By Caitlin Devlin
Published: October 20, 2026
Executive Overview
Following a critically acclaimed premiere that captured the imagination of London audiences in late 2025, Shakespeare’s Globe has officially confirmed the triumphant return of its festive musical adaptation of Pinocchio. Written by the visionary creative duo Charlie Josephine and Jim Fortune, and directed by the Globe’s Associate Artistic Director Sean Holmes, the production is poised to transform the iconic open-air wooden theatre into a warm, enchanting sanctuary of music, myth, and theatricality this winter.
With rehearsals underway and anticipation reaching a fever pitch, producers have unveiled a star-studded cast and a powerhouse creative team for the upcoming run. Lee Braithwaite will reprise his celebrated performance as the titular wooden boy, leading an ensemble featuring both returning fan-favourites and exciting new additions to the Globe stage. Scheduled to run from November 28, 2026, through January 3, 2027, this holiday season revival promises to blend Carlo Collodi’s timeless, cautionary fairy tale with contemporary wit, subversive heart, and breathtaking puppetry.
This comprehensive report examines the cast lineup, the artistic vision driving the production, the logistical and creative mechanics behind bringing the Italian fable to the Elizabethan stage, and what this holiday revival means for the broader landscape of West End and South Bank winter programming.
Detailed Chronology: From Collodi’s Pages to the Globe’s Boards
The Genesis of a Modern Musical Adaptation
Carlo Collodi’s original 1883 serial novel, The Adventures of Pinocchio, has undergone countless adaptations across film, television, and stage. However, when Shakespeare’s Globe announced its intention to stage a musical version for the 2025 festive season, theatre critics and audiences anticipated something distinctly unconventional.
Tasked with translating the darker, more surreal elements of Collodi’s moralistic fantasy into a theatrical experience suitable for the unique architecture of the Globe, writer and lyricist Charlie Josephine, alongside composer and lyricist Jim Fortune, crafted an adaptation that discarded overly sanitized Disney-esque tropes in favour of raw honesty, emotional depth, and biting humour. The result was a runaway critical and commercial success that resonated deeply with families, theatre purists, and casual holiday-goers alike during its inaugural November 2025 run.
Building on Success: The 2026 Winter Return
Buoyed by the overwhelming public response to the 2025 premiere, the leadership team at Shakespeare’s Globe made the strategic decision to bring the production back for a second festive engagement. Winter programming at the Globe occupies a unique space in London’s cultural calendar; while the main open-air Globe theatre is historically associated with summer playing seasons, winter productions utilize the venue’s distinctive atmosphere to create an intimate, communal, and bracingly theatrical experience.
The announcement of the 2026 cast on October 20 marked the official kickoff of the winter campaign, setting off a wave of ticket sales through primary vendors such as Ticketmaster. As rehearsals ramp up through October and November, the cast and crew are tasked with not only recreating the magic of the original run but refining and elevating the production for a new wave of holiday spectators.
Cast & Crew: The Talent Behind the Magic
The success of any musical hinges on the chemistry of its ensemble and the clarity of its creative vision. The 2026 mounting of Pinocchio boasts a masterclass in casting, blending physical theatre specialists, Olivier Award nominees, and musical theatre stalwarts.
Star-Studded Performances and Ensemble Dynamics
- Lee Braithwaite steps back into the sawdust and spotlight as Pinocchio. Braithwaite’s critically lauded physical agility and emotional vulnerability in the 2025 run were widely cited as the anchor of the production, effortlessly conveying the innocent yet chaotic energy of a puppet discovering what it means to be human.
- Kerry Frampton returns as the cunning and manipulative Fox, bringing a sharp theatricality to one of Collodi’s most infamous antagonists.
- Ed Gaughan reprises his role as Franzini, anchoring the production’s rich comedic timing and narrative drive.
- Colm Gormley joins the principal cast as Geppetto, the lonely woodcarver whose desperate wish for a son sparks the entire adventure. Gormley’s warmth and vocal gravitas are expected to ground the production’s emotional core.
- Gabrielle Brooks takes on the pivotal role of the Blue Fairy, bringing a soaring vocal presence and ethereal authority to the character who guides Pinocchio through his trials.
- Olivier Award nominee Amy Booth-Steel tackles a trio of memorable roles: Giacomo Cricket, the Coachman, and the Cat, showcasing her trademark versatility and comedic genius.
- Luke Brady completes the principal character lineup, performing dual duties as the Carpenter and the Rabbit Prince Charming.
- The ensemble and swing tracks are bolstered by returning talents Lizzy Ives and Kody Mortimer, alongside exciting new company members Liv Alexander and Josh Butler, ensuring high-energy execution across all performance dates.
The Art of Animation: Puppetry Integration
A defining feature of the Globe’s Pinocchio is its innovative approach to puppetry, which bridges the gap between the inanimate and the animate. Returning puppeteers Aya Nakamura and Andrea Sadler will be joined by Bartolomeo Bartolini, working closely with puppetry director and designer Peter O’Rourke. The collaboration between human actors and physical puppets creates a mesmerizing visual language that pays homage to traditional Italian street theatre while utilizing modern design techniques.
Supporting Context & Metrics: The Creative Engine
Behind the scenes, the production relies on an elite creative team assembled by Director Sean Holmes. Holmes, who also directed the Globe’s acclaimed 2025 staging of Romeo and Juliet, has cultivated a distinctive directorial style that emphasizes direct audience engagement, acoustic clarity, and bold spatial choices suited to the Globe’s circular yard.
Key Creative Collaborators
- Sean Holmes (Director): As Associate Artistic Director of Shakespeare’s Globe, Holmes has consistently championed work that challenges traditional boundaries while remaining accessible to diverse audiences.
- Charlie Josephine (Book & Lyrics): Known for their fierce, contemporary approach to classical and historical narratives, Josephine’s text strips away archaic sentimentality to explore identity, autonomy, and parental love.
- Jim Fortune (Music & Lyrics): Fortune’s score blends folk traditions, theatrical pastiche, and soaring melodies, designed to echo through the timber galleries of the Globe.
- Roberta Zuric (Associate Director): Working alongside Holmes to maintain the production’s rigorous pace and emotional resonance.
- Vicki Igbokwe-Ozoagu (Choreographer): Bringing dynamic movement direction that incorporates the physical demands of puppetry, ensemble work, and actor-musicianship.
- Grace Smart (Designer): Responsible for the striking visual aesthetic, transforming the Globe stage into a world of wood, workshop tools, and fairy-tale wonder.
- Zac Gvi (Orchestrator) & Tony Gayle (Sound Designer): Ensuring that the acoustic profile of the open-air venue is optimized for both spoken word and complex musical numbers.
Economic and Cultural Impact on South Bank
The return of Pinocchio underscores Shakespeare’s Globe’s ongoing commitment to year-round programming. While historical institutions often scale back operations during the colder months, the Globe’s winter musical initiatives have become a vital economic driver for the South Bank cultural district. Drawing thousands of domestic and international visitors during the peak holiday shopping and tourism period, the production supports local hospitality, retail, and tourism sectors while offering a culturally enriching alternative to traditional commercial pantomimes.
Official Statements
Reflecting on the production’s return, Director Sean Holmes expressed immense pride in the collaborative effort required to mount a musical within the architectural constraints of the Globe:
"I’m delighted that our production of Pinocchio is returning this Christmas to the Globe," Holmes stated. "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."
The sentiment has been echoed across the theatre community, with critics and cultural commentators noting that the production’s success lies in its refusal to talk down to its younger viewers. By treating complex themes of morality, temptation, and redemption with theatrical sophistication, Pinocchio has cemented its status as a modern staple of London’s winter theatre repertoire.
Future Outlook: What’s Next for the Globe’s Winter Season?
As preparations for the November 28 opening night enter their final phases, the outlook for Shakespeare’s Globe remains robust. The successful institutional pivot toward hosting high-calibre festive musicals alongside its summer repertory seasons signals a broader shift in how historic open-air venues can maximize year-round utility without sacrificing their core artistic missions.
For theatregoers planning their winter itineraries, Pinocchio offers a rare blend of classical storytelling, contemporary music, and world-class theatrical craftsmanship. With performances running daily from November 28, 2026, through January 3, 2027, ticket demand is expected to peak as the holiday season approaches.
Tickets are currently available to the public through primary ticketing platforms, including Ticketmaster. Whether returning to witness Lee Braithwaite’s wooden wonder once more or stepping into the Globe’s historic timber yard for the very first time, audiences are guaranteed a journey full of wit, wonder, and undeniable theatrical magic.
