The Little Mermaid was the first Disney film I ever saw, and last night we the saw stage adaptation by York Light Opera Company. But does it make waves, or plumb the depths? Find out below…

To be honest, the show took a while to get going and didn’t reel us in straight away. I think this is largely due to the songs added since the 1989 film version though. Many of them are bland and forgettable, despite being delivered with plenty of energy. The show really shines with the crowd-pleasers such as Under the Sea, a stage-filling spectacle full of colour. Part of Your World is a highlight too, Monica Frost as Ariel has great vocals and is a strong performer. 

There are some inspired ideas, from Heely shoes to suggest underwater movement, to twinkling firefly gloves in Kiss the Girl. Giant turtles and frogs are silly in this number, but fun! Costumes overall are cleverly designed. Favourites for me include Flotsam and Jetsam’s glowing attire and eel-like wigs, and Flounder’s deconstructed Angel Fish, complete with dyed-hair spiked into a fin.

Ursula needs bigger tentacles to really make her (inky) mark visually as the grand Sea Witch, although Pascha Turnbull plays her with a deliciously wicked edge. She cleverly manages not to imitate the iconic film role, and finds her own ‘evil’ without becoming a panto baddie.

Jonny Holbeck’s Sebastian adds comic relief, and is a strong physical performer. The fourth wall is never broken, which is a real shame as Sebastian in particular could really have fun with the audience. In fact, it’d be shellfish not to!

Scuttle (Martin Lay) is no bird-brain, and especially excels in the seagull tap number Positoovity. Eric the prince (James Horsmam) is suitably charming, and another strong singer to boot.  Chef Louie (Zander Fick) is first-rate, hamming up the role with every synchronised chop and slice.

Ryan Addyman’s Flounder is instantly likeable and full of youthful naivety. We’re not sure why the script calls for Flounder to be in love with Ariel – a subplot that feels tacked on. I was especially impressed with Addyman’s constantly swaying arms, a nice subtly to suggest fins in motion.

I would’ve liked to see more creative use of the stage and auditorium, and less reliance on projection. The royal boxes could be used to puppeteer fish and sea creatures over the audience, and the theme is crying out for bubble machines. I imagine a lot of the budget was swallowed up – as if by a hungry whale – on the Disney rights though, and I think the cast and company have done a fin-tastic job overall!

A full live orchestra adds a real depth (sea pun) to the score and only occasionally overwhelms the singers. Several of the performers fly but generally the show is lacking in other effects. Ursula could benefit from a smoking cauldron – projected smoke is a poor unfortunate substitute. A few pyrotechnics could really punctuate her spells too, but again the budget might have…fizzled out. Her demise is sadly underwhelming, and could be enhanced with effects and a little more stagecraft. 

Technical issues are perhaps inevitable this early on, but there were a few mic mishaps and the odd sluggish set change. It’s worth remembering this isn’t a professional production though, and I’m sure it will find its sea legs as the run continues. 

Any niggles are minor and don’t cause the show to flounder. With tickets from £15 it’s great value family fun with bags of enthusiasm, a live band and a huge talented cast! At this price, it could be worth splashing the cash on.

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Want to make The Little Mermaid part of your world? The shows runs until Saturday 17th February, and you can book at www.yorktheatreroyal.co.uk/show/the-little-mermaid/

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

Photos by S R Taylor Photography

Jack and the Beanstalk has taken root at York Theatre Royal, and we’ve bean to see it. Here’s what we thought…

Dame for a Laugh

Robin Simpson returns and continues to delight as the dame. Simpson is a master of comic timing, and knows how to take the spotlight but also let others shine. Gags fly thick and fast, and his Elton John pastiche is a joy. There’s a new Legend in town, and we’re thrilled he’s returning for Aladdin in 2024. 

Expect fabulous outfits too. The Clifford’s Tower inspired number is a real showstopper, and the best frock-homage to the city we’ve seen. Dame costume designers Michael J Batchelor and Hazel Fall have done wonderful work. 

CBeebies star James Mackenzie is the panto baddie, Luke Backinanger (get it?!) Adorned with black feathers as a nod to his hit show Raven, he relishes the boos and hisses and has a boy-band backstory to boot! His Freudian exchanges on the therapist’s couch add another dimension, and his Swedish Helga is a treat. 

Nina Wadia is another telly favourite, and plays Fairy Sugarsnap. She isn’t the saccharine-sweet fairy that can so often grate, and adds a fun flair to the role. 

Jack – here in fact Jacqueline – is your typical hero (heroine?) but thankfully the writer avoided any kind of tiresome love story. Played by Mia Overfield she has great vocals and plenty of panache.

Billy (Matthew Curnier) has great energy, but would benefit from more opportunities for silliness and slapstick to really make his mark as the comic male. In the second act his giant balloon antics are fun, and this gets him some of the bigger laughs. 

Mooving On

Gone are the front and back halves of the traditional panto cow, here Anna Soden plays Dave the anthropomorphic talking cow upright on two legs. A mooving performance and a welcome twist with an udderly brilliant outfit. An unexpected highlight, Soden shows a range of emotions as the cow – and even plays the trumpet! 

This year there’s a dog act too, somewhat shoehorned into the first act. Nonetheless, it works – and Zeus is a four-legged star! Expertly trained with plenty of tricks by Anna Auster…this audience gave plenty of ‘aaaahs’ and a big round of a-paws. His interaction with Dame Trot (especially in The Tunnel of Doom) is pure magic. I feel Zeus should’ve returned to help save the day in the second act. 

Musically, the live band is excellent and the sound is rich and balanced. Many of the songs are forgettable though, except for the opening number This is a Pantomime. This set the scene brilliantly, introducing the set, principal characters and dancers. Other song choices are strange; an Eminem rap is dated and the songsheet is predictable. Cow Wash is one of the better songs, but a missed opportunity for bubbles. 

Bean there, done that?

In some ways it seems that this year’s offering is trying to replicate the Theatre Royal pantos of old…from the York video sequence to a largely nonsensical and convoluted plot. We don’t feel these nods to previous shows are needed. When Evolution Productions first arrived at the Theatre Royal, they breathed new life into the festive schedule, and we like that the shows have been refreshingly different. 

Overall, whilst Jack and the Beanstalk isn’t quite as pacey or sharply written as the previous two shows, it is still a more inventive and enjoyable production than most. As a pun-lover, I’m pleased to say the show is full of ‘em. Many go over children’s heads – especially the very specific dog-breed gags and Elton John song jokes – but there are some real rib-ticklers for all ages too. 

Fun, laughter and plenty of festive magic. All in all, a great production that sprouts a few new ideas but keeps the traditional elements well-watered. Speaking of water, our mini Hatters loved the audience water fight!

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Jack and the Beanstalk runs until Sunday 7th January 2024. Book tickets at www.yorktheatreroyal.co.uk/show/jack-and-the-beanstalk

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

Review originally written for The Reviews Hub. Photos by Alastair Muir

Another production of Oliver! but is there a twist, and does it leave me asking for more? You’d be forgiven for expecting A Christmas Carol instead this December, but Leeds Playhouse opt for a less traditional festive offering year on year.

The Quarry Theatre has been transformed to deliver this production in the round. The audience is fully drawn into Dickensian London, and at points this reviewer was mere inches away from the action. Inventive staging across multiple levels features ladders, gantries and at least six entrances, all used to great effect. What a workout for the cast too, as they run, dance and chase each other round the entire auditorium.

From three boys sharing the title role, our Oliver is Nicholas Teixeira aged nine. Teixeira has a real sincerity, and captures the forlorn naivety of the hungry orphan. Where is Love? is deeply moving and incredibly well delivered. Oliver is just one of many children in this production, and they all have bags of enthusiasm. In fact, at points, their energy even outshines the adult ensemble.

Felix Holt’s Dodger is the cheeky chappie the audience expect, and gets many laughs from his jump-kicks and cockney rhymes. He leads Oliver down a path of crime, but is likeable and charming along the way. Consider Yourself is a real winner, as is I’d Do Anything.

Steve Furst as Fagin sensibly avoids a pastiche of Ron Moody in the 1968 film, as seen in so many other productions. Furst puts his own stamp on the iconic character, striking the perfect balance between caring father-figure and crook. He adds a real poignancy, showing a genuine care for Dodger and Nancy, and a deep-rooted fear of Bill. You’ve Got to Pick a Pocket or Two is a highlight, largely down to Furst’s performance coupled with slick choreography. He even plays the violin, adding another string to his bow.

Chris Bennett gives a deeply unsettling performance as downright wrong ’un Bill Sykes. His fiery temper may even scare younger audience members. Inexplicably, his canine companion Bullseye is now human, and takes such a minor role that he could’ve been sent to the doghouse altogether.

Jenny Fitzpatrick as Nancy is a vocal powerhouse; her rendition of As Long as He Needs Me is simply stunning. There is a real depth to this Nancy, from her playfulness with the boys to her loyalty to both Bill and Oliver, and friendship with Bet (Frankie Hart). The duet of It’s a Fine Life gives Hart an opportunity to showcase her excellent vocal talents.

Mr Bumble (Minal Patel) and Widow Corney (Rosie Ede) add comic relief and, along with Mr and Mrs Sowerberry (Harry Waller and Laura Cairns), these ensemble roles are all strong and perfectly cast. That’s Your Funeral is deliciously dark, and features musical mourners and coffins galore. Mr Brownlow (Simon Green) dotes on young Oliver, and shows a genuine paternal warmth. Many of these actors play other roles, and most unite in the rousing Who Will Buy?

Special mention must go to the band, led by Musical Supervisor Toby Higgins. Oliver’s score deserves a rich sound, and the band deliver on every note. Levels are balanced, and the Playhouse resonates with every ditty or melancholy ballad. Perfection.

Director James Brining gives us the Oliver we all know and love but adds a stroke of genius in the staging. Although on the second row, this reviewer and his family were sat at the rear of the auditorium and – despite some blocked views by furniture and set-pieces – we certainly didn’t feel excluded. Every inch of the space is used, and the actors seamlessly ensure that they are playing to the whole audience without it ever feeling forced.

For younger theatregoers, Oliver perhaps isn’t as pacey or interactive as the usual festive fare. A pantomime this isn’t, although Bill Sykes still gets a resounding boo in the bows. That being said, for the most part the children in the audience are as transfixed as their parents. Our eldest son (aged 10) exclaimed “That was amazing!” and noted how diverse and inclusive the casting was. Our youngest (7) especially enjoyed Fagin in a tiara, and the excitement of actors in the aisles.

Oliver! is worthy of a West End transfer, with smart casting, toe-tapping numbers and a dazzling design. You’ve got to book a ticket or two!

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Oliver! runs at Leeds Playhouse until 27th January 2024. Book tickets at https://leedsplayhouse.org.uk/event/oliver/

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

Review originally written for The Reviews Hub

As panto season begins, I packed my spotted nap-sack, tied it to a stick and set off for Harrogate Theatre with my wife and two boys…

London Calling

Dick Whittington follows young Dick as he travels to London with his feline sidekick. Along the way they meet the dastardly King Rat and his legion of rodents, and try to solve the mystery of stolen cash and the location of a magic sword. As pantomimes go, it’s one of the more confusing and convoluted stories but we’re frequently reminded of the key plot points.

Tim Stedman returns as the comic male, this time playing Idle Jack. Part Norman Wisdom, part Mr Tumble, Stedman’s daft charm has been delighting audiences for twenty-three years. Unlike other panto stalwarts, he doesn’t dominate the show and allows his co-stars to shine. Effortlessly likeable, he is a master of physical comedy and delivers gags thick and fast. His custard pie antics in The Twelve Days of Christmas are an absolute treat, in an age where many shows have dropped slosh scenes altogether.

Dick (Naail Ishaq) and love interest Alice (Faye Weerasinghe) have strong vocals, and a believable chemistry together. Ishaq hams up the role with every thigh slap and grin. The character of Mr Fitzwarren is missing here, which should give Alice a larger role but oddly doesn’t. Weerasinghe does her best with a largely one-dimensional role that doesn’t break the panto mould.

Feline Fine

A purr-fect performance from Anna Campkin as Tammy the Cat. Gone are the days of the black-and-white fur suit; here we see an inventive costume and wig cleverly shaped into cat ears. Jazz paws aplenty, outbursts of musical numbers and a TikTok song sheet all make for one cool cat. Tammy was an unexpected hit for your reviewer’s seven-year-old in particular.

Dame for a Laugh

They say there’s nothing like a dame, and newcomer Harry Wyatt joins the cast as Sarah the Cook. Perhaps more drag than dame, Wyatt breathes new life into the role with a youthful energy and more frocks than you can shake a (flashing) wand at. A solid vocalist with some funny asides, but he could benefit from more stage time to really make his mark.

Shannon Rewcroft mixes up the Fairy Godmother formula as Fairy Bow-Bells. In a role that can often become patronising, she turns this bit-part into a feature character and shows real warmth and likeability. Her duet of These Boots are Made for Walking with the baddie is sensational. Later, Rewcroft also plays eco-conscious mermaid Millie Ocean. She makes both roles her own, and clearly enjoys the variety.

By a Rat’s Whisker

Like a gruff Rik Mayall, Michael Lambourne could be one of the best panto villains we’ve ever seen. Treading a tricky line, he is playfully menacing with the crowd without ever reducing young audience members to tears. Rat out of Hell is a real highlight, and Lambourne relishes every boo and hiss. When things go wrong, his exasperation only adds to the fun.

Musically, Dick Whittington is diverse and features everything from Meatloaf, Elton John, The Clash and Celine Dion to a Bond theme and a beautiful slow take on I’ll Be There for You from Friends. Expect showtunes too, and modern hits from Billie Eilish and TikTok favourites. A live band ensures a rich sound, led by Musical Director Nick Lacey. However, the music sometimes overpowers the vocals, especially in the opening London montage where lyrics are almost incomprehensible.

A UV puppet sequence in Act Two is slick and well choreographed, and we meet the Giant Scary Tap-Dancing Jellyfish again later in the inevitable ghost scene. Yes, the formulaic staples are all here but often with new twists. Projection also features heavily, from scampering rats and even rolling credits at the end.

Director Marcus Romer helps keep the action pacey, and there’s rarely a dull moment. Even the love songs are sensibly succinct. Writers David Bown and Phil Lowe ensure a slick script and plenty of local references. Some of these went over this York reviewer’s head, but the local crowd lapped them up.

Harrogate Theatre doesn’t rely on celebrity appearances and gimmicks, instead opting for good old-fashioned family fun with plenty of festive magic and sparkle. Unusually for panto, there’s no smut here…not one double-entendre or obvious Dick joke. Sumptuous sets, dazzling costumes and a strong ensemble performance ensure a good time for all. It’s a tried and tested formula that keeps audiences coming back for more.

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Dick Whittington runs at Harrogate Theatre until January 14th 2024. Tickets can be booked at https://www.harrogatetheatre.co.uk/events/dick-whittington/

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

Looking for some farcical fun, we stretched our funny bones and headed to York Theatre Royal to see Michael Frayn’s Noises Off

Written in 1982, the plot features a cast of actors rehearsing and eventually staging Nothing On. With rehearsal time – and patience – running out, this comedy of errors unfolds not once, not twice, but thrice. That’s right, this is a three-act production with two intervals to allow for set changes. And as the pace intensifies, so do inter-cast relationships, jealousies and bitter rivalries.

We first meet the housekeeper, and I’m absolutely Dotty about Liza Goddard’s performance as…Dotty and Mrs Clackett. I lost track of how many times she said sardines, and how many plates went on and off, but it’s a great running (swimming?) joke. A stellar performance all round, and a delight to watch.

Lucy Robinson’s Belinda Blair/Flavia Brent is the epitome of an ever-positive theatre luvvie, who loves the spotlight as much herself. Her chemistry with on-stage husband Frederick Fellows/Philip Brent (Simon Coates) is perfect. Insecure, Brent questions the book – and his abilities – often, much to the frustrations of director Lloyd Dallas (Simon Shepherd) Simon plays the director with a real believability, and we share in his unenviable task of keeping order.

Lisa Ambalavanar plays Brooke, playing Vicki, and she nails the role of eager-to-please overacting bimbo. Brooke brings added fun to proceedings by ploughing on when all around her is falling apart.

Understudy Mark Middleton plays Garry Lejeune as Roger Tramplemain, and excels at comic timing and knockabout fun. In the third act especially, his physical comedy is wonderfully executed and gets gasps from this audience on every thud. His increasing exasperation reminds me of a young Basil Fawlty.

Nikhita Lesler (Poppy Norton-Taylor) and Daniel Rainford (Tim Allgood) are the stage managers, desperately trying to get the actors to their places, and the show up on time. A sequence where they both keep calling front of house announcements over each other is especially fun. My wife, a trained Stage Manager herself, relished their backstage burdens!

Matthew Kelly appears as the ever-inebriated Selsdon Mowbray. Cue missed entrances as a bumbling burglar, and an unwavering search for a wandering whiskey bottle. I remember Kelly vividly from You Bet and Stars in their Eyes, but he now has extensive theatre credits under his belt. His experience shows, and he wrings every comic ounce out of the role.

We have seen a lot of mishap theatre, from The Play That Goes Wrong and Magic Goes Wrong to Le Nevent Bete’s Dracula: The Bloody Truth. In truth, we’ve seen so much that it feels a little less fresh and original to us these days. That’s no fault of this play, and of course Noises Off pre-dates all of these. If you’re new to the ‘goes wrong’ genre though, you’re in for plenty of unexpected surprises!

Special mention must go to associate movement and fight director Claire Llwelleyn from RC-Annie LTD, as the show is akin to a well-choreographed dance piece. Mark Middleton keeps this in check on tour too, as fight captain. Choreography, especially in the near-silent backstage second act, is undeniably tight and hits every comic beat.

Noises Off is delightfully slick, a riotous romp that builds and builds. There is a real joy in wondering how things will unravel, even for a third time. Director Lindsay Posner keeps the show pacy, and directing a play with in a play must be a tall order. When the curtain finally came down, this Wednesday night audience made plenty of Noise.

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Noises Off runs at York Theatre Royal until November 4th, before continuing it’s UK tour. Book tickets at www.yorktheatreroyal.co.uk/show/noises-off/

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

We stretched our legs and went to the opening night of The House with Chicken Legs by Les Enfants Terrible at York Theatre Royal. Based on the novel by Sophie Anderson and adapted for the stage by Oliver Lansley, we hadn’t read the book so didn’t know what to expect…

The striking design is the first thing that caught my eye. We arrived to a ramshackle house and fences of bones and skulls, silhouetted by a projected cityscape. We soon find out that this is no ordinary house; it travels by chicken legs to aid Baba in her role to guide the deceased to The Land of the Dead.

Helped by Marinka, they greet the dead like old friends, with drinks and bowls of borscht, before helping them through a portal to the stars. 

Music to Our Ears

Live music adds a real richness to the production, and the talented cast work wonderfully together to bring this Slavic story to life. Puppetry adds variety, from Jack Daw the…well…jackdaw…to miniature people, all beautifully articulated. Costumes are all well designed, and the show has a strong style. 

Eve De Leon Allen excels as Marinka, and Lisa Howard adds both comic relief and poignancy as Baba. In the second act Marinka meets Yaga, played by Stephanie Levi-John, who has a real flair for the role and bags of energy. Elouise Warboys play Nina with a youthful innocence, and is another strong vocalist.

Michael Barker as Ben has plenty of boyish charm, and his blossoming relationship with Marinka is heartfelt and believable. Dan Willis is no bird-brain, and puppeteers to perfection – with a convincing squawk to boot!

All the actor-musicians play multiple roles, and this is a truly the epitome of an ensemble affair. 

Legs Akimbo

Technically, a few things were amiss on this opening night too. Set changes weren’t as slick as they could be, lightning cues were missed and sound levels weren’t balanced. Vocals during songs were often hard to hear – especially in the fast and loud ‘Yaga House Party’. 

Was this enough to ruffle my feathers though? No, it’s worth noting that this is the first (chicken) leg of the tour, and the very first performance in this new venue. We had also been forewarned that there may be a few issues, whilst the show nests into The York Theatre Royal. 

Does the house sprout chicken legs? Yes, but sadly this was disappointedly anticlimactic. In a show that’s hatched many clever creative ideas, this visual effect could be achieved more inventively. Once in place, the illusion of movement is strong, but I’d have liked for the appearance to be more sudden, and a bigger reveal worthy of the show’s title.

Niggles aside, this is a show that tells a story beautifully, and combines puppetry, projection and live music with a strong ensemble performance. It’s a complex production that looks ambitious to tour, and I hope it can find its touring feet and really take flight as the run continues. 

For your brood?

Is it a family show? At 2 hours 30 minutes with interval, it’s a lengthy production that isn’t always pacy. Our ten-year-old was restless but, to our surprise, our seven-year-old seemed to enjoy it much more. There isn’t a great deal of interaction but it’s certainly visual and colourful and the songs are memorable. 

The recommended age is 9+ and there isn’t anything particularly dark or scary except some covered faces in skull masks and, later, oversized skull heads during a Day of the Dead Festival. Occasionally, sound effects are speaker-shakingly loud, but our two weren’t phased by this.

It’s worth noting there is a theme of loss throughout, and some scenes are incredibly moving. Death is handled sensitively and as a celebration of life, and it may be a good springboard to discuss loss with younger theatregoers. 

MAGIC RATING

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The House with Chicken Legs continues at York Theatre Royal until Saturday 9th September, before flying the coop and heading to Leeds Playhouse 13th to 16th September. Book for York at www.yorktheatreroyal.co.uk/show/the-house-with-chicken-legs/

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

We’re no strangers to the works of Walliams. We’ve made appointments at The Grand Opera House with both Billionaire Boy and Gangsta Granny, making Demon Dentist our third check-up. But is it routine, or does it need work doing? 

The story features good-as-gold Alfie (Sam Varley) who dotes on his dad (James Mitchell) and hasn’t seen a dentist in six years. New dentist Miss Root (Emily Harrigan) arrives in town, but things aren’t quite as they seem. Coffee-fearing social worker Winnie (Misha Malcolm) soon gets Alfie an appointment and, along with not-girlfriend Gabz (Georgia Grant-Anderson) they unravel a sinister plot.

Familiar shopkeeper Raj (Zain Abrahams) peddles his not-so-special offers again, and lends a ‘hand’ with a little extra comic relief…

The casting is strong, with Sam Varley playing a 12-year-old boy with a youthful energy and naivety. The relationship with his dad is believable and, at times, poignant. Emily Harrigan’s dentist doesn’t stray too far into panto villain territory, but still gets the well deserved boos in the curtain call. She clearly relishes every moment of the role, and has a great singing voice. Songs are a mixed bag, with Miss Root’s solo working well – and the show closing with a rousing finale. Others are a little forgettable, although all are sung well.

Whilst I wouldn’t say the first act was like pulling teeth, it did feel slow-paced at points, and it was clear that some young audience members were getting restless. A fun chase scene gave a much-needed burst of energy though, and the first half eventually built to a solid cliffhanger. 

Credit must go to Jacqueline Trousdale’s slick design, with the set seamlessly transforming from Alfie’s house, school, the dentist, Raj’s gift shop and even a coal mine. A big set-piece with a large vehicle (no spoilers here!) is a highlight. Special effects, a roving eyeball and feline puppetry all add variety.

Demon Dentist has a much darker edge than previous shows, with a few sudden jump scares that had young children around us in tears. Miss Root is deliciously twisted, and the stuff of nightmares…and I’m sure she’ll cause a few! There is also a theme of loss which is worth mentioning. 

The show has some tender and heartfelt moments. In particular, James Mitchell’s loss of independence as Alfie’s Dad tugs on the heartstrings, and his resilience and determination to protect his son is sincere. Misha Malcolm’s social worker Winnie has a real warmth and clearly cares for young Alfie. Her Revel-based mix-up is sweet treat of a routine too!

Overall, the production lacks the comic punch and silliness of other Williams’ stage adaptations. Except for a smattering of toilet humour (and a swinging cat!) there weren’t many solid laughs, and the darker tone may put some families off. 

Demon Dentist sadly lacks any real opportunity for audience interaction too, which has been a staple of so many other Birmingham Stage productions. The audience could’ve easily been involved as the extended congregation during a wedding, or the wider class during a school assembly.

The story is engaging though, and the performances are strong throughout. Our two boys (6 and 9) enjoyed it overall, even if our youngest was scared at points. It just feels like it needs a little more laughing gas and some polishing here and there to really sparkle. 

MAGIC RATING

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Demon Dentist runs at The Grand Opera House York until Saturday 17th June, before continuing the UK tour. Book to see the dentist at www.atgtickets.com/shows/demon-dentist/grand-opera-house-york/

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

The Way Old Friends Do concludes its UK tour at York Theatre Royal. But is it a super (trouper) of a show, or all a bit of a drag? Expect more puns (Mamma Mia, Here I go Again!)

Although I wasn’t Bjorn until 1985, I’m no stranger to the musical magic of ABBA. Super-fan Ian Hallard has written this new comedy, billed as ‘ABBA meets drag’ in a tale of devotion, desire and dancing queens. Partner Mark Gatiss – of League of Gentlemen, Dr Who and Sherlock fame – directs. 

The plot centres around reunited schoolmates Peter and Edward who stumble on the idea to establish the first ever drag ABBA tribute act. They’re joined by excited wannabe actor Jodie, rehearsal room pianist Mrs Campbell and ‘not-a-thesbian-lesbian’ stage manager Sally. 

The cast all give solid performances. As well as penning the script, Ian Hallard plays Peter, and his love for ABBA shines throughout. James Bradshaw’s Edward is both funny and poignant, and the relationship between the two is sincere. 

Some of the biggest chuckles come from simpering Scot Mrs Campbell (Sara Crowe), who has an almost Mrs Doubtfire like quality at times. She’s not as worldly wise as the gender-bending gents, and it’s a treat to see her eyes opened to all that dressing room smut and innuendo. 

Eager-to-please Jodie (Rose Shalloo) is effortlessly likeable, and Donna Berlin’s Sally has bags of feisty attitude, but also plays the role with a caring warmth for her cast. Later, photographer Christian (played here by understudy Toby Holloway) joins the travelling troupe. No spoilers but his character has multiple facets, and Holloway clearly relishes the role. 

For a show that promises ABBA and drag though, we personally didn’t feel there was enough of either. The play is peppered with interesting ABBA facts, and the occasional blasts of hit songs during scene changes, but we see hardly any of the concert that the troupe have put together. There’s the anticipation of their first gig, but then as an audience we don’t get to experience any of it, save for a brief walkdown in full costumes later. 

Knowing Me (Knowing You) I’d have liked to have seen more variety, with the action switching between the band’s performances on stage, and time backstage to further the story. 

That being said, the show is tender and heartfelt. The story is engaging and the cast all work hard to keep the momentum going. There are occasional laugh-out-loud moments, and plenty of low key titters throughout. 

Special mention must go to Janet Bird’s set design. ABBA is spelled out in towering letters, revolving during scene changes to make clever use of the pop-group palindrome! 

With a suggested rating of 14 plus, the show features adult themes and humour based on sexuality, race, gender and even politics. The running time is 2 hours 10 minutes, including an interval so you can nip to the (Water)loo. 

Will you have the Time of Your Life? Maybe not, but if you’re looking for a heartwarming tale of reunited friendships with gentle comedy throughout…this is right on the Money, Money, Money. 

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Want to Take a Chance? Feel Frida to book your tickets at https://www.yorktheatreroyal.co.uk/show/the-way-old-friends-do/

One more joke you say? Oh ok. The first sound cue was really loud…you could hear the drums from Nando’s!

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