A wave of disappointment is washing over audiences attending Catherine Tate and Nigel Havers’ production of Sleeping Beauty at the London Palladium. What was anticipated as a festive family treat has, for many, become a source of frustration and even embarrassment.
The star-studded cast, including Julian Clary and Paul Zerdin, promised a spectacular pantomime experience. However, a growing number of attendees are describing the show as an “adult show without children in mind,” filled with crude jokes and innuendo that have left families feeling uncomfortable.
Reviews on TripAdvisor paint a stark picture, with some audience members even walking out mid-performance. One reviewer bluntly labeled it a “smut fest,” expressing shame at bringing young children to what they considered a grim and lazy display of suggestive humor.
The concerns aren’t isolated incidents. Multiple comments detail jokes that rely heavily on adult themes, causing discomfort for younger viewers and prompting families to leave before the show’s conclusion. A warning of “parental discretion” has now been added to the theatre’s website, acknowledging the potentially inappropriate content.
Beyond the risqué material, some critics suggest the production lacks the heart and charm of a traditional pantomime. One reviewer lamented the show’s “weak variety” and the feeling that the cast seemed uninspired, even Clary appearing a shadow of his usual energetic self.
Despite the negative feedback, not everyone shares the same view. A minority of attendees praised the show’s unique approach, appreciating the departure from typical family-friendly fare. They found the humor refreshing and the blend of story and wit enjoyable.
However, the overwhelming sentiment suggests a significant disconnect between the show’s intended audience and its actual delivery. For many long-time pantomime fans, this year’s Sleeping Beauty has sadly lost its shine, prompting questions about the future of this beloved festive tradition.
Interestingly, despite the controversy, Sleeping Beauty has become the fastest-selling panto in the Palladium’s history. The theatre’s own promotional material even hints at the show’s suggestive nature, playfully referencing a “small prick” and promising “the happiest of endings.”
The production marks the 10th anniversary of pantomime at the Palladium, but the current iteration is sparking a debate about the evolving nature of this classic British entertainment and whether it’s straying too far from its family-friendly roots.
