There is something truly joyous about encountering a pantomime you haven’t yet ticked off your festive bingo card. After Robin Hood at the London Palladium last year, it was a genuine pleasure to arrive at Newbury Corn Exchange and discover a fresh take on the familiar tale, and one that feels confidently its own. With book and lyrics by Plested, Brown and Wilsher, and direction by Amanda Wilsher, this is a panto that knows exactly what it is doing: bold and busy, even if initially a touch overambitious.

Structurally, this Robin Hood broadly follows the expected tale, albeit with a knowingly modern twist. Here, Robin is absent – off competing in Race Across the World – leaving Maid Marian and the Merry Band to fend for themselves against the sadistic Sheriff of Newburyshire, who has taken a distinctly topical approach to tyranny by imposing tariffs on the town’s most beloved goods. It’s a concept rich with comic potential, though in Act One it occasionally threatens to overwhelm itself. The opening act is undeniably dense. Pantomime is, by nature, exposition-heavy: you must introduce the characters, establish the stakes, land the jokes, and tee up the big interval twist; with a plot so steeped in political satire, this act sometimes feels as though it is trying to do everything at once. The result is a slightly chaotic first half, where narrative clarity is occasionally sacrificed in favour of momentum. Still, the foundations are solidly laid.

Thankfully, Act Two is where the show really finds its groove. Freed from the burden of narrative set-up, the production leans into the silliness that panto does best. From knowingly ridiculous reprises (“we’ll have to do it again then”) to romantic resolutions and gloriously daft musical numbers, the second act is joyful, buoyant, and refreshingly unencumbered; it’s more confident, and infinitely more fun.

Visually, this is a beautifully presented production. Mark Walters’ set design is richly textured, with the woodland bonfire scene standing out as a particular triumph. Smoke effects, layered scenery, and leaf confetti in place of the usual sparkle create a world that feels whimsical rather than garish. Carl Davies’ costume design complements this aesthetic perfectly: earthy tones, Lapland-esque textures, and a festive warmth that feels Christmassy without tipping into cliché. Jenny Perry’s Fairy Fern-A-Dale, in particular, showcases the costume design at its finest – rooted in nature and undeniably magical.

The cast hold the whole thing together, and here the Corn Exchange triumphs. Alex Crandon’s Sheriff of Newburyshire is gloriously menacing, complete with the eyeliner, and a surprisingly effective Southern American accent that only heightens the satire. Samara Rawlins’ Maid Marian is a confident, grounded presence, her vocal strength shining most notably in A Thousand Years.

Graham Mackay-Bruce returns to Newbury panto territory as Nursemaid Nellie, bringing with him all the hallmarks of an excellent Dame: razor-sharp comic timing, and a talent for gently picking on unsuspecting audience members. Grace Kelly Miller’s Willamina Scarlett offers one of the show’s most satisfying arcs, her journey towards self-belief adding emotional depth beneath the silliness. Her pairing with Perry’s Fairy Fern-A-Dale is especially touching, grounding the comedy in genuine warmth.

The ensemble work is consistently strong, particularly in Miranda Wilford’s choreography – Shake It Off is a highlight – but it’s their contribution to the comedy that truly sparkles. Fourth-wall breaks, and background gags abound. Finley Davis’ Traitors-inspired cameo, complete with a Claudia Winkleman-esque wig, is a particular joy.

Yet the real showstopper is Harry Sweetman as Robin Hood. Astonishingly, this marks his professional debut post-drama school: a fact that feels almost implausible given the confidence of his performance. Sweetman commands the stage with ease, delivering vocals of real tenacity and movement with crisp precision. He is a star in the making.

Musically, this panto feels gloriously of-the-moment. Under the musical supervision of Ben Barrow, pop hits are reworked with wit and precision: from RAYE’s WHERE IS MY HUSBAND! (“baby, where the hell is my Robin?”) to APT reimagined as a Kennet Centre rendezvous. The arrangements, directed by Alex Maynard and executed alongside Luke Hinchliffe, are slick, playful, and one of the production’s strongest assets.

What truly elevates this Robin Hood, however, is its topicality. Political and pop-culture nods land with satisfying sharpness: an American Sheriff named Donald sporting MNGA caps, Rachel Reeves jokes, vegan Greggs sausage rolls, and multiple Traitors references (“I am, and have always been… terrified”) all draw genuine laughter. It feels current without feeling try-hard – a difficult balance, skilfully struck.

Amanda Wilsher’s direction deserves particular praise for managing audience interaction with care. Participation is plentiful but never cruel, immersive without being intrusive. From aisle entrances to interval antics, the production invites its audience in without alienating them in canto-induced fear.

In all, Newbury Corn Exchange’s annual panto is a festive delight. Even a school-trip-packed Tuesday matinee – initially a cause for mild dread – became part of the magic. Seeing pantomime through children’s eyes is, after all, part of the joy. This Robin Hood is deeply enjoyable, and proves a celebration of all community pantomime ought to be.

Image credit – Rich Lakos