The Kite Runner, York Theatre Royal, June 2024

I’ll be forgoing my usual puns in this review as The Kite Runner is not so…up-lifting. Ok, allow me that one….

Adapted for the stage by Matthew Spangler, the action takes place in Afghanistan and America, and spans continents, cultures and classes.

This is a tale of betrayal, loss and redemption and follows the story of Amir (Stuart Vincent), as he recounts moments from his childhood. With his friend and servant Hassam (Yazdan Qafouri) the pair are menaced by young thugs, and the action soon takes a darker turn.

Vincent is on stage for almost the entire performance, and plays Amir with both an intensity and sincerity. He seamlessly transitions between young Amir and his adult self, and has some truly poignant moments. A little comic relief here and there is unexpected but welcomed in such a harrowing tale.

Qafouri’s Hassam is convincing as a 12-year-old boy, expertly capturing the childhood innocence and naivety. His unwavering loyalty to Amir comes through in the bravery of his actions, and it’s heart-wrenching to see his story unfold.

Dean Rehman as Baba strikes a balance between authoritarian father figure and doting dad. Torn between the expectations of society and standing by his family, we feel his struggle in a difficult cultural climate. Rehman gives a powerful performance throughout.

Bhavin Bhatt is utterly repellent as the bully of the piece, and represents all that Amir must learn to stand up to. There are audible gasps when he antagonises the two boys, and Bhatt quickly has us loathing the character.

The whole cast work well as an ensemble, with most performers playing multiple roles. Special mention must go to Hanif Khan on the tabla who is also on stage for most of the show and whose music sets the tone from the very start.

Fans of the novel will recognise particular quotes from the text, especially during the more distressing moments. This is effective in demonstrating the violent scenes without resorting to crude effects and shock tactics. Although in a way it is more shocking – and more visceral – to hear the brutally detailed descriptions.

Barney George’s set design is bare-bones, but allows for the cast to make their mark on a relatively blank canvas. That being said, there are some wonderful touches such as giant kite sails that fold in and out. Projection is used well too, but thankfully not over-used or relied upon. The show is often vibrant and colourful, and reflects the Afghan heritage and traditions well.

At two hours and thirty-five minutes with interval, The Kite Runner runs fairly long but the show is so well crafted that it doesn’t often drag. The audience were silent throughout, gripped by the powerful storytelling.

Powerful, evocative and often heart-breaking. Has this review set your hopes for good theatre…soaring? Book your tickets at www.yorktheatreroyal.co.uk/show/the-kite-runner/

Disclaimer: Tickets were kindly provided for this performance, however all opinions are honest and are our own.

Unfortunate: The Musical Parody, Grand Opera House York, June 2024

Unfortunate: The Untold Story of Ursula the Sea Witch, started life as a one-hour Edinburgh Fringe parody. The production is now a smash hit, and receives rave reviews throughout the extensive UK tour. Created by Leeds-based Robyn Grant, the show is a celebration of all things LGBTQI+

Hot on the (high) heels of York Pride, Unfortunate docks at the Grand Opera House York. But is everything ship-shape, or does it sink to the depths?

First up, this ain’t The Little Mermaid folks. The recommended age is 16+ for strong language, partial nudity and sexual themes throughout. There’s more than a smattering of smut, with songs about…well…I can’t even say here. In short, it’s not for kids but ideal for a fabulously fun child-free night out!

The show tells the (fishy) tail of queer icon Ursula, the villainous sea witch we all love to hate. This origin story takes us back to her early days when life…sucked. She’s a toilet cleaner in the murky depths.

Hook, Line and Sinker

Like a fish on a hook, we were quickly reeled in by the brash humour, colourful staging and camp shenanigans. The writing is witty, and the songs oh-so-catchy.

There’s puppetry too, with a hideous assortment of deep sea dwellers in the song We Didn’t Make it to Disney. It’s nautical nonsense in the best possible way!

Shawna Hamic plays Ursula, a formidably fierce villain who’s delights in tricking Ariel. Hamic wrings every nuance out of the role, and dominates the stage in a sea of tentacles and black leather. Incredible vocals and stage presence to boot, she’s the ultimate Ursula and a delight to behold.

Cry me a River

Drag fans will recognise River Medway from the 2021 series of Ru Paul’s Drag Race UK, and here Medway plays the naïve – and horny – Ariel. With a grating Essex accent, she plays the dumb redhead with superb comic timing. As ‘Speechless Lady’ she mimes her way through the second half, and carries the role with brilliant expressions.

Gone is the cod-Jamaican accent for Sebastian…here the castanet-clicking crab is from County Cork. Sebastian is an under-used character – and there’s no parody of Under the Sea – although Dart has time to shine as French chef Collette, and one half of ‘Gay Eeels’ Flotsam and Jestom.

Eric (Jamie Lawson) hits all the right notes, both figuratively and on his beloved flute. He is the perfect himbo to Ariel’s bimbo!

Like a young Boy George, Thomas Lowe is our Triton – complete with spandex and a mop of bleach blonde hair. He hams up the role and belts out the ballads to perfection!

It’d be shellfish not to mention the rest of the cast, and none of them flounder. This is truly an ensemble piece, and many performers play a dazzling array of roles. Julian Capolei is listed as Grimsby, but he also wows as Vanessa in Ursula’s shapeshifting attempt to woo the Prince. Hot Girl Summer is a pure drag-fest, complete with slut-drops, twerks n’ all.

Special mention to Kirsty the Sea Cucumber Princess too, the best vegetable-based royalty I’ve seen in a long time.

A-Band-on-Ship

Musical director Arlene McNaught leads the live band. Whilst this adds a real depth of sound, the levels aren’t always balanced. Especially in the pacier songs, many of the lyrics get drowned (also a sea pun) out, so we miss some o’ the funnies which is…unfortunate. Still, a good excuse to listen to the soundtrack!

Find your sea legs and book to experience this sensational show. To describe it using one word that I’m not sure even exists…TENTACULAR!

Unfortunate runs at Grand Opera House York until Saturday 15th June, tickets available from £13 here.

The show sets sail for Bromley next, and you can check all tour dates at https://unfortunatemusical.com/

Disclaimer: Tickets were kindly provided for this performance, however all opinions are honest and are our own.

The Animal Guyz, York Theatre Royal, June 2024

We followed our animal instincts all the way to York Theatre Royal to review The Animal Guyz! Billed as a fast-paced theatre show with visual effects, music and comedy – the company’s goal is to help the audience learn through laughter…

The brainchild of creator Craig Crowton (centre), it’s clear that Craig is passionate about the animal world. It’s inspiring to see that production, school tours and holiday park shows raise a lot of money for various animal charities too.

Opening with dinosaurs seems unnecessary and jars with the theme a little, especially as there are several other shows entirely dedicated to our Jurassic friends. I guess it’s a crowd-pleaser for the kids, however once the dinos are left in the past, the show truly finds it (furry) feet…

All Creatures Great and Small

Soon, animals come thick and fast in all shapes and sizes. Far too many to list, but you’ll see everything from a towering giraffe to a lazy sloth, giant turtle, orangutang, badger, penguin and even a pangolin…complete with licking tongue! There are no live animals here but a variety of costumes and puppets instead, often with a video of the real deal played behind.

Children are encouraged to participate throughout, initiated by a pre-show explanation of exactly how to join in, and how there are no real rules. This opening spiel is refreshing; many children may not know how to join in – and about it being ok to clap, laugh and cheer. Covid will have restricted visits to live performances for many children growing up, so this reminder is useful.

With permission to go wild, expect kids (and big kids!) howling like wolves, monkeying around and even dancing in the aisles. The promise of prizes soon turns the audience feral, and leads to plenty of extra cheering and frantic waving!

Kicking up a Stink

There’s toilet humour too, which gets squeals of delight. Our youngest (7) particularly enjoyed the flatulent walrus, and the squirting skunk – although to be more inclusive of the whole audience, we’d have loved some water pistols in the Dress Circle, not just down in the Stalls. It can be disappointing to see the frantic fun unfold and not be involved in it.

Fascinating facts are relayed by the highly enthusiastic cast and as part of video projections. I came away learning lots of new things, and my sons were eagerly sharing their favourite facts all the way home. Our eldest son (10) was quick to Google pangolins afterwards, and was alarmed at how quickly they’re disappearing.

The production is underpinned by a theme of conservation and a genuine care for animals and their welfare. There were some unexpectedly poignant moments; in a particular a tribute to Steve Irwin and a song set to images of endangered animals. Our eldest commented afterwards ‘It’s got me thinking, if I was able to vote I would choose a party that do things for the environment….’ so it obviously struck a chord.

Things don’t become preachy, but instead we’re encouraged to ‘do one thing’ to make a change – such as buying a packet of seeds and throwing them in the woods, or leaving water out for thirsty hedgehogs.

At eighty minutes without an interval, it’s a good length for children and keeps the pace with it’s multimedia approach, varied animals and interactive elements.

If you like animals and interactive fun, and you want to support some great causes with your ticket purchase, then check out the tour schedule at www.theanimalguyz.com/theatre-tour

Disclaimer: Tickets were kindly provided for this performance, however all opinions are honest and are our own.

Tess, York Theatre Royal, May 2024

Last night we went to see Tess at York Theatre Royal, with the classic novel adapted with circus skills and physical theatre by Ockhams Razor.

A Little Horse-Play

In truth, I didn’t know the story of Tess of the D’urbervilles. Suffice to say, it’s not an uplifting and heart-warming tale. The story follows 16-year-old Tess as she strives to help her impoverished family, and looks at the struggles and harsh life-lessons she encounters along the way, from the men and society who treat her so poorly.

The performers draw out the humanity of the characters through their physical performance. They make every movement seem effortless, displaying immense strength, focus and a real synergy with each other. Actors leap, tumble and twirl with ease – and manipulate planks of all shapes and sizes to create the ever-changing set.

Especially impressive is the structure of a house, slotted together before our eyes then lifted in one gigantic piece – and instantly strong enough for the actors to scale up and down. Set designer Tina Bicat works a special kind of magic.

Milking It

Although the source material is bleak – and the performance doesn’t shy away from this – there are a surprising number of lighter moments throughout the show too. A highlight is a sequence with maids milking cows. Shall I tell you how it’s done? Pull the udder one!

Joshua Frazer’s skills with a golden hoop are truly breath-taking too, skilfully manipulating it to spin inside it or send it whirling around the stage. It’s accompanied by a haunting sound, and the sound design throughout is first rate.

At points the music is subtle and understated, and barely heard over the slight squeaking of shoes and gently-landed thuds. Elsewhere it is brash and dramatic, punctuating the darker moments with severe crashes and gut-wrenching screeches. In an ideal world I would’ve preferred this played on live instruments rather than recorded, but I appreciate this isn’t always feasible.

On the subject of sound, in such a physical piece Hanora Kamen is only amplified by floor mics. This does unfortunately mean that, despite a stellar performance, she can be difficult to hear at points – even from the first few rows of the Dress Circle.

I would normally mention other performers by name, however this is such an ensemble piece that the whole cast almost work as one. All are incredible.

Circus of Horrors

The circus elements never feel twee or shoehorned in, they lift this unhappy tale and add a fresh and modern twist. This style of interpretative movement-based theatre won’t be everyone’s cup of tea but it’s a powerful form of storytelling and has the audience gripped here.

There is some particularly unsettling physicality in parts which made me feel uncomfortable – but that is absolutely the point. The inner turmoil of Tess’ experience shown so starkly through physical movement is inspired, and invites the audience to really immerse themselves in the performance.

Bold, inventive and beautifully realised.

MAGIC RATING

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Tess continues it’s UK tour with Bristol next, find all tour dates at https://ockhamsrazor.co.uk/tour-dates

Disclaimer: Tickets were kindly provided for this performance, however all opinions are honest and are our own.

Sister Act The Musical, Grand Opera House York, May 2024

What do you call a nun with a washing machine on her head? Sister-matic! Now that old joke is out the way, on with the review…

Nun’s the Word

Sister Act follows the story of club singer Doloris Van Cartier. Witnessing her gangster boyfriend shoot a man, she suddenly finds herself hiding out undercover in a convent whilst waiting to testify in court. This un-convent-ional nun has a lot to learn about the sisterhood, but soon uses her vocal talents to raise the (church) roof, both figuratively and financially.

Landi Oshinowo play Doloris. Can she sing? Oh sister! Oshinowo belts the showtunes, and is a vocal powerhouse throughout. Comparisons to Whoopi Goldberg are perhaps inevitable – and it’s a tough act to follow – but she makes the role her own and has plenty of sass.

Back in the Habit

Coronation Street icon Sue Cleaver returns to the stage after thirty years, to play Mother Superior. She brings a real warmth to the role and has great comic timing, a smart casting choice! Cleaver switches seamlessly from comedy to the desperate frustration of Dolores’ unholy influence on the straight-laced sisters.

Extra comedy ensues from the gaggles of nuns – ranging from the very old to to cranky, timid and, later, funky. Isabel Canning excels as over-eager evangelist Sister Mary Patrick. Canning is a ball of biblical energy and her enthusiasm is infectious. Sister Mary Robert (Eloise Runette) delivers a beautiful rendition of The Life I Never Led, and we really share in her joy at finally being let loose.

Alfie Parker’s Eddie Souther or ‘Steady Eddie’ gets some of the biggest laughs, and is the underdog we’re all rooting for. The romantic subplot between him and Deloris feels a little tacked on, but I Could be That Guy is sensational and has a very clever costume change.

Divine Inspiration

Morgan Large’s clever set design revolves around a huge stained glass window, lit to change in more colours than Joseph’s coat. Altar boys whisk set pieces on and off to transform the space from everything to a seedy back alley and nightclub to the nun’s cloisters, a police station and more.

The pace seems a little sluggish in the second act, and some of the songs are forgettable. Sadly, film favourites such as I Will Follow Him are missing, however this might be down to licensing rights. Niggles aside, the production builds to a satisfying finale and has many audience members on their feet and dancing in the aisles.

Overall this is a slick and polished show with production values worthy of the West End. Led by musical director Tom Slade, the live orchestra sounds divine and really lifts the score. The large cast work tirelessly and we’re treated to some tight choreography and strong vocals.

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Get thee to a nunnery (or The Grand Opera House Box Office) and book your tickets now! Sister Act The Musical runs in York until Saturday 11th May, booking at https://www.atgtickets.com/shows/sister-act/grand-opera-house-york/

Further tour dates and booking links at www.sisteractthemusical.co.uk

Disclaimer: Tickets were kindly provided for this performance, however all opinions are honest and are our own.

Joseph and the Amazing Technicolor Dreamcoat, Grand Opera House York, April 2024

We donned our coats of many colours and headed to The Grand Opera House, to catch York Stage’s latest production, Joseph and the Amazing Technicolor Dreamcoat. A family favourite, we were excited to see how the team would stage the hit Andrew Lloyd-Webber classic.

For those not in the know, Joseph follows the tale of a young dreamer from a large family who is sold into slavery, but bounces back as Pharaoh’s right hand man. Donny Osmond popularised the title role in the 1999 film, as well as both Jason Donavan and Philip Schofield in stage adaptations.

Here, Reuben Khan is expertly cast as Joseph, and oh boy can he sing. Close Every Door is a highlight, and brings the house down. He’s a walking work of art in his coat too, in fact all of the costumes are a treat.

Hannah Shaw draws everything together as the Narrator, and is another powerhouse vocalist. She plays the Narrator with a genuine warmth and has a great quick costume change too…blink and you’ll miss it! Pharaoh was played by Amy Barrett, complete with oversized Elvis quiff and plenty of swagger. It’s unusual for this role to be played by a woman, but she brings lots of energy and pizzazz to the role.

In such a large cast there are too many to mention individually, but this is truly an ensemble piece – and there is no weak link. The brothers have a believable camaraderie and, even with Simeon (Finn East) on crutches, the energy never dips.

The large group of children in Team Canaan have boundless enthusiasm and bags of talent. They are clearly having the very best time, and I’m glad they get their own Joseph megamix at the start of Act Two! Expect slick choreography, a few ‘aww’ moments and even a little sass. Special mention must go to Darcie Hynes and Daniel Tomlin, who were especially dynamic and expressive – but all the kids were stars!

Technically the show is a triumph. Beautifully lit and staged, there are some inventive ideas here. I was especially impressed with the use of ladders to represent things like a prison cell and tall chariot, even if they looked a little precarious and wobbly at points. A live orchestra led by Adam Tomlinson ensures a rich sound across the diverse songs style in Joseph – everything from Calypso, Western and French ballads to rock and roll, pop and jazz.

We’ve seen several professional productions of Joseph so it’s difficult not to compare, however this is well up there with the best of them. Although technically an amateur production, you’d be forgiven at points for thinking this is a fully realised West End show. And that’s a testament to the hardworking cast, crew and creatives at York Stage. Pure theatrical magic.

This opening night crowd were on their feet at the end, and the accolades are well deserved. Thank you York Stage for a sensational show.

Go Go Go book your tickets now for feel-good family fun that’ll have you toe-tapping ’til the very end!

MAGIC RATING

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Joseph and the Amazing Technicolor Dreamcoat runs at Grand Opera House York until Saturday 20th April 2024. Book online at https://www.atgtickets.com/shows/york-stage-presents-joseph-and-the-amazing-technicolor-dreamcoat/grand-opera-house-york/

King Arthur, York Theatre Royal, March 2024

We galloped over to York Theatre Royal to catch some old(e) school entertainment, courtesy of Le Navet Bete…

Having seen The Three Musketeers, Dracula, Treasure Island and A Christmas Carol, this wasn’t our first rodeo. Or…joust…to be more in-keeping with the theme. With Le Navet, you can always Bete on a great night’s entertainment, and King Arthur does not disappoint.

Part Monty Python, part The Play That Goes Wrong, expect a high-energy show with lots of knockabout fun, quick (and countless) costume changes and gags galore.

I’d Like a Room for Three (K)nights

The plot follows a motley trio and their quest to stage a play for Arthur-fest, by request of the King himself. The problem? There are no legends to be found, and the clock is ticking. The gang scramble to embellish stories from characters they meet around Camelot, or risk a year of scrubbing toilets…or worse!

This is a real comedy of errors, confusing at times but that only adds to the fun. Nick Bunt, Al Dunn and Matt Freeman play an eye-popping array of characters, and seamlessly switch roles, accents, wigs, tabards and frocks. Seldom-seem Stage Managers (Fi Russell and Jess Crocker) must be working their socks off behind-the-scenes to keep order amongst the chaos!

In the second act, each of the stories is highlighted with a catchy jingle. There are tales of dragons, knights, an invisi-bullock and a bath of boiling beans. My own knowledge of Arthurian legend is limited, so I’m not sure how much of a spin they’ve put on a each tale…but I’d wager they’re not 100% accurate.

A Little Horseplay

What the show lacks in accuracy, it more than makes up for in fun – with brilliant buffoonery, larger than life characters and just the right level of audience participation. There were many highlights, one of mine being Merlin’s wife who – inexplicably – could walk upstairs but never down them. As Merlin exclaimed between naff magic tricks, ‘She’s like a cow!’.

A flirtatious Guinevere elicits laughs too, with a chocolate milkshake and a familiar song. Oh and of course things go amiss, and the gents are quick to acknowledge the absurdity of the whole premise. The montages as the trio learn acting and stagecraft are inspired.

There was a slight dip in pace in the first act, and things took a while to hit the big funnies of the brilliant intro again. However, once it found it’s (ostrich) legs, it was a sprint to the finish with fast-faced frenetic fun.

Taking Stock

Is that image a stock photo, I wonder? The production team have gone positively medieval on the design of the show.

Fi Russell’s set design features a castle backdrop that transforms into a show tent, and cleverly uses multiple levels for the players to scale up and down, and even leap off at points.

And there wouldn’t be a round table big enough for all the props here; from frying pans, planks and puppets to vegetables, sacks, swords and the classic cup and ball game. ‘Thrust Cup’ are two words I didn’t expect to hear last night…

Sometimes you have to be a Little Bit Naughty

Fun for all the family? The suggested age rating is 7+ and there’s plenty of innuendo and a very funny naughty bit at the start (that I won’t spoil) which our seven and ten-year-old loved. The gents are so likeable though, that these cheeky moments are just that…a little cheeky, and never really offensive. I’ve heard far worse in so called family-friendly pantomimes.

Younger audience members may struggle to follow the many twists and turns of the absurd plot, but the show is highly visual and delightfully silly. Our two boys have been reenacting some of the scenes over breakfast, and are interested to find out more about the legends (fist pump) of King Arthur.

Queen songs, egg puns and more slapstick than you can shake a sword at. What’s not to like? This is comic chaos of the highest (ex)calibre!

MAGIC RATING

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King Arthur runs at York Theatre Royal until Saturday 23rd March. Book tickets at www.yorktheatreroyal.co.uk/show/king-arthur/. Follow Le Navet Bete’s tour at https://lenavetbete.com/

Disclaimer: Tickets were kindly provided for this performance, however all opinions are honest and are our own.

Blue Beard, York Theatre Royal, February 2024

Last night we ‘opened the bloody door’ of York Theatre Royal, and attended Blue Beard by Wise Children. Not knowing what to expect, we weren’t quite prepared for the powerful and emotive performance that followed…

I won’t give much away in terms of plot, but the story is a heady mix of betrayal, grief and dark humour. Don’t let the word children in the company ‘Wise Children’ mislead you…this is no family show. Expect explicit language, violence, sexual themes, blood and raw emotion. The age guidance is 14+

The entire cast are absolutely first-rate – strong performers, musicians and vocalists. This is truly an ensemble piece but I would like to mention Katy Owen as Mother Superior, and how well she switches between a darkly comedic role to an outpouring of raw unfiltered emotion. A stunning performance throughout.

As a magician, I was intrigued by the portrayal of Blue Beard as a man of magic. More Greatest Showman than Paul Daniels, he searches for his next assistant and wins over the unsuspecting females with his intoxicating charm. This flamboyant conjuror cuts a sharp image in his burgundy suit, and Tristan Sturrock relishes each moment of the role. Every single performer is given plenty of time to shine, and they all shine brightly.

Blue Beard is a feminist piece of theatre that explores various themes such as a grief, and every woman’s story of feeling unsafe at one time or another. My wife said she felt a real camaraderie as the cast shared their stories, their fears and their strength – and that this was a wholly unifying experience. As a male audience member, I didn’t feel as though the production was villainising men but rather highlighting the fact these things, sadly, do happen and that many woman feel like they don’t have a voice or the courage to speak up.

Technically the show is a triumph, everything is slick, polished and well choreographed. The sound is rich, and the talented actor-musicians add a real depth. All kinds of instruments feature from live piano, harp, bass and acoustic guitar. Unlike some productions, the sound is crystal clear and the levels well balanced.

Every aspect of this production is meticulously planned. The set is simple but effective, and has a flavour of vaudevillian theatre. Trunks and magician’s cases transform into wardrobes, and even a well-stocked refrigerator. The lighting design is sensational too, casting shadows and silhouettes or helping to conjure a vibrant cabaret atmosphere.

The costumes range from plain clothes and unassuming coven habits to a brilliantly designed Pierrot clown. When the nun’s habits are later removed, we see plain jeans and t-shirts…as if these people could be anyone. And that, I think, is entirely the point.

Emma Rice’s company innovates both on and offstage. I was pleasantly surprised to see the usual paper programme replaced with a QR code to scan, and that the entire backstage crew shared the bows with the cast at the end. The musical adaptation works well, and the songs range from catchy to poignant and heartbreaking.

We both left feeling a little shell-shocked, blown away by the powerful nature of the piece and the incredible storytelling and performances throughout. Despite challenging topics, love is an overriding theme too – whether the love of two sisters, mother and daughter, brother and sister or man and wife.

What really struck me was how deathly silent the entire audience was during some of the most evocative moments. Not a single cough, shuffle or murmur. This is the power of great theatre, and Wise Children had us hanging on every word. Breathtaking.

MAGIC RATING

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Blue Beard runs at York Theatre Royal until Saturday 9th March 2024. Book at www.yorktheatreroyal.co.uk/show/blue-beard/

Disclaimer: Tickets were kindly provided for this performance, however all opinions are honest and are our own.

Disney’s The Little Mermaid, York Theatre Royal, February 2024

The Little Mermaid was the first Disney film I ever saw, and last night we the saw stage adaptation by York Light Opera Company. But does it make waves, or plumb the depths? Find out below…

To be honest, the show took a while to get going and didn’t reel us in straight away. I think this is largely due to the songs added since the 1989 film version though. Many of them are bland and forgettable, despite being delivered with plenty of energy. The show really shines with the crowd-pleasers such as Under the Sea, a stage-filling spectacle full of colour. Part of Your World is a highlight too, Monica Frost as Ariel has great vocals and is a strong performer.

There are some inspired ideas, from Heely shoes to suggest underwater movement, to twinkling firefly gloves in Kiss the Girl. Giant turtles and frogs are silly in this number, but fun! Costumes overall are cleverly designed. Favourites for me include Flotsam and Jetsam’s glowing attire and eel-like wigs, and Flounder’s deconstructed Angel Fish, complete with dyed-hair spiked into a fin.

Ursula needs bigger tentacles to really make her (inky) mark visually as the grand Sea Witch, although Pascha Turnbull plays her with a deliciously wicked edge. She cleverly manages not to imitate the iconic film role, and finds her own ‘evil’ without becoming a panto baddie.

Jonny Holbeck’s Sebastian adds comic relief, and is a strong physical performer. The fourth wall is never broken, which is a real shame as Sebastian in particular could really have fun with the audience. In fact, it’d be shellfish not to!

Scuttle (Martin Lay) is no bird-brain, and especially excels in the seagull tap number Positoovity. Eric the prince (James Horsmam) is suitably charming, and another strong singer to boot. Chef Louie (Zander Fick) is first-rate, hamming up the role with every synchronised chop and slice.

Ryan Addyman’s Flounder is instantly likeable and full of youthful naivety. We’re not sure why the script calls for Flounder to be in love with Ariel – a subplot that feels tacked on. I was especially impressed with Addyman’s constantly swaying arms, a nice subtly to suggest fins in motion.

I would’ve liked to see more creative use of the stage and auditorium, and less reliance on projection. The royal boxes could be used to puppeteer fish and sea creatures over the audience, and the theme is crying out for bubble machines. I imagine a lot of the budget was swallowed up – as if by a hungry whale – on the Disney rights though, and I think the cast and company have done a fin-tastic job overall!

A full live orchestra adds a real depth (sea pun) to the score and only occasionally overwhelms the singers. Several of the performers fly but generally the show is lacking in other effects. Ursula could benefit from a smoking cauldron – projected smoke is a poor unfortunate substitute. A few pyrotechnics could really punctuate her spells too, but again the budget might have…fizzled out. Her demise is sadly underwhelming, and could be enhanced with effects and a little more stagecraft.

Technical issues are perhaps inevitable this early on, but there were a few mic mishaps and the odd sluggish set change. It’s worth remembering this isn’t a professional production though, and I’m sure it will find its sea legs as the run continues.

Any niggles are minor and don’t cause the show to flounder. With tickets from £15 it’s great value family fun with bags of enthusiasm, a live band and a huge talented cast! At this price, it could be worth splashing the cash on.

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Want to make The Little Mermaid part of your world? The shows runs until Saturday 17th February, and you can book at www.yorktheatreroyal.co.uk/show/the-little-mermaid/

Disclaimer: Tickets were kindly provided for this performance, however all opinions are honest and are our own.

Jack and the Beanstalk, York Theatre Royal, December 2023

Photos by S R Taylor Photography

Jack and the Beanstalk has taken root at York Theatre Royal, and we’ve bean to see it. Here’s what we thought…

Dame for a Laugh

Robin Simpson returns and continues to delight as the dame. Simpson is a master of comic timing, and knows how to take the spotlight but also let others shine. Gags fly thick and fast, and his Elton John pastiche is a joy. There’s a new Legend in town, and we’re thrilled he’s returning for Aladdin in 2024.

Expect fabulous outfits too. The Clifford’s Tower inspired number is a real showstopper, and the best frock-homage to the city we’ve seen. Dame costume designers Michael J Batchelor and Hazel Fall have done wonderful work.

CBeebies star James Mackenzie is the panto baddie, Luke Backinanger (get it?!) Adorned with black feathers as a nod to his hit show Raven, he relishes the boos and hisses and has a boy-band backstory to boot! His Freudian exchanges on the therapist’s couch add another dimension, and his Swedish Helga is a treat.

Nina Wadia is another telly favourite, and plays Fairy Sugarsnap. She isn’t the saccharine-sweet fairy that can so often grate, and adds a fun flair to the role.

Jack – here in fact Jacqueline – is your typical hero (heroine?) but thankfully the writer avoided any kind of tiresome love story. Played by Mia Overfield she has great vocals and plenty of panache.

Billy (Matthew Curnier) has great energy, but would benefit from more opportunities for silliness and slapstick to really make his mark as the comic male. In the second act his giant balloon antics are fun, and this gets him some of the bigger laughs.

Mooving On

Gone are the front and back halves of the traditional panto cow, here Anna Soden plays Dave the anthropomorphic talking cow upright on two legs. A mooving performance and a welcome twist with an udderly brilliant outfit. An unexpected highlight, Soden shows a range of emotions as the cow – and even plays the trumpet!

This year there’s a dog act too, somewhat shoehorned into the first act. Nonetheless, it works – and Zeus is a four-legged star! Expertly trained with plenty of tricks by Anna Auster…this audience gave plenty of ‘aaaahs’ and a big round of a-paws. His interaction with Dame Trot (especially in The Tunnel of Doom) is pure magic. I feel Zeus should’ve returned to help save the day in the second act.

Musically, the live band is excellent and the sound is rich and balanced. Many of the songs are forgettable though, except for the opening number This is a Pantomime. This set the scene brilliantly, introducing the set, principal characters and dancers. Other song choices are strange; an Eminem rap is dated and the songsheet is predictable. Cow Wash is one of the better songs, but a missed opportunity for bubbles.

Bean there, done that?

In some ways it seems that this year’s offering is trying to replicate the Theatre Royal pantos of old…from the York video sequence to a largely nonsensical and convoluted plot. We don’t feel these nods to previous shows are needed. When Evolution Productions first arrived at the Theatre Royal, they breathed new life into the festive schedule, and we like that the shows have been refreshingly different.

Overall, whilst Jack and the Beanstalk isn’t quite as pacey or sharply written as the previous two shows, it is still a more inventive and enjoyable production than most. As a pun-lover, I’m pleased to say the show is full of ‘em. Many go over children’s heads – especially the very specific dog-breed gags and Elton John song jokes – but there are some real rib-ticklers for all ages too.

Fun, laughter and plenty of festive magic. All in all, a great production that sprouts a few new ideas but keeps the traditional elements well-watered. Speaking of water, our mini Hatters loved the audience water fight!

MAGIC RATING