Snow White

Snow White, written with flair by John Dowell, delivered a fresh and imaginative twist on the classic tale. From the moment the curtain rose, it was clear we were in for a panto packed with personality, surprises, and sheer joy.

Princess Snow White resides in the palace with her silly brother, Jingles the Jester, and Dame Dolly Donut — once her nanny, and still behaving like it. When Queen Anastia learns from her magic mirror that Snow White has become the fairest in the land on her 18th birthday, she wastes no time plotting her downfall. She engages The Huntsman to “deal with her” but unable to carry out the wicked deed, abandons Snow White in the woods and falsely reports her demise.

Enter The Three Bears, who guide Snow White to the cosy cottage of the seven Woodsmen. These gentle souls agree to let her stay — provided she keeps her hands off their tools (and their pants). Meanwhile, Prince Goodheart, who Snow White met earlier, embarks on a rescue mission with the “help” (or hindrance) of Dolly and Jingles.

Queen Anastia makes one final attempt to rid herself of Snow White, but the Bears, the Prince, the Woodsmen, Dolly, and Jingles band together to outwit her, ensuring good triumphs over evil in true panto fashion.

Coren Yates was utterly enchanting as Snow White, bringing a delightful blend of innocence and charm to the role. Vicky Amies delivered a wonderfully wicked Queen Anastia — a nastier queen there could never surely be. It was hard to believe that it was Chris Lay’s first outing as a panto dame and he was a revelation as Dame Dolly Donut, winning the audience over instantly. Abbie Ingold, as the Yorkshire accented Spirit of the Mirror, in my opinion stole every scene she appeared in with sass and sparkle. Rachel Smith’s Prince Goodheart embodied the perfect panto hero — dashing, upbeat, and indefatigable. James Down’s Jingles the Jester had the audience, especially the children, in the palm of his hand from the very first groan-worthy dad joke.

The supporting roles were very well played with each performer enriching the whole show.

Leigh Smith’s musical direction shone brightly, with well-chosen songs and tight harmonies.

Juliet Lennox’s choreography was a delight — polished, precise, and full of life. The “If I Was Not Upon the Stage” routine was executed with impeccable timing, each performer hitting their cues without ever glancing sideways to avoid a mishap.

One inspired moment came during the woodland bench scene. Whether scripted by John Dowell or added by the director, replacing the traditional ghost with a beloved children’s character costume was a stroke of genius. The children’s ecstatic reactions proved just how effective the choice was.

For a directorial debut, Leigh Smith should feel immensely proud of what he achieved with cast and crew.

Martin Putman (Lighting) and Kevin Amies (Sound) elevated the production with their technical expertise, while Stage Manager Steve Young and his hardworking backstage team kept the show running seamlessly with swift, smooth transitions.

The scenery and costumes were top notch. I especially liked the animation projected onto the proscenium before the show started, something I had never seen done before.

Overall, this production was, in my view, every bit as good as — if not better than — many professional pantos I’ve attended. You truly lived up to your tagline, “The best little panto in MK.” Go one better – be “THE BEST panto in MK”.

Thank you for your invitation to review the show and for the very warm welcome and hospitality extended to my wife and I. It was very much appreciated. Onwards and upwards for your future shows.

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