GOODNESS Gracious, Great Balls of Fire!  Christmas showtime again at the Gatehouse - a happening that never fails to surprise and delight.  By some miracle and an immense amount of inventive professionalism, enthusiasm and sheer hard graft, this tiny 100-seat venue manages to create an atmosphere to equal any West End theatre with the additional intimacy afforded by the proximity of the audience.

The show is adapted from a 1956 sci-fi movie loosely based on The Tempest.

Bob Carlton's adaptation is spoofed up with sufficient lines plucked willy-nilly from any old Shakespeare play to produce chuckles of recognition from the audience.  "Never was a story of more woe than that of Miranda and her Prospero".  In addition, popular songs from the 50s and 60s turn it into a rip-roaring rock 'n' roll musical event.

Dr Prospero, a scientific genius who is working on telegenesis (the creative power of thought), is usurped by his jealous wife Gloria who exiles him to space along with his baby daughter Miranda.  Sixteen years later, with the help of his faithful roller-blading robot Ariel, he summons up a tempest and shipwrecks a passing space shuttle.

The entire crew is "All Shook Up" and as they "Shake Rattle and Roll", the Ship's Captain, a truly decent comic-book hero, complete with moustache and pipe firmly clenched between his teeth, falls in love with Miranda, thus paving the way for further classics like Teenager in Love, Young Girl and Good Vibrations.

This hugely talented cast under the direction of John Plews are required not only to sing, dance and speak verse but to perform on a variety of musical instruments.  Forbidden Planet won an Olivier award in 1990 and the author should be proud of this energetic revival with its futuristic set, its technical  expertise and full-throated harmonies.

Recommended for rockers and Shakespeare buffs.

ALINE WAITES

Another all-singing, all-dancing Christmas show at Upstairs at the Gatehouse and another triumph for the family Plews.

Let's not beat around the bush:  Return To The Forbidden Planet is a pleasure from start to finish.

No one should be surprised.  Following the spotless productions of Christmases past, remember Little Shop of Horrors or A Slice of Saturday Night, it is no shock that theatre boss and director John Plews and his wife Katie, the show's producer, have hit the bullseye once more.

They are old hands at this Christmas musical lark now and are perfectionists to boot, sprinkling new sparkle into this space-age Shakespearean romp, a West End favourite 20 years ago.

Fans of blue-eyed rock 'n' roll will be in their element at a show stuffed full of jukebox delights.

An unfathomable plot - blame the bard, it's based on The Tempest - disappears into the distance with the show barely 10 minutes old.  Even witty pre-recorded video pointers from celebrity oracle Angela Rippon, harping on about squid-like monsters and magic potions, can't save the storyline from being sucked away in a string of subplots.  No matter.

The witty script, dizzy characters and, most importantly, breathtaking musical numbers glide over the plot-holes and keep the amusement level high throughout, relying only on the mildest dusting of audience participation.

There is a genuine talent on show here, most of the bright-eyed cast seem as comfortable playing an array of instruments as they are singing, dancing and skating around the creative, colourful playground of a set.

Example:  Racky Plews, daughter of the backstage double act and reliable stalwart of past shows, plays saxophone and sings while simultaneously triggering the smart video links.  Phew!

But it is unfair to pick out individuals.  They all have big voices, big personalities and all supply big knock-'em-dead performances.  Superb.

RICHARD OSLEY

DALE MAITLAND CARTWRIGHT

Bob Carlton's 1983 musical is surely the best excuse ever devised for a cast to act like '60s pop stars while wearing spacesuits and showing off their Shakespearean chops.  Inspired by '50s sci-fi classic 'Forbidden Planet', which was itself inspired by 'The Tempest', it pits the dashing Captain Tempest and crew against the evil-cum-tragic Doctor Prospero.  Along the way we meet his bloodless buddy Ariel The Robot; a giant tentacular space alien; and some seriously good / bad puns: 'beware the ids that march', indeed.

If you don't know the show - or its sources - you'll struggle to follow what's happening amid the Fisher-Price futurism of Katy Tuxford's wonderful set.  So when Angela Rippon's pre-recorded, verse-spouting newsreader opens the second act with a recap - 'Vouchsafe to those that can't follow the story....' - tears of gratitude are in order.

The cast's versatility is fabulous - swapping instruments as they back themselves very capably on the likes of 'Go Now', 'She's Not There' and (Prospero's theme tune) 'Don't Let Me Be Misunderstood'.

The unbridled energy they give the numbers throughout John Plews's imaginative production continues the tradition of Gatehouse Christmas musicals.  The cast master the tricky double of looking like they're having fun and taking their ludicrous predicament entirely seriously.  This hi-tech show could reach warp speed.

DOMINIC MAXWELL