The Mercury Theatre’s annual pantomime is always a highlight of the festive season, but this year’s production of Mother Goose is a spectacular celebration marking the tenth year of the legendary partnership between Dame Antony Stuart-Hicks and Dale Superville.
This production has pulled out all the stops, trading in the traditional cottage for the big top of the Circus which brings an endless array of creative entertainment!
At the very heart of the Colchester panto is the undeniable, electric chemistry between Antony Stuart-Hicks’ Gertie Goose and Dale Superville’s Billy the Goose. Stuart-Hicks, cementing his status as an award-winning Dame, delivers Gertie Goose as a glamorous circus owner, mastering the art of the outrageous costumes and the perfectly pitched ad-lib. His banter with the audience is hilarious, ensuring every adult feels slightly nervous and every child feels totally included. Although I have to say there were a couple of ‘over the line’ jokes which thankfully the kids didn’t pick up on, but the rest were funny enough for a mixed audience.
Dale Superville, as the charmingly mischievous Billy, is his ideal foil. Their physical comedy routines and tangible bond and desire to make each other laugh, are a masterclass in collaboration. This relationship brings huge roars of applause from the audience and making us feel part of their dysfunctional, loving family.
The plot, cleverly updates the classic moral tale of Mother Goose choosing vanity over love. Gertie and her daughter Gracie (a delightful Daisy Greenwood) are battling to save their circus from the wonderfully wicked Baroness Bellinora Badapple. Disguised as a wicked beauty guru who tempts Gertie with the promise of eternal youth in exchange for her golden egg-laying son, Billy. Jaimie Pruden is magnificent as the Baroness, a captivating baddie, matched in vocal power by the returning Sasha Latoya as the eternally radiant and very sparkly Fairy Fortuna, who leads the cast in a uniquely soulful rendition of Always Look on the Bright Side of Life. The entire cast delivers strong vocal performances and maintains a relentless pace filled with humour, dancing, banter, and lots of shouting.
The second half it where it really all comes together, not particularly for Kemi Clarke, who plays Bailey, but where there is far more chaos and some brilliantly written, choreographed and performed scenes.
Visually, this panto explodes with colour, detail, and pure panto magic from lavish circus sets to the spectacular, glitter-drenched costumes, the production level is exceptionally high and it’s no wonder many flock to the Mercury for festive fun.
The New Wolsey Theatre’s Rock ‘n’ Roll Panto has reached a quarter-century milestone, and what better way to celebrate than with a glittering, actor-musician adaptation of Beauty and the Beast.
Forget any pre-conceptions of the traditional tale—this is pantomime ripped up and plugged in, trading dusty ballrooms for an electric, Ipswich-centric adventure that is the usual festive chaos. Writer Vikki Stone, whose talent for modernizing the form has been nationally recognized, delivers a script that is as topical as it is funny, ensuring laughs work with both the adults and the younger members of the audience.
As we all know, this is not just a panto; it’s a full-throttle rock concert that happens to have a plot that can be followed. The signature Wolsey style, where every member of the cast is an accomplished actor-musician, is the beating heart of the production. The weaving of classic rock and pop hits – from Black Eyed Peas, Lionel Richie, Chappell Roan to high-energy anthems, into the narrative always blows me away and brings me much happiness.
I marvel at the sheer talent on stage, switching seamlessly between acting, singing, and playing guitars or thumping drums, even swapping instruments, creates an atmosphere of relentless, live energy that keeps everyone entertained.
Leading the charge are a sensational ensemble of returning favourites. Max Gallagher’s Dame, Mrs Ringer, is a comedic joy – a pub landlady with perfectly pitched gags and rapport that keeps the audience in stitches without ever straying too far into the blue. She is perfectly contrasted by Signe Larsson as the villainous Snarlina, a lycra-clad temptress whose spectacular boots are only surpassed by her powerful vocal range. Larsson is the glue that holds the mayhem together, drawing boos and hisses with captivating menace.
Nis Raza Hamilton’s Belle is far from a passive princess; she’s an ambitious, podcast-recording young woman whose curiosity is what drives the plot, alongside her feathered friend, Pigeon (Eloise Richardson), whose antics – and bodily functions – bring some truly chaotic physical comedy. Neil Urquhart delivers a powerhouse performance as the Beast, transforming from a selfish, grumpy creature to a vulnerable figure with one of the strongest voices in the cast, making his musical numbers genuine showstoppers.
The Rock ‘n’ Roll panto is in it’s 25th year for a reason, it’s fun, colourful, loud, funny, creative and filled with great music – all the qualities that make it one of the most popular pantos in the region.
Beauty and the Beast is playing at the New Wolsey theatre until 17th January 2026
FIRST PRODUCTION TO BE HELMED BY ARTISTIC DIRECTOR
NATASHA RICKMAN
CELEBRATING TEN GOLDEN YEARS OF ACCLAIMED ONSTAGE PARTNERSHIP ANTONY STUART-HICKS & DALE SUPERVILLE
The Mercury Theatre in Colchester has today announced the full cast and creative team for this year’s annual pantomime Mother Goose, which will run in the theatre from 22 November 2025 – 18 January 2026.
This year’s pantomime will mark the first production to be helmed by the theatre’s new Artistic Director Natasha Rickman, who joined the theatre in January 2025,and will also celebrate ten golden years of the acclaimed onstage partnership between Antony Stuart-Hicks and Dale Superville, who return to star as Gertie Goose and Billy The Goose respectively.
This year’s pantomime will be written by David Phipps-Davis, who was nominated for Best Script at the UK Pantomime Awards 2025 for the Mercury Theatre’s 2024/5 pantomime The New Adventures of Peter Pan. Jasmine Swan will also return as Designer, who won Best Costume Design at the UK Pantomime Awards 2023 for Beauty & the Beast and was nominated for Best Set Design in 2024 for Sleeping Beauty and for Best Set Design and Best Costume Design in 2025 for The New Adventures of Peter Pan, all at the Mercury Theatre.
Colchester born Daisy Greenwood will take on the leading role of Gracie Goose in this year’s pantomime. Daisy returns to the theatre after ten years, having been a part of the Junior pantomime chorus and work experience at the theatre. Daisy, who studied Musical Theatre at Colchester Institute, was recently seen on stage as Abigail Henson in Jerry Mitchell’s Becoming Nancy at Birmingham Repertory Theatre, a role she first developed in the show’s 2023 workshop.
Kemi Clarke (Beautiful: The Carol King Musical – UK Tour, Just So – Watermill Theatre) will star opposite Daisy in the role of Bailey.
Beloved Mercury Theatre pantomime stars Sasha Latoya (Aladdin, Beauty and the Beast, Sleeping Beauty, The New Adventures of Peter Pan) and Jaimie Pruden (Sleeping Beauty, Beauty and the Beast) will return this year as Fairy Fortuna and Baroness Bellinora Badapple respectively.
Dee Dee Rivers and Nathan Rigg both make returns to Mercury Theatre as Ensemble/Understudies having also been part of the theatre’s Junior Chorus as children.
The full cast of Mother Goose are Kemi Clarke (Beautiful: The Carol King Musical – UK Tour, Just So – Watermill Theatre) as Bailey, Daisy Greenwood (Becoming Nancy – Birmingham Repertory Theatre, Made In Dagenham 10th Anniversary Concert – London Palladium) as Gracie Goose, Sasha Latoya (Everybody’s Talking About Jamie – UK Tour, Flashdance – UK and International Tour) as Fairy Fortuna, Jaimie Pruden (Assassins – Chichester Festival Theatre, Company – Gielgud Theatre) as Baroness Bellinora Badapple, Nathan Rigg (Joseph and the Technicolor Dreamcoat – UK Tour, Guys & Dolls – Bridge Theatre) as Male Ensemble/Understudy, Dee Dee Rivers (Disneyland Paris) as Female Ensemble/Understudy, Antony Stuart-Hicks (Best Dame at the UK Pantomime Awards 2025 for Mercury Theatre’s The New Adventures of Peter Pan)as Gertie Goose and Dale Superville (Witness for the Prosecution – London County Hall, Fawlty Towers – West End)as Billy The Goose.
Mother Goose will be written by David Phipps-Davis, with Natasha Rickman as Director, Jasmine Swan as Designer, Antony Stuart-Hicks as Creative Consultant, Jane Lalljee as Lighting Designer, Lex Kosanke as Sound Designer, Joshua Tarrier as Musical Director, Rosie Mather as Choreographer, Dale Superville as Assistant Director and Cree Rayner as Fight Coordinator.
Natasha Rickman, the Mercury Theatre’s Artistic Director and Mother Goose Director said:
“I can’t wait to get into rehearsals with this phenomenal cast for Mother Goose. Of course it’s very special to be celebrating ten years of ASH and Dale, with the rest of the cast including some familiar faces, including those who have come full circle from performing in the Mercury pantomime as children and are now returning to us as professionals. We’ve got plenty of spectacle, music and magic up our sleeves to make this Christmas egg-stra special”
Antony Stuart-Hicks, the Mercury Theatre’s resident Dame said:
“It is such a joy for Dale and I to be celebrating our 10th Mercury panto together – we’ve not stopped laughing since the first day we met. We love the Mercury audiences – who’ve been so generous to us over the last decade. Come celebrate with us – Mother Goose is going to be a very special panto!”
Interim Co-Chief Executives Victoria Beechey and Rachel Tackley, and the whole team at The Arts Theatre Cambridge are thrilled to announce that the Theatre will reopen its doors this month, following a remarkable ten- month transformation. With just two weeks to curtain up, final touches are being made to the beautifully reimagined auditorium, and anticipation is building across the city for the return of one of Cambridge’s most cherished cultural landmarks.
Designed by Ian Chalk Associates and made possible by the remarkable generosity of Lord David Sainsbury through the Gatsby Charitable Foundation and Dame Susie Sainsbury through Backstage Trust, the redevelopment has breathed new life into the historic auditorium, combining contemporary comfort with the warmth and intimacy that audiences have loved for generations. The project includes a full refurbishment of the main auditorium with new seating and improved sightlines, upgraded dressing rooms and backstage spaces, elegant front-of-house facilities, and a striking new façade with a relocated box office and main entrance on Peas Hill. For Rachel Tackley and Victoria Beechey, the reopening represents far more than a physical transformation.
Rachel said, “With this project we have not only transformed our building but also reimagined our sense of purpose – how we connect with our audiences, artists, and our community. We can’t wait to welcome everyone into our beautiful new theatre.” Victoria added, “This redevelopment ensures that our much-loved theatre will continue to serve the city for generations to come. It has been an extraordinary journey for everyone involved. To see the theatre coming back to life – with new spaces, a new season and new energy – is incredibly exciting.”
The theatre reawakens on 27 November with Sleeping Beauty, its much-loved homegrown pantomime, welcoming thousands of families, schools and community groups throughout the festive season. The production heralds the start of a vibrant Spring 2026 season, featuring appearances by stars including Sir Derek Jacobi, the first home- produced drama in over a generation with Trevor Nunn directing Noel Coward’s Easy Virtue, and major touring hits including Operation Mincemeat and The Choir of Man.
The reopening also marks the public unveiling of a bold new brand identity created by Johnson Banks — a confident, contemporary look inspired by traditional theatre playbills and the heritage of Cambridge itself. The refreshed design and newly launched website reflect a theatre with renewed ambition and a deep sense of place: creative, open, and ready to inspire future generations. As Phase One of redevelopment nears completion, attention now turns to Phase Two — plans to create a 200-seat rooftop studio theatre dedicated to new work and creative learning. The ongoing Name Your Seat campaign championed by Sir Ian McKellen continues to play a central role in supporting this next stage of transformation. For tickets and more information, please visit www.artstheatre.co.uk
The Mercury Theatre in Colchester has today announced the full cast and creative team for this year’s annual pantomime Mother Goose, which will run in the theatre from 22 November 2025 – 18 January 2026.
This year’s pantomime will mark the first production to be helmed by the theatre’s new Artistic Director Natasha Rickman, who joined the theatre in January 2025,and will also celebrate ten golden years of the acclaimed onstage partnership between Antony Stuart-Hicks and Dale Superville, who return to star as Gertie Goose and Billy The Goose respectively.
This year’s pantomime will be written by David Phipps-Davis, who was nominated for Best Script at the UK Pantomime Awards 2025 for the Mercury Theatre’s 2024/5 pantomime The New Adventures of Peter Pan. Jasmine Swan will also return as Designer, who won Best Costume Design at the UK Pantomime Awards 2023 for Beauty & the Beast and was nominated for Best Set Design in 2024 for Sleeping Beauty and for Best Set Design and Best Costume Design in 2025 for The New Adventures of Peter Pan, all at the Mercury Theatre.
Colchester born Daisy Greenwood will take on the leading role of Gracie Goose in this year’s pantomime. Daisy returns to the theatre after ten years, having been a part of the Junior pantomime chorus and work experience at the theatre. Daisy, who studied Musical Theatre at Colchester Institute, was recently seen on stage as Abigail Henson in Jerry Mitchell’s Becoming Nancy at Birmingham Repertory Theatre, a role she first developed in the show’s 2023 workshop.
Kemi Clarke (Beautiful: The Carol King Musical – UK Tour, Just So – Watermill Theatre) will star opposite Daisy in the role of Bailey.
Beloved Mercury Theatre pantomime stars Sasha Latoya (Aladdin, Beauty and the Beast, Sleeping Beauty, The New Adventures of Peter Pan) and Jaimie Pruden (Sleeping Beauty, Beauty and the Beast) will return this year as Fairy Fortuna and Baroness Bellinora Badapple respectively.
Dee Dee Rivers and Nathan Rigg both make returns to Mercury Theatre as Ensemble/Understudies having also been part of the theatre’s Junior Chorus as children.
The full cast of Mother Goose are Kemi Clarke (Beautiful: The Carol King Musical – UK Tour, Just So – Watermill Theatre) as Bailey, Daisy Greenwood (Becoming Nancy – Birmingham Repertory Theatre, Made In Dagenham 10th Anniversary Concert – London Palladium) as Gracie Goose, Sasha Latoya (Everybody’s Talking About Jamie – UK Tour, Flashdance – UK and International Tour) as Fairy Fortuna, Jaimie Pruden (Assassins – Chichester Festival Theatre, Company – Gielgud Theatre) as Baroness Bellinora Badapple, Nathan Rigg (Joseph and the Technicolor Dreamcoat – UK Tour, Guys & Dolls – Bridge Theatre) as Male Ensemble/Understudy, Dee Dee Rivers (Disneyland Paris) as Female Ensemble/Understudy, Antony Stuart-Hicks (Best Dame at the UK Pantomime Awards 2025 for Mercury Theatre’s The New Adventures of Peter Pan)as Gertie Goose and Dale Superville (Witness for the Prosecution – London County Hall, Fawlty Towers – West End)as Billy The Goose.
Mother Goose will be written by David Phipps-Davis, with Natasha Rickman as Director, Jasmine Swan as Designer, Antony Stuart-Hicks as Creative Consultant, Jane Lalljee as Lighting Designer, Lex Kosanke as Sound Designer, Joshua Tarrier as Musical Director, Rosie Mather as Choreographer, Dale Superville as Assistant Director and Cree Rayner as Fight Coordinator.
Natasha Rickman, the Mercury Theatre’s Artistic Director and Mother Goose Director said:
“I can’t wait to get into rehearsals with this phenomenal cast for Mother Goose. Of course it’s very special to be celebrating ten years of ASH and Dale, with the rest of the cast including some familiar faces, including those who have come full circle from performing in the Mercury pantomime as children and are now returning to us as professionals. We’ve got plenty of spectacle, music and magic up our sleeves to make this Christmas egg-stra special”
Antony Stuart-Hicks, the Mercury Theatre’s resident Dame said:
“It is such a joy for Dale and I to be celebrating our 10th Mercury panto together – we’ve not stopped laughing since the first day we met. We love the Mercury audiences – who’ve been so generous to us over the last decade. Come celebrate with us – Mother Goose is going to be a very special panto!”
Black Sheep is a beautifully written and perfectly crafted observation of modern farming life. Brought to us by Curious Directive - a Norwich based, internationally renowned theatre company - it’s not a great surprise that Black Sheep is set on a windswept North Norfolk farmstead. However, it’s fair to say that it could, in truth, be set upon almost any farm within the country; as it portrays the passions, frustrations and day to day traumas and tribulations of maintaining a working livestock farm.
We first meet the Carter family on a wet Good Friday morning, Easter 2025. They are gathered around the old family farmhouse kitchen table and discussing the issues they have faced - and continue to face - in the running of their tenancy farm.
Climate change, flooding, and overfarming have stripped the soil of it’s nutrients. Livestock aren’t thriving as they should, their rent keeps rising and tha family cannot seem to fathom a positive way forward without bickering and resentment.
Bonnie and Maggie inherited the tenancy when their father passed away, and with Bonnie’s health failing, her elder son Peter has stepped up to the role of head of the farm. Peter likes to do things in a methodical and traditional way, working tirelessly in all weathers. In a bid to attempt to improve the quality of their land, he has employed a young female student who specialises in the study of the soil - and while Peter can be a hot headed, even sometimes brusque character, he clearly has a softer inclination towards Afsaneh and we see their relationship slowly deepen.
His brother, Elias, plays less of a role as much of his time is taken up as pastor of the local church and he tends to mediate between Peter and his cousin Hannah - a strong willed and fiesty young woman - who has more modern plans for the farm, going forward. Hannah’s mother, Maggie, feels quite torn between the traditional and the modern and she clearly struggles to maintain peace between the whole family. She obviously wants to support her ailing sister, but also feels the motherly nature to encourage and nurture Hannah’s plans.
Much against Peter’s wishes, the family have already diversified the business by providing an Airbnb style home within the windmill on the farm, and an American mother and son have come to stay over the wet Easter weekend. Rachel and Bart are quite taken with the farm and can also see the potential for the stricken soil as the perfect ground to grow vines, and so they make their offer to take the tenancy over and set up their aspiring business…. with considerable consequences that will need to be faced in the coming years.
Directed by Jack Lowe and Craig Hamilton, Black Sheep brilliantly portrays a realistic, slow - and sometimes painful - unravelling of this small farmstead and is an enlightening example of how deeply the emotions of sharing your work, history, identity and life so closely with your family can affect the future.
As with all family sagas, there are also moments of warmth, love and happiness and huge credit should be given to the six actors whose performances are exceptional, displaying truthful emotions and giving their characters real substance and strength.
Black Sheep is running at The New Wolsey Theatre, Ipswich, from 5th - 8th November.
