The London Palladium welcomes Sleeping Beauty until Sunday, January 11, 2026, marking the 10th anniversary of pantomime’s triumphant return to this historic venue. Over the past decade, more than one million people have attended what has become London’s biggest Christmas show, cementing its status as an essential part of the city’s holiday tradition.
Catherine Tate leads the star-studded cast in the title role, while Julian Clary returns as Palladium panto royalty. The production also features impressionist Jon Culshaw alongside returning favorites Paul Zerdin and Nigel Havers. This spectacular show aims to provide festive escapism through its theatrical performances. Emily Lane portrays Aurora, with Amonik Melaco as the Prince, both receiving the full Disney treatment while Melaco participates in additional comedy sketches alongside the veteran performers. Catherine Tate brings her exceptional comedic background from The Catherine Tate Show to this villainous role, marking her first pantomime at the venue.
Rob Madge takes on the role of Diva of Dreams, filling the good fairy position with a standout performance that includes a parody of “One Short Day” featuring set pieces from previous productions. The story quickly advances to Aurora’s 18th birthday and her meeting with the prince, using the minimal plot as a framework for comedy routines and elaborate sketches rather than adhering strictly to narrative. Tate particularly demonstrated her comedic expertise by handling hecklers with impressive poise that delighted the audience.
The production’s set design impresses with massive thorny vines filling the front of house at the end of Act 1 and enormous moving set pieces throughout. A spectacular spindle set highlights Aurora’s finger-pricking moment, while the show incorporates props and scenery from previous panto years, creating an atmosphere of vaudeville-style spectacle.
Special performances include a fire juggling sequence depicting the burning of spinning wheels and a parody of “Don’t Cry for Me Argentina” in the second act. The opening number cleverly showcases moments from past pantos with parodies and footage, honoring the venue’s rich tradition.
Described by The Times as “A West End Institution,” this production maintains the unselfconscious fun and manufactured romance of classic panto while delivering the dazzling spectacle audiences have come to expect from this London Palladium tradition.
