Review: Robin Hood (Birmingham Hippodrome)

Review by Raphael Kohn

⭐️⭐️⭐️⭐️ 

While some pantos across the country may be shutting down at the close of the festive season, the Birmingham Hippodrome is still hosting pure theatrical chaos for another few weeks. After all, why not? The crowds are still pouring in, families are still being entertained, and the cast on stage genuinely seem to be having a good time. It’s not hard to see why; as usual, it’s a boat-load of fun, crammed full of music, slapstick, and one or two (or hundreds) of jokes for the adults as well.

This year, Birmingham’s gone for Robin Hood. Or rather, Birmingham’s taken last year’s panto from the London Palladium and transplanted it into the Hippodrome with a Brummie makeover. That’s hardly a bad thing though; they’ve taken a great, critically-acclaimed pantomime, brought it outside of London, and re-worked the script to appeal to local viewers (complete with plenty of jabs at Birmingham City Council and the ongoing bin strike). The result is a glitzy, glamorous show that lights the gorgeous venue up with energy, and who could possibly dislike that?

In true panto fashion, it barely even follows the plot of Robin Hood, save for some silly heroics from Birmingham’s very own Matt Slack in the titular role and some camp villainy from Matt Cardle as the Sheriff of Nottingham. The fairytale is simply a vehicle for skits and songs, mocking local celebrities and parodying pop hits, and somehow making its way to the end of the story by the time two hours are up.

The music is, actually, rather excellent throughout. Yes, it’s the usual series of parodies that make up a panto, but it’s been pretty tremendously worked into a theatrical score by Gary Hind and Robert Wilis, elevating it into genuinely enjoyable musical territory. Paired with Karen Bruce’s energetic choreography (you wouldn’t believe what this cast is getting up to eleven times a week!), it makes for a very exciting evening indeed.

Bruce also serves as director, infusing life and sparkle into the show at a breakneck pace. If any of the jokes don’t land, it’s only because the audience are laughing so hard at the last one, they can’t hear the performers over the sound of their own laughter. That’s also thanks to Matt Slack and Harry Michaels’ hilarious script, packed to the brim with jokes at one of the fastest gag rates I’ve ever experienced in the theatre. Nothing and no-one is safe, especially not the cast on stage, from Slack and Michaels’ barbs – and nor should they be. This is a panto, after all.

Like all good pantos, there’s just as much for the kids as for the adults. For the kids, there are stunning visuals, slapstick falls and chances to interact with the performers. For the adults, there are… well, there are a lot of penis jokes. More than I can count. More than you’d think would be allowed to say in front of children. But that’s the fun of it all, because it all goes over the kids’ heads and gives the adults in the audience a howler of an evening. It’s pure, utter filth, and I wouldn’t want it any other way.

Most of that is Slack’s fault, who not only co-writes the script but also stars as Hood himself. With a definitively pelvis-forward performance, his Hood is crude, rude, and utterly hilarious. Many of the silliest moments come with Gok Wan’s appearances onstage, however. His pairing with Slack is a comedic match made in heaven, timed to perfection and chock-full of innuendo. Perhaps some of the interactions between the two rely slightly too heavily on showing us just how close friends they are, cracking up at mistakes that may well be carefully rehearsed in, but it all adds to the fun in the end.

As all good pantos do, there are the star performers – this year in Birmingham, Steps’ Faye Tozer steps into the role of Maid Marion. She is, expectedly, brilliant, making the most of her opportunities to belt out some of Steps’ greatest hits, but also demonstrating immaculate comedic timing throughout. The panto villain this year is Matt Cardle, making the most of the audience’s boos, with the cast rounded out with a special appearance from Christopher Biggins, who is enjoyably sidelined throughout.

Just as its Palladium predecessor production did, Robin Hood has exceptionally high production values; Mark Walters’ psychedelic set is full of tricks and surprises, lit bombastically by Rory Beaton, completed with Teresa Nalton’s expensive-looking costumes. It all makes for a raucous evening out, with celebrity guest stars powering a relentlessly chaotic two hours that looks, and sounds, incredible. It’s lucky that the Hippodrome’s pantos run into the beginning of February each year – it just means there’s more time for everyone to enjoy this theatrical anarchy with their loved ones.

Robin Hood plays at the Birmingham Hippodrome until 1^st February 2026. Tickets from https://www.birminghamhippodrome.com/calendar/robin-hood/

Photos by Paul Coltas