The Wizard of Oz – A Traditional Christmas Pantomime

The Wizard of Oz - A Traditional Christmas Pantomime

The Wizard of Oz – A Traditional Christmas Pantomime Rating

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Zealous Productions yearly pantomime must be Perth’s best kept secret and this year’s The Wizard of Oz is no exception. Housed at Subiaco’s Regal Theatre and in their fifth year – I’m surprised that this show is not getting more press!

I can’t sing high enough praises for this team who are all West Australians; seeing a show like this makes my job easy as a theatre reviewer. It made me proud to be a West Australian and see the home grown, grass roots creativity they are bringing to our stages. What I also loved while reading the 16 strong casts biographies was that many themselves are also creating their own work, which I believe is a must as a performer. They are not merely pawns who are part of an industry but passionate performers who are creating with their heart and soul.

As the curtains raised, I knew that the show was going to be good when I heard the claps and shouts from their loyal and yearly returning audience. It was clear that the audience knew what was coming and they were just as excited as the performers to be part of this year’s pantomime. We were encouraged to cheer for goodies and boo for the baddies and oh was it fun!

Audience involvement in a pantomime is such a necessity and Zealous Productions nailed this. There was a point in the production that they had literally everyone (yes everyone!) in the audience on their feet dancing to the Time Warp. It felt like I was at a family party yet I was really in a theatre with over 500 other strangers. There is nothing like the energy and connectivity cultivated by artisan performers and it leaves you so invigorated and buzzing.

Their cast was truly a strong cohesive team not to mentioned incredibly professional and talented. With most graduates of NIDA, WAAPA, VCA or with substantial experience, it was unsurprising how perfect this production was. Director Brendan Hanson had a talented team to work with but there was no doubt he is just as talented with a spectacular final product.

 

 

Special mentions go to Maree Cole as the awful Wicked Witch. I know Maree’s work and as someone who has been around for years – she is like a fine wine – she keeps getting better with age!

In her professional theatre debut Jayda D’Agostino was impeccable as Dorothy. Vocally beautiful to listen to, she was equally mesmerising to watch with her bright and sunny characterisation.

My seven year old daughter’s favourite character was the Scarecrow played by Noah Connelly. I can see why – with his amazing physicality; cartwheeling, jumping and flopping across the stage he was a spectacle to be watched.

Of course a favourite of all pantomimes is when we have a cross dressing character. Aunty Em/Glinda played by Chris Gerrish did not let us down. Incredibly quick witted and sharp with his jokes, I loved his hilarious vocalisation and overall big stage presence.

Another highlight was the tap dancing ensemble – how wonderful to see this on stage. Something you rarely see these days – especially not in Perth! It made me want to take up tap lessons again and maybe I just will!

Overall this production exceeded my expectation again and again. They really were at such a high and professional level with everything from the sets (the use of projection was really clever and visually very pleasing), use of a live band (this always tops a production for me) and the bright and fun costuming.

Zealous’ pantomime really should be apart of your yearly Christmas tradition, because if it’s not your missing out!

The Wizard of Oz runs from December 12 – 24th 2025 at the Regal Theatre in Subiaco.

To book tickets to The Wizard of Oz – A Traditional Christmas Pantomime, please visit https://premier.ticketek.com.au/shows/show.aspx?sh=OZXMAS25.

Photographer: Stephen Heath Photography

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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.

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.

 

 

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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Carol: A Story of Strength, Spirit, and Sack Daddy

Carol

Carol Rating

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Andrea Gibbs’ Carol is pitched as following 60-year-old Carol as she fights to keep the Christmas spirit alive. While that’s certainly part of it, this five-actor show (with oh-so-many characters) delivers a timely and poignant social commentary on the reality faced by so many older women in Australia today. Even as Carol’s world unravels and is turned upside down, she continues to shoulder the mental load—something that resonated with many women in the audience.

The play’s themes of hope, resilience, and a woman’s ability to pivot shine through. Gibbs has been called a visionary playwright, and it’s clear this work was written by a woman. No matter what life throws at Carol, not once does she turn to a man and ask, “What’ll we do now?” She simply gets on with making the best of a bad lot.

The cast is exceptional. Sally-Anne Upton embodies the title role with heart and honesty, and the remaining ensemble (and backstage crew) switch roles with astonishing ease. At one point, Isaac Diamond morphs from therapist to son right before our eyes—I must have blinked, because the transformation was total but somehow I missed it actually happen.

 

 

The show itself is delightfully hard to categorise. Woven through its heart-wrenching, resilience-filled narrative is the most Aussie humour, including the antics of Santa—aka Sack Daddy—who opens the show with some enthusiastic audience participation (I’ve never been more relieved not to be in the first few rows). There’s plenty of laughter, and a healthy serve of colourful Aussie descriptors that rightly earn the production its explicit-language warning. Musical Director and Composer Jackson Harper Griggs sets the tone beautifully with original compositions; the music is a genuine highlight.

I can’t go past the set design. Bruce McKinven has outdone himself as set and costume designer, crafting a series of spectacular visuals. Walking into the Heath Ledger Theatre felt like stepping straight into the Australian landscape—each painted curtain backdrop richer and more evocative than the last.

Carol sits perfectly in that sweet spot between light and dark, humour and heartbreak. Congratulations to everyone involved.

Shows: For more information, visit the Black Swan website https://blackswantheatre.com.au/season-2025/carol. The season runs until 14 December and includes accessible sessions—audio description with tactile tour, Auslan-interpreted performances, and captioned sessions.

To book tickets to Carol, please visit https://blackswantheatre.com.au/season-2025/carol.

Photographer: Daniel J Grant

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