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. 

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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.

Heathers the Musical comes to York, so we donned our red scrunchies and enrolled at Westerberg High. The show started off in Los Angeles in 2014, had a West End run in 2018 and is winner of Best New Musical. But is it Big Fun? Find out below…

To be honest, the original 1988 film somehow passed me by so I was going into Heathers with no idea of what to expect. It’s now on my to-watch list! 

Straight off the bat I was reminded of films like Mean Girls and The Breakfast Club. A high school story, full of teenage angst and students vying for the top social spot. Mrs Hatter had seen the film though, and said she thinks I might be surprised. True enough, without spoiling anything there are unexpected twists and turns if you don’t know the story.

With adult themes, strong language, violence and other mature content, the age guidance is 14 plus. High School Musical this ain’t!

Lucky Heathers 

The Heathers are a clique of girls that rule the High School halls. Verity Thompson’s Heather Chandler is the badass bitch of the bunch and relishes every moment of sass and swagger.

Veronica Sawyer (Jenna Innes) as the Heathers geek-to-chic new recruit gets the most stage-time and has powerhouse vocals and a strong performance. Her chemistry with bad-influence love interest Jason Dean is as believable as it is bittersweet. Jacob Fowler plays the unhinged JD with a deliciously dark edge. And boy can he sing! 

Special mention must go to Kingsley Morton’s Martha Dumptruck, and her genuinely moving ‘Kindergarten Boyfriend’ solo. Incredible vocals and a poignant performance.

Alex Woodward and Morgan Jackson add some extra comic relief as High School jocks Kurt Kelly and Ram Sweeney, and spend most of the show in their pants. That’s commitment to their art!

Truly an ensemble affair, the whole cast work tirelessly to pull off a high-energy show with all the hallmarks of a West End production. 

I Want Candy

The show is a visual treat too, and as colourful as a Candy Store. Each of the Heathers are distinctly red, yellow and green (and, later, Veronica in blue) often with lighting to match.

The stage seamlessly transforms from Westerberg High to a 7-11 gas station, croquet garden, JD’s bedroom graveyard, church, bridge  and more. 

The Heathers band never miss a beat, led by Musical Director Will Joy. The band helps get the audience toe-tapping along or hanging on every note. Musically, highlights for me include Seventeen, Dead Girl Walking and Shine a Light. 

How Very 

So how to sum up Heathers the Musical? How very slick, how very polished, how very well choreographed. We’ve seen many other former-West End shows at The Grand Opera House – including We Will Rock You and The Rocky Horror Picture Show – but I’ve never seen an audience quite so enthusiastic and appreciative as last night.

This Tuesday night crowd lapped up every minute, culminating in a standing ovation. How very…fitting!

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With such a big following and rave reviews, expect to pay a premium for the best seats – up to £65. Tickets are available for as little as £29.50 though.

Book at https://www.atgtickets.com/shows/heathers-the-musical/grand-opera-house-york/

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

Photo credits Pamela Raith

The Hatters flew on over to The Grand Opera House to see Chitty Chitty Bang Bang, but does it fly, or chug along? Find out what we thought below…

Adapted from the Ian Fleming novel (yes, the same writer as James Bond…something I still can’t get my head round!) York Stage have given the familiar story wings with this licenced production, directed by Nik Briggs.

Madcap inventor Caractacus Potts is played by Ned Sproston, who has plenty of eccentric charm and great chemistry with Truly Scrumptious (Carly Morton). Morton delights with powerful vocals and a genuine warmth.

Some of the biggest laughs come for Vulgarian spy duo Goran (James Robert Ball) and Boris (Jack Hooper) We saw Hooper play Mr Poppy in Nativity the Musical last year, and Boris here shows his versatility – we barely recognised the playful man-child of a Teaching Assistant from December!

Alex Papachristou’s Baron is a triumph of casting, and the Baroness (Jackie Cox) makes for the perfect pairing. They both have excellent comic timing, and Cox’s reaction to hearing that children have been spotted is a retching delight.

Speaking of children, we saw Esther De La Pena as Jeremy Potts and Eady Mensah as sister Jemima. Both excelled, with confident stage presence, great vocals and plenty of energy.

Grandpa Potts (Mike Liversidge) has a believable relationship with his grandkids, and Posh (with a capital P!) featuring the three of them is a joy.

Richard Barker’s Childcatcher is sublime, and genuinely unsettling. Maintaining the character right through to the final curtain call, Barker wrings every ounce of creepy from this iconic role without venturing into panto villain territory. The stuff of nightmares.

The whole cast work together like a well-oiled (flying) machine, and this is the definition of an ensemble production. Special mention must go to the child actors who will have had a very busy Easter holidays fulfilling a packed schedule of shows!

A highlight for me and Mrs Hatter was the beautiful music box sequence, with Carly Morton mastering every twitch and gesture of a robotic rotating doll. As a routine it works like…well…clockwork!

Other stand-out moments include the toe-tapping Me Ol’ Bamboo featuring dazzling choreography, the poignant Hushabye Mountain and of course the phantasmagorical flying car. I won’t say too much about the car, except that we feel that Dress Circle seats may be the best position to full appreciate the technical wizardry and keep the magic alive.

I was fortunate to see the original West End production with Jason Donovan as Caractacus Potts, and the late Stephen Gately as The Child Catcher, and it was a real spectacle. Obviously a top London production has more under the bonnet in terms of production values and budget, but York Stage do an incredible job of staging such an elaborate and technically complex show.

A live orchestra ensures the fantastic score shines throughout the production, expertly led by Musical Director Adam Tomlinson. One or the two of the stage-specific numbers are less memorable but overall the songs are a treat for the ears!

The action never stalls, and our two boys (6 and 9) loved every minute. They weren’t familiar with the story, but are now itching to watch the movie on our next family film night. Tickets start at around £22, a fraction of the price of a big West End production and a chance to support local talent. It’s a lot of BANG for your buck!

A truly scrumptious night out for fans of flying cars, musicals and great family theatre!

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Chitty Chitty Bang Bang takes flight until Saturday 15th April. Book your tickets at www.atgtickets.com/shows/chitty-chitty-bang-bang-presented-by-york-stage/grand-opera-house-york/

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

Told by an Idiot bring their touring production of Charlie and Stan to York Theatre Royal, telling the remarkable story of the greatest comedy double act that nearly was…

Silence is Golden

The entire 90-minute production is non-verbal, in-keeping with the silent comedies of yesteryear. The action is underscored though by music throughout, with some real toe-tappers along with percussive thuds and clangs to punctuate the slapstick.

There are two songs which aren’t captioned but, helpfully, the lyrics are available to download on Told by an Idiot’s website, which could be a big help for deaf audience members.

A Motley Crew

Danielle Bird’s Chaplin hits all the right notes with every look, nuance and silly walk. A routine with an audience member from the front row is a thing of beauty. Bird captures the innocence and naivety of Chaplin’s clownish charms, and is a joy to watch throughout.

Jerome Marsh-Reid as Stan gets strong reactions with more slapstick and silliness. Chaplin puppeteering his limp, dead body during a nightmare sequence is an unexpected highlight…and how they keep a straight face is anyone’s guess! He makes difficult physical manoeuvres look effortless, and the chemistry alongside Charlie is believable. It had me wishing the two greats were actually paired up together in real life, what a double act that would have been.

Sara Alexander portrays several roles too – including Chaplin’s mother – and also tinkles the ivories throughout. She’s adept at playing the piano; sometimes even one-handed whilst simultaneously ringing a reception bell on each comic beat. Like the others, she can tell a story with a knowing glance or even a pause between a plonk of the keys. 

Nick Haverson plays multiple roles, from a theatre impresario to Chaplin’s alcoholic dad and an astonishing accurate Hardy – complete with gaffa tape moustache! His characterisation in every role is tight, and his slapstick slick. He’s also a whizz on the drums, and this adds another musical dimension to the show.

The whole cast work together like a well-oiled machine, and the show is a love letter to two legends of vintage comedy. Kudos must also go to writer and director Paul Hunter, and Jos Houben as Physical Comedy Consultant, as much of the knockabout fun is honed to perfection. 

Ship-Shape 

Ioana Curelea’s set design is relatively simple but works wonderfully, allowing the audience to really focus on the action as it unfolds. The main setting is a ship with billowing foghorn, sleeping quarters, a moving gangplank…and even seagulls. Actors tumble and prat-fall around the deck, drop things overboard and engage in all sorts of nautical nonsense. A few select words are projected onto a curtain reminiscent of the storyboards of the silent films of old. 

Moving Pictures

I expected comedy, but what I wasn’t prepared for was just how genuinely moving the story is. In particular, the relationship between Chaplin’s ill mother and drunk father tugs on the heartstrings, and there is a real pathos at points.

Overall I would say that young children would find the pace too slow, and the story too difficult to follow. Along with a lack of interval, the running time may be too long for young attention spans too. However, there were a few older children and teenagers in last night that seemed to enjoy the production.

It’s not aimed at children specifically though, and adult fans of classic comedy will find plenty to entertain and amuse. It’s certainly spurred me on to find out more about silent films from a bygone era. And who knows, maybe more silent comedy will find it’s way into my own shows too (unlikely, I even dress loud!)

Charlie and Stan has four and five-star reviews by the suitcase full, and it’s easy to see why.

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Charlie and Stan runs at York Theatre Royal until Saturday 18th February at York Theatre Royal, tickets at www.yorktheatreroyal.co.uk/show/charlie-stan/

Find out more about the UK tour at www.toldbyanidiot.org/charlieandstan2023

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

As the January cold-snap set in, we decided Jurassic times call for Jurassic measures. A visit to Jurassic Earth at The Grand Opera House was in order because…well…who doesn’t like dinosaurs? I’m still a fan, and my favourite film of all time is the original Jurassic Park. A classic.

But is it REX-cellent, or a dino-SNORE? Find out below! Oh and expect more puns (saury, not saury…)

A Blast from the Past

Janelle Thompson as Professor Matilda Bartholomew Hulme opens the shows and is instantly likeable. It quickly becomes clear that audience participation is encouraged, and the little dino fans lap it up (as does this big dino fan!)

Alex Clifford’s Ranger Danger is your Chris-Pratt-alike here, and keeps the dinos in check. The children have no hesitation in joining in with his training sequence, although this did seem to run a little long and interest waned towards the end. We don’t see Ranger Keys (Sophie Coward) all that often, but she shines when on-stage too.

Make no Bones About It

Doctor Bones (Leigh Rayner) gets some of the biggest laughs – a comment about Ranger Danger in a crop-top nearly made me choke on my Maltesers! Rayner is a consummate pro, and clearly knows how to engage the young audience. Bones stands out in that her role is very much character-based, and so contrasts the other straighter roles well. Whether it’s dino-tastic facts or humerus (bone pun) asides, she’s an asset to the show that we’d love to have seen more of.

A raptor-rap could be fun, as she casts off the Doctor’s love of long lectures in a modern twist! Just an idea. Or, copyright-permitting, a remix of Aqua hit Dr Jones? A bit of nostalgia for us oldies.

The cast all work hard to bring history to life, and are full of energy and enthusiasm for the theme. The size of the cast also adds value and makes the production feel bigger. This is an ensemble production with everyone pulling the strings…and rods, and tails!

Comparisons to similar shows are inevitable, so how does this differ? Unlike others which see each dinosaur brought on, talked about and then taken off, Jurassic Earth features more variety and more interaction. From Ranger Danger’s training routine, to a stomping dinosaur song and slapstick with a tranquiliser gun, there’s plenty on offer to mix things up. Perhaps it’s not as fact-packed as it could be, but it is fun – and we’d take that over facts any day!

There’s a plot too, following a mysterious dinosaur egg and new trainee Ranger Rookie (Daisy Leigh) and her attempts to earn a coveted Ranger badge. The audience are rooting for her to pass her training, and we’re pleased to say – spoiler alert – it’s a happy ending! Daisy plays Rookie well, with a bumbling naivety and plenty of ‘oops’ moments.

A Tail of Two Halves…

…well, one actually! At one hour and fifteen minutes without an interval it’s an ideal length for dinosaur fans. The action keeps the audience interested, and there’s a good variety of dinosaurs on display. Each beast is puppeteered to perfection, and you’d be forgiven for thinking that scientists had finally mastered DNA splicing from amber.

From Emily the Brontosaurus, to a pair of Raptors, a Spinosaurus, Carnotaurus and a Triceratops – there are plenty of fan favourites here. Of course, Zeus the T-Rex stands out, and is given plenty of stage time at the end. Unlike other productions, this Rex wasn’t too ferocious – and volume levels were set sensibly – so children weren’t reduced to subsequent nightmares! Seriously, in another production the bass was cranked up and ol’ Rex had children cowering in the Stalls, and many exiting in tears.

In this production, a child is gently encouraged to not only join Zeus on stage, but to retrieve a Ranger badge from his very jaws. Not an easy task, and that’s the tooth of the matter! Again, the cast know how to facilitate this moment carefully and are clearly experienced at working with children.

Director Sharon Lancaster has delivered a ROARsome show of truly Jurassic proportions. The dinosaurs look great, but credit must go the hard-working cast and crew who pull off a prehistoric marvel.

When it comes to dinosaur shows…nothing tricera-tops this!

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To find out if Jurassic Earth is stomping it’s way to you, you can visit the official website, check tour dates and book tickets at www.jurassic-earth.co.uk/tour-dates. You can even pre-book VIP tickets with top-tier sets, and a pre-show meet-and-greet with some of the smaller dinosaurs. A must for diehard dino-fans, and a great photo opportunity too!

Based in Yorkshire? It’s coming to the Royal Armouries in Leeds on Sunday February 26th. Book tickets before they go…extinct!

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

On a cold but sunny December day we returned to Northwood’s Trail’s Fairy Sanctuary, having reviewed the Fairy Trail and Magician’s Bothy at Jollydays Glamping earlier this year…

Branching Out

The forest experience was as magical as we remembered, in fact even more so with the added lights. A day out in the fresh air was just the tonic before the big day too! Bring wellies though, it’s muddy in parts.

This was our first visit at Christmas though so what did we make of it? Our experience was running nearly thirty minutes late, and it wasn’t explained why so there was some confusion and unrest amongst the large group of 40-50 people. Eventually though, the host arrived dressed in green carrying a bowl of glass beads.

Don’t expect a soft toy or book as a gift here, instead children get a more symbolic magic wishing stone (the glass bead) and a small chocolate coin. The stone is used to make a wish with Lady Winter, a wish that can only be made to help themselves or help others.

A nice touch in a world of wishing for ‘stuff’, and children were excited to receive a silent nod or bow from Lady Winter…indicating the presence of fairy magic!

After dropping one stone in a well, and saving one to take home, it was on to meet the big man himself. Northwood’s take on Santa is a much more authentic St Nicholas, complete with grey beard and flowing green robes. It was disappointing though to see him stop his music with his phone, and jarred with this ethereal take on Father Christmas.

Picture This

His woodland den is a marquee decked with hundreds of twinkling lights, glistening ornaments and fairy houses. A stunning setting, and beautifully designed. Unfortunately though St Nick is fully backlit with the fairy lights and his face is in shadow so some expression is lost. This also means a photo opportunity at the end doesn’t really work, and using a flash only washes the scene out.

Those wanting a photographic memento of the day may be left disappointed. A shame, as Santa is resplendent in his green robes and glowing wreath. I couldn’t get any useable photos in the marquee, so this shot comes from the website, and a previous set design.

There isn’t a one-to-one with Santa here either. St Nick asks all the children their name and, later, asks a few what they want for Christmas. He involves them in the story too, but there isn’t time for the more personal moments that some families would hope for.

These issues aside, the visit is uniquely different in its focus on forest magic, fairies and storytelling over toys and elves. Whilst older children and teens seemed disinterested, many children in our group were enchanted by the tale of Silver Cloggs the fairy. The concept of exploring the origins of fairytales (and fairy tails) is interesting, and our two boys – aged six and nine – were gripped for the most part.

The story is long and a little complex for very young children but well told, and there is some interaction. However, I feel like a trimmed story, more interaction and more time to meet with St Nicholas at the end would make for a better experience all round.

Mulling it Over

The visit lasts around an hour, and includes a cup of mulled wine or non-alcoholic punch for the adults. We enjoyed this in the magical café, which fits the rustic woodland theme. A mini hot chocolate went down a treat too.

Be sure to take a peek in the enchanting Fairy Museum too, a treasure trove of trinkets and imagination-sparking artefacts.

At £12.95 for children and £16.95 for adults, we were at surprised at the higher ticket price for the accompanying parents, even with the mulled wine or punch. The family ticket option at £49.90 is a saving of almost £15 on the individual tickets and seems better value.

This isn’t your typical Santa visit, there’s no talk of naughty or nice (thankfully, as we’re not fans of this whole concept), and little emphasis on presents, elves and reindeer. One to consider if you’re looking for a alternative that does away with all the glitter and trappings of the season in favour of a more gentle and authentic experience.

It’s refreshingly different, and with a few refinements it could be really magical. Tickets start at £12.95 and can be booked at https://northwoodtrail.digitickets.co.uk/tickets

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These ratings are based solely on the Christmas offering. We highly recommend the Fairy Trail all year round as a magical outdoor experience.

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

The Hatter family loved Cinderella last year and we applauded the theatre for bringing something fresh and new to York, even dubbing it the best we’d seen in many a year! With expectations soaring, we set sail for this year’s festive offering by Evolution Productions….

As the name suggests, the All New Adventures of Peter Pan is not the beloved tale of the boy who never grew up. Yes there are similarities, but the creative team go to great lengths to make the show different – from renamed characters, subverted roles and plot tweaks aplenty.

Motley Crew

Jason Battersby takes on the title role of Peter Pan. He flies and tumbles through the air with ease, and acts and sings well too. From Now On and Take That hit Rule the World are both highlights. Elsewhere, Revolting Children and Proud Mary are the real crowd-pleasers!

Robin Simpson dons the frocks n’ wigs again, this time as Mrs Smee….more maritime than Manky. He’s a credit to the show – and to the world of panto – and it’s our magic wish that he returns year on year. He could quickly become the new dame in town!

Paul Hawkyard’s Captain Hook strikes a balance between being menacing but not entirely ba-ba-bad to the bone (Cinderella 2022 reference!) A self-confessed fan of the boos, he relishes every moment. His mop-swinging song solo is a clean sweep of entertainment, featuring strong vocals and a rocking guitar riff. He really had a handle on it (sorry, not sorry!)

Faye Campbell also returns to York, switching Cinder’s rags for Lizzie Darling’s PJs. Bubbly and likeable, she connects with the audience quickly and has that childlike enthusiasm and wonder that is hard to fake. Another strong vocalist too, especially in duets with Pan.

BAFTA award-winning Maddie Moate is the CBeebies link for this year, and is a triumph of casting. A perfect Tinkerbell, she looks the part and, crucially, plays the feisty fairy to a tee. As with Andy Day last year, her presence as a TV star doesn’t dominate the show. Oh and she rocks those funky glittered Converse! Do You Know who might fill the spot next year? Mr Tumble? Mr Bloom? Time will tell!

Jonny Weldon as Starkey adds even more comedy, with plenty of jokes and all the daft silliness you’d expect from the role. He quickly became a firm favourite with our two boys.

Special mention must go to acrobatic troupe The Black Diamonds who come on leaps and bounds (literally) and add a similar circus element to last year’s aerial hoop act. A limbo act sets the bar very low…and no that’s not a criticism!

Barrel of Laughs

Gags fly fast, and the show packs in more puns than you can shake a hook at. To reveal any here would spoil the fun, but a fish-based routine is pure nautical nonsense! Yes, not every gag hits – something I can relate to in my own shows – but some really stand out, and extra fun comes from gags occasionally flopping like a…well…wet fish.

From slapstick comedy and boat-based shenanigans, to gently teasing an audience member, it’s easy to find your happy thoughts in this production.

Flagging Things Up

At 2 hours and 30 minutes with an interval, this is a long panto for little landlubbers. It could perhaps benefit from a few swings of a cutlass here and there, a few minor chops and edits. Like a well-dressed crocodile, it would make the pace more…snappy. I imagine this will come later (alligator) as the run progresses, and the cast sink their teeth into the material.

The show felt like it got off to a slow start; introducing the characters and having to highlight differences to JM Barrie’s story all took time. It wasn’t the punchy opening we expected, but once it got going…boy did it fly!

Highlights for our young swashbucklers (6 and 9) include the dazzling special effects, the fish jokes and a wondrous projected sequence. In short, they were hooked. And that’s no surprise…this production is, after all, ship-shape!

As with last year, it’s refreshing to see another panto with an engaging plot, no egos and no smut. If you’ve been treading water with the same old shows for years, give York Theatre Royal a try. Expect plenty of flying, sumptuous sets, slick choreography and more than a sprinkling of theatrical magic.

The All New Adventures of Peter Pan flies the flag for family entertainment. Yo ho…and a bottle of FUN!

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Drop anchor and hook your tickets at https://www.yorktheatreroyal.co.uk/show/all-new-adventures-of-peter-pan/

And if you’re feeling really organised you can even book now for Jack and the Beanstalk in 2023 for more fe-fi-fabulous entertainment!

Photo credits Pamela Raith

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

Review originally written for The Reviews Hub

Billed as a dazzling reinvention of the successful West End production, Charlie and the Chocolate Factory flies in to Leeds Playhouse this holiday season. But is it a fudgemallow delight, or a stinking bowl of cabbage soup? The Hatter family took The Great Glass Elevator up to Leeds Playhouse last week to find out…

Based on the beloved Roald Dahl story, the plot follows young Charlie Bucket as she wins a tour of Wonka’s wondrous factory. She’s joined by four other winners, who aren’t all as gracious in accepting this golden opportunity. Personalities clash and all is not what it seems, as the lucky recipients delve deeper into Wonka’s weird world.

The ticket winners are all played by adults. From gum-chewing Violet Beauregarde (Marisha Morgan) to sausage munching Augustus Gloop (Robin Simoes Da Silva) and media-obsessed Mike Teavee (Teddy Hinde), they each bring out the worst of their despicable personalities. Kazmin Borrer’s Veruca Salt delivers a perfect portrayal of a mid-dance tantrum, and she’s the daddy’s girl you’ll love to hate. A real bad nut.

Michael D’ Cruze is heartwarming in his portrayal of Grandpa Joe. He captures the geriatric charm of a doting grandad, and we’re all rooting for him to get to the factory.

Leonie Spilsbury’s Mrs Bucket is an unexpected treat too, with powerful vocals and a beautifully emotive rendition of Candy Man tugging on the heartstrings.

The Oompa Loompas are robots, and clearly unsettle some younger children. Our own six-year-old was spooked by these faceless factory drones. This isn’t the saccharine sweet world of Wonka you might expect, and it’s worth noting that the suggested age range is seven plus.

A live orchestra adds a real richness of sound, led by Musical Director Ellen Campbell. Fans of the 1971 film will recognise classics such as Pure Imagination and Candyman, but it’s also choc-full of new songs by Marc Shaiman and Scott Wittman. Almost Nearly Perfect stands out, and Doncha Pinch Me Charlie gets the audience toe-tapping along.

Special mention must go to Simon Higlett’s sumptuous set design. The Quarry Theatre is transformed into a world of pure imagination, particularly in the first act where we visit a towering dump, the Bucket’s shack of a house and – ultimately – the entrance to the grand factory. Steampunk looks to be an influence throughout.

Projection is perhaps overused in the second act, and in all honesty the reveal of The Chocolate Room is anticlimactic. That being said, there are some fantastically inventive multimedia tricks, but I’m glad that The Great Glass Elevator is a physical effect. I tip my top hat to illusion consultant Chris Fisher too, who conjures extra theatrical magic. There’s plenty to enchant and amaze.

Director James Brining creates a world of pure imagination, a fantastical feast for the senses. Like a selection box, there’s something for everyone…with some unexpectedly dark chocolate moments, transitions as smooth as caramel and a sweet finish. You’ll be hungry for more.

This festive season, Charlie and the Chocolate Factory is a scrumdiddlyumptious alternative to a pantomime. It’ll raise your spirits faster than a fizzy lifting drink, and you’ll leave on a sugar-high of excitement.

Worth a visit? I should cocoa!

MAGIC RATING

VALUE FOR MONEY

OVERALL

Book your golden ticket at https://leedsplayhouse.org.uk/events/charlie-and-the-chocolate-factory/

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

Kicking off our Christmas shows, the Hatter family headed to see Nativity! The Musical. Pick Me Up Theatre have picked up the rights to adapt the classic film for the stage, and fill this pre-pantomime slot at Grand Opera House York.

Based on the 2009 film (one of our favourites!) the story follows primary school teacher Mr Maddens’ attempt to stage a nativity play, with hapless teaching assistant Mr Poppy both helping and hindering. A little white lie gets out of hand and soon the whole town believes that Hollywood producers are coming to film the show. The web of lies untangles, but there’s plenty of comedy and festive fun along the way!

Audiences can expect all the jokes, songs and silly situations from the film. There are new songs too, but in all honesty these are a mixed bag and some are forgettable – it’s the classics from the film that really shine. Highlights include Nazareth, She’s the Brightest Star and toe-tapper Sparkle and Shine. Out of the new songs, we especially enjoyed My Very First Day at School and the touching, Dear Father Christmas.

Gone to Coventry

It was clear from the start that Pick Me Up wouldn’t be scrimping on production values. Visually, it shone throughout, with some fabulously festive costumes and stunning sets. Clever use of scenery and props helped create everything from Madden’s living room to the headteacher’s office, Hollywood boulevard and – eventually – Coventry Cathedral.

A huge cast bring the story to life, under the helm of director Robert Readman. Large dance numbers choregraphed by Lesley Hill are full of energy and pizzazz.

Stuart Piper makes his company debut as Mr Maddens and makes for a believable primary school teacher. He has some wonderfully poignant moments as he reflects on his relationship with Jennifer Lore (Toni Feetenby) Not nearly as grumpy as Maddens-turned-Hobbit film actor Martin Freeman, he is instantly likeable and effortlessly engaging.

The comic foil to Maddens’ stoic professionalism, Mr Poppy is the classroom assistant any pupil would dream of! Silly, playful and anarchic, Jack Hooper plays him with naïve charm and bags of energy. Comparisons to the film are inevitable, but Hooper manages to stamp his own identity on the role. A real highlight for us and our two boys, the mini Hatters loved his daft impressions, funky dance moves and childlike personality.

Stuart Hutchinson’s delightfully theatrical Gordon Shakespeare – teacher at posh rival school Oakwood Academy – milks every moment, and almost ventures in panto villain territory. Speaking of villains, he even plays Herod in a rock opera and clearly relishes the role. ‘Camp as Christmas’ critic Patrick Burns (Jonny Holbeck) gets some big laughs with some fabulous lines.

In such a large cast there are too many roles to mention individually, but the whole team work together well as an ensemble spanning almost all ages.

It’s a Cracker

‘Never work with children or animals’ goes the dated old adage, but this show does both! Cracker the dog could’ve been easily omitted from the script but, no, Pick Me Up bring in an actual four-legged friend. There were shrieks of delight at the stage door afterwards where audiences could meet the cast, both canine and human.

Two teams of children shares the roles of the pupils. Our cast had bags of enthusiasm and energy, with some real aah moments amidst all the gags and funny auditions. There are some excellent singers too, with Beau Letrin as Star standing out in particular. Her confidence and vocals – even when flying high above the stage – is a treat! Jonah Haig as Ollie is a strong performer who I suspect will go on to bigger things. All the children were confident and didn’t seem phased by first-night nerves. Crucially, they all looked be having fun!

Silent Night

Unfortunately though, some lines and vocals were lost on this opening night due to a lack of microphones. With such a large cast, I can appreciate that it would be hard to effectively amplify everyone, but it’s a shame that some performers – especially the children – lost their moment in the spotlight as they fell almost silent.

Whether the production needs more floor mics, or some creative use of actors standing closer to those who do have microphones, I hope that it can be fixed as the run goes on. The live band are excellent, but they also regularly overpowered the vocals.

The only other niggle is that the shows runs long, and sometimes doesn’t feel as pacey as it should. Like a sheep in the nativity stable, it could use a little shearing. These are minor quibbles though, and the production is a testament to all the hard work and effort the team have put in.

The Gospel Truth

It’s worth noting that this is not the same professional production of Nativity! that is touring the UK. However, Pick Me Up have done an incredible job of adapting the show for the stage with a much smaller budget. Listed as an amateur production in the programme, don’t let that put you off as I’ve seen professional shows that don’t match the energy, dedication and production values of this theatrical treat. The fact that an amateur organisation can pull off such a feat is nothing short of Christmas magic.

Nativity! has that festive feel-good factor that is hard to describe, and even harder to engineer. I defy anyone to leave the theatre not humming Sparkle and Shine…oh boy is it catchy!

MAGIC RATING

VALUE FOR MONEY

OVERALL

Nativity! The Musical runs until December 3rd, with tickets from £22.90. Like the travelling Magi, be a wise man (or woman) and book your tickets at www.atgtickets.com/venues/grand-opera-house-york/.

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