As we enter the theatre, a giant replica of the infamous spinning wheel dominates the auditorium, instantly setting the tone for the magic, mischief, and marathon-length storytelling to come. A classic telling of Sleeping Beauty is served up but not without a generous haul of bonus material. And at nearly three hours long (interval included), there is a lot to be squeezed in.
The production leans heavily into its storyline, sometimes to the point of slowing the pace, as we’re guided through the well-known tale of Sleeping Beauty. Interestingly, the familiar plot becomes almost a subplot within a larger narrative that repositions our heroine as a brave adventurer rather than a passive, snoozing princess. The Floral seems determined to give audiences both versions: the classic romance complete with an obligatory kiss, and the modern twist, where Beauty takes charge and saves the day herself.
There’s still room for some sturdy panto traditions, including the ever-popular ghost dance, which generates an excitable responsive from the audience. An innocent audience member also receives a mysterious “special button” which leads to one of the show’s funniest moments, which is perfectly timed, utterly brilliant.
Jon Monie’s script is sharp, playful, and packed with plenty of the well-loved panto beats. The strong, talented cast are spoilt by it, firing off smart one-liners and delicious retorts. The sparring between the sweet Fairy Snowfall (Kelle Bryan) and the wonderfully wicked Carabosse (Amy Perry) is a highlight, with their good-versus-evil showdown providing plenty of sparkle.
Princess Rose (Cleo Demetriou) and Prince Vincent (Daniel Urch) form a charming duo with easy chemistry. They blend Disney-style sweetness with just enough real-world sass to make them likable and surprisingly relatable.
There are laugh-out-loud moments and physical comedy throughout — the toad-in-the-hole sausage chaos with Nanny Nora (Quinn Patrick) and Lester the Jester (Sean Jones), plus a steady stream of funnies from The King (David Pendlebury). Still, a few sections could do with a trim. The pheasant skit, for instance, feels a little sanitised without the classic tongue-twister peril (yes, that one), meaning it lacks the tension and comic payoff that usually makes that routine so enjoyable.
Visually, the show makes full use of the Floral’s large stage. Technical touches such as aerial wire work and digital backdrops keep things lively. Jimmi Richardson’s lighting design deserves a special mention — from delicate colour shifts to those striking illuminated frames that hug the stage, each brightening at just the right dramatic moment.
Director Andrew Margerison pulls together the many moving parts with confidence, supported by a lively band and a brilliant dance ensemble. The addition of performers from the Hoylake School of Dance injects even more sparkle and heart to their scenes.
Overall, it’s a terrific family production that delivers plenty of value — even if its running time calls for some festive stamina.
You can catch Sleeping Beauty until 4th January 2026, for tickets visit https://www.floralpavilion.com/event/sleeping-beauty/
Reviewer: Gill Lewis
Reviewed: 10th December 2025
North West End UK Rating: