The London Palladium’s annual pantomime extravaganza returns with Robin Hood, an eye-popping production that (as always) prioritises star power and spectacle over narrative coherence. This year’s offering, headlined by the irrepressible Julian Clary in the titular role, delivers a feast for the eyes but leaves the story of Sherwood’s legendary outlaw largely in the shadows.
From the moment the curtain rises, it’s clear that this a light touch retelling of Robin Hood cue Dinosaurs, the Knights of Camelot and Nigel Havers dressed as Superman. Julian Clary unusually taking on the title role dominates the stage with his trademark wit, outrageous costumes, and near-the-knuckle humor that often sails over the heads of younger audience members. His performance is a masterclass in panto dame bravado, even if he’s ostensibly playing the hero this time around.
The supporting cast brings their A-game, with Jane McDonald making a spirited Palladium debut as Maid Marion and Marisha Wallace showcasing her powerhouse vocals as the Sheriff of Nottingham. Rob Madge charms as the Spirit of Sherwood, while Palladium regulars Paul Zerdin and Charlie Stemp provide reliable comic relief. New to the Palladium Panto is Tosh Wanogho-Maud who takes a gentle ribbing from Clary in good spirits.
Visually, the production is a triumph. Mark Walters’ set design transforms the stage into a fairytale forest, complemented by dazzling costumes that push the boundaries of imagination. The Twins FX team outdoes themselves with jaw-dropping special effects, including a fire-breathing dragon, high-flying stunts and a 3D cinema spectacle.
However, beneath the glitter and glamour, the show struggles to find its footing as a coherent narrative. The plot, such as it is, feels like an afterthought – a loose framework on which to hang elaborate musical numbers and Clary’s acerbic one-liners. While panto traditionally plays fast and loose with storytelling, we find ourselves watching many of the same routines that we’ve seen in previous Palladium Pantos.
Clary’s adult-oriented humour, while undeniably funny and particularly enjoyed by this reviewer, sometimes sits uncomfortably alongside more family-friendly elements. The banter between Clary and Nigel Havers remains top-notch and delights the audience at every turn.
Robin Hood delivers where it counts for a pantomime: it’s a riotously entertaining spectacle that will leave audiences gasping, laughing, and tapping their feet. The energy never flags, and the cast’s enthusiasm is infectious. A glittering, star-studded romp that embodies the excess and escapism of the Palladium panto tradition.
