Pride & Prejudice* (*sort of), York Theatre Royal, November 2024

With little prior knowledge of Pride and Prejudice (sorry literacy fans, it’s on my ‘to read’ list!) I went to York Theatre Royal to see this parody show by Isobel McArthur…

Cleaning Up Their Act

As the audience enter, maids in period smocks are busily dusting and polishing the auditorium. We soon learn that servants are behind every great love story, and that it will be this motley quintet who down sponges and don frocks to retell the classic tale.

There’s no scrubbing away the foreshadowing though, cleaning products feature heavily in increasingly inventive ways. A squirt of rain here, a mist of Febreze there…and a bird in flight that’s well worth getting in a flap over! We were reminded at points of The Handlebards take on Shakespeare, with (bicycle) bells on.

Each of the five female performers are perfectly cast in their primary roles, and often swap costumes (and genders) to play others. They all show impeccable comic timing, versatility and some great vocals.

Susie Barrett’s Mary gets some of the biggest laughs of the night, and we’re all willing her to finally have her moment to sing. Barrett also plays straight-laced cousin Mr Collins, and the flighty youngest sister Lydia.

Rhianna McGreevy is both Mrs Bennett and Mr Darcy, perhaps two of the most contrasting roles. Facing the prospect of total destitution if she can’t marry her daughters off, McGreevy plays Mum with high dramatics. This reviewer couldn’t help thinking she’d make a great Nancy in Oliver. Socially awkward Mr Darcy is honed to perfection too.

Emma Rose Creaner’s Charles Bingley is charmingly awkward as he tries to woo Jane. Creaner also plays Charles’ bitchy sister Caroline Bingley and Elizabeth’s best friend Charlotte.

Christine Steel plays Jane, George Wickham and Lady De Bourgh. Her Lady De Bourgh is a highlight. Waspish, sharp-tonged…and oh-so-extravagantly dressed!

Naomi Preston Low plays Elizabeth Bennett, the ‘obstinate headstrong girl’ who isn’t afraid to speak her mind and follow her heart. Low embodies Elizabeth’s fiery nature, and plays the rebellious teenager with a real believability.

Look out for Mr Bennett’s appearances too, a running gag that that sits well with the audience!

Pringles and Prejudice

Published in 1814, here Pride and Prejudice is brought bang up-to-date with everything from Pringles, Vienetta and Kellogg’s Frosties. The language is certainly as colourful as the food too – a kids show this ain’t! The language feels relevant though, and is the modern equivalent of the feelings of the time. There are nods to the films and TV versions, in particular the iconic lake scene which is omitted but cleverly referenced.

Songs add an extra element, and the music is an eclectic mix throughout. Expect Bonnie Tyler, Roy Orbison and even Chris De Burgh. Carly’s Simon’s You’re So Vain is an inspired choice, when belted at Mr Darcy by frustrated Elizabeth. Whilst most of these are backing tracks, live music also hits all the right notes. Piano, guitar, recorder, tambourine, maracas and glockenspiel all delight.

Tiers of Laughter

Ana Ines Jabares-Pita’s set design effectively captures the essence of the period. A grand staircase towers over the sumptuous state rooms, towering treats, breakaway props and even a horse. Like it? Neigh, we loved it!

The action is delightfully daft and full of laugh-out-loud moments and some impressive quick changes. It’s not all fluff and nonsense though, there is real a heart and depth to the show too. The timeless love story remains, and there’s plenty of girl power and bashing of the male patriarchy.

Do you need to know the source material? I’d say not. Mrs Wizard had a deeper appreciation for the show as she’s a big fan, but I went only knowing the bare bones and found it truly…Austen-tacious!

We’d had our fair share of farce, and seen many parody shows which were starting to feel formulaic and tired. Pride & Prejudice* (*sort of) breathes new life into old text though, and is genuinely fresh and inventive. The team should take great Pride in what they’ve achieved.

Farcical fun, witty dialogue and the best literacy-based bin pun I’ve seen in a long time. Rubbish? Hardly.

Pride & Prejudice* (*sort of) runs at York Theatre Royal until Saturday 9th November.

Book at www.yorktheatreroyal.co.uk/show/pride-and-prejudice-sort-of/

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

Hairspray, Sheffield Lyceum, October 2024

Review originally written for The Reviews Hub

Set in the swinging sixties, Hairspray follows the story of Baltimore schoolgirl Tracy Turnblad, who yearns to dance on the smash-hit Corny Collins Show.

Turnblad quickly becomes an overnight sensation and – like a can of hairspray – shakes things up in more than ways one. She uses her newfound success to encourage racial integration on television; pushing for more than just the monthly ‘Negro Day’ for African Americans. Network producer Velma and her toxic daughter Amber do all they can to stop her, but Tracy has teenage heartthrob Link Larkin on her side to help save the day.

Tracy is played by Katie Brace and is perfectly cast in the role. Comparisons to the 2007 film are perhaps inevitable, but Brace is just as good as Nikki Blonsky. With her excellent comic timing and incredible vocals, she also captures the youth and naivety of the teen girl with the big hair and even bigger heart. It’s a joy to see her efforts to follow her dreams, change the world, and impress her crush.

Comic relief comes from Tracey’s mum, or ‘mom’ to suit this Maryland setting. Neil Hurst dons the frocks and heels here, and occasionally strays too far into pantomime dame territory. The audience really warmed to Hurst after the glow-up in the Welcome to the Sixties, once he embraced the more confident side of Edna.

Doting husband Wilbur (Dermot Canavan) is the lacquer that holds Edna together. Always on Tracy’s side, Canavan plays dad with plenty of gags, and his playful antics perfectly compliment Hurst’s Edna.

Motormouth Maybelle (Sasha Monique) has powerhouse vocals, and brings a welcomed gravitas to the sensitive theme of racial integration in a show that is otherwise sugar, spice and all things nice.

Olly Manley’s Link Larkin is every teenage girls dream. Another strong vocalist, and reminiscent of a younger Austin Butler, Manley clearly delights in the role of TV pin-up. He’s versatile too, switching from pretty-boy to a more three-dimensional character, as his own preconceptions and ideals are challenged when he meets Tracy.

Joanne Clifton as Velma Von Tussle is deliciously evil without ever hamming it up too much. She schemes with her bleach blonde bitch of a daughter Amber (Allana Taylor) to stop Tracy’s plans for integration and acceptance of those who are different. Clifton plays the role with aplomb, clearly relishing every minute. Taylor’s Amber is delightfully dislikeable too.

This is a large cast, and the unwavering enthusiasm and energy of the ensemble shines through in the catchy songs and upbeat dancing. Choreography by Drew Mconie is tight, and the dancing in Run and Tell That reaches a fever-pitch level of energy, that left this reviewer breathless.

The set design by Takis is camp and colourful, even featuring a giant can of hairspray – the perfect entrance for Edna later in the show. Projection by George Reeve is used throughout, but thankfully not relied upon, as this reviewer has experienced in other shows. A particularly inspired moment sees the names of famous black rights activists projected during the song I Know Where I’ve Been; a sobering reminder of the challenges facing different races during the sixties.

It would be remiss not to mention the hair in Hairspray, and wigs come courtesy of Craig Forrest-Thomas. Every bouffant, bob and bushy barnet is here, coiffured to perfection.

A live band hits all the right notes too, led by Musical Director Richard Atkinson. Levels are well balanced which allow the fantastic songs to really pop. You Can’t Stop the Beat is an audience favourite which has everyone up on their feet to finish. I Can Hear the Bells is a comic masterpiece. You’re Timeless to Me is a standout hit too, although this is largely down to Hurst and Canavan’s risqué flirtations and subsequent corpsing.

Fun for all the family? Our eight-year-old loved every minute and it was worth the late-night. Directors Paul Kerryson and Brenda Edwards have captured the very essence of Hairspray, in a show that won’t disappoint fans young or old. This is pure feelgood fun, and I defy anyone not to toe-tap along to the catchy score.

Hairspray closes at Sheffield Lyceum on Saturday 19th October then continues the UK tour. The show visit the New Wimbledon Theatre next, followed by Grand Opera House York. For full tour dates visit https://www.hairsprayuktour.com/

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

Awful Auntie, Grand Opera House York, September 2024

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

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

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

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

That’s the Spirit

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

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

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

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

Vrrroom with a View

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

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

Just Desserts

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

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

Awful? Hardly!

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

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

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

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

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

Fade to Black

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

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

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

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

The Kids Are Alright

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

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

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

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

Right up to Eleven

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

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

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

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

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

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

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

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

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

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

Barking Mad

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

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

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

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

A Monstrous Hit?

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

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

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

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

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

The 39 Steps, Grand Opera House York, July 2024

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

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

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

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

Clowning Around

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

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

Feeling the Strain

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

Tripping the Light Fantastic

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

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

A Step too Far…

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

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

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

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

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

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

The Kite Runner, York Theatre Royal, June 2024

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Hook, Line and Sinker

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

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

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

Cry me a River

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

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

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

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

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

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

A-Band-on-Ship

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

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

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

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

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

The Animal Guyz, York Theatre Royal, June 2024

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

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

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

All Creatures Great and Small

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

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

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

Kicking up a Stink

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

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

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

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

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

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

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

Tess, York Theatre Royal, May 2024

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

A Little Horse-Play

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

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

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

Milking It

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

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

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

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

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

Circus of Horrors

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

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

Bold, inventive and beautifully realised.

MAGIC RATING