Sleeping Beauty

Brindle Players’ Sleeping Beauty arrived on stage with colour, confidence, and a lovely sense of mischief. Director and Musical Director Lyndsey Wilson, supported by Assistant Director Emmie Frazer, shaped a production that felt lively, well‑paced, and full of playful touches. The show was packed with those small but memorable comic details that make pantomime such a joy, from the spinning wheel being wheeled on just as it was banned, to Dom’s plunger and its iconic catchphrase, to the palace fast asleep in their dressing gowns, the King covered in a century’s worth of dust. These moments gave the show a bright, cheeky personality from the outset.

One of the most inventive additions was Chiri, the medieval answer to Siri or Alexa. This clever device lit up and spoke in perfect sync whenever the cast addressed it, and its misunderstanding instructions was a gag that landed perfectly. It was a simple idea executed with real precision, and it added a fun, modern twist to the storytelling. Another of the evening’s most memorable highlights was the brilliantly reimagined parody of Call Me by Blondie, transformed, with classic Brindle mischief, into “Corned Beef.” Katie Hardman delivered the vocals with confidence and comic flair, while Sally Leech stole the spotlight in a riotously funny cameo as a full‑sized can of corned beef. The glossy, detailed costume earned laughs the moment she appeared, and the combination of sharp rewritten lyrics, Katie’s playful delivery, and Sally’s wonderfully absurd visual presence made the number verbally and visually hilarious, a perfect example of Brindle’s knack for turning familiar songs into standout panto set‑pieces.

Visually, the production was strong throughout. Set designer Katie Hardman created a world that felt rich and storybook‑like, from the stained‑glass windows of the throne room to the eerie forest and the tower room. The variety of locations kept the show moving and gave each scene its own flavour. The spooky forest had a lovely atmosphere, just enough mystery without ever tipping into anything too frightening for younger audience members.

Choreographically, the show received help from the combined efforts of several contributors, all co‑ordinated by Aby Hardy. The movement was energetic, inclusive, and well‑suited to the mixed ages of the cast. The younger performers shone, throwing themselves into the routines with enthusiasm and plenty of smiles. A few numbers spilled into the audience, adding that classic panto sense of shared fun.

Vocally, the ensemble was well supported by Chorus Directors Megan Gardner and Kayleigh Irwine, with more musical input from Georgia Seddon and Joyce Foster. The harmonies were clean, the rewritten lyrics were witty and well‑delivered, and the company sang with confidence. Brindle’s tradition of adapting familiar songs with innovative words worked beautifully again this year, giving the show a sense of fun and familiarity while keeping the storytelling fresh.

Lighting designer Dani Leathersmith added atmosphere with confident use of colour, blues, greens, and cyans for the magical moments, and sharper contrasts for the darker scenes. The time‑travel sequences were a highlight, with lighting effects that gave a playful nod to Doctor Who. Sound designer Dave Taylor ensured everything ran smoothly, with clean cues, no microphone issues, and well‑timed effects that supported the comedy.

Backstage, Stage Manager Lee Marshall and his crew kept the show running smoothly, while the costume team, Ann Hardman, and Phoebe Park, delivered a colourful, characterful wardrobe. The Dame’s time‑travel outfit was a particular treat, and the fairies’ pointed ears and the King’s aged makeup added lovely touches of detail. Props looked great and contributed neatly to the humour and world‑building.

Georgia Seddon played Fairy Forgetful, both narrator and delightfully muddled helper throughout, and she was strong in the role from start to finish. Her comic timing was excellent, and the Scottish accent was a brilliant choice, giving her plenty of room to blend comedy with a charming sense of silliness. She sold every moment with confidence, warmth, and a lovely sense of mischief.

Joyce Foster played Malicia with delightful, delicious evil, never over‑playing the role, but instead delivering a controlled, sinister presence that slinked confidently across the stage. Her movement was smooth and purposeful, and she brought a wonderfully icy stillness to the character without ever needing to shout. Her vocal number was a standout moment of the evening: no one will forget Malicia’s song, performed to a slowed‑down version of Everybody Wants to Rule the World. It was atmospheric, memorable, and perfectly suited to her villainous charm. Her makeup and costume looked fabulous too, completing a strong, confident performance that anchored the darker side of the story with real style.

Danny Boone played the wonderful Nanny Nelly with a cheeky, loud, bold personality that lit up the stage from the moment he appeared. He had plenty of audience interaction, all delivered with sharp comic timing and that effortless panto confidence that makes a Dame truly soar. His scenes with Katie Hardman (as Dom) were a particular delight, full of playful chemistry and quick‑fire humour. Danny handled the fabulous alliteration and tongue‑twisting lines with ease, never losing pace or clarity, and moved across the stage with total assurance. It was a big, joyful performance bursting with character, charm, and classic Dame energy.

Katie Hardman played Dom with fantastic comic timing, bringing all the lovable, silly‑Billy energy the role demands while keeping the character warm, well‑meaning, and endlessly entertaining. One of the standout scenes of the night was the rapid‑fire exchange between Dom and Nelly, where Dom rattled off a whole host of song titles in a breathless, quick‑witted back‑and‑forth. It was genuinely impressive, Katie did not stumble once, delivering the entire sequence with clarity, pace, and total confidence, earning a huge round of applause from the audience. She was silly in all the right ways, and the crowd absolutely loved the corned‑beef routine and song. A brilliant performance all round: energetic, funny, and full of charm.

Anna‑Maria McCowen played Princess Rose with a lovely touch of sass and sparkle, giving the character real personality and presence. Her ballet scene was beautifully delivered, graceful, confident, and full of charm as evil bore down upon her, and her vocals were strong throughout, adding warmth and musicality to every moment she was part of. She had excellent chemistry with the rest of the cast, particularly in her interactions with Prince Rhod, where her comic timing shone. It was a poised, engaging performance that balanced elegance with humour, making her Princess Rose both endearing and memorable.

Kayleigh Irwine played Prince Rhod, taking up the mantle of principal boy with confidence and ease. She brought a lovely, open warmth to the role, with a bright, smiling presence throughout that instantly won over the audience. Her comic timing was excellent, especially in her interactions with Nelly and Dom, where she matched their energy beat for beat. It was a strong, engaging performance, assured, charming, and delivered with that classic principal‑boy poise.

Eve Killingbeck as Fairy Fabulosa, Juliette Hardy as Fairy Febreeze, and Grace Stead as Fairy Zoflora made a wonderfully funny trio of good fairies. Their scenes were full of playful interaction, quick‑fire comedy, and a lovely sense of teamwork. Each brought their own personality to the group, but it was their combined energy, the glances, the giggles, the little asides, that made them so entertaining to watch. They bounced off one another beautifully, keeping the humour light, bright, and perfectly pitched for pantomime. A delightful trio who added sparkle and silliness every time they appeared.

Roger Brown as King Rowan and Helen Brewer as Queen Iris made a delightful royal pairing, bouncing off each other with easy humour and natural chemistry. Their big sleeping scene was a real audience favourite, the snoring, the twitching, the breaking wind, the whole chaotic tableau was played with perfect comic timing and just the right amount of exaggeration. Helen’s reactions added an extra layer of comedy, while Roger’s wonderfully foolish physicality kept the audience laughing throughout. Together they created a warm, funny, and thoroughly entertaining double‑act that brought plenty of charm to the royal household.

Emma Skinner was funny as the Chief of the Royal Guard & Infirmary (C.O.R.G.I.), delivering increasingly long and pompous introductions with full ceremony and absolutely no awareness of how much she was testing everyone’s patience. The joke grew funnier each time, and her earnest delivery made it land perfectly. Visiting royalty King Boris and Queen Putrice, played by Xavier Khan and Megan Gardner, added a burst of chaotic energy. Their snippy exchanges and bold character choices made them a lively double‑act, and their lack of subtlety was exactly what made them entertaining.

Emmie Frazer gave Chiri its crisp timing and personality, ensuring the device became one of the show’s most memorable running gags. Lynn Harley as Junior Guardsman McGuffin, was another comic highlight, dashing across the stage with a long white beard, desperately trying to return Dom’s plunger. Her little jig grew funnier with each appearance, and the audience laughed aloud whenever McGuffin appeared.

Debbie Howard appeared as the Hoghton Tower Ghost, delivering a lovely mix of spookiness and humour. Her disgust at the Dame’s breath was played with great comic timing, and the traditional “heroes disappearing one by one” routine handled neatly, earning plenty of laughs. The ensemble chorus deserve real credit. They brought energy, commitment, and a sense of togetherness to every scene. Their vocals were confident, their movement enthusiastic, and their character work added depth to the world of the show. The younger performers shone with bright smiles and infectious excitement.

Brindle Players delivered a warm, funny, and imaginative pantomime that felt full of community spirit. The production balanced humour, music, and storytelling with a light touch, and every department contributed something meaningful, from the inventive technical elements to the confident performances on stage. It was a show that embraced the joy of pantomime without ever feeling overblown, and the result was an evening full of laughter, colour, and charm. I would like to thank Brindle Players and their front of house team for the warm hospitality shown throughout the evening and look forward to many more productions from them in the future.

 

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