Snow White gets the Prince, the seven dwarfs get a happy ending, Queen Griselda gets the boos and Muddles gets the laughs.
It’s one big and very noisy party at the Theatre Royal, with just a nod in the direction of JM Barrie.
On the bounce from providing London’s newest theatre, the St James in Westminster, with its first Christmas show last year, Bristol-based Travelling Light theatre company has returned to the Tobacco Factory to launch Sinbad the Sailor on his final fantasy voyage.
Hans Christian Andersen’s sweetly moralistic story of the social outcast who blossoms into a thing of beauty has been given a major make-over by Patrick J O Reilly in this lovingly crafted Christmas offering.
The story of Dick Whittington is given a burlesque treatment here from a cast led by popular drag-queen, Miss Dusty ‘O’.
Returning to the Lyric Studio, Pins and Needles’ beautifully judged production brings Raymond Briggs’ classic storybook about a grumpy but kindly Father Christmas living in a terraced English street to vibrant and gorgeous life.
The Connaught, once known for its excellent pantomimes, falls way below previous standards for the second year running, mainly because of the poor script.
Maybe you don’t look to pantomime for originality, but this one - which also includes traditional ghost gag and slapstick set pieces - also splices in some fresh ideas.
Staged in a brand spanking new theatre, this show has many cast members doubling as musicians.
Storytelling lies at the heart of Cumbernauld’s adaptation of Andersen at the Cumbernauld Theatre, as the five-strong ensemble cast draw their audience in to a world of cold and ice to relate the tale of the Snow Queen.
Dick Whittington was a Salisbury lad searching the streets of London for gold to repair the cathedral spire.
With the theatre about to close for a multi-million pound refit, this year’s Perth panto has a distinctly low-budget feel to it, but some excellent performances and great pacing leave audience members thoroughly entertained.
Liam Steel, the choreographer of the Les Miserables film, and his creative team reach back to Rudyard Kipling’s original Jungle Book stories for this new adaptation, bypassing any references to the Disney version - something which is to be roundly applauded.
Alan McHugh keeps the big themes intact in his adaptation of the Little Mermaid into pantomime form.
“That was really freaky,” a child affably exclaims at the interval of The Jungle Book, seconds after getting hissed at by Yiltan Ahmet’s evil Kaa.