Review of ‘Snow White All-Drag Panto’: “Poisoned humour and dopey characters make this retelling the funniest of them all”

London’s Emerald Theatre hosts the return of TuckShop’s signature festive piece, which celebrates its 5th anniversary with an even crazier remake of the popular fairy tale. Guillermo Nazara shares his views on the show to let us know if its adult flavour leads to either a bashful attempt or a giant in its genre.

I feel dirty. And it’s not because this is massively homosexual panto with massively homosexual characters doing massively homosexual stuff — whatever that means. It’s because, after attending over 250 shows, this is my last review of the year — producers can rest now, assured that I’ll be back to terrorising them in less than a week. Yet, that’s not the real issue. My problem is that I’m closing the season with a positive review.

To provide some context, this is a drag show. That means you should expect bad to terrible singing, loads of easy double-entendres (if you know, you know), and countless moments where the performers will unapologetically make clear they forgot their lines. It’s basically what we are coming for. And understandably, it can lead to excruciating chaos. Not this time, though — it’s actually brilliant.

All the flaws that made the previous 2024/2025 production a low-budget disappointment have been fixed. Is it still low-budget? Definitely. Yet, there’s been a significant improvement in its approach to it, concerning both writing and visuals.

The modest sumptuousness of the Emerald Theatre has contributed thoroughly to that accomplishment. There are virtually no sets in this version — in all fairness, last year’s miniature wall prop could hardly count as scenery. It doesn’t matter, though. The venue’s vibrant cabaret ambiance supplies all the staging the show needs. And for the most part, it does the trick.

Inevitably, the humour is rather predictable. Yet, the script is competent enough to make most of the gags come off fresh. So is the cast, whose exceeding rapport, natural timing, and easy-going attitude are the shiniest sequins in this bombastic celebration of camp. Whether their mistakes are genuine or pre-rehearsed, it isn’t relevant. In the end, the rendition flows seamlessly, brimming with high stamina, an inviting presence, and a serious commitment not to take themselves too seriously — or not seriously at all, for that matter.

I could have done without some of the dance sections, however. Do they serve a purpose? To an extent. Are they delivered properly? Nothing to complain about in terms of choreography, technique, or unison. However, the fact that two poorly dressed performers are the only ensemble for all the numbers is a joke that not even this panto can afford. And their lack of charisma doesn’t help mask that shortage either — on the contrary.

Fortunately, this may be the least pivotal aspect of the production. And after all the delicious depravity they not-so-gently shove down our throats, we may go ahead and forgive one more sin. The entertainment is solid, and the engagement grows exponentially. You will be invested — whether that involves what’s happening onstage or how your flamboyant friend (just guessing) is reacting to it.

It’s a tale with a message. The kind that would make J.K. Rowling go ballistic — or basilistic. Beyond all the sexual innuendos, both oral and physical (and by that, I mean the type of comedy), the narrative leaves some space to remind both non-binary and trans people that, despite how ugly times may be, there still are and always will be people that love them and care about them — a fine addition that, far from feeling preachy, underpins the show’s heart and warmth.

Filthy, mad, and extremely amusing, this droll retelling of Snow White is a bad apple worth biting. A forbidden fruit made by and for the fruitiest, every evil queen will relish its acidity, while the grumpy will become a little gayer. And in the end, anyone in attendance may leave turned into a drag addict.

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All pictures credit to Piers Allardyce.

Snow White All-Drag Panto plays at London’s Park Theatre until 17 January. Tickets are available on the following link.

By Guillermo Nazara