In our continued Pantomime 2026-2027 season of interviews, we'll sit down with the dames, heroes, villains, and creatives who transform classic fairy tales into the festive magic we all know and love.
In this interview, we sat down with director Natasha Rickman, who directs Jack and the Beanstalk at The Mercury Theatre in Colchester.
Jack and the Beanstalk is one of the most beloved pantomime stories. How are you approaching this classic fairy tale to keep it feeling fresh while honoring all the traditional panto beats audiences love?
At the Mercury we always start with the heart of the story for our pantomimes, but as we have the script written especially for us by David Phipps Davis, it also means David, Antony Stuart-Hicks our producer and I can all sit down and talk about what exciting, spectacular or new elements we want to include as well as how to tackle the big magical story beats the fairytale offers up. There are lots of spectacular traditional routines this year, but with a fresh twist - be that added layers to them or the scale on which we are doing them.
Pantomime relies heavily on visual spectacle, especially a story featuring a giant beanstalk and Cloudland. What can audiences expect from the set design, stage magic, and overall scale of this production?
Our incredible designer Libby has created many intricate and exciting set elements alongside spectacular costumes - I don't want to give any spoilers away but one of our costume elements is record breaking in terms of its scale. We are so lucky to have in-house workshop, wardrobe and stage management which means every element is tailored to this production - they build for months and months before we open which is why we are so proud of the production value and scale. We have had a great time exploring how to create moments of magic with elements of the story the audience are expecting - and introducing some new ones they might not be too.
Antony Stuart-Hicks (Tilly Trott) and Dale Superville (Trevor Trott) are iconic staples of the Mercury Theatre panto experience. What is it like directing their unique comic energy, and how much room do you leave for improvisation during rehearsals?
It is a treat to work with ASH and Dale - they are so experienced, and have a wonderful relationship that means they bring so many ideas into the rehearsal room. There is always improvisation in the rehearsal room as well as in the shows - but like all truly excellent comics they know how and when this should happen. Comedy and improvisation is such a craft, and it's brilliant to be working with two of the best.
Beyond the antics, the family dynamic at Trott’s farm drives the emotional core of the story. How do you balance the heartfelt family moments with the fast-paced slapstick comedy?
All great stories need moments of peril, tenderness and pathos . It's about knowing what the story is doing for the audience when, and committing to that.
Every great panto needs a villain people love to hate, and this production introduces the ruthless landowner Augusta Bigbucks. How are you building the tension and comedy around her threat to the town?
Augusta is a huge amount of fun, even if she does want to turn Pat the cow into beef burgers. The brilliant Jaimie Pruden is a Mercury favourite and so knows how to play with an audience to bring the 'evil' as well as lots of comedy - and as always a stunning vocal too.
The show promises "marvellous music" and "spellbinding choreography." How do you collaborate with the musical director and choreographer to seamlessly weave high-energy song and dance numbers into the narrative pacing?
Our MD Josh and choreographer Rosie are such a huge part of the show. We meet months before rehearsals start and they are very much a part of shaping what the show will become from early drafts - so are embedded into the process and add so much to it.
Panto holds a unique place in British theatre because it caters to kids, parents, and grandparents all at once. What is the key to directing a show that lands double-entendres for adults while keeping younger viewers completely captivated?
I think we keep our audience in mind every moment we are in the room, and are always trying to create something full of heart, which means everything comes from warmth. It is also the skill of really excellent performers to read an audience live every night and know how to pitch material depending on who is in.
For many local families, a trip to the Mercury panto is the highlight of their Christmas season. What atmosphere or feeling do you most want audiences to walk away with when the curtain comes down?
We want people to come away feeling like they've been to a great party - having laughed a lot, maybe been moved for a moment, and feeling like they've experienced something completely live and unique, as every show really is different. Everyone in the building and in the creative team and cast cares about the show hugely, and we all feel it's a real honour to be part of people's Christmas tradition.
JACK AND THE BEANSTALK RUN AT MERCURY THEATRE COLCHESTER FROM 21 NOVEMBER 2026 TO 17 JANUARY 2027. FOR MORE INFORMATION AND TO BOOK https://www.mercurytheatre.co.uk/event/jack-and-the-beanstalk-2026/
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