Review: POTTED PANTO, Wilton’s Music Hall

Potted Panto returns to Wilton’s Music Hall for a triumphant third season and once again confirms why it remains a beloved fixture of the festive calendar. Presented by James Seabright in association with Wilton’s Music Hall, this Olivier Award-nominated whirlwind offers seven pantomimes in a brisk eighty minutes, carried by the endlessly energetic duo Daniel Clarkson and Gary Trainor. Their chemistry is instant and infectious, powering a production which thrives on slapstick, satire and affectionate irreverence.

Clarkson and Trainor open the evening by setting out their rules of pantomime with a knowingly chaotic edge, debating which classic tales deserve a place in their line up. Ideas of K Pop Demon Hunters are quickly discarded and the pair embark instead on seven core favourites, despite much dispute between them.

Their journey begins with Jack and the Beanstalk which sets the tone with its giddy pace and well pitched misunderstandings. A moose is mistaken for a golden goose, a debate erupts over who the real hero is given Jacks less than noble actions, and the audience is invited to suspend its disbelief as the story merrily skips the beanstalk. The rapport between the performers is strong which allows their mock rivalry to shine through in a series of height jokes, misplaced affection and competitive one upmanship.

Dick Whittington follows with a generous serving of double entendre which keeps the adults entertained while younger audience members remain blissfully unaware. The traditions of pantomime emerge in full force with spirited calls of “oh no he isn’t” and “oh yes he is”. Clarkson has a riot as both cat and rat while the production leans playfully into red hot pants, streetwise swagger via the Tom cat and well timed references to global politics and pop power anthems. A talented fairy appears with charming effect although she is used sparingly which feels like a missed opportunity to add an additional magical thread to the show.

Adventure dominates the next stretch which brings shipwrecks, shaking sheikhs and an increasingly absurd explanation of a cat and rat battle all in the search for fortune. Sleeping Beauty presents a witty take on the many fairies of fortune and gives the cast ample opportunity to indulge in the rules of pantomime. “He’s behind you” is delivered with gusto and excellent audience engagement and Prince Charming relies on his princestincts to produce a pie of wakefulness. Modern references slip in as Sleeping Beauty attempts to grasp the century she has missed.

Cinderella arrives with notable highlights which include a grotesque puppet evil sister, a baguette wand and a French accented giant talking chicken, a small inadequate pumpkin and lots of “oui oui” chaos. Clarkson and Trainor embrace the chance to promise AI inspired audience participation which produces gleeful results involving water guns, dinosaurs and an increasingly damp audience. Act two opens with a comedic frantic recap and a flurry of hats before Prince Charming abandons Cinderella altogether and instead selects a love interest from the audience. Cinderella is particularly perturbed with her jealous dirty looks to comedic effect and the tale leans into the darker corners of the original folklore which explains the evil sisters noses are removed in an act of retribution.

Snow White delivers one of the evenings standout moments with a Queen rap featuring the full quartet of performers. It is clever, tightly executed and packed with witty asides. The story behind is said to involve the evil Queen forced to dance to death in red hot shoes as a suitably dramatic ending. The final tale blends Aladdin with A Christmas Carol which proves surprisingly cohesive as Abanazar and Scrooge combine their greed driven tendencies. Tiny Tim appears in puppet form and is both sweet and silly. The show closes with a double rendition of a delightful festive song which invites the audience to provide finishing touches to the merriment.

Director Richard Hurst keeps the action flowing but disciplined within its manic framing of the show, which allows the humour to flourish without collapsing into total chaos. Simon Scullion’s design offers swift transitions for rapid accessibility, NICKY BUNCH’s costumes add flair and vibrancy, while Tim Mascall’s lighting and Tom Lishman’s sound ensure the rapid comedy lands with consistency. Phil Innes’s vibrant music underpins the energy and the full company including Georgia Corrigan, James Gulliford and swing Jacob Jackson support the leads with precision.

Potted Panto is an unashamed celebration of panto tradition which combines irreverence with affection. Clarkson and Trainor drive the show with tireless commitment which makes this production a warm, witty and family friendly treat. It is not without small quibbles, particularly when supporting characters feel underused, yet the sheer confidence and charm of the performers ensure a thoroughly enjoyable night out. Potted Panto offers a joyful burst of seasonal silliness, as a merry, festive favourite.

POTTED PANTO runs until 3 Jan 2026 at Wilton’s Music Hall