and a fitting way for the company to mark their tenth year of producing panto.

From the outset, the energy and passion for the genre shone through. The cast delivered strong performances throughout, supported by fantastic chorus dance numbers that burst with talent, enthusiasm, and commitment. The sense of camaraderie within the company was evident, with the main cast clearly comfortable on stage and displaying excellent chemistry and friendship.

The opening scene was particularly charming, introducing Princess Aura writing a letter to her prince pen pal. Molly Featherstone was a delightful Princess Aura, showcasing strong vocals and confident stage presence. Lucy Robson, as Prince William of Whitburn, was the perfect counterpart, and their duet Love Is an Open Door was a lovely moment and a clever nod to the company’s upcoming production.

Christopher Perry gave an excellent performance as Dame Mona Lot, demonstrating impressive improvisation skills when minor mishaps occurred, including a spilled drink and a broken prop. These moments were handled seamlessly and only added to the fun. Perry also treated the audience to some beautiful vocals, standing out as a highlight of the show.

Dan Shilling’s Maleficent delivered both impressive vocals and memorable reveals, particularly the moment where the character emerged from within the cast, which was met with great delight. The visual comedy continued with inventive reveals, including Maleficent’s transformation involving the spinning wheel.

The three fairies—Flourish (Leonie Reay), Fair (Erin Pettimore), and Forgetful (Rebecca Gosling)—were a joy to watch. Their number Confident was particularly entertaining, with strong characterisation and effective audience interaction.

Alex Elliot’s Nonnie Sense was a wonderfully silly character, and the chemistry between Nonnie Sense and Dame Mona Lot worked extremely well, providing many laugh-out-loud moments.

Supporting roles were capably performed by Mollie Clements, Erin Lansdell, Luna Paolucci, Jessica Prise, and Liam Steele, all of whom added charm and personality to the production.

The performance was packed with songs, dance routines, and modern slang that the audience clearly loved. Director Harvey Johnson made excellent use of the venue and its technical capabilities, including effective lighting, dramatic effects, and the flying of the cradle, all of which added flair and theatricality. The local references and modern touches blended well with traditional pantomime elements such as “it’s behind you” and “oh no it isn’t,” while delightfully random moments—such as Maleficent being turned into a goat—kept the humour fresh and unpredictable.

Colourful, funny, and full of heart, Sleeping Beauty was a brilliant way to spend an afternoon. Congratulations to all the cast and crew on a highly enjoyable production. I very much look forward to seeing the company’s next performance of Frozen.

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