I’ve always been fascinated by dinosaurs. As a young Hatter the original Jurassic Park hit the cinemas and I was instantly hooked on these ROARsome beasts. As an old(er) Hatter, I proudly display the iconic Jurassic gates and T-Rex in Lego – and it’s still my favourite film! 

Dinos make the leap from screen to stage here, with Dinosaur World Live currently touring the UK. The production has toured the US, London’s West End and theatres up and down the country for a number of years. Audiences can expect a spectacular history lesson featuring a myriad of monstrous dinosaurs…some friendly, some less so!

Etheria Chan plays Miranda, daughter of a palaeontologist and something of a wild-child herself. Her boundless energy keeps the show pacey, and she is instantly warmed-to by the young audience. Part narrator, part historian and part explorer, she works the crowd and seems to thrive off the reactions from the audience.

All your classic dinos are here, from velicoraptors, a triceratops and T-Rex to perhaps the lesser known Giraffatitan and Segnosaurus. With interesting facts throughout, Miranda does a great job of imparting the history and keeping it lively and engaging.

Walking with Dinosaurs 

The puppetry is akin to shows like War Horse or The Lion King, with cleverly articulated wearable dinosaurs alongside smaller rod and hand puppets. The creative team bring the dinosaurs to life with prehistoric precision, and it’s easy to look past the performers and believe you’re seeing living, moving creatures of the past.

Inviting children up on the stage, it’s a delight to see them react to the puppets as if real…a little nervous at first, then curious and finally intrepidly facing – and even feeding – the dinosaurs. 

D’ya think he heard us?

A word of warning for little ears…Dinosaur World Live is loud! Whether it’s the screams from Miranda or the suitably fierce T-Rex roars, there were a few tears from unsettled children. The puppets too are incredibly realistic, and jokey comments about dinosaurs eating young children only exacerbate the waterworks! 

The suggested age is 3+ but we saw much older children visibly upset, and would suggest – even on volume alone – that it’s more suited to 5 or 6 and up, but of course each child is different. Upset children were soon reassured by Miranda though, and the pace of the show meant the bigger and scarier beasts weren’t on stage too long.

Brief trauma aside, for the right age group Dinosaur World Live does a REX-cellent job of bringing the extinct back to life. And, with the recent film release of Jurassic World Dominion, dinos are the current hot topic once again…although to be honest, they never stopped being cool! Big kids too seemed to enjoy the dino-antics, and there are some truly impressive moments…with the T-Rex being, quite literally, head and shoulders above the rest.

Jurassic proportions?

Coming in a little short at only 45 minutes, we were expecting a longer show – however it’s an action packed production with plenty of variety and lots of interaction. Tickets are around £14-18 each depending on the venue, so it still represents good value compared to many shows. A shorter length may also be a Jurassic ‘Perk’ if bringing young children who get restless easily!

The meet-and-greet at the end was somewhat chaotic and rushed, but the children loved the chance to pet a baby T-Rex. At a previous performance they had another dinosaur out too though, which helped to spread the excited crowds out. 

Our 6 and 8-year-olds really enjoyed it, and picked up a few new facts along the way!

MAGIC RATING

VALUE FOR MONEY

OVERALL

Dinosaur World Live continues to stomp, screech and ROAR it’s way around the country. Find out more and book tickets at dinosaurworldlive.com

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

Magic…going wrong? Clearly this is something that I, as The Magic Hatter, know very little about. Ahem. Ok, fine! It has happened, thankfully not too often, but hey…nobody’s perfect!

Magic Goes Wrong though relies on it all going wrong. Not just slightly but badly, catastrophically and sometimes downright dangerously wrong. And Mischief Comedy know how to do wrong…right!

Vegas duo Penn and Teller collaborated with the team, and their influence is clear. I grew up watching their television specials in the nineties, and the pair specialise in shock magic – and in exposing tired old tricks, then doing them again with a twist. This theme permeates Magic Goes Wrong; an illusion goes wrong and we see how it works, then – boom – the trick still works out, leaving the audience baffled!

The action is framed around a fundraiser for Disasters in Magic, with the acts putting on a benefit show for donations. All of the clichés of magic are here, from rabbits and doves to silk handkerchiefs and top hats. The show also takes inspiration from more modern magic too, with The Blade (Kiefer Moriarty) a spin on magicians like Criss Angel.

He risks life and limb (quite literally!) with some dangerous magic which – you guessed it – doesn’t always go to plan. His card stab (emphasis on the stab!) and water torture escape are both brilliantly done.

Sophisticated Comedy

The Great Sophisticato (Sam Hill) acts as compere, and honours his late father by performing some of his beloved routines. His dead dad was apparently crushed by magical props as his attic gave way under the strain…perhaps a wake-up call, as my own attic groans with all manner of magical apparatus!

His dove act is a real highlight, packed with productions that send feathers flying – and the subsequent clean-up is delightfully bird-brained!

Mind over Matter

The Mind Mangler (Rory Fairburn) brings mentalism to the table, with plenty of pseudo-mindreading packed with gags and silliness. Whether revealing names, colours and chosen cards or playing Russian Roulette with a broken bottle, this wannabe Derren Brown rarely gets it right but the audience are very much rooting for him to succeed.

In the second act he claims to contact a dead relative, however this routine falls a little flat and is the only dead time (pun-intended!) in an otherwise pacey performance.

German duo Bar and Spitzmaus (Chloe Tannenbaum and Jocelyn Prah) bring acrobatics, contortion, quick costume-changes and efficient German humour to the proceedings. Perhaps a nod to Siegfried and Roy, the pair add some extra variety and vaudevillian fun…watch out for that bear though!

Even as a magician myself, I’m not a big fan of card tricks, and I personally find a lot of them can be very dull and samey. However, the Goes Wrong team (along with Penn and Teller) have developed some truly quirky and unusual card reveals that make even the most mundane ‘pick a card’ trick exciting and unique. A roving cameraman and giant screen allow the performers to deliver close-up for a packed theatre audience.

Do two Wrongs make a right?

Overall, Magic Goes Wrong didn’t seem to flow quite as well as other Goes Wrong shows. I think this is largely down to the fact that the audience knows each illusion has to…well…go wrong. In The Play that Goes Wrong for example, the failings were more random and sporadic, and so there was a greater element of surprise. That being said, this was still a hilarious show – full of inventive ideas, some great magic and lots of laughs!

Is it family friendly? I’ve no doubt that much of the magic and silliness would amaze and amuse young audience members. However, there are some gory moments…with the end of the first act proving particularly grisly! No spoilers here, but let’s just say I don’t think younger audiences would have the ‘stomach’ for it. A bloody good presentation of a classic trick though!

With top-tier seats at £42.50 each this could seem like a quick way to make money disappear, with no magic wand required. However the show boasts high production values, large-scale illusions and a varied cast of characters. Magic Goes Wrong features all the razzle dazzle of a big magic show. Audiences can expect pyrotechnics, confetti cannons, a sumptuous set, fabulous costumes and a great lighting design. A magical night out!

Right, time to go and reinforce our attic…

MAGIC RATING

VALUE FOR MONEY

OVERALL

Magic Goes Wrong is playing at York Theatre Royal until Sunday May 1st, before continuing the UK tour.

Tickets range from £23 to £42.50 and can be booked at www.yorktheatreroyal.co.uk/show/magic-goes-wrong

Photos by Pamela Raith

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

Despite our eldest son melding two musicals and saying he wanted to watch ‘The Little Shop of Rocky Horrors’ (!), myself and Mrs Hatter booked a babysitter and set out for a child-free night at the Grand Opera House York

Having not seen Rocky Horror since 2006 at the New Wimbledon Theatre, we were looking forward to this 2021-2022 World Tour production with great antici…

…pation!

“It was great when it all began…”

The show certainly doesn’t get off to a Rocky start, and opens with Science Fiction before introducing the lovestruck couple from Denton. Strictly Come Dancing winner Ore Oduba as Brad has bags of nerdish charm and a great singing voice. Partner Hayley Flaherty’s Janet plays the transition from innocence to sexual awakening perfectly, and is perfectly cast for the role.

Kristian Lavercombe’s Riff Raff is as strong as ever. He was playing the role when we saw Rocky fifteen years ago…and has an eyewatering amount of performances under his belt! In fact this was his 1999th performance, he’ll cross the 2000 threshold on March 16th. An incredible feat and amazing performance all round, with a nod to Richard O’ Brien’s iconic performance but his own take on the character too. When it comes to casting, this isn’t…any old Riff Raff!

Let’s be Frank

Stephen Webb plays alien transsexual Frank N Furter. Comparisons to Tim Curry are inevitable, and I don’t think anyone could fully fill those boots (or heels) However, Webb gives a solid performance. Like a muscular Eddie Izzard, he thrusts his way through Sweet Transvestite and flirts outrageously with Brad, Janet and his man-creation Rocky. Every cheeky nod, wink and gyration is here, and he whips the audience into a frenzy. For me, Webb really shines towards the end with his powerful and emotional rendition of I’m Going Home.

Ben Westhead embarks on his first UK tour as muscle-man Rocky, and is clearly having a great time. His enthusiasm brings bundles of energy to Sword of Damocles. Joe Allen plays both leather-bound biker Eddie and wheelchair-bound professor Dr Scott, with the two roles showing his versatility. Hot Patootie in particular is a blast!

Suzie McAdams (Magenta) and Lauren Ingram (Columbia) play Frank’s female servants with strong vocals and some great comedic moments. Columbia’s gas-induced hysteria in the second act seemed to go on a little too long though.

Narrator Philip Frank excels in bantering with the audience. He clearly relishes the rapport, and has a comeback for every line and quip. Some of the shows biggest laughs come from his witty asides! In previous tours, the Narrator has be filled by a number of celebrities (everyone from Nasty Nick from Big Brother, Dom Joly and Mel Giedroyc to the legendary Christopher Biggins) but Philip is a great casting choice here and the best Narrator I’ve seen.

“Truly beautiful, to behold…“

Rocky is a feast for the senses, and visually the show is stunning. Hugh Durrant’s set design begins with garishly-painted flats of a car, church and castle that wouldn’t look out of place in a high-end school production.

The action soon switches to the sumptuous house (a hunting lodge for rich weirdos), hi-tech laboratory complete with sonic oscillators, and shimmering mylar curtains for the rousing floorshow.

The stage is circled by a huge film reel, a nod to the B-movies of the 1930’s that inspired the original story by Richard O’ Brien. Above the action, a rocking live band brings the score to life.

Shock Horror

As many of you know I mainly review family experiences, but this was strictly a child-free night out. The show isn’t suitable for children, although we noticed that the production has a suggested age-rating of 12+

To be honest though, we couldn’t imagine ever taking a 12-year-old! The film seems tame in comparison to the stage show and – without going into too much detail – the scenes in bed are much more suggestive than we’ve ever seen. In fact, perhaps blatant is more apt!

We would suggest perhaps a 15+ rating, although of course it depends on your own children. I implore you though, if you don’t know Rocky – watch the film first to get a sense of the content and help you decide. Oh and if you’re new to it, don’t expect the story to make a lot of sense!

For the uninitiated, seeing Rocky Horror on stage isn’t a passive experience. With it’s cult following, there’s an unwritten audience participation script that the die-hard fans have no shame in shouting out. If you’re not prepared for this, the constant interruptions can seem like heckling. Don’t beckon the ushers over though; for better of worse it has become part of the Rocky vibe. It makes the show more adult too – the call-outs from the audience are, let’s just say, not so subtle!

The cast manage this well, and I’m sure they expect it, but at times it interrupts the pace and becomes annoying – especially in the more touch-a-touch-touching moments such as Brad’s Once in a While and Frank’s I’m Going Home.

Hardworking Front of House staff had a tough call to make about what crossed the line. We missed most of The Time Warp due to two women front-row centre deciding to stand up and dance…fine for finale reprise, but not during the first act. Of course, we were all too British to complain so there was much tutting, leaning and shaking of heads.

However, by the end the whole audience is encouraged to get up and dance…and we were quick to oblige and do The Time Warp too (yes, I know all the moves!)

“Time is fleeting…“

Rocky Horror flew by in a haze of sequins, suspenders and smut. Director Christopher Luscombe has remained faithful to what Rocky fans have to come to expect, but with new ideas that keep the 40-year-old show fresh. In a recent interview, Ore Oduba describes The Rocky Horror show as pure escapism – and it is exactly that. All the glitz and glamour of a West End show, with a sensational score and stunning design.

Tickets range from £13 to £67.50. The upper end may seem pricey but this is in line with other shows of the same size. For such a popular show with a large cast and crew, high production values and a fantastic live band, we feel it would be good value as a treat. You also don’t need top-price seats to fully experience the show in all it’s glittering glory.

You’ll be thrilled and chilled with two hours of camp, riotous, toe-tapping fun!

MAGIC RATING

VALUE FOR MONEY

OVERALL

Richard O’ Brien’s Rocky Horror is playing at Grand Opera House York until Saturday 19th March. Book on the Grand Opera House website

For more details and tour dates visit www.rockyhorror.co.uk/tour

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

Back in my drama school days I worked at a theatre near The Dominion, which was showing We Will Rock You at the time. Front of house staff said they would sometimes get complaints from theatregoers after the show, who were expecting to see the actual group ‘Queen’.

One disgruntled customer was also annoyed that Freddie Mercury wasn’t there (!) So, to clarify, this production features neither. I never got to see the show in London though, and was excited to review the UK tour of Ben Elton’s smash hit production. Despite the stormy weather I wasn’t Caught in a Landslide, and made it safely to the 7.30 performance.

Don’t Stop Me Now…

…I’m having such a good time. And I was, this show is a rip-roaring romp through twenty five Queen songs. All the hits you can expect are here, largely unchanged but some with modern twists – think ‘Internet Gaga’ over its analogue equivalent for example. In fact, modern references are abundant in a show that has been on the go for 20 years.

It’s clear that the script is freshened up from time to time, with nods to musicians both older and more recent, and the still-timely references to Covid (including a brilliant gag I won’t spoil!)

There are some powerhouse vocalists in the cast, and a live band gives added oomph and energy. The chemistry between Galileo (Ian Mcintosh) and Scaramouche (Elena Skye) works well, and their duets are stunning. Both performers excel vocally, although occasionally Scaramouche is overshadowed by the band. An issue with sound levels more than ability though.

A Killer Queen (Jenny O’ Leary) heads up the corporation and seeks to stamp out free-thinking Bohemians along with Khashoggi (Adam Strong) They clearly relish playing the villains, and thankfully never quite step into panto baddie territory. Special mention must go Michael McKell as ‘Sir’ Cliff Richard – who I’m glad gets his own solo in the second act. Another fantastic voice, and great comic timing too.

One Vision

The set is mainly digital, using large video screens behind a metal bridge which allow the cast to use multiple levels to great effect. Set pieces are rolled on and off to create everything from Globasoft headquarters to a ramshackle den of Bohemians.

The only thing that perhaps dates the show is the quality of the 3D animations – looking like something from an old Nintendo 64 game at times. I wasn’t sure though if this was a conscious design choice, or simply that the animated sequences hadn’t been updated since the show’s launch in 2002.

Is it family show? There were quite a few children in on this Wednesday evening performance, which was half-term for some parts of the country. There’s the odd bit of ‘bad language’ and a few sexual references – some blatant and some more Innuendo.

You (Brian) May want to introduce them to the hits of Queen first if they’re not already fans too as I’m not sure the plot alone would be enough for those unfamiliar with the source material. However, the show is highly visual and packed with theatrical eye-candy – including a brilliant lighting design by Rob Sinclair and Luke Rolls.

On the subject of plot, the story seems like a vehicle to connect up the songs – but actually I found it was really effective. Briefly, the show takes place in a dystopian future where rock and roll is a long lost relic and Globalsoft rule the airwaves or, rather, internet channels. Think Mad Max meets The Matrix, to a rocking soundtrack.

The themes of sticking it to the man (and woman), following your dreams and rebelling against the expectations of society all ring true here. It’s a narrative that’s tongue-in-cheek at times, and poignant at others – switching between witty pop culture references and moving tributes to Freddy and the gang.

Value for money? Tickets range from £13 to £41.90 and – being a spectacular show – you don’t necessarily need to sit in the higher-priced tiers to enjoy it. The prices seem justified for such a popular show with a large cast and crew, full band and stunning costumes, wigs and production values throughout. Even in a smaller venue, the show felt like it was West End quality, but at touring prices. The whole production works like a well-oiled musical machine, there isn’t a missed beat or dropped note to be heard.

Even though it was over two hours and forty minutes with an interval, the pace was generally slick and it was over in a Flash (woah-oh!)

My plea…don’t leave before the show has actually finished. I was Slightly Mad to see some people scurry off when they thought it had ended, perhaps keen to beat the rush and get out the car park before everyone else. However, they missed a fantastic encore and one of the highlights one of the entire show.

Also, ironically for a show about how our generation is always glued to the internet and our phones, I was surprised to see a lady sat in front of me – a generation older than I am – taking photos and videos, despite a clear announcement and being asked to stop by vigilant staff. The cast deserve your full attention, although I noticed she was unwittingly on selfie-mode half the time anyway!

Can you do the Fandango? No!

This audience clapped and cheered, but thankfully none were up dancing in the seats or crooning along karaoke-style (except when the cast encouraged it) It’s more show than concert, and that’s made clear from the start with an announcement asking people not to sing along. The shows builds to a rousing finish though, and by then the audience are itching to join in with what eventually becomes one big rock concert.

A live band, the hits you know and love, a sensational cast and all the production values of the West End. If you go Ga Ga for Queen on the radio, don’t wait for the Hammer to Fall…get on your Bicycle and book today!

MAGIC RATING

VALUE FOR MONEY

STAR RATING

You can catch We Will Rock You at The Grand Opera House until Saturday 19th February. Book tickets at www.atgtickets.com/shows/we-will-rock-you/grand-opera-house-york/. Tickets range from £13 to £41.90

The Show Must Go On…tour! And it does. To find out where it’s playing next visit www.queenonline.com/wwry/uk_tour

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

Along with Mrs Hatter and our two mini Hatters (five and eight) we took another trip to the Grand Opera House York, this time to review Gangsta Granny based on the bestselling children’s story.

I’ve seen Birmingham Stage Company many times before, from their Roald Dahl adaptations to numerous Horrible Histories shows. This is the first time I’ve seen them take on the works of Walliams though. So what did we think? Find out below!

Gran Turismo

It quickly became clear that is a fairly faithful retelling of the beloved book. For those unfamiliar, Ben visits his Granny every Friday evening and soon finds out that she has a secret…and that their time together is going to get a lot more exciting!

Isabel Ford as Granny has that balance of sweet old lady and mischievous gangster down to a (cabbage) tea. She also plays the poignancy of Gran’s illness sensitively too, with some truly touching moments in an otherwise silly show. If your child has experienced loss and doesn’t know the original Walliams story, it might be worth preparing them.

Whether buzzing around on her mobility cart, scuba diving, escaping hospital from a rooftop ladder or dishing out the Murray Mints and farting at will, I thoroughly enjoyed her performance.

Justin Davies plays grandson Ben expertly too. Adults playing child roles can often feel false, but Davies has that innocence, and it’s clear that the young audience warm to him quickly. His ill-prepared dance sequence was painful to watch, and intentionally so!

Strictly Speaking

Irfan Damani plays shopkeeper Raj, complete with outrageous special offers and out-of-date confectionary. Some might feel that the character is out of date too, and in Walliam’s books he has been criticised, but the role didn’t feel overly-stereotyped here. Later, Damani returns as the fabulous Flávio, and works the Strictly crowd with every shimmy, shake and hair flick.

With a large cast, there are too many members to mention individually here but the whole ensemble work brilliantly together. There is no weak link and they certainly didn’t give a lesser performance with an unfortunately small audience.

With less bums on seats, the atmosphere of a big buzzing crowd wasn’t there and so some moments fell flat. This is no reflection on the show itself though, and I think largely down to the fact that it was a school night. I’m sure subsequent performances will be fuller, and the cast, crew and creative team deserve more!

What a Gas

The show is packed with toilet humour, from talk of hairy bums to cabbage-induced farting…and even a royal who needs a pardon! Granny doing naked yoga gets a big laugh too! This approach is a safe bet for the target audience, and the kids (and big kids!) went wild for it.

Cabbage is a recurring theme and prompts many ‘eurghs’ and ‘ewws’ from young audience members. A dream sequence with dancing cabbages and soup slurped from a giant spoon, is as silly as it is surreal.

Gran about the Town

A special mention must go to Jacqueline Trousdale’s ingenuous set design. The stage is transformed into everything from a living room, bedroom, hospital, newsagents, dance studio, busy motorway, the Thames and the Tower of London.

Townsfolk seamlessly swing the set into place, opening hidden doors and pulling out panels to reveal props. Expect police offers, delivery drivers, doctors, nurses, milkmen and even a lollipop lady…all changing scenes through the magic of dance! These energetic transitions help keep the show pacey, especially as the plot itself seemed fairly gentle until the heist sequence.

That’s not to say the story is boring though; our two boys were gripped throughout. However the show isn’t action-packed and laugh-out-loud throughout either.

The narrative is engaging, and it’s a delight to see how the story unfolds. A highlight for was me was a sequence with Gran telling Ben stories from her past, which included elephants (cleverly done!), Russian soldiers and even a bear attack.

Anyone who knows me, personally or professionally, knows I love puns – so a gag-packed dance costume sequence was also a hit. Quickfire wordplay with increasingly outrageous outfits, what’s not to like?!

Whilst perhaps not as fast-paced as some of Birmingham Stage’s previous shows, fans of the book and TV adaptation will enjoy the familiar story and flatulent fun. Neal Foster directs a show with more polish than the Crown Jewels…a right royal riot of entertainment.

We look forward to Billionaire Boy in July!

MAGIC RATING

VALUE FOR MONEY

OVERALL

Hop on your mobility cart and scoot along to the Grand Opera House to catch Gangsta Granny until Sunday 6th February. Tickets from £13.

Gangsta Granny, Billionaire Boy and several Horrible History shows are currently touring the UK, with The Demon Dentist coming soon too. For more details visit the Birmingham Stage website.

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

Having enjoyed Romeo and Juliet in May 2021, I  returned to York Theatre Royal along with Mrs Hatter to see the Scottish play brought to life by The Handlebards, and on Burns Night no less…

Which witch is which? 

It quickly became clear that this is more of the same farcical fun and fourth-wall breaking we’ve come to expect from the team. The all-female cast of three versatile performers switch effortlessly between costumes, roles and accents. A ramshackle frame creates an on-stage backstage area where hats and props fly in a whirlwind of quick changes. Credit too must go on the crew!

Kathryn Perkins takes on the title role of Macbeth, with Natalie Simone and Jenny Smith becoming a myriad of other characters big and small. Whether playing cackling witches, apparitions, nobility, the sultry Lady Macbeth or Macduff’s son (brilliantly done, I won’t spoil it) the transitions come thick and fast. It’s remarkable to think that the cast do so much with so little, and that it all has to pack down to be transported by neither vans nor lorries…

Bells and Whistles 

The Handlebards, you see, travel around the country on – you guessed it – bicycles! The company take Shakespeare on the road and perform at festivals as well as theatres. This eco-approach is refreshing, and even the teatowels the cast sell at the end are ethically made. 

The cycling theme continues into the show, with all manner of bicycle-based props. Handlebars (naturally), helmets, bells, pumps, reflectors, tyres…it’s fair to say The Handlebards are single-handedly keeping Halfords (or a locally-sourced alternative) in business! 

The backdrops are cleverly changed by pedal-power too. Compared to big shows with luxurious backcloths and intricate moving set-pieces, the cast demonstrate here that sometimes less is more. 

That’s a rap 

Highlights for us included a witches rap, some daftly dramatic deaths and an unexpected reference to Roger Moore. The crown of reflectors was also inspired…on reflection!

Is it a family show? I think most children will struggle to follow the story as it is largely told in the original Shakespearean verse, however there’s a handy synopsis in the programme. I have to confess I lost the plot at points, but that was down to my own gaps in knowledge of the Bard’s work, and no reflection on the cast. As Mrs Hatter said, the storytelling is so visual that you don’t necessarily need to know the story to enjoy this loose retelling. 

The theme of murder makes it one of the darker tales, but it’s performed here in such a silly and farcical way that it’s never scary. Farting deaths, interrupting instruments and random bursts of Riverdance keep the play playful! At points, the action borders on clowning and there are plenty of asides and nods to the audience. 

Page to Stage

No doubt school children up and down the country still bemoan the fact that Shakespeare is taught in schools, but when it’s presented by The Handlebards you could never say it’s dry or boring. The cast bring the story to life with slick costume changes, physical comedy, live music and theatrical magic. Director Emma Sampson has developed a fast-paced, fun and energetic show with some delightfully wyrd (spelling intentional!) moments.

My only minor niggle is that at points I strained to hear, and was only sat on the second row of the Dress Circle. I think this is due to the absence of headset microphones – relying on floor mics instead (presumably as the show is so physical, with plenty of knockabout action and tumbles) Unavoidable perhaps, but some of the dialogue was lost.

In truth, I enjoyed Romeo and Juliet more, but I think this is largely because I’m more familiar with the original tale. Macbeth is still wheely good (sorry, not sorry!) and I can’t wait to see what The Handlebards do with Twelfth Night.

MAGIC RATING

VALUE FOR MONEY

OVERALL

The Handlebards are currently touring the UK. Tickets start at £15 and can be booked online at www.handlebards.com

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

At least Dick Turpin wore a mask…

…in fact, we all did! Audiences have had to adapt to the new regulations and the theatre manage this well. The Grand Opera House lives up to it’s name, and I’ve always felt it’s a great setting for a pantomime. Everything twinkles and sparkles, seats are comfortable and staff are welcoming – making jokes and small-talk whilst going through the rigorous Covid passport and bag checks.

This is the first time that Berwick and friends have graced the Opera House stage, with Crossroads Pantomimes pulling the reigns. Find out what we thought below…

In with the old

With a new company at a new venue, this reviewer wondered if the production would return with some fresh and interesting innovations. It quickly became clear though that this is the same old panto fodder that audiences have come to expect from Berwick and the gang.

References to things like Elaine Page, Dolly Parton, Fawlty Towers, Shakespeare, old Westerns and musical hall all date the show – and we felt there weren’t enough modern and current references to keep it fresh. Song choices were mostly stuck in yesteryear too, with the exception of the Billy of Tea sea shanty that found fame via TikTok earlier this year.

Overall, it felt like a production aimed at the adults who have followed Berwick over forty years, and not necessarily the families with young children looking for some festive pantomime fun.

Dame for a Laugh?

Kaler returns as Dame Dotty Donut although, disappointingly, without a donut-inspired dress – surely a missed opportunity. At 75-years-old, Berwick has come out of retirement and it is commendable that he is still able to write, direct and deliver so many performances. Whilst it was clear he had many fans in, the script wasn’t always punchy enough and the first act in particular took a while to get going.

Martin Barrass as Dunkin Donut remains playful, but doesn’t seem to get a lot of time to shine. Suzy Cooper’s flapping vampire bat is a joy and she plays Donna Donut with plenty of panto panache.

AJ Powell’s Luvlie Limpit enjoys some luvverly byplay, especially alongside David Leonard who is still a stand-out panto villain. Even with a few unfortunate technical problems he relishes the evil laugh and ensuing boos! I’d have to like to have seen him used more, and with a grander entrance as in previous years.

The title role of Dick Turpin (Daniel Conway), who is conspicuously absent from the posters as my son pointed out, takes the notorious highwayman to Adam Ant levels. A Horrible Histories song injects a few facts into the proceedings and of course there are the predictable dick jokes.

The ensemble work hard to keep the show pacey but, ultimately, it often loses momentum in between. Even the baking routine, which is something I’ve seen The Chuckle Brothers do fifteen years ago, felt laboured.

I can’t fault the overall design of the show, with sumptuous sets and costumes helping create some panto magic. Local references pop up on backcloths and signs, and scenery takes the audience everywhere from the London Palladium to the Wild West and Selby Common.

The musical direction is slick, even though I was hoping for some more up-to-date song choices.

Horsing around

The Twins FX provide a wonderful flying sequence, cleverly lit to hide the workings. This was the one moment that children really seemed to respond to in unison, and it felt like the only thing we hadn’t seen before from the team.

When the highlight is a flying stuffed donkey though, something seems amiss in pantoland. Berwick himself describes it as ‘the same old rubbish’ and therein lies the problem. This is a production that refuses to move with the times.

The plot, as they openly admit, is practically non-existent and left many young audience members around me looking bemused. Quirky and surreal moments are all well and good, but they don’t always hit the mark.

Paint your Wagon (Wheel)

If you’re a long-serving follower of Berwick and co. there may well still be enough to keep you coming back. Wagon Wheels return, along with the rocking chair and the odd reference to Newcastle Brown Ale. Missing though are the video sequence, Harry Gration, UV puppets and a messy slosh routine. Even the frocks seem less outrageous this year, at a time when I think we’re all hungry for a little extra razzle dazzle.

A few jokes fell flat, and running gags – including a fish-hungry crocodile – didn’t seem to really go anywhere. That’s not to say we didn’t enjoy the show at all; the design is solid, the cast work hard and there are a few moments of brilliance (the disguises that Dame Donut and Dunkin Donut wear as babbies are a treat!)

I mentioned in another review that we didn’t grow up with Berwick’s pantos and so always felt a little like outsiders on a private joke. I can imagine though, if you’ve been coming for years and it’s a tradition, then wild (pantomime) horses wouldn’t keep you away.

MAGIC RATING

VALUE FOR MONEY

OVERALL

Dick Turpin Rides Again runs at the Grand Opera House York until Sunday 9th January 2022. To book tickets visit www.atgtickets.com/shows/dick-turpin-rides-again/grand-opera-house-york/

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

The Hatters love a panto (oh yes we do, etc etc…sorry, it’s a given in a panto review!) and very much missed our annual visits in 2020. We were all very excited to see Cinderella last night at York Theatre Royal, produced by Evolution Productions for the first time.

Also for the first time, the show features a celebrity from the telly! CBeebies favourite Andy Day plays Dandini, and arrives to a resounding cheer. Instantly likeable, his rapport with the audience works wonders. Gags fly thick and fast, and his singing voice is great and used well throughout. I was expecting the odd dinosaur reference though (I half-expected dinosaurs to replace ghosts in the classic spooky forest routine actually!)

Max Fulham plays Buttons, and this is one of many smart casting choices by Evolution. It’s clear to see why Max won Best Speciality Act in 2020 – he really is the ultimate Buttons, with the right balance of naivety and daftness!

His ventriloquism skills, which he has honed to perfection, are the icing on the (Christmas) cake, whether it’s his loveable and cheeky monkey Gordon or talking props on the set. We very much hope he returns in 2022, and would make a great Smee!

There’s nothing like a dame, and in Cinders you get two for the price of one! Robin Simpson and Paul Hayward play the Ugly Sisters Manky and Mardy, admitting straight away they’re men dressed as women (one of many modern twists on the usual panto fodder) As baddies, they somehow manage to be both bad and likeable – no small feat!

Fabulous frocks, snappy put-downs, and plenty of audience interaction – our eldest mini Hatter loved shouting back, and they relished the banter!

Elsewhere, a funky and down-to-earth fairy (Sarah Lafayette) keeps the plot pacey with rhyming couplets, and does a commendable job with her foot in a cast. Maybe a ‘break a leg’ gag wouldn’t be inappropriate in the script as it wasn’t referenced, but it certainly looked the part with glittery trim!

Faye Campbell’s Cinderella is likeable and takes no nonsense (not needing a man to validate her!), Benjamin Lafayette’s Prince Charming is suitably…well…charming, and the dancers and singers all ooze energy and enthusiasm. Special mention must go to the beautiful, and unexpected, aerial silk act.

In fact, there were many unexpected moments…yes this is traditional panto but has plenty of twists and turns too. Even setting the forest scene at a Winter Fair (complete with strongman, stalls and sideshows) was an inspired choice!

It’s refreshing here that no single cast member steals the show or hogs the spotlight. Instead, this is a balanced cast that works really well as an ensemble.

If The Shoe Fits

With the big panto debacle of 2019, comparisons to previous years are inevitable. To be honest though, we’ve never been part of the Berwick brigade. We didn’t grow up hollering ‘babbies and bairns’ and trying to catch Wagon Wheels, and when we came to the shows as latecomers we felt like outsiders and didn’t enjoy them. Many of the in-jokes went over our heads, and in general it felt aimed squarely at the adults, rather than having a true family focus as panto should.

It felt like time for a change, and we applaud the Theatre Royal for trying something new. Boy did it pay off too, Cinderella was far better than any panto we’ve seen at the Theatre Royal previously. Not only that, we’ve seen and reviewed countless pantos up and down the country – and this is actually one of the best we’ve seen full stop!

Flying High

This is a slick and polished production packed with sumptuous sets, gorgeous costumes and flashy special effects. Our only niggle was with the flying horse and carriage at the end of the first act. Unfortunately the lack of fog meant that, as it turned a corner, the mechanism was plain to see which spoiled what could’ve been a wondrous moment. It might’ve been a technical blip though, and we’re only early in the panto run.

There were many highlights including punchy and original songs, gags I genuinely haven’t heard (and I do a lot of jokes in my own shows!) and a fantastic Disney characters routine which I won’t spoil! Our two mini Hatters (aged 5 and 8) loved it too, plenty of giggles and a plot they could actually follow and enjoy – rooting for the main characters, and the baddies to get their comeuppance!

We all know Christmas can be an expensive time, so does Cinderella offer good value? Tickets range from £15 to £42 per person, which is in-line with other full-scale pantomimes. Given the draw of Andy Day, the high production values throughout and top notch cast and crew, we feel the ticket price is justified for a festive treat.

A breath of fresh air, packed with family fun and laughter. In short, we had a ball!

We can’t wait to see how Evolution work their magic on The New Adventures of Peter Pan in 2022. Tickets now on sale!

MAGIC RATING

VALUE FOR MONEY

OVERALL

Cinderella runs until Sunday 2nd January, and tickets can be booked via the York Theatre Royal website

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