Kevin!!!, Edinburgh Festival Fringe, August 2026

When we heard that a puppet-based retelling of one of our favourite films was coming to the Edinburgh Festival Fringe, we slapped our hands to our cheeks and made a wide expression of shock. Based on the 1990 hit film, Recent Cutbacks breathes new life into the Christmas classic Home Alone...

Kevin!!! mixes technology with puppetry and live action. Cameras capture the action both against a blue screen and in miniature for close-ups. A large screen shows handmade figures, Barbie dolls and even Mr and Mrs Potato Head, deftly dangled into cardboard sets. This is the kind puppetry you probably did as a child, wiggling figures about and giving them silly little voices…

With limbs flailing, the larger hand puppets are delightfully daft and often taken into the aisles and used at height so everyone can see. Burglars Harry and Marv are snake-like sock puppets with bulging eyes, and neighbour Marley (“Creepy Old Man”) is a hideous old crone. Kevin himself is the stand-out, with the sassy eight-year old immortalised perfectly in fluff and foam.

The McCallister house is brought to life with ramshackle boxes rotated in and out of shot, revealing micro surprises like a crayon four poster bed and the best possible use of hinged hair clip! Live foley sound effects add an extra layer of fun. Special mention to Richard Sears for acapella vocals with some really high notes!

Kevin!!! is a work of genius, and there are plenty of inventive moments that get big laughs. No spoilers here, but John Candy’s Polka-promoter is particularly inspired, and Kevin’s zip-line escape towards the end is a treat. All the tricks and traps set by the burglars are here, and even Buzz’s pet tarantula features (black glove with eyes on, simple but effective!)

All your favourite scenes are here, with very little cut to save time. It’s essentially a shot for shot remake of the film, with some wiggle room for parody and artistic licence. The whole cast work timelessly to bring the movie to life, and any minor mistakes are cleverly referenced rather than awkwardly ignored.

The hour flies by quicker than a plane to Paris, and we enjoyed it immensely. It helps if you know the source material well, but even if you don’t you’ll appreciate the surreal silliness and technical wizardry. Book now, ya filthy animals!

Kevin!!! runs until August 31st. Information and booking at https://www.edfringe.com/tickets/whats-on/kevin

Recent Cutbacks are also presenting Hold Onto Your Butts (based on Jurassic Park) and Fly You Fools (Lord of the Rings) Sadly we couldn’t make these too, but imagine they’re of the same calibre. Worth checking out!

Glob, Edinburgh Festival Fringe, August 2026

French Canadian clown company Les Foutoukours return to Edinburgh with their new show Glob – a dreamlike exploration of a wintery world for all ages…

Clowning is well represented at the Fringe and, whilst shows like Tweedy’s Massive Solo Show are fast-paced and frenetic, Glob is an altogether more gentle affair. Our clowns here are almost alien, as they explore the sparse stage like they’ve arrived on another planet.

Dressed in fluffy white romper suits with silvery hair and bulbous red noses – they are instantly loveable, with an endearing appeal that transcends age and language. Rémi Jacques and Jean-Félix Bélanger are both masters of their art, and skilled in improvisation. They often react instinctively to things like a sneeze in the audience, a dropped bottle or a crying baby. Everything is a source of wonder, and the pair are the epitome of innocence and naivety.

Silence is used to great effect, and there’s a haunting musical composition by Martin Lizotte – as well as live piano at points. Décors Acmé’s set design seems bare bones, but allows the clowns to really shine amongst the floating orbs and weathered trees.

There is often a problem to be solved. A highlight for us saw a single blue orb hovering high over the clowns, with the pair trying to switch it back to white with a single tap. A simple premise told wordlessly, but one that had this audience captivated.

There are plenty of core skills throughout, from juggling to acrobatics and even tap-dancing. They make the difficult look effortless, and lap up the applause and adoration from the audience. A new variation of the diabolo – the globolo – is a refreshing new spin (pun intended) on a staple circus trick.

With its wintry setting and almost mute clowns, comparisons to Slava’s Snow Show are perhaps inevitable. Both shows tap into that childlike wonder and playfulness but Slava is often edgier and more surreal. Glob doesn’t delve into the darkness but keeps things light – and I defy even those apparently scared of clowns to not find joy here.

Some may find the show too slow; it’s not a laugh-out loud riot by any means. In the hustle and bustle of the Fringe though, this is a welcome moment to pause and let yourself go in an almost ethereal clownscape. There’s real beauty and poignancy here, and Glob might just melt hearts.

A brr-illiant blizzard of wonder and whimsy.

Glob runs until August 30th, details and booking at https://www.edfringe.com/tickets/whats-on/glob

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

Tweedy’s Massive Solo Show, Edinburgh Festival Fringe, August 2026

Staged in the Underbelly – marked by a giant purple cow – Tweedy’s Massive Solo Show is old-school clowning with a modern twist. Siri is his unseen partner, interacting via an onstage iPad that keeps distracting our titular clown (“Ooh YouTube!”) Wise children are quick to tell him to put it down, and we all embrace the hour of screen-free fun….

Dressed in bold primary colours with a shock of red hair, there’s no red nose but Tweedy is a clown through and through. He finds magic in the mundane, wringing out every bit of ‘funny’ from simple tasks like cleaning the stage, moving a ladder or playing an instrument.

There is actual magic too, or at least silly tricks that sometimes go wrong, and sometimes surprise. There’s some incredible misdirection to boot, no spoilers here but our family gasped at a running gag that kept catching us out! Let’s just say it’s no easy…feet.

Like a living cartoon character, Tweedy’s energy is both relentless and infectious. Although not a full house, this mid-morning audience quickly warmed to his zany antics and gentle interaction. Even when berating volunteers for ringing bells out of time, his character is so darn likeable that nobody really feels the fool.

There’s mime, juggling, balancing tricks, puppetry and – yes – even toilet humour! The comedy is delightfully daft, and even features pet iron Steve – who is led by the flex as a leash around the stage.

Tweedy has honed his craft and never misses a beat. The laughs come thick and fast, and there’s a real appreciation for skilled tricks using hats, feather and juggling boxes. A routine with a guitar and harmonica hits all the right notes, and a ladder-based finale is a real…step-up!

The show delights all ages; there were giggles galore from the children, and proper belly laughs from their grown-ups. The novelty never wears thin, with Tweedy constantly shifting between stunts, slapstick, tricks and songs. Roll up, roll up and book now!

Find out more at www.underbellyedinburgh.co.uk/event/tweedys-massive-solo-show

Masterful clowning in an hour of pure silliness and joy…just what the doctor ordered!

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

The Rocky Horror Show, Grand Opera House York, July 2026

Review originally written for The Reviews Hub

Popularised by the 1975 cult film, The Rocky Horror Show celebrates more than 45 years on stage…

A tribute to science fiction B-movies of the 1930s, the story opens on college sweethearts Brad Majors and Janet Weiss. When they blow a tyre on a stormy night, the pair seek refuge in a creepy mansion, and meet a party of oddballs and the charismatic Frank N’ Furter. Frank has been cooking up a man in his lab, and a sinister plot ensues involving murder, cannibalism and seduction. Sound dark? Barely! This is camp, colourful fun from start to finish.

Many famous faces have donned the heels and fishnets, from Jason Donovan and Anthony Head to musical theatre stalwart David Bedella. Our Frank is Stephen Webb, who has racked up many years of performances.

Revealed through the fabulous Sweet Transvestite, Webb embodies the iconic role and carefully treads the line between smut and sincerity. Impossible not to compare to Tim Curry, Webb puts his own stamp on Frank and seems to relish every moment. Solid vocals and an impressive range.

A live narrator helps keep track of the meandering plot. Often a celebrity guest role, Jackie Clune of Motherland fame is the current star turn. Clune is sharp and milks the laughs with a dry wit and cheeky wink. She bounces off audience feedback with ease.

Brad (James Bisp) and Janet (Haley Flaherty) nail the innocent couple led astray by temptation. Their story arc leads to their respective awakenings and a rocky (pun intended) start to their engagement. The chemistry is believable and the pair have excellent vocals throughout.

Ryan Carter-Wilson as Riff Raff is smart not to imitate Richard O’ Brien, but pays homage to the role and adds extra comic flair. Fellow servants Columbia (Daisy Steere, later replaced by understudy Bethany Amber Perrins) and Magenta (Laura Bird) give strong performances, and Colombia’s tap routine is especially slick.

Eddie (Edward Bullingham) follows in the footsteps of Meatloaf, and also doubles as Dr Everett Scott in Act Two. Bullingham doesn’t get a great deal of stage time, but makes an impact with each appearance. Rocky himself is played by Morgan Jackson, who – whilst a one-dimensional character – brings charisma to the role. The large ensemble keep the energy fizzing with honed dance numbers and tight choreography.

Hugh Durrant’s set design captures the essence of the B-Movie era. A film reel encircles the stage, and set-pieces range from wobbly cut-outs to elaborate machines. Nick Richings’ lighting dazzles, and adds camp colour between bursts of lightning, the glow of a neon lab and spotlit bridal suite.

Costumes by Sue Blane are suitably fabulous and give plenty of nods to the film whilst adding their own pizzazz. Inspiration is often drawn from burlesque, with corsets, boas and stockings galore.

A live band brings the sensational score to life, and all the film hits are here. At times the band overpowers the vocals, but levels are balanced overall. There are real toe-tappers such as Dammit Janet and Hot Patootie, and the tender I’m Going Home. Songs choices feel stronger in Act One, but the finale is a chance for eager fans to dance along to The Time Warp.

If you’re easily bothered by a rowdy audience, this might not be the show for you. Rocky isn’t a passive experience; there’s an unwritten participation script that diehard fans will shout throughout. It’s all part of the fun though – think panto for adults – and this audience was respectful during the more poignant moments. Although not the sing-a-long version, people will sing along nonetheless.

Family fun? A kids show it is not. The age rating is 12+ and there are self-proclaimed naughty bits. A bed scene is particularly raunchy, and the song Touch-a-Touch-a-Touch-Me is, as you’d expect, suggestive. The cast are often scantily clad, and audience hollers don’t hold back.

A few technical issues were unexpected in a show that has remained largely unchanged for nineteen years and has visited the venue many times before. A twenty-minute show stop due to the sudden indisposition of Daisy Steere as Columbia was unfortunate too, however her understudy quickly took over and the show was thankfully able to proceed. A testament to the cast and crew.

Despite these issues, there’s no experience quite like it. Billed as ‘The Biggest Party’, expect two hours of brash, bold fun with a smattering of smut and an electrifying score.

Don your high heels, shake off your feather boas and experience a night out like no other!

The Rocky Horror Show runs at York’s Grand Opera House York Saturday 25th July, book at www.atgtickets.com/shows/the-rocky-horror-show/

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

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