Sturminster Newton Amateur Dramatic Society 
The Exchange, Sturminster Newton
Susanna Greenwood 
11 February 2026
It was a pleasure to review SNADS at The Exchange this evening. With a proud history in the local arts community dating back to 1930, staging pantomimes, plays and musical productions that showcase local talent, the group continues to play a vital role in keeping amateur theatre thriving in Sturminster Newton. Their ongoing presence at this warm and welcoming venue highlights a deep commitment to live performance in the area.
Mother Goose is one of the oldest traditional British pantomimes, dating back to the early nineteenth century. The story centres on themes of temptation, wealth and vanity, as Mother Goose is lured by promises of riches, only to learn that love and loyalty matter more than gold.
Opening night saw a modest audience, though the atmosphere was warm and appreciative, with several local dignitaries present in support of the group. Despite the smaller crowd, the cast delivered a high-energy performance filled with classic pantomime humour, audience participation and larger-than-life characters.
There are many confident and capable performances across the principal cast. Jessica Allen, as principal boy Colin, brings lovely energy and stage presence, well matched with Lina Felsa’s Jill. Alice Ralph is perfectly cast as Silly Billy, shining in this comic role and working hard to encourage audience interaction despite the smaller opening house.
Giles Henschel fully embraces the title role of Mother Goose, delivering a solid and traditional dame performance, complete with flamboyance, ungainly femininity, risqué costumes and well-placed ad-libs.
A particular standout is George Lipop as Squire Moneybags. His villain is perfectly pitched, characterised by sneering expressions with a mischievous, playful edge rather than an outright menace, making his flirtations with Mother Goose all the more believable and entertaining.
The standard of singing throughout is superb. Tasmin Allen as Fairy Friendship, alongside Lina Felsa’s Jill and Jessica Allen’s Colin, all shine in their musical numbers. Often in pantomime, villain roles are given character songs that rely more on performance than vocal prowess. That is certainly not the case here. SNADS have cast well in Kirstin Graham, making her debut with the group as Demona Discontent. Her operatic background is evident, and she delivers powerful vocals. Unfortunately, occasional microphone balance issues proved distracting and affected two of her numbers, though her talent still shone through.
One of the more challenging roles is Priscilla the goose, whose golden eggs transform Mother Goose’s fortunes. In this non-speaking role, Eve Styles-Saunders conveys humour and poignancy through expressive physicality and perfectly timed ‘honks’, making her an endearing presence throughout.
The musical numbers offer strong variety, supported by simple yet effective choreography from Sophia Olford. While a larger number of dancers would have enhanced the visual impact, the junior chorus handled the more energetic routines admirably. At times, the chorus appeared slightly serious — perhaps opening-night nerves — but their commitment was evident.
Directors Craig White and Jessica Allen have delivered a slick, well-rehearsed and technically confident production. Production values are impressively high: beautifully painted sets provide a stunning backdrop and are constructed to allow seamless scene changes, maintaining pace throughout. Thoughtful touches, such as the inclusion of the Three Bears in the village windows — a nod to SNADS’ next pantomime, Goldilocks and the Three Bears — add charm and continuity. The live band is a real asset, with spontaneous musical ad-libs adding sparkle, and particularly lovely moments from the solo saxophonist and acoustic guitar. Special mention must go to Annie Henschel and the wardrobe team for high-quality, imaginative costumes that enhance every scene.
For all its technical competence, this is fundamentally a local production with heart. The musical choices subtly weave the show’s moral themes throughout, offering something slightly more reflective than the typical pantomime formula, and all the more original for it.
Overall, this production proves that even with a smaller opening-night audience, the spirit of pantomime in Sturminster Newton remains as big as ever.
