Pinocchio

Mark Thompson's stage version of the classic Italian fairytale is an exceptionally lively affair, retaining the exuberance of the original story without allowing an ounce of the Disney version's saccharine sweetness to creep in.

With references ranging from Thomas the Tank Engine and Toy Story to Sandie Shaw, Thompson's version of Pinocchio veers close to pantomime, but holds back enough to appeal to those looking for more serious forms of theatre at Christmas. In fact, the entire production is swathed in a sort of camp that works surprisingly well.

The sense of wonder that surrounds the story is heightened by the staggering sets – in particular, the almost psychedelic belly of the sea monster in which Pinocchio and Gepetto find themselves towards the story's climax. The ten-strong cast turn in energetic performances, seamlessly gliding between roles. James Anthony Pearson plays Pinocchio with a sort of awkward grace, allowing the devilish side of his character to reflect his disjointed physical nature.

In the end, though certain parts of the narrative are a little slow, the beauty of Pinocchio lies in its ability to appeal to children and adults alike without any sense of condescension, and the gloriously shambolic atmosphere of Thompson’s production can't fail to entertain.