Catherine Tate Finds Riotous Laughter as Wicked Fairy in London Palladium Panto 'Sleeping Beauty'

British comedy icon Catherine Tate makes her grand entrance into rehearsals for Sleeping Beauty, marking the 10th anniversary of London Palladiums festive pantomime. Shows run from Saturday until January 11, with Tate stepping into the role of Carabosse the wicked sister of King Julian, portrayed by pantomime favorite Julian Clary.

The production celebrates the classic seasonal tradition known across the UK for its humor, music, dance, and cheeky wit. In the rehearsal space, the stage outline is taped across the floor. As Tate passes, she casually delivers a quick remark so sharp it nearly goes unnoticed, sending the room into explosive laughter a reminder of her legendary comedic timing.

Clary later enters with tales of his corgis, Tess and Tickles, raising the room to another round of bold humor. When asked whether theres ever a line they are told not to cross, Clary explains that their director, Michael Harrison, rarely limits them subtle innuendo thrives, as long as the audience fills in the rest.

This years cast features returning Palladium regulars: Nigel Havers as Keeper of the Privy, ventriloquist Paul Zerdin as The Great Zerdini, Jon Culshaw as the kings private investigator, Rob Madge opening the show as The Diva of Dreams, Emily Lane as Princess Aurora, and Amonik Melaco promoted to Prince Peter after appearing in last years ensemble.

Surprisingly, this is Tates first-ever pantomime performance. Known for The Catherine Tate Show, Nan, and her memorable stint on Doctor Who, she joined after attending last years Robin Hood performance, calling it chaotic, hilarious, and pure entertainment.

Harrison explains that the script reshaped itself during rehearsal, with Tate and Clary improvising moments impossible to write beforehand. He also reminds audiences that Tate is not only a comedian but a skilled actress capable of slipping in and out of characters instantly.

Much of her performance remains a closely guarded secret. One scene involves the tongue-twisting phrase peasant pheasant plucker, though details of Tates role in that joke remain firmly under wraps.

With rehearsals complete, the company has moved to the Palladium, where an enormous Forest of Thorns set piece overtakes the theater as Aurora sleeps surpassing even the giant beanstalk from a previous show. Sleeping Beauty marks the productions 10th consecutive year, including the season performed during Covid when the Prince and Princess of Wales attended with their children.

Despite its long run, Harrison remains amazed at the audience demand. Tickets sell rapidly, with a loyal following and many visitors from North America. Harrison insists the pantomime belongs firmly to the UK and part of its success is its unmistakable identity, humor, and tone.

Clary stands as the shows core, the production shaped around him and each years star. He reflects on how the pantomime returned after decades absent from the Palladium, calling its revival a dream come true after years performing elsewhere. Now, it is once again the home of grand holiday spectacle.

Author’s Analysis: A Milestone Season for the Palladium Pantomime

From my perspective, the arrival of Catherine Tate at rehearsals for Sleeping Beauty highlights more than just a casting decision. It marks a strategic moment for the London Palladium pantomime as it celebrates its tenth consecutive festive season. Tate’s debut in pantomime brings a performer with established comedic credibility into a format that relies heavily on timing, improvisation, and direct audience connection.

The rehearsal environment described by the production team confirms that the show continues to evolve organically. Director Michael Harrison allows performers such as Julian Clary and Tate to shape scenes through improvisation, ensuring that humor remains current and responsive rather than strictly scripted. This flexible structure has become a defining element of the Palladium’s modern pantomime formula.

The returning cast also demonstrates the stability of the production. Regular performers including Nigel Havers, Paul Zerdin, Jon Culshaw, and Rob Madge maintain continuity for audiences who return each year. At the same time, promotions within the ensemble, such as Amonik Melaco’s move to Prince Peter, show how the production develops talent internally while preserving its core identity.

In my view, the sustained demand for tickets confirms that the Palladium pantomime has re-established itself as a central part of the UK’s seasonal entertainment calendar. A decade after its revival, the show continues to combine established performers, improvisational comedy, and large-scale staging, reinforcing the format’s distinctively British character and broad international appeal.

Sources:

• Breaking Baz: UK Comedy Queen Catherine Tate Discovers Riotous Laughter As The Wicked Fairy In London Palladium Panto ‘Sleeping Beauty’