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Review: Snow White and the Seven Dwarfs (Marlowe Theatre)

Review by Dan Ghigeanu

 

⭐️⭐️⭐️⭐️⭐️

 

There’s something unmistakably festive in the air once December rolls around, the crisp bite of winter, the growing panic of last-minute gift shopping, and the looming dread of that one unpredictable family member at Christmas dinner. But for theatres up and down the country, it means something else entirely, pantomime season. The moment when glitter cannons, outrageous costumes, and ‘he’s behind you!’ become not just acceptable but expected. Written and directed by Paul Hendy, the Marlowe pantomime has developed something of a legendary reputation, known for combining tradition with slick production values, razor-sharp comedy, and a commitment to absolute family-friendly chaos. This year’s offering promises magic, mayhem, and a whole lot of heart. The question is, does it deliver a festive feast, or is this apple a touch too bruised?

 

Once the show begins, Hendy’s signature style becomes clear, this is Snow White as you know it but served with a uniquely Marlowe twist. Bigger jokes, brighter colours, and that unmistakable blend of tradition and contemporary irreverence. It’s faithful enough to the story to keep the little ones happy, and cheeky enough to keep the adults laughing just as loud, if not louder.

 

The production is full of memorable highlights from a certain traitorous comedian playing the mirror via video recording to the fan favourite ghost bench number, which has become a Marlowe tradition and is treated with the energy and affection it deserves. Musically, the show is packed with an eclectic assortment of numbers, spanning musical theatre, pop, and classic crowd-pleasers. One of the evening’s most unexpected delights is “Where I Wanna Be” from Boop! The Musical, performed exquisitely by Mia Kobayashi as Snow White. Kobayashi’s voice is crystal-clear, expressive, and effortlessly commanding, an ideal fit for the fairytale princess who never once feels overshadowed by the comic chaos around her. The duet between Snow White and Kane Oliver Parry’s Prince Charming, “Can’t Take My Eyes Off You,” is another undeniable highlight. Their chemistry is sweet without being sickly, and Parry brings an earnest charm that complements his vocals beautifully.


 

The choreography by Ebony Clarke is another triumph, sharp, playful, and full of personality. Each ensemble moment is executed with precision and vibrancy, breathing life into every corner of this technicolour world. If pantomime is defined by spectacle, then this production delivers it by the sleigh-load. The costume design by Morgan Brind and Amy Chamberlain is a riotous parade of colour, glitter, oversized silhouettes, and clever visual gags. The finale costumes in particular are a dazzling feast for the eyes, each one more extravagant than the last. The set design by Morgan Brind is equally enchanting. There’s a palpable sense of magic in every backdrop, every forest, every castle corridor. It feels like stepping straight into a storybook, one illustrated with bold lines and even bolder imagination.

 

Mia Kobayashi’s Snow White is an enchanting mix of sweetness, sincerity, and strength. She carries herself with the poise of a classic princess but sings with the conviction of a modern leading lady. Kane Oliver Parry’s Prince Charming is equally delightful, funny, slightly self-aware, and blessed with a voice strong enough to cut through even the wildest audience participation. Sarah Hadland sinks her teeth into the role of the villain with relish, delivering a wickedly joyful performance capped off with a show-stopping Act II number that will no doubt stir envy in a certain wicked witch. Her villainy is delicious rather than frightening, pitched perfectly for the family audience while still giving the adults something to savour. The seven dwarfs are a constant delight, funny, lively, and bursting with personality. Liam Roche’s Kevin steals moment after moment with impeccable comic timing and natural charm.


 

But the beating heart of this production is its comedic trio, Phil Gallagher as Muddles, Marc Pickering as Herman Von Badapple, and the incomparable Ben Roddy as Nurse Nellie. Gallagher radiates joy, his energy is infectious, and his connection with the audience is instant. Pickering delivers a masterclass in physical comedy, elastic, expressive, and impossible not to laugh at. But it is Ben Roddy who emerges as the standout of the entire evening. As Nurse Nellie he is simply larger than life, commanding the stage with total confidence, weaving jokes, improvisation, and pure panto mischief together with absolute ease. He doesn’t just play to the audience, he plays with them, and the result is a performance that feels both effortless and monumental.

 

The “ghost bench” number is a highlight not just of the show but of the entire panto season. Performed in honour of beloved Marlowe Panto Dame Dave Lee, it’s a perfect blend of slapstick, nostalgia, and audience participation. When the entire theatre joins in, cheering, gasping, screaming, it becomes clear why this sequence has become a treasured part of the Marlowe’s panto legacy. It’s joyful, chaotic, and bursting with heart.


 

So, did Snow White and the Seven Dwarfs live up to its promise? Absolutely. This is panto at its finest, lavish, loud, heartfelt, and unapologetically fun. For a first-time panto-goer like myself, it was a revelation. For seasoned fans, it will no doubt be another cherished chapter in the Marlowe’s festive tradition. If you’re looking for a reason to smile this Christmas and let’s be honest, who isn’t? This panto might just be the fairest of them all.

 

Snow White and the Seven Dwarfs plays at the Marlowe Theatre until January 11th

 

 

Photos by Pamela Raith

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