When telling one of the half-dozen or so tales traditionally recounted in pantomime at this time of year, the choice is between cleaving to traditional panto form and trying to ring the changes. Each of these examples excels within its chosen approach.

In this latest version of Susie McKenna’s Jack And The Beanstalk script, the princess with whom Jack conventionally pairs off at the end has been cut entirely. In practice, though, changes like this make little difference to the most raucous and energetic panto in London. The bellowing matches between performers and audience are present and correct: it was less than six minutes before we were bawling out, “Oh no, it isn’t!” So is the messy “slosh” routine, the selection of musical numbers from Charlie Chaplin’s “Smile” to a rewrite of Chaka Khan’s “I’m Every Woman”, and a clutch of local/topical references such as “We’re doomed, like the BBC!”

The foundation of the staging remains the cross-dressing so inexplicable to non-Britons: Jack is played by a comely young woman (Debbie Kurup) who slaps her thigh to show her adventurous spirit, and “his” mother is the estimable Clive Rowe in a variety of ridiculous frocks. Rowe has long been one of the best dames in the panto world, and his irrepressible good nature and inexhaustible energy are both well in evidence here. When he starts to sing the verse of Nilsson’s “Without You”, brace yourself in your seat lest the refrain smashes you into the back wall.

In Bristol, though, Sally Cookson takes matters one step further by changing her principals’ sexes altogether. Here, the titular Sleeping Beauty is Prince Percy, the adventurer who rouses him from a hundred-year doze with a kiss (well, with CPR) is a young women, Deilen. As the pair set off on their own quest, Cookson grafts on to this story the Welsh tale The Leaves That Hung But Never Grew. Panto staples such as the wicked witch and assorted magical transformations rub shoulders with some excellent ensemble acting from the cast of eight, all of whom double as a headscarfed-and-handbagged good fairy at some point, and with coming-of-age writing that is intelligent and sensitive but never overbalances the ripping yarn.

Kezrena James and David Emmings make a splendid central couple, Lucy Tuck stands out from the fairy phalanx, and Benji Bower’s haunting original score blends cheekily with numbers such as a klezmer version of Bon Jovi’s “Livin’ On A Prayer”. Cookson adapted and directed the acclaimed version of Jane Eyre currently playing at the National Theatre; this Christmas show is a similar example of taking an original approach yet always remaining in service to the story and themes.

Written for the Financial Times.