Written and Directed by Barrie Hunter
Musical Direction and Sound Design by Alan Penman
Review by Dominic Corr
Chill out and prepare to be dazzled: The Snow Queen at Perth Theatre is a frosty feast of spectacle that warms the heart. With costumes that sparkle like freshly fallen snow and a set that carves out magical tableaux at every turn, the production dresses its panto bones in haute‑winter couture while never losing sight of a tender core. What begins in Perth Theatre as a glittering fairy‑tale rescue quickly melts into a story about the unbreakable bonds of friendship, making this seasonal romp as emotionally resonant as it is visually sumptuous.
A visually sumptuous panto anchored by a magnetic Snow Queen and a surprisingly tender story about friendship; design and costume work elevate an otherwise familiar seasonal romp. Writer, director, and all-around sensational Hallmark Dame Barrie Hunter’s festive production leans into spectacle and warmth, but it is Lauren Ellis‑Steele’s ice‑sharp, scene‑stealing turn as the titular monarch who consistently commands the stage. Her vocal moments are arresting, and she brings a cool, theatrical menace that never tips into caricature. Ellis‑Steele balances icy poise with a hint of vulnerability, giving the antagonist a texture that rewards attention and leaves the audience wanting more.
The production’s visual identity is its most persuasive asset thanks to Becky Minto’s scenic design, which creates a series of striking tableaux, from Upper Donnachan’s cosy village interiors to the Snow Queen’s crystalline domain, each composition allowing actors to play large without losing clarity. Costuming is equally assured: garments move and catch the light in ways that underline character and status, while also serving practical stagecraft. As expected, it’s Hunter’s various garbs (an Igloo and Tree steal the show), and the Snow Queen’s wardrobe, a triumph — sculptural, theatrical and perfectly aligned with Ellis‑Steele’s performance, helping to make her presence feel both regal and otherworldly.
Lighting by Wayne Dowdeswell is a quiet star of the show. Subtle shifts in colour and intensity guide the eye and sharpen emotional beats, turning scene changes into moments of mood rather than mere transitions. This technical finesse gives the production room to indulge in broad panto pleasures without losing narrative momentum, and it complements the set and costume work to create a cohesive visual world. There is an over-reliance on the video projection, which offers some shortcuts and budget constraints, but does sit a touch uncomfortably alongside such wonderful practical designs.
Where the show glints and glimmers is in its emotional centre. Rather than defaulting to a conventional romantic throughline, the story foregrounds the loyalty between Gerda and McKay (fantastically carried by Nina Gray and Stuart Edgar), framing the rescue quest as an exploration of friendship and mutual care. This choice refreshes familiar panto mechanics and allows quieter, more affecting moments to land amid the jokes and slapstick. The inversion of traditional principal boy/girl dynamics feels deliberate and welcome, giving the young heroine agency and emotional clarity.
Pacing is occasionally indulgent. The production sometimes lingers on world‑building at the expense of tightening the central conflict, and a handful of jokes fall flat when they aim too self‑consciously at their own cleverness. A few comic beats could be sharpened to better serve the story’s forward motion. Yet these are quibbles rather than fatal flaws; the show’s heart and craft carry it through.
Musical moments and ensemble numbers are spirited. Julia Murray, in particular, gets some brilliant moments (vocally and comedically) as the influencer Gretel. As does Hunter’s riffing partner, Ewan Somers, as Larry, a thespian through and through. The combination of a commanding ensemble performance, meticulous design, and a sincere emotional core makes for a panto that feels both festive and thoughtfully staged. A richly designed, well‑performed seasonal treat that rewards audiences who come for spectacle and stay for the warmth of its central friendship.
The Snow Queen runs at Perth Theatre until December 31st
Running time – Two hours and ten minutes with one interval
Photo credit: Tommy Ga-Ken Wan
Review by Dominic Corr– contact@corrblimey.uk
