London – Shakespeare’s Globe’s Pinocchio, directed by Associate Artistic Director Sean Holmes with book and lyrics by Charlie Josephine and music by Jim Fortune, is a spirited, family-friendly musical that brings Carlo Collodi’s classic tale to vivid life. Playing through 4 January 2026, this holiday offering has quickly distinguished itself as one of the season’s most talked-about shows, blending theatrical inventiveness with emotional warmth and plenty of festive chaos.
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From its opening moments, the production bursts with kinetic energy and playful humour. Under Holmes’s meticulous direction, the 14-strong company delivers a production that feels both exuberant and richly theatrical, leaning into the Globe’s unique architecture to break the fourth wall and engage audiences right from the standing yard to the seated galleries.
The Guardian
Performance and Puppetry
One of the show’s most consistent praises across reviews is the puppetry and physical storytelling. Pinocchio himself is animated with remarkable skill by a trio of puppeteers, and Lee Braithwaite’s voice work imbues the wooden boy with curious, larrikin charm. Reviewers highlighted the way the puppetry frequently spills into the audience, making for moments of genuinely surprising theatre.
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Steven Webb’s dual turn as Giacomo Cricket and the menacing Coachman was singled out as a performance of particular delight, shifting seamlessly from camp comic energy to eerie intimidation — a highlight that elicited both laughter and gasps from audiences.
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Music and Design
Jim Fortune’s score — described as ranging from rock-and-roll to ska and pop — injects each scene with rhythmic verve, even if some lyrics can feel a little dense or rushed at times. The design by Grace Smart adds vibrant, toy theatre-esque visuals that complement the Globe’s open-air wooden “O” beautifully, casting an almost storybook quality over the whole affair.
London Theatre
Tone and Themes
Critics agree that while the musical embraces the episodic chaos of Collodi’s original tale, it softens much of the darker, moralising edge in favour of heart and humour. The themes are less about punishment and obedience and more about curiosity, impulsiveness, and the messy, loving process of becoming human. Some reviewers observed that the emotional core — especially Pinocchio’s relationship with Geppetto — is genuinely affecting, grounding the show’s fantastical elements in something relatable and sincere.
Reception and Criticism
The overall critical consensus leans positive, with many outlets calling Pinocchio a delightful family treat and a standout festive show. WhatsonStage awarded the production five stars, calling it “uplifting, witty and beautifully realised” — a perfect choice for any time of year.
WhatsOnStage.com –
Other reviewers note its homespun charm and palpable theatricality, making it feel perfectly at home under the Globe’s open sky. Even critics who were slightly more reserved, such as The Guardian, still praised the cast’s vivid performances and the inventive staging.
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Not all reactions were unequivocally glowing: some pointed out that the narrative occasionally feels uneven, and a review in The Standard described the show as “patchy” in places, albeit infectiously energetic enough to bring Christmas cheer.
The Standard
Final Verdict
Pinocchio at Shakespeare’s Globe is a festive theatrical treat — rich in imagination, alive with performance, and warmly human at its core. Whether you come for the colourful puppetry, the catchy songs, or the tale’s timeless message of curiosity and belonging, this production offers something for audiences of all ages.
A joyous, spirited, and heartfelt reimagining of a classic, perfect for the holiday season.
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