Tim Webb and Oily Cart have, over the years, developed a way of making participative theatre for the youngest children - and those with learning difficulties - which is all its own and this latest show about shoes does not, on the whole, disappoint although it’s a little too long for the concentration span of the target audience.
Philip Breen, whose Merry Wives of Windsor was a success here two years ago, tackles the first Royal Shakespeare Company production of Thomas Dekker’s play with panache.
Here’s a toast for the downtrodden and all who have ever felt marginalised.
No conventional fairytale princess? A dried pea the size of a gobstopper? A pea-brained king living in a castle created from clutter in a “museum of all things forgotten”? Well, why not.
Aladdin is usually the most opulent pantomime in terms of costume and set, and First Family Entertainment rallies to the call with this sumptuous production, bursting with colour and sparkle.
We’re in a deceptively simple world of imagination in which soldiers, a donkey, mouse, rhinoceros and spider - among other unlikely things - explore and create a story in a mysterious imagined house.
German director Katharina Thoma’s first UK production was Ariadne auf Naxos for Glyndebourne, which received a mixed reception.
The year in which Disney managed to convolute the story of Sleeping Beauty with Maleficent, it’s good to see that the original fairy tale - performed live - still manages to engage a modern audience.
A large cast is not always necessary to ensure a praiseworthy Christmas show, and this is a fine example of a smaller, tight-knit team delivering a pleasurable production.
This Jack and the Beanstalk is an attractive show, easy on the eye, with plenty of colour, although it is blighted by a script that’s too wordy at times.
The story of The Little Match Girl never failed to move me to tears as a child, not least because she ends up matchless.
Following a successful national tour in 2013, Complicite’s first dip into children’s theatre - an adaptation of Zizou Corder’s popular trilogy of books - has been revived ahead of a UK and international tour, Annabel Arden’s original production having been reworked by directors Clive Mendus and James Yeatman and featuring some new material.
In adapting Saturday Night Fever for the stage, Robert Stigwood and Bill Oakes refused the easy option of creating a mere jukebox musical: throughout the show, the harsh themes of the film - drugs, racism, social exclusion and sexism - are frequently referenced.
This is the Ministry of Entertainment’s seventh visit to one of Bristol’s Tobacco Factory Theatres and a return for fading, eager to please entrepreneur, Mrs Gerrish.
Love is all around but it’s far from wet wet wet or syrupy in John Cariani’s cult assemblage of a score of characters splintered by passion.