I attended Stick Man, based on the ever-popular book by Julia Donaldson and Axel Scheffler, together with 3½-year-old Marlow. Like most children over the age of three, he was utterly absorbed from the very beginning. He clapped eagerly, joined in the pantomime-style audience participation, and remained completely engaged throughout the 60-minute performance — a testament to how precisely this production understands the needs, imagination, and attention span of young children.
The cast of three — Shaun Mendum (Stick Man), Eleni Papaioannou, and actor-musician Peter Shipway — deliver a performance full of energy, clarity, and warmth. Their work blends storytelling, mime, pantomime, dance, singing, and interactive theatre, shaped with a sensitivity that speaks directly to younger audiences without ever talking down to them.
One of the most enchanting elements for the children was Eleni Papaioannou’s playful transformations into various animals, especially the dog and the swan. She captures the essence of these creatures with wonderfully humorous movement, lively vocalisation, and an emotional openness that children instantly recognise and connect with. As Stick Man, Shaun Mendum brings a beautifully calibrated sense of timing to the role; his elegant, youthful movement often feels like a subtly choreographed dance, enriching the storytelling with grace and precision. His delivery feels effortless — that rare kind of nuanced skill that appears simple only because it is executed so well.
The production’s lighting design also contributes to its sense of magic. The sudden appearance of a large, glowing moon projected behind the performers was breathtaking, particularly for the younger members of the audience for whom the night sky is a source of endless fascination. Marlow, like many around him, watched in stillness, completely mesmerised. The falling snow effects drew delighted giggles and gasps — simple, effective, and enchanting.
The arrival of Father Christmas, played by Peter Shipway — who rescues Stick Man and brings him home to his family — was especially well-received by the very young audience. Shipway’s musical versatility, moving deftly between instruments (including trumpet), adds constant delight and elevates the entire production. His musicianship folds seamlessly into the storytelling and is a highlight for both children and adults.
A particularly joyful moment of interactive play — a soft ball tossed into the auditorium and returned to the stage — was handled with humour, care, and perfect timing, generating pure excitement while maintaining a safe, well-guided atmosphere.
In all, this Stick Man is a masterclass in children’s theatre: joyful, visually rich, emotionally accessible, and performed with unshowy virtuosity. It respects its audience, offers moments of true wonder, and keeps the story’s deeper emotional threads clear for older children — while still being fully engaging for the very young, as Marlow’s rapt attention proved.
A brief note of constructive feedback
Children under the age of three may find the experience overwhelming, and their distress can disrupt others; a clearer age guideline might therefore be helpful. Similarly, while Marlow managed beautifully, the 60-minute running time may be a little long for some younger children. A 50-minute version would preserve the story while making the experience smoother for families.
Despite this, the production is a sheer delight. All three performers are genuinely brilliant, and the creative team has crafted a show that lingers — in wonder, in laughter, and in memory.
Bloomsbury Theatre
Based on a book by Julia Donaldson, illustrated by Axel Scheffler
Cast: Shaun Mendum, Eleni Papaioannou, Peter ShipwayUntil: 4 January 2026
Duration of the performance: 60 minutes
Booster seats for the young are on offer.