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.

The Secret Garden The Musical, York Theatre Royal, March 2026

Last night we were transported from North Yorkshire 2026 to…North Yorkshire 1906, with York Theatre Royal’s revival of The Secret Garden The Musical, based on the 1912 book by Frances Hodgson Burnett.

The story revolves around orphaned Mary Lennox, who finds herself uprooted from India to the wuthering moors of Yorkshire. Taken in by her uncle – still grieving his wife’s passing from ten years prior – she befriends maid Martha and her brother Dickon, and learns of a secret walled garden on the estate.

Previously belonging to her aunt, the key is missing and the garden overgrown, but Mary’s curiosity gets the better of her. Discovering she has a bedbound and sickly cousin, Mary encourages him to leave the confines of his room and explore the outside world and the mysteries of the hidden garden.

Most of the plot here is told through song, and at times it feels almost like a opera – albeit with more of a folk song vibe. There is little movement to go with the music – no real dance or choreography to speak of – and the music very much underpins the narrative throughout.

The large cast of actor-musicians exude talent; playing everything from guitar, double bass, piano, flute and even a grand harp. Sound is rich and levels are balanced; we hear all the lyrics clearly except maybe during the chaotic storm songs where vocals get a little lost.

All the adult actors are strong, but special mention to Martha (Catrin Mai Edwards) and Dickon (Elliot Mackenzie) who brought a real joy to the characters, and a liveliness to the stage. Mackenzie brings a youthful energy to a role that is meant to be a 12-year-old boy in the novel.

The two actual children, Mary (Estella Evans) and Colin (Dexter Pulling) are exceptional. Both are strong, confident performers with excellent singing voices. The book suggests that both characters are brattish and unpleasant, but soften as the plot unfolds. This doesn’t quite come across in the play, simply because there isn’t a lot of time for such character development.

Staging is generally basic but effective. The tale is beautifully told, but a lot is left to the imagination rather than shown visually. This reviewer was reminded at times of The Woman in Black, with suitcases and boxes becoming elements like beds and stairs. Large flowing drapes drop in and and out, representing the rolling moors and billowing storm clouds.

Costumes by Gabrielle Dalton are largely in-keeping with the era, with one notable exception – Mary wears a modern pink hoody, striped t-shirt and jeans, without any explanation. It stands out – and it’s clearly a conscious design choice – but we weren’t sure why.

Is it suitable for families? We don’t feel it would especially engage young children, there isn’t a lot of action and the pace is a little slow overall. At 1 hour 25 minutes too, it’s not lengthy although there is no interval – so it’s perhaps a long time for children to sit. Our 9 and 12 year olds said they enjoyed it but admitted it dragged at points for them, and that some songs were repetitive.

The Secret Garden is well-staged, and expertly cast and directed. It’s not a fast-paced feelgood musical like some, but a clever retelling of a classic story. The themes of loss soon make way for a tale of redemption and hope, and don’t we all need a little more of that in a weary world?

The Secret Garden The Musical runs until Saturday 4th April. Tickets can be booked at https://www.yorktheatreroyal.co.uk/show/the-secret-garden-the-musical/

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

Barnum The Circus Musical, Grand Opera House York, February 2026

The circus has come to town, and we headed to York’s Grand Opera House to see Barnum, The Circus Musical

At first glance, you’d be forgiven for thinking that this show is a stage adaptation of The Greatest Showman. It isn’t, although a theatrical version of the hit Hugh Jackman film is coming.

Barnum predates this by decades, starting first on Broadway in 1980 then London’s West End the following year. The title role was popularised by Michael Crawford – famed for his Phantom (of the Opera) and, yes, Frank from Some Mother’s Do ‘Ave Em. Ooh Betty!

In this 2026 revival, Any Dream Will Do winner Lee Mead steps into the ringmaster’s boots. Mead has plenty of presence and charm, as he humbugs his way through the life of Phileas Taylor Barnum.

Mead walks a fine line – literally and figuratively – between conman and showman. The American accent never waivers, and there are some sharp comedic moments and asides with the audience. He’s strong vocally too, and boasts an impressive range.

Wife Charity (Monique Young) grounds Barnum and takes no nonsense. Young plays her with a real authenticity, and the chemistry between the pair is believable. Penny Ashmore’s Swedish opera sensation Jenny Lind is a triumph, with powerhouse vocals and elegant harpistry.

The huge ensemble sees a talented troupe playing over one hundred live instruments. This adds an extra dimension to an already vibrant show, but at times levels aren’t balanced and we struggle to hear the vocals.

Although dubbed a circus musical, it isn’t until the end that Barnum moves into the big top with business partner Bailey. Circus acts pepper the action throughout though – everything from aerial skills, acrobatics, contortion, juggling, fire breathing, and a tightrope act (walked by Mead himself) These are impressive but can sometimes feel superfluous.

Instead of focusing on the circus itself, the plot follows earlier sideshow acts such as the world’s oldest woman Joice Heth (Dominique Planter) and the diminutive Tom Thumb (Fergus Rattigan)

Both performers have strong solos, and Rattigan’s Bigger Isn’t Better gets rapt applause. He’s joined by Jumbo the Elephant too, from a family of puppet pachyderms we’d seen previously in Circus 1903 in London. Think War Horse meets circus.

Lee Newby’s design is perfect, and really sets the scene of 1800s America. It’s circus but with that vintage edge; the slightly muted colours and lamplit haze. Costumes are tip-top too – from Lind’s opulent frocks to a troupe of stylised sad Pierrots. Mead’s own clown in the second act is adorable.

Choreography is by renowned Strictly Come Dancing dancer Oti Mabuse, and is slick and polished throughout. Sensibly, the creative team have hired consultants – such as Zippos Circus, and magician Richard Pinner – to offer expert guidance on these specific arts. Magic in The Colours of My Life is a nice touch.

Where Barnum perhaps falls short is that the musical itself is a little dated and shows it’s age. Comparisons to The Greatest Showman are inevitable – and that brings a modern twist to an age-old story, with a fresh new score and arguably more memorable songs.

Although delivered with an abundance of energy and talent, the songs here are sometimes forgettable and some tend to drag. The first act runs long, and the pace dips at times – especially during Barnum’s foray into politics later.

That being said, if you’re a fan of Barnum already then this is a solid production. Expect plenty of razzle dazzle, a sumptuous set, a huge cast of actor-musicians and circus skills aplenty. The rousing finale of Join the Circus is a feast for the senses, and there’s an undeniable appreciation for this huge cast and unseen hardworking crew.

Pack your trunk (elephant pun) and Follow the Band for a circus extravaganza.

Barnum The Circus Musical runs at York’s Grand Opera House until Saturday 28th February. Roll up, roll up and book your tickets at https://www.atgtickets.com/shows/barnum/grand-opera-house-york/

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

Here and Now – The Steps Musical, Grand Opera House York, February 2026

Last night we were teleported back to the 90s for a blast of pop-tastic nostalgia with Here and Now – The Steps Musical.

This isn’t the sort of show we normally go and see, in fact it was The Last Thing on my Mind. A musical masterpiece, or Better Best Forgotten? Find out in 5, 6, 7, 8…

Steps produce this jukebox musical, but it isn’t a biographical story of the band. Instead, think Eurovision meets Supermarket Sweep…

The action takes place in fictional Better Best Bargains. With her 50th birthday approaching, shopworker Caz challenges her colleagues to fix their broken love lives, during what she dubs The Summer of Love.

The narrative covers themes of broken relationships, affairs, and even baby loss. But if you’re not One for Sorrow, don’t worry – the plot feels more like a thread to hang the songs on. Some tracks fit, and others are clearly shoehorned in – with mixed results. Western hoedown 5, 6, 7, 8 is the most tenuous, but a real crowdpleaser nonetheless.

All the hits are here, often presented with nods to the original choreography. There are lesser known songs too…although a few are not so Hard 2 Forget. A preshow announcement about not singing along is a smart move, as this isn’t a concert and the excellent vocals and live band deserve to be heard unaccompanied.

The large cast fizz with energy and there’s plenty of talent on stage. We were thrilled to see Lara Denning as Caz; an absolute powerhouse performer who we loved as Anne Hathaway in &Juliet. Denning is effortlessly likeable and warm, and with possibly the best vocals we’ve heard on stage. A true asset to the show.

Also from &Juliet, Rosie Singha Steps up from ensemble to lead, and plays Neeta. Singha is engaging, and has solid vocals and a believable chemistry with love interest Ben (Ben Darcy)

Jacqui Dubois as Vel nails the down-to-earth, chatty supermarket shelf-stacker. Naive Robbie (Blake Patrick Anderson) hasn’t known love and is scared to commit when he meets a local drag legend. Store manager Patricia (Sally Ann Matthews) keeps the workers in check, and gets laughs with cheeky lines and an attempt at French.

Ru Paul’s Drag Race favourite River Medway plays Jem, and we’re treated to a full drag routine in the second act. Medway milks every moment, and has some of the standout costumes of the show. The character is delivered with heart, especially during the more poignant scenes.

Tom Rogers set design is striking, rife with Steps signature blue and pink motif. What it lacks is variety though; visually the show looks similar throughout, and the supermarket setting can look cheap at times. Maybe it was marked down? Perhaps the budget look is intentional, but we’ve been spoilt with the production values of jukebox shows like We Will Rock You.

That being said, fans won’t be booking for a sumptuous set or complex plot. Ultimately, if you’re a follower of the band, there’s plenty to enjoy here. A trip down musical memory lane, for those old enough to remember…

Here and Now is a few hours of camp, colourful fun. The inevitable megamix triggers a Chain Reaction that has this enthusiastic audience on their feet. Steps fan? Listen to these Words of Wisdom. Missing it would be a…you guessed it…Tragedy.

Step-tacular!

How to book? Here! When? Now! https://www.atgtickets.com/shows/here-and-now-the-steps-musical/grand-opera-house-york/. Runs until Sunday 15th February 2026.

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

The Woman in Black, Grand Opera House York, January 2025

Last night we saw The Woman in Black at York’s Grand Opera House. But did it leave us in high spirits? Time to shine a light on what we thought…

Based on Susan Hill’s novel, the plot follows solicitor Arthur Kipps, sent to middle-of-nowhere Crythin Gifford to sort the papers of deceased Mrs Drablow. A sinister tale unfolds, with the locals tight-lipped about mysterious sightings of a shrouded figure with a wasted face.

Desperate to unburden himself by telling his story, Kipps enlists the help of an actor. What follows is a play within a play, as the ghoulish tale is brought to life with inventive stagecraft and traditional, theatrical storytelling.

Something of a shape shifter, John Mackay effortlessly switches between characters and accents. He also plays a bad actor really…good (better than that grammar too!)

Guided by The Actor (Daniel Burke) there are flashes of comedy, as Kipps struggles to find his inner thespian. Both Mackay and Burke give stellar performances throughout, and had this audience hanging on every word.

Michael Holt’s set design is intentionally bare-bones. We’re met with an almost empty stage; just a few props draped in cloth, a hat stand and wicker hamper. A lot is done with a little here – the hamper for example becoming a bed, table, pony and trap and more. The Woman in Black relies on your imagination to fill in the blanks, and it works wonderfully well.

Set in a theatre in the 1950s, The Actor celebrates the invention of recorded sound – which is used to great effect throughout. Sebastian Frost’s sound design (and original sound by Rod Mead) adds drama and tension, and helps the audience suspend their disbelief all the more.

Kevin’s Sleep lighting design sets the scene perfectly too. Darkness is used cleverly to give us glimpses of things in the shadows. Elongated shadows by lamplight are reminiscent of vintage horrors such as Nosferatu. Fang-tastic.

Classic ghost story tropes are here, from rolling mists, locked rooms and creepy toys. Scary? That depends on your terror-tolerance. There were plenty of jumps, and some giggly screams from this enraptured audience. Some may find it slow-paced at times but it’s that creeping, psychological horror that really gets under your skin.

Thinking of taking your little terrors? It’s not for the easily spooked, and the suggested age rating is 12. My 12-year-old loved it, and we both agreed it was better – and scarier – than the 2012 film with Daniel Radcliffe.

There were several school groups in on this opening night, and I can see why. The Woman in Black is a masterclass in dramatic storytelling, a minimal approach with maximum impact.

Frightfully good.

The Woman in Black runs at York’s Grand Opera House until Saturday 17th January. Book your tickets at https://www.atgtickets.com/shows/the-woman-in-black/grand-opera-house-york/ if you dare…

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

Christmas Inn Trouble, Friargate Theatre, December 2025

We loaded up our camel and followed a star to York’s Friargate Theatre, for Riding Lights annual festive production, Christmas Inn Trouble.

The story takes place at the Bethlehem Inn and Spa. Hotelier Mr Beaver (Jared More) is expecting a very special guest, and is doing his best to ensure the venue is up to scratch…amidst bed bugs, fleas and rats in the cheese.

Don’t Mention the…Wise Man!

Like a young Basil Fawlty, Mr B is exasperated with his failing hotel and in not knowing who, or when, this guest will arrive…

Reserving his Honeymoon Suite, little does he know that it’s his Cow Shed – sorry, Glamping Pod – that will welcome the VIP. More’s performance is zany, energetic and rife with well-honed slapstick and physical comedy. I spotted kneepads through his trousers, which isn’t surprising given how much his spends on the floor. A tireless performance, he clearly isn’t just…phoning it in!

Both Jared More and Katie Coen are engaging and instantly likeable. Initially appearing as hotel housekeeper Gertie, Coen soon flits between a whole host of characters (and accents) with ease. It’s a delight to see each visitor appear at the Inn, and Coen isn’t afraid to riff off comments from the audience.

Picked out as a helper, I never felt uncomfortable or embarrassed – like perhaps a volunteer in a pantomime could, at the mercy of a naughty dame!

Panto? Oh no, it isn’t!

Speaking of panto, audience participation is very much encouraged throughout. This delighted audience were quick to chip in, shout out, and boo the ‘nearest-to-a-panto baddie’ Roman guard.

There are singalongs, bubbles, spraying water and other panto ingredients. Where it differs though is that it explores perhaps the most famous story ever told, and does so in an innovative and child-friendly way. There’s no innuendo, memes or pop culture gags (not even 6, 7) nor the merest mention of K-Pop.

A Stable Environment

Caitlin Mawhinney’s set design perfectly complements the madcap humour. At times it feels like The Play That Goes Wrong, as bits fall off, doors swing open and a hungry animal runs amock. It’s both colourful and practical, and gives the actors plenty of doors and windows to play with – and to make Chompy the Donkey appear in.

Chompy is bray-illiant. Have I seen a better a donkey puppet? Neigh! This reviewer is reminded of Rod Hull’s Emu, (from repeats, I’m not old enough to remember the original airings!) as the anarchic ass nips the visitors in the…well….ass.

The Price is Write

Rachel Price’s writing is sharp, and director Paul Birch keeps the action pacey from start to finish. Birch brings out every nuance, sight gag and aside from the pair – and it’s all perfectly choreographed. Laughs come thick and fast, cleverly paving the way for a poignant and thought-provoking conclusion in contrast.

Patrick Burbridge’s sound design hits all the right notes…and some bum ones. Not in a negative sense, just that there are fart sounds aplenty from the Shepherd’s boots a-squelching. You can imagine the result; toilet humour never fails! Musically, tunes are catchy and memorable and pitched right for the age group.

Our two boys – nine and twelve – loved it, as did we. Our eldest mentioned that he liked that it wasn’t too childish. Some children’s theatre can go a little twee and patronising, but Riding Lights strike the balance perfectly here.

At only an hour long, the production is an ideal length for younger audience members. Friargate Theatre is a wonderful theatre space too; we review many shows each festive season and it’s refreshing to see something in a small, cosy venue where you’re right at the heart of the action. There are no bad seats, and we were made to feel welcome by the friendly staff.

Classic children’s theatre that ticks all the boxes. There aren’t many tickets left, but it’s worth making room INN your diary. Star quality!

Christmas Inn Trouble runs until Wednesday 24th December. Book at https://www.ridinglights.org/whatson

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

Cinderella, Grand Opera House York, December 2025

The Grand Opera House waves its fairy wand over Cinderella this year, and here’s what we thought…

Cinderella is played by Rachel Grundy, one of the finest Cinders we’ve seen. A vocal powerhouse, she also has a genuine chemistry with both Buttons and her dashing Prince.

Double trouble comes in the form of Ugly Sisters Melody and Harmony Hard-Up aka Luke Attwood and Brandon Nicholson. Drag queens are increasingly filling roles (and stockings) as dames, and it works especially well here as the acid-tongued duo. The ‘rip it up’ scene is particularly vicious, and they delight in the drama. Speaking of which, Drama and Glamour – a take on Gaga’s Abracadabra – is a gem!

Expect outrageous frocks, towering wigs and plenty of panto eleganza. They pick on an unsuspecting dad to be their boyfriend, but ultimately this doesn’t really go anywhere and he’s only mentioned once or twice. A shame, as there’s more to play with here.

From frocks to…shocks? There’s plenty of innuendo, bordering on smut. It’s a fine line to tread, and it’s not just the dames doing the dirty…Buttons and the Prince have some naughty lines too! Too far? As Kenneth Williams once said, “If I see any innuendo in a script, I whip it out immediately.” Oh matron! In truth, it’s pitched at a level where it should go over the heads of most younger audience members.

Prince Charming (Tobias Turley) is a surprise smash. So often, the Prince is a bit wet and one-dimensional, but here he sends up the pomp and ceremony, and gets some big laughs with valet Dandini (Bradley Judge). Karl Moffatt’s Baron Hard-Up is suitably bumbling, but doesn’t get a lot of stage time to really shine.

Our Fairy Godmother – Lisa George of Corrie and Emmerdale fame – is a firm audience favourite. No airs and graces here, she’s ditzy, down to earth and puts her own stamp on the role. A strong singer too, she belts Don’t Rain on my Parade with gusto!

Jimmy Bryant’s Buttons instantly wins over the audience and is delightfully daft. Another strong singer, in a role that doesn’t often play to a vocalist’s strengths. He can bust some moves too, and Uptown Funk is a real toe-tapper!

The adult ensemble, and two teams of child dancers from Dance Expression and Lisa Marie Performing Arts, all help fill the stage with energy and enthusiasm. Rarely do they get to speak – silenced comically by an overbearing Melody before they can (“You’re ensemble, no speaky speaky!”) but they aren’t consigned to background extras either.

Costumes by Elizabeth Dennis fit the brief and have plenty of sparkle. Special mention must go to the dame’s wardrobe – with many designs by the Ugly Sisters themselves (Luke Attwood and Brandon Nicholson) Morgan Ferguson also works his design magic, and created the fabulous frocks featured in the images in this review!

The production excels musically, with a diverse song list featuring modern hits and classic tracks, often with parody lyrics. Pulp’s Common People for example lists all the things that…well…common people do, including trips to Greggs and Primark! The live band, led by Rob Bannon, was music to our ears and never missed a beat.

This telling of the rags to riches story is not especially inventive; it doesn’t break the mould or offer anything especially new or different. Elements such as the ghost scene or ball transformation are the same as we’ve seen countless times before.

There are flashes of innovation, but overall it’s a tried-and-tested formula. However, the standard is high throughout and it features all the key ingredients of pantomime – with the traditional routines and skits you might expect.

If you’re looking for a classic pantomime (plus a smattering of smut!) then it could be just the ticket!

Cinderella runs at Grand Opera House York until Sunday 4th Jan 2026. Want to go to the ball? Book your tickets at www.atgtickets.com/shows/cinderella-pantomime/grand-opera-house-york/

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

Sleeping Beauty, York Theatre Royal, December 2025

Panto season is upon us once again, and this year’s Theatre Royal offering is Sleeping Beauty by Evolution Productions. Did it awaken our excitement, or send us to the land of nod? Find out below!

Robin Simpson returns once again, and continues to delight as dame Nurse Nellie. Genuinely warm and funny, he’s just what the Theatre Royal pantomimes needed – and we hope he continues to don the frock n’ wigs for many years. It’s a stellar cast, but he’s the ‘thread’ (spinning wheel pun) that holds it all together. Not afraid to go off-script and riff with the audience, he also ensures the action never unravels too far (another)

Jennie Dale is the star-turn this year, perhaps best known as Captain Captain from CBeebies Swashbuckle. They perhaps play down this link a little too much; we would’ve loved to see her come on in full pirate regalia and exclaim she’s in the wrong panto. That being said, she’s a fun and bubbly Fairy Moonbeam and an excellent singer to boot.

Aofie Kenny’s Aurora is sweet but also feisty, with plenty of girl power. Prince Michael is suitably dashing and dapper, and both have great vocals. Tommy Carmichael returns as the comic male, and is reminiscent of a young Mr Tumble. He also reminds us of former-Theatre Royal Buttons Max Fulham. He instantly engages the audience, and has great chemistry with Robin throughout.

Jocasta Almgill’s Carabosse is our panto baddie, and puts her own stamp on the role. Less hammy than most panto villains – I don’t think I heard a typically evil laugh – she’s refreshingly modern, and belts out some great hits. A West End powerhouse, she’s not so scary but still gets plenty of boos for her wicked ways.

As pantomimes go, Sleeping Beauty doesn’t offer the most engaging story. Not a lot really happens, and it often has to be padded out to fill the run time. The creative team here throw anything and everything at it to keep it flowing. At points it may be overkill; for example the ghost scene features a whole stage of different ghouls, ghosts, monsters and a spider, and leaves the young audience confused with what to shout out when Nellie hollers ‘What was it?’

By the end of Act One we’re all fired-up by the skills of Kris Madden as Guardian of the Raptor. The stage is ablaze with fire juggling and a shower of sparks, as he – bafflingly – brings on Kevin the Velociraptor. Whilst we love dinosaurs, it does feel a little out of place and shoehorned in.

A dragon would surely suit the story and era (and fire tricks) more effectively, and could lend itself to a spectacular flying effect a la Twins FX. Maybe this is just the Wizard in me talking though!

It’s refreshing to see a slosh scene, when most pantomimes shy away from mess for safety and clean-up reasons! This was a highlight of the show for us, with a modern twist on the classic ‘If I Were Not A…’ skit, which sees Nurse Nellie, Jangles and Prince Michael exploring job options and getting covered in foam. A treat!

Family fun? Our two boys (9 and 12) loved it. It’s all here…the song sheet, the wheelbarrow of jokes, audience participation, local gags, topical jokes, songs, dances, pyrotechnics and even bubbles. Whilst some elements don’t always gel with the story and theme, you won’t lose sleep (see what I did there?) over the inconsistencies.

Overall, we thought it was wheely good (sorry!) and a hot ticket this festive season (ahem!) Once again, this is an excellent pantomime with plenty of colour, sparkle and razzle dazzle.

Expect sumptuous costumes and sets, eye-popping special effects and a solid cast with bags of energy and talent!

Sleeping Beauty runs at York Theatre Royal until Sunday 4th January 2026. Book your tickets at https://www.yorktheatreroyal.co.uk/show/sleeping-beauty/

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

A Christmas Carol, Leeds Playhouse, November 2025

We returned to Leeds Playhouse to catch their latest production of A Christmas Carol. But did it leave us…over the moon?

Adaptor Deborah McAndrew keeps the narrative faithful to the text, whilst throwing in a few seasonal surprises too with director Amy Leach.

Reece Dinsdale is everything you’d hope for in Scrooge. He embodies Ebeneezer’s miserly manner, gradually softening as he’s shown the error of his ways. His look of bemusement whilst circled by tap-dancing baubles is a joy!

For sheer versatility, Obioma Ugoala stands out. He plays both Marley and Fezziwig with strong performances and a powerful singing voice. Lucas Kerr’s Tiny Tim is believable, as one of three child performers sharing the role. Belle (Amy Forrest) is saccharine sweet, and Danny Colligan has plenty of warmth as Fred.

The production champions accessibility. Mr and Mrs Cratchit (Stephen Collins and Nadia Nadarajah) are deaf, and the whole family sign – with a watchful Scrooge often translating for the audience.

A clever moment sees Mrs Cratchit silently rant about Scrooge; we don’t need to know what’s said as it expressed through raw emotion, and her husband’s shocked reactions. The whole show is also signed by an on-stage interpreter.

The large ensemble have talent by the sleigh-load, and all fizz with festive energy and tight choreography in the stage-filling dance numbers.

Visually the show is a treat, with production values worthy of the West End. Hayley Grindle’s costume are first rate throughout. The Ghost of Christmas Present is a highlight, far removed from film versions. Claudia Kariuki plays her to perfection, and opens act two with plenty of pizzazz and sparkle.

Grindle’s set design is a nod to Leeds industrial heritage. Chimneys belch out smoke against a moonlit sky, as workers toss baskets of fabric and unspool reels of cotton. Scrooge’s counting house is now a cotton mill which, interestingly, is lit above by fairground lights – long before the invention of electricity – with Marley’s bulbs ominously fizzled out.

This is not Scrooge the Musical, although music does feature throughout. Expect original songs on live instruments, and twists on familiar carols. The actor-musicians set the scene perfectly, from the rousing opening to the toe-tapping finale.

Good for families? Whilst it might not hold the attention of younger audience members as well as a pantomime, it’s visual, pacey and full of theatrical magic. The Ghost of Christmas Future has the potential to scare – but it’s brilliantly done, and suitably foreboding. Our 9 and 12-year-old loved it, and were gripped by the innovative storytelling and lavish design.

Like Santa on schedule, Leeds Playhouse never fail to deliver. This is another winter winner, guaranteed to leave you in high…spirits. And yes, that was a ghost pun.

Give A Christmas Carol a (ghost) of a chance, and book at www.leedsplayhouse.org.uk/event/a-christmas-carol. The production runs until 17th January 2026.

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