Reviewed by The Magic Hatter

Grandad’s Island is an award-winning children’s book by Benji Davies, and makes the leap from page to stage in a return to York Theatre Royal’s cosy studio space. I took my eldest junior Hatter to see the show this half-term, having only a vague recollection of the story from a library-lend some times ago…

Visually, the adaptation is brought to life using animated projections with artwork ripped straight from the pages of the book. This is combined with simple props, boxes, cases and doors to create everything from a back garden, attic and ocean to the title island. Puppets delight the young audience members, with a cat and various jungle animals expertly manipulated throughout.

Grandad is reminiscent of jolly old St. Nick, with a white beard, rosy red cheeks and jovial outlook on life. He is warm, charming and, above all, believable. Syd the grandson explodes with enthusiasm and a child-like love of adventure. The bond between the pair is heartfelt, and becomes all the more poignant as the story progresses.

Both actors connect with the audience through regular eye contact, and at one point address them directly to ask advice. The fourth wall broken, I would have liked to have seen more of this, as the children were so keen to offer their input and seemingly shape the story. I was willing the puppets to play more too, perhaps Chester the cat could explore the auditorium, sniffing around the seats and purring up to people during the pre-show. An orangutan cries out to be a cheeky monkey too!

The play tackles the subject of the death of a loved one, but does so with tact and sensitivity. That being said, the story can’t help but tug on the heartstrings – and it wasn’t just children who were moved by the outcome. This isn’t a happy ending, and for children who have been affected by a bereavement, there may be things to ‘unpack’ here. I wonder if the show offers additional support and resources to explore the theme further.

Madagascar The Musical is playing during half-term in the main theatre;  a high-energy production with a large cast and budget to match. By contrast, Grandad’s Island is a gentle, playful tale of a boy’s love for his grandfather. It relies on simple storytelling, clever theatrics and two versatile and talented actors. Catchy songs and nautical ditties help keep the action pacy, and the light-hearted banter between the pair adds to the fun.

At fifty minutes running time without an interval, this is an ideal length for young children and had my 5-year-old son captivated throughout (the suggested age range is 5-8 years old) Tickets are £8 for children and £13 for adults, making this one of the cheaper theatrical treats locally.

A bittersweet tale of love and loss, this show is a testament to the performers and creative team. Grandad’s Island is heartwarming, inventive and deeply touching…so set sail for adventure this half-term!

MAGIC RATING

VALUE FOR MONEY

OVERALL

Grandad’s Island runs until Saturday 2nd March in the Studio at York Theatre Royal. Tickets can be booked online at www.yorktheatreroyal.co.uk

Disclaimer: Tickets were provided for the press performance of this show, however all opinions are honest and are our own.

Reviewed by The Magic Hatter

To beat the January blues, I donned my festive shirt and went to Harrogate Theatre for a bit of fe-fo-FUN with my family!

Our first visit, it quickly became clear this isn’t a panto that relies on celebrities or reality TV has-beans (see what I did there?), although Tim Steadman has carved a name for himself by performing in the show for nineteen years. Part Lee Evans, park Frank Spencer, part Norman Wisdom, he plays ‘Sporty’ Simon Trott with a child-like enthusiasm and oodles of naive charm. My eldest (5 years old) loved him, and even my youngest (2 years) was waving and shouting ‘hello Simon’.

He has that broad family appeal and treats his picked-out adult volunteer gently; never making jokes at his expense, and even rewarding him with a cuddly toy! The sporting theme ties all the jokes together nicely, and serves up a catchy callback that kids – and big kids – love to join in with!

They say the whole world loves a dame, so what to make of Tilly Trot played by Howard Chadwick? A hint of Biggins, a dash of Mr Tumble’s Aunt Polly, and an outlandish wardrobe of fabulous frocks!

In such an ensemble performance, the dame here isn’t overbearing (in some pantos the show is essentially a vehicle for the dame, who often writes and directs too) Trot has her moments, many in fact, but without stealing the limelight. A strong and well-rounded performance without ever resorting to smut.

Harrogate’s Fairy of the Forest – played by Polly Smith – is fun and funky, and more street than sweet. She’s not the only performer to play two roles, and does so brilliantly with a sharp contrast! It took me a while to realise that Morag the Cook was previously a flitting, fettling fairy!

George Telfer’s Fleshcreep is understated, and I’m not sure ever really scared the children but actually, this is a positive! I’ve been at so many shows where young children have been reduced to tears by an all-too-menacing baddie. He still commands boos and jeers, and paves the way for a truly gigantic giant later. Alternating as Fleshcreep and King Bumble, there are some swift costume changes and George seems to relish the versatility between roles.

Jack and Jill went up the hill, and Jack came down as Jacqueline! Yes, in this story Harriett Hare exercises her girl power as the title hero, or heroine. Whether chopping down the beanstalk or belting a Greatest Showman hit, she’s feisty and fun. Princess Jill aka Christina Harris, excels vocally and exudes plenty of energy and panto panache. It’s refreshing to see the usual love story take a backseat in favour of more action and slapstick.

Highlights? Act Two opens with an inspired puppet routine, with fairy as commentator! A messy makeover routine is a great set-piece, and “If I was not a dairy hand…” is fast-paced panto brilliance! But it’s the polish, the sparkle and the talent that really shines – in a show that is often inventive, clever and expertly crafted. This is a pantomime that tosses out most of the tired and traditional, in favour of fresh and original.

I did however miss Simon getting children up on stage, and think Tim would have handled their unpredictably with hilarious results. My only other quibble was the 5pm time of our performance, making teatime tricky unless you live very locally. It would’ve been a problem if we had normal 9-5 jobs too. However, it did at least mean an earlier night for two content but tired children!

For me, this is a pantomime of bests. The best panto cow, a highlight of a heifer! The best beanstalk, a feat of theatrical magic. The biggest, baddest and best giant. Although some of the jokes have passed their best-before!

In a season that has seen some pantomimes shorten their runs, Jack and the Beanstalk continues until January 20th, and our performance was sold out. This is surely a testament to the following the show has gained over the years. Great song choices, slick production values, local references and more jokes than you can shake a stalk at! Truly one of the best we’ve seen, writer and director Phil Lowe has created a panto of GIANT proportions!

It may have BEAN our first visit, but we’ll be back for Snow White in December…and that’s SNOW joke! 

HATTER’S HINTS

• Book early to secure the best seats, this is a popular show!
• Parking seems limited close to theatre, so plan ahead and allow extra time. We parked in a nearby multi-storey car park but it was very busy.
• Bring cash for the usual ice-creams, programmes and merchandise. A collection towards theatre renovation is also taken at the end of the show.
• The Balcony level front row has a slightly restricted view because of the balustrade, and booster cushions didn’t seem to be available – so lower levels may be more suited to young children.

MAGIC RATING

VALUE FOR MONEY

OVERALL

Tickets can be booked online at www.harrogatetheatre.co.uk/whats-on/Jack-and-the-Beanstalk-Magical-Family-Pantomime

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

Reviewed by The Magic Hatter

On a rare visit to old London town, Mrs Hatter and I took in School of Rock at the Gillian Lynne Theatre.

Inspired by the 2003 movie starring Jack Black, the film has been transformed into a fully-fledged musical that first opened on Broadway in 2015, and in London in 2016.

Rock n’ Roll Lifestyle

For those that haven’t seen it, the plot sees struggling musician Dewey Finn steal his friend’s substitute teacher post to masquerade as a teacher at elite private school Horace Green. Soon seeing past the achievements, gold stars and snobbery, he realises the pupils have musical talent and coaches them to secretly compete in rock-off Battle of the Bands.

A cat-and-mouse game follows, as Dewey tries to keep the project a secret, along with his real identity and lack of teacher-training.

The score features most of the original songs from the film plus many that are new to the musical, penned by Andrew Lloyd Webber and Glenn Slater. Highlights for us were the insanely-catchy Stick it to the Man and You’re in the Band. Audience participation is encouraged at points, and the show often looks and feels like a rock concert. This raises the roof and is the epitome of feel-good entertainment!

Rarely for a West End show, photographs were encouraged during the finale which is why I’m able to share some here.

Comparisons to the film are inevitable, but thankfully our Dewey Finn – played by Jake Sharp – puts his own stamp on the character and plays the role with effortless likeability.

Whether bumbling through his lessons at Horace Green or trying to realise his dream as a rockstar, he is warm and engaging and with a natural flair for rock. And boy can he sing! Cool to the kids but a loser to the rest of the world, the audience are rooting for him to succeed.

Elsewhere, Laura Tebutt as Miss Mullins cuts an imposing figure as the authoritarian principal, eventually letting her hair down and rockin’ with the best of them. Her operatic tones are crystal clear, and she sings Where Did the Rock Go with a touching poignancy.

Dewey’s old bandmate Ned (Alan Pearson) and partner Patty (Michelle Francis) bicker over Dewey’s behaviour but have a great on-stage chemistry. As the hen-pecked boyfriend and impatient but ultimately supportive girlfriend, they add extra comic relief.

The Kids Are (Better Than) Alright!

A special mention must go to the younger cast members…these kids ROCK! Many of the child performers are actor-musicians, and with not a whiff of stage-school melodrama. They sing, they dance, they act and – verified in a voiceover by Andrew Lloyd Webber – they play their own instruments.

On top of remembering their cues, notes and lines, they are also responsible for helping with scene changes, often moving scenery and set elements into position. An arduous task, but they work well together as an ensemble and it is clear they are loving every minute. Unlike some other musicals with children, the performances here feel real and believable, and the skill throughout is astounding.

Stickin’ it to the Man

Family friendly? That depends on the family! Parents should note that the show features some colourful language (albeit infrequently), and a theme of rebelling against ‘the man’ – who often takes the form here of teachers, grades and the establishment. Many children were in the audience, but from what we could tell these were in the older age range. The show is generally not recommended for below five years old.

London theatre is notoriously expensive but I wouldn’t single out this show as being one of the worst offenders. Whilst talking to friends in theatre, we found a new show in town is charging £200 a head for stalls seats – and these eye-watering rates aren’t even uncommon! School of Rock tickets range from £15 to £150, with a general average around £52.50 in the circle, and £77 to £150 for stalls. Not a cheap treat, and the value rating at the end of this review is based on London prices.

Programmes are on sale at £5, along with show merchandise and the usual ice-creams, snacks and a fully-stocked bar.

I Know It’s Only Rock n’ Roll, But I Like It…

On this blog I mainly review magical family experiences, so would I say it was magical? Although we saw it over Christmas this is not a pantomime or a fairytale, or even traditional theatre. It’s part-musical, part rock concert but brimming with quality and high production values. The real magic here is in the talented cast – particularly the children – along with a live band and hardworking crew. Through theatrical magic the stage is transformed into a classroom, a bar, a bedroom, a living room, a concert hall and more, with each change smooth and seamless. 

The atmosphere is electric, the talent immense and the feel-good-factor goes right up to 11! The show is a testament to the entire creative team.

In short…it ROCKED!

HATTER’S HINTS

• Discounted tickets may be available elsewhere, but always use reputable companies and not ticket touts. Always check to see whether cut-price tickets are for ‘restricted view’ seats
• Booster cushions are available from the Front of House team, to help younger audience members see
• Not seen the film yet? Wait until after you’ve seen the musical!

QUALITY

VALUE FOR MONEY

OVERALL

Tickets can be booked online at https://uk.schoolofrockthemusical.com

Reviewed by The Magic Hatter

As The Magic Hatter, I’m no stranger to Piglets Adventure Farm in York – performing shows there over Easter, Summer and Halloween. However, I don’t work there over Christmas so feel I can leave an unbiased review of their Magical Sleigh Rides Santa visits, following my annual trip with Mrs Hatter and the Junior Hatters!

WARNING – SPOILERS AHEAD! 

During the holiday months, Piglets is transformed into a festive setting worthy of Santa himself! Much of the main park is closed, and appointments to see Father Christmas are all timed slots booked online (with many dates selling out early)

The experience begins with the presentation of your personalised boarding passes at Elf Airlines check-in; one of the little touches that builds the excitement for your magical tractor-led sleigh ride through the forest. But first visitors must pass through elf security, a Naughty and Nice scanner, then sit down for an in-flight Elf and Safety presentation (much more entertaining that real airline safety videos!)

The elves deserve a mention here; this year they are all trained performers and generally the quality shines through. Each time we met one of Santa’s helpers they were friendly and fun, encouraging interaction along the way. We do miss the sillier elf names from previous years though, Russell Sprout included!

The sleigh itself is always a real ‘wow’ moment, a bright-red hydraulic sleigh that guides guests through a winter wonderland; especially magical if visiting early evening amongst the twinkling lights! The environment is littered with Christmas trees, giant candy canes and plenty of other festive things to spot.

Mrs Claus sets the scene on arrival to Santa’s log cabin, with a cosy chat around the fire and, again, plenty of interaction.

But of course, any trip to see Santa hinges on the quality of Santa himself. He’s the big guy, the head honcho, jolly old St. Nick…and I’m pleased to say ours ticked many boxes. A good quality costume and – crucially – he played the part well. Groups visit Santa together but the experience isn’t diminished; Santa was engaging, charming and took time to find out about each and every child. He was also good at gently encouraging those younger, less confident children to get involved.

Each time we’ve seen Santa here, the visit has been unique – sometimes featuring a singalong, a little storytelling, some seasonal magic and interaction with the grown-ups too. Of course, visitors can each have a photograph with Father Christmas before being presented with their own magic key.

Second to meeting Santa, this was a real highlight – giving every child a golden key to choose their own toy from Santa’s Toy Shop is an inspired idea. We’ve found other Santa experiences have copped out with the gifts, giving identical presents to every aged or gender of child…usually yet another soft toy! But at Piglets, the children are like kids in a candy shop. Well, er, a toy shop! They really can have their pick of any toy, from a vast array of better-than-usual quality toys, games and gadgets. Imagine my pride when my eldest Junior Hatter chose a magic set last year!

But the fun doesn’t stop there! Visitors then have free time to explore the woodland village, featuring an adorable Rabbit and Guinea Pig Nativity,  a Magic Wishing Tree, reindeer food to make, cosy and inviting teepees, elves to interact with and a free mince pie and mulled wine for the grown-ups.

For the first time this year, delicious wood-fired pizza from Dough Eyed Pizza was on sale here too. Our only gripe here is that is now sold by the slice, handy for a snack but offering less value than a full pizza at other times of the year. However, the slices are a good size and still a tasty treat, hot and fresh!

Other food is available too along with hot chocolate, various teas, coffees and hot and cold snacks as well as the festive fare. A BBQ grill returns for this season too, offering Bratwurst style hot dogs. Staff throughout were all friendly and happy to chat, despite the winter chill in the air!

New for 2018 is the Elves Storytelling, another nice addition to the park’s offering. We were beckoned in to the storytelling tent by a friendly elf, and watched a short presentation by two other elves. Rather than storytelling, this turned out to be a musical singalong to the Twelve Days of Christmas with lots of silly props and audience participation. Good festive fun!

We like how Piglets keep tweaking their seasonal offering, subtle changes here and there to an already impressive programme. We’ve done Santa visits at many different places, but this is more than just meeting Santa. It’s a full festive experience, well thought-out and packed with magical little touches. The attention to detail is excellent, and we never felt rushed or pressured into buying the optional photo souvenirs.

Even when not working, we always enjoy visiting Piglets Adventure Farm as customers, and at Christmas there is extra sparkle and shine! Our verdict? ‘Yule’ love it! 

HATTER’S HINTS

• Wrap up warm! Much of the experience takes place outside, and it can be chilly in the marquees too. Dig out those festive jumpers and scarves!
• Join in with your children, it may sound obvious but it’s the perfect outing to do with your little ones – sharing in the magic and activities together!
• As mentioned, it is worth booking well in advance as some dates do fill up fast – especially closer to the big day itself.

MAGIC RATING 

VALUE FOR MONEY

OVERALL

Highly recommended! 

Reviewed by The Magic Hatter

Turkey dinners. The Queen’s speech. Pantomime. Panto is a great British tradition that is very much a part of our annual festivities, an unmissable family treat. This year, we went to The Grand Opera House York to review their annual offering.

Cinderella and the Lost Slipper by Three Bears Productions opened on Friday 14th December. Opera House regular Stuart Wade has hung up his frocks and buttoned-blazers and now works as producer for the company, along with Russ Spencer and Chris Moreno. So have the team, along with director Alan Cohen, captured that Christmas magic?

No stranger to magic is magician Martin Daniels, playing Buttons. It isn’t long before he bounds on to the stage to encourage interaction with an effortless charm. Playful, silly and comfortable in his role, it’s clear that he is from a showbiz family. He instantly engages with the audience, and whilst many of the jokes are worthy of a Christmas cracker, he delivers them with panto panache. Son of the late Paul Daniels, the show has a sprinkling of magic tricks although I would’ve liked to have seen more. Perhaps that’s just the magician in me speaking, but these magical interludes were lapped up by the audience!

Buttons was a clear favourite with my eldest, with shouts of ‘he’s so silly’ and ‘he’s really funny daddy!’ 

Theatrical magic is used in the classic transformation scene, as Cinderella goes from rags to riches and is whisked away by flying horse and carriage. Gasps, ‘oohs and aahs’ accompanied the majestic flight, and Cinderella’s dress-change was slick and polished. Cinderella herself, played by Amy Thompson, is everything a fairytale princess should be. As a downtrodden maid, we feel sorry for her and then she dazzles as Princess Crystal at the ball. The audience were rooting for her to find her Prince Charming; the suitably dapper Jack McGill.

Both Jack as the Prince and Danny Rogers as Dandini have great singing voices, and good chemistry on-stage. A wicked stepmother was noticeably absent, and the Baron (John D Collins) only featured briefly but played the part with a bumbling and fatherly demeanour.

Michelle Heaton adds sparkle and shine as the Fairy Godmother. Formerly of Liberty X, her vocals excel, and she plays up to her Geordie heritage. She seems genuinely excited to be involved and isn’t as sickly sweet as some Fairy Godmothers!

The beauty of Cinderella is that audiences get two dames for the price of one, with the wickedly mean Ugly Sisters. Unfortunately, one half of the dastardly pair – Covonia played by Ken Morley – was ill for press night and couldn’t perform. We expected an understudy in his place but no, Steve Wickenden flew solo as Calpol…

Steve is billed as Britain’s most outrageous dame, and plays the acid-tongued sister with a near-borderline level of innuendo and sass. Each costume more extravagant than the last, he could illicit boos and jeers from the audience and clearly had lots of experience milking the role. A fun and funny performance, and still likeable despite the rough treatment of poor Cinders!

It would’ve been great to see Ken and Steve’s banter on stage, but the cast coped well and of course the show must go on. Former Coronation Street star Ken had already announced this as his last pantomime, and we wish him a fast and full recovery, so that he (she?) can don the outrageous wardrobe again soon.

From the Twelve Days of Christmas, and ghost scene (albeit with an arachnid twist) to water pistols and the obligatory song-sheet, audiences can expect the expected but these traditions are often welcome. This is a pantomime you can join in with, it’s familiar and fun and kept both of our boys (two and five-years-old) engaged throughout. The next generation of panto-goers won’t have seen these classic skits as often as we have and, seen through fresh eyes, they were captivating.

What else can audiences expect? A high-energy troupe of well-choreographed backing dancers, both children and adults. Plenty of audience participation. A song about a certain infant shark and his family (yes, there’s no escaping it!)

Although not particularly inventive or groundbreaking, if you’re looking for all the ingredients of traditional pantomime then the slipper fits. The cast worked their socks off, especially with a man (playing a woman) down. The real magic lies in the unseen script changes and re-jigging, ensuring a smooth near-seamless production. Perhaps a touch long for young children at around two and a half hours, but no doubt this will shorten as the cast find their rhythm and the run goes on.

We were especially surprised as how entranced our two-year-old was, in a show that’s a feast for the senses. Mirror balls, pyrotechnics and glittering scenery add to the overall effect. Other pantomimes may skimp on the story, but the tale is here in full and easy to follow. Young and old alike were up in their seats dancing, and laughing at local references, silly sight gags and even political humour. With sumptuous sets, a talented cast and a generous sprinkling of festive magic, you’ll have a ball!

HATTER’S HINTS

• Bring plenty of change if you want refreshments – ice-creams are £4 each, bottles of water £2.50. There are the usual flashing wands and programmes on sale too.
• Plan ahead with parking, and leave extra time. With the Christmas market on in York, the car parks fill up fast and well into the evening too!
• Small children? You can ask Front of House staff for a booster cushion to help them see. Opera glasses can be hired for £1 too if sat further away.
• Consider the matinee performances for younger children. Although the evening shows usually start at 6.30pm, it can be still be a late night for little ones!

MAGIC RATING

VALUE FOR MONEY

OVERALL

Cinderella and the Lost Slipper runs until January 5th, and if you really want to plan ahead, tickets are already on sale for the 2019 production of Snow White and the Seven Dwarfs!

Disclaimer: Tickets were provided for the press evening of this performance, however all opinions are honest and are our own.