Reviewed by The Magic Hatter

Mr and Mrs Hatter crossed the border to rural Paris (or, rather, popped to The Theatre Royal) to catch one of three performances of The Three Musketeers…

Their first visit to The Theatre Royal, Le Navet Bete are touring with this fast-paced production that brings the adventure novel to life in ways never seen before. Four actors (Dan Bianchi, Nick Bunt, Al Dunn and Matt Freeman) along with Stage Manager Abi Cowan and their creative team, have made something very special here – a riotous romp through a French classic that had we Hatters in hysterics!

Walk-in Wardrobe

The action features 30 characters and an abundance of costume changes; over 110 between the 4 actors – all ably assisted by the hardworking Stage Manager. Frocks, wigs and pantaloons fly, and all changes are slick and tight. I can’t begin to imagine how much there is to remember. What wig comes next? What prop do I need? Who am I now? The mind boggles, but the action never lets up and it is perfectly polished!

A Head for Heights

The staging is both practical and inventive, with the plot taking places across various levels in a makeshift den and tree-house. This setting harks back to childhood memories of those long summer holidays sword-fighting, swashbuckling and having all sorts of adventures…

The actors scale ladders and platforms, duck in and out of drapes and cycle around the set on makeshift stallions. It’s a highly physical performance, and one (intentional) fall from a fair height caused a sharp intake of breath!

There were a few wobbly moments, but nothing to detract from quality of the show. Most noticeably, a full York-wide power-cut hit during the first half – a total blackout, and whilst a performer was cycling on-stage! They handled it impeccably though, and in a show like this I’m sure some were wondering if it was all part and parcel of the performance a la The Play That Goes Wrong. 

Duck and Cover

There were many highlights in this two hour-show, and one gag in particular caused my wife to laugh so much she snorted. A particular treat for us was an audience participation skit involving stuffed toy ducks and a shotgun…but to reveal any spoilers here would be fowl play!

This is a show that keeps on surprising, as an audience you never really know what is coming next. Many years ago I saw The Reduced Shakespeare Company and their potted versions of the Bard’s classics, which had a similar style and plenty of characters and changes. Here, every quick change, every accent, nod and gesture is expertly honed.

All for one, and one for all the family?

We left the junior Hatters at home for this one (properly supervised, of course!) and had a rare grown-up night out. But is the show suitable for children? There were moments that we thought our six-year-old in particular would have loved, and there were a few children in the audience on press night.

Overall, it’s generally family-friendly with plenty of silly slapstick, bikes as horses and sword-fighting that little adventurers would relish. There was the odd naughty word, causing a little girl in front of us to gasp! A few comedy sex-scenes are done cleverly (and in the dark) so that hopefully only the adults will get the joke.

The plot is fairly complex and features many twists and turns, so young children may not follow it, but I think it’s visual and varied enough to hold the interest of older ones. It’s not a children’s show as such, but fans of the CBBC hit series Horrible Histories will find a lot to enjoy here!

I was reminded at points of The League of Gentlemen; the cross-dressing, the anarchic wit and banter, and the silly surreal humour. Like the gents, these performers met at university, and it’s clear that they are having a ball playing the myriad of roles in a show that fizzes with playful fun. They are hoping to return with Treasure Island which we think would be arr-some…yo-ho and a bottle of FUN!

We highly recommend catching this show. Mrs Hatters says “The best piece of theatre I’ve seen in a long time, utterly and hilariously brilliant!” and I would agree – I tip my big green hat to the company! It’s delightfully daft, unpredictable, very funny and makes for a great night out.

MAGIC RATING

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Tickets are around £23 which we think is great value, but there are also some ticket offers around (the Theatre Royal have released front row seats for only £10!)

The Three Musketeers continues the tour through to August, for all tour dates visit http://lenavetbete.com/tour-dates/

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

Reviewed by The Magic Hatter

Amidst the shopping, tinsel and trappings of Christmas, the Hatter family donned their festive knitwear and went to Cast in Doncaster to review Whisker’s First Winter by Odd Doll Puppetry

A Flurry of Excitement

The brainchild of director Kathleen Yore, the show tells the tale of Whisker himself as he explores an icy landscape and meets lots of weird and wonderful characters along the way…

The cast consists of two performers and an assortment of puppet creatures. Wisely, Odd Doll took the puppets into local schools to gauge reactions from the children and give them a sneak preview of the upcoming show. Many companies wouldn’t think to road-test the material like this, and it’s a testament to how much Odd Doll care about getting things just right. I think this reaction to Yanny Yak speaks volumes!

The puppets are incredibly expressive and a delight to watch. From a a slow and steady bear to twirling fish, quirky birds and even a yodelling Yak. These handmade creations are created by Odd Doll’s Kathleen Yore and Rebekah Caputo, and all ooze character. Whisker himself is heart-meltingly adorable and I’m sure this reviewer and the little Hatters would love to adopt him!

I’d say that the puppets take on a life of their own, but that wouldn’t be fair to the talented performers pulling the strings, so to speak…

Like a Puppet on a String (or Rod) 

Behind every great puppet is a puppet master, and the two human performers are expertly directed to find every nuance of the critter’s personalities.

Matt Wood and Jennie Rawling manipulate the various puppets so well that it is easy to forget they are there and simply focus on the animal’s antics. Some of the actions are minimal and slight, but the children in this audience seemed to respond to every twitch and turn.

The only speech in the show comes at the end, when the performers invite the audience to come and meet some of the characters. I was especially impressed that this announcement was fully signed, helping make the production more accessible.

The performers stay on the stage after the show too which I thought was a lovely touch, breaking down that barrier between performer and audience. And of course, children jumped at the chance to stroke Whisker and high-five Yanny Yak!

Walking in a Winter Wonderland

There certainly isn’t the expectation here that children will sit politely; Odd Doll have created an interactive environment where the audience are encouraged to  play in the snow, respond back and fully engage with the experience. Shoes are removed before entering the space and everyone sits on a fluffy snow cushion, which really adds to the cosy atmosphere. Rarely have I felt so at home in a theatre.

Playful soundscapes underscore the action, and animated backgrounds and projections add depth. The design conjures up a cold and twinkly winter scene, and is beautifully lit and decorated. My youngest was dancing around in circles as a mirror ball cast stars amongst the Northern Lights.

Paws for a Moment

In a haze of high-energy pantomimes, this show offers a gentler and more peaceful approach. There is time for the audience to absorb the story without being ear-bashed by gags, pyrotechnics and the latest pop songs. Don’t get me wrong, we love a panto but, in a hectic holiday season, it was a delight to sit and chill amongst the faux snow.

For a show that is non-verbal, it is a delight to hear the children respond with their own quips and comments. I can only imagine the cogs and gears turning in their heads as their imagination is sparked as the wintry action unfolds. Our own two boys (aged three and six) chirped away, mimed along with the actions at points, and even cuddled up together during a quieter moment…quite a rarity during this sugar-fuelled, hectic holiday season!

At forty-five minutes it is an ideal length for younger children and fidget-bottoms; some of the recent pantomimes we’ve seen have simply been too long and drawn out at two and half hours or more. The earlier show times help too (a 7.30pm panto start makes for a late bedtime and cranky kids the next day!)

Yakking On

Highlights? My eldest loved Yanny Yak’s bumbling buffoonery, and my youngest was entranced by Whisker and the regular flurries of snow. My wife and I were both drawn in by the charismatic storytelling, tight puppetry and inventive design.

The show is great value at between £7.50 and £8.50 a ticket. Recently some seats were released at just £3 each – about the same as a cup of hot chocolate and guaranteed to make you feel just as warm inside! Activity packs are available for sale for a few pounds each, so that children can make their own mini puppets and reenact the show at home. A great idea, and more useful than the usual flashing wands and plastic tiaras sold at Christmas shows!

It it worth noting that seating is not designated, so arrive early to get a good view. It’s a small space with tiered seating, but some children struggled to see over the grown-ups. Perhaps those children happy to sit by themselves could be encouraged to sit nearer the front, with adults at the back. Although, saying that, it was a joy to experience the show sat together with our boys and I’m glad I got to see their reactions.

For many children, this may be a first introduction to live theatre and it is pitched perfectly at their age group. This is pure theatrical escapism, an enchanting journey into a winter wonderland that truly captures the imagination of the young audience.

Kathleen and the Odd Doll team have created something very special here. I am reminded of the Danish word hygge which is used to acknowledge a feeling or moment that is especially cosy, charming or special. That, in a single word, sums up this production.

There is especially good availability for December 27th, 28th and 29th. If you’re quick you might still catch a ticket…by a whisker!

Brr-illiant entertainment that’s guaranteed to delight your little animals!

MAGIC RATING

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Whisker’s First Winter runs at Cast until December 29th. Tickets can be booked at https://castindoncaster.com/whats-on/whiskers-first-winter/

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

Reviewed by The Magic Hatter

The Hatters took a trip to Scunthorpe to review this year’s festive offering at The Baths Hall, Aladdin. But, did it grant all of our panto wishes or is it a bit Wishee Washee? Find out below!

I’m no stranger to Scunthorpe pantomimes, having been every year since I was just a little Hatter. Like so many others, it’s become part of our holiday traditions and this marks Annie Fanny’s 14th show for Tony Peers LTD. Fanny (aka Darren Johnson) also writes and directs the production, when not donning a dress and plenty of slap…

Carry on Panto!

As a dame Darren is suitably outrageous, occasionally bordering on inappropriate but treading the line carefully. A notch or two more and he’d be in Julian Clary territory (read reviews for this year’s Goldilocks and The Three Bears at the Palladium, where children and the easily offended would be wise to take ear defenders) However, I think he just about gets away with it, and this audience generally lapped up the innuendo and mild smut. 

Whilst fans flock to see Fanny, it would be unfair to single him/her out in such a talented and well-rounded cast…

Sean ‘Rollo’ Rollason as Wishee Washee is the best comic male we’ve seen at the Baths for many years. Instantly likeable, warm and engaging, the young audience members really did seem keen to be his friend! If anything Rollo is under-used, although this is a packed pantomime.

Jake West as the doddery old Emperor is a young actor, but plays feeble and fumbling well. The ‘Annie Fanny needs washing’ gag was a genuine laugh-out loud moment, and delivered with great comic timing. It’s interesting to read that he started in local amateur theatre, and it’s clear that he’s been treading the boards a while.

Naomi Dale as Aladdin fits the bill, and plays the title hero with plenty of panto gusto. Zosie Jenks plays Princess Balroubador (yes, not Jasmine – this isn’t the Disney version!) and has powerful vocals and portrays the oppressed princess well.

I’ve seen Hambi Pappas in a variety of roles, from Annie Fanny’s ugly sister (Fanny Annie!) to Fleshcreep and many others. He suits panto villainy though, and is suitably bad without ever really terrifying the little ones! 

New Lamps for Old Jokes

This is a panto packed with gags galore. However, a few of the jokes are getting dustier than an old lamp, especially in Fanny’s introduction which I think I could now recite word for word. You certainly know what you’re in for with a Scunthorpian pantomime, but I think it is time to freshen up the script a little. A few of the routines too are starting to lose their freshness having been repeated years on end now with minor, if any, changes.

The Plot Thickens

For the most part this is the traditional story of Aladdin. The narrative gets a little hazy at points though, especially in the second act, but what it lacks in plot it makes up for in the variety of skills on show. As well as singing and dancing, there is a quick change costume magic act, unicycling and juggling – with the circus skills courtesy of Tommy J as PC Pong.

A lengthy juggling sequence keeps things interesting with clubs, hoops, knives and a few more elements I’ll keep a surprise. The act builds and builds; Tommy is highly versatile and knows how to work a crowd. An all round entertainer, I could easily see him taking the main comic lead in a few years.

Vicki Lane does an admirable job as PC Ping too, and reminded this reviewer a little of Sue Perkins. Her costume act was slick and speedy, and she relishes drenching the audience with a super soaker! She takes the lead in a ‘who, what, I don’t know’ skit – and keeps the pace flowing well.

Open Sesame

From Fanny’s fabulous frocks to exotic backdrops that conjure up Old Peking, the design of the show captures the spirit of Aladdin well.

Visually, the Cave of Wonders was a highlight – featuring towering statues, glittering treasure and an imposing genie puppet with a Scottish accent. Will Smith or Robin Williams he ain’t, but the illusion worked well and it was my three-year-old’s favourite part! Later, a slightly clunky magic carpet ride just about worked but wasn’t as smooth or wondrous as some we’ve seen.

Recent pantos we’ve reviewed have skipped inviting children onstage during the songsheet, but not the Baths! Some of the biggest laughs of the night came from their funny reactions and Annie Fanny ad-libs…kids really do say the funniest things! Darren tones down the outrageousness with the more timid children on stage, and each volunteer is rewarded with a Morrison’s-sponsored goody bag.

Anything missing? I do miss the regular slosh scene. Twankey’s – sorry, Fanny’s – laundry would be ideal for some messy slapstick with soapy suds! The age-old mangle and washing machine gag is honed to perfection though. A live band would be a welcome addition too, but I can appreciate the extra costs involved and the impact that might have on ticket prices.

Other than that, this is everything you’d expect if you’ve been before. 12 days of Christmas…again? Check. A smattering of smut? Check. Dazzling costumes and slick dance moves. Check. In fact, the dancers deserve a special mention for maintaining that energy and enthusiasm around school and family life. The choreography is tight, and it’s clear they’re having a ball!

There’s a reason that Scunthorpe audiences keep coming back year on year, and this production ticks many boxes. There are moments of pure genie-us, and the gags come thick and fast…even if some are as stale as old prawn crackers. My magic wish is for some fresh and original twists on next year’s production of Dick Whittington.

Whether a panto first-timer or a regular fat wobbly grandma (Fanny’s words, not mine!) Aladdin is a fun-filled festive treat for all the family!

MAGIC RATING

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Aladdin runs at The Baths Hall in Scunthorpe until December 31st. Tickets range from £15 to £19.20 each and can be booked online at https://www.scunthorpetheatres.co.uk/

Reviewed by The Magic Hatter

T’is the season to be jolly, but t’is also panto season (oh yes it is, oh no it isn’t…and so on and so on!) The Hatter family took a trip to the Theatre Royal to see Sleeping Beauty, but is it a beauty or did it send us to sleep?

The question on many people’s lips will surely be, how does the pantomime fare without now-retired Theatre Royal stalwart Berwick Kaler? So let’s address that first. To be honest, we were late to the game with Berwick and – by the time we started visiting – a lot of the in-jokes that had built up over the years went over our heads. Indeed our very first panto at The Theatre Royal, just a few years ago, left us somewhat bemused and feeling like outsiders to a private joke.

That’s not to say we didn’t enjoy it, just that we weren’t part of the original babbies and bairns who booked on day one and strained to catch Wagon Wheels for many a year (although we did catch two this year, almost without trying!)

Whilst many will miss the Berwick traditions, we weren’t accustomed to them and so for us it doesn’t feel like a missing ingredient. And besides, Kaler still writes and co-directs the pantomime so fans of his should not be too disappointed. He also appears in the two obligatory video sequences, but these failed to get much of a reaction at all.

Regulars who do return in person however are Martin Barrass (Queen Ariadne), David Leonard (Evil Diva), AJ Powell (Darth Diva) and Suzy Cooper (Princess Beauty) – performers who have all built up their own following over the years too, and rightfully so. The camaraderie between the four still shines through, and it is clear that they all have vast experience under their belts.

Leonard’s baddie is still one of the very best panto villains we’ve ever seen. Deliciously bad, with a sultry swagger and more ham than Peppa Pig! His entrance in the first act was pure panto perfection, and he milked every drop out of it. The interaction between Diva and her son Darth works well, and Powell’s many costume changes add variety.

Nothing Like a Dame…

Barrass’ Ariadne is cleverly pitched not to step into Berwick’s shoes, and is more Duchess (well, Queen) than dame. Jack Landsbury joins the cast, fresh from two years in London’s Wicked, and plays both the King and Prince with royal aplomb.

New to York is Howie Michaels, playing Funky Flunky (and later, Punky Flunky) and is a vocal powerhouse, especially at the end of the first act. It’s clear he really relishes the role.

The performers all do well with material that drags at points. The script felt needlessly wordy in parts, and some gags just didn’t hit with this audience. Unfortunately, a slosh scene in the first act fell flat too. I have never seen children not react to slapstick with water and custard pies but, for whatever reason, it was met with stony silence here. Perhaps the action will get slicker as the run goes on, but sadly it came across as forced, and with no real build-up.

“The Same Old Rubbish…”

But what of a story? Previous Theatre Royal pantos have ridiculed the notion of a script or plot, and this is billed as the ‘same old rubbish’. The plot makes little sense, and a particularly random scene sees a house falling apart and Evil Diva sinking into a chair without any real purpose or explanation. It feels like these inexplicable moments are part and parcel of Theatre Royal panto tradition, but some younger children in particular seemed to lose focus in a plot so thin. References to things like Brexit and Edward Scissorhands felt shoe-horned in.

This aside, there are things that deserve praise in Sleeping Beauty…

Give ’em The Old Razzle Dazzle…

Visually, the show is an absolute treat. Sumptuous costumes, sparkling scenery and grand set-pieces all help set this show apart from the usual hired backcloths and faded frocks of pantos up and down the country. Harrogate-based Anthony Lamble heads up the set and costume design here, and both are equally stunning. The design team have really excelled, and it’s refreshing to see a show created mainly in-house.

The ensemble work hard and are polished and prepped to perfection, singing and dancing to a high standard.  A troupe of child actors get some of the biggest laughs of the show, especially when playing elderly citizens. They also play fairies in the first act, and dance and sing well alongside the adult ensemble.

There are some dazzling special effects and toe-tapping tunes, with particular favourites including a song about a finding a keyhole, a version of Teenage Dirtbag and a dramatic rendition of Rise Like a Phoenix to close Act One.

The panto is not without it’s merits but at 2 hours 30 minutes it feels somewhat padded out, and the humour often misses the mark. Our two boys (3 and 6) clearly enjoyed it, but very rarely laughed out loud as they do in many other pantomimes. That said, if you are already a regular visitor at Christmas, you can certainly expect the usual Theatre Royal panto ingredients wrapped up in plenty of seasonal sparkle and shine.

MAGIC RATING

VALUE FOR MONEY

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Sleeping Beauty runs at York Theatre Royal until Saturday 25th January 2020. Tickets range from £24 to £33 and can be booked online at www.yorktheatreroyal.co.uk/show/sleeping-beauty

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

All photos copyright to Robling Photography

Reviewed by The Magic Hatter

I last saw Tutti Frutti’s Underneath a Magical Moon, which I dubbed one of the best pieces of children’s theatre I’d ever seen, so I had high hopes for their new production The Boy Who Cried Wolf, written by Mike Kenny. Thankfully, the show doesn’t disappoint and features the same level of theatrical magic, innovative storytelling and a talented, versatile cast of actor-musicians…

All three performers transition seamlessly between storytellers, family members and sheep, and interact with the audience even before the show has started.

Spinning a Yarn

Many will be familiar with the classic Aesop’s fable. The story sees a young shepherd, Silas, try to pull the wool over the villager’s eyes by crying wolf with no beast in sight. The community of knitters gather for the Best Woolly Jumper competition, but young Silas is frustrated to be stuck up in the mountains tending the sheep. His eccentric grandad is too old (and too cold, but his tale is not yet told) to continue, and so passes the baton – or crook – to his reluctant grandson.

Knitting and wool are woven throughout the whole performance, but to say much more here would spool – sorry, spoil – some wonderful surprises. Needles – sorry, needless – to say the story is so well told that even younger audience members won’t lose their thread.

Howling with Laughter

Plenty of humour keeps the pace of this one-hour show brisk, and gets giggles from even a slightly weary end-of-school-week crowd. Featuring silly sheep that floss, fist bump and high-five…’ewe’ would be hard-pushed to find a more street flock!

There are darker moments too, with the advancing wolf pack causing a few concerned little looks, but it’s fairly tame compared to panto villains and kid-show baddies! Thankfully, the wolves are only implied and never seen – despite some children shouting at they did see one…crying wolf perhaps?!

Our two boys, 6 and 3, were thrilled at all the silliness and enchanted by the wonderfully told tale. Of course the message is important too, and ‘nobody believes a liar, even when they tell the truth’ is reiterated throughout, but it never feels overly preachy or forced.

My eldest Hatter said he loved ‘the jokes and dancing and snow and everything!’ and my youngest was captivated and has been telling everyone about the silly grandad! An hour is an ideal length for little lambs too, just remember to get your ice-cream and snacks beforehand as there is no interval.

MAGIC RATING

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The Boy Who Cried Wolf Runs until October 12th in the Studio Theatre. So don’t be sheepish, clickety-click on the Theatre Royal website or flock to the Box Office in person to book. And from only £10 per ticket, you won’t feel fleeced (and that’s snow joke!)

Reviewed by The Magic Hatter

The Hatter family rolled up to Circus Rio in Acomb this weekend, for a traditional family show with a distinctively Brazilian flavour…

The red and white big top was pitched next to Acomb Rugby Club and we arrived for the 5pm show, having booked a voucher online via Planet Radio for a family of four for £7.50 – down from £60! Even if this voucher is no longer available, there are offers elsewhere such as cheap seats on opening seats, and discount vouchers in supermarkets and local businesses.

Taking our seats ringside, we indulged in the usual sugary circus snacks – popcorn and candy floss – and our youngest Hatter had his face painted as a clown for £3. Burgers, hot dogs, chips, soft drinks and flashing wands were also available and, later, signed posters and souvenier photos with Spider-Man. Also £3, this seemed worth it as thankfully his costume was professional (I’ve seen some poor ones!) and the children were thrilled with the idea of meeting and posing with Spidey.

In a Spin

Spider-Man was just one of many acts in the fast-paced 1-hour show. The glamorous, glittering ringmistress welcomed us to a Brazilian Carnival, and soon a male and female duo got the show off to a dizzying start by spinning on skates on a small platform. They later returned with a crackin’ (whip pun!) whip and lasso act, a real highlight for us, and then again once more with a quick-change costume act. Their chemistry was strong, acts polished, and they shared the routines between them which was refreshing to see (instead of the female performer acting in more of a ‘glamorous assistant’ role)

A Head for Heights

The aerial silk act performed by the ‘Jewel of Circus Rio’ was simultaneously beautiful and jaw-dropping, with several plunges from a great height. Another aerial performer used hoops and a net to captivate the audience, and set one routine to Never Enough from The Greatest Showman which worked well. A rolla-bolla act was also the most daring I’ve seen, with the performer balancing precariously on a stack of wobbling tubes and a bowling ball. My eldest was peering between his fingers!

The finale saw not one, not two, but three motorbikes hurtling around the inside of a spherical cage at breakneck speeds. I’ve seen The Globe of Death at other circuses but it never fails to amaze. The roar of the bikes, the smell of the fuel and the very real danger makes for a breathtaking act! Sitting ringside, you really feel the thrill of an act which can, and has, gone wrong.

Send in the Clowns

Of course no circus would be complete without a clown, and Edy was a highlight for all of us. It is clear he has honed his act over many years, and combined sight gags, slapstick, hat tricks and music with plenty of interaction. Even though we’d seen some of the gags before, he had them down to a fine art and the kids (and big kids!) loved him. I ended up being picked-on throughout (I have one of ‘those’ faces apparently) but he was so likeable that I didn’t feel embarrassed or put on the spot…even when I was the butt of the jokes! With the South American stylings, he reminded us of a character from the recent Disney Pixar film Coco.

My eldest Hatter was invited into the ring to help, and jumped at the chance. Edy was incredibly generous, making sure he got the applause and credit for the tricks – and even giving both of our boys some of his ‘magic sparkles’ after the show (the gold confetti he flamboyantly tossed into the air after each trick) These little touches make for special memories. I’ve seen a lot of clowns, but Edy was genuinely one of the most polished and endearing I’ve come across. A credit to Circus Rio!

The length of the show was ideal for younger audience members. At just over an hour, even my 3-year-old was transfixed the whole time!

Our only negative was the toilets – festival-style portaloos with no toilet roll, and no running water (only hand gel). At this venue, we also struggled to find somewhere to park, as the nearby car park was full with rugby club members, and the supermarket opposite had a time limit. Minor niggles in an otherwise magical family experience that was great value for money. Interestingly, this circus strictly prohibits photography and filming, whereas others recently have encouraged it. All photos here are taken from the Circus Rio website, and actually it was great to just sit and watch and engage fully with the show, without needing to take review photos!

The hour passed in a whirlwind of slick, fast-paced entertainment! We’re no strangers to circus but I can honestly say this is one of the best we’ve seen. 

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At the time of writing, Circus Rio is heading to Wakefield next. Check the website at https://circusrio.co.uk/ for details and to book tickets online.