There's a big moral framework to Alan McHugh's latest Mother Goose, so strong in its compass that director Jonathan Stone takes a while to dig out the show's recognisable modern panto elements.
But once it does get rocking, a solid and well-drilled cast ensure that the message is delivered with panache and style. And its big set pieces, notably the Joseph-inspired Act I finale with the ever excellent dame Billy Mack (Mother Goose) in golden coat, this rises to the rooftops.
Set in Mother Goose's failing Italian Circus, Gordon Brandie's good angel Angelo carries much of the plot, his humble, downbeat demeanour forcing itself on the exposition. Pamela Byrne's wicked temptress Diavola, though sassy, could up her raunch factor for full-on flirty interaction with her audience.
Two pairs of lovers overburden the plot, making both feel underused. Karen Fishwick's sensible Ginny Goose takes forever to get a duet with sweet-voiced Andrew Keay's trying-too-hard clown, Carlo. Holly Abercrombie's lusty singing voice is a revelation as Tina Trapeze, while Tom Mackley's knockabout Luigi's turn to the dark side needs a tad more jeopardy.