This year, Salisbury Playhouse promise a magical family pantomime extravaganza with their Christmas production, Sleeping Beauty. We spoke to West End star Claudia Kariuki who is playing Fairy Frappucino in the festive show.

Can you tell us a little bit about Fairy Frappucino? What similarities do you share with your character?

Fairy Frappucino is a sweet yet inexperienced young fairy, who is highly caffeinated at all times; she’s glitzy, ditzy and also a bit naïve. She has a cute coffee cart that grants her independence, a firm and favoured place in her community and enjoyment from meeting people daily, whilst she trains up to be a full time Fairy. She’s the younger sister of Fairy Badflix who resents her vibrant and effervescent personality. The sibling rivalry has existed among them for years and her appointment as Royal Fairy Godmother only further tears them apart. Fairy Frappucino is definitely out of her depth in this role but is willing to work hard to prove to King Arthur Rightus & Princess Stella that she has what it takes to succeed in the role!

I share quite a few similarities with Fairy Frappuccino, I think! Firstly, I love coffee and love being a part of a vibrant community on and offstage; she’s hard working and very caring of those around her; I think she’s super endearing and I love finding softer moments within her character, but also enjoy finding the strength to stand up to her sister, I think she’s just fab and I’m having an amazing time playing Fraps so far!

What do you love about spending Christmas doing pantomime?

Pantomimes are a highlight of the festive season for me. Panto is a lot of people’s first experiences in theatre, whether that be performing in one or going to see them with friends and family.

I was fortunate to have access to theatre growing up in London, and remain thankful to the shows I saw growing up that have long inspired me to want to pursue performing as a career. Without these influences, so many people don’t see themselves represented on a local or regional level and that is so important. I love seeing the joy that the comedy, costumes and songs brings to audiences, it’s so exciting when you see faces light up at the transformations and incredible elements that are brought together to create an amazing show. It’s the perfect way to bring in the festive season, and to remember all of the magic that pantomime can bring to people’s lives. Christmas can be a challenging time for some so I hope that they are able to come and see the show and enjoy the escapism for a little while. I have laughed so much during this process - the cast, creative and production teams are wonderful and have made this theatre feel like home whilst we’ve created this panto, that we can take audiences on this fabulous journey with us.

Which moment from your show are you most looking forward to sharing with audiences?

I am most looking forward to the transformations and the hilarious slosh scene. We have some hidden gems that I won’t share that I also can’t wait for audiences to discover. The set and the magical elements are a definite highlight.

What was the first pantomime you saw and where was it?

I first saw Mother Goose at Hackney Empire, it was epic! I have never, ever laughed so much. I remember being blown away by the performances and couldn’t stop thinking about it after I got home. Witnessing the likes of Sharon D Clarke, Clive Rowe & Susie McKenna - Hackney Empire ROYALTY! - make magic was such a formative experience for me.

How important is pantomime to British culture?

I think so many elements of British culture are held in the significant contributions of the rich diversity within the UK, which has shaped popular culture for decades and continues to. From TV programmes in the 60s, to drag performance artists and reality TV & gameshows, we can all find relatability in entertainment.

The majority of pantos are suitable for all ages, and with the addition of popular music and the added internet culture and you open up a whole new generation of comedy, expression and how the mediums we use to connect with the public.

I love that so many things I grew up being influenced by on TV, film and theatre find their way into pantomimes because someone else out there, has found that equally enjoyable or hilarious.

You've performed in so many amazing shows in your career. What has been your career highlight so far?

A career highlight for me has to be winning two awards at the Black British Theatre Awards for Best Non-Binary Performer!!

The Black British Theatre Awards is an incredible organisation that was started by Solange Urdang and Omar Okai to honour the incredible wealth of talented Black performers, theatre makers and practitioners within the theatre industry.

They have created an environment in which the contributions and huge strides made by Black artists over recent years are celebrated when it hasn’t always felt that they have been in the past. I was so honoured to not only be the inaugural winner of this award category but also having the honour of being recognised by my peers and representing the Black trans, non-binary and gender non-conforming community in this way. I’ve received so many messages of support and been called a trailblazer (which is WILD to me) and I can’t express my gratitude enough for everyone’s support. I hope that other Queer kids from all manners of life coming into this industry know that they are seen and represented, and that there is space for us all.

I personally believe that there must be a shift in how we look at gendered categories in all major awards programmes as well as how disability representation and care within the industry needs a major shift in the right direction; it is possible and The BBTA’s has demonstrated that.

When given opportunities to create or build our own systems, we are able to create pathways for those coming after us, as well as honouring those that came before us. I hope the future landscape of theatre is one where we not only see ourselves represented but we are able to strive for better care and conditions for those working within it.

Panto schedules are famously intense and gruelling! What advice would you give to performers who might be embarking on their first pantomime contract?

My first piece of advice always is to STAY HYDRATED! I’m a 2-3L of water a day kind of person which seems excessive, but I find it massively helps keep me feeling ready for the day ahead. I find when I haven’t hydrated well throughout the day it affects me vocally and somewhat physically, as it helps with recovery and replenishing the body with what it needs.

The schedule and the amount of time you spend on stage can differ from panto to panto, role to role; it can consist of numerous quick changes, high octane choreography and songs, audience interaction and multiple shows in a week. Eating well and getting adequate rest is vital for surviving this season. Having a great support system around you on and offstage is so important.

Secondly, pace yourself! It’s a marathon, not a sprint. It can be physically and vocally challenging but being safe and aware of your surroundings is vital.

Be respectful to everyone that has worked tirelessly offstage to bring the vision of the piece together. Learn peoples’ names, and the departments they work in so you can communicate your needs with the right people. You will be working up close and personal with a variety of people from different departments, so try and lead with kindness and patience.

Last but not least - HAVE FUN.

What can audiences expect from Salisbury's take on Sleeping Beauty?

Our production of Sleeping Beauty is all about the importance of family, friendship, love in all forms, and the lengths parents will go to protect their children. Add in the sibling rivalry and magical aspirations of certain characters in the show, it tells a story of finding your path in life and how people can shape those very paths, for better or worse!

It’s also about having fun and finding light in the darkest of situations.

Sleeping Beauty plays at Salisbury Playhouse until 12 January 2025, with further info here.