Charlie and the Chocolate Factory, Joseph Rowntree Theatre, November 2025

York’s NETheatre bring another classic story to the stage, with their new production of Charlie and the Chocolate Factory. Is it just the ticket? Find out below!

Alice Atang played Charlie, one of several children playing the impoverished Bucket boy, or in this case girl. She stood out as an especially strong actor, not just acting but also reacting. A talented singer too, her duet with Wonka in the elevator was a triumph.

All of the tickets winners are well cast, suitably brattish and greedy. We especially enjoyed Toby Wood’s (no relation!) Augustus Gloop, complete with comically-oversized belly and on-point German accent. Zehr gut!

Their suffering parents are excellent too, with special mention to Perri Barley as Mrs Teavee, who downs her ‘mummy water’ from a hip flask to cope. Almost-dame Mrs Gloop (Chris Hagyard) is hilarious too, especially in More of Him to Love

Grandpa Joe (NE Theatre’s Creative Director and Producer Stephen Tearle) is delightfully endearing, and has some of the funniest lines. His relationship with Charlie is believable, and we’re rooting for them to win the grand prize.

All the ensemble performers work hard and are good at covering any first-night blips and teething troubles. It’s a company effort, and the community feel of NETheatre shines through.

But what of Our Wonka? Kit Stroud captures the eccentricities of the role well, and excels in the Act One close It Must Be Believed To Be Seen. A strong singer and engaging character actor, he doesn’t go as dark as Wilder or as weird as Depp. His Yorkshire shopkeeper candyman is clever, but meeting Wonka in the opening scene meant we missed the big reveal of the chocolatier that we were expecting.

We’re treated to a live band, who hit all the right notes. This is the musical version of Charlie, which first premiered in the West End and has toured the UK. Interestingly though, there are also some film classics added such as Candy Man and I’ve Got a Golden Ticket. Pure Imagination is an audience favourite.

The set is mostly projected, which is a smart choice for a non-professional company with a limited budget. Physical set-pieces add depth at points, from the Bucket family bedroom to whirring machines, a bathtub boat and even the iconic glass elevator. Effects like smoke, bubbles and lasers all add to the theatrical magic too.

Costumes work well overall, with plenty of colour and sparkle. The Oompa Loompas are cleverly realised with a variety of outfits to show off their diminished height!

Good for families? Absolutely! Although worth mentioning that the demise of some of the ticket winners is a little less ‘sweet’ than in the films. No blood and gore though, and still all very silly. Expect toe-tapping songs, feelgood fun and no high ticket prices to…burst your bubble!

The Joseph Rowntree Theatre is an ideal space for this production too, with great seats and a friendly, welcoming front of house team. Snacks and refreshments are on offer too including, you guessed it, chocolate!

We’ve seen professional productions of Charlie and, whilst it’s hard not to compare, the NETheatre team are full of energy and enthusiasm, and clearly loving the experience.

Support local theatre and book your golden ticket at www.josephrowntreetheatre.co.uk

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

Slava’s Snowshow, Grand Opera House York, November 2025

Never one to (snow)flake out on live theatre, we headed to The Grand Opera House to see Slava’s Snowshow…

The brainchild of Russian clown legend Slava Polunin, the production first premiered in Moscow in 1993 and has toured the world since. A theatrical spectacle that has won many awards, Slava aims to bridge the gap between generations and connect the audience through play, joy and wonder…

Living the Dream

Slava’s Snowshow has an ethereal, almost dreamlike quality. It’s surreal, sometimes dark and often beautiful and heart-warming. On a chilly November’s eve on the approach to Christmas, it also captures that winter magic without any mention of the man in red.

Expect clowns. Not party clowns or circus mascots, but tender and melancholic clowns who are masters of their art. They are divided into distinct types; first the yellow clown with a shock of red hair who is timid and mournful. He’s outnumbered by the whimsical green clowns, with oversized feet, floppy hats and a taste for mischief. Stick around in the interval to see what they’re capable of when let loose in the audience!

Each scene is a mini vignette, often with an unspoken short narrative. Whether it’s a gibberish phone call, a giant insect attack or a clown mourning a love lost, they all make sense without traditional speech. The pace builds to a stunning finale which I won’t spoil here, and I would advise avoiding any trailers or videos of the show.

The Birdie Song

Musically, the eclectic soundtrack shifts from quirky and upbeat to haunting and dramatic. Each track perfectly complements the action, and there are familiar classical scores such as Carl Orff’s O Fortuna. I’ve loaded up the catchy Blue Canary on Spotify as I write!

I have Slava’s book Alchemy of Snowness, and it’s fascinating to read how simplistic the show is. The clown shoes for example were, for a long time, large cola bottles cut in half and wrapped in fabric. This bare-bones ramshackle approach is charming, and the theatrical effects here are also simple but incredibly effective.

The design is visually stunning throughout, with bold and vivid colours reminiscent of children’s toys. The lighting design is excellent too; shifting from warm dreamlike washes, to the harsh cold of winter.

That’s ‘Snow’ Joke

This isn’t circus and it isn’t strictly a children’s show. Don’t expect stereotypical clown staples like balloon modelling, jokes or juggling. Clowning is a much broader spectrum, and this theatrical approach is more akin to mime.

There’s a lot for younger audience members to enjoy though. The show is colourful, visual and interactive, and focuses on a childlike state of play. The clowning is well honed, and the laughs come from physical comedy and expressions rather than gags. At only 1 hour 40 minutes with an interval too, it’s shorter than many shows so well-suited to younger attention spans.

Playing the Fool

Whatever your age, come ready to join in! Of course you don’t have to and there’s no pressure – these clowns won’t make a fool out of you or throw a custard pie in your face. However, the show encourages all ages to find their inner child, and the unfettered enthusiasm that comes with.

For the most immersive experience, we recommend booking in the stalls. This is where the interactive elements happen, and sitting higher could feel a little like you’re looking down on people having fun at points.

Is it for you? Who nose!

This show won’t be for everyone but, ultimately, there’s nothing else like it. It’s our third visit, and the first time with our two boys aged 9 and 12. They were entranced throughout, and said it was one of the best things they’ve experienced. Our eldest said it made him feel like a little kid again, and they both threw themselves into the playfulness with unbridled delight.

Clowning transcends the doom and gloom of a weary world, and a few hours of colourful wonder is just the tonic. We think it’s brrr-illiant, you’ll have a (snow) ball!

Slava’s Snowshow runs at Grand Opera House York until Sunday 23rd November. Book at https://www.atgtickets.com/shows/slavas-snow-show/grand-opera-house-york/

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

Faulty Towers – The Original Dining Experience, York Pavilion Hotel, November 2025

As fans of classic comedy, we were thrilled to be invited to experience the madcap humour of Fawlty Towers…not on stage, but in a hotel as part of a dinner service! With only twelve episodes, the sitcom has stood the test of time and is surely a tough act to follow…

The loose concept is that the hotel has gone bust and been taken over by disgruntled hotelier Basil Fawlty, bossy wife Sybil and long-suffering Spanish employee Manuel. The trio try to serve up a three course meal whilst searching for a missing rat, placing a secret horseracing bet and running a fire drill, amongst other things.

Around 70% of the performance is improvised, so expect plenty of interaction and a chance to chat and joke with the characters. There are many lines and gags you’d expect if you’re a seasoned Towers fan, and most of the classics are here too.

It’s a treat to experience them live as hotel guests, in your own as-it-happens episode. The chaos unfolds all around you, and the performers use the space well to ensure that everyone can see and hear.

Our cast were exemplary throughout, never missing a beat or an opportunity to milk the funnies. There are multiple casts performing this show around the world, but we had Rob Cummings (Basil), Andrew Evans (Manuel) and Clare Noy (Sybil). They all nail every mannerism and aside, and at points you’d be forgiven for thinking you were in the iconic Torquay hotel…although York’s Pavilion is thankfully much nicer.

Cummings frustrations as Basil are palpable, as he struggles to train ‘I know nothing!’ Manuel, from Barcelona. The hen-pecked husband, he can never do right by Noy’s Sybil – who tries to keep him in check. The trio are casting perfection, and we couldn’t have asked for better.

The experience is pitched as family-friendly, and there were a few other families with children in attendance. Wisely, the less-PC comedy of the 1970’s has been omitted – and kids will love all the silliness and slapstick. Does Basil mention the war though? You’ll have to book to find out. There’s some innuendo too, but it’s all fairly playful and has the diners delighted.

As food forms part of the experience, I’m pleased to say the meal hit the spot. Whilst not fine dining – which we didn’t expect – all three courses were tasty and served efficiently.

To start, roast tomato and basil soup (with this herb surely not accidental?), then chicken ballotine with fondant potatoes, stockpot carrots and a red wine jus. To end, a zesty lemon tart with a raspberry coulis. Our two boys (9 and 12) were delighted that they weren’t fobbed off with kids meals – no chicken nuggets, chips or smaller portions here.

Dietary requirements are catered for, with vegetarian and vegan options offered. The company go to great lengths to check for allergies too, in particular for nuts due to a specific routine involving the nibbles (“No, not nipples Manuel!”)

But of course it’s mirth over meals that has had fans booking for over 28 years. The Faulty Towers Dining Experience long predates the new West End show and tour, and there is something incredibly immersive about being in the thick of it all. It’s timely too, with the recent passing of the original Sybil Fawlty, Prunella Scales. RIP.

Our only suggestion is that a meet-and-greet and photos with the cast at the end would be a nice touch, with the actors staying in character and continuing the interactions of course. Other than that, we couldn’t…fault it.

There is clearly a lot of love for the comedies of yesteryear, and our fellow diners lapped up the nostalgic afternoon’s entertainment. It’s a laugh-out loud riot of fun, with well-seasoned performers and well-seasoned…soup!

To see where the experience is touring next and book your tickets, visit www.faultytowersdining.com

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

Lost Atoms, York Theatre Royal, October 2025

Last night we saw Lost Atoms at York Theatre Royal, a little unprepared for the moving evening ahead of us. This is Frantic Assembly’s 30th anniversary production; a company whose remit is brave and bold theatre. They push the boundaries of a performer’s physicality and specialise in storytelling in a unique way. Their trailblazing work flits between brutal and tender, and this was no exception…

The story follows Robbie (Joel Layton) and Jess (Hannah Sinclair Robinson) as they reflect on their relationship, from a chance meeting at a pretentious coffee shop, to crazy golf and a stormy date in Grimsby. By the second half, the cracks in the relationship begin to show and we invest in this rollercoaster of emotions until the bitter end.

Layton and Robinson both deliver incredible performances; raw and emotional without ever feeling forced. Jess ends the show in tears, with a performance that touches on all aspects of a relationship with honesty and clarity. From little niggles at each other to those huge life-changing arguments, Anna Jordan’s writing explores the relationship completely unflinchingly.

The production features physical theatre and dance extensively. Every movement is perfectly choreographed, as the actors swing off railings, intertwine their bodies and scale the set with ease. The movement is so fluid and effortless that it’s easy to forget just how physically demanding it must be.

Andrzej Goulding’s design is exceptional. Drawers open and close and become stepping stones, platforms and vessels for the couple’s memories. Unseen stage crew meticulously ensure that every platform is ready, in a real feat of synchronicity. Two chairs seamlessly become a bath, a car, a waiting room and more. The set is simple, practical but oh so effective.

Simisola Majekodunmi’s lighting design is first rate too. The dramatic change from one state to another to indicate when they’re reliving a memory – and when chatting in real-time – is both striking and effective. The use of lightbulbs as memories, or possible life outcomes, is a real…well…lightbulb moment.

This opening-night audience was absolutely enraptured. Drama students filled the stalls, and what a treat to see live theatre done this well. The auditorium was gripped by a silence broken only by audible gasps at some of the more shocking moments.

Speaking of which, no spoilers here but it may be worth checking trigger warnings. The play deals with some harrowing issues and difficult themes, delivered with a raw intensity. There are moments of comedy but don’t expect an uplifting evening. Lost Atoms hits hard, and by the end we were both a little shellshocked. It’s thought provoking too, as the couple muse over how different people hold the idea of romantic love.

Powerful. Moving. Intense. Lost Atoms won’t be for everyone, but this is a honed and slick production that tells a hard-hitting story really well. Unforgettable.

Lost Atoms runs at York Theatre Royal until Saturday 11th October. Find out more and book at https://www.yorktheatreroyal.co.uk/show/lost-atoms/

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

Friends the Musical Parody, Grand Opera House York, September 2025

As fans of the hit nineties TV series, we were excited – and more than a little intrigued – to see how it would translate into a musical stage show. Friends the Musical Parody has appeared in Las Vegas and New York and now visits…Old(e) York!

All the fan favourites are here, and each of the main cast of six offer a caricatured take on their roles. All are strong singers and dancers, and manage to successfully portray the Friends we know and love. Don’t except perfect lookalikes – or even soundalikes – but it’s the mannerisms that fill the boots best.

Perhaps the strongest tribute act is Eva Hope as Rachel Green; Hope could in fact be mistaken for a young Aniston. She plays her with a real heartfelt warmth, and compliments on-off love interest Ross Geller (Enzo Benvenuti) well. Benvenuti exaggerates every Gellerism, and openly admits that Ross is the character everyone loves to hate. Alicia Belgrade personifies the slightly neurotic Monica Geller, and has powerful vocals too.

Ronnie Burden certainly isn’t a burden to this show. He plays ‘hot but dumb’ Joey Tribbiani, and milks every swagger and “How you doin’?”. Amelia Atherton’s Phoebe is suitably ditzy and kooky, and she really pushes into the more bizarre quirks of the character. My only criticism is that she seems like a sidekick here to the rest of the gang, but as a creative choice rather than by ability.

Daniel Parkinson is a real crowd-pleaser as Chandler Bing, and nails every mannerism and sarcastic comeback. The seventh cast member is Edward Leigh who adopts a variety of roles throughout. A highlight is his Gunther, who desperately wants to be part of the gang. No spoilers but look out for Janice too…a firm audience favourite!

The production is full of toe-tapping new musical numbers, often linked to famous catchphrases such as ‘pivot’ and ‘we were on a break’. Presumably for copyright reasons though, many of the most iconic lines have been changed. Odd words are substituted here and there – such as Smelly Mom instead of Smelly Cat – and the tune of said song is all wrong. It feels that the die-hard Friends fans who love the source material would want, and expect, the original unaltered lines and songs.

Nothing is off-limits in this production, with digs at 90’s fashion, Monica’s endless list of ex-boyfriends, and even Jennifer Anniston’s real life love woes. Oh and it’s definitely not a family show – expect lots of sex references and the song Two Girls, One Condom.

Andrew Exeter’s set is a masterpiece. Beginning as the back of a TV studio set, each section turns to reveal a well-known room or location. The set is effortlessly moved around constantly by the hardworking crew, which adds a nice fluidity. There are no blackouts or scene changes, so the action comes thick and fast. Many iconic costumes and props appear too, to the delight of fans.

Highlights? Gunther is an unexpected hit. His paradox of limited dialogue is funny, and his Disneyesque solo Part of their Gang was my favourite. The energy and delivery throughout is commendable, and there are some real laugh-out loud moments.

Unfortunately sometimes the parody goes too far and feels too cutting. For a show that will inevitably draw true fans of the series, the production often mocks the source material to the point that it feels uncomfortable – as if the audience are being insulted for ever enjoying the show. Yes Friends perhaps hasn’t aged well, but it still has that nostalgia factor and is loved by many. Jokes about things like Matthew Perry’s fluctuating weight seem harsh too, with the actor having had a serious drugs and alcohol problem. These jibes don’t generate many laughs either, and feel out of place.

Pacing varies, and the first act is stronger – with the second half feeling more surreal and less polished. A technical issue also stopped the production for at least ten minutes, which is unfortunate and didn’t help with the flow.

This is a tricky show to sum up, but if you’re a fan there will be things here to appreciate. It’s unlike anything we expected and doesn’t always hit the mark, but is enjoyable overall and builds to a fun and Friendly finale.

Friends the Musical Parody runs at Grand Opera House York until October 4th. Book your tickets at https://www.atgtickets.com/shows/friends-the-musical-parody/grand-opera-house-york/

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

The Wizard of Oz, Grand Opera House York, September 2025

We last saw The Wizard of Oz in Sheffield, with The Vivienne (RIP) as the Wicked Witch of the West. But I’ve a feeling we’re not in Sheffield any more. We clicked our heels three times and were transported to The Grand Opera House for York Stage’s latest show…

A talented and diverse cast bring the classic 1939 film and story to life, with dazzling costumes, stunning sets and plenty of energy. This production is faithful to the original, but also adds new songs and some modern lines to keep things fresh.

The audience went Dotty for our Dorothy, played by Erin Childs. She’s believable as a young girl eager for adventure, and the accent never grates. Vocally she excels, and is sensible not to just imitate Judy Garland.

This is the last…straw!

All the film favourites are here, and all missing a key personality trait they need help to find. As a foursome, the group is dynamic and they play off of each other with great comic timing. Each reprise of We’re Off To See The Wizard gets us toe-tapping along!

The dimwitted Scarecrow is played by Flo Poskitt, who milks every brainless gurn and guffaw. Slapstick, clowning and plenty of funny lines – Poskitt wrings out every ounce of silly. Like a scarecrow that has won awards, she’s out-standing in her field!

Stu Hutchinson’s Tin Man is part C3PO, part Robot Redford from The Pink Windmill Club (remember that?) His performance is more than a little robotic, and I mean that as a compliment. Singing, dancing and even tap-dancing, Hutchinson is a consummate performer. This was one of my favourite costumes too, with a steampunk vibe and a tip-top hat. Hats off to the design team.

Our lion might be cowardly but there’s no stage fright here! Finn East gives a roar-some performance, and is made for the part. His rendition of If I Were King of the Forest is his ‘mane’ crowd-pleaser.

Which witch is which?

Carly Morton’s Glinda is saccharine sweet, and an excellent singer. She gives one of the most contrasting performances, between Aunty Em and the Good Witch of the North – to the point that I was surprised it was the same actress.

How to describe the Witch of the West’s performance? Wicked! Emily Alderson strikes a balance between sinister and sassy. Her demise could be more magical, but it’s a tricky effect to achieve without an illusion consultant. Ian Giles as the Wizard (and Professor Marvel) is likeable and charming, and suitably imposing as his Emerald City alter-ego.

A huge ensemble burst with energy and enthusiasm too, and there’s some slick choreography courtesy of Damien Poole. A live band led by Jessica Viner is a treat too.

Who’s a good boy?

Special mention to Toto aka Freddie. This canine cohort – bribed with bacon bites – has the ‘aww factor’ and delights with every tail wag. In Oz, there’s a puppet pooch but it’s the real one that gets the kudos. Sarah Jackson does an admirable job bringing the cloth canine to life though.

A Whirlwind of Entertainment

The team don’t skimp on effects, and the tornado is a highlight that’s more inventive and creative than we’ve seen before. No spoilers, but it’s a really up-lifting moment!

Projection is utilised cleverly, but thankfully not overused, and the booming reveal of the Wizard himself features a modern twist. Monkeys fly, pyros burst, and poppies bloom in the most fan-tastic way.

On this opening night, there were no missed lines or dropped cues. Even when bits of costume fell to the stage, they were quickly and efficiently whipped away by the diligent cast. In truth, some elements worked better than the large-scale touring production – especially that tornado scene which reached dizzying heights.

This is an ambitious production for any company to stage, especially a semi-professional one. Like a lubricated Tin Man though, this is a well-oiled machine full of theatrical magic!

The Wizard of Oz runs until September 20th. Follow the yellow brick road to the Grand Opera House website and book your tickets at https://www.atgtickets.com/shows/the-wizard-of-oz/grand-opera-house-york/

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

Danny Lee Grew 24K Magic, Friargate Theatre York, June 2025

Danny Lee Grew brought his one-man show to York’s Friargate Theatre last night, and it was a treat for this Wizard to be on the other side of the curtain after a day of tours!

24K Magic features a magical myriad of effects. Expect everything from magic with cards, silk handkerchiefs, eggs, oranges, rings, milk, paper and even a bowling ball. There are modern and inventive tricks and many classics dusted off too, such as the multiplying bottles (of Tommy Cooper fame) A one-tricky pony he ain’t!

A highlight for me was a variation on the Slydini Silks – a trick as old as the hills but given a smart twist using wordplay on NOT and KNOT. The variety keeps the show pacey and ensures there is something for everyone. There’s plenty of comedy too, with little asides, puns and gags that were right up this wizard’s alley!

A loose (invisible) thread centres around Danny’s background; from his first magic set, to his hospital work and time on cruise ships. A routine with coathangers makes sense, as he claims to pack his own for hotel stays on tour. And a twist on the classic cut and restored rope uses a bandage as a nod to his NHS days. These links lift the show from a random assortment of tricks and props, to something we feel more connected to and invested in.

More important than the magic though is that Danny is instantly likeable and engaging. He wins over a small audience on a hot evening, and the comedy is gentle without ever needing to shock or offend. He isn’t the ‘haha fooled you!” type, and invites us to share in the wonder rather than presenting puzzles and gotcha moments.

Crucially, he treats his volunteers with respect and puts the audience at ease by announcing he won’t be embarrassing anyone or making fun of them. Many is the magician who goes for a cheap shot at someone else’s expense, but thankfully none of that here. I’m reminded of seeing Geoffrey Durham (mentioned in the show) many years ago, who had the mantra “All done with kindness”.

It was our first visit to Friargate Theatre, which is an ideal intimate size for this kind of show. A few technical blips in a new venue are expected and forgivable, and didn’t take away from the experience. The set is sparse but this allows the magic to really shine. Danny doesn’t resort to big advertising banners on stage, which is a smart move and adds class.

So who is it for? It’s not strictly a kid’s show, but the magic is family-friendly and visual enough to hold young audience members’ attention. This audience was a mix of families, fellow magicians (who Danny kindly plugged and encouraged people to follow) and couples.

Our mini Wizards were both picked out to help, and were thrilled to be involved. Our youngest said “Mind-blowing, I loved finding my card in an orange!”. Eldest said “It was spellbinding, I enjoyed the Three Card Monte but my favourite part was being levitated!”

If you haven’t seen a live magic show before, I’d urge you to give it a try. Done well, there really is nothing like live magic. In this era of social media, YouTube and AI, it’s not always easy to be ‘wowed’ but Danny elicits gasps and surprised laughter throughout.

This was a one-night-only affair, but Danny tours regularly and you can check out his schedule at https://dannyleegrew.com/live/

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

Dear Evan Hansen, Grand Opera House York, June 2025

Dear Evan Hansen follows the titular character Evan; an anxiety-riddled teen who is tasked with writing himself letters in the interest of positivity and self-development. When one of these letters gets into the wrong hands, Evan spins a web of lies. Although he has good intentions, we soon see the fallout and damaging impact of his actions.

Evan is played by Ryan Kopel, who perfectly embodies social anxiety with every twitch, hand-wring and stutter. He is a standout performer in an already incredible cast, and an extraordinary singer too. The phenomenal and complex score would push any actor, but he nails every note and nuance. The performance is first rate, and we really feel his anguish and longing to belong.

Frazzled mum (Alice Fearn) struggles with work life balance, finances and raising a son who clearly finds life a challenge. Fearn gives a stellar performance and her vocals switch between impressive belts to gentle poignancy. She excels in the song So Big/So Small.

Best friend, or ‘best family friend’ Jared (Tom Dickerson) brings extra comic relief, as he ribs his buddy over his attempts to woo love interest Zoe. He is believable and relatable as a high-school teen who relishes the banter. Expect sex jokes, swearing and crass teenage humour. A kid’s show this ain’t!

Another friend to Evan, Alana (Vivian Panka) is preppy and eager to please. Another excellent singer, she is unwittingly responsible for the exposure of Evan’s deceit.

Connor, played on press night by understudy Will Forgrave, is the high school rebel with deep issues and a quick temper. For such a grungey character, he really shines in the comic song Sincerely, Me, which sees him and Jared hot stepping and cavorting around the stage.

Sister Zoe, (Lara Beth-Sas) was another understudy for this performance. She begins as a surly teenage girl but later softens – bringing an understated gentleness to the role as her character arc progresses.

Connor’s mum (Helen Anker) and dad (Richard Hurst) complete the family dynamic, and give solid performances filled with remorse. Their fractured relationship clearly hangs in a delicate balance but they take Evan under their wing, showering him with affection and becoming a fantasy family for the troubled teen.

Technically, the show is a triumph. Projection is used effectively throughout, but never over-used. Morgan Large’s set is sparse at points, and allows the performers to really shine. We may see a suggestion of a bedroom with just a few beds, or a row of lockers to represent a high school corridor. Cleverly, said lockers open up with lights inside – just one aspect of a clever and dynamic lighting design by Matt Daw.

The fantastic band is led by Michael Bradley. Levels are well balanced and the score blew us away. We were to quick to stream the soundtrack on Spotify after!

This powerful and emotive show is a far cry from the twee and often cheesy musicals of yesteryear. Don’t expect toe-tapping fun throughout, and there’s certainly no megamix at the end. In fact, the finale of the show is unlike any musical I’ve seen – opting for a relatively gentle and poignant conclusion rather than a rousing encore or reprise.

Dear Evan Hansen tells an interesting and important story that echoes the challenges of the modern day. Heart wrenching at times, it packs an emotional punch. This somewhat shellshocked audience were instantly on their feet at the end for a full and deserved standing ovation.

Powerful, emotional, unforgettable theatre. A must see.

Dear Evan Hansen runs at the Grand Opera House until Saturday 28th June. Secure your seats at https://www.atgtickets.com/shows/dear-evan-hansen/grand-opera-house-york/

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

The Last Laugh, Grand Opera House York, June 2025

Review originally written for The Reviews Hub

Fresh from a sell-out West End run, The Last Laugh arrives at York’s Grand Opera House. But is it a laugh a minute, or no laughing matter?

We’re met with Lee Newby’s set – a derelict dressing room where pictures of Laurel and Hardy, Tony Hancock and Sid James gather dust. It’s the ideal setting to let the comedy – and relationships – really shine. And shine they do.

The Last Laugh brings together the comic stylings of Eric Morecambe (Bob Golding), Tommy Cooper (Damian Williams) and a tangerine-tanned Bob Monkhouse (Simon Cartwright). All three performers excel at every nod and nuance, and you’d be forgiven at times for thinking you were watching the stars of yesteryear. Expect every comic aside, every glasses wiggle and every ‘just like that’.

The dynamic between the trio is natural, and they riff off each other with ease. Golding’s Morecambe is delightfully daft and playful, whereas Cartwright’s Monkhouse is more by the book. Quite literally, as he clings to his book of tried and tested – or hammered and chiselled – jokes. Williams’ Cooper nails the funny look; the ability to make an audience laugh by doing very little…whether it’s his trademark shake of the hands or even navigating a garden gate.

There’s no plot to speak of, instead we’re treated to engaging chatter and dressing room banter peppered with jokes and shtick. But it’s not all giggles and guffaws, and the production blurs the line between tribute act and drama. Paul Hendy’s writing explores health issues, drink problems and the harsh realities of living in the spotlight. The gents ponder why it is they do what they do, and the almost obsessive quest for a laugh at any expense.

Some scenes are bittersweet, and Tommy Cooper’s final exit is truly poignant. This reviewer’s parents witnessed his untimely passing broadcast live from Her Majesty’s Theatre, so I grew up hearing about it between watching the fezzed funnyman on VHS. We’re reminded of the fragility of life, and the toll the pressure of pleasing audiences night after night can take. These moments of the sad clown are carefully and tastefully implemented.

The masks don’t slip for long though; the gags fire thick and fast throughout and this appreciative audience lap it up. The second half is a Q&A session with the cast and, at this performance at least, the writer and director too. This is a fascinating insight into how each actor becomes their respective comic, and titbits about how the show was received on Broadway, funny anecdotes, favourite jokes and more.

The Last Laugh is an evening of pure nostalgic delight and a love letter to the golden age of British comedy. How can I give it five stars? Just like that!

The Last Laugh runs at Grand Opera House York until Saturday 14th June 2025. Find out more and book your tickets at https://www.atgtickets.com/shows/the-last-laugh/grand-opera-house-york/

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

&Juliet, Sheffield Lyceum Theatre, May 2025

Last night we got our ‘Bard on and headed to Sheffield’s Lyceum Theatre for &Juliet. We caught the production in Leeds last year, but thought we’d see it (Baby) One More Time…

The production follows other historical happenings such as SIX and Hamilton, and breathes new life and ideas into Shakespeare. Don’t expect the literary tale as written, instead the story explores what would happen if Juliet didn’t kill herself. Here, she starts a new life in Paris without needing a Romeo to call her own. Expect girl power, modern language and themes, and a banging soundtrack of 90’s favourites. It’s a megamix of hits from Britney and Bon Jovi, to Kelly Clarkson, Katy Perry and even The Backstreet Boys.

Jay McGuinnes fills the shoes of Shakespeare himself. Likeable and engaging, and suitably smug in reminding the audience which famous phrases he wrote. His relationship with Anne Hathaway is bittersweet, and the pair work well together.

This is our second time seeing Gerardine Sacladan (Juliet) and Lara Denning (Anne), and we can say unreservedly that they are two of the best musical theatre performers we’ve seen in any show. Powerhouse vocals with perfection in every note, and engaging performances throughout. Denning’s heartfelt That’s The Way It is is a highlight, and Sacladan manages to deliver a passionate performance even when sat on the floor or flying through the air. Incredible.

We’d also seen Jordan Broatch’s May and Kylie Cox’ Francois before, and both absolutely excel in the roles. Broatch delivers I’m Not a Girl so movingly, and has an endearing quality and quiet sincerity. Cox’s nerdy Francois wrestles with his new feelings towards May, but also wrings comedy out of the role with daft piano playing and cringe-inducing social awkwardness.

More comedy comes from Nurse Angelique (Sandra Marvin) who tries to keep Juliet on the straight and narrow, but ultimately gives up and goes wayward herself. Marvin’s voice is rich and soulful, and she swoons for old love interest Lance, played by understudy Michael Nelson. Nelson brings some French swagger to the role, but plays it more seriously than Raj Singh we’ve previously seen. Singh played the part more tongue-in-cheek, but both found the funnies in the dance numbers.

But what of Romeo, dear Romeo? Benjamin Jackson Walker plays the self-confessed douche with a swaggering flamboyancy that works well. Yes Romeo is a wet lettuce, but that’s how he’s written here, and he doesn’t take as a large role as you might expect.

A huge ensemble fill the stage with seemingly effortless energy and slick choreography throughout. They cleverly mask scene transitions and costume changes, and keep the show moving with ease. They’re all dressed in period attire but with a modern twist, and Palmona Young’s costumes are a triumph.

&Juliet is a feast for the senses, and worthy of the West End in terms of production values. Soutra Gilmour’s eclectic set transports us between London, Verona and Paris, through neon lights, giant balloons and grungy shabby-chic set pieces. At one point Juliet swings from a chandelier, rides a moon swing and is pedalled by a fairground-horse rickshaw. There’s plenty of razzle dazzle too, from pyrotechnics and smoke to raining glitter.

On a technical note, the sound levels were slightly out of balance at points. This is a shame as the vocals are so strong and well delivered, but sometimes drowned out by the music. Dialogue was occasionally a strain to hear too, even from the mid stalls. Hopefully these technical issues can be ironed out as the run goes on, and I suspect they were opening night niggles.

This eager audience were itching to get up and dance but – thankfully – posters and announcements ask to refrain from this until directed by the cast. This is a sensible touch; in Leeds many people treated it like a concert and crooned along to the 90s hit list.

When the moment does come though, there’s no stopping us. We all bopped along to Can’t Stop the Feeling, and the show received a resounding and well deserved standing ovation. A celebration of independence, of being yourself and carving your own path in life.

Family friendly? It’s certainly a fun, fast-paced and colourful show. There were several primary school groups in last night, and the age rating is 8+. However there are sexual themes, and strong language – especially in P!nk’s F**king Perfect. It’s a song title that probably sums up the show well though, and it comes highly recommended.

Not booking a ticket would be the real…tragedy!

&Juliet runs at Sheffield’s Lyceum Theatre until Saturday 31st May. Book your tickets at https://www.sheffieldtheatres.co.uk/events/and-juliet

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