My Neighbour Totoro, Gillian Lynne Theatre, July 2026

We were invited to review My Neighbour Totoro at London’s Gillian Lynne Theatre. Our second time seeing the show, expectations were high as the first visit was just purrfect…

The plot follows sisters Mei and Satsuki Kusakabe as they adjust to life in rural Japan. With their sickly mother in hospital, the pair escape into a world of magical sprites, mischievous spirits, and protector of the forest Totoro.

Victoria Chen embodies Mei’s childlike wonder and innocence. Playing a four-year-old girl is no easy feat but Chen is perfectly cast, and her enthusiasm and excitement is infectious. Helen Chong as Satsuki nails the big sister role too; protective and caring yet sometimes irritated by Mei’s wild ways.

Father Tatsuo (Dai Tabuchi) is suitably paternal, and treads the line well between authority figure and doting dad. He also voices the titular Totoro with gusto. Mother Yasuko (Phyllis Ho) brings a melancholy to the show, as she yearns to see her daughters grow up. She remains positive, but our heart aches for the physical and emotional distance from her family.

Neighbour Kanta (Steven Nguyen) gets laughs from painfully awkward moments each time he sees the sisters. Jacqueline Tate’s Granny Ogaki is endearing and sweet, as she guides the girls as a surrogate mother figure.

The large ensemble works tirelessly to conjure a special kind of theatrical magic. As well as playing villagers and farmers, they animate many of the creatures and also treat the set as one big puppet, seamlessly moving elements to complement the action.

Tom Pye’s set design is a triumph. We’re transported to a sleepy Japanese village, and a central house that opens, revolves and transforms with ease. Forest scenes enchant, and a feline journey dazzles with moonlit rooftops and sparking pylons. The lush rural setting pays tribute to Kazuo Oga’s early Studio Ghibli paintings, and anime fans will feel right at home.

A live band accompanies the stunning score by Joe Hisaishi, from the opening theme to the rousing Cat Bus journey. Ai Ninomiya belts the title song beautifully as Kaze no Koe (Voice of the Wind), and you’ll be humming it all the way home. Incidental music underscores poignant moments or adds a playful air to creatures waddling across the stage. Rarely is there total silence, but there is real atmosphere.

Puppetry is first-rate throughout. Basil Twist’s designs include flitting soot sprites, manic chickens, a hungry goat and the illuminated Cat Bus and jaw-dropping Totoro. There are smaller iterations of Totoro too – Chu Totoro and Chibi Totoro – and they’re oh-so-cute!

Choreography is tight and, although we see the puppeteers, this is a directorial choice. Dressed in black with cloth masks, the style is inspired by Japanese Kabuki theatre, and only helps us appreciate the art and skill all the more.

Unlike Spirited Away – which returns to the London stage in 2028 – Totoro is told entirely in English. Audience members don’t need to have seen the 1988 film but all the iconic scenes and songs are here, and the production feels like a love letter to Hayao Miyazaki’s cult classic.

There are gasps and squeals of delight from this enraptured audience, and it clearly wins over all ages – not just children. Our 9-year-old was in his element and loved every minute…as did I. It’s funny, moving and truly a show that will stay with us.

Ultimately, this is a tale of hope, imagination and finding the wonder in a weary world. It’s also categorically one of the best things I’ve ever seen.

Totorally amazing.

My Neighbour Totoro closes on January 10th 2027, and gets our highest recommendation. Don’t snooze on this one, book at https://totoroshow.com/

Photos by Manuel Harlan

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

Mistero Buffo, Friargate Theatre, July 2026

During York’s season of Mystery Plays, Riding Lights Theatre Company have revived Mistero Buffo at Friargate Theatre.

Dario Fo’s famously-controversial satire uses clever storytelling that defies a timeline. The writing takes Biblical tales and folk stories, and reframes them to fit the present day. Names dropped here include Musk, Trump and even Russell Brand – a who’s who of those in power, and those that abuse that level of authority.

Fo typically uses satire to bring down the powers that be, whilst raising up those less fortunate. This seems especially relevant in a time of political unrest and manages not to feel preachy, but rather provoke thought.

Originally performed as a one-man show, Riding Lights’ latest offering is a two-hander, with a fresh take on Fo’s story. Cathy Sara’s storyteller is first introduced to the audience as a cleaner, who weaves a tale describing the birth of the Villeyn; personifying the peasant, the working class, the downtrodden.

Bin bags, bottles and even a Hoover are used here to clever effect – and a shining floor reflects as much as we do on the subject matter. As she cleans, our storyteller ruminates on everything from Ai, remote working and employee unions.

Although there are two performers, often there is only one on stage at a time. Watching Sara’s brilliant embodiment of several different characters simultaneously, as she waits for the miraculous raising of Lazarus, is a particular highlight. At times she reminds this reviewer of a young Julie Walters.

Thomas Frere’s turn as the Jongleur is a treat too. A character created to provoke laughter, he uses satire to fight back against the oppressors. Although comic initially, the performance captivates the audience to a hushed silence as his story unfolds.

When both actors take the stage together, it’s clear they have excellent chemistry; whether delivering comedy or tragedy. The script is excellent but watching it brought to life by two actors of such high-calibre is where the magic really happens.

Speaking of magic, director Paul Birch incorporates illusions into the show that really lift the action. Crucially, magic in theatre shouldn’t feel like tricks for the sake of tricks – and thankfully these added moments complement the storytelling perfectly. Against the stark set, they add unexpected visual surprises too.

Lighting is used well throughout, with Ollie Brown’s design keeping the audience lit for much of the action. As a production in the round this can feel vulnerable at times, but that’s the point. This intention is not to make you comfortable, but rather to challenge.

A bare-bones set and costume design allows the actors to shine all the more too, and it’s refreshing to see a show that is stripped back to the basics. Live music helps maintain ties to the medieval roots of the mystery plays. Frere is adept at both guitar and ukulele, and even encourages a little sing-song!

Expect an emotional rollercoaster. There’s audience participation, laugh out loud moments, then a raw vulnerability that hits likes a gut punch. Whilst Fo’s satire may not be for everyone, Mistero Buffo is funny, thought-provoking, hard-hitting and perhaps more relevant than ever.

The production runs until Saturday 4th July. Find out more and book your tickets at www.ridinglights.org/misterobuffo

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

Oh Zeus!, York Theatre Royal, June 2026

We’ve seen every Le Navet Bete play in York, and are big fans. But did Oh Zeus! have us grinning from Oia to Oia? Or should you give this one a myth?

Sabotaged banana splits, pool noodle battles, talking pot plants, flying babies…fair to say this isn’t your typical retelling of the Greek tales.

Set in the fictional Hotel Krapios – think Fawlty Towers meets that ramshackle villa from Mamma Mia – the plot revolves around the wedding of Greg (not Greggs) and Hebe. Dad Zeus is against them getting hitched, and concocts a scheme to keep the two apart.

Le Navet Bete bring their usual madcap nonsense, and the team delight with more silliness than you can shake a trident at. With boundless energy, Al Dunn, Nick Bunt and Matt Freeman certainly urn (another Greek pun, no Apollogies) their ticket sales.

Between them they play 40 characters, and some of the quick changes are almost Olympic speed. Some of the slapstick is so fast, I’m surprised they haven’t slipped a discus.

Special mention to hardworking Stage Manager Abi Jones too, who also dons costumes to fulfil some of the roles…when she’s not organising a mindboggling array of props, wigs and costumes backstage.

Katie Haywood’s costumes are eclectic and fun, and Fi Russell’s set isn’t a tragedy either. Visually stunning, it doubles as both a krap hotel and Hades’ Underworld. The design cleverly hides trapdoors, smoke machines, fans and more – and has clearly been designed to complement the action.

Linking the Greek Gods is no easy feat, and the plot can feel disjointed at times. If you don’t have prior knowledge of Greek mythology then you may struggle to keep up, but it’s daft and visual enough to engage nonetheless. Whilst the pace dips at points, the trio are so likeable and have such strong chemistry that it’s like being in the company of hilarious mates.

Highlights for me included the dead-Zeus banana-split sequence (it really a-peels!) as the farce builds and builds. The appearance of Hydra is a treat, and you can never have too many dancing bats.

Family fun? 12+ is the recommended age; a fair few naughty words and plenty of flesh on show, but nothing extreme! It’s not panto or a kids show as such, but the fourth wall breaks more easily than a plate at a Greek wedding.

Expect slapstick, songs, puppetry, unicycling, a centaur with loose bowels and a narrative madder than an angry Zeus. Just don’t take it too Syrosly.

Still time to book? Feta late than never, visit www.yorktheatreroyal.co.uk/show/oh-zeus/

Oh Zeus! runs until Saturday 20th June at York Theatre Royal, before continuing its UK tour. All tour dates at www.lenavetbete.com/current-shows/oh-zeus

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

Operation Mincemeat, Grand Opera House York, June 2026

War. What is it good for? Absolutely nothing.

…to quote the 1969 anti-war protest song by Edwin Starr. But, it would seem it is good for inspiring theatre-makers. Operation Mincemeat first opened in 2019 to 80 people, and has since been nominated for 64 prestigious awards and won many.

Billed as the highest-reviewed West End show of all time, how does this touring production fare in York?

The plot is based on the true-life account of a 1943 deception operation during the Second World War. In an effort to confuse the Nazis, false information was planted on a dead body to make them think an attack was imminent in Sardinia. However, the allied troops were in fact heading for Sicily…

Whilst the subject matter may seem heavy, this is a laugh-a-minute comedy of errors. Think The Producers meets 39 Steps meets vaudevillian musical hall. There are nods – and digs – at Etonian culture and military intelligence, and plenty of references to James Bond.

All in all, five actors play a staggering thirty-two characters – and the ensemble work is first-rate. The cast gel perfectly, and their timing is sharp and well-honed. Many of the funnies come from traditional old-fashioned comedy, something fairly rare to see live on stage these days.

Although not his primary role, Christian Andrews’ crooked coroner Spilsbury is a real scene-stealer. He reminds this reviewer of a young Mark Gatiss, and is a firm audience favourite.

Charlotte Hanna-Williams plays Jean Leslie; a feminist ahead of her time. Her song All the Ladies is a SIX-esque tribute to the women powering the war effort – and a real earworm!

Sean Carey and Holly Simpson excel as scientist Charles Cholmondeley and Lieutenant Ewen Montagu. Their on-stage chemistry is perfect. Carey relishes his evolution from scaredy-cat to intelligence mastermind…and his newt lines get some of the biggest laughs. Simpson has excellent comic timing and a fantastic singing voice, and is believable in the old-boy persona.

Jamie-Rose monk plays top-brass Johnny Bevan, who everyone else had to impress. But it’s Monk’s turn as Ian Fleming that really stole the show for us. An incredible performer, with razor-sharp comedic skills.

Oh What a Lovely War…Musical?

Musically, Operation Mincemeat is surprisingly diverse. Expect musical theatre showtunes yes, but also pop, ballads and even a catchy hip-hop number. The score is catchy and the songs are delivered with an abundance of energy.

For all it’s upbeat fun, there are a few that tug on the heartstrings too, as we’re briefly reminded of the true gravitas of war. Dear Bill is bittersweet, and beautifully performed by Christian Andrews.

Unfortunately some of the lyrics are lost when the music overpowers the vocals, especially in the opening numbers. But the soundtrack is so good, I’m loading it up on Spotify as I type!

Ben Stones’ set is simplistic but works well. The blueprint design may seem bare-bones, but set pieces are used cleverly to reveal actors and new locations. Mark Henderson’s lighting design is striking, with modern touches including an unexpected use of neon. Das Ubermensch in Act Two becomes a hip-hop Nazi party.

Do Mention the War!

With dancing Nazis, it’s hard not to compare to Mel Brooks’ The Producers – but Operation Mincemeat offers a more thorough history lesson. Whilst it has taken Broadway by storm too, it’s an altogether British affair that draws on our stiff upper lip and readiness to defend King and country.

A show about war may not be everyone’s cup of tea, but Operation Mincemeat brews up a winning blend of fun and farce in this fight to victory. Worthy of it’s awards and accolades, this spiffing production is bally brilliant!

Operation Mincemeat runs at Grand Opera House York until Saturday 6th June, book your tickets at https://www.atgtickets.com/shows/operation-mincemeat-a-new-musical/

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

Kool Story Bro, Grand Opera House York, May 2026

Medieval chickens, the curse of Tim Henman, chairs in compromising positions…just a few of the improvised sketches in last night’s Kool Story Bro

Kiell Smith-Bynoe – of shows like Ghosts, Taskmaster and Stath Lets Flats – hosts a troupe of comedy improvisers on this national tour. Taking anecdotes from the audience, the team spin these into skits and often go off on surreal tangents.

Each show promises a different celebrity guest, often featuring comedians from Taskmaster, sitcoms and panel shows. Ours was Farrel Hegarty from Coronation Street and TikTok who, for us, didn’t quite match previous billings of well-known comedians and performers like Amy Gledhill, Lily Allen and Adam Buxton. If you’re a Corrie fan though, it might be different.

For a show that relies on audience stories, the team had some challenging material to work with. Stories offered up at this performance often didn’t make sense, or didn’t have enough going for them to riff off.

The performers sometimes stood confused and had to ask lots of questions to eke out any comedy potential. At times, instructions from the improvisers and Hegarty were a little unclear, especially to those new to the concept or who hadn’t been before.

A single microphone was slow to be brought to audience members, which slowed the pace and led to shouting and the company struggling to hear or understand. They did eventually find the magic though – even with so little to play with – and were all skilled with accents, physical comedy and of course improv.

Rude? Of course! Plenty of smut and adult language, but that’s to be expected at a show like this – and it’s the sort of material that does get easy laughs. And there were laughs aplenty, with highlights including Tim Henman’s strong backhand killing people with one touch – from a true story of him saving a choking man’s life then shrugging it off.

The final sequence had clever call-backs to early stories, and wrapped things up as The Worst Story Ever Told – another dig at the poor selection of stories from the audience.

Whilst ‘yes let’s’ is key in improvisation (agreeing to offers) it felt that if the performers weren’t happy with initial stories, they could’ve asked for more suggestions and then picked from the best. However, they tended to run with the early offers or quickly dismiss others – with mixed results.

That being said, it was a fun evening, and there’s no doubting the skills, timing and performance ability of Kiell and his motley bunch. And of course each show is guaranteed to be different, so you never know what to expect or which way it will pan out.

Unpredictable, unscripted and worth a shot if you like improv.

Kool Story Bro continues a UK tour, details can be found at www.koolstorybro.co.uk

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

The Psychic, York Theatre Royal, May 2026

As a young wizard I vividly remember passing Alita Lee’s fortune-telling shack in Whitby, and being intrigued by the exotic mysteries within. The juxtaposition of British seaside town and Romany spiritualism is the unique setting for The Psychic, a new play at York Theatre Royal by Andy Nyman and Jeremy Dyson.

This will be one of my less detailed reviews, and with good reason…the less you know going into the show, the better. We’re encouraged to ‘keep the secrets’ and this reviewer will remain tight-lipped.

The plot follows renowned psychic Sheila Gold, down on her luck after being exposed as a charlatan with an earpiece. She embarks on a new stage tour to try recoup some money, and credibility, but struggles to cope with the accusations.

Distant cousin Tara arrives keen to learn the art of of dukkering, a form of Romany fortune telling. Sheila takes her under her wing and the pair soon start running home readings. Things take a dark turn when wealthy clients offer sizeable donations for seances, and expect contact before cash, proof before payment. But, is any of it real?

Fans of spook shows might be curious how this compares to, say, Ghost Stories, 2:22 A Ghost Story or The Woman in Black. There are some wonderfully crafted scares here, but it’s less a ghost story and more a creeping thriller. The tension builds slowly but cleverly, and we’re drawn in by the intriguing story and stellar performances.

Protagonist Sheila Gold (Eileen Walsh) switches effortlessly from sweet-talking stage psychic to down and out dukkerer. Hitting the bottle and pills, she questions everything she believes in. It’s a solid performance throughout, and Walsh shows real variety too.

Megan Placito is believable as a teenager trying to better herself, and we feel for her lack of self worth. She’s instrumental in uncovering the twists and turns too. Smug radio DJ Robert Hamm is played by Dave Hearn, of The Play That Goes Wrong. The kind of presenter who gets under your skin, he grates (but is…great!)

Frances Barber’s Rosa is a triumph, and gets some of the biggest laughs of the night with her acid tongue and dry wit. Sitcom fans may recognise her from The IT Crowd and Friday Night Dinner, but it’s a joy to see her on stage – and she relishes every moment.

Deepak and Nisha (Jaz Singh Deol and Nikita Lesler) embody the grieving couple, desperate for one last goodbye with daughter Amara. Audience members have the opportunity to become part of the action too – with the opportunity to make contact through Sheila via requests dropped in a box pre-show.

Rae Smith’s set design is first rate. We’re treated to everything from a battered seaside caravan, neon-lit studio and creepy old house. A Spanish villa that appears almost from nowhere is a highlight, with it’s towering staircase and continental plants trailing the walls.

No spoilers here but there are some clever theatrical tricks and effects courtesy of Chris Fisher, who conjured up the magic for Harry Potter and the Cursed Child. Fisher keeps things simple, in a good way. Everything works as it should and the effects gel perfectly with the narrative.

Nyman and Dyson have worked a special kind of magic here too, as writers and directors. The writing is sharp, engaging and like nothing else I’ve seen. Peering into the future, I see The Psychic touring and becoming a long-running hit like other stage thrillers.

A standing ovation from this enraptured audience, and you don’t need to be psychic to work out why.

Solid gold, gaze into your crystal ball and book today!

The Psychic runs at York Theatre Royal until Saturday 23rd May. Book at www.yorktheatreroyal.co.uk/show/the-psychic/

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

Photography credit Manuel Harlan

Jim Henson’s Labyrinth: In Concert, York Barbican, May 2026

I’ll come right out and say it, Labyrinth is one of my all-time favourite films. The old adage is true, ‘they don’t make ’em like they used to!’ and this cult classic stands the test of time. After 40 years, the hit film is touring with a live band to welcome diehard fans and those new to the magic of Jim Henson…

In an age of lazy AI, it’s refreshing to see all creature effects done solely through puppetry – courtesy of the Jim Henson team. There are practical effects throughout too, and even Jareth’s glass ball tricks were delivered by (hidden) juggling master Michael Moschen. There’s clearly still a lot of love for the 1986 film – the venue was packed, and many fans had dressed up in some of the more memorable film costumes.

The plot follows fantasy fan Sarah (Jennifer Connelley) who accidentally banishes her baby brother to the goblin city, ruled over by Goblin King Jareth (David Bowie). Jareth offers her the chance to rescue said brother, by completing his labyrinthian maze of twists, turns and traps. Along the way we meet the loveable Ludo, loyal Sir Didymus and the surly Hoggle, plus a whole host of goblins…

The score of the film is delivered live by a talented band who appear on stage for the duration. It isn’t only the songs that receive musical accompaniment, but also much of the underscoring and incidental music – there’s very little time the band aren’t playing. A gong takes centre stage, and other instruments include keys, guitar, electric guitar, bass, saxophone and drums.

A smart lighting design also adds to the magic, with flashes of lightning as Jareth appears on a stormy night, a fiery glow during the song Chilly Down with the Fierys and swirling projections during the dreamy masked ball sequence.

The Barbican is an ideal venue for this film/concert hybrid. Although large, there isn’t a bad view in the house and the seating is tiered so that everyone can see. Sound was crystal clear, and the image quality on the huge HD screen was sharp.

But does it work? Yes and no. The evening opened with the conductor encouraging participation by singing along, shouting and cheering. From the opening scene it was clear that the film would be subtitled, perhaps to help those hard of hearing. However, subtitles throughout became distracting at times, and I’d have been reaching for the remote to turn them off at home…

During the songs though, there weren’t any lyrics onscreen at, almost as if to discourage singing along. This led to people trying to sing, but not always knowing the words, and not sure whether they could – or should – be joining in.

This not-quite-cinema not-quite-concert vibe is jarring at times, and leads to some confusion of what exactly the experience is trying to be. If we compare for example The Rocky Horror Singalong experience, there is an audience participation script with clear cues of when to join in, and a bag of props to use at key moments.

This reviewer feels Labyrinth: In Concert could’ve been pitched as either fully interactive, or not all, rather than some shaky ground between. An interval feels superfluous in a short film too.

The experience commands a high price tag, with tickets ranging from £45 to £80. A merch stand in the foyer also saw t-shirts at £25 and hoodies at £50. This isn’t a cheap night out, but if you’re a fan of the iconic film it’s certainly a treat to see it on the big screen, and with live music.

If you do book, we recommend staying through the credits. The band continue to play an excellent medley of songs, but many audience members were up and out sharpish, as if it was a mere cinema trip. Others were up (Magic) Dancing in the aisles, but many left before the band had chance to take a Bow-ie.

Film

Experience

Labyrinth: In Concert is touring the UK, before continuing a global tour in Canada and the USA.

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

Legally Blonde The Musical, Grand Opera House York, April 2026

Last night we saw Legally Blonde The Musical at York’s Grand Opera House. But were we tickled pink? Find out below…

I have no memory of the 2001 film but Mrs Wizard assures me the show is faithful to the plot, with a few modern twists. For what is essentially a rom-com, the love story plays second fiddle to a tale of bettering yourself, loving who you are and not judging a book by its cover.

The narrative revolves around Elle Woods, who lives a dream Malibu lifestyle and loves hanging out with her gal pals. Desperate to woo back love interest Warner, she applies to Harvard to study law alongside him. At law school she finds her new calling, and vies for one of four internship places offered by tutor Callahan. But first she must prove she’s more than a pretty face…

Amber Davies is a perfect fit for the role of Elle. Famed for Love Island, reality TV stars may not always be well accepted in theatre but Davies holds her own, and reminds this reviewer of a young Idina Menzel. She brings a star quality to the role, with fans anxious to meet her at the stage door after.

Later Elle meets Emmett, with George Crawford playing the secondary love interest with a real warmth and likeability. He grounds Elle and helps her believe that she has what it takes. His down to earth nature is a far cry from her big bubbly pink persona.

Special mention to Karen Mavundukure as Paulette too, who not only gets some of the biggest laughs of the night, but oh boy can she belt. The audience lap up her solo Ireland, and are rooting for her to find her Irish sweetheart.

A large ensemble snap, bend and change wigs with ease. The sharp choreography comes courtesy of Leah Hill, and is so slick it left us breathless at points. The fitness video inspired number Whipped Into Shape, sees the ensemble skipping at speed whilst simultaneously singing their hearts out. Brooke (Jocasta Almgill, also resident director) takes the lead vocals here, and is barely out of breath after. No easy feat.

Expect dogs too, in the form of Bruiser the chihuahua and Rufus the British Bulldog. The canine co-stars delight with each appearance, but never dominate or distract too much. They certainly have the ‘aww’ factor though and are expertly trained with treats. Who’s a good boy? They are!

For a pink and fluffy show, there are some inspired moments that add depth. Elle’s friends appear as a Greek chorus a la Hercules, and are always on hand to offer advice and motivation through song. The song Gay or European turns what would be a dated reference into a tongue-in-cheek stroke of genius.

Colin Richmond’s set design is a triumph, and even features a mini Harvard – and a comically oversized judge’s booth, that doubles as a shower! Ben Cracknell’s lighting design dazzles, and you can expect an abundance of pink in Tom Rogers’ costumes.

This is a musical in every sense of the word, and the songs far outweigh the dialogue. Some might be forgettable, but all are delivered with the fizz and energy of a crate of Red Bull.

Legally Blonde is undoubtedly West End worthy. The production values are first-rate in this feelgood musical packed with toe tapping hits. This opening night crowd were on their feet by the end, and some had been all night…standing tickets were added to meet demand!

Polish, pizazz and pink, pink, pink!

Legally Blonde The Musical runs until Saturday 25th April. Bend and snap your way all the way to the Box Office, or book online at www.atgtickets.com/shows/legally-blonde/grand-opera-house-york/

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

Horrible Histories: The Concert, York Barbican, April 2026

Our Wizard family love Horrible Histories, and were excited to see the songs from the CBBC series brought to life in this touring show.

We weren’t sure what to expect, and wondered if the production would just be a string of songs one after another – concert-style. Whilst that wouldn’t have been horrible (history), far more effort has gone into it – there’s a throughline involving finding the right monarch to sing the final song. Poor Shakespeare faces Queenie’s guillotine if he messes up the show, and the plot thickens as more and more monarchs are unwittingly signed up for the solo number.

Like all the best shows aimed at families, it’s interactive. There are plenty of opportunities for kids – and big kids – to join in. From crooning along to the hit songs and boos and oohs aplenty, to participating in mock-gameshow Chop or Not.

The stellar cast features many of the performers from the later CBBC series – and they’re all first-rate. Richard David-Caine plays host Shakespeare, and gets some of the biggest laughs. He moves with the silky precision of a crab, and is a master of comic timing. Want to see Shakespeare twerk? You won’t be disappointed. We look forward to seeing him in York Theatre Royal’s Snow White this Christmas.

Ethan Lawrence, who we recognised from the Ricky Gervais series Afterlife, plays Henry VIII amongst others. He gives a right royal performances, and can belt out the tunes with gusto. He’s clearly honed his comic skills too, and will have you laughing your head off…eek.

Harrie Hayes gives a sharp performance, with the delightfully dark and daft Stupid Deaths. Comparisons to the TV show are perhaps inevitable here, but Hayes puts her own stamp on the iconic role. She’s anything but grim…and make no bones about it.

Horrible women are well represented too with Queen Elizabeth I (Harrie Hayes again), Queen Victoria (Alison Fitzjohn) and Cleopatra (Verona Rose) all…coming at ya! All the femme fatales excel, and and are all suitably frocked-up in historical attire by designer Jackie Trousdale

Birmingham Stage’s own Neal Foster directs but also dons the wigs and hats, and effortlessly switches between party animal Charles II, Dick Turpin, and – bizarrely – a Dudley-born Viking. As Shakespeare quips…’Questionable regional accent!’

We were surprised at just how strong vocally the entire cast is too. The production team don’t scrimp on talent and there’s no ‘oh it’s for kids, it’ll do’ attitude here. Musically the show is a treat, with a versatile live band hitting all the right notes. They are led by none other than Richie Webb, who we were delighted to find out wrote all the Horrible Histories songs! The love for his work shines through, and we’re glad he gets to witness that every day of the tour.

The action spans multiple eras, and the only part that felt slightly out of place was PT Barnum. Whilst technically historical, the circus theme felt a little jarring against the ‘ye olde’. However, It’s How You Put on a Show is a banger that made up for it, and Inel Tomlinson’s Barnum is a triumph. His I Want to Spend It, Spend It as Mansa Musa is also…solid gold!

Despite reviewing theatre all over the region, this was our first trip to York Barbican, and the concert production fits the venue perfectly. Sounds levels were balanced, and we could hear every word. The concert format means it’s loud, so those sensitive to noise might want to bring ear defenders. Expect smoke, glitter, a diverse lighting plot and more. Sparks don’t fly though, and this reviewer would’ve loved a pyro or two!

If you know the series as well as us, there’s lots to enjoy here. And even if you don’t, it’s presented in such an engaging and interactive format that’s fun for the whole family. Educational? Maybe. But entertainment takes priority, and it’s never boring.

Horrible? Hardly!

If you’re thinking of booking…chop chop (guillotine pun) Look sharp (another) and visit https://www.yorkbarbican.co.uk/whats-on/horrible-histories/

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

2:22 A Ghost Story, Grand Opera House York, March 2026

York. Arguably the most haunted city in Europe, if you believe in all that. Either way, it’s the perfect city to catch a ghost story in, and last night we did just that…

2:22 A Ghost Story has run in the West End for seven seasons, as well as touring nationally to rave reviews. This kitchen-sink drama sees a group of dinner party guests staging a vigil to investigate an apparent haunting at precisely 2:22am each night.

As the evening passes, the mix of believers and sceptics discuss life, death, science, religion, reincarnation and more. Personalities clash, props crash and the drama builds and builds. It’s not a shock-a-minute show but a slow-burner that grips you with effective storytelling, then startles with scares and revelations.

The cast of four give believable performances throughout. Sam (James Bye) is a staunch non-believer with an ‘I think you’ll find’ answer for everything. Wife and new mum Jenny (Shvorne Marks) is spooked by happenings in their daughter’s room, and frustrated with Sam’s lack of support.

Ben (Grant Kilburn) draws on his spiritualist mother’s beliefs, and is pivotal in trying to make contact with the dearly departed. Natalie Casey – of Two Pints of Lager and a Packet of Crisps fame – plays Lauren. She quickly descends into drunken depravity, and throws some epic dance moves, as she wrestles with her own early ghost-sightings and unrequited love.

The dynamic between the four works incredibly well. There’s a strong and tangible tension; not just because of the spooky shenanigans but down to the opposing views and belief systems. Any new parent will relate to Jenny’s maternal worries too; that desperate need to protect her daughter at all costs. And those sleepless nights that can play tricks on a weary mind…

The last spook-show we saw was Susan Hill’s The Woman in Black, a classic haunted house ghost story set in the Edwardian 1900s. 2:22 is an altogether more modern affair…you won’t find baby monitors or Alexa in Hill’s tale!

There’s something refreshingly different about a ghost story set in the present day. We arrived not to tinkling music boxes, but a pumping dance soundtrack. There are no creaky doors or creepy dolls, but other horror conventions are still very much intact. From sudden blackouts and inclement weather to footsteps on floorboards and wailing voices…there’s plenty to set the heart racing.

Danny Robinson’s writing is sharp, and a special mention should go to Anna Fleischle’s set design, and Lucy Carter’s dramatic lighting. It’s a haunted house, but not as you know it. Expect crumbling brickwork, flaking paint and a dodgy boiler, but also sliding glass doors and an IKEA fitted kitchen. Oh, and a garden besieged by mating foxes.

For kids? Not little ones! The recommended age is 12+. I took my 12-year-old and he loved it, and didn’t find it especially scary overall. He was hoping to be more scared – in a fun way – but appreciated the drama of it all, and the clever twists and turns had him gripped.

Scary? That depends on your terror-tolerance, but we didn’t find it as scary as anticipated. There are some effective jump scares and surprises though. It perhaps takes a little while to really get going, but the plot is engaging enough to build suspense, and the discussions of the afterlife are thought-provoking.

My advice if you are planning to see it, is avoid reading too much about it. There are spoilers to be…spoiled…and the less you know, the better! Thankfully, this reviewer went in cold and enjoyed not knowing what to expect.

Four stars from me, five from my son!

2:22 A Ghost Story runs at Grand Opera House York until Saturday 4th April. Feeling brave? Book your tickets at https://www.atgtickets.com/shows/2-22-a-ghost-story/grand-opera-house-york/

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