Beauty and the Beast – Bridge House Theatre, London

Beauty and the Beast at the Bridge House Theatre is a small-scale panto that still manages to feel generous, lively and properly Christmassy.

Beauty and the Beast

Beauty and the Beast at the Bridge House Theatre in Penge is a panto stripped right back to essentials. There are four performers, projections taking the place of sets, and a handful of props. And yet it still manages to tick all the panto boxes: a romance, a dame, a villain, call-and-response with the audience, and plenty of jokes. Part of the fun here is the show’s self-awareness. The characters make knowing references to being in a panto, alongside topical asides that keep things feeling current rather than cosy-for-the-sake-of-it.

Luke Adamson’s script is funny, lively and warm without being over-sentimental. It’s a good Christmas outing that doesn’t lean too hard on schmaltz. I particularly enjoyed the comparison between Beauty and the Beast and Jane Eyre (I’m a sucker for Jane Eyre myself) and the way Belle (Georgina May Haley) is written. She grows in confidence as the story goes on, without suddenly becoming someone else. A couple of the jokes around Dame Fifi Frimousse (Cameron Griffiths) perhaps push things a little far, though they flew straight over the heads of the younger audience members. In a space as small and intimate as the Bridge House Theatre it feels like you can get away with more, for better or worse.

A Nice Family Christmas Pick

Matthew Parker’s direction and choreography are a big part of what makes this feel like a “proper” panto, despite the minimal setup. The choreography is more complex than you might expect and uses the space well, helping the show feel full and energetic. Things move at a good clip, but there’s still room for jokes to land and for moments to breathe.

The performers are a delight. Haley and Theo Bracey as Prince Philipe Phacochere do their strongest vocal work in their duets. Griffiths has great comic timing and uses a wide vocal range to good effect, particularly in the group numbers. Cassandra Hodges as Lady Amere is an able villain, and her rapid redemption arc is no less pleasing for it. I also liked the virtual inclusion of drag queens That Girl and Bla Bla Gabor, as well as the frequent appearances from stage manager Thomas Thornhill, which become a running joke in their own right.

This is a really nice family Christmas pick for South East London audiences. The story is familiar without feeling tired, the local touches – Penge-sur-Mer and the Great North Wood – are warmly received, and by the end the festive glow is in full flow. Like other work I’ve seen here, it’s a good example of how theatre on a small scale can still think big.

Salterton Arts Review’s rating: 4/5

Beauty and the Beast on until 30 December 2025. More info and tickets here.