Beauty, Beast, and Belly Laughs: A Festive Panto Treat at Carriageworks, reviewed by Jhanvi Charkhawala.
Our Christmas jumpers are on, most of us have already figured out who we’re secretly shopping for as part of this year’s Secret Santa, and no day feels complete without at least one steaming cup of hot chocolate. That’s what I love about Christmas—it isn’t just a single day like so many other celebrations; it’s a whole season that wraps you up in its warmth. And nothing captures the festive spirit quite like a pantomime, especially here in the UK, where it’s practically a holiday tradition.
At the heart of the city centre, the Carriageworks Theatre brings us a truly enchanting pantomime this year: Beauty and the Beast. But this isn’t just the classic tale of Belle and the Beast—it’s so much more. It’s packed with laughter, love, and melodies that span from the Texas twang of Country Roads to the rock anthem We Will Rock You. It’s a panto that keeps you either tapping your feet to the rhythm or laughing and shouting along with the crowd.
Set in France, this delightful retelling introduces us to Belle’s father, a professor played by Andrew Haynes, whose absurd inventions include a balloon that wouldn’t pop—which, ironically, pops instantly. He’s a constant source of humor, wandering on stage to ask about his glasses—always right on top of his head.
“I cannot find my glasses—have you seen them?”
“They’re on your head!” the audience shouts back in unison.
This classic call-and-response moment is the heart of a good pantomime, a delightful tradition that brings the audience and performers together in playful harmony. Moments like these remind us why pantomimes are such a cherished part of the festive season. It’s also heartening to see contemporary theatres like the Carriageworks working hard to keep the essence of this beloved tradition alive while infusing it with fresh energy and humor.
Then there’s Belle, who glimpses her Count just before he’s transformed into the Beast. Kristel Herrara, as Belle, is a breath of fresh air on stage. Her wide smile and natural innocence make her the perfect princess for this fairy tale. Joshua Mumby, as the Beast and the Count, commands the stage, even without his face visible for most of the play. He brings the character to life through his voice, singing, and body language.
Of course, there’s Gaston, played by James Cohen, the ever-persistent admirer who spends the play flexing his muscles and trying to win Belle’s heart with his over-the-top bravado.
The evil witch, better known as Witch Mauvaise, is played by the extraordinary Gemma Edwards. She’s booed every time she appears on stage, and her voice modulation perfectly captures the vibe of an animated Disney villain.
Your very own dame, this time Madame Cheri Triffle (think cherry truffle), is played by the fantastic Aaron Steadman. There isn’t a single line from the dame that doesn’t get a laugh. In this play, the dame is the caretaker of the Count’s castle and, hilariously, also the professor’s love interest.
Finally, we have the panto comic, Phillippe Philoppe (yes, from flip-flops), played by Jez Edwards. Known for playing the classic panto “silly lad” for the past 15 years, Jez brings his usual charm and humor to the role of Madame Cheri’s son.
And the beautiful dance ensemble that makes this play ever so delightful.
We also have Sarah, who uses BSL to repeat all the dialogues, that captures the true sense of inclusivity shown by The CarriageWorks Theatre.
Every time Phillippe Philoppe was on stage, a familiar tune played. It took me a moment to place it—and then it clicked: it’s from the IPL (Indian Premier League)! Cricket fans might recognize it, but the trumpet tune actually originates from En Er Mundo – Pepe El Trompeta, a traditional Spanish melody. Hearing it every time our silly lad appeared was oddly rejuvenating.
There’s also a hilarious supermarket shopping routine based on every biscuit packet you could find in the nearby Morrisons. This routine had some of the kids in the audience jumping out of their seats with laughter. Then came the wooden spoon “tambourine” routine, where, of course, Phillippe’s tambourine falls off mid-act, sending the audience into fits of laughter. While some of these gags might feel familiar, they still feel fresh, thanks to the incredible cast delivering them with perfect timing.
Though my personal favorite was the tongue-twister call-and-response—“Sherry Shaw from Sheffield sells sushi at a sushi store on Saturday”—between Madame Cheri and Witch Mauvaise, with Phillippe acting as the instigator, the audience’s clear favorite was the Twelve Days of Christmas. The chaotic rendition, performed by Haynes, Steadman, and Edwards, had the audience singing along to “five toilet rolls” amidst the mayhem. Many were still talking about it as they left the theatre.
Running since November 22nd and continuing until January 5th, Beauty and the Beast is a hilarious pantomime guaranteed to leave you laughing—even if you haven’t had a drop of mulled wine! Located in the heart of Leeds, the Carriageworks Theatre has done a commendable job delivering this festive treat with affordable tickets, making it the perfect outing for families. Spend two hours in their capable hands, and you’ll leave the theatre still smiling.
And while you are there, don’t forget to sing along to their Ghostbuster’s routine!