Photo: Johan Persson. Production Design: Anna Fleischle
If you are looking for pure heart on stage this festive season, look no further than this magical family production.
Based on the beloved book by Raymond Briggs and the iconic animated film directed by Dianne Jackson and produced by John Coates, The Snowman has been capturing hearts since 1978. It's also become a firm part of Birmingham REP's own history, having delighted audiences for over 30 years. Now, in a new iteration directed and choreographed by Will Tuckett, this show returns to its original home at the REP before flying off to London's Peacock Theatre for Christmas.
By now, I think it's safe to say that almost everyone has fond memories of this classic story. Whether it's the illustrations, the music or the magic of watching a snowman come to life, there's something wonderfully nostalgic about it. And this stage adaptation manages to capture all of that, whilst bringing its own theatrical magic to the story.
At its heart, The Snowman is a celebration of childhood imagination. It's a story of curiosity, wonder and the extraordinary adventures that can unfold when we allow ourselves to believe in the impossible.
Much of the production's brilliance lies in its simplicity. Just like the original book, there are no spoken words, allowing the physical storytelling of the performers to take centre stage. There's something rather beautiful about watching a story unfold entirely through movement, music and expression, and it creates a wonderfully accessible world in which audiences of all ages can allow their imaginations to fill in the blanks.
In the title role of the Snowman was Andrew Ashton, whose impressive dance credits include a firm spot in the Matthew Bourne New Adventures team. It's therefore no surprise that he was an absolute delight to watch. Despite being encased in an enormous snowman costume (and quite frankly, how he managed to move so beautifully in that was a magical feat in itself!), Ashton delivered some truly gorgeous physical storytelling. The costume itself, designed by Tahra Zafar, was a triumph. Zafar is also the creative talent behind Paddington Bear's costume in Paddington The Musical, which should give you some indication of just how impressive her work is! Every tilt of the head, blink of the eye, and playful movement brought the character to life, creating a Snowman who was instantly loveable.
The role of the Boy is shared between four young performers, and at this performance we had the pleasure of watching the talented Tate Masuku. If the other performers radiate even half as much joy as this young dancer, they're in for one hell of a run!
The Boy really is the glue that holds this production together. It's through his eyes that we experience this magical world, and Masuku captured that sense of childhood excitement and wonder so beautifully. His energy was infectious, his storytelling wonderfully expressive, and he was an absolute joy to watch.
Of course, I think it's fair to say that much of the audience, myself included, were eagerly anticipating that famous flying scene, accompanied by the unmistakable 'Walking in the Air'. And I'm so pleased to say that it was every bit as beautiful as I'd hoped.
The sequence makes clever use of changing perspectives, combining the performers' movement with projections on a screen at the back of the stage, whilst miniature structures are manoeuvred by the cast below. It's a wonderfully imaginative piece of stagecraft that creates a genuine sense of flight, and perfectly captures the magic of the original animation.
Projection and video is used particularly well throughout the production, but what I appreciated most was its restraint. It never becomes overbearing or distracts from the performers. Instead, these subtle touches enhance the storytelling, whether it's bringing the snowy landscape to life or allowing the Boy to create a snow angel. It's a lovely example of technology being used to support theatrical storytelling rather than overpower it.
I also adored Anna Fleischle's design, which feels as though the original illustrations have been lifted straight from the pages of Raymond Briggs' book and brought to life on stage. There's a beautiful, hand-drawn quality to the world, with its soft shapes and playful details, creating a setting that feels both familiar and wonderfully theatrical. It strikes that perfect balance between nostalgia and imagination.
The puppetry is another lovely addition. Designed by Daisy Beattie, the puppets have a wonderful flexibility to their structures, allowing for some charmingly expressive movement. Once again, there's no attempt to overcomplicate things and it's beautifully subtle. The performers give us just enough to believe in these creatures, and our imaginations happily do the rest.
Whilst the first act establishes the heart of the story, the second act gives the ensemble a chance to really stretch their dancing legs. Here, the choreography opens up into some more traditional ballet and larger scale ensemble work, showcasing the impressive technical ability of the company.
And let me tell you... Santa's got moves!
Teague Applegate, who performs as Dad, Father Christmas and as part of the ensemble, was particularly stunning to watch. His ballet technique was gorgeous, bringing an unexpected elegance to Father Christmas and proving that there's plenty more to this festive favourite than just its famous flying scene.
I also really enjoyed the cheekiness of Kynda Ng and Alice O’Brien as Skadi and Frosti, and their duet was a particular highlight for me.
This production is pure nostalgia, but it never relies on nostalgia alone. It's playful, inventive, beautifully performed and full of heart. Whether you're introducing little ones to the story for the very first time or revisiting a childhood favourite, there's something here to make you smile.
The Snowman is at the Birmingham REP until Sunday 1st November and then at Sadlers Wells Peacock Theatre in London 21st November - 3rd January.
★ ★ ★ ★ ★
Written by Katie for Theatre and Tonic, October 2026.
