This show finished on Saturday 03 December 2022, and this page is being kept for archival purposes only.

Spiderman: Into the Pantoverse

With great panto comes great responsibility.


Wednesday 30 November - Saturday 03 December 2022


Bedlam Theatre


£6/£7/£9 + fees, £1 booking fee on the door


Em Leites McPherson & Lewis Eggeling


The fabric of the universe has been torn after the final showdown between Supersanta and the Green Grinch, causing an influx of ‘Santa-like figures’ from different realities. Miles, new Spiderman on the block, is brought on by Father Christmas as acting ‘Pantoman’, a superhero with the powers to manipulate the Pantoverse, a mysterious realm where one skilled in the tropes of panto can warp the universe to their liking. To bring down the evil Santa who is taking over the world, the Santa Council must work together to defeat the villain by putting on a panto and, with a little help from the audience, booing him back to his own realm!

Cracking choreo, crusty club nights, and plenty of crass comedy… don’t miss Bedlam’s batshit crazy Christmas romp this December.

Cast and Crew


Actor (Brian Cox I) Reuben Bharucha

Actor (Brian Cox II) Ivan Hamshaw Thomas

Actor (Brian Cox III) Zak Baker

Actor (Brian Cox IV) Casey Bouldin

Actor (Coca-Cola Santa) Sam Waite

Actor (Elf Santa / Ensemble) Alice Sikora

Actor (Ensemble) Ray Finlayson

Actor (Father Christmas) Tai Remus Elliot

Actor (Gen Z Santa / Ensemble) Julia Pancer

Actor (Green Grinch / Santa Scrooge) Mallory Smith

Actor (Harv / Ensemble) / Set Assistant Holly Spragg

Actor (Hector the Christmas Moose / Buttons) Zac Askham

Actor (Marry) Charlie Ringrose

Actor (Miles) Lish Keir

Actor (Mrs Claus) Seamus Coyle

Actor (Mum / Ensemble) Bryony Agar

Actor (Pantoman) Lauren Green

Actor (Supersanta / Mediaeval Santa) Anna Yarwood

Actor (Waitress / Ensemble) Liz Dokukina

Choreographer Rose Marin Roberts

Co-Costume Manager Chloe Lannert

Co-Costume Manager Trinity Dodds

Co-Director / Co-Musical Director Leon Niven

Co-Director / Writer Em Leites McPherson

Co-Musical Director / Lyricist / Writer Lewis Eggeling

Co-Producer India Hunter

Co-Producer Mick Zijdel

Co-Production Manager Emily Richards

Co-Production Manager / Welfare Freya Game

Costume Assistant Lisa Kislova

Costume Assistant Anwen Baker

Lighting / Stage Assistant Atalanta Lewis

Lighting Assistant Miki Ivan

Lighting Assistant Orlena Currie

Lighting Assistant Ryan Smith

Lighting Designer Matias Krook

Photographer Jerry Li

Pyro Manager George Manchester

Set & Stage Assistant Sofia Stidham

Set Manager / Actor (Lois Zonnenberg) Lois Zonnenberg

Sound Assistant Carys Hrebenar

Sound Designer Bea Healy

Stage Manager Luca Stier

Tech Manager Alex Mohan Morzeria-Davis

Review for Spiderman: Into the Pantoverse -

Thursday 01 December - By Hugh Simpson for All Edinburgh Theatre

Complicated plot twists and uncomplicated fun collide in Spiderman: Into the Pantoverse, EUTC’s unruly but heartfelt pantomime which plays at the Bedlam to Saturday.

Em Leites McPherson and Lewis Eggeling’s script unsurprisingly takes its lead from the 2018 animated feature Into the Spider-Verse.

In this panto version, a showdown between Supersanta and the Green Grinch leads to Rudolph’s red nose creating a rift in the universe, through which come multiple versions of Santa. New Spiderman Miles is called upon to take on the role of Pantoman to manipulate the universe, using the conventions of pantomime in order to restore balance.

The structure hangs together considerably better than such a synopsis may suggest. While at times it does come across like an unconnected series of sketches, the overall story is a largely coherent one paying tribute to the unifying powers of creation, and to everyone who works in the theatre. Acknowledging both the strengths and the drawbacks of pantomime, it is remarkably earnest and really rather sweet.

There are a few references designed primarily for students, but overall it is fairly accessible. Constant warnings about adult content encompass little more than swearing, and some references that are rather nearer the knuckle than the regular panto.

However, it is not a million miles away from your average family entertainment; the familiar (and rather homespun) riff on brand names is not as adult as it tries to be.

Meanwhile, Mrs Claus (played with gusto by Seamus Coyle) may be pitched as more of a modern, Drag Race-style characterisation, but has more in common with a traditional pantomime dame than anyone in the production would probably care to admit.

McPherson is also credited as co-director with Leon Niven, who shares the MD role with Eggeling, who also provides lyrics. None of them are afraid of using time-honoured tropes and set pieces – even to the extent of including a sing-off between the two halves of the audience.

This certainly won’t be the only show this year featuring a reworking of Encanto’s We Don’t Talk About Bruno; considerably less welcome is yet another appearance of the inexplicably still-popular Escape (The Pina Colada Song). Musical numbers are used judiciously, however, and the choreography of Rose Marin Roberts makes good use of the 15-strong ensemble.

The show’s decidedly skew whiff logic is found wanting in the introduction of some of the characters, particularly the various Santas from other dimensions, but the roles are attacked with genuine enthusiasm, and there is a great deal of talent on display, with too many participants to name-check them all.

Sam Waite as the main villain, a Santa who wants to take over the world with Coca-Cola, is beautifully louche and pleasingly angular, as if a young Bill Nighy had been cast as the Master in Doctor Who. This strand of the plot is also reinforced by some excellent use of branding in the theatre bar.

Mallory Smith as Green Grinch is an ideal performer for this genre, apparently always on the edge of chaos while always being firmly in control. Anna Yarwood’s enviable control of timing, accurate to the split second as Supersanta makes for tremendous comedy.

Tai Remus Elliot’s blusteringly assertive, borderline unhinged Father Christmas and Zac Askham’s step-dancing moose are more expansive comic creations. Central to it all is Lish Keir’s Miles, whose comparative diffidence makes some of the dialogue difficult to make out at first, but the performance works well as the injection of humanity and realism necessary to hold everything together.

The second act is notably more self-indulgent than the first, apparently relying too much on call-backs to a previous Bedlam panto, but always retains a definite attraction, even when it appears to be on the verge of falling apart.

A particularly heartening aspect of this production is how it gives due credit to those working backstage and technical crew members whose roles are so vital and so often unappreciated. As the Bedlam continues to give opportunities to so many in this regard, this is only fitting, in a production that goes exactly where it aims for, and has considerable fun getting there.



Click on a thumbnail to see the image in full-size
Spiderman: Into the Pantoverse - Spiderman Into the Pantoverse Poster.JPG
Spiderman: Into the Pantoverse - Pantoverse Stage Team.jpg
Spiderman: Into the Pantoverse - Pantoverse Production team.jpg
Spiderman: Into the Pantoverse - Pantoverse Costume and Creative Team.jpg
Spiderman: Into the Pantoverse - Pantoverse Cast 2.jpg
Spiderman: Into the Pantoverse - Pantoverse Cast 1.jpg
Spiderman: Into the Pantoverse - Pantoverse Tech Team.jpg
Spiderman: Into the Pantoverse - pantoverse-arch3.jpg
Spiderman: Into the Pantoverse - pantoverse-arch1.jpg


Pantoverse recording

Show All Shows