Apollo theatre, London
Mischief Theatre return to the am-dram battlefield, turning the Victorian tale into a blizzard of bruised egos and expertly timed farce

In the interval, I hear a newcomer to Mischief Theatre’s enduring “goes wrong” concept ask if these comic symphonies of am-dram mishaps ever get stale. On the contrary: in the first half of this Dickensian foul-up, much of the pleasure comes from watching the company spring-load a very familiar crop of gags ready to explode after the break.

Long-term Mischief watchers will guess, for example, that when a Maltesers box is dropped during rehearsals inside the model box for the Cornley Polytechnic Players’ A Christmas Carol, it will end up as a giant-sized component of the set. They will know that the rivalry between supercilious director Chris and bombastic actor Robert, fond of essaying the classics in the nude, will result in crazed feats of sabotage when the production gets under way. And they can be sure that dim-witted Dennis, who thinks he is auditioning for the role of “Frog Cratchit” after seeing the Muppets’ musical as research, will well and truly cook everyone’s goose.

Inspired by the scary film franchise, playwright Levi Holloway and Punchdrunk maestro Felix Barrett are bringing the ‘bizarrely joyous’ world of terror to the stage

Malevolent spirits be damned – theatres can be haunted simply by the memory of bad plays and perhaps unscary horror in particular. The last time London’s Ambassadors theatre aimed to give audiences the shivers, with The Enfield Haunting, it led to some frightfully poor reviews. But a couple of years later, this intimate West End playhouse is hosting Paranormal Activity, a new instalment in the franchise that was kickstarted by a low-budget supernatural movie about a couple plagued by inexplicable nocturnal noises. “Hold your nerve” runs the play’s tagline – a directive you suspect applies not just to the audience.

Arriving at the theatre on the day of the first preview, it’s not creepy bumps and thuds that echo through the building but whizzing drills, sound checks and the last-minute discussions of a crew with a deadline. Perched in the dress circle bar, US playwright Levi Holloway and director Felix Barrett (best known as the founder of immersive theatre specialists Punchdrunk) are discussing how rarely they have been frightened in the theatre.

Norwich Theatre Royal
There are eye-popping designs, playful puns and musical flourishes as Joe Tracini’s story unfolds on its own madcap shoreline

Here is a sun-kissed panto to dispel any dreams of a white Christmas. Joe Tracini’s script is set in the seaside town of Crabbington Sands where a pastel-dressed ensemble make merry with Aimee Leigh’s breezy choreography. Cinderella’s sisters, gruesome twosome Lou and Lav (cue toilet-flush effect), could have stepped out of an outrageously saucy postcard. Designer Kirsteen Wythe gifts them lurid costumes best seen with UV protection. They include a beach ball-shaped dress, a bucket-and-spade hat, fairground-ride frocks and wigs seemingly woven with fishing rope.

Cinderella’s parents ran a local hotel that has been shuttered since she lost them, and she yearns for new adventures, a longing captured in an opening rendition of Natasha Bedingfield’s Unwritten. In the lead role, Georgia May Foote brings a big sister vibe to her crowdwork with the young audience that also underlines how Cinders sees the hopelessly devoted Buttons (Tracini) as a brother. But she is written to be a bit insipid, and there is little spark to her romance with a wannabe rock-star prince (Danny Hatchard, poised between buffoon and decent bloke).