Chucky’s Solo Panto – Jack & The Beanstalk.
On this platform, you’ll find theatre reviews for pretty much any genre and style, except for panto. There’s a reason for that. I loathe panto, so it feels unfair to criticise when I’m starting from a biased point of view. I was coaxed into reviewing the annual icon that has become Chucky’s Solo Panto for two reasons. It’s for adults, and I figured the icon must’ve become an icon for a reason.
This year’s production (very) loosely followed the plot of Jack & The Beanstalk. Here’s the nitty gritty, before getting into the review.
Table of Contents
Chucky’s Jack & The Beanstalk – production details
| Play | Jack & The Beanstalk |
| My rating | ⭐⭐⭐⭐ (4/5) |
| Writer & director | Vikesh Godhwani |
| Producers | Vikesh Godhwani, Chucky Bartolo, Spazju Kreattiv |
| Production manager | Julia Camilleri |
| Artist | Chucky Bartolo |
| Assistant stage manager | Karl Azzopardi |
| Lighting designer | Andre Micallef |
| Sound designer | Aleandro Spiteri Monsigneur |
| Vocal coach | Sean Borg |
| Choreographers | Nicole Galea & Deedee Clark |
| Costume designer | Chucky Bartolo |
| Tech operators | Andre Micallef, Chantelle Micallef Grimaud |
| Beanstalk | Ray Grima |
| Giant’s Feet and Head | Lorry Coleiro |
| Dates | December 2025 |
| Content warnings | Language, sexual references, flashing lights |
| Venue | Spazju Kreattiv |
| Duration | 2 hours including interval |
| Language | English |
Jack & The Beanstalk – narrative
Look, we are all familiar with the plot of Jack & The Beanstalk. Mother sends boy to sell the beloved family cow, boy exchanges it for magic beans. Beans sprout into a giant beanstalk, boy climbs it, slays giant and steals his gold. And they all live happily ever after.
Enter Vikesh Godhwani’s narrative, bringing pure panto anarchy and an intentionally out-of-control structure that leaves plenty of space for improvised gags. The latter is crucial, as it allows the production to complement the audience vibe. The action takes place in Malta, opening up the potential for hard-hitting satire. Godhwani makes full and effective use of this, with references to construction woes, political drama and local pop culture aplenty.
Miriana Conte and her Eurovision banger Serving Kant (no prizes for guessing which version of Kant got through) take a huge chunk of the gag spotlight. Predictable? Undoubtedly. But also effective, mainly because the lewder one-liners are cleverly interwoven in between satire that leans more strongly on politics. This balance between the crude and the witty stops the script from becoming too basic.
The script is peppered with a good dose of pop numbers that include Madonna’s Like a Prayer, Anastacia’s Left Outside Alone, and various Lady Gaga hits, with the Little Monsters theme running throughout. These all achieve their purpose of getting everyone moving and singing.
Godhwani’s panto script is utterly, unapologetically ridiculous – and it 100% works, mostly because he’s a seasoned enough professional to know that there must be method behind the madness. His style of satire brought to mind Aleks Farrugia Ġiraffa Ħarbet minn Kastilja, which takes an equally ridiculous approach to deliver highly effective satire. And it also reflects his work on Noti Mil-Loki Tal-Big G’s, where the comedy hits just the right note.
Final note on the script – bonus points for keeping it under two hours and within ‘just right’ territory.
Chucky’s Solo Panto – the artist
It’s not an exaggeration to say that only Chucky Bartolo could have pulled off the unfiltered, irreverent mess that’s this solo panto. From the initial eruption on stage to the triumphant finale with everyone on their feet cheering and singing, the Queen nails all the jokes, with excellent comic timing and deadpan improvs that riff off the audience with natural spontaneity – but never make anyone feel like they are the joke.
Chucky inhabits the script with ease and completely owns it. Her command of the room and easy rapport with the audience reminded me of the confidence associated with the UK drag performer La Voix, particularly in the way interaction feels both spontaneous and in control.
Jokes are delivered with ease, whether giving a vulgar nod and wink to the pastizz or taking digs at political scandals. There’s an excellent synergy between the artist and Godhwani, as the script not only plays to Chucky’s strengths but also allows space for the drag queen’s persona to shine through, much to the audience’s delight.
Chucky’s Solo Panto – direction & staging
Godhwani’s direction is on point. When the script contains so many different elements that are partially unstructured, with some lines depending on audience feedback and participation, there is a very real danger that the production turns from spontaneous to chaotic.
Not in this case, as Godhwani keeps a skilful grip throughout, ensuring that any disorder is intentional. This comes as no surprise, considering the superb work he did for Mid-Djarju ta’ Student Fi Skola tal-Knisja, where he elevated what was already a brilliant script by Jamie Cardona to legendary heights.
Pacing is impeccable, and the audience is kept engaged even during the negligible downtime. Audience participation is handled well. There is no excessive discomfort, and even the victims’ laughter (including mine) is genuine, rather than nervous. There were a couple of instances that could have placed too much of a burden on the chosen victim, but these were ‘awarded’ to known members of the theatre community, which kept things from getting awkward.
The staging is excellent, with the various moving props working smoothly and using the space very well. However, character transitions are not always clear – a stronger directorial hand would have helped.
The beanstalk is a gorgeous revelation that I feel was introduced a touch too late. It certainly deserved more stage time, and kudos to creator Ray Grima who took an inventive approach that’s both artistic and practical.
Chucky’s Solo Panto – verdict
I’m a believer. Chucky’s Solo Panto proved to me that the adult version, provided it’s in skillful hands, can be hilarious, witty, and the opposite of boring. This production throws an onslaught of disparate jokes at the audience and, somehow, they all land. We’ve got pop numbers, classic drag moves, cutting satire, double-entendres, and the bones of a fairy tale all rolled into what manages to be one seamless production with a strong identity. And that identity is slay.
Much like promised by the upcoming String V SPITTA, you’ll leave the theatre with a smile on your face. Worth the ticket prices, and then some more. After all, two hours of non-stop belly laughter can’t command a price.
Affiliate/Advertising Disclaimer: How I Carry Out Reviews
I received no payment for this Chucky’s Solo Panto – Jack & The Beanstalk review and I was offered press tickets. The opinions expressed here are purely my own and the producers had no input/control over what I wrote. There are no affiliate links contained within this page. To learn more about my policies and my reviewing process, visit my Affiliate/Advertising disclosure page. To better understand what my rating means, check out the details of the star system.
