London, UK — As the autumn chill settles over the River Thames and the city begins its annual countdown to the holidays, one of London’s most iconic historic venues is preparing to welcome back a modern theatrical triumph. Shakespeare’s Globe has officially lifted the curtain on the complete cast, creative team, and ticketing details for the much-anticipated return of its critically acclaimed festive musical, Pinocchio.
Following a dazzling premiere that captured the imaginations of audiences in November 2025, the production is set to reoccupy the iconic wooden O starting late November 2026. Blending Carlo Collodi’s timeless 19th-century cautionary fable with a fiercely contemporary, heartfelt, and humorous score, the musical promises to once again transform the Globe into a realm of theatrical magic just in time for the winter season.
With rehearsals underway and public anticipation mounting, theatergoers are eagerly securing their seats for a run that promises to build upon the immense success of its initial engagement.
Executive Overview: A Festive Revival Built on Critical Acclaim
The return of Pinocchio to Shakespeare’s Globe is not merely a seasonal cash-grab or a routine theatrical revival; it represents a continuation of the venue’s ongoing mission to expand its repertoire beyond the Elizabethan and Jacobean canons, proving that the open-air theatre can house vibrant, boundary-pushing contemporary family entertainment.
Originally conceived as a major theatrical event for the late 2025 season, the production struck a rare chord with critics and family audiences alike. It successfully navigated the unique acoustic and architectural challenges of the Globe—an unroofed playhouse that exposes actors and audiences alike to the unpredictable British winter elements—while delivering a deeply emotional narrative.
At the helm of this returning production is Sean Holmes, the Globe’s Associate Artistic Director, whose bold vision has consistently challenged traditional staging. Working alongside a formidable creative team, Holmes and his collaborators have retained the core infrastructure of the 2025 staging while welcoming fresh talent to the ensemble and puppetry squads.
Running from 28 November 2026 through 3 January 2027, the limited holiday engagement positions Pinocchio as a cornerstone of London’s West End and South Bank festive calendar. As ticket sales surge, industry analysts predict that the musical will dominate family bookings over the Christmas period, offering a distinct alternative to traditional pantomimes by anchoring its spectacle in sophisticated musicianship, intricate puppetry, and sharp, witty storytelling.
Detailed Chronology: From Collodi’s Pages to the Globe Stage
To understand the magnitude of Pinocchio’s return, one must trace the winding journey of Carlo Collodi’s original 1883 serial novel, Le avventure di Pinocchio: storia di un burattino, through its numerous cultural adaptations, and finally into the hands of writer/lyricist Charlie Josephine and composer/lyricist Jim Fortune.
The Evolution of a Classic
For well over a century, the story of the wooden marionette who longs to become a real boy has been filtered through various artistic lenses—most famously the 1940 Disney animated classic that cemented the character’s visual iconography in the global consciousness. However, Josephine and Fortune’s adaptation intentionally sidesteps the saccharine sweetness of commercial animation, returning instead to the darker, thornier, and ultimately more human themes of Collodi’s original text.
The musical first took shape as a major theatrical venture designed to test the limits of what Shakespeare’s Globe could achieve during the darker, colder months. When it premiered in November 2025, it was met with widespread acclaim for its refusal to talk down to younger audiences. Instead, it embraced the anarchy, wonder, and emotional turbulence of growing up, learning right from wrong, and discovering empathy in a harsh world.
The 2026 Production Timeline
The decision to bring the production back for a second festive season was solidified early in 2026, driven by stellar audience metrics and critical praise.
- Late Summer 2026: Casting and creative team negotiations conclude, locking in a mixture of returning fan-favorites and vital new additions.
- October 20, 2026: Shakespeare’s Globe officially releases complete casting and crew information to the public, triggering an immediate surge in ticket reservations.
- November 28, 2026: First preview and opening performances commence at the Globe, initiating a five-week holiday run.
- January 3, 2027: The final curtain falls on the seasonal engagement, concluding the run.
Cast and Creative Lineup: Familiar Faces and Fresh Energy
The success of any ensemble-heavy, music-driven theatrical piece rests entirely on the chemistry of its performers and the precision of its behind-the-scenes architects. The 2026 mounting of Pinocchio boasts a stellar roster that bridges seasoned West End veterans, physical theatre specialists, and gifted puppeteers.
Returning Stars and New Additions
Stepping back into the title role is Lee Braithwaite, whose physically demanding and emotionally resonant portrayal of the titular wooden boy anchored the 2025 production. Braithwaite’s ability to convey childlike wonder laced with mechanical stiffness earned rave reviews during the initial run.
He is joined by a raft of returning company members:
- Kerry Frampton as the cunning and charismatic Fox.
- Ed Gaughan as Franzini.
- Lizzy Ives and Kody Mortimer rounding out the ensemble and serving as vital swings.
The production is also injecting fresh creative energy into the narrative with several high-profile casting additions:
- Colm Gormley takes on the pivotal role of Geppetto, the lonely woodcarver whose yearning for a family sets the entire plot into motion.
- Gabrielle Brooks assumes the mantle of the ethereal and powerful Blue Fairy.
- Olivier Award nominee Amy Booth-Steel takes on the triple threat of Giacomo Cricket, the Coachman, and the Cat, promising a masterclass in character acting and vocal agility.
- Luke Brady joins the company as the Carpenter and the Rabbit Prince Charming.
- Liv Alexander and Josh Butler step in as new additions to the ensemble and swing roster.
The Art of Illusion: Puppetry
Crucial to the success of any Pinocchio adaptation is the manifestation of the puppeted elements. Returning puppeteers Aya Nakamura and Andrea Sadler will bring their considerable expertise back to the Globe stage, working alongside new recruit Bartolomeo Bartolini. Under the guidance of puppetry director and designer Peter O’Rourke, this trio will breathe literal life into the inanimate objects populating the stage, merging actor-driven performance with traditional Bunraku-style puppetry techniques.
The Creative Heavyweights
Behind the performers stands a world-class creative collective.
- Book and Lyrics: Charlie Josephine
- Music and Lyrics: Jim Fortune
- Director: Sean Holmes (Associate Artistic Director of Shakespeare’s Globe, whose previous credits include a celebrated 2025 staging of Romeo and Juliet)
- Associate Director: Roberta Zuric
- Choreographer: Vicki Igbokwe-Ozoagu
- Designer: Grace Smart
- Puppetry Director and Designer: Peter O’Rourke
- Orchestrator: Zac Gvi
- Sound Designer: Tony Gayle
Supporting Context & Metrics: Theatre in the Open Air
Staging a major musical production at Shakespeare’s Globe presents unique logistical and artistic hurdles that set it apart from traditional West End venues like the Lyceum or the London Palladium.
The Architectural and Climatic Challenge
Built as a reconstruction of Elizabethan playwright William Shakespeare’s original 1599 open-air playhouse, the Globe features a circular layout with a partially covered gallery and an unroofed central yard where "groundlings" stand to watch the performance.
When mounting a production in November and December, cast members and creative teams must contend with freezing temperatures, winter rain, and gusting winds off the Thames. Yet, rather than shying away from these elements, directors like Sean Holmes lean into the raw, communal atmosphere of the space. The historic timber framing, coupled with dynamic lighting and acoustic balancing by sound designer Tony Gayle, ensures that every lyric, acoustic guitar strum, and comedic beat carries across the courtyard without losing its intimacy.
Economic and Cultural Impact
The winter season in London’s theatre district is traditionally dominated by pantomimes, ballet adaptations of The Nutcracker, and lavish West End transfers. By carving out a distinct niche at the Globe, Pinocchio offers a culturally enriching alternative that appeals across generations.
Industry data from the 2025 theatre season indicates that family audiences account for a significant portion of winter ticket sales in central London. By offering a high-caliber musical rooted in classical literature yet executed with modern theatrical sensibilities, Shakespeare’s Globe secures a vital revenue stream during a traditionally lean tourism quarter, while simultaneously cultivating a younger demographic of theatregoers who may be experiencing live performance for the very first time.
Official Statements
The creative leadership behind the production has expressed profound enthusiasm for the upcoming revival, emphasizing the deep connection forged with audiences during the 2025 premiere.
In an official statement released by Shakespeare’s Globe, Associate Artistic Director and Director Sean Holmes shared his thoughts on the return of the show:
"I’m delighted that our production of Pinocchio is returning this Christmas to the Globe. We were immensely proud of the show and the response from audiences who loved its humour, heart and honesty. We look forward to welcoming a whole new audience to experience this magical festive musical."
Holmes’s sentiment reflects the overarching ethos of the venue: a commitment to robust storytelling that balances theatrical spectacle with emotional truth. The integration of Charlie Josephine’s sharp, lyrical wit and Jim Fortune’s dynamic score was widely praised during the initial run for avoiding the traps of commercial cynicism, offering instead a story about the messy, beautiful reality of becoming a person.
Future Outlook: What’s Next for the Globe’s Contemporary Slate?
The success of Pinocchio signals a broader shift in how historic performance institutions operate in the 21st century. While Shakespearean revivals will always remain the beating heart of the Globe, the sustained popularity of productions like Pinocchio proves that audiences are hungry for multidisciplinary storytelling that stretches the boundaries of the Elizabethan architecture.
As rehearsals continue behind closed doors and the winter production dates draw nearer, all eyes are on the South Bank. Will this second outing spark talks of future national tours or further contemporary commissions for the venue? Only time will tell. For now, however, the immediate focus remains firmly on the stage.
Ticket Information
Pinocchio runs at Shakespeare’s Globe from 28 November 2026 until 3 January 2027. Due to high demand following the official cast announcement, early booking is strongly recommended for both seated gallery positions and the historic yard spaces. Tickets are available directly through official vendors, including Ticketmaster.
As the wooden boy prepares to take his first steps back onto the Globe stage this winter, London’s theatrical landscape is once again poised to discover the transformative power of storytelling under the open sky.
