SATURDAY, DECEMBER 20, 2025
Robin Hood
Production Photo: Gorgeous Photography
Frequent atypicality, clever topicality and immense enjoyability lie in waiting at Newtownabbey's Theatre At The Mill in the form of Yellow Jumper Productions' pantomime Robin Hood. Written and directed by Sarah Lyle, the show gleefully and raucously digs into the rich potential of its subject, with energy, inspiration and performances all shining in a flair-laden enterprise with numerous ingenious moments.
The remarkable ingenuity is evident from the start, where we are "welcomed" to Newtownabbey Forest by Aaron Ferguson's Sheriff Of Nothingman and his dancing, marshmallow-helmeted minions. Nothingman really couldn't be a more apt name for this Lord Farquaad-esque fop, a showy figure who clearly overcompensates for hollowness with a loud voice, brash clothing and a blatant demand that we boo him very audibly, perhaps for the sake of attention. And he's a very funny presence. As is, at least initially, Tiarnán McCarron's Robin Hood himself, a timid sort who we meet with the help of that theme song from the famous Richard Greene television series – the one about Robin Hood "riding through the glen... with his band of men". Unfortunately for him, Robin doesn't have a band of men, or band of people – it's just something he says to frighten the Sheriff away. Luckily he will soon have the tongue-twistingly titled "Peaceful People Posse" by his side - a motley crew featuring Lennin Nelson-McClure's Panto Dame, Little Joan, and Laura Francisca Shaw's Maid Martini. And in between all this, there's the appearance of a walking, talking taco, played by a member of the small ensemble.
Production Photo: Gorgeous Photography
It's rather abundant, this conceptual craziness, but that's the hallmark of Lyle's work – and it stirringly escalates, along with the cast's confidence, as the production proceeds. Following a first act heavy on introductions, audience participation and musical numbers is a second act which retains all of that while really taking us into the level of the off-kilter, absurd and even astounding. A politically satirical Blind Date, with Shaw briefly dressing up to resemble Cilla Black, is the comic highlight, but there are also amazing gymnastics from Nelson-McClure - as there were when he played Zip in Lyle's Cinderella here last year – as well as an impressive performance of Sleepy Hallow's "Anxiety" from McCarron when his Robin feels like he's genuinely reached the end. There is indeed room for a bit of seriousness in this panto, and it neither detracts from the show's comedic tone nor overloads the work. One finds themselves sympathising with Little Joan and the "HoHoHoHopingForLove" that's spelled out in his social media handle as much as they laugh at Ferguson's Riverdancing. And it's laudable how, in Maid Martini – because her sense of humour is "dry", perhaps? – Lyle seems to parody and complement those turn-of-the-century cinematic period princesses like Keira Knightley's warrior-like Guinevere from King Arthur. The real spirit with which Shaw embraces these aspects of the character makes the actress someone to watch.
One leaves the Theatre At The Mill with a beaming smile, sensing that a pantomime with plentiful possibilities has rewarded its viewers with such enthusiastic, explorative, exciting entertainment in just a couple of hours. When those in attendance chant "Peaceful People Posse", you just know the show has done its job in amazing an amicably aligned audience. As the hero of Disney's animated Robin Hood might put it - ooh de lally, golly, what a panto.
Simon Fallaha
Robin Hood runs at the Theatre At The Mill, Newtownabbey, until Saturday January 3, 2026. For more information, and tickets, click here.