Bawdy, Gaudy, Oh Lordy!

This is the third year that the theatre company He’s Behind You has produced an adult gay pantomime at the Charing Cross Theatre in London. Some time ago, the producers of the hit show Mamma Mia, a short walk away from Charing Cross, put up a banner saying that you already know you are going to love it. This also felt true for Beauty and the Beast – a Horny Love Story, already playing to packed houses. And love it we did. Much was expected. It is funny and well presented.

At its heart sits a simple love story where both participants are changed by love. For the Beast, cursed by his brother into adopting the shape of a monster, he will return to human form only when he receives love from another. For Bertie, played with charm and warmth by Matt Kennedy, he finds his first relationship and the confidence to stay in Scotland rather than leave for New Zealand.

There is a lot of glorious nonsense in the plot, worthy of any nineteenth century operetta. There are magic plums that make people see ghosts, a good fairy who loses her immortality after granting her last wish, and a last will and testament that actually is the origami table setting. Even oil rigs with butch moustachioed workers appear, along with a plant that responds to the growing relationship between the Beast and Bertie, the Penis Flytrap. Yes, it really is that sort of show. The adult jokes land throughout and the audience responds with real enjoyment, which suits the tone of an adult panto.

Classic pantomime tropes appear in full force. There is a gentle slosh scene, a song sheet moment with impossibly fast lyrics and plenty of sweets thrown into the audience. The familiar oohs, aahs and oh no it is not calls are encouraged at every turn. The good and bad fairies are played by Dani Mirels as Juno and Chris Lane as Cornelius. Juno is a lesbian who finds love with Bonnie, played by Laura Anna Mead, the daughter of the pantomime dame, Flora. Chris Lane plays the baddie, Cornelius, the evil brother of the Beast, with sharp wit and draws the expected boos from the audience.

Matthew Baldwin gives a simply stunning performance as the Dame. His delivery is nuanced, his rapport with the audience feels effortless and joyful. Whether ad libbing or speaking Jon Bradfield and Martin Hooper’s script, this is a Dame in the long history of pantomime. His frocks are a joy as well. Robert Draper has designed a range of playful costumes, from a huge Loch Ness monster gown to Juno’s Sydney Opera House epaulettes.

As the play progresses, the scenes move from a gas station to a traitor style castle, ending in an offshore oil rig. David Shields’ sets are stylish and surprising. The music is another highlight. Jon Bradfield’s songs, orchestrated by Aaron Clingham, draw on influences from Gilbert and Sullivan, Disney, the Village People and eighties synth pop. The singing is strong throughout and the dancing, choreographed by Carole Todd, keeps the show lively.

Creating a successful pantomime is the sum of many well known parts, and it is hard to get every one right. He’s Behind You manages it with Beauty and the Beast. This is a very funny play. The cast also bring out the pathos underneath. It is more than end of the pier humour with a few songs. In the depths of the stalls of the Charing Cross Theatre, where the wrong side of shabby chic is still visible, the heart of the show shines through.

Few would disagree that traditional pantomime is an essential part of British theatre culture. He’s Behind You offers a version that feels natural and rooted in queer experience. Even with the adult humour, the show still feels like it belongs to a family of its own. It is simply a queer family, with shared jokes, shared experiences and a spirit the audience recognises.

Next year’s show is Cinderella: Buttons Undone. We already know we are going to love it.

Beauty and the Beast – a Horny Love Story runs at Charing Cross Theatre until 4 January 2026.

Tickets can be purchased here

Cast
Cornelius Chris Lane
Juno Dani Mirels
Bonnie and Megan Laura Anna Mead
Bertie Matt Kennedy
Flora Matthew Baldwin
Harris and Angus Ben Mabberley

Creative Team
Writers Jon Bradfield and Martin Hooper
Songs Jon Bradfield
Director Andrew Becket
Music Direction and Orchestration Aaron Clingham
Choreography Carole Todd
Set Design David Shields
Costume Design Robert Draper