Tag Archives: Rob Madge

Review – Sleeping Beauty, London Palladium, 28th December 2025

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I can’t imagine a Christmas season without a trip to the London Palladium pantomime. I remember looking forward to it so much whenever I went as a child and when they brought it back ten years ago, I was first in line banging to be let in (figuratively, at least). And, boy oh boy, have they taken the opportunity to point out that this is the tenth anniversary of the return of the Palladium panto! I’m all for a spot of nostalgia, but this rather takes the biscuit with an inordinately long introduction wallowing through the last ten years. Pretty heavy-handed stuff! Mind you, as Julian Clary himself points out, there’s not much to the story of Sleeping Beauty – five minutes worth of plot and the rest is padding.

But what delightful padding it is. As you would expect from a Michael Harrison pantomime, the sets are extravagant, the costumes outstanding, and the orchestra (under the baton of Greg Arrowsmith) sumptuous. The first Act concludes with us all arriving at the Forest of Thorns, a theatrical tour-de-design which not only monopolises the stage but the auditorium.

A superb ensemble of boys and girls in the chorus carry the responsible load of driving the musical numbers with the appropriate mix of fun family fantasy  and inimitable Palladium knowing naughtiness. In fact, it was an alumnus from last year’s Palladium Panto, Robin Hood, who grew into this year’s Prince Peter of Pimlico, Amonik Melaco; a confident jump towards stardom with some terrific material about how he got the job. I was surprised that Mr Clary didn’t remark on what a good fist he made of it.

He is matched by a charming performance by Emily Lane as the super-goody Princess Aurora; but it is a mark of the Palladium Panto that they are the least two important characters in the entire show. It’s really a showcase for individual stars to come out and do a routine in the Grand Old Tradition of the Palladium Revue – perhaps nowhere illustrated better than in Dave Knox’s couple of minutes of fire-eating as Master of the Royal Flame.

However, I’m sorry to say that it’s not all Cakes and Ale. In the first half, some of the script seems a little underpowered, and scenes rather peter out into nothing. I went into the interval feeling that this year’s show was a little forced and flat. Things cheer up enormously in the second Act, including a very jolly Twelve Days of Panto routine, Paul Zerdin’s mastery of ventriloquism with two hapless punters from the audience, and lots of Evita references, including an inspired moment with Nigel Havers on the balcony.

In addition to the usual fare of endless opportunities for Julian Clary to be outrageous and Nigel Havers to be ridiculed, much of the show relies on the increasingly National Treasure-to-be Rob Madge providing a theatrical conduit between the audience and the stage as The Diva of Dreams, and they are fantastic as always. New recruit Jon Culshaw makes us shudder with terror at his impersonations of both Donald Trump and Keir Starmer, although, personally, I think he should drop the Martyn Lewis.

Much of the success of the Palladium panto relies on how well the big guest star takes to the challenge. Whilst comparisons are odious (but I always do them anyway) Catherine Tate is among the best of the bunch. She relishes the campy cruelty of playing Carabosse, with an enviably callous vocal delivery. The show is dotted with appearances from some of her favourite characters; her sketch based on gay-denying Derek in the first Act doesn’t really work, but the appearance of am I bovvered Lauren near the end works very well, but the best moment in the show comes with Nan Taylor fronting the ensemble in a rousing rendition of Queen’s Don’t Stop Me Now. There’s no doubt that she received the biggest cheer from the audience.

Enormous fun and some tremendous routines – just a shame they spent so long getting going with all that tenth anniversary material! At time of writing there are just sixteen tickets left for the last five performances, as it closes on Sunday 11th January. But we are promised a new Panto for 2026-27, so hurrah for that!

4-starsFor They’re Jolly Good Fellows!

Review – Robin Hood, London Palladium, 29th December 2024

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Attending the annual pantomime at the London Palladium has been a highlight of my year since childhood, and as the years go by that excitement has let up not one jot. For Christmas 2024, Crossroads Pantomimes have given us Robin Hood, and of course no expense has been spared to make this even more lavish, spectacular, colourful and, let’s face it, excessive than previous years.

This is the first time that perennial pleasure Julian Clary has ever embodied the eponymous character role at the Palladium panto. He’s still as delighted as ever to receive a warm hand upon his entrance, but he yields top billing to Channel 5 Cruising Superstar (I think that’s how he announces her) Jane McDonald, who, as Maid Marion, brings her own special musical magic to the show.

Most of the other usual suspects are there – Nigel Havers, getting progressively more teased every year about appearing yet again (at his age, I ask you), Paul Zerdin (plus Sam) getting the kids on his side (we’re all kids at the Palladium panto), as well as more recent treasures Charlie Stemp and Rob Madge. Missing in action this year is Gary Wilmot (currently to be found in the company of Robert Bolt’s Man for all Seasons as the Common Man touring to a theatre near you shortly) but instead we are blessed with the vivacious and officially fabulous Marisha Wallace as the Sheriff of Nottingham and the whopping great presence of Tosh Wanogho-Maud as the mischievously cast Little John.

Sometimes the Palladium pantos make some kind of narrative sense; sometimes they’re just a serving suggestion of a story. This year most of the plot makes hardly any sense at all, but nobody minds. I can’t remember what the excuse for the 3D sequence is, but it is very exciting – Straight Outta Disneyland, in fact. And there is a ten-part If I were not upon the stage something else I’d rather be fugue sequence performed as exquisitely as ever by Messrs Clary, Stemp, Havers, Zerdin and Wanogho-Maud, and is the true highlight of the show; what Little John does with his truncheon is, frankly, obscene, but hilarious. The other standout moments for me are Jane McDonald singing You’re My World from her castle dungeon – an immaculate song sung immaculately – and Charlie Stemp leading the villagers with a rousing Sherwood Forest version of Chitty Chitty Bang Bang’s Me Old Bamboo.

But I must be honest, gentle reader; something about this panto doesn’t quite gel, and, amazing to relate, this was the only one of the four shows I saw over the Christmas period that didn’t get a standing ovation – something you would normally expect as automatic for the Palladium panto. Because Robin Hood doesn’t end with a Royal Wedding (unusual for a Panto), the curtain call comes along as something of a surprise, and I don’t think theaudience is ready for it; you feel like there should be just one more scene somehow. And certain aspects of the show don’t quite land as well as they normally do. For me there is a certain degree of miscasting this year and a couple of performers who are at the top of their careers just didn’t feel comfortable in some of their scenes. And there isn’t enough Sam! We welcome Mr Z  (as Will Scarlet) on stage many times but rarely in the company of his other half.

Don’t get me wrong, this is still a hugely enjoyable and all-round gigantic production, full of music and laughter; but for me it wasn’t quite up to the same high standard as previous years. You won’t keep me away from next year’s production though!

 

4-starsFour They’re Jolly Good Fellows!

Review – Peter Pan, London Palladium, 29th December 2023

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Ah, the Palladium pantomime. One of the highlights of the year. An event steeped in nostalgia and ritual, on as well as the expectation of a great night out of laughter and fun. My first Palladium panto was in 1969 with Jimmy Tarbuck in Jack and the Beanstalk; and although I grew out of the routine as the teenage years drew on,I couldn’t wait to get back into the habit when the Palladium pantomimes started up again in 2016. I always target the same seats if possible; I always treat Mrs Chrisparkle to a bottle of the old Taittinger; and of course I always take out a second mortgage to pay for a programme. A man’s gotta do what a man’s gotta do.

This year Crossroads Pantomimes, under the esteemed leadership of writer and director Michael Harrison, brings us Peter Pan; with the Palladium panto’s uniquely eclectic slant on J M Barrie’s timeless original. To be fair, we do have three Darling children (and one of them does indeed look like Jacob Rees-Mogg).We do have Nana the dog, Tink the fairy and, of course, Peter Pan the boy who never grew up. And we do have Captain Hook and a crocodile; although it’s never explained why the former is so scared about the latter. There’s a host of vagabond pirates, although I can’t imagine Barrie would have envisaged the likes of Julian Clary, Nigel Havers and Paul Zerdin as bloodthirsty cut-throats. Nor did he immortalise Captain Hook’s mum. I guess that’s panto for you. Oh yes it is!

This year they’ve rewritten the definition of lavish. For sheer levels of costuming, sets, colour and wow factor, this show takes the roof off. Everything looks and sounds stunning; in modern parlance, every scene identifies as a finale. The costumes for the curtain call alone would probably have broken the budget for lesser shows. Greg Arrowsmith leads a sizeable band of merry music makers through many a high energy number,and there are all the usual elements you would expect, from Gary Wilmot’s patter song, the slapstick routine (this time, A Sailor went to Sea sea sea), Paul Zerdin singing with kids from the audience Three Smart Fellas they felt smart, and the ritual humiliation of Nigel Havers. It all works swimmingly well.

As always, the star of the show is Julian Clary, but he naturally takes second billing to the year’s guest star, who this year is Jennifer Saunders as Captain Hook and what a knock out she is. I feared she might just phone it in, like another big star we once saw at the Richmond panto, no names no pack drill, but no. She was gloriously malevolent right from the startand sent herself up something rotten. When she disguises herself in order to trick Peter Pan and the children, it’s a stroke of genius that she turns into Edina from Absolutely Fabulous, littering her speech with all the insincere sweetie darlings you could possibly imagine, and, frankly, it’s hysterical.

Also returning from their big hit as last year’s cow in Jack and the Beanstalk, Rob Madge is perfect as Tink (they’ve dropped the erbell because who needs it), hugely possessive of Peter Pan because they’re head over heels in love with him, thus bringing Tink’s mischievous jealousy of Wendy sharply into 21st century focus. Rob Madge is fantastic at the song and dance, and I hope the powers that be continue to bring them back year after year.Zippo Circus’ Timbuktu Tumblers make an appearance with some fun acrobatics and prove that the limbo dance is still a thing. Frances Mayli McCann rises to the challenge of playing up her Scottishness to create a Gorbals Wendy, mainly so that Mr Clary can act as a translator for the audience. She and Louis Gaunt make a good partnership as Wendy and Peter, musically strong and doing their best to cling on to the wreckage of their characterisations in the face of a Clary-style onslaught.

And, of course, Julian Clary is terrific in this show, as he inevitably is; the raconteur of multiple entendres not just double ones, model of extraordinary outfits, barely ever in character, ruling the roost supreme. He pays tribute to his late friend and colleague Paul O’Grady that is entirely appropriate and never mawkish. No opportunity is missed for him to shower us with salacious comments, and he always gets a warm hand on his entrance.

Peter Pan is a classic Palladium panto, triumphant from the word Go. Why you’d take the kids with you though, I haven’t a clue. Dazzling us until 14th January, and we’re already being lured into the prospect of a 2024 panto in December. Can’t wait!

Five Alive, Let Theatre Thrive!

Review – Jack and the Beanstalk, London Palladium, 30th December 2022

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I never lose track of the thrill and the indeed the privilege of attending a performance at the London Palladium. Going through those glass doors instantly gives you a feeling of invigoration, of importance, and of being part of decades upon decades of sheer entertainment. As I was growing up, the Palladium always meant the pantomime, but also the home of revue – from To See Such Fun with Tommy Cooper and Clive Dunn, to the Tommy Steele Show, to The Comedians, to Larry Grayson in Grayson’s Scandals, to the Sacha Distel Show (appearing with the then love of my life, Lynsey de Paul) And then the big musicals – Barnum, Singin’ in the Rain, La Cage aux Folles, Chitty Chitty Bang Bang, the revival of A Chorus Line, and now full circle to the annual return of the Palladium panto. Good or bad, you can never be indifferent to what’s going on at the Palladium – and long may it remain so.

Last year there was a plucky attempt to bring back panto to the post-Covid Palladium, with Pantoland, but it’s great to have a proper full-scale panto back here again, even if it is yet another production of Jack and the Beanstalk, although, for obvious reasons, this version is very different from the others around the country. The usual suspects of Julian Clary, Paul Zerdin, Gary Wilmot and Nigel Havers return (and it wouldn’t be the same without them), this year with Dawn French on her second Palladium panto, the exquisite voice and presence of Alexandra Burke, and upcoming musical theatre star Rob Madge. It’s always bizarre (but traditional) that the roles of Jack and Jill (Louis Gaunt and Natalie McQueen) almost appear as afterthoughts; that’s just the way it is, except that there wouldn’t be a story without them!

Technical highlight of this year’s show is without doubt the beanstalk – and I’m not being pejorative about the rest of the show! This is the most auditorium-invading, skyscraper-forming, neckache-inducing slice of vegetation in a theatre since Audrey II had too much to eat in Little Shop of Horrors. And having Jack climb up it is a terrific idea. We were seated pretty near the beanstalk and it’s a shame that the illusion kind of ends with a view that few people would have had, namely Jack dangling around at the very top of the auditorium, waiting for that final pull that would yank him through the roof and into safety. But it’s still a great effect.

Naturally, Mr Clary appeared in a sequence of outlandish garments, and if there hadn’t been a double-entendre for a few minutes, he’d give us one. His badinage with all the cast – and indeed the audience – is a thing of beauty and a joy forever and is pretty much worth the (expensive) ticket price on its own. Mr Wilmot – of course – did another of his list songs, this year about diseases and ailments, and is always a great laugh. Among the new elements thisyear, my favourite was probably Rob Madge as Pat the Cow, a West-End Musical-obsessed bovine, who had me in hysterics with their version of that Les Miserables classic, I Creamed a Cream.

There’s no questioning the production values of a show like this – literally, no expense is spared and it’s a pure onslaught of pizzazz from start to finish. As always, enormous fun, and don’t bother bringing the children.

4-starsFour They’re Jolly Good Fellows!

The Edinburgh Fringe Full Monty (nearly) – Day 14, 18th August 2022

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How about a list of today’s shows?

Here’s the schedule for 18th August:

10.00 – Shakespeare for Breakfast, C Arts C Venues C Aquila. From the Edinburgh Fringe website:

“The Bardic Breakfasters are back! C’s sensational Shakespearience returns for our 31st Fringe, with free coffee and croissants! A pleasing plethora of pentameter, puns and pastry. Perfect for hardened fans of the Bard and blank verse virgins alike. ‘A bouncy and boisterous take on Willie’s work’ (List). ‘Well worth getting out of bed for’ (Independent). ‘No holds Bard (FringeGuru.com). ‘Irreverent humour… clever’ (Stage). ‘Side-splitting… glorious’ (BroadwayBaby.com). ‘Full of fun’ (RemoteGoat.com). ‘Sizzling’ (Scottish Daily Express). Free coffee and croissants! Book early.”

Starting off with an old favourite, Shakespeare for Breakfast is consistently one of the funniest shows of the Fringe and never fails to make you laugh your socks off. Don’t know which of the Bard’s works will be this year’s target – but it’s gonna be good.

UPDATE: Oh dear, oh dear, oh dear. The fabulous four who brought us Shakespeare for Breakfast are no longer here, instead they have sold the brand to three others whom I doubt saw the originals. Comparisons are odious, but sadly this isn’t a patch on the previous product. SFB used to be thrilling, outrageous, nonsensical, hilarious. This is very polite, subdued, and strangely disengaging. It doesn’t help that very few people are familiar enough with The Winter’s Tale to enjoy the comedy of recognition. A few nice ideas and comedy songs but it left us cold I’m afraid. ⭐️⭐️

11.30 – Accost Your Imposter and Empower Your Power: An Interactive Life Coaching Seminar With Genevieve de Beauvoir, Just the Tonic at the Mash House.

“Troubled? Weak? Feel like a fraud? Good. Genevieve de Beauvoir is a fully-qualified life coach* and will be launching her exciting new e-book on imposter syndrome at the Fringe! Imposter syndrome is a clinical lifelong brain disease that affects at least 100% of women and occasional men. In this seminar, Genevieve will offer heart-healing, interactive** life coaching for any audience members with imposter issues and other shameful flaws (incest and hygiene problems are not in her remit). *Certificate available upon request. **To an extent.”

Potentially the longest title of the Fringe, I’m looking forward to this mock psycho-session (assuming that’s what it is!)

UPDATE No 1: Sadly, at 11:50 Ms de Beauvoir hadn’t shown up and the staff at the Mash House told us to apply to the Box Office – progress pending. So instead we booked tickets to see Benji Waterstones “You Don’t Have to be Mad to Work Here”. Always important to be flexible at the Fringe!

UPDATE No 2: Benji read us passages from his to-be-published book; some were very funny, some kind of went nowhere. With the best will in the world, and fully aware this was work in progress, we weren’t entirely sure there was a show to be created here. Hope we’re wrong. ⭐️⭐️

14.20 – Speed Dial, Pleasance Dome.

“Amongst the spires, spikes and sideburns of a 1970s university, a lonely Professor awaits a call. When he’s chased by the ringing of every passing phone, an ominous voice sets a series of mysterious puzzles that stand between him and his missing daughter. Dodgy deans, grumbling groundskeepers and swotty students are suspects as the Professor capers across campus to uncover whodunnit and why. Set to the sounds of 70s vinyl, multi-award winners Spies Like Us bring their explosively physical comedy-thriller about connection, forgiveness… and cryptic crosswords. ‘Singin’ in the Rain meets Hitchcock’ **** (TheReviewsHub.com).”

Sounds like a fun comedy caper – so I’m giving it the benefit of the doubt with a punt.

UPDATE: Firstly the music is great. The show itself is very original, with very committed performances and the crossword solving aspect of the show was entertaining. However, the play itself was very tiresome, incredibly complicated and extraordinarily and unnecessarily noisy! ⭐️⭐️

16.15 – Rob Madge: My Son’s a Queer (But What Can You Do), Underbelly George Square.

“When Rob was 12, they attempted a full-blown Disney parade in their house for their grandma. As Rob donned wigs and played Mary Poppins, Ariel, Mickey Mouse and Belle, their dad doubled as stage manager, sound technician and Goofy. This is the joyous, chaotic, autobiographical story of actor, writer and social-media sensation Rob Madge as they set out to recreate that parade – and this time, nobody, no, nobody is gonna rain on it. Winner of What’s On Stage’s Best Off-West End Production 2022.”

I’ve heard great things about Rob Madge and his show, so it was a no-brainer that we have to see this for ourselves!

UPDATE: With a powerful voice and a huge personality Rob Madge is a star in the making! A feelgood journey through the trials and tribulations of his childhood, accompanied by vhs footage of his living room shows, aided and abetted by his tireless dad. Very entertaining and rewarding! ⭐️⭐️⭐️⭐️

19.00 – Hamlet with Ian McKellen, Ashton Hall, St Stephens, Stockbridge.

“Ian McKellen and Peter Schaufuss will collaborate and perform together at the Edinburgh Festival Fringe in the world premiere of Hamlet with a whole new performance concept, adapted from William Shakespeare’s play.”

Surely the hottest ticket of the Fringe! Let’s hope it delivers everything it promises.

UPDATE:Ignore those 2* reviews. They clearly don’t understand the concept of Ballet. This is a stunning piece, superb choreography, meticulously danced, that tells the story of Hamlet clearly and thoroughly. The Prince of Denmark is split into two: one, the vocal nervous wreck played by McKellen, the other, the man who moves, played by an extraordinary dancer. I particularly loved Ophelia’s dances, and Rosencrantz and Guildenstern are a delight. Fabulous lighting and sound too. My toes curled with pleasure throughout! ⭐️⭐️⭐️⭐️⭐️