Review - The Believers Are But Brothers (Bush Theatre)

The Believers Are But Brothers is an hour long play written and performed by Javaad Alipoor, which explores the disturbing part which the internet and social media has to play in bolstering the popularity of extremist groups in the tech savvy 21st century. He tells a fictional story about how three young men from different walks of life (two British Muslims recruited into ISIS, and one American alt-right extremist) react to a video of a young girl in Syria who is singing on a street when an explosive device is detonated. Throughout the play, Alipoor attempts to deconstruct the mindsets of those that viewed the video, and explores the destructive paths they take as a result. 

Javaad Alipoor in The Believers Are But Brothers
Photo credit - The Other Richard

Part play, part lecture, The Believers Are But Brothers demonstrates the power of end to end encryption, used by terrorists as a recruitment tool and to plot attacks, by having part of the play conveyed through a group WhatsApp message which the entire audience is encouraged to join. Having the audience keep their phones on throughout the play provides many opportunities for the action to be diverted by rogue messages, but Alipoor manages to keep everything rolling along, despite some inevitable distractions. 

Alipoor is a very likable presence; extremely compelling and affable, if a little unpolished. It's clear he's done his research on the subject he's talking about, and frequently references his time exploring the dark depths of sites like 4chan to mine for content for his play. That being said, despite his impressive research, The Believers Are But Brothers doesn't cover as much new ground as it perhaps has the potential to. A few years ago, hearing stories of horribly disturbing videos being shared around on the internet as a tool to fire up vulnerable people who feel let down or left behind by society would've seemed horrific, but in 2018 in a horrible way it seems sort of unsurprising. After all, when the President of the United States of America can retweet fake videos posted by a neo fascist group and sustain very little condemnation from his supporters, the proof of the potency of online radicalism and extremism is plain to see in the mainstream, not just on the reprehensible fringes of the web.

The Believers Are But Brothers may not be the most groundbreaking piece of theatre which covers the subject of extremism, but it is enjoyable and interesting nonetheless. 

Review - Oranges and Elephants (Hoxton Hall)

An all-female musical about gang rivalry in Victorian London is the tantalising premise of Oranges and Elephants, the new show which is currently playing at Hoxton Hall as part of an all-female theatre season. The quaint, distinctly olde worlde music hall certainly helps to set the scene for writer Lil Warren's creation, which melds aspects of early music hall entertainment with contemporary musical theatre.

Christina Tedders as Nellie and Susanna van den Berg as the chair in Oranges and Elephants
Photo credit - Sharron Wallace

Despite protestations some in-shown protestations, Oranges and Elephants' plot is your typical star crossed lovers shtick. Set against the backdrop of a bloody and vicious turf war, Mary, an aspiring music hall performer from the Black Country, falls in love with a musically inclined crook named Nellie, and the pair make plans to run away together and have a crack at show business. The only problem is that Mary has been taken in by the Oranges (a girl gang which prowls on north of the river), and Nellie is a prolific member of the Elephants (a wily rival group). Both gangs are made up of a madcap mix of miscreants, such as the newly one-eyed Nora, and Ada the scene stealing slasher, played by a gleefully menacing Rebecca Bainbridge. Sinead Long is likable in the interesting if underwritten role of Mary, opposite the entrancing Christina Tedders, who brings charm and gravitas to the role of Nellie, and shows off her musical virtuosity regularly throughout. 

The score is mostly music hall fare. It's fun and bouncy, if a little samey. At times, however, the songs seem to pastiche more contemporary musical theatre too. There are shades of Chicago’s I Can’t Do It Alone and Gypsy’s Let Me Entertain You, and even Epiphany from Sweeney Todd seems to be referenced). At the end of the musical the full cast also takes to the stage to perform an anachronistic rap, referencing the #TimesUp movement. The cast of actor-musicians perform vivaciously, with Christina Tedders in particular providing some gorgeously brassy vocals. The songs may not be instant classics, but they're all entertaining to listen to, and having the audience occasionally join in with the help of lyric sheets is an enjoyable addition to the proceedings. 

However, running at over 2 and a half hours, Oranges and Elephants could do with some tightening up. It's clear that Lil Warren has a great story to tell, and she is more than capable of writing some great, period appropriate tunes, but in its current iteration Oranges and Elephants doesn't quite hit the mark. At times the plot seems simultaneously rushed and meandering, with Nellie and Mary’s love story fired up and then extinguished in the space of just a couple of scenes, bookended by gang based antics. There's also a fair bit of funny but perhaps unneeded padding courtesy of the (admittedly very charismatic) host, played by Susannah van den Berg, whose banter with gin swigging pianist Doreen (Jo Collins)  brings the story to a halt rather frequently. 

At a time when powerful women are dominating the media, Oranges and Elephants feels like it's touching on something very clever, harking back to a time over 100 years ago when, like today, women bonded together to get things done. The real life ladies who inspired Lil Warren's fictional story are a fascinating facet of London history, and despite its weaker aspects, Oranges and Elephants should be praised for bringing them into the spotlight, even if in reality they were a lot less stab happy!

Interview - Kara Tointon and Adrian Edmondson (Twelfth Night)

Being part of the Royal Shakespeare Company is still considered by many to be the holy grail of acting jobs, and every year, actors old and new collaborate on plays at the iconic theatre in Shakespeare's hometown. This year, amongst the scores of new faces in the current season, two stars of stage and screen are making their RSC debuts. Actors Kara Tointon and Adrian Edmondson, who have recently been seen in the likes of The Sound of Music Live and Star Wars: The Last Jedi respectively, are both appearing on stage in Stratford-upon-Avon for the first time, in Christopher Luscombe's production of Twelfth Night. 

I'm speaking to Tointon and Edmondson midway through their run in the famous Shakespearean Comedy, and ahead of the live cinema broadcast on the 14th of February, which will see the play beamed out to cinemas across the country.

I start our interview by asking how both approached their individual roles, and if any special preparation was required. 'There’s a fear of Shakespeare that’s inherent in audiences and actors alike, that you just have to get over.' Adrian Edmondson says, before explaining 'we had a very generous rehearsal period and we worked it all out until eventually we were just saying things that made sense to us.' Kara Tointon, who remembers studying Twelfth Night in school, admits that when she was first asked to audition for the role of Olivia she wasn't too sure, but embraced it as a challenge. 'I enjoyed the detective work,' she says. 'You start off with the text and you haven’t got a clue what’s going on, and then you kind of get your Shakespearean dictionary and look up every word.'

I'm curious about what it's like to perform at the RSC given its immense theatrical history, and taking into consideration how many amazing stage icons have trodden the boards of the Royal Shakespeare Theatre. Both actors agree that performing on that historic stage is bizarre, but for them, it's the play itself which is most daunting. 'On our first night they handed out a free copy of the programme to us' Adrian Edmondson recalls, 'and I was reading it before I went on, and it gave a list of all the famous people that’d played our parts before!' Indeed, Richard Wilson, Antony Sher, and the late Donald Sinden are just a few of the actors who played Malvolio in past RSC productions of Twelfth Night, meanwhile Mark Rylance famously won a Tony award for his performance as Olivia in The Globe's lauded 2012 production, when it transferred to New York. Kara Tointon adds that her agent saw Judi Dench in a production of Twelfth Night many years ago, although she played Viola. 

Adrian Edmondson as Malvolio, alongside fellow cast members Michael Cochrane, Sarah Twomey and John Hodgkinson
Photo credit - Manuel Harlan

Both actors are also quick to comment on how unusual it felt, at first, to be performing on the Royal Shakespeare Theatre's thrust stage. Audience members and actors often mere inches from each other, and even at the back of the upper circle audience members are still relatively close to the stage. 'I keep waiting for a mobile phone to go off in the theatre' Adrian Edmondson jokes, 'so I can say ‘turn it off, they haven’t been invented yet!' The co-stars jokingly suggest that if a phone is going to go off then it'll probably be on the day of the cinema broadcast, although hopefully that won't be the case. 

Speaking of the cinema broadcast, both stars are hugely supportive of it, although neither of them have ever seen a piece of theatre in the cinema before. 'It’s a lovely way of introducing people to Shakespeare' Kara Tointon muses, 'we’ve been very lucky and we’ve sold a lot of our tickets, so it gives people who aren’t able to get to Stratford-upon-Avon a chance to see some theatre, and I think it’s great.' I wonder if either of them have any concerns about the cinema broadcast, assuming that the pressure to get everything right must be tenfold compared to playing to an audience in the Royal Shakespeare Theatre, which houses 1018 people when full. 'I hope I don’t fall over, that’s what I’ll be thinking about' Tointon chuckles, adding that 'something probably will go wrong – how fun! How interesting!' In general though, both agree that they'll be embracing the exceptional nature of the performance on the 14th of February.

Dinita Gohil and Kara Tointon as Viola and Olivia
Photo credit - Manuel Harlan

This production's concentration on Twelfth Night's themes of gender and sexuality are really interesting, as every version of Twelfth Night addresses them in different ways. Kara Tointon shares an insight into Christopher Luscombe's take, venturing 'I guess what we’ve tried to suggest is that actually Olivia fell in love with Viola as Cesario, not Sebastian, and will it work… who knows?'

This production's somewhat ambiguous twist on Twelfth Night's typically happy ending is something which really struck me, and so I am curious to know if the actors ever wonder what happens to their characters after the play ends. Sadly, Edmondson doesn't hold out much hope for the happiness of poor Malvolio, 'I think he’d be too humiliated and would leave and exist on a meagre pension.' Tointon adds that 'it’s really sad because Olivia has known him for so many years, and he’s all she’s got left apart from the house. He made everything run like clockwork.'

We finish the interview on a rather sombre note. 'Much like real life, everyone’s frustrated with their relationships. Really good for Valentine’s Day!' Edmondson jokes. 

Despite the bleak fate of Olivia's steward, audiences can rest assured that there's plenty of romance and loads of laughs to be had in Twelfth Night at the RSC. The production runs until the 24th of February and will be broadcast to cinemas live on February 14th! 

Review - Twelfth Night (Royal Shakespeare Theatre)

One of Shakespeare's most popular comedies is reimagined on the Royal Shakespeare Theatre's stage in Christopher Luscombe's charming production of Twelfth Night, which sees twins Sebastian and Viola shipwrecked in England in the late 19th century. Taking inspiration from the Victorian era's fixation on orientalism and the cultural aestheticism movement, there's a lot to unpack in Luscombe's opulent production.

Nicholas Bishop and Dinita Gohil as Orsino and Viola
Photo credit - Manuel Harlan

Although (often to its advantage) it is not exactly a laugh a minute, Luscombe's production definitely packs a few comedic punches. Adrian Edmondson shows off his lauded comedic chops as a manic Malvolio, tricked by his underlings into believing that his mistress is in love with him. Edmondson savours every moment of Malvolio's descent into all consuming love, strutting around in some amazingly gaudy costumes and bursting delightfully into song. Olivia's tricksy household staff are brilliant as Malvolio's scheming adversaries, with Sarah Twomey in particular getting in a few surprise laughs as the ditsy Fabia.

However, despite the hysterical nature of Twelfth Night's comedic scenes, the play shines brightest during its more subdued moments. Christopher Luscombe's production justifies its effortless alteration of place and time more than adequately, bringing the text's contemplation of gender to the forefront and exploring its many intertwining relationships. Most notably, the play clearly addresses the resurgence of Greek Love in the Victorian period. When the aesthete Duke Orsino is introduced he is posturing at an easel, painting his Adonian muse, thus instantly shining a spotlight on the relationship between the sensual and artistic experiences which epitomised the movement of aestheticism. This idea is further explored through Orsino's feelings for Viola's male alter ego Cesario. In one of the production's most breathtaking scenes, two share a wary yet passionate moment together, which is painfully underscored by Orsino's inner conflict. He is devoted to winning the hand of Olivia, but overcome by his feelings for his young serf. Having brought much physical comedy out of Adrian Edmondson as Malvolio and the rest of Olivia's household staff, Christopher Luscombe shows off the breadth of his directorial talent in Viola and Orsino's scenes, with Nicholas Bishop and Dinita Gohil beautifully portraying the blossoming love between servant and master. Similarly, with one look in the denouement, Kara Tointon's Olivia brings Twelfth Night's convenient happy ending into question.

Not only is this Twelfth Night splendidly acted, it is also beautiful to look at. Sumptuous from the off, locations such as a smokey train station and idyllic sculpture garden complement the plot's sweeping and romantic moments, as well as it's more bizarre comedic ones. Simon Higlett's design, which took inspiration from Wolverhampton's Wightwick Manor, is simply superb, with rich wood panelling giving Olivia's home a sombre yet lush appearance. Orsino's domain is equally handsome, adorned with rich golden ornamentation. 

If the play wasn't such an iconic Shakespearean comedy, it'd be easy to attribute Christopher Luscombe's production of Twelfth Night to a certain Irish playwright from the 1890s. With plenty of Wildean wit and the prominent themes of gender and sexuality this production very much alludes to Oscar Wilde and his fellow fin-de-siecle aesthetes. The Company do a brilliant job of bringing the play to life within the Victorian time period, and the play's juxtaposing comedic high points and yearning lows are balanced very well. Sure, a few of the slapstick moments might outstay their welcome a little bit, and one or two scenes feel a bit static, but there's plenty of contrasting drama and lots of brilliant humour too, which ensures that the play practically never slows down. Every element comes together to create a production of Twelfth Night which is almost seamless. 

My Favourite Shows of 2017

Another year has come and gone, and with 2018 just around the corner, it's time for me to look back and reflect on what a great year 2017 has been. 

This year was a pretty exciting year for my blog. In June I was awarded Silver in the Kent Digital Awards, in the Entertainment Blog category, and then later in the year I was a finalist in the Favourite Blog category of the Theatre Community Awards. I'm forever amazed by the fact that people read my blog and value my opinions, and being nominated in two different awards in 2017 felt really lovely. 

In more personal news, I graduated from the University of Kent this year, with a degree in Drama and English & American Literature, and started a career in the arts, which was a dream come true. I moved to Stratford-upon-Avon for work, and so obviously I saw everything that the RSC had to offer during my time there, and visited loads of other great theatres in Warwickshire and the West Midlands too. I even wrote a few blog posts about the RSC's The Other Place, which can be found alongside some other brilliant blogs on the RSC Website. 

But enough about my personal life! I've seen some totally wonderful theatre this year and so with that in mind, here is a list of the 5 shows which had the biggest impact on me in 2017. 

5) LMTO's Honeymoon in Vegas

I thought long and hard about which show I should put at number 5 on my list. I've seen loads of great plays, musicals, ballets and operas this year, and really they all deserve to be shouted about. That being said, when I was looking back over the reviews I wrote in 2017, one kept jumping out at me, and that was my review of London Musical Theatre Orchestra's concert production of Honeymoon in Vegas. I have admired LMTO for a while now, and I really enjoy the way they take lesser known or lesser performed musicals, and bring them to life, even if it's only for a night or two. As a fan of Jason Robert Brown, I loved hearing the brilliant Honeymoon in Vegas score being brought to life by such a talented orchestra, and in the lead roles of Betsy and Jack, Samantha Barks and Arthur Darvill were a perfect pair. It seems like LMTO gets bigger and better every year, and I can't wait to see which musicals they will tackle next.  

4) Our Ladies of Perpetual Succour 

In 2017 no show surprised me more than this one. On the surface, Our Ladies of Perpetual Succour was a riotous no holds barred adventure, following a bunch of unruly ELO spouting youngster, let loose on Edinburgh during a school choir competition. It certainly had its fair share of rather outrageous content, but at its core it was something much more profound. Our Ladies of Perpetual Succour was a raw and real portrayal of 6 very different teenage girls, all trying to navigate their way to adulthood in different ways. It earnestly explored some sensitive themes, such as teenage pregnancy and terminal illness, from a very realistic perspective, and it was cathartic to see such realistic depictions of young women on stage. 

3) Hamilton: An American Musical

The enormous hype which surrounded this show since it first opened in America was impossible to ignore, and therefore expectations were high when a London transfer was announced. Fans and sceptics alike wondered weather the fundamentally American story would resonate with audiences in Britain. Thankfully, the excitement which followed Hamilton wherever it went was more than warranted. I was struck by the extent to which Hamilton felt like a new frontier, worlds away from the usually great, but increasingly predictable mainstream musical theatre. The London production was impeccably cast, showcasing some of the most talented performers working today, and heightening the musical's already formidable songs and raps. It seems very likely that Hamilton will experience a long run on the West End, and rightly so! 

2) 42nd Street

For all the talk I talk about wanting to see fresh, groundbreaking theatre, for me very little compares to a big, glitzy musical. And this year no musical was glitzier than 42nd Street. With its gloriously bright and colourful design, and incredibly talented cast, whose megawatt smiles radiated from start to finish, 42nd Street was completely irresistible. It felt like a couple of hours of pure distraction from the outside world, and I left the theatre humming and tapping my toes. Sure, it's relatively safe, and quite old fashioned, with some rather outdated aspects, but it's also unapologetically fun, and isn't that exactly what we needed in 2017?

1) The Glass Menagerie 

I was completely bowled over by John Tiffany's production of The Glass Menagerie, which transferred to the West End after a run in Edinburgh during the EIF in 2016. Tennessee Williams' semi-autobiographical play offered a fascinating look into a tumultuous family trying to thrive in 1930s St Louis, Missouri. Kate O'Flynn gave a spectacular performance as the fragile young Laura Wingfield, opposite Brian J. Smith's charismatic Gentleman Caller. Not only was the story immensely touching and complex, but the production itself was gorgeously designed, and complemented the play's dreamlike quality. When it was over and the actors had left the stage, all I could do was shake my head in awe! Whilst The Glass Menagerie is certainly not a groundbreaking play by today's terms, Tiffany's production felt totally fresh and unpredictable, and made a huge impact on me. Even now, it's hard for me to put into words just how much I enjoyed The Glass Menagerie, which I ended up seeing 3 times in London. From the first time I saw it I knew it'd end up on my end of year list, and looking back on 2017 I can safely say that no show this year left an impression like this one did. 

Of course, a top 5 list is quite restrictive and although they didn't make my list I should probably mention a few more outstanding shows from 2017. I thought that Blanche McIntyre's production of Titus Andronicus at the RSC was really very emotional without being excessively gory, The Ferryman was a simmering play which bubbled over in the final act to horrific effect, and in contrast I really enjoyed the unabashedly silly The Wedding Singer which left me with a big grin on my face. 

There's no denying that 2017 has been a brilliant year for theatre, and I can't wait to see how 2018 compares. I'm particularly excited about the transfers of Strictly Ballroom, Fun Home and The King And I, all of which have been received really well elsewhere. No doubt loads of unexpectedly great pieces of theatre will crop up throughout the year too, and I'm really excited to see what's in store.

Review - Hamilton: An American Musical (Victoria Palace Theatre)

Since it opened off-Broadway in 2015, Hamilton: An American Musical has been gaining plaudits exponentially. Having been nominated for a record breaking 16 Tony Awards in 2016, and winning 11, as well as the Pulitzer prize for Drama and countless other decorations, the buzz around this particular musical theatre phenomenon has been almost impossible to ignore. 

Jamael Westman and the London cast of Hamilton
Photo credit Matthew Murphy

With book, music, and lyrics by Lin-Manuel Miranda, Hamilton is a sung and rapped through musical which tells the story of American founding father Alexander Hamilton, whose face can be found on the ten dollar bill. Told mostly through the eyes of Hamilton's jealous political opponent Aaron Burr, Hamilton covers the period of time between the American Revolutionary War of 1776 and Hamilton's death in 1804. It addresses many of Hamilton's biggest successes such as becoming the first secretary of the treasurer under George Washington, and his most notable failures, such as his part in America's first sex scandal, whereby he engaged in a highly publicized affair with married woman, Maria Reynolds. Although several embellishments are made to the historical events featured, Hamilton still manages to include a great deal of enlightening information about the titular character and those who surrounded him at a pivotal time in American history.

Despite its massive success on Broadway, there was no guarantee that Hamilton would have such a resonance across the Atlantic. After all, our ten pound note has the faces of Queen Elizabeth II and Jane Austen emblazoned across it, and the war for American Independence is just one of many wars which Britain fought in the 18th century, and therefore its significance carries a lot less weight over here. However, whilst the content is arguably less significant in Britain, the themes are incredibly familiar. It could be said that the unrest America faced in its infancy is not dissimilar to Britain today: torn apart by arguments about money and sovereignty in the face of Brexit, which has been a mainstay in British news since the results of the 2016 referendum. After all, the American revolutionaries' cries of "no taxation without representation" bear a striking similarity to the Brexiteers' campaign slogan that the £350 million sent to the EU each week would be better off being spent on the NHS (a slogan which has since been retracted). Similarly, the colour conscious casting of Hamilton, which highlights the diversity of both America and Britain today, feels particularly politically charged. When Caribbean born immigrant Alexander Hamilton and French military officer Lafayette high five and proclaim "immigrants, we get the job done" it's impossible not to be reminded of the Xenophobia which at least partially fuelled Britain's own brexit shaped 'revolution'. 

Regardless of how educational or reflective of the current British political climate Hamilton is, first and foremost it is a piece of mainstream musical theatre, and therefore it'd be nothing without some killer tunes and clever lyrics. A rap musical about the American founding fathers may have sounded unthinkable a few years ago, but of course the now astronomically famous Lin-Manuel Miranda, whose songwriting credits include In The Heights and Disney's Moana, has managed the seemingly impossible, and Hamilton is a triumph. 

The titular character, which the casting breakdown accurately describes as Eminem meets Sweeney Todd, sings and raps wittily, with some extremely clever and intricate rhymes showcasing both Alexander Hamilton's much lauded intelligence, and also the immensely talented lyrical skills of Lin-Manuel Miranda. Meanwhile, Hamilton's Schuyler Sisters, comprising of Eliza Schuyler Hamilton, Angelica Schuyler, and the lesser featured Peggy Schuyler, give off an R&B girl band vibe as they dazzle the audience with gorgeous harmonies and irresistible earworms, whilst looking for "a mind at work!" 

Rachelle Ann Go, Rachel John and Christine Allado as The Schuyler Sisters in Hamilton
Photo credit - Matthew Murphy

The London cast is filled with some of the most talented musical theatre performers working today, with Giles Terera giving a spine tingling performance as the spurned Aaron Burr, and Jason Pennycooke adding humour to the proceedings in his dual role as Lafayette and Thomas Jefferson. The Schuyler Sisters are a particularly enjoyable trio, with Rachelle Ann Go exuding sweetness and excitability as the lovestruck Eliza, and Rachel John commanding the stage with immense power as Angelica, the oldest sister. Christine Allado does what she can with the relatively small role of youngest sister Peggy, but shines in act two as sultry Maria Reynolds. Most notably though, the titular role of "young scrappy and hungry" Alexander Hamilton is taken on by newcomer Jamael Westman. The RADA graduate is the perfect fit, as although he seems at first to be less cocky and confident than his reputation suggests, Westman's Hamilton has an easy swagger and coolness which perfectly antithesis his intensely cerebral personality and at times fiery temper. 

Hamilton is not only a skillfully written and performed piece of musical theatre, it is also impressively designed and slickly directed. Paul Tazewell's costume design is simple yet beautiful, and merges the 18th century and present day very cleverly. In particular, the ensemble's somewhat androgynous costumes feel modern and quirky, whilst also harking back to the waistcoats, breeches and stockings popular in the 1700s. The quirkiness found in the design of the production is also seen in Andy Blankenbuehler's choreography, which mirrors the hip hop stylings in the music, whilst at times giving a nod to the balls which took place in the 18th century.

From start to finish Hamilton buzzes and crackles with a bustling energy, and director Thomas Kail keeps everything moving along slickly and succinctly, despite the fact that just like Alexander Hamilton himself, the musical's pace rarely slows down. With smart and snappy lyrics, a fascinating storyline, and an energetic cast which elevates the already sublime production, Hamilton is a new musical which will be admired for years to come. 

Review - Cinderella (Birmingham Hippodrome)

Ah, 'tis the season for families to gather at their local theatre and take part in one of Britain's most iconic festive traditions - a pantomime.

This year, Birmingham Hippodrome has really gone all out with its production of family favourite Cinderella. Produced by Olivier-nominated pantomime producer Qdos Entertainment and directed by Michael Harrison, who is also directing the famous London Palladium pantomime this year, Cinderella boasts an all star cast. Pop and television star Suzanne Shaw takes on the title role, and Birmingham panto favourite Matt Slack plays Buttons, Cinders' best friend and the narrator of the piece. It's Slack's fifth year appearing in Birmingham Hippodrome's panto, and his appreciation for the city is evident in his good hearted ribbing.

The rest of the star studded cast is equally impressive. Amongst them, Wolverhampton born superstar Beverley Knight shines from the moment she opens the show, displaying her core shakingly powerful vocals as she flies above the audience as the glam fairy godmother. Starring alongside Knight, Hollyoaks actor and 2016 Strictly Come Dancing finalist Danny Mac pleases the crowd with some slick moves straight from the Strictly dance floor. This panto definitely plays to the strengths of its cast, with characters breaking the fourth wall to fawn over their talented co-stars (Matt Slack's Buttons seems particularly starstruck by Beverley Knight at one point) and it's great fun seeing so many talented individuals gracing the Hippodrome Stage and seemingly having such a great time doing so.

There's plenty of fun content to pad out the all too familiar tale of Cinderella, the scullery maid plagued by her two evil stepsisters, who transforms into a princess and attends the local prince's ball with a little help from her fairy godmother. There are more subplots than you could shake a magic wand at, and loads of hilarious skits such as a magical karaoke session which sees Beverley Knight and James Brandon of The Grumbleweeds switching voices during a rendition of Joe Cocker's Up Where We Belong. 

Loads of brilliant parody songs also feature, and provide lots of entertainment. One particular standout number is Gonna Be A Prince Like You, a parody of Ed Sheeran's Shape Of You which takes place when the Prince persuades his servant Dandini to pretend to be him so he can walk around his kingdom without being recognised. There are also the usual pop culture references typical of pantos, and plenty of references to Birmingham and the surrounding area to keep the audience happy. 

This year's Cinderella seems bigger and better than all of its panto predecessors and should definitely not be left out of any family's festive celebrations. For anyone aged 5 to 105, Birmingham Hippodrome's spectacular pantomime will undoubtedly be a truly magical experience.