Awful Auntie, Grand Opera House York, September 2024

We’re no stranger to the stage adaptations of David Walliam’s bestsellers. Gangsta Granny, Billionaire Boy, Demon Dentist…you name it, we’ve probably seen it. We had high hopes for Awful Auntie as we know that, when it comes to children’s theatre, Birmingham Stage certainly don’t just…phone it in!

Awful Auntie is whodunnit tale of murdered parents, a comatose niece and a bumped off chimney sweep-turned-cockney ghost. Add a barmy butler, a few fart jokes and a smattering (or should that be splattering?) of toilet humour, and you know what to expect.

Neal Foster’s Auntie Alberta is like the lovechild of both Rik Mayall and Ade Edmonson, with a little Monty Python thrown in too. Delightfully dastardly, Foster never strays into panto dame territory and would make an excellent Miss Trunchbull. Truly awful in the best possible way, but also unlikely to cause any nightmares.

Annie Cordoni plays Alberta’s niece Stella, and has plenty of childlike enthusiasm. She’s feisty too, and doesn’t stand for any injustice. The audience are quickly on her side and we’re all rooting for her to save the day!

That’s the Spirit

Stella soon partners up with cheeky-chappie ghost Soot (Matthew Allen) to try and scare Alberta out of the house before she gets her hands on the title deeds (or ‘deedy weedies’) Allen is instantly likeable in the role, and our boys enjoyed sleuthing out his cockney rhyming slang. He has some poignant moments too, and delivers them sincerely.

Zain Abrahams butler Gibbon is like the circus clown who comes on for a quick skit between acts. Each gag or prop joke here is well executed though, and they certainly add comic relief! Abrahams bumbles around and relishes each moment of buffoonery.

Puppetry is used throughout to great effect. Puppet Captain Emily Essery manipulates Wagner the owl in various forms, landing the bird on Alberta’s arm or swooping it over the audience with ease. This wandering Wizard now wants an articulated owl puppet of his own!

Adorable miniature dolls of Soot and Auntie are well received, and movements are precise and expertly choreographed. Puppet designer and director Yvonne Stone has done wonderful work here, and a cliff-hanger of a scene between mini Stella and Auntie is inspired!

Vrrroom with a View

Jacqueline Trousdale’s set design is excellent, and really captures the grandeur of Saxonby Hall. There are some great set-pieces, from Stella’s parents car, a snow owl and a giant booby-trapped cage that tortures whoever is inside.

Unfortunately our performance had a breakdown of it’s own, and was briefly halted due to technical issues with the set. Hopefully this was just opening night teething troubles at a new venue. Speaking of first nights, the cast here did remarkably well to maintain the atmosphere with a very small audience. It didn’t seem to faze the performers when they weren’t getting the big reactions of a fuller house.

Just Desserts

Good for all ages? There’s an overriding theme of death, murder and betrayal, but we didn’t find it nearly as dark as The Demon Dentist. Music is dramatic and creepy at points but sets the scene perfectly, and there’s lots of silliness to keep things light. A highlight is when Alberta gets her comeuppance in a series of pranks set by Stella and Soot. No spoilers, but it’s a delight to see the calamity unfold!

Our eldest (11) particularly enjoyed this show over others, and it was my favourite David Walliams adaptation so far. It’s quite different to previous shows, and less formulaic – there’s no Raj the shopkeeper, no songs, and no audience participation. Awful Auntie stands out in its inventiveness though – with clever theatrics, brilliant puppetry and a genuinely engaging plot with plenty of twists and turns.

Awful? Hardly!

Awful Auntie runs until Sunday 29th September in York, before continuing the national tour. Book your tickets at www.atgtickets.com/shows/awful-auntie/grand-opera-house-york/

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

School of Rock The Musical, Grand Opera House York, September 2024

Following their production of Joseph, York Stage return to The Grand Opera House with School of Rock The Musical. We’re big fans of the 2003 film and saw the West End production too, so were excited to see their take on the smash-hit show.

The plot follows down-on-his-luck wannabe rockstar Dewey Finn. Kicked out of his band, he blags the role of substitute teacher at a prestigious prep school, and soon rallies the pupils to compete in Battle of the Bands.

Fade to Black

Comparisons to Jack Black are perhaps inevitable, but Finn East puts his own stamp on the role, and really eases into it as the show goes on. He embodies the role of this washed-up rocker with big dreams, and is suitably out of place at Horace Green School.

Housemate Ned (James Robert Ball) represses his love of rock for a sensible teaching career, and we think he’d play an excellent Seymour in Little Shop of Horrors, or Leo Bloom in The Producers. He has that nerdish charm, and his eventual return to his Maggot Death origins is a triumph.

Ned’s partner Patty (Amy Barrett) is the antithesis of rock and tries to keep Ned on the straight and narrow. Her frustrations are believable, and we’re rooting for Ned to clap back and stick it to the man (or woman!)

Megan Waite excels as the strait-laced Principal Mullins, and her solo of Where Did the Rock Go is delivered with a beautiful poignancy. Waite is perfectly cast and has incredible vocals. It’s a treat to see her really let go to Stevie Niks’ Edge of Seventeen.

The Kids Are Alright

That’s a song, these kids are much MORE than alright! Their opening-night energy and excitement is infectious, and it’s clear they are loving every minute.

They nail the choreography and there doesn’t seem to any sign of nerves in front of a packed crowd. The energy of the whole show lifts each time they’re on stage, and – thankfully – their American accents never grate!

Eady Mensah (Tomika) surprises with a powerful vocal solo that has the audience transfixed. Incredible. Molly Thorne as band manager Summer, is the grade-grabbing people pleaser who holds the band together. Thorne is fantastically feisty, and blasts out Time to Play with ease.

Special mention to the core group of actor-musicians Daniel Tomlin (Lawrence), Matilda Park (Katie), Zach Dennison (Freddie) and Charlie Jewison (Zack) They not only have to act, sing and dance but each play their own instruments live too!

Right up to Eleven

As with many non-professional productions, the sound levels often don’t balance and it can be a strain to hear some of the dialogue. A shortage of microphones means that unfortunately some of the funniest lines get lost.

The band is fantastic but sometimes overpowers, although this can hopefully be tweaked as the run goes on. These are minor niggles though, and it’s important to remember that this is not a paid company – everyone involved is volunteering their time.

Family-friendly? There are a few naughty lil’ swear words, and it can be very loud, but overall it’s toe-tapping feelgood family fun. The audience were on their feet for the curtain call, and the end of School of Rock captures the buzz of a kickin’ rock concert. I defy anyone not to clap, stamp and groove along to the reprise of Stick it to The Man!

In short, it ROCKS! Get your groove on and book now. The shows runs until September 21st and tickets can be booked at www.atgtickets.com/shows/york-stage-ltd-presents-school-of-rock/grand-opera-house-york/

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

The 13-Storey Treehouse, Grand Opera House York, August 2024

We climbed the proverbial ladder to the top of the tree, and ended up back at The Grand Opera House for The 13-Storey Treehouse.

Based on the hit children’s book by Andy Griffiths and Terry Denton, read on as we try to put our (giant) finger on why it works on stage…

I’m personally unfamiliar with the books, but our eldest mini Wizard (10) had read this one, and so largely knew what to expect. It was clear this Sunday afternoon audience was full of ardent fans, who hollered excitedly when key characters appeared!

Billed as a mix of storytelling, comedy and puppetry, this is a three-hander that has stormed the Sydney Opera House and is now on an extensive UK tour. Expect cardboard dogs, giant bananas, flying cats, monstrous sea monkeys and even a giant gorilla. No spoilers here, but the simian set-piece is worth going ape for!

Barking Mad

So, what’s the…storey? The plot sounds like some sort of strange fever dream, and largely revolves around a series of absurd moments in an imaginary treehouse that spans – you guessed it – thirteen storeys.

Andy (Ryan Dulieu) and Terry (Edwin Beats) arrive at the theatre a week late, having missed their entire rehearsal period for the book adaptation. Assisted by dynamic Stage Manager Val (Ellie Wootton), they cobble together the play using leftover props and a lot of imagination. Oh and a 2D/3D Converter Machine comes in handy too, transforming drawings into delightfully daft comedy props!

It’s the performers that carry the show though, and all three are full of boundless energy and infectious enthusiasm. The two gents embody that childlike wonder and enthusiasm, and have great chemistry together as a pair of big kids. And Wootton shows great versatility, switching seamlessly between bossy stage manager and everything from a postman, neighbour, mermaid and more.

Our eldest son admitted he was a little disappointed that the set was largely bare-bones; he wanted to see the treehouse fully realised on stage – rather than a metal frame and a whole lot of imagining. It certainly is sparse, except for a few moments of visual magic, but I think in general it works well.

A Monstrous Hit?

We’ve seen a lot of children’s theatre, and today’s audience were really up for getting involved. However, on the whole it didn’t seem like there were enough opportunities for this. The fourth wall was only chipped away at rather than broken, and soon the audience settled into just passively watching.

Perhaps Barky the Dog isn’t loud enough to scare off the gorilla, and the audience are encouraged to bark as loud as they can, helping save the day. During the marshmallow ‘scheme’ (not scene!) could mini packs of marshmallows be batted into the crowd with tennis rackets? Oh and water pistols are always welcome for fever-pitch fun! A sequence with giant bananas in the audience is exciting but short-lived, and only really involves people on the end of aisles in the Stalls (and the higher levels don’t get a look in)

Niggles aside, this is a show that reminds us of the fun playfulness of youth, and left this Wizard pine-ing for a treehouse of his own. Aimed at children aged 6-12, it may be a little too silly and simple for those approaching teenage-years but for the young (and young at heart!) this is good clean family fun.

In a word? Bananas! If it a-peels to you, visit the link to book for the next leg of the tour in Manchester. https://www.atgtickets.com/shows/the-13-storey-treehouse/opera-house-manchester/

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

The 39 Steps, Grand Opera House York, July 2024

We stepped back in time to the 1930s, to see The 39 Steps at Grand Opera House…

Based on the novel, the plot sees dapper gent Richard Hannah who becomes embroiled in an international spy ring following a murder in his apartment. Fleeing the police, he follows a trail to Scotland to get to the bottom of this whodunnit comedy of errors.

Tom Byrne plays Richard Hannah. Like a young Hugh Grant, he personifies the polite English gentleman, complete with stiff upper lip and pencil moustache.

Safeena Ladha plays three characters here – Pamela, Annabella and Margaret. She has some good physical comedy as Annabella in particular. Pamela is quite a whiney and wet character, but Ladha manages to bring a dry wit and feistiness to the role.

Clowning Around

Listed as Clown 1 and Clown 2, Eugene McCoy and Maddie Rice play a whole host of roles. The billing suggests 139 characters but we didn’t count nearly as many so this might be marketing spiel. Hats fly, accents change and genders blur with strong characterisation throughout. Their clowning is excellent and there were little flashes of Monty Python, Laurel and Hardy and Chaplin.

Expect slapstick and knockabout comedy that is, on the whole, tight and well choreographed. A highlight during strong winds sees the cast billow their costumes in unison each time a door is opened. There are silly moments with windows, sandwiches and the daft antics that come from two performers handcuffed together.

Feeling the Strain

Acoustically, the show is hard to hear at points. Even from the middle of the stalls we strained to hear some of the dialogue. Visually though the staging is excellent, and captures the 1930s setting perfectly. From a London flat, to the Scottish highlands and glitz of the Palladium – Peter Mckintosh’s set design is first rate.

Tripping the Light Fantastic

Ian Scott’s lighting design is excellent too, often reminiscent of a vintage film. A shadow puppet sequence is a clever touch, and sets the scene of a chase well. Elsewhere lights are used as car headlights, and searchlights over the moors.

We’ve seen many farcical shows, from Noises Off and Le Navet Bete’s The Three Musketeers to the various ‘Goes Wrong’ shows. Whilst a few things did indeed ‘go wrong’ here, these moments were tame in comparison to similar shows, and fairly predictable.

A Step too Far…

…or not far enough? For us, it feels like The 39 Steps plays it too safe. There are some inspired moments, but on the whole it’s a gentle and quaint affair that never quite seems to find its momentum.

Some of the jokes felt laboured too; amusing initially but drawn out too long. I love puns, but when a family joke about uncle Bob (“Oh, Bob’s your uncle?”) gets the biggest laugh of the night, it feels like the script needs refreshing.

That being said, there are plenty of people who adore the show – and it’s had a successful West End run along with Tony and Olivier Awards. We had high expectations but found the pace slow, and the laughs didn’t come thick and fast enough. Hitchcock film references are clever though, and again the slapstick is generally well honed.

Overall, we found the comedy underwhelming, the plot a little convoluted and the pace off at times. However, we commend the hardworking cast and crew. If you’re a fan of the book, or you’re new to farcical comedies, you may still find plenty to enjoy here.

The 39 Steps runs at Grand Opera House York until Saturday 27th July 2024. Tickets start from £13 and can be booked at https://www.atgtickets.com/shows/the-39-steps/grand-opera-house-york/

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

The Kite Runner, York Theatre Royal, June 2024

I’ll be forgoing my usual puns in this review as The Kite Runner is not so…up-lifting. Ok, allow me that one….

Adapted for the stage by Matthew Spangler, the action takes place in Afghanistan and America, and spans continents, cultures and classes.

This is a tale of betrayal, loss and redemption and follows the story of Amir (Stuart Vincent), as he recounts moments from his childhood. With his friend and servant Hassam (Yazdan Qafouri) the pair are menaced by young thugs, and the action soon takes a darker turn.

Vincent is on stage for almost the entire performance, and plays Amir with both an intensity and sincerity. He seamlessly transitions between young Amir and his adult self, and has some truly poignant moments. A little comic relief here and there is unexpected but welcomed in such a harrowing tale.

Qafouri’s Hassam is convincing as a 12-year-old boy, expertly capturing the childhood innocence and naivety. His unwavering loyalty to Amir comes through in the bravery of his actions, and it’s heart-wrenching to see his story unfold.

Dean Rehman as Baba strikes a balance between authoritarian father figure and doting dad. Torn between the expectations of society and standing by his family, we feel his struggle in a difficult cultural climate. Rehman gives a powerful performance throughout.

Bhavin Bhatt is utterly repellent as the bully of the piece, and represents all that Amir must learn to stand up to. There are audible gasps when he antagonises the two boys, and Bhatt quickly has us loathing the character.

The whole cast work well as an ensemble, with most performers playing multiple roles. Special mention must go to Hanif Khan on the tabla who is also on stage for most of the show and whose music sets the tone from the very start.

Fans of the novel will recognise particular quotes from the text, especially during the more distressing moments. This is effective in demonstrating the violent scenes without resorting to crude effects and shock tactics. Although in a way it is more shocking – and more visceral – to hear the brutally detailed descriptions.

Barney George’s set design is bare-bones, but allows for the cast to make their mark on a relatively blank canvas. That being said, there are some wonderful touches such as giant kite sails that fold in and out. Projection is used well too, but thankfully not over-used or relied upon. The show is often vibrant and colourful, and reflects the Afghan heritage and traditions well.

At two hours and thirty-five minutes with interval, The Kite Runner runs fairly long but the show is so well crafted that it doesn’t often drag. The audience were silent throughout, gripped by the powerful storytelling.

Powerful, evocative and often heart-breaking. Has this review set your hopes for good theatre…soaring? Book your tickets at www.yorktheatreroyal.co.uk/show/the-kite-runner/

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

Unfortunate: The Musical Parody, Grand Opera House York, June 2024

Unfortunate: The Untold Story of Ursula the Sea Witch, started life as a one-hour Edinburgh Fringe parody. The production is now a smash hit, and receives rave reviews throughout the extensive UK tour. Created by Leeds-based Robyn Grant, the show is a celebration of all things LGBTQI+

Hot on the (high) heels of York Pride, Unfortunate docks at the Grand Opera House York. But is everything ship-shape, or does it sink to the depths?

First up, this ain’t The Little Mermaid folks. The recommended age is 16+ for strong language, partial nudity and sexual themes throughout. There’s more than a smattering of smut, with songs about…well…I can’t even say here. In short, it’s not for kids but ideal for a fabulously fun child-free night out!

The show tells the (fishy) tail of queer icon Ursula, the villainous sea witch we all love to hate. This origin story takes us back to her early days when life…sucked. She’s a toilet cleaner in the murky depths.

Hook, Line and Sinker

Like a fish on a hook, we were quickly reeled in by the brash humour, colourful staging and camp shenanigans. The writing is witty, and the songs oh-so-catchy.

There’s puppetry too, with a hideous assortment of deep sea dwellers in the song We Didn’t Make it to Disney. It’s nautical nonsense in the best possible way!

Shawna Hamic plays Ursula, a formidably fierce villain who’s delights in tricking Ariel. Hamic wrings every nuance out of the role, and dominates the stage in a sea of tentacles and black leather. Incredible vocals and stage presence to boot, she’s the ultimate Ursula and a delight to behold.

Cry me a River

Drag fans will recognise River Medway from the 2021 series of Ru Paul’s Drag Race UK, and here Medway plays the naïve – and horny – Ariel. With a grating Essex accent, she plays the dumb redhead with superb comic timing. As ‘Speechless Lady’ she mimes her way through the second half, and carries the role with brilliant expressions.

Gone is the cod-Jamaican accent for Sebastian…here the castanet-clicking crab is from County Cork. Sebastian is an under-used character – and there’s no parody of Under the Sea – although Dart has time to shine as French chef Collette, and one half of ‘Gay Eeels’ Flotsam and Jestom.

Eric (Jamie Lawson) hits all the right notes, both figuratively and on his beloved flute. He is the perfect himbo to Ariel’s bimbo!

Like a young Boy George, Thomas Lowe is our Triton – complete with spandex and a mop of bleach blonde hair. He hams up the role and belts out the ballads to perfection!

It’d be shellfish not to mention the rest of the cast, and none of them flounder. This is truly an ensemble piece, and many performers play a dazzling array of roles. Julian Capolei is listed as Grimsby, but he also wows as Vanessa in Ursula’s shapeshifting attempt to woo the Prince. Hot Girl Summer is a pure drag-fest, complete with slut-drops, twerks n’ all.

Special mention to Kirsty the Sea Cucumber Princess too, the best vegetable-based royalty I’ve seen in a long time.

A-Band-on-Ship

Musical director Arlene McNaught leads the live band. Whilst this adds a real depth of sound, the levels aren’t always balanced. Especially in the pacier songs, many of the lyrics get drowned (also a sea pun) out, so we miss some o’ the funnies which is…unfortunate. Still, a good excuse to listen to the soundtrack!

Find your sea legs and book to experience this sensational show. To describe it using one word that I’m not sure even exists…TENTACULAR!

Unfortunate runs at Grand Opera House York until Saturday 15th June, tickets available from £13 here.

The show sets sail for Bromley next, and you can check all tour dates at https://unfortunatemusical.com/

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

The Animal Guyz, York Theatre Royal, June 2024

We followed our animal instincts all the way to York Theatre Royal to review The Animal Guyz! Billed as a fast-paced theatre show with visual effects, music and comedy – the company’s goal is to help the audience learn through laughter…

The brainchild of creator Craig Crowton (centre), it’s clear that Craig is passionate about the animal world. It’s inspiring to see that production, school tours and holiday park shows raise a lot of money for various animal charities too.

Opening with dinosaurs seems unnecessary and jars with the theme a little, especially as there are several other shows entirely dedicated to our Jurassic friends. I guess it’s a crowd-pleaser for the kids, however once the dinos are left in the past, the show truly finds it (furry) feet…

All Creatures Great and Small

Soon, animals come thick and fast in all shapes and sizes. Far too many to list, but you’ll see everything from a towering giraffe to a lazy sloth, giant turtle, orangutang, badger, penguin and even a pangolin…complete with licking tongue! There are no live animals here but a variety of costumes and puppets instead, often with a video of the real deal played behind.

Children are encouraged to participate throughout, initiated by a pre-show explanation of exactly how to join in, and how there are no real rules. This opening spiel is refreshing; many children may not know how to join in – and about it being ok to clap, laugh and cheer. Covid will have restricted visits to live performances for many children growing up, so this reminder is useful.

With permission to go wild, expect kids (and big kids!) howling like wolves, monkeying around and even dancing in the aisles. The promise of prizes soon turns the audience feral, and leads to plenty of extra cheering and frantic waving!

Kicking up a Stink

There’s toilet humour too, which gets squeals of delight. Our youngest (7) particularly enjoyed the flatulent walrus, and the squirting skunk – although to be more inclusive of the whole audience, we’d have loved some water pistols in the Dress Circle, not just down in the Stalls. It can be disappointing to see the frantic fun unfold and not be involved in it.

Fascinating facts are relayed by the highly enthusiastic cast and as part of video projections. I came away learning lots of new things, and my sons were eagerly sharing their favourite facts all the way home. Our eldest son (10) was quick to Google pangolins afterwards, and was alarmed at how quickly they’re disappearing.

The production is underpinned by a theme of conservation and a genuine care for animals and their welfare. There were some unexpectedly poignant moments; in a particular a tribute to Steve Irwin and a song set to images of endangered animals. Our eldest commented afterwards ‘It’s got me thinking, if I was able to vote I would choose a party that do things for the environment….’ so it obviously struck a chord.

Things don’t become preachy, but instead we’re encouraged to ‘do one thing’ to make a change – such as buying a packet of seeds and throwing them in the woods, or leaving water out for thirsty hedgehogs.

At eighty minutes without an interval, it’s a good length for children and keeps the pace with it’s multimedia approach, varied animals and interactive elements.

If you like animals and interactive fun, and you want to support some great causes with your ticket purchase, then check out the tour schedule at www.theanimalguyz.com/theatre-tour

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

Tess, York Theatre Royal, May 2024

Last night we went to see Tess at York Theatre Royal, with the classic novel adapted with circus skills and physical theatre by Ockhams Razor.

A Little Horse-Play

In truth, I didn’t know the story of Tess of the D’urbervilles. Suffice to say, it’s not an uplifting and heart-warming tale. The story follows 16-year-old Tess as she strives to help her impoverished family, and looks at the struggles and harsh life-lessons she encounters along the way, from the men and society who treat her so poorly.

The performers draw out the humanity of the characters through their physical performance. They make every movement seem effortless, displaying immense strength, focus and a real synergy with each other. Actors leap, tumble and twirl with ease – and manipulate planks of all shapes and sizes to create the ever-changing set.

Especially impressive is the structure of a house, slotted together before our eyes then lifted in one gigantic piece – and instantly strong enough for the actors to scale up and down. Set designer Tina Bicat works a special kind of magic.

Milking It

Although the source material is bleak – and the performance doesn’t shy away from this – there are a surprising number of lighter moments throughout the show too. A highlight is a sequence with maids milking cows. Shall I tell you how it’s done? Pull the udder one!

Joshua Frazer’s skills with a golden hoop are truly breath-taking too, skilfully manipulating it to spin inside it or send it whirling around the stage. It’s accompanied by a haunting sound, and the sound design throughout is first rate.

At points the music is subtle and understated, and barely heard over the slight squeaking of shoes and gently-landed thuds. Elsewhere it is brash and dramatic, punctuating the darker moments with severe crashes and gut-wrenching screeches. In an ideal world I would’ve preferred this played on live instruments rather than recorded, but I appreciate this isn’t always feasible.

On the subject of sound, in such a physical piece Hanora Kamen is only amplified by floor mics. This does unfortunately mean that, despite a stellar performance, she can be difficult to hear at points – even from the first few rows of the Dress Circle.

I would normally mention other performers by name, however this is such an ensemble piece that the whole cast almost work as one. All are incredible.

Circus of Horrors

The circus elements never feel twee or shoehorned in, they lift this unhappy tale and add a fresh and modern twist. This style of interpretative movement-based theatre won’t be everyone’s cup of tea but it’s a powerful form of storytelling and has the audience gripped here.

There is some particularly unsettling physicality in parts which made me feel uncomfortable – but that is absolutely the point. The inner turmoil of Tess’ experience shown so starkly through physical movement is inspired, and invites the audience to really immerse themselves in the performance.

Bold, inventive and beautifully realised.

MAGIC RATING

VALUE FOR MONEY

OVERALL

Tess continues it’s UK tour with Bristol next, find all tour dates at https://ockhamsrazor.co.uk/tour-dates

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

Sister Act The Musical, Grand Opera House York, May 2024

What do you call a nun with a washing machine on her head? Sister-matic! Now that old joke is out the way, on with the review…

Nun’s the Word

Sister Act follows the story of club singer Doloris Van Cartier. Witnessing her gangster boyfriend shoot a man, she suddenly finds herself hiding out undercover in a convent whilst waiting to testify in court. This un-convent-ional nun has a lot to learn about the sisterhood, but soon uses her vocal talents to raise the (church) roof, both figuratively and financially.

Landi Oshinowo play Doloris. Can she sing? Oh sister! Oshinowo belts the showtunes, and is a vocal powerhouse throughout. Comparisons to Whoopi Goldberg are perhaps inevitable – and it’s a tough act to follow – but she makes the role her own and has plenty of sass.

Back in the Habit

Coronation Street icon Sue Cleaver returns to the stage after thirty years, to play Mother Superior. She brings a real warmth to the role and has great comic timing, a smart casting choice! Cleaver switches seamlessly from comedy to the desperate frustration of Dolores’ unholy influence on the straight-laced sisters.

Extra comedy ensues from the gaggles of nuns – ranging from the very old to to cranky, timid and, later, funky. Isabel Canning excels as over-eager evangelist Sister Mary Patrick. Canning is a ball of biblical energy and her enthusiasm is infectious. Sister Mary Robert (Eloise Runette) delivers a beautiful rendition of The Life I Never Led, and we really share in her joy at finally being let loose.

Alfie Parker’s Eddie Souther or ‘Steady Eddie’ gets some of the biggest laughs, and is the underdog we’re all rooting for. The romantic subplot between him and Deloris feels a little tacked on, but I Could be That Guy is sensational and has a very clever costume change.

Divine Inspiration

Morgan Large’s clever set design revolves around a huge stained glass window, lit to change in more colours than Joseph’s coat. Altar boys whisk set pieces on and off to transform the space from everything to a seedy back alley and nightclub to the nun’s cloisters, a police station and more.

The pace seems a little sluggish in the second act, and some of the songs are forgettable. Sadly, film favourites such as I Will Follow Him are missing, however this might be down to licensing rights. Niggles aside, the production builds to a satisfying finale and has many audience members on their feet and dancing in the aisles.

Overall this is a slick and polished show with production values worthy of the West End. Led by musical director Tom Slade, the live orchestra sounds divine and really lifts the score. The large cast work tirelessly and we’re treated to some tight choreography and strong vocals.

MAGIC RATING

VALUE FOR MONEY

OVERALL

Get thee to a nunnery (or The Grand Opera House Box Office) and book your tickets now! Sister Act The Musical runs in York until Saturday 11th May, booking at https://www.atgtickets.com/shows/sister-act/grand-opera-house-york/

Further tour dates and booking links at www.sisteractthemusical.co.uk

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

Joseph and the Amazing Technicolor Dreamcoat, Grand Opera House York, April 2024

We donned our coats of many colours and headed to The Grand Opera House, to catch York Stage’s latest production, Joseph and the Amazing Technicolor Dreamcoat. A family favourite, we were excited to see how the team would stage the hit Andrew Lloyd-Webber classic.

For those not in the know, Joseph follows the tale of a young dreamer from a large family who is sold into slavery, but bounces back as Pharaoh’s right hand man. Donny Osmond popularised the title role in the 1999 film, as well as both Jason Donavan and Philip Schofield in stage adaptations.

Here, Reuben Khan is expertly cast as Joseph, and oh boy can he sing. Close Every Door is a highlight, and brings the house down. He’s a walking work of art in his coat too, in fact all of the costumes are a treat.

Hannah Shaw draws everything together as the Narrator, and is another powerhouse vocalist. She plays the Narrator with a genuine warmth and has a great quick costume change too…blink and you’ll miss it! Pharaoh was played by Amy Barrett, complete with oversized Elvis quiff and plenty of swagger. It’s unusual for this role to be played by a woman, but she brings lots of energy and pizzazz to the role.

In such a large cast there are too many to mention individually, but this is truly an ensemble piece – and there is no weak link. The brothers have a believable camaraderie and, even with Simeon (Finn East) on crutches, the energy never dips.

The large group of children in Team Canaan have boundless enthusiasm and bags of talent. They are clearly having the very best time, and I’m glad they get their own Joseph megamix at the start of Act Two! Expect slick choreography, a few ‘aww’ moments and even a little sass. Special mention must go to Darcie Hynes and Daniel Tomlin, who were especially dynamic and expressive – but all the kids were stars!

Technically the show is a triumph. Beautifully lit and staged, there are some inventive ideas here. I was especially impressed with the use of ladders to represent things like a prison cell and tall chariot, even if they looked a little precarious and wobbly at points. A live orchestra led by Adam Tomlinson ensures a rich sound across the diverse songs style in Joseph – everything from Calypso, Western and French ballads to rock and roll, pop and jazz.

We’ve seen several professional productions of Joseph so it’s difficult not to compare, however this is well up there with the best of them. Although technically an amateur production, you’d be forgiven at points for thinking this is a fully realised West End show. And that’s a testament to the hardworking cast, crew and creatives at York Stage. Pure theatrical magic.

This opening night crowd were on their feet at the end, and the accolades are well deserved. Thank you York Stage for a sensational show.

Go Go Go book your tickets now for feel-good family fun that’ll have you toe-tapping ’til the very end!

MAGIC RATING