Pantomime

The Wizard Of Oz At The Regal Theatre This Xmas Dec 12th – 24th

Feature-The Wizard of Oz

Zealous Productions proudly returns for its fifth consecutive year of delivering festive theatre magic to Perth families. This year, the company unveils a brand new Christmas pantomime, The Wizard of Oz, opening 12 December and running until 24 December at the Regal Theatre. Over the last five years, Zealous Productions has created a cherished Christmas tradition for audiences, presenting a fresh and uplifting production each season. Since launching its annual pantomime series, Zealous Productions has welcomed tens of thousands of families through the doors of the Regal Theatre, offering joyful, memorable theatrical experiences that signal the beginning of the festive season for many. The Wizard of Oz continues this tradition with vibrant performances, playful comedy, engaging storytelling and music that fills the theatre with Christmas spirit.

At the helm of the creative team is director Brendan Hanson, who captains a group of leading Western Australian artists and designers. Brendan brings heartfelt storytelling, warmth and a strong focus on character to the production, shaping the overall tone and guiding the entire creative vision. Working alongside him is musical director Joshua James Webb, creating a rich and uplifting musical landscape, and choreographer Allen Blachford, whose energetic, character driven movement fills the stage with charm, personality and visual impact.

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Brendan leads a wider creative team that includes costume designer Katie Williams, whose detailed and expressive costumes bring the world of Oz and its characters to life, sound designer Dave Keys, shaping the audio experience for both music and effects, and lighting designer Ciaran Russel, crafting atmosphere, colour and focus throughout the production. Together, this team ensures that every element supports the story, the humour and the heart of the pantomime.

At the heart of Zealous Productions is a culture grounded in respect, love and genuine care for every member of the company. Producer Dixie Farinosi places strong emphasis on nurturing an environment where artists, technicians and creatives feel valued, supported and heard. This sense of connection and kindness underpins the way Zealous works and is reflected in the warmth and generosity audiences experience on stage.

“Creating a place for families to return to year after year has become one of the most rewarding parts of our work,” Farinosi said. “We love seeing children come back with their families, building memories around our pantomimes. The Wizard of Oz is filled with heart, humour and wonderful moments that keep this tradition thriving, and our company culture is the foundation that allows us to create with confidence and joy.”

Audiences will travel with Dorothy as she journeys through the magical world of Oz, meeting colourful characters, clever twists and lively musical moments along the way. With local humour, warm storytelling and strong ensemble work, this production promises an unforgettable festive outing for the whole family.

SHOW DETAILS. https://premier.ticketek.com.au/shows/show.aspx?sh=OZXMAS25 Venue Regal Theatre, Subiaco Dates 12 December to 24 December 2025

 

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Tooth Fairy Godmothers, Insta-Fame & Laughter: A New Cinderella

Cinderella With A Twist

Cinderella With A Twist Rating

★★★★★

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Nothing says Christmas quite like a panto! For some people, Christmas is about certain smells or images; for me, it’s Pantos. And judging by the English accents in the audience, I’m not alone. My daughter and I had been practising all week—by which I mean I would shout “he’s behind you!” or “oh no you didn’t!” at random intervals throughout the day. These were mostly met with side-eye, but let it never be said I arrive unprepared.

Jane Sherwood has done a magnificent job directing Yvette Wall’s pantomime. I’ll admit I wasn’t sure how Cinderella would fare in 2025. How do you keep the tradition of male performers playing the ugly stepsisters while still supporting the LGBTQIA+ community? I’m relieved to say they handled it beautifully, and Kevin Winder (Monsterosa) and Clayton van Dijk (Groteska) were fabulous.

The whole cast was outstanding. I have to give a special mention to Siobhan Fowler (Stella Starlet), whose performance as the Russian ballet mistress was perhaps a little too convincing—I had some unexpected ballet-school trauma flashbacks. As I flicked through the program after the show, I kept thinking, “Oh, they were great!” “She was fantastic!” “He was awesome!” and “How did I not realise she played the Fairy Godmother and Kimmy K?” The Evil Stepmother (Candice Preston) nailed the role, and Savage the Cat (Sarah Christiner) prompted a running commentary from my daughter: “Yeah, that’s not creepy…’ ‘Yeah, that’s not creepy at all.” I shouldn’t have started listing cast members, because truly, they were all amazing—and I’m already over my review word count.

 

Cinderella With A Twist
Cinderella With A Twist
Cinderella With A Twist

 

This version of the classic story gives Cinderella a playful modern twist. She’s still bullied by her stepmother and stepsisters, still hidden away doing chores—but instead of a ball, the kingdom hosts a talent show riffing off a certain international competition. The laughter was plentiful, and the “talent” was… well, enthusiastic. What the stepsisters lacked in pitch, they made up for in volume and enthusiasm.

The set design was clever, allowing for quick, effective scene changes—and for anyone still confused, a screen announced exactly where we were, which gave us a giggle.

I’m both glad and slightly devastated that I didn’t receive the program until after the show. The cast look so different out of costume (credit to the costume designer!), and seeing those photos felt like discovering a magician’s secrets. But I do wish I’d read the “feel free to sing along” note beforehand. The songs were so catchy, and I’m sure my daughter and I weren’t the only ones sitting politely when we would’ve happily joined in. So if you’re reading this before seeing the show: you have permission to sing.

If you’ve never been to a panto, here are a few essentials. Audience participation is mandatory. Be ready to boo, hiss, meow (ok, that one is specific to this panto), shout “oh no you didn’t!” and “he’s behind you!”, and generally let loose. You’ll need to know Three Blind Mice and you will need to get up and do the Twist. When the invitation came, my daughter whispered, “Do we have to get up?” and apparently my “Yes—if a child asks you to dance, you dance!” was loud enough that six nearby adults stood up immediately. I stand by it.

Roxy Lane Theatre was filled with wonderful people. From the warm welcome from Chairperson, Kristen, at the door, to the man at the bar hyping everyone up and explaining panto traditions, to the volunteer rushing around stacking extra chairs so kids could see – this was community theatre at its finest. Everyone worked together to make it magical.

Well done to everyone involved. I normally don’t start Christmas activities until the 1st of December, but you helped us kick off our advent adventures a little early this year. Thanks for reminding us of the joy.

To book tickets to Cinderella With A Twist, please visit https://www.taztix.com.au/roxylanetheatre/.

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Alice in Wonderland

Tea Tree Players Presents Shirley Valentine

Alice in Wonderland Rating

★★★★★

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Alice in Wonderland is not an unknown story, loved and enjoyed for its unique and unpredictable storyline. To portray the story through interactive theatre, the Tea Tree Players have assembled a spectacular collection of fluorescent sets, matching props, carefully crafted costumes, and well-considered use of the stage (and audience) to tell their story of Alice and her Wonderland friends. Be prepared to cheer on the heroes’ adventures, boo the decisions of the bad guys … and maybe even be on the receiving end of some flirtatious characters.

You can expect to see the usual characters, along with some welcome fresh faces who easily draw laughter from the crowd. After being introduced to the uptight matron of the “Home for Lost & Unwanted Girls” we follow three of the girls from the home – two of whom have surprisingly deep voices – follow the Dame Edna-esque Cook down the rabbit hole to rescue Alice, who is enchanting in her iconic blue dress as she follows the hopping white rabbit and the adventurous royal gardener. The Cheshire Cat can be seen slinking about the wings, guiding our characters with an elegant purr. The Caterpillar commands the stage while Tweedle-Dee and Tweedle-Dum encourage a sing-along. The Mad Hatter and his sidekick, the March Hare, match energy, while their friend the dormouse squeaks his way into our hearts. Every actor breathes life into their character, even the younger actors whose characters have no lines are noticeable – their costumes fitting in perfectly and their presence unmissable. When it comes to the Red Queen and her hair-raising laugh, she introduces us to the card guards who take everything a little too literally (as well as expertly changing the sets between scenes), and the kind, exposition-giving King. Each character has a memorable line or moment to take away with you after the show.

Alice In Wonderland

The pantomime is a fun-filled, happy ending story, rife with fourth wall breaks and crowd participation, of which the actors expertly encourage and roll with the heckling from the audience. The lighting matches every scene and is timed perfectly with its corresponding scenes – the fluorescent lighting adds an extra layer of Wonderland mystique, especially when you spot the fluorescent props scattered throughout. Both the lighting and music had no missed cues, but on occasion the sound overwhelmed the actors’ voices. Outside of the music trying to steal the spotlight, the actors were well spoken and mostly well heard – a few times the softer spoken actors could’ve projected a tad further, but it was also clear they knew this and were working on it. I look forward to seeing those actors again and seeing how they have improved.

The costumes were handmade, and perfectly suited for each individual character, from the overall fit to the smaller details and sequins. Through the demands of the physical slapstick style, the costumes did not fail the actors and stayed in place with nary a loose thread or zipper unzipping. To pair with the costumes, the makeup was expertly applied, particularly for those with a full face of makeup – be sure to keep your eyes peeled for some small details amongst the makeup and costumes, you won’t be disappointed!

With a well-dressed cast ready to interact with the audience, Tea Tree Players presents a fun night of adventure through Wonderland well worth the interaction.

To book tickets to Alice in Wonderland, please visit https://teatreeplayers.com/production/alice-in-wonderland/.

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Robin Hood: A New Family Musical

Robin Hood

Robin Hood Rating

★★★★★

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If you turn the corner in Malvern’s Central Park in the late morning, you’re greeted by winding ropes cordoning off islands to seat picnic blankets or chairs. You’ll also see set pieces straight from a primary school play: a tiny wooden island and cajón drum, green and brown paint-spattered cloths tied to trees, and details like fake rocks and a shelf of plastic food with the sign SHERIFFS PANTRY.

The team behind Melbourne Shakespeare Company’s Robin Hood uses this sequestered woody space to its fullest to craft a whimsical, ramshackle and original take on a classic story.

Robin (Billy Thomas), Dame Tuck (Jackson Cross) and Little Joan (Lucy May Knight) are going about their usual business of robbing the rich to feed the poor. But when they are caught stealing from the Sheriff of Nottingham (Kaia Reyes), he devises a new punishment: shipping them off to Australia.

There, the merry men, with the help of Bushranger Bruce (Daniel Hillman), must acclimatize to a strange new world and find their way back home. The beginning feels slow and the different scenes are somewhat disconnected and potentially difficult for a child audience to follow, but it was a pleasant surprise to see a slightly different narrative in a panto show.

 

The ensemble is charming and navigates their stage perfectly. Every line is audible, every slapstick gag is visible and tight, and every spectator gets close-up moments with the characters. Lucy May Knight as Little Joan stands out with a bubbly yet sharp physicality that’s perfect for panto.

The world-building was also fantastic at blending a familiar and fun Aussie context into a classic story. The adorable Australian animal puppets were a highlight, while all the pop culture references and self-referential jokes landed well with the adult audience.

Maxwell Simon’s (Muriel’s Wedding) original score is fun and full of laugh-out-loud lines, but there was only one song where the children were directly encouraged to play along. It felt like the whole show missed out on many opportunities for audience participation, and this led to some clear confusion and lost attention among the kids at some points.

While Robin Hood has its moments of missed potential, it’s definitely a worthwhile and unique experience for the theatre-loving family. It’s a scrappy, feel-good show that keeps the much-loved traditions of panto alive in a timeless yet modern story for an audience of all ages.

To book tickets to Robin Hood, please visit https://www.melbourneshakespeare.com/robinhood

Photography: Sare Clarke Photography

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