Not yet, Biggins!
Robin Hood at Birmingham Hippodrome is the lighthearted escapism that we all need in January.
Robin Hood, the magical panto adventure, is currently showing at Birmingham Hippodrome until 1 February.
This year’s panto outing takes the much-loved legend of Sherwood Forest, gives it a rainbow glitter cannon, a knowing wink, and a modern Brummie backbone, then launches it at the audience with joyful abandon. Loud, fast, and unapologetically cheeky.
From the moment the curtain rises at the gorgeous Birmingham Hippodrome, it’s clear this is a big-budget affair. I can imagine Matt Slack saying to the set designers, “Ok, gang, this year has got to be even bigger than last year!”, and that challenge has been fully met. I’m almost blinded by the initial shock of how bright, bold and colourful the set design is, beautifully and unapologetically joyous. It’s half rice, half chips, so to speak – well, half medieval fantasy and half all-out pop spectacle. Costumes shimmer and sparkle in all the right ways (Is it weird that I would probably wear some of the Dame’s outfits?). The impressive lighting design adds punch and pace to every musical number.
At the heart of the show is a cast that really knows how to work a crowd. The comedy lands thick and fast, well-pitched with knowing nods for the adults, joyful silliness for the little ones, and plenty of moments where the fourth wall is not just broken but gleefully smashed down.
The central performances are strong and well-balanced. Robin (played by the man with the panto-plan, Matt Slack) is a charismatic, likeable hero with the cheekiest face you will ever see! Maid Marian (played by what appears to be Faye Tozer’s 25-year-old daughter, but is, in fact, Faye herself! I’ll have what she’s having, please!) is refreshingly capable, sharp-witted and very much her own woman. Their chemistry gives the story a solid emotional anchor amidst the chaos. Meanwhile, the Sheriff of Nottingham (Matt Cardle) leans fully into panto excess, deliciously camp, gloriously hiss-worthy, and clearly having the time of his life. Of course, popsters Faye and Matt can belt out the tunes beautifully, which helps.
No panto is complete without a Dame, the heart of the show, and arguably the most important. Here we’re treated to a performance (by stalwart Andrew Ryan) that fully gets the brief of the sacred panto tradition: outsized costumes, perfectly timed ad-libs, and a genuine warmth that pulls the audience in rather than talking down to them. Masterful!
I bet you were wondering who played Robin and the Merry Men’s stylist?! It is, of course, none other than Gok Wan, who brings with him a warmth that is well-received by the crowd. Particularly well by one woman near the front, whom Gok suggested jokingly might need medical attention as her laughter became uncontrollable. Partly ignited by a few guffs (be they deliberate or accidental – they added to it all), and a hell of a lot of giggling with Matt. It always makes a panto more enjoyable when you can tell that key cast members get on.
Another one who can belt out the tunes is the lovely Sandra Marvin as the Spirit of Sherwood, her vocal strength and calm authority providing a reassuring centre to the story. Meanwhile, a special appearance from pantomime royalty Christopher Biggins (currently celebrating SIXTY YEARS in panto) as King Richard is met with affection throughout.
Musically, the show blends sing-along pop hits with uplifting and comical panto numbers like the ever-popular and impressive ‘identity song’. The ensemble is impressively tight, vocally strong and visibly enjoying themselves, which makes a huge difference. The choreography is punchy and energetic without ever feeling cluttered, and there’s a sense throughout the show that this is a cast, band and crew really working in harmony.
What really sets Robin Hood apart, though, is its tone. This is not a panto afraid of being silly, loud or a little bit rude, but it’s never lazy. The humour is sharp, the references current without being try-hard, and the production feels very aware of its Birmingham audience. And no, you can’t tell those jokes outside of panto and have them land right (please don’t try), but it feels like there’s a sense of shared understanding in the room, that communal “we know what this is, and we’re all in” feeling that the best pantos achieve.
By the time the finale rolls around, the audience is fully warmed up, fully involved, and more than ready on their feet. It’s big, bold, joyful fun — exactly what a January panto should be.
Robin Hood at Birmingham Hippodrome is a warm, fun, cheeky, immersive bit of lighthearted escapism. Exactly what people need in the post-Christmas slump, so leave any pretension at the door and let the laughs and smiles fill you up.
Grab your tickets here: Birmingham Hippodrome, Robin Hood
Words by Mazzy Snape