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.

Danny Lee Grew 24K Magic, Friargate Theatre York, June 2025

Danny Lee Grew brought his one-man show to York’s Friargate Theatre last night, and it was a treat for this Wizard to be on the other side of the curtain after a day of tours!

24K Magic features a magical myriad of effects. Expect everything from magic with cards, silk handkerchiefs, eggs, oranges, rings, milk, paper and even a bowling ball. There are modern and inventive tricks and many classics dusted off too, such as the multiplying bottles (of Tommy Cooper fame) A one-tricky pony he ain’t!

A highlight for me was a variation on the Slydini Silks – a trick as old as the hills but given a smart twist using wordplay on NOT and KNOT. The variety keeps the show pacey and ensures there is something for everyone. There’s plenty of comedy too, with little asides, puns and gags that were right up this wizard’s alley!

A loose (invisible) thread centres around Danny’s background; from his first magic set, to his hospital work and time on cruise ships. A routine with coathangers makes sense, as he claims to pack his own for hotel stays on tour. And a twist on the classic cut and restored rope uses a bandage as a nod to his NHS days. These links lift the show from a random assortment of tricks and props, to something we feel more connected to and invested in.

More important than the magic though is that Danny is instantly likeable and engaging. He wins over a small audience on a hot evening, and the comedy is gentle without ever needing to shock or offend. He isn’t the ‘haha fooled you!” type, and invites us to share in the wonder rather than presenting puzzles and gotcha moments.

Crucially, he treats his volunteers with respect and puts the audience at ease by announcing he won’t be embarrassing anyone or making fun of them. Many is the magician who goes for a cheap shot at someone else’s expense, but thankfully none of that here. I’m reminded of seeing Geoffrey Durham (mentioned in the show) many years ago, who had the mantra “All done with kindness”.

It was our first visit to Friargate Theatre, which is an ideal intimate size for this kind of show. A few technical blips in a new venue are expected and forgivable, and didn’t take away from the experience. The set is sparse but this allows the magic to really shine. Danny doesn’t resort to big advertising banners on stage, which is a smart move and adds class.

So who is it for? It’s not strictly a kid’s show, but the magic is family-friendly and visual enough to hold young audience members’ attention. This audience was a mix of families, fellow magicians (who Danny kindly plugged and encouraged people to follow) and couples.

Our mini Wizards were both picked out to help, and were thrilled to be involved. Our youngest said “Mind-blowing, I loved finding my card in an orange!”. Eldest said “It was spellbinding, I enjoyed the Three Card Monte but my favourite part was being levitated!”

If you haven’t seen a live magic show before, I’d urge you to give it a try. Done well, there really is nothing like live magic. In this era of social media, YouTube and AI, it’s not always easy to be ‘wowed’ but Danny elicits gasps and surprised laughter throughout.

This was a one-night-only affair, but Danny tours regularly and you can check out his schedule at https://dannyleegrew.com/live/

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

Dear Evan Hansen, Grand Opera House York, June 2025

Dear Evan Hansen follows the titular character Evan; an anxiety-riddled teen who is tasked with writing himself letters in the interest of positivity and self-development. When one of these letters gets into the wrong hands, Evan spins a web of lies. Although he has good intentions, we soon see the fallout and damaging impact of his actions.

Evan is played by Ryan Kopel, who perfectly embodies social anxiety with every twitch, hand-wring and stutter. He is a standout performer in an already incredible cast, and an extraordinary singer too. The phenomenal and complex score would push any actor, but he nails every note and nuance. The performance is first rate, and we really feel his anguish and longing to belong.

Frazzled mum (Alice Fearn) struggles with work life balance, finances and raising a son who clearly finds life a challenge. Fearn gives a stellar performance and her vocals switch between impressive belts to gentle poignancy. She excels in the song So Big/So Small.

Best friend, or ‘best family friend’ Jared (Tom Dickerson) brings extra comic relief, as he ribs his buddy over his attempts to woo love interest Zoe. He is believable and relatable as a high-school teen who relishes the banter. Expect sex jokes, swearing and crass teenage humour. A kid’s show this ain’t!

Another friend to Evan, Alana (Vivian Panka) is preppy and eager to please. Another excellent singer, she is unwittingly responsible for the exposure of Evan’s deceit.

Connor, played on press night by understudy Will Forgrave, is the high school rebel with deep issues and a quick temper. For such a grungey character, he really shines in the comic song Sincerely, Me, which sees him and Jared hot stepping and cavorting around the stage.

Sister Zoe, (Lara Beth-Sas) was another understudy for this performance. She begins as a surly teenage girl but later softens – bringing an understated gentleness to the role as her character arc progresses.

Connor’s mum (Helen Anker) and dad (Richard Hurst) complete the family dynamic, and give solid performances filled with remorse. Their fractured relationship clearly hangs in a delicate balance but they take Evan under their wing, showering him with affection and becoming a fantasy family for the troubled teen.

Technically, the show is a triumph. Projection is used effectively throughout, but never over-used. Morgan Large’s set is sparse at points, and allows the performers to really shine. We may see a suggestion of a bedroom with just a few beds, or a row of lockers to represent a high school corridor. Cleverly, said lockers open up with lights inside – just one aspect of a clever and dynamic lighting design by Matt Daw.

The fantastic band is led by Michael Bradley. Levels are well balanced and the score blew us away. We were to quick to stream the soundtrack on Spotify after!

This powerful and emotive show is a far cry from the twee and often cheesy musicals of yesteryear. Don’t expect toe-tapping fun throughout, and there’s certainly no megamix at the end. In fact, the finale of the show is unlike any musical I’ve seen – opting for a relatively gentle and poignant conclusion rather than a rousing encore or reprise.

Dear Evan Hansen tells an interesting and important story that echoes the challenges of the modern day. Heart wrenching at times, it packs an emotional punch. This somewhat shellshocked audience were instantly on their feet at the end for a full and deserved standing ovation.

Powerful, emotional, unforgettable theatre. A must see.

Dear Evan Hansen runs at the Grand Opera House until Saturday 28th June. Secure your seats at https://www.atgtickets.com/shows/dear-evan-hansen/grand-opera-house-york/

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

The Last Laugh, Grand Opera House York, June 2025

Review originally written for The Reviews Hub

Fresh from a sell-out West End run, The Last Laugh arrives at York’s Grand Opera House. But is it a laugh a minute, or no laughing matter?

We’re met with Lee Newby’s set – a derelict dressing room where pictures of Laurel and Hardy, Tony Hancock and Sid James gather dust. It’s the ideal setting to let the comedy – and relationships – really shine. And shine they do.

The Last Laugh brings together the comic stylings of Eric Morecambe (Bob Golding), Tommy Cooper (Damian Williams) and a tangerine-tanned Bob Monkhouse (Simon Cartwright). All three performers excel at every nod and nuance, and you’d be forgiven at times for thinking you were watching the stars of yesteryear. Expect every comic aside, every glasses wiggle and every ‘just like that’.

The dynamic between the trio is natural, and they riff off each other with ease. Golding’s Morecambe is delightfully daft and playful, whereas Cartwright’s Monkhouse is more by the book. Quite literally, as he clings to his book of tried and tested – or hammered and chiselled – jokes. Williams’ Cooper nails the funny look; the ability to make an audience laugh by doing very little…whether it’s his trademark shake of the hands or even navigating a garden gate.

There’s no plot to speak of, instead we’re treated to engaging chatter and dressing room banter peppered with jokes and shtick. But it’s not all giggles and guffaws, and the production blurs the line between tribute act and drama. Paul Hendy’s writing explores health issues, drink problems and the harsh realities of living in the spotlight. The gents ponder why it is they do what they do, and the almost obsessive quest for a laugh at any expense.

Some scenes are bittersweet, and Tommy Cooper’s final exit is truly poignant. This reviewer’s parents witnessed his untimely passing broadcast live from Her Majesty’s Theatre, so I grew up hearing about it between watching the fezzed funnyman on VHS. We’re reminded of the fragility of life, and the toll the pressure of pleasing audiences night after night can take. These moments of the sad clown are carefully and tastefully implemented.

The masks don’t slip for long though; the gags fire thick and fast throughout and this appreciative audience lap it up. The second half is a Q&A session with the cast and, at this performance at least, the writer and director too. This is a fascinating insight into how each actor becomes their respective comic, and titbits about how the show was received on Broadway, funny anecdotes, favourite jokes and more.

The Last Laugh is an evening of pure nostalgic delight and a love letter to the golden age of British comedy. How can I give it five stars? Just like that!

The Last Laugh runs at Grand Opera House York until Saturday 14th June 2025. Find out more and book your tickets at https://www.atgtickets.com/shows/the-last-laugh/grand-opera-house-york/

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

&Juliet, Sheffield Lyceum Theatre, May 2025

Last night we got our ‘Bard on and headed to Sheffield’s Lyceum Theatre for &Juliet. We caught the production in Leeds last year, but thought we’d see it (Baby) One More Time…

The production follows other historical happenings such as SIX and Hamilton, and breathes new life and ideas into Shakespeare. Don’t expect the literary tale as written, instead the story explores what would happen if Juliet didn’t kill herself. Here, she starts a new life in Paris without needing a Romeo to call her own. Expect girl power, modern language and themes, and a banging soundtrack of 90’s favourites. It’s a megamix of hits from Britney and Bon Jovi, to Kelly Clarkson, Katy Perry and even The Backstreet Boys.

Jay McGuinnes fills the shoes of Shakespeare himself. Likeable and engaging, and suitably smug in reminding the audience which famous phrases he wrote. His relationship with Anne Hathaway is bittersweet, and the pair work well together.

This is our second time seeing Gerardine Sacladan (Juliet) and Lara Denning (Anne), and we can say unreservedly that they are two of the best musical theatre performers we’ve seen in any show. Powerhouse vocals with perfection in every note, and engaging performances throughout. Denning’s heartfelt That’s The Way It is is a highlight, and Sacladan manages to deliver a passionate performance even when sat on the floor or flying through the air. Incredible.

We’d also seen Jordan Broatch’s May and Kylie Cox’ Francois before, and both absolutely excel in the roles. Broatch delivers I’m Not a Girl so movingly, and has an endearing quality and quiet sincerity. Cox’s nerdy Francois wrestles with his new feelings towards May, but also wrings comedy out of the role with daft piano playing and cringe-inducing social awkwardness.

More comedy comes from Nurse Angelique (Sandra Marvin) who tries to keep Juliet on the straight and narrow, but ultimately gives up and goes wayward herself. Marvin’s voice is rich and soulful, and she swoons for old love interest Lance, played by understudy Michael Nelson. Nelson brings some French swagger to the role, but plays it more seriously than Raj Singh we’ve previously seen. Singh played the part more tongue-in-cheek, but both found the funnies in the dance numbers.

But what of Romeo, dear Romeo? Benjamin Jackson Walker plays the self-confessed douche with a swaggering flamboyancy that works well. Yes Romeo is a wet lettuce, but that’s how he’s written here, and he doesn’t take as a large role as you might expect.

A huge ensemble fill the stage with seemingly effortless energy and slick choreography throughout. They cleverly mask scene transitions and costume changes, and keep the show moving with ease. They’re all dressed in period attire but with a modern twist, and Palmona Young’s costumes are a triumph.

&Juliet is a feast for the senses, and worthy of the West End in terms of production values. Soutra Gilmour’s eclectic set transports us between London, Verona and Paris, through neon lights, giant balloons and grungy shabby-chic set pieces. At one point Juliet swings from a chandelier, rides a moon swing and is pedalled by a fairground-horse rickshaw. There’s plenty of razzle dazzle too, from pyrotechnics and smoke to raining glitter.

On a technical note, the sound levels were slightly out of balance at points. This is a shame as the vocals are so strong and well delivered, but sometimes drowned out by the music. Dialogue was occasionally a strain to hear too, even from the mid stalls. Hopefully these technical issues can be ironed out as the run goes on, and I suspect they were opening night niggles.

This eager audience were itching to get up and dance but – thankfully – posters and announcements ask to refrain from this until directed by the cast. This is a sensible touch; in Leeds many people treated it like a concert and crooned along to the 90s hit list.

When the moment does come though, there’s no stopping us. We all bopped along to Can’t Stop the Feeling, and the show received a resounding and well deserved standing ovation. A celebration of independence, of being yourself and carving your own path in life.

Family friendly? It’s certainly a fun, fast-paced and colourful show. There were several primary school groups in last night, and the age rating is 8+. However there are sexual themes, and strong language – especially in P!nk’s F**king Perfect. It’s a song title that probably sums up the show well though, and it comes highly recommended.

Not booking a ticket would be the real…tragedy!

&Juliet runs at Sheffield’s Lyceum Theatre until Saturday 31st May. Book your tickets at https://www.sheffieldtheatres.co.uk/events/and-juliet

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

Matthew Bourne’s Swan Lake: The Next Generation, Lyceum Theatre, Sheffield, May 2025

New Adventures brings Matthew Bourne’s Swan Lake to Sheffield Lyceum Theatre. Directed and choreographed by Bourne himself – and first performed back in 1995 – this is a masterclass in innovative ballet, drawing a new audience to this traditional theatre form.

Bourne takes the original story, score and dances, and adds a contemporary twist too – most notably casting all the traditionally-female swans as male dancers. Swan Lake is, at its heart, a love story, but this production is so much more…

A ballet is always notable for the amount of dancers involved. The ensemble are all superb dancers, each bringing their own nuances to the variety of characters they play. Every performer can switch seamlessly between everything from maids, club dancers and debutantes, to soldiers, sailors and the swans themselves.

Ballet is just as much about acting and storytelling as it is about dancing; and oh boy, can this cast act! James Lovell as the Prince embodies the nativity and vulnerability of someone held captive by his upbringing and privilege, but unable to find the love he craves from his family. Lovell moves like nobody I’ve ever seen before – making every moment seem so natural and effortless. He switches from graceful to jerky and erratic, to reflect his descent into madness.

Rory McLeod is superb as the Swan/the stranger. He brings a strong sense of masculinity to an incredibly physically demanding role but also shows a gentle, caring and almost paternal side. The intense connection between Lovell and McLeod is palpable.

Katrina Lyndon was well cast as the Queen. Lyndon captured the distant, haughty nature of a Royal, who preferred the company of her soldiers to her own son. Bryony Wood as a girlfriend has the most amazing facial expressions! She plays the seductress role well, and has excellent comic timing. Benjamin Barlow Bazeley as the private secretary is suitably scheming in his plans to keep up appearances at all costs, for the sake of the royal family.

Lez Brotherston’s set and costume design perfectly reflects Bourne’s balance of the traditional and contemporary. Costumes are lavish, however ball dresses are swapped for cocktail dresses in the Royal Ball scene. The Queen and Prince could belong to any era, but this makes the production both relatable and accessible. My only slight quibble is the swans didn’t have feathers. Instead we see loops of wool which, in all fairness works well, but I did miss the feathers from earlier productions.

The set itself is oversized and deliberately wonky. It gives the entire production a dream-like quality and reflects the mental turmoil of the prince. Paule Constable’s lighting design is equally superb. Constable plays with light and shadow throughout; most notably in the Prince’s Private quarters scene where the Prince, the Queen, and a mirror frame created a beautiful shadow puppet illusion.

Worth sticking your neck out for? Almost certainly! The production received a deserving standing ovation. Matthew Bourne’s Swan Lake truly soars.

Matthew Bourne’s Swan Lake runs at Sheffield’s Lyceum Theatre until May 17th. Find out more and book your tickets at https://www.sheffieldtheatres.co.uk/events/matthew-bournes-swan-lake-2024

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

Dracula: The Bloody Truth, Theatre @41 Monkgate, May 2025

Last night we shapeshifted into bats and flew on over to Theatre@41 Monkgate to catch the inaugural production of newly-formed Neon Crypt…Dracula: The Bloody Truth!

All stoked up for Stoker? Don’t expect a classic retelling of Bram’s tale…this is Dracula done daft! Farcical fun, slapstick comedy and plenty of macabre mishaps a la The Play That Goes Wrong.

We first saw this production by creators Le Nevet Bete – one of our favourite theatre companies who often frequent York Theatre Royal. It’s difficult not to compare, but Neon Crypt do an admirable job and have bags of energy and enthusiasm. Purchasing the license, this is the same comedy of errors…complete with every prop gag, mishap and stumble.

Four actors and a tireless stage manager bring the text to life…or death? Laura Castle sinks her teeth into the title role, and you Count (see what I did there?) on her for a suitably larger than life performance. With panto credits aplenty, the audience warm to her right off the (vampire) bat. Castle’s Transylvanian accent is a treat, and a stark contrast to the more stoic Seward she also plays.

Jamie McKeller directs and produces, and is also Professor Abraham Van Helsing. His increasing frustration is a delight, and a bump on the head only exacerbates the funnies further. Van Helsing yearns to be in the piece rather than just narrate, and we’re all rooting for him to finally feature.

Real life wife and business partner Laura McKeller is Mina Harker, Arthur Holmwood and a whole host of other characters. With accents aplenty – and hats and wigs to match – she breezes through the plot and nails every entrance and exit. Master of a silly face, she gurns and grimaces with ease.

Lady McKeller is also responsible for the show’s production and costume design – both of which are excellent. A low budget works for this spoof-show, and there are some clever touches like origami ice-creams and an inventive horse and trap.

Michael Cornell plays Jonathan Harker and Lucy Westerna. At times Cornell is almost Monty Python-esque, with a screeching high voice and a penchant for cross-dressing. With a rich voice and sharp comic timing, he’s a versatile and engaging credit to the team.

Theatre@41 is an ideal space for Dracula: The Bloody Truth. The intimate setting draws us into the action, and the actors don’t shy from chatting to the audience…and even involving one unsuspecting front-row victim! The in-house team are friendly and welcoming, and it’s a fang-tastic opportunity to support a local community theatre.

Is it suitable for children? We took our two mini wizards (8 and 11 – odd names but it’s all I could think of) and they generally enjoyed the show, although lost track of the twists and turns of the plot. It’s not children’s theatre, and the suggested age rating of 8+ may be a little low here. There are a few naughty words and sex references, and more gyrating than we remember (!) – but overall it’s silly and visual enough to hold children’s interest.

Scary? Not really! This the hammiest of Hammer Horrors.

Dracula: The Bloody Truth runs at Theatre@41 until Saturday 10th May. Book your tickets at https://tinyurl.com/draculatruth

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

Krapp’s Last Tape, York Theatre Royal, April 2025

Last night we indulged in a bit o’ Beckett at York Theatre Royal. This is a far cry from our usual reviews, which normally focus on musicals, comedies and family shows. However, we couldn’t miss the chance to see fellow-wizard Gary Oldman – of Sirius Black, Dracula and Churchill fame and more – in Krapp’s Last Tape.

What did we think? Read on. It’s all here, in black and white…

Oldman returns to his York roots, having began his career at the Theatre Royal in 1979. Not only does he play the titular Krapp, he also directs and designs this literary classic by Irish writer Samuel Beckett.

We are met with a desolate study, strewn with dusty boxes and boxes, and lit only with hanging lamps. As Krapp ascends the stairs coughing and spluttering, it’s clear that he’s world-weary and living an isolated life. The lonely Krapp records a new tape each year on his birthday, a time capsule of memories to reflect back upon.

Oldman plays with silence to great effect. Indeed, the first ten minutes or so are mute – save for the odd cough or rustle in an otherwise enraptured auditorium. Whether rearranging his desk, searching for a rogue tape or simply eating a banana (or three) Oldman is immensely watchable. We hang on every twitch, gesture and nuance that he so expertly delivers. He wrings so much out of so little, even delighting in the word spool.

When he does speak it is moslty on tape, as he reminiscences about his formative years with a tape deck. The very same deck previously used by Michael Gambon and John Hurt, who he dedicates the performance to.

Krapp ruminates on love lost, declining health and old age as he revisits the same clips with growing frustration. He seemingly accepts solitude until one last realisation. Our heart aches for a man haunted by troubled memories, and the finale hits hard. This powerful performance brings many to their feet.

Krapp’s Last Tape certainly won’t a-peel (banana pun) to every theatregoer. Don’t expect a pacey, punchy plot with lots of laughs. What works though is its simplicity, and the gravitas Oldman brings to the role.

If you’re barmy about Beckett, or want to see a legend of stage and screen right on your doorstep, it’s a masterclass in live theatre. It might just put you off bananas though.

Performances run until May 17th, tickets are limited so book to secure yours at https://www.yorktheatreroyal.co.uk/latest/gary-oldman-stars-in-samuel-becketts-krapps-last-tape-at-york-theatre-royal/

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

The Lion, The Witch And The Wardrobe, Grand Opera House York, April 2025

After a harsh winter, we stepped out into the sun blinking and excited to see The Lion, The Witch And The Wardrobe at Grand Opera House…

For those new to the C.S. Lewis tale, the story follows four siblings evacuated to the countryside during World War 2. They discover a grand wardrobe and stumble upon the magical kingdom of Narnia. Locked in an eternal winter by the vengeful White Witch, it’s down to the children and a talking lion to lift the curse and save the land and it’s many unusual inhabitants.

Early on we’re reminded of the atrocities of war, with a sombre and haunting rendition of We’ll Meet Again. Actors manipulate glowing train carriages and suitcases, as families are packed off to safer surroundings.

The four children – Lucy, Edmund, Peter and Susan – are played by adult actors (Molly Francis, Bunmi Osadolor, Jesse Dunbar and Joanna Adaran) who capture the rivalry of bickering siblings well. Each makes the character their own, and has a believable story arc as they became the heroes of the piece. At this show Lucy was played by an understudy, but blended in perfectly and gave a stellar performance.

Aslan here is both human actor and stunning puppet, seemingly carved from intricate wood as a nod to the opulent wardrobe. Stanton Wright brings a true poignancy to the role, seamlessly switching between the majestic and godly lion to defeated wildcat. Expertly puppeteered, the wooden Aslan’s performance is anything but…well…wooden. Speaking of cats, raggedy fleabag ‘Schrodinger’ is another puppet, and scampers around the stage with plenty of purr-sonality.

Younger audience members may be unsettled by the wicked White Witch, played by Katy Stephens. We had seen this same production before, and it was interesting to see what was scaled back to fit the York space, with Jadis’ chariot noticeably absent. However, Stephens has such a deliciously dark grandeur that she commands the space well on foot. Wolf-like servant Maugrim (Shane Antony-Whitely) prowls the stage, ever-hunting the daughters of Eve and sons of Adam.

Father Christmas makes an appearance too, but is a far cry from the Coca-Cola red St. Nick. A whirling-dervish of tassels, Myra the Gift Giver delivers presents to aid the siblings on their quest. His song of the same name is perhaps the most catchy, and the one I was humming all the way home. The role shows real versatility too, with Father Christmas played by Kraig Thornber, who we first meet as the eccentric Professor, and later a musical owl.

Thornber is one of many talented actor-musicians who bring the rich score to life, and punctuate moments of drama with tribal beats. Many are dressed as stylised animals, and the pair of Beavers – who take a larger speaking role – add comic relief. Ed Thorpe and Anya De Villiers have a great dynamic together. Thorpe reminds us of actor Jim Cowick, and in particular his Ghosts role Pat.

Special mention to Mr Tumnus who first meets Lucy under the iconic lamppost, cleverly installed in a piano. Alfie Richards delivers his inner struggles to perfection, as he wrestles with obeying the Witch and letting Lucy go. He’s excels in the beautiful When There Was Spring

Tom Paris’ set and costume design is first-rate throughout. We’re transported from a bleak war-torn Britain to the icy expanse of Narnia in a blizzard of brilliance. There are many clever effects, from a flower blooming within a book to a trippy Turkish Delight sequence I won’t spoil! Illusions by Chris Fisher are well executed if sometimes a little overlooked, but only because they integrate so effectively into the story.

Jack Knowles lighting design is one of the best we’ve seen, with inventive use of darkness and spotlights to draw attention to where it was needed and hide scene changes. The stone table scene is a particular highlight, as are the transitions in and out the wardrobe.

This is a slick and polished production that succeeds in bringing the beloved novel to life. Inventive, engaging and full of theatrical magic, it’s a must if you’re a fan of the timeless tale. Simply ROARsome.

The Lion, The Witch and The Wardrobe runs until Saturday April 26th before continuing the UK tour. Book your tickets at https://www.atgtickets.com/shows/the-lion-the-witch-and-the-wardrobe/grand-opera-house-york/

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