Disenchanted!

Lichfield Garrick Theatre

Lichfield

Lichfield Garrick Theatre in association with The Production Garden presents ‘Disenchanted!’

Photos: Pamela Raith

There’s a certain expectation that comes with any show built around fairy tales. We anticipate charm, familiarity, and perhaps a touch of nostalgia. What Disenchanted! at the Lichfield Garrick Theatre delivers instead is something far more mischievous: a bold, irreverent unravelling of those very expectations. It takes the polished, idealised versions of princesses that have been ingrained in popular culture and flips them on their heads with biting humour, knowing self-awareness, and an unapologetically modern voice.

From the outset, the show makes it clear that this is not a gentle parody but a full-scale rebellion. The familiar figures we think we know of Snow White, Cinderella, Sleeping Beauty step forward not as delicate icons of perfection, but as women frustrated by the narrow roles they’ve been forced to play. The concept is simple yet effective, these princesses have had enough, and now they’re telling their side of the story.

Rather than following a traditional narrative arc, the show unfolds as a series of musical numbers, each focusing on a different character or theme. This revue-style structure allows the production to explore a wide range of perspectives, from the comedic to the unexpectedly poignant. It also gives each performer a moment to shine, ensuring that the energy never dips for long.

What makes this structure work is the consistency of its voice. Every number, no matter how wildly different in tone, feeds into the central idea of reclaiming identity. The humour is often sharp and knowingly exaggerated, but it rarely feels aimless. Instead, it serves as a vehicle for commentary, on gender roles, on storytelling traditions, and on the way these narratives have shaped perceptions for generations.

The production design complements this approach beautifully. The set is relatively simple but highly adaptable, allowing for quick transitions between scenes without interrupting the pace. Lighting plays a key role in defining each moment, shifting from soft, fairy-tale hues to more dramatic, almost confrontational tones as the show leans into its more subversive material.

Costumes are another standout element. While they clearly reference the iconic looks associated with each character, they are deliberately exaggerated and stylised. This creates a sense of familiarity while also signalling that these are not the versions we’ve seen before. It’s a clever visual shorthand that reinforces the show’s central premise; these characters are reclaiming their identities, not simply repeating what has come before.

Musically, Disenchanted! is lively and varied. The score moves fluidly between styles, from upbeat ensemble numbers to more introspective solos. There’s a sense of playful experimentation here, with each song tailored to suit the personality of the character it represents. Some numbers lean heavily into comedy, packed with rapid-fire lyrics and punchlines, while others take a more emotional approach, offering glimpses of vulnerability beneath the bravado. Be warned there is explicit language!

At times, the overall tone and staging evoke a distinctive theatrical hybrid; something akin to Six the Musical colliding with the spectacle and familiarity of Disney storytelling. There’s that same concert-style energy, with characters stepping forward to reclaim their narratives through bold, personality-driven numbers, while still rooted in the recognisable world of fairy tales. This fusion works remarkably well, giving the production both a contemporary edge and a playful sense of nostalgia, allowing it to feel fresh without losing its connection to the stories it reimagines.

The lyrics are particularly effective, striking a balance between humour and insight. They are witty without feeling overly self-indulgent, and they often land with surprising precision. It’s in these moments that the show’s message comes into sharp focus, cutting through the laughter with something more substantial.

Of course, the success of a show like this ultimately depends on its cast, and here the performers rise to the challenge with impressive confidence. Each member of the ensemble brings a distinct energy to their role, ensuring that the characters feel individual rather than interchangeable. There’s a strong sense of commitment across the board, with performances that are both technically accomplished and emotionally engaging.

The portrayal of Snow White (Lois Glenister) serves as a central anchor for the production, guiding the audience through the various narratives with a mix of authority and humour. There’s a self-awareness in the performance that works particularly well, acknowledging the absurdities of the original story while still allowing space for genuine reflection.

Cinderella (Rosie Napper), meanwhile, is reimagined with a sharper edge, her frustration bubbling beneath the surface of her polished exterior. It’s a portrayal that challenges the traditional image of passive optimism, replacing it with something far more assertive. Similarly, Sleeping Beauty (Roshaan Saulnier) is given a voice that goes far beyond her original role, transforming from a symbol of passivity into a character with agency and wit.

Other characters Rapunzel (Eliza Bowden), The Princess who kissed a frog (Jewelle Hutchinson) and Mulan/Pocahontas (Ashley New) bring their own unique perspectives, broadening the scope of the show’s commentary. Some numbers delve into cultural identity and representation, adding layers of complexity that elevate the material beyond simple parody. These moments are handled with care, ensuring that they feel integrated rather than tokenistic.

One aspect that deserves particular mention is the professionalism displayed during an unexpected pause in the performance due to an audience emergency. While such interruptions can easily disrupt the flow of a show, here it was handled with calm efficiency by the theatre staff, ensuring the situation was dealt with sensitively and swiftly. What was most impressive, however, was the way the performers resumed. Picking up seamlessly from where they had left off, they demonstrated not only technical precision but a deep level of focus and resilience. If anything, the moment highlighted the strength of the cast, reinforcing just how assured and capable they were under pressure.

One of the production’s greatest strengths is its ability to balance humour with meaning. The comedy is often bold and unapologetic, leaning into absurdity and satire with confidence. There are moments of genuine laugh-out-loud hilarity, driven by clever writing and strong comic timing. Yet the show never loses sight of its underlying message. Beneath the jokes lies a critique of the narratives that have shaped these characters and, by extension, the audiences who have grown up with them.

That said, the revue format does present some challenges. Without a traditional storyline, there are moments where the show feels slightly uneven. Some numbers resonate more strongly than others, and a few ideas could perhaps have been developed further. There is also the occasional reliance on contemporary references that may not stand the test of time.

However, these are relatively minor issues in the context of the overall experience. The pacing remains brisk, ensuring that the audience is consistently engaged. The variety of styles and tones helps to maintain momentum, preventing the structure from feeling repetitive.

The intimate setting of the Lichfield Garrick Theatre enhances the impact of the performance. There’s a sense of immediacy that draws the audience into the action, making the humour feel more direct and the emotional moments more personal. It’s a space that suits the show’s cabaret-like energy, allowing for a level of connection that might be lost in a larger venue.

Audience reaction plays a significant role in shaping the atmosphere, and here it is clear that the show strikes a chord. Laughter is frequent and enthusiastic, but there are also moments of thoughtful silence as the more reflective elements land. It’s a dynamic that speaks to the show’s ability to entertain while also provoking thought.

What ultimately sets Disenchanted! apart is its sense of purpose. While it is undeniably fun, it is also driven by a desire to challenge and reframe. It asks its audience to reconsider the stories they have taken for granted and to recognise the limitations those stories can impose.

In doing so, it taps into broader cultural conversations about representation and agency. The idea of reclaiming one’s narrative is a powerful one, and the show approaches it with both humour and sincerity. It doesn’t claim to have all the answers, but it does encourage reflection, and that in itself is valuable.

By the time the show reaches its conclusion, there is a sense of collective empowerment. The characters who began as caricatures have evolved into something more complex, their voices no longer constrained by the expectations placed upon them. It’s a satisfying transformation, one that feels earned rather than imposed.

In the end, Disenchanted! offers a theatrical experience that is as entertaining as it is thought-provoking. It may not follow the traditional rules of storytelling, but that is precisely its strength. By breaking away from those conventions, it creates space for new perspectives and fresh interpretations.

For audiences willing to embrace its irreverent spirit, the show provides a lively, engaging night at the theatre, one that lingers beyond the final curtain. It reminds us that even the most familiar stories can be reimagined, and that sometimes the most interesting tales are the ones that challenge the endings we thought we knew. A fierce, funny, fairy-tale fix; this ⭐️⭐️⭐️⭐️⭐️ sensation sparkles at the Lichfield Garrick Theatre until Saturday 2nd May 2026.