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.

Charlie and the Chocolate Factory, Joseph Rowntree Theatre, November 2025

York’s NETheatre bring another classic story to the stage, with their new production of Charlie and the Chocolate Factory. Is it just the ticket? Find out below!

Alice Atang played Charlie, one of several children playing the impoverished Bucket boy, or in this case girl. She stood out as an especially strong actor, not just acting but also reacting. A talented singer too, her duet with Wonka in the elevator was a triumph.

All of the tickets winners are well cast, suitably brattish and greedy. We especially enjoyed Toby Wood’s (no relation!) Augustus Gloop, complete with comically-oversized belly and on-point German accent. Zehr gut!

Their suffering parents are excellent too, with special mention to Perri Barley as Mrs Teavee, who downs her ‘mummy water’ from a hip flask to cope. Almost-dame Mrs Gloop (Chris Hagyard) is hilarious too, especially in More of Him to Love

Grandpa Joe (NE Theatre’s Creative Director and Producer Stephen Tearle) is delightfully endearing, and has some of the funniest lines. His relationship with Charlie is believable, and we’re rooting for them to win the grand prize.

All the ensemble performers work hard and are good at covering any first-night blips and teething troubles. It’s a company effort, and the community feel of NETheatre shines through.

But what of Our Wonka? Kit Stroud captures the eccentricities of the role well, and excels in the Act One close It Must Be Believed To Be Seen. A strong singer and engaging character actor, he doesn’t go as dark as Wilder or as weird as Depp. His Yorkshire shopkeeper candyman is clever, but meeting Wonka in the opening scene meant we missed the big reveal of the chocolatier that we were expecting.

We’re treated to a live band, who hit all the right notes. This is the musical version of Charlie, which first premiered in the West End and has toured the UK. Interestingly though, there are also some film classics added such as Candy Man and I’ve Got a Golden Ticket. Pure Imagination is an audience favourite.

The set is mostly projected, which is a smart choice for a non-professional company with a limited budget. Physical set-pieces add depth at points, from the Bucket family bedroom to whirring machines, a bathtub boat and even the iconic glass elevator. Effects like smoke, bubbles and lasers all add to the theatrical magic too.

Costumes work well overall, with plenty of colour and sparkle. The Oompa Loompas are cleverly realised with a variety of outfits to show off their diminished height!

Good for families? Absolutely! Although worth mentioning that the demise of some of the ticket winners is a little less ‘sweet’ than in the films. No blood and gore though, and still all very silly. Expect toe-tapping songs, feelgood fun and no high ticket prices to…burst your bubble!

The Joseph Rowntree Theatre is an ideal space for this production too, with great seats and a friendly, welcoming front of house team. Snacks and refreshments are on offer too including, you guessed it, chocolate!

We’ve seen professional productions of Charlie and, whilst it’s hard not to compare, the NETheatre team are full of energy and enthusiasm, and clearly loving the experience.

Support local theatre and book your golden ticket at www.josephrowntreetheatre.co.uk

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

Slava’s Snowshow, Grand Opera House York, November 2025

Never one to (snow)flake out on live theatre, we headed to The Grand Opera House to see Slava’s Snowshow…

The brainchild of Russian clown legend Slava Polunin, the production first premiered in Moscow in 1993 and has toured the world since. A theatrical spectacle that has won many awards, Slava aims to bridge the gap between generations and connect the audience through play, joy and wonder…

Living the Dream

Slava’s Snowshow has an ethereal, almost dreamlike quality. It’s surreal, sometimes dark and often beautiful and heart-warming. On a chilly November’s eve on the approach to Christmas, it also captures that winter magic without any mention of the man in red.

Expect clowns. Not party clowns or circus mascots, but tender and melancholic clowns who are masters of their art. They are divided into distinct types; first the yellow clown with a shock of red hair who is timid and mournful. He’s outnumbered by the whimsical green clowns, with oversized feet, floppy hats and a taste for mischief. Stick around in the interval to see what they’re capable of when let loose in the audience!

Each scene is a mini vignette, often with an unspoken short narrative. Whether it’s a gibberish phone call, a giant insect attack or a clown mourning a love lost, they all make sense without traditional speech. The pace builds to a stunning finale which I won’t spoil here, and I would advise avoiding any trailers or videos of the show.

The Birdie Song

Musically, the eclectic soundtrack shifts from quirky and upbeat to haunting and dramatic. Each track perfectly complements the action, and there are familiar classical scores such as Carl Orff’s O Fortuna. I’ve loaded up the catchy Blue Canary on Spotify as I write!

I have Slava’s book Alchemy of Snowness, and it’s fascinating to read how simplistic the show is. The clown shoes for example were, for a long time, large cola bottles cut in half and wrapped in fabric. This bare-bones ramshackle approach is charming, and the theatrical effects here are also simple but incredibly effective.

The design is visually stunning throughout, with bold and vivid colours reminiscent of children’s toys. The lighting design is excellent too; shifting from warm dreamlike washes, to the harsh cold of winter.

That’s ‘Snow’ Joke

This isn’t circus and it isn’t strictly a children’s show. Don’t expect stereotypical clown staples like balloon modelling, jokes or juggling. Clowning is a much broader spectrum, and this theatrical approach is more akin to mime.

There’s a lot for younger audience members to enjoy though. The show is colourful, visual and interactive, and focuses on a childlike state of play. The clowning is well honed, and the laughs come from physical comedy and expressions rather than gags. At only 1 hour 40 minutes with an interval too, it’s shorter than many shows so well-suited to younger attention spans.

Playing the Fool

Whatever your age, come ready to join in! Of course you don’t have to and there’s no pressure – these clowns won’t make a fool out of you or throw a custard pie in your face. However, the show encourages all ages to find their inner child, and the unfettered enthusiasm that comes with.

For the most immersive experience, we recommend booking in the stalls. This is where the interactive elements happen, and sitting higher could feel a little like you’re looking down on people having fun at points.

Is it for you? Who nose!

This show won’t be for everyone but, ultimately, there’s nothing else like it. It’s our third visit, and the first time with our two boys aged 9 and 12. They were entranced throughout, and said it was one of the best things they’ve experienced. Our eldest said it made him feel like a little kid again, and they both threw themselves into the playfulness with unbridled delight.

Clowning transcends the doom and gloom of a weary world, and a few hours of colourful wonder is just the tonic. We think it’s brrr-illiant, you’ll have a (snow) ball!

Slava’s Snowshow runs at Grand Opera House York until Sunday 23rd November. Book at https://www.atgtickets.com/shows/slavas-snow-show/grand-opera-house-york/

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

Faulty Towers – The Original Dining Experience, York Pavilion Hotel, November 2025

As fans of classic comedy, we were thrilled to be invited to experience the madcap humour of Fawlty Towers…not on stage, but in a hotel as part of a dinner service! With only twelve episodes, the sitcom has stood the test of time and is surely a tough act to follow…

The loose concept is that the hotel has gone bust and been taken over by disgruntled hotelier Basil Fawlty, bossy wife Sybil and long-suffering Spanish employee Manuel. The trio try to serve up a three course meal whilst searching for a missing rat, placing a secret horseracing bet and running a fire drill, amongst other things.

Around 70% of the performance is improvised, so expect plenty of interaction and a chance to chat and joke with the characters. There are many lines and gags you’d expect if you’re a seasoned Towers fan, and most of the classics are here too.

It’s a treat to experience them live as hotel guests, in your own as-it-happens episode. The chaos unfolds all around you, and the performers use the space well to ensure that everyone can see and hear.

Our cast were exemplary throughout, never missing a beat or an opportunity to milk the funnies. There are multiple casts performing this show around the world, but we had Rob Cummings (Basil), Andrew Evans (Manuel) and Clare Noy (Sybil). They all nail every mannerism and aside, and at points you’d be forgiven for thinking you were in the iconic Torquay hotel…although York’s Pavilion is thankfully much nicer.

Cummings frustrations as Basil are palpable, as he struggles to train ‘I know nothing!’ Manuel, from Barcelona. The hen-pecked husband, he can never do right by Noy’s Sybil – who tries to keep him in check. The trio are casting perfection, and we couldn’t have asked for better.

The experience is pitched as family-friendly, and there were a few other families with children in attendance. Wisely, the less-PC comedy of the 1970’s has been omitted – and kids will love all the silliness and slapstick. Does Basil mention the war though? You’ll have to book to find out. There’s some innuendo too, but it’s all fairly playful and has the diners delighted.

As food forms part of the experience, I’m pleased to say the meal hit the spot. Whilst not fine dining – which we didn’t expect – all three courses were tasty and served efficiently.

To start, roast tomato and basil soup (with this herb surely not accidental?), then chicken ballotine with fondant potatoes, stockpot carrots and a red wine jus. To end, a zesty lemon tart with a raspberry coulis. Our two boys (9 and 12) were delighted that they weren’t fobbed off with kids meals – no chicken nuggets, chips or smaller portions here.

Dietary requirements are catered for, with vegetarian and vegan options offered. The company go to great lengths to check for allergies too, in particular for nuts due to a specific routine involving the nibbles (“No, not nipples Manuel!”)

But of course it’s mirth over meals that has had fans booking for over 28 years. The Faulty Towers Dining Experience long predates the new West End show and tour, and there is something incredibly immersive about being in the thick of it all. It’s timely too, with the recent passing of the original Sybil Fawlty, Prunella Scales. RIP.

Our only suggestion is that a meet-and-greet and photos with the cast at the end would be a nice touch, with the actors staying in character and continuing the interactions of course. Other than that, we couldn’t…fault it.

There is clearly a lot of love for the comedies of yesteryear, and our fellow diners lapped up the nostalgic afternoon’s entertainment. It’s a laugh-out loud riot of fun, with well-seasoned performers and well-seasoned…soup!

To see where the experience is touring next and book your tickets, visit www.faultytowersdining.com

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

Lost Atoms, York Theatre Royal, October 2025

Last night we saw Lost Atoms at York Theatre Royal, a little unprepared for the moving evening ahead of us. This is Frantic Assembly’s 30th anniversary production; a company whose remit is brave and bold theatre. They push the boundaries of a performer’s physicality and specialise in storytelling in a unique way. Their trailblazing work flits between brutal and tender, and this was no exception…

The story follows Robbie (Joel Layton) and Jess (Hannah Sinclair Robinson) as they reflect on their relationship, from a chance meeting at a pretentious coffee shop, to crazy golf and a stormy date in Grimsby. By the second half, the cracks in the relationship begin to show and we invest in this rollercoaster of emotions until the bitter end.

Layton and Robinson both deliver incredible performances; raw and emotional without ever feeling forced. Jess ends the show in tears, with a performance that touches on all aspects of a relationship with honesty and clarity. From little niggles at each other to those huge life-changing arguments, Anna Jordan’s writing explores the relationship completely unflinchingly.

The production features physical theatre and dance extensively. Every movement is perfectly choreographed, as the actors swing off railings, intertwine their bodies and scale the set with ease. The movement is so fluid and effortless that it’s easy to forget just how physically demanding it must be.

Andrzej Goulding’s design is exceptional. Drawers open and close and become stepping stones, platforms and vessels for the couple’s memories. Unseen stage crew meticulously ensure that every platform is ready, in a real feat of synchronicity. Two chairs seamlessly become a bath, a car, a waiting room and more. The set is simple, practical but oh so effective.

Simisola Majekodunmi’s lighting design is first rate too. The dramatic change from one state to another to indicate when they’re reliving a memory – and when chatting in real-time – is both striking and effective. The use of lightbulbs as memories, or possible life outcomes, is a real…well…lightbulb moment.

This opening-night audience was absolutely enraptured. Drama students filled the stalls, and what a treat to see live theatre done this well. The auditorium was gripped by a silence broken only by audible gasps at some of the more shocking moments.

Speaking of which, no spoilers here but it may be worth checking trigger warnings. The play deals with some harrowing issues and difficult themes, delivered with a raw intensity. There are moments of comedy but don’t expect an uplifting evening. Lost Atoms hits hard, and by the end we were both a little shellshocked. It’s thought provoking too, as the couple muse over how different people hold the idea of romantic love.

Powerful. Moving. Intense. Lost Atoms won’t be for everyone, but this is a honed and slick production that tells a hard-hitting story really well. Unforgettable.

Lost Atoms runs at York Theatre Royal until Saturday 11th October. Find out more and book at https://www.yorktheatreroyal.co.uk/show/lost-atoms/

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

Friends the Musical Parody, Grand Opera House York, September 2025

As fans of the hit nineties TV series, we were excited – and more than a little intrigued – to see how it would translate into a musical stage show. Friends the Musical Parody has appeared in Las Vegas and New York and now visits…Old(e) York!

All the fan favourites are here, and each of the main cast of six offer a caricatured take on their roles. All are strong singers and dancers, and manage to successfully portray the Friends we know and love. Don’t except perfect lookalikes – or even soundalikes – but it’s the mannerisms that fill the boots best.

Perhaps the strongest tribute act is Eva Hope as Rachel Green; Hope could in fact be mistaken for a young Aniston. She plays her with a real heartfelt warmth, and compliments on-off love interest Ross Geller (Enzo Benvenuti) well. Benvenuti exaggerates every Gellerism, and openly admits that Ross is the character everyone loves to hate. Alicia Belgrade personifies the slightly neurotic Monica Geller, and has powerful vocals too.

Ronnie Burden certainly isn’t a burden to this show. He plays ‘hot but dumb’ Joey Tribbiani, and milks every swagger and “How you doin’?”. Amelia Atherton’s Phoebe is suitably ditzy and kooky, and she really pushes into the more bizarre quirks of the character. My only criticism is that she seems like a sidekick here to the rest of the gang, but as a creative choice rather than by ability.

Daniel Parkinson is a real crowd-pleaser as Chandler Bing, and nails every mannerism and sarcastic comeback. The seventh cast member is Edward Leigh who adopts a variety of roles throughout. A highlight is his Gunther, who desperately wants to be part of the gang. No spoilers but look out for Janice too…a firm audience favourite!

The production is full of toe-tapping new musical numbers, often linked to famous catchphrases such as ‘pivot’ and ‘we were on a break’. Presumably for copyright reasons though, many of the most iconic lines have been changed. Odd words are substituted here and there – such as Smelly Mom instead of Smelly Cat – and the tune of said song is all wrong. It feels that the die-hard Friends fans who love the source material would want, and expect, the original unaltered lines and songs.

Nothing is off-limits in this production, with digs at 90’s fashion, Monica’s endless list of ex-boyfriends, and even Jennifer Anniston’s real life love woes. Oh and it’s definitely not a family show – expect lots of sex references and the song Two Girls, One Condom.

Andrew Exeter’s set is a masterpiece. Beginning as the back of a TV studio set, each section turns to reveal a well-known room or location. The set is effortlessly moved around constantly by the hardworking crew, which adds a nice fluidity. There are no blackouts or scene changes, so the action comes thick and fast. Many iconic costumes and props appear too, to the delight of fans.

Highlights? Gunther is an unexpected hit. His paradox of limited dialogue is funny, and his Disneyesque solo Part of their Gang was my favourite. The energy and delivery throughout is commendable, and there are some real laugh-out loud moments.

Unfortunately sometimes the parody goes too far and feels too cutting. For a show that will inevitably draw true fans of the series, the production often mocks the source material to the point that it feels uncomfortable – as if the audience are being insulted for ever enjoying the show. Yes Friends perhaps hasn’t aged well, but it still has that nostalgia factor and is loved by many. Jokes about things like Matthew Perry’s fluctuating weight seem harsh too, with the actor having had a serious drugs and alcohol problem. These jibes don’t generate many laughs either, and feel out of place.

Pacing varies, and the first act is stronger – with the second half feeling more surreal and less polished. A technical issue also stopped the production for at least ten minutes, which is unfortunate and didn’t help with the flow.

This is a tricky show to sum up, but if you’re a fan there will be things here to appreciate. It’s unlike anything we expected and doesn’t always hit the mark, but is enjoyable overall and builds to a fun and Friendly finale.

Friends the Musical Parody runs at Grand Opera House York until October 4th. Book your tickets at https://www.atgtickets.com/shows/friends-the-musical-parody/grand-opera-house-york/

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

The Wizard of Oz, Grand Opera House York, September 2025

We last saw The Wizard of Oz in Sheffield, with The Vivienne (RIP) as the Wicked Witch of the West. But I’ve a feeling we’re not in Sheffield any more. We clicked our heels three times and were transported to The Grand Opera House for York Stage’s latest show…

A talented and diverse cast bring the classic 1939 film and story to life, with dazzling costumes, stunning sets and plenty of energy. This production is faithful to the original, but also adds new songs and some modern lines to keep things fresh.

The audience went Dotty for our Dorothy, played by Erin Childs. She’s believable as a young girl eager for adventure, and the accent never grates. Vocally she excels, and is sensible not to just imitate Judy Garland.

This is the last…straw!

All the film favourites are here, and all missing a key personality trait they need help to find. As a foursome, the group is dynamic and they play off of each other with great comic timing. Each reprise of We’re Off To See The Wizard gets us toe-tapping along!

The dimwitted Scarecrow is played by Flo Poskitt, who milks every brainless gurn and guffaw. Slapstick, clowning and plenty of funny lines – Poskitt wrings out every ounce of silly. Like a scarecrow that has won awards, she’s out-standing in her field!

Stu Hutchinson’s Tin Man is part C3PO, part Robot Redford from The Pink Windmill Club (remember that?) His performance is more than a little robotic, and I mean that as a compliment. Singing, dancing and even tap-dancing, Hutchinson is a consummate performer. This was one of my favourite costumes too, with a steampunk vibe and a tip-top hat. Hats off to the design team.

Our lion might be cowardly but there’s no stage fright here! Finn East gives a roar-some performance, and is made for the part. His rendition of If I Were King of the Forest is his ‘mane’ crowd-pleaser.

Which witch is which?

Carly Morton’s Glinda is saccharine sweet, and an excellent singer. She gives one of the most contrasting performances, between Aunty Em and the Good Witch of the North – to the point that I was surprised it was the same actress.

How to describe the Witch of the West’s performance? Wicked! Emily Alderson strikes a balance between sinister and sassy. Her demise could be more magical, but it’s a tricky effect to achieve without an illusion consultant. Ian Giles as the Wizard (and Professor Marvel) is likeable and charming, and suitably imposing as his Emerald City alter-ego.

A huge ensemble burst with energy and enthusiasm too, and there’s some slick choreography courtesy of Damien Poole. A live band led by Jessica Viner is a treat too.

Who’s a good boy?

Special mention to Toto aka Freddie. This canine cohort – bribed with bacon bites – has the ‘aww factor’ and delights with every tail wag. In Oz, there’s a puppet pooch but it’s the real one that gets the kudos. Sarah Jackson does an admirable job bringing the cloth canine to life though.

A Whirlwind of Entertainment

The team don’t skimp on effects, and the tornado is a highlight that’s more inventive and creative than we’ve seen before. No spoilers, but it’s a really up-lifting moment!

Projection is utilised cleverly, but thankfully not overused, and the booming reveal of the Wizard himself features a modern twist. Monkeys fly, pyros burst, and poppies bloom in the most fan-tastic way.

On this opening night, there were no missed lines or dropped cues. Even when bits of costume fell to the stage, they were quickly and efficiently whipped away by the diligent cast. In truth, some elements worked better than the large-scale touring production – especially that tornado scene which reached dizzying heights.

This is an ambitious production for any company to stage, especially a semi-professional one. Like a lubricated Tin Man though, this is a well-oiled machine full of theatrical magic!

The Wizard of Oz runs until September 20th. Follow the yellow brick road to the Grand Opera House website and book your tickets at https://www.atgtickets.com/shows/the-wizard-of-oz/grand-opera-house-york/

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