TAKING into account the evil queen’s sour chewing-on-a-wasp expression, it’s a wonder why anyone would risk taking a bite out of that dodgy apple.

But as we know, folklore dictates otherwise, and Snow White does just that, thereby confirming her image of sullied innocence. And don’t we love it – oh yes, we most certainly do.

This year’s Swan panto has undoubtedly benefited from the reputation it’s gained throughout the last few years. And the current production, directed by Ben Humphrey, is most surely up there with the best of them.

Powered along by musical director Rick Godsall’s rock steady team, the soundtrack ensures that the required breakneck pace is maintained for what proves to be an amazing three hours of seat-of-your-pants entertainment.

Long before such matters hogged the headlines, panto has always featured men ‘identifying’ as women.

And Humphrey also introduces further nods in the direction of modernity, such as Queen Grizelda’s use of an Alexa, in this case the redoubtable Imelda Staunton as the Voice of the Magic Mirror.

Gruesome Griz is played with the usual mega levels of absurdity by John-Robert Partridge, formerly a man, but now indentified as a boos-blasted buxom burden of a beast dressed in black. Another new development is Humphrey’s decision to turn Wilf William’s prince into a royal buffoon with a speech impediment. This is, at first, slightly confusing.

Why would our delectable heroine lumber herself with the regal equivalent of Frank Spencer? But it all soon becomes clear when she pops her cork for Tom Riddell’s huntsman. Far from being some hooray henry chasing small furry animals, he turns out to be a vegetarian who just pursues… vegetables. Yes, really. Snow White and the Seven Dwarfs runs until January 5 and there’s absolutely no excuse for not seeing it. Oh no, there isn’t!