The houselights dim, spangley red and blue lights flicker and instantly the audience is transformed into ‘Tinkly Toes’ – or so the Good Fairy told us. Another entrancing Playhouse pantomime is under way.

The story of Sleeping Beauty goes back to the 17th-century author Charles Perrault, but, as the writer and director of this production, Peter Duncan, says: “He would never have imagined a slapstick scene with smashing crockery and buckets of slosh, or indeed an all-singing, all-talking horse!’ No indeed, but Duncan (the former Blue Peter presenter, Chief Scout and third-time Oxford pantomime director) provides these new elements with great panache, while retaining the vital essentials.

From the outset, all is sheer stage exuberance and clap-along enthusiasm from the stalls and circle. It’s a simple tale. Princess Beauty is lovely and available for love; jester Miffins is a deep admirer, but she is not sure, sleeps on it for many years and wakes to discover that there is a convenient prince for her to wed.

Lois Urwin is simply delightful as Beauty: wide-eyed innocence mixed expertly with knowing control over her beaux and her future (“I expect I’ll have a gap year first and meet some poor people!” is a pleasingly modern line). Robin Armstrong as Miffins works hard and physically and has some excellent moments – especially when he’s 100. Joseph Attenborough is the Prince – a tough role in which to make any impression other than to be hunky.

The major pantomimic parts are strongly cast. Stephen Aintree as Aunty Rose (aka the Good Fairy or, frankly, the Dame) embraces the tradition with every part of his apparently ample frame. The children loved him. But they booed lustily whenever Carrie Ellis’s Carmella Crabstick (aka Bad Fairy) made one of her spectacular, often smoky, entrances. She has a high spot in a professionally-performed song-and-dance to a Michael Jackson number.

Most professional of all are the Queen and King. Abi Finley (who reached the semi-finals of the TV show How Do You Solve a Problem Like Maria?) is sensational as Egathella: her comedic and stage presence is considerable.

Her King, Richard Stacey, acquits himself expertly; one might have wished for a couple more scenes for their hugely funny frolics.

The sets are lovely and the designer of the pantomime horse (and, of course, its occupants) should all three get an award. Minor audio problems will undoubtedly have been dealt with by the time you read this – as will the absence of ‘chocolate slosh’ in one frenetic scene which had Peter Duncan somewhat exercised when I spoke to him during the press night interval). This Oxford Playhouse production deserves to be a very big Christmas success. Oh yes it does!

n Sleeping Beauty continues at the Oxford Playhouse until January 18. For tickets telephone 01865 305305 (or www.oxfordplayhouse.com).