Pinocchio

⭐️⭐⭐️

There is something undeniably exciting about seeing a brand-new family musical take over Shakespeare’s Globe — a venue steeped in storytelling, playfulness, and theatrical tradition. Pinocchio arrives with big ambition, visual charm, and a strong ensemble, but while it often works, it rarely soars. The result is a perfectly watchable, occasionally delightful production that struggles to leave a lasting impression.

From the outset, pacing proves to be the show’s biggest hurdle. The first 30 minutes move slowly, and Act One in particular feels noticeably longer than it needs to be. Scenes linger past their natural endpoint, and the narrative momentum falters early on. This sense of drag throws the rhythm off — never ideal, especially for a family audience.

Directed by Sean Holmes, the overall staging is confident and often inventive. Holmes clearly understands the Globe space, using it well and keeping the action dynamic. For the most part, the direction is excellent — playful, bold, and visually engaging. However, there are a handful of moments where the choices feel contradictory, as though two different versions of the show are briefly competing for control. These inconsistencies slightly undermine the otherwise assured vision.

The book by Charlie Josephine contains some genuinely smart touches. There are well-placed jokes aimed directly at the Globe audience, playful nods to Shakespeare, and references to London that land well and get solid laughs. Several scenes are thoughtfully constructed and genuinely fun to watch. That said, the book still needs work. Emotional beats are introduced but not always allowed the time or space to fully resonate. When the story finally leans into its more heartfelt moments, it moves on too quickly, leaving the audience unable to fully connect. For a children’s show — especially one tackling themes of identity, creation, and belonging — emotional intelligence is just as important as spectacle. Younger audiences are far more perceptive than we give them credit for, and the show would benefit from trusting them with deeper, quieter moments.

With music and lyrics by Jim Forthe score is serviceable but inconsistent. While a few numbers are enjoyable, many of the songs feel disconnected from the narrative or lack a clear musical identity. As a whole, the score struggles to feel cohesive, and few songs linger in the memory once the curtain falls. “Blueprint for Puppets” stands out as a decent number, but even here, the decision to change musical genre halfway through — only to revert back again — feels more confusing than innovative. Instead of elevating the moment, it pulls focus away from the storytelling.

Sound design is generally fine, but there are moments where lyrics are missed or muffled, particularly frustrating in a show that relies so heavily on musical storytelling. However it is understandable as it is really tricky to get it right in an open air theatre.

Choreography is solid and functional, adding energy and movement where needed, but nothing feels especially daring or distinctive. It does its job well without ever truly surprising.

The set design by Grace Smart is excellent — simple, effective, and cleverly suited to the Globe’s architecture. The subtle nods to Shakespearean style feel intentional and tasteful, grounding the production in its historic surroundings while still allowing it to feel fresh and playful. Costume design follows suit, with bright, vibrant choices that appeal to younger audiences without tipping into excess or absurdity. The Shakespearean influences are present but restrained, striking a pleasing balance between theatrical flair and visual clarity.

Lighting remains relatively simple throughout, complementing the set nicely, though it rarely pushes beyond functional choices. A few bolder moments could have elevated key scenes, particularly during emotional or musical climaxes.

Lee Braithwaite shines as Pinocchio, bringing warmth, physicality, and a wonderfully naïve energy to the role. His performance captures the joy and curiosity of the character beautifully, making Pinocchio immediately likeable and engaging.

As Geppetto, Nick Holder delivers a performance full of humanity and gentle humour. There’s a grounded sincerity to his portrayal that brings welcome emotional texture to the production.

The multi-roling ensemble work impresses across the board, with each performer finding moments to shine. Ed Gaughan, in particular, stands out as Franzini, delivering comedy perfection and earning the biggest laughs of the night with impeccable timing and presence.

Pinocchio at Shakespeare’s Globe is a competent, enjoyable family musical with strong performances, thoughtful design, and moments of genuine fun. However, uneven pacing, a book that needs tightening, and a score that lacks cohesion prevent it from becoming something truly special or memorable. There’s clear potential here — and flashes of brilliance — but the production never quite finds the emotional depth or narrative clarity needed to resonate beyond the moment. Act 2 was perfection and redeems the show but it was just a little too late. A pleasant evening at the theatre, particularly for younger audiences, but one that doesn’t linger long once you leave the yard.