(seen at the performance on 19th November 2025)
Even with the presence of a few overseas acts, this smaller-than-usual scale show felt more British than ever.
Compere Jason Manford is his usual affable self, his “my children are posh” routine connecting with the audience at the start. Later, his “Tribute to Pantomime” sequence had the Maryland couple next to the monkey amused and baffled that the black-tie audience knew instinctively what and when to shout in response to classic panto catchphrases.
With stars including Sue Pollard, Christopher Biggins and Lesley Joseph appearing (unannounced in the programme) a fun-packed and colourful sequence.
Rather the tone of the evening, with other very wonderful surprises. SPOILER ALERT. These included the excellent “Just For One Day” musical cast introducing us to Dame Claire Bertschinger, the nurse who worked with journalist Michael Burke (also present) to tell the world of the 1980s Ethiopian famine.
The audience rose to its feet in a spontaneous ovation for Sir Bob Geldof and Midge Ure, plus representatives of “Queen” and “Spandau Ballet” also standing centre stage amid the show’s cast. “Blowin’ In The Wind” a gut-wrenching moment.
Other surprise guests were a sadly frail Claude-Michel Schönberg and lyricist Alain Boublil, along with Sir Cameron Mackintosh. Introducing the “Les Misérables” finale, every aisle fills with over 400 amateur and professional performers who had taken part at one time in the show. With Michael Ball for the British original cast, and the current Paris ensemble, the time is here, the place is now – in a stunning sequence. SPOILERS END.
Standout hit solo artiste has to be the fabulous Mick Miller, marking 50 years in the industry. The proper old-school joke teller gets a groan on his first pun, and proceeds to demolish the usually stiff and unlaughing RVP audience with 20 minutes of classic material.
Clean, very British stuff. Nothing observational, just what we used to laugh at before comedy became either a rant, lavatorial or unrelatable stories from a certain segment of society who can afford to play stand-up until a contact gets them on a TV comedy panel show.
By contrast, Tom Davis – of the modern school – took far longer to gain audience trust, with something about his young daughter’s Disney obsession leading to his Beast being cut out of a soft play area. You had to be there… or not, really. Still, he got an appreciative round on his exit… back to the soft play area again…
Stephen Fry gives us his Lady Bracknell advice on etiquette, never mentioning his phone container. Nicely timed and well considered material, it prompted a man in the interval loo queue to remark that we probably shouldn’t use the sinks, even if desperate, as Bracknell would not advise it.
The radio comedy impressionists from “Dead Ringers” – Jon Culshaw, Jan Ravens, Lewis MacLeod, and Duncan Wisbey – produce accurate voices in a rather overlong segment. Ravens scores highest with her Theresa May, Liz Truss and Nigella Lawson moments. Also fascinating was the deeply meant booing from the entire house when Keir Starmer’s voice was introduced into proceedings.
Fortunately, ‘Madness’ followed them. As in the Nutty Boys. A medley of their hits had staid audience members singing along as Suggs and crew entertain royally.
For the lady vocalists, a rather fragile looking Jessie J serves a beautiful song from her new album.
Gorgeously green gowned Katherine Jenkins performs powerfully the opening National Anthem and, later, the current anthem of school playgrounds “Golden” in her own arrangement.
Also, Laufey – well known on social media – put effort into engaging us, her rhythmic clapping eventually drawing the response she seeks.
Stage musicals this year comprise extracts from “Paddington The Musical,” introduced by composer Tom Fletcher. The monkey has already seen the show, and notes that this captures what happens at the Savoy Theatre. It can’t comment further as at time of writing the press embargo on reviews is still in place.
We are also treated to a preview of “Kinky Boots” at the London Coliseum. The rather makeshift workbenches and outfits suggesting the show ones are still to be manufactured, but that the charisma between the cast has been planted.
Putting the “variety” into the show, Japanese AirFootWorks are a group of acrobats who use a metal cube to spin, leap and clamber at odd angles, occasionally depositing each other onto the stage in nail-biting fashion.
Far cuter – Jason Manford issuing a wry “the dog’s arrived, right” as he sensed the audience ignoring his introduction to applaud a furry star taking his first position – are Hurricane with owner Adrian Stoica.
The duo open in their apartment, excited by an invitation to perform for the Prince and Princess of Wales. The journey and arrival are simply a marvel of what six legs can do.
Manford’s comparing proves more successful introducing “Britain’s Got Talent” winner Harry Moulding. A quip about Simon Cowell’s face-lift preventing emotions will (as Manford notes) be cut out, but it puts the audience in a good mood for Moulding’s piece.
Repeating earlier work, Moulding demonstrates a rather unconvincing “mind reading prediction” trick, complete with “Buckingham Palace” time reveal. An ill-advised final card trick also proves a mild disappointment – particularly for those viewing from the side of the stage. Never helpful to a magician when working an illusion.
It does not matter. From the Welsh Guards fanfare to the final triumphant march of a people who will not be slaves again, 2025’s show is a fast-moving and well-balanced night out, raising in fine form a substantial amounts for a vital charity.
When it is broadcast on TV, don’t miss it.
5 stars, standing ovation given.