Sleeping Beauty at Swan Theatre, Worcester Review
Written by Joe for Theatre & Tonic
Disclaimer: Gifted tickets in exchange for an honest review
It’s the most wonderful time of the year, and Worcester Repertory Company are back with another magical family panto – this year, the classic story of Sleeping Beauty, welcoming back familiar faces and bringing some new members into the fold.
The story is one we all know – a Princess, a curse, a spinning wheel, a hundred-year interval, true love’s kiss and (if we’re lucky) a dragon; with songs and dances added in too as any good pantomime should! If you’re looking for a traditional family pantomime with plenty of audience interaction, innuendo, songs, magic and love, this production gives you all of it.
Directed by Ian Good – who also plays Nurse Dottie Dettol – the show flows from scene to scene apace, and the cast work hard to deliver a script (writer uncredited) which is a confusing mix of 50% excellent classic panto – punny, witty, quick – and 50% trying to justify making actors leave the stage. At times, it sets everybody up for some fantastic comedy – the trolley scene is excellent, as is Fester the Jester’s lip-sync scene. But at other times, lines come out of nowhere to move the scene onto the next bit the writer needs to say, and songs are shoe-horned in seemingly because it’s that actor’s turn to have a song.
There are endless mentions of Princess Beauty needing to leave to try on her dress, but then she’ll come straight back into the scene without ever doing so, and nobody seems quite sure whether the party is tonight or tomorrow. Then, when the main resolution of the story – Sleeping Beauty no longer being asleep – happens in the first scene of the second act, it’s hard not to feel that the script is trying to fill time for most of the rest of the show.
That being said, it’s what the company do with the script which counts – and you can see that they are all giving everything to it, even when the audience doesn’t necessarily feel as in the Panto spirit as you’d hope! Amy Lyons, making her professional debut as Princess Beauty, and Matthew Manning as Prince Hugo, sings beautifully and give heart to their slightly underwritten characters. Katherine Parker-Jones as Carabosse is an absolute joy, feeling grounded, sinister, and the perfect amount of panto camp without ever overdoing it, and her interplay with Dominic McChesney’s bumbling King Eric is a delight to watch. Hollie Christian-Brookes carries the narrative valiantly, and the dance ensemble brings a brilliant musicality and balletic poise to the production.
Nathan Blyth as Fester the Jester works extremely hard to keep the energy up, and entertain with his endless punny jokes – but it’s his physicality, enthusiasm, lip-syncing and sheer likeability which makes him a joy to watch. Many of his scenes see him partnered with Ian Good, and holding his own against such a consummate and experienced panto professional (43 years and counting) is a testament to his skill. Ian Good as Nurse Dottie Dettol is a classic panto dame on all fronts. At times Dame Edna, at times Frankie Howerd, at times Lily Savage, but always the matriarch of the show. The Dame is a very tricky tightrope act between playful, suggestive innuendo and vulgarity, and Good manages to stay on the classy side most of the time. However, at times his choice to gurn and thrust at the audience or at Fester pushes into uncomfortable territory, and sours an otherwise excellent performance.
The music – both performance and arrangement – was superb and the band of three (Rudy Percival, Rui de Sousa-Stayton and Calum Harrison) played excellently. The clever arrangement offering stings of songs to come in scene changes and moments of tension were a brilliant choice, and a lovely teaser for the audience.
Extra special mention must be given to Costume Designer Katie Butterworth for her fabulous array of outfits. The finale costumes – particularly Dame Dottie’s finale dress – were a sight to behold, and every item in the show felt considered and vibrant.
All in all, what this show offers is good, traditional panto fun for all ages, and an excellent opportunity to support a local producing house which consistently punches above its weight in delivering high quality, high budget, professional theatre at affordable prices for all the family. You would have to go far to find another pantomime which is made with such care and commitment.
Plays until 4 January 2026
★ ★ ★
