Sleeping Beauty – Storyhouse, Chester

Writer: Samantha O’Rourke

Director: Ameera Conrad

A contemporary adaptation of Sleeping Beauty which positions itself as a “Christmas Show,” despite including several panto tropes, lacks the sparkly hallmarks of a traditional pantomime or festive Christmassy cheer. Instead, it opts for a message-driven approach, focusing on tried and tested themes of acceptance and identity. While well-intentioned, this tonal shift sacrifices the light-hearted escapism often sought this time of year.

This production shines most brightly when it embraces the original fairy tale. A standout moment is Princess Aurora’s (Grace Venus) pivotal finger-pricking scene enhanced by evocative lighting, music, and the iconic spinning wheel’s haunting presence. These fleeting moments remind us of the magic at the heart of this classic fairy tale. However, there’s no shut eye for this princess who instead in this muddled retelling, is instead transported to the ‘Nightmare Realm’.

Samantha O’Rourke’s script prioritises advocacy for personal growth over storytelling, resulting in a heavy-handed narrative that lacks the cheekiness and spontaneity typical of panto. The earnest messaging, while admirable, feels forced and overshadows the joy and humour audiences anticipate in a seasonal show.

The production struggles to balance its serious themes with the silliness needed for panto fun. Moments of levity—such as Spike and Susie the squirrels’ (Alexander McGonagle and Hannah Blakeley) playful Dirty Dancing homage and a cheeky parody of Take Me Out—are too sparse, leaving the show feeling uneven. The strong cast do their best with a constrained script which is at best squeezed between a thick and fast conveyor belt of jukebox pop songs with themes which promote strength, and empowerment, albeit some musical choices which at times challenge the vocal range within the cast.

Will Kirk stands out and pops as the flamboyant Prince, providing some physical humour and much needed comic relief. Scott Gutteridge’s Edward, the working-class alpha male, begins as a charming foil to the traditional Prince when he catches Aurora’s eye. She gets giddy at the sight of his muscular physique through his Mr Darcy – esq sodden shirt, but sadly, within this tale of embracing self acceptance, his masculinity is gradually diminished to emphasise Aurora’s independence, leaving his character apologetic and underdeveloped.

Aurora’s journey to “girl boss” empowerment, while modern, lacks nuance and subtlety. This narrative choice undermines the playful, larger-than-life spirit that typically defines a panto heroine.

Laura Ann Price’s set design features a giant Polly Pocket purse which opens up to inhabit the duel world of our sleepy princess, is initially striking but underutilised. While visually interesting and awe inducing at its vastness, it hinders the story’s flow resulting in pacing issues and moments of stagnation. Fortunately, Act 2 brings renewed energy through Polly Lister’s Maleficent. Her brilliant rendition of Metallica’s Enter Sandman, accompanied by the House of Dance’s dynamic choreography, which fills the stage, is a high-energy highlight.

While this Sleeping Beauty offers glimpses of potential brilliance, it stumbles by prioritising its message over the playful escapism and charm expected in a Christmas production. The few delightful moments when it adheres to the fairy tale underscore what this adaptation could have been with a better balance of fun and depth.

Runs until 29^th December 2024.