Brick Lane Music Hall is a bit of a hidden gem from the second you walk through the doors. It's housed in an old church that's been totally transformed into this incredibly lush Victorian music hall, complete with thick velvet curtains, gold pillars, and festive decorations everywhere you look. Before the show even starts, you get a three-course meal that's actually delicious, and I loved the touch of parading the hospitality crew at the end to give them some credit—it adds a really nice, personal feel to the whole afternoon.
If you're under the impression that pantomime is just for kids clutching ice cream, this show is going to set you straight. Jack and His Giant Stalk is their latest adult panto, and it's basically an unapologetically filthy, laugh-out-loud night that delivers exactly what you'd want: loads of smut, fun, and that classic variety show energy. From the moment the curtain goes up, you know you're in for a wild ride. They take the familiar fairy tale and basically toss any sense of innocence out the window. The double entendres come thick and fast, and they milk every bit of innuendo for all it's worth. The fourth wall is pretty much non-existent by the end of the first scene, and the audience interaction is constant.
The cast is brilliant across the board and you can tell they're genuinely having a blast. Their comic timing is razor-sharp, and the way they handle the heckling feels totally spontaneous, even though they're clearly in total control of the room. Andrew Robley, as Dame Fanny Trott, is a total masterclass in the panto tradition. He's larger than life, effortlessly dirty, and somehow still really charming, navigating over 20 insane costume changes that remind you of the variety greats like Danny La Rue. Josh Benson brings a massive amount of energy to Jack Trott—he's a real triple threat—while Vincent Hayes acts as a fantastic guide through the story as Willy Trott, bringing a lot of heart and humour to the stage.
The musical side of things is just as strong. The live band, led by Scott Hayes, gives the whole thing a boisterous atmosphere that feels more like a rowdy music hall than a standard theatre. Charlotte Fage is a great "diva" villain as Poison Ivy, with some seriously impressive vocals, and Lucy Reed's turn as Daisy the Cow was a huge highlight—she puts a really clever twist on the character and her second-act number is a genuine showstopper. You've also got Samantha McNeil as a strong, independent Jill, Jack Pallister as a witty Spirit of the Beans, and Hayley-Jo Whitney as the hilarious Ophelia Loosebottom, who feels like a nod to characters like Lesley Joseph.
On the creative side, Lucy Hayes has done a great job with the writing and direction, especially with the reimagining of characters like Daisy. Jack Pallister's lyrics are clever and perfectly pitched for an adult audience—crude, but never crossing the line into being truly offensive. The look of the show is spot on, too, with Jordan Langford's choreography making great use of the stage and those vibrant, increasingly ridiculous costumes by Syldon Costumes and Frank Kershaw. Combined with Kevin Roach's colourful lighting, it creates a magical, slightly mad atmosphere that supports the story perfectly.
Beneath all the smut and silliness, there's a real affection for the music hall tradition here. It's an unequivocal five-star triumph and a production I'll definitely be returning to.
Review: Jason Lane Photos: Lucy Hayes Photography