Review originally written for The Reviews Hub. Photos by Alastair Muir

Another production of Oliver! but is there a twist, and does it leave me asking for more? You’d be forgiven for expecting A Christmas Carol instead this December, but Leeds Playhouse opt for a less traditional festive offering year on year.

The Quarry Theatre has been transformed to deliver this production in the round. The audience is fully drawn into Dickensian London, and at points this reviewer was mere inches away from the action. Inventive staging across multiple levels features ladders, gantries and at least six entrances, all used to great effect. What a workout for the cast too, as they run, dance and chase each other round the entire auditorium.

From three boys sharing the title role, our Oliver is Nicholas Teixeira aged nine. Teixeira has a real sincerity, and captures the forlorn naivety of the hungry orphan. Where is Love? is deeply moving and incredibly well delivered. Oliver is just one of many children in this production, and they all have bags of enthusiasm. In fact, at points, their energy even outshines the adult ensemble.

Felix Holt’s Dodger is the cheeky chappie the audience expect, and gets many laughs from his jump-kicks and cockney rhymes. He leads Oliver down a path of crime, but is likeable and charming along the way. Consider Yourself is a real winner, as is I’d Do Anything.

Steve Furst as Fagin sensibly avoids a pastiche of Ron Moody in the 1968 film, as seen in so many other productions. Furst puts his own stamp on the iconic character, striking the perfect balance between caring father-figure and crook. He adds a real poignancy, showing a genuine care for Dodger and Nancy, and a deep-rooted fear of Bill. You’ve Got to Pick a Pocket or Two is a highlight, largely down to Furst’s performance coupled with slick choreography. He even plays the violin, adding another string to his bow.

Chris Bennett gives a deeply unsettling performance as downright wrong ’un Bill Sykes. His fiery temper may even scare younger audience members. Inexplicably, his canine companion Bullseye is now human, and takes such a minor role that he could’ve been sent to the doghouse altogether.

Jenny Fitzpatrick as Nancy is a vocal powerhouse; her rendition of As Long as He Needs Me is simply stunning. There is a real depth to this Nancy, from her playfulness with the boys to her loyalty to both Bill and Oliver, and friendship with Bet (Frankie Hart). The duet of It’s a Fine Life gives Hart an opportunity to showcase her excellent vocal talents.

Mr Bumble (Minal Patel) and Widow Corney (Rosie Ede) add comic relief and, along with Mr and Mrs Sowerberry (Harry Waller and Laura Cairns), these ensemble roles are all strong and perfectly cast. That’s Your Funeral is deliciously dark, and features musical mourners and coffins galore. Mr Brownlow (Simon Green) dotes on young Oliver, and shows a genuine paternal warmth. Many of these actors play other roles, and most unite in the rousing Who Will Buy?

Special mention must go to the band, led by Musical Supervisor Toby Higgins. Oliver’s score deserves a rich sound, and the band deliver on every note. Levels are balanced, and the Playhouse resonates with every ditty or melancholy ballad. Perfection.

Director James Brining gives us the Oliver we all know and love but adds a stroke of genius in the staging. Although on the second row, this reviewer and his family were sat at the rear of the auditorium and – despite some blocked views by furniture and set-pieces – we certainly didn’t feel excluded. Every inch of the space is used, and the actors seamlessly ensure that they are playing to the whole audience without it ever feeling forced.

For younger theatregoers, Oliver perhaps isn’t as pacey or interactive as the usual festive fare. A pantomime this isn’t, although Bill Sykes still gets a resounding boo in the bows. That being said, for the most part the children in the audience are as transfixed as their parents. Our eldest son (aged 10) exclaimed “That was amazing!” and noted how diverse and inclusive the casting was. Our youngest (7) especially enjoyed Fagin in a tiara, and the excitement of actors in the aisles.

Oliver! is worthy of a West End transfer, with smart casting, toe-tapping numbers and a dazzling design. You’ve got to book a ticket or two!

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Oliver! runs at Leeds Playhouse until 27th January 2024. Book tickets at https://leedsplayhouse.org.uk/event/oliver/

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

Review originally written for The Reviews Hub

As panto season begins, I packed my spotted nap-sack, tied it to a stick and set off for Harrogate Theatre with my wife and two boys…

London Calling

Dick Whittington follows young Dick as he travels to London with his feline sidekick. Along the way they meet the dastardly King Rat and his legion of rodents, and try to solve the mystery of stolen cash and the location of a magic sword. As pantomimes go, it’s one of the more confusing and convoluted stories but we’re frequently reminded of the key plot points.

Tim Stedman returns as the comic male, this time playing Idle Jack. Part Norman Wisdom, part Mr Tumble, Stedman’s daft charm has been delighting audiences for twenty-three years. Unlike other panto stalwarts, he doesn’t dominate the show and allows his co-stars to shine. Effortlessly likeable, he is a master of physical comedy and delivers gags thick and fast. His custard pie antics in The Twelve Days of Christmas are an absolute treat, in an age where many shows have dropped slosh scenes altogether.

Dick (Naail Ishaq) and love interest Alice (Faye Weerasinghe) have strong vocals, and a believable chemistry together. Ishaq hams up the role with every thigh slap and grin. The character of Mr Fitzwarren is missing here, which should give Alice a larger role but oddly doesn’t. Weerasinghe does her best with a largely one-dimensional role that doesn’t break the panto mould.

Feline Fine

A purr-fect performance from Anna Campkin as Tammy the Cat. Gone are the days of the black-and-white fur suit; here we see an inventive costume and wig cleverly shaped into cat ears. Jazz paws aplenty, outbursts of musical numbers and a TikTok song sheet all make for one cool cat. Tammy was an unexpected hit for your reviewer’s seven-year-old in particular.

Dame for a Laugh

They say there’s nothing like a dame, and newcomer Harry Wyatt joins the cast as Sarah the Cook. Perhaps more drag than dame, Wyatt breathes new life into the role with a youthful energy and more frocks than you can shake a (flashing) wand at. A solid vocalist with some funny asides, but he could benefit from more stage time to really make his mark.

Shannon Rewcroft mixes up the Fairy Godmother formula as Fairy Bow-Bells. In a role that can often become patronising, she turns this bit-part into a feature character and shows real warmth and likeability. Her duet of These Boots are Made for Walking with the baddie is sensational. Later, Rewcroft also plays eco-conscious mermaid Millie Ocean. She makes both roles her own, and clearly enjoys the variety.

By a Rat’s Whisker

Like a gruff Rik Mayall, Michael Lambourne could be one of the best panto villains we’ve ever seen. Treading a tricky line, he is playfully menacing with the crowd without ever reducing young audience members to tears. Rat out of Hell is a real highlight, and Lambourne relishes every boo and hiss. When things go wrong, his exasperation only adds to the fun.

Musically, Dick Whittington is diverse and features everything from Meatloaf, Elton John, The Clash and Celine Dion to a Bond theme and a beautiful slow take on I’ll Be There for You from Friends. Expect showtunes too, and modern hits from Billie Eilish and TikTok favourites. A live band ensures a rich sound, led by Musical Director Nick Lacey. However, the music sometimes overpowers the vocals, especially in the opening London montage where lyrics are almost incomprehensible.

A UV puppet sequence in Act Two is slick and well choreographed, and we meet the Giant Scary Tap-Dancing Jellyfish again later in the inevitable ghost scene. Yes, the formulaic staples are all here but often with new twists. Projection also features heavily, from scampering rats and even rolling credits at the end.

Director Marcus Romer helps keep the action pacey, and there’s rarely a dull moment. Even the love songs are sensibly succinct. Writers David Bown and Phil Lowe ensure a slick script and plenty of local references. Some of these went over this York reviewer’s head, but the local crowd lapped them up.

Harrogate Theatre doesn’t rely on celebrity appearances and gimmicks, instead opting for good old-fashioned family fun with plenty of festive magic and sparkle. Unusually for panto, there’s no smut here…not one double-entendre or obvious Dick joke. Sumptuous sets, dazzling costumes and a strong ensemble performance ensure a good time for all. It’s a tried and tested formula that keeps audiences coming back for more.

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Dick Whittington runs at Harrogate Theatre until January 14th 2024. Tickets can be booked at https://www.harrogatetheatre.co.uk/events/dick-whittington/

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

Looking for some farcical fun, we stretched our funny bones and headed to York Theatre Royal to see Michael Frayn’s Noises Off

Written in 1982, the plot features a cast of actors rehearsing and eventually staging Nothing On. With rehearsal time – and patience – running out, this comedy of errors unfolds not once, not twice, but thrice. That’s right, this is a three-act production with two intervals to allow for set changes. And as the pace intensifies, so do inter-cast relationships, jealousies and bitter rivalries.

We first meet the housekeeper, and I’m absolutely Dotty about Liza Goddard’s performance as…Dotty and Mrs Clackett. I lost track of how many times she said sardines, and how many plates went on and off, but it’s a great running (swimming?) joke. A stellar performance all round, and a delight to watch.

Lucy Robinson’s Belinda Blair/Flavia Brent is the epitome of an ever-positive theatre luvvie, who loves the spotlight as much herself. Her chemistry with on-stage husband Frederick Fellows/Philip Brent (Simon Coates) is perfect. Insecure, Brent questions the book – and his abilities – often, much to the frustrations of director Lloyd Dallas (Simon Shepherd) Simon plays the director with a real believability, and we share in his unenviable task of keeping order.

Lisa Ambalavanar plays Brooke, playing Vicki, and she nails the role of eager-to-please overacting bimbo. Brooke brings added fun to proceedings by ploughing on when all around her is falling apart.

Understudy Mark Middleton plays Garry Lejeune as Roger Tramplemain, and excels at comic timing and knockabout fun. In the third act especially, his physical comedy is wonderfully executed and gets gasps from this audience on every thud. His increasing exasperation reminds me of a young Basil Fawlty.

Nikhita Lesler (Poppy Norton-Taylor) and Daniel Rainford (Tim Allgood) are the stage managers, desperately trying to get the actors to their places, and the show up on time. A sequence where they both keep calling front of house announcements over each other is especially fun. My wife, a trained Stage Manager herself, relished their backstage burdens!

Matthew Kelly appears as the ever-inebriated Selsdon Mowbray. Cue missed entrances as a bumbling burglar, and an unwavering search for a wandering whiskey bottle. I remember Kelly vividly from You Bet and Stars in their Eyes, but he now has extensive theatre credits under his belt. His experience shows, and he wrings every comic ounce out of the role.

We have seen a lot of mishap theatre, from The Play That Goes Wrong and Magic Goes Wrong to Le Nevent Bete’s Dracula: The Bloody Truth. In truth, we’ve seen so much that it feels a little less fresh and original to us these days. That’s no fault of this play, and of course Noises Off pre-dates all of these. If you’re new to the ‘goes wrong’ genre though, you’re in for plenty of unexpected surprises!

Special mention must go to associate movement and fight director Claire Llwelleyn from RC-Annie LTD, as the show is akin to a well-choreographed dance piece. Mark Middleton keeps this in check on tour too, as fight captain. Choreography, especially in the near-silent backstage second act, is undeniably tight and hits every comic beat.

Noises Off is delightfully slick, a riotous romp that builds and builds. There is a real joy in wondering how things will unravel, even for a third time. Director Lindsay Posner keeps the show pacy, and directing a play with in a play must be a tall order. When the curtain finally came down, this Wednesday night audience made plenty of Noise.

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Noises Off runs at York Theatre Royal until November 4th, before continuing it’s UK tour. Book tickets at www.yorktheatreroyal.co.uk/show/noises-off/

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

We stretched our legs and went to the opening night of The House with Chicken Legs by Les Enfants Terrible at York Theatre Royal. Based on the novel by Sophie Anderson and adapted for the stage by Oliver Lansley, we hadn’t read the book so didn’t know what to expect…

The striking design is the first thing that caught my eye. We arrived to a ramshackle house and fences of bones and skulls, silhouetted by a projected cityscape. We soon find out that this is no ordinary house; it travels by chicken legs to aid Baba in her role to guide the deceased to The Land of the Dead.

Helped by Marinka, they greet the dead like old friends, with drinks and bowls of borscht, before helping them through a portal to the stars. 

Music to Our Ears

Live music adds a real richness to the production, and the talented cast work wonderfully together to bring this Slavic story to life. Puppetry adds variety, from Jack Daw the…well…jackdaw…to miniature people, all beautifully articulated. Costumes are all well designed, and the show has a strong style. 

Eve De Leon Allen excels as Marinka, and Lisa Howard adds both comic relief and poignancy as Baba. In the second act Marinka meets Yaga, played by Stephanie Levi-John, who has a real flair for the role and bags of energy. Elouise Warboys play Nina with a youthful innocence, and is another strong vocalist.

Michael Barker as Ben has plenty of boyish charm, and his blossoming relationship with Marinka is heartfelt and believable. Dan Willis is no bird-brain, and puppeteers to perfection – with a convincing squawk to boot!

All the actor-musicians play multiple roles, and this is a truly the epitome of an ensemble affair. 

Legs Akimbo

Technically, a few things were amiss on this opening night too. Set changes weren’t as slick as they could be, lightning cues were missed and sound levels weren’t balanced. Vocals during songs were often hard to hear – especially in the fast and loud ‘Yaga House Party’. 

Was this enough to ruffle my feathers though? No, it’s worth noting that this is the first (chicken) leg of the tour, and the very first performance in this new venue. We had also been forewarned that there may be a few issues, whilst the show nests into The York Theatre Royal. 

Does the house sprout chicken legs? Yes, but sadly this was disappointedly anticlimactic. In a show that’s hatched many clever creative ideas, this visual effect could be achieved more inventively. Once in place, the illusion of movement is strong, but I’d have liked for the appearance to be more sudden, and a bigger reveal worthy of the show’s title.

Niggles aside, this is a show that tells a story beautifully, and combines puppetry, projection and live music with a strong ensemble performance. It’s a complex production that looks ambitious to tour, and I hope it can find its touring feet and really take flight as the run continues. 

For your brood?

Is it a family show? At 2 hours 30 minutes with interval, it’s a lengthy production that isn’t always pacy. Our ten-year-old was restless but, to our surprise, our seven-year-old seemed to enjoy it much more. There isn’t a great deal of interaction but it’s certainly visual and colourful and the songs are memorable. 

The recommended age is 9+ and there isn’t anything particularly dark or scary except some covered faces in skull masks and, later, oversized skull heads during a Day of the Dead Festival. Occasionally, sound effects are speaker-shakingly loud, but our two weren’t phased by this.

It’s worth noting there is a theme of loss throughout, and some scenes are incredibly moving. Death is handled sensitively and as a celebration of life, and it may be a good springboard to discuss loss with younger theatregoers. 

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The House with Chicken Legs continues at York Theatre Royal until Saturday 9th September, before flying the coop and heading to Leeds Playhouse 13th to 16th September. Book for York at www.yorktheatreroyal.co.uk/show/the-house-with-chicken-legs/

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

We’re no strangers to the works of Walliams. We’ve made appointments at The Grand Opera House with both Billionaire Boy and Gangsta Granny, making Demon Dentist our third check-up. But is it routine, or does it need work doing? 

The story features good-as-gold Alfie (Sam Varley) who dotes on his dad (James Mitchell) and hasn’t seen a dentist in six years. New dentist Miss Root (Emily Harrigan) arrives in town, but things aren’t quite as they seem. Coffee-fearing social worker Winnie (Misha Malcolm) soon gets Alfie an appointment and, along with not-girlfriend Gabz (Georgia Grant-Anderson) they unravel a sinister plot.

Familiar shopkeeper Raj (Zain Abrahams) peddles his not-so-special offers again, and lends a ‘hand’ with a little extra comic relief…

The casting is strong, with Sam Varley playing a 12-year-old boy with a youthful energy and naivety. The relationship with his dad is believable and, at times, poignant. Emily Harrigan’s dentist doesn’t stray too far into panto villain territory, but still gets the well deserved boos in the curtain call. She clearly relishes every moment of the role, and has a great singing voice. Songs are a mixed bag, with Miss Root’s solo working well – and the show closing with a rousing finale. Others are a little forgettable, although all are sung well.

Whilst I wouldn’t say the first act was like pulling teeth, it did feel slow-paced at points, and it was clear that some young audience members were getting restless. A fun chase scene gave a much-needed burst of energy though, and the first half eventually built to a solid cliffhanger. 

Credit must go to Jacqueline Trousdale’s slick design, with the set seamlessly transforming from Alfie’s house, school, the dentist, Raj’s gift shop and even a coal mine. A big set-piece with a large vehicle (no spoilers here!) is a highlight. Special effects, a roving eyeball and feline puppetry all add variety.

Demon Dentist has a much darker edge than previous shows, with a few sudden jump scares that had young children around us in tears. Miss Root is deliciously twisted, and the stuff of nightmares…and I’m sure she’ll cause a few! There is also a theme of loss which is worth mentioning. 

The show has some tender and heartfelt moments. In particular, James Mitchell’s loss of independence as Alfie’s Dad tugs on the heartstrings, and his resilience and determination to protect his son is sincere. Misha Malcolm’s social worker Winnie has a real warmth and clearly cares for young Alfie. Her Revel-based mix-up is sweet treat of a routine too!

Overall, the production lacks the comic punch and silliness of other Williams’ stage adaptations. Except for a smattering of toilet humour (and a swinging cat!) there weren’t many solid laughs, and the darker tone may put some families off. 

Demon Dentist sadly lacks any real opportunity for audience interaction too, which has been a staple of so many other Birmingham Stage productions. The audience could’ve easily been involved as the extended congregation during a wedding, or the wider class during a school assembly.

The story is engaging though, and the performances are strong throughout. Our two boys (6 and 9) enjoyed it overall, even if our youngest was scared at points. It just feels like it needs a little more laughing gas and some polishing here and there to really sparkle. 

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Demon Dentist runs at The Grand Opera House York until Saturday 17th June, before continuing the UK tour. Book to see the dentist at www.atgtickets.com/shows/demon-dentist/grand-opera-house-york/

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

The Way Old Friends Do concludes its UK tour at York Theatre Royal. But is it a super (trouper) of a show, or all a bit of a drag? Expect more puns (Mamma Mia, Here I go Again!)

Although I wasn’t Bjorn until 1985, I’m no stranger to the musical magic of ABBA. Super-fan Ian Hallard has written this new comedy, billed as ‘ABBA meets drag’ in a tale of devotion, desire and dancing queens. Partner Mark Gatiss – of League of Gentlemen, Dr Who and Sherlock fame – directs. 

The plot centres around reunited schoolmates Peter and Edward who stumble on the idea to establish the first ever drag ABBA tribute act. They’re joined by excited wannabe actor Jodie, rehearsal room pianist Mrs Campbell and ‘not-a-thesbian-lesbian’ stage manager Sally. 

The cast all give solid performances. As well as penning the script, Ian Hallard plays Peter, and his love for ABBA shines throughout. James Bradshaw’s Edward is both funny and poignant, and the relationship between the two is sincere. 

Some of the biggest chuckles come from simpering Scot Mrs Campbell (Sara Crowe), who has an almost Mrs Doubtfire like quality at times. She’s not as worldly wise as the gender-bending gents, and it’s a treat to see her eyes opened to all that dressing room smut and innuendo. 

Eager-to-please Jodie (Rose Shalloo) is effortlessly likeable, and Donna Berlin’s Sally has bags of feisty attitude, but also plays the role with a caring warmth for her cast. Later, photographer Christian (played here by understudy Toby Holloway) joins the travelling troupe. No spoilers but his character has multiple facets, and Holloway clearly relishes the role. 

For a show that promises ABBA and drag though, we personally didn’t feel there was enough of either. The play is peppered with interesting ABBA facts, and the occasional blasts of hit songs during scene changes, but we see hardly any of the concert that the troupe have put together. There’s the anticipation of their first gig, but then as an audience we don’t get to experience any of it, save for a brief walkdown in full costumes later. 

Knowing Me (Knowing You) I’d have liked to have seen more variety, with the action switching between the band’s performances on stage, and time backstage to further the story. 

That being said, the show is tender and heartfelt. The story is engaging and the cast all work hard to keep the momentum going. There are occasional laugh-out-loud moments, and plenty of low key titters throughout. 

Special mention must go to Janet Bird’s set design. ABBA is spelled out in towering letters, revolving during scene changes to make clever use of the pop-group palindrome! 

With a suggested rating of 14 plus, the show features adult themes and humour based on sexuality, race, gender and even politics. The running time is 2 hours 10 minutes, including an interval so you can nip to the (Water)loo. 

Will you have the Time of Your Life? Maybe not, but if you’re looking for a heartwarming tale of reunited friendships with gentle comedy throughout…this is right on the Money, Money, Money. 

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Want to Take a Chance? Feel Frida to book your tickets at https://www.yorktheatreroyal.co.uk/show/the-way-old-friends-do/

One more joke you say? Oh ok. The first sound cue was really loud…you could hear the drums from Nando’s!

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

Heathers the Musical comes to York, so we donned our red scrunchies and enrolled at Westerberg High. The show started off in Los Angeles in 2014, had a West End run in 2018 and is winner of Best New Musical. But is it Big Fun? Find out below…

To be honest, the original 1988 film somehow passed me by so I was going into Heathers with no idea of what to expect. It’s now on my to-watch list! 

Straight off the bat I was reminded of films like Mean Girls and The Breakfast Club. A high school story, full of teenage angst and students vying for the top social spot. Mrs Hatter had seen the film though, and said she thinks I might be surprised. True enough, without spoiling anything there are unexpected twists and turns if you don’t know the story.

With adult themes, strong language, violence and other mature content, the age guidance is 14 plus. High School Musical this ain’t!

Lucky Heathers 

The Heathers are a clique of girls that rule the High School halls. Verity Thompson’s Heather Chandler is the badass bitch of the bunch and relishes every moment of sass and swagger.

Veronica Sawyer (Jenna Innes) as the Heathers geek-to-chic new recruit gets the most stage-time and has powerhouse vocals and a strong performance. Her chemistry with bad-influence love interest Jason Dean is as believable as it is bittersweet. Jacob Fowler plays the unhinged JD with a deliciously dark edge. And boy can he sing! 

Special mention must go to Kingsley Morton’s Martha Dumptruck, and her genuinely moving ‘Kindergarten Boyfriend’ solo. Incredible vocals and a poignant performance.

Alex Woodward and Morgan Jackson add some extra comic relief as High School jocks Kurt Kelly and Ram Sweeney, and spend most of the show in their pants. That’s commitment to their art!

Truly an ensemble affair, the whole cast work tirelessly to pull off a high-energy show with all the hallmarks of a West End production. 

I Want Candy

The show is a visual treat too, and as colourful as a Candy Store. Each of the Heathers are distinctly red, yellow and green (and, later, Veronica in blue) often with lighting to match.

The stage seamlessly transforms from Westerberg High to a 7-11 gas station, croquet garden, JD’s bedroom graveyard, church, bridge  and more. 

The Heathers band never miss a beat, led by Musical Director Will Joy. The band helps get the audience toe-tapping along or hanging on every note. Musically, highlights for me include Seventeen, Dead Girl Walking and Shine a Light. 

How Very 

So how to sum up Heathers the Musical? How very slick, how very polished, how very well choreographed. We’ve seen many other former-West End shows at The Grand Opera House – including We Will Rock You and The Rocky Horror Picture Show – but I’ve never seen an audience quite so enthusiastic and appreciative as last night.

This Tuesday night crowd lapped up every minute, culminating in a standing ovation. How very…fitting!

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With such a big following and rave reviews, expect to pay a premium for the best seats – up to £65. Tickets are available for as little as £29.50 though.

Book at https://www.atgtickets.com/shows/heathers-the-musical/grand-opera-house-york/

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

Photo credits Pamela Raith

The Hatters flew on over to The Grand Opera House to see Chitty Chitty Bang Bang, but does it fly, or chug along? Find out what we thought below…

Adapted from the Ian Fleming novel (yes, the same writer as James Bond…something I still can’t get my head round!) York Stage have given the familiar story wings with this licenced production, directed by Nik Briggs.

Madcap inventor Caractacus Potts is played by Ned Sproston, who has plenty of eccentric charm and great chemistry with Truly Scrumptious (Carly Morton). Morton delights with powerful vocals and a genuine warmth.

Some of the biggest laughs come for Vulgarian spy duo Goran (James Robert Ball) and Boris (Jack Hooper) We saw Hooper play Mr Poppy in Nativity the Musical last year, and Boris here shows his versatility – we barely recognised the playful man-child of a Teaching Assistant from December!

Alex Papachristou’s Baron is a triumph of casting, and the Baroness (Jackie Cox) makes for the perfect pairing. They both have excellent comic timing, and Cox’s reaction to hearing that children have been spotted is a retching delight.

Speaking of children, we saw Esther De La Pena as Jeremy Potts and Eady Mensah as sister Jemima. Both excelled, with confident stage presence, great vocals and plenty of energy.

Grandpa Potts (Mike Liversidge) has a believable relationship with his grandkids, and Posh (with a capital P!) featuring the three of them is a joy.

Richard Barker’s Childcatcher is sublime, and genuinely unsettling. Maintaining the character right through to the final curtain call, Barker wrings every ounce of creepy from this iconic role without venturing into panto villain territory. The stuff of nightmares.

The whole cast work together like a well-oiled (flying) machine, and this is the definition of an ensemble production. Special mention must go to the child actors who will have had a very busy Easter holidays fulfilling a packed schedule of shows!

A highlight for me and Mrs Hatter was the beautiful music box sequence, with Carly Morton mastering every twitch and gesture of a robotic rotating doll. As a routine it works like…well…clockwork!

Other stand-out moments include the toe-tapping Me Ol’ Bamboo featuring dazzling choreography, the poignant Hushabye Mountain and of course the phantasmagorical flying car. I won’t say too much about the car, except that we feel that Dress Circle seats may be the best position to full appreciate the technical wizardry and keep the magic alive.

I was fortunate to see the original West End production with Jason Donovan as Caractacus Potts, and the late Stephen Gately as The Child Catcher, and it was a real spectacle. Obviously a top London production has more under the bonnet in terms of production values and budget, but York Stage do an incredible job of staging such an elaborate and technically complex show.

A live orchestra ensures the fantastic score shines throughout the production, expertly led by Musical Director Adam Tomlinson. One or the two of the stage-specific numbers are less memorable but overall the songs are a treat for the ears!

The action never stalls, and our two boys (6 and 9) loved every minute. They weren’t familiar with the story, but are now itching to watch the movie on our next family film night. Tickets start at around £22, a fraction of the price of a big West End production and a chance to support local talent. It’s a lot of BANG for your buck!

A truly scrumptious night out for fans of flying cars, musicals and great family theatre!

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Chitty Chitty Bang Bang takes flight until Saturday 15th April. Book your tickets at www.atgtickets.com/shows/chitty-chitty-bang-bang-presented-by-york-stage/grand-opera-house-york/

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

Told by an Idiot bring their touring production of Charlie and Stan to York Theatre Royal, telling the remarkable story of the greatest comedy double act that nearly was…

Silence is Golden

The entire 90-minute production is non-verbal, in-keeping with the silent comedies of yesteryear. The action is underscored though by music throughout, with some real toe-tappers along with percussive thuds and clangs to punctuate the slapstick.

There are two songs which aren’t captioned but, helpfully, the lyrics are available to download on Told by an Idiot’s website, which could be a big help for deaf audience members.

A Motley Crew

Danielle Bird’s Chaplin hits all the right notes with every look, nuance and silly walk. A routine with an audience member from the front row is a thing of beauty. Bird captures the innocence and naivety of Chaplin’s clownish charms, and is a joy to watch throughout.

Jerome Marsh-Reid as Stan gets strong reactions with more slapstick and silliness. Chaplin puppeteering his limp, dead body during a nightmare sequence is an unexpected highlight…and how they keep a straight face is anyone’s guess! He makes difficult physical manoeuvres look effortless, and the chemistry alongside Charlie is believable. It had me wishing the two greats were actually paired up together in real life, what a double act that would have been.

Sara Alexander portrays several roles too – including Chaplin’s mother – and also tinkles the ivories throughout. She’s adept at playing the piano; sometimes even one-handed whilst simultaneously ringing a reception bell on each comic beat. Like the others, she can tell a story with a knowing glance or even a pause between a plonk of the keys. 

Nick Haverson plays multiple roles, from a theatre impresario to Chaplin’s alcoholic dad and an astonishing accurate Hardy – complete with gaffa tape moustache! His characterisation in every role is tight, and his slapstick slick. He’s also a whizz on the drums, and this adds another musical dimension to the show.

The whole cast work together like a well-oiled machine, and the show is a love letter to two legends of vintage comedy. Kudos must also go to writer and director Paul Hunter, and Jos Houben as Physical Comedy Consultant, as much of the knockabout fun is honed to perfection. 

Ship-Shape 

Ioana Curelea’s set design is relatively simple but works wonderfully, allowing the audience to really focus on the action as it unfolds. The main setting is a ship with billowing foghorn, sleeping quarters, a moving gangplank…and even seagulls. Actors tumble and prat-fall around the deck, drop things overboard and engage in all sorts of nautical nonsense. A few select words are projected onto a curtain reminiscent of the storyboards of the silent films of old. 

Moving Pictures

I expected comedy, but what I wasn’t prepared for was just how genuinely moving the story is. In particular, the relationship between Chaplin’s ill mother and drunk father tugs on the heartstrings, and there is a real pathos at points.

Overall I would say that young children would find the pace too slow, and the story too difficult to follow. Along with a lack of interval, the running time may be too long for young attention spans too. However, there were a few older children and teenagers in last night that seemed to enjoy the production.

It’s not aimed at children specifically though, and adult fans of classic comedy will find plenty to entertain and amuse. It’s certainly spurred me on to find out more about silent films from a bygone era. And who knows, maybe more silent comedy will find it’s way into my own shows too (unlikely, I even dress loud!)

Charlie and Stan has four and five-star reviews by the suitcase full, and it’s easy to see why.

MAGIC RATING

VALUE FOR MONEY

OVERALL

Charlie and Stan runs at York Theatre Royal until Saturday 18th February at York Theatre Royal, tickets at www.yorktheatreroyal.co.uk/show/charlie-stan/

Find out more about the UK tour at www.toldbyanidiot.org/charlieandstan2023

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

As the January cold-snap set in, we decided Jurassic times call for Jurassic measures. A visit to Jurassic Earth at The Grand Opera House was in order because…well…who doesn’t like dinosaurs? I’m still a fan, and my favourite film of all time is the original Jurassic Park. A classic.

But is it REX-cellent, or a dino-SNORE? Find out below! Oh and expect more puns (saury, not saury…)

A Blast from the Past

Janelle Thompson as Professor Matilda Bartholomew Hulme opens the shows and is instantly likeable. It quickly becomes clear that audience participation is encouraged, and the little dino fans lap it up (as does this big dino fan!)

Alex Clifford’s Ranger Danger is your Chris-Pratt-alike here, and keeps the dinos in check. The children have no hesitation in joining in with his training sequence, although this did seem to run a little long and interest waned towards the end. We don’t see Ranger Keys (Sophie Coward) all that often, but she shines when on-stage too.

Make no Bones About It

Doctor Bones (Leigh Rayner) gets some of the biggest laughs – a comment about Ranger Danger in a crop-top nearly made me choke on my Maltesers! Rayner is a consummate pro, and clearly knows how to engage the young audience. Bones stands out in that her role is very much character-based, and so contrasts the other straighter roles well. Whether it’s dino-tastic facts or humerus (bone pun) asides, she’s an asset to the show that we’d love to have seen more of.

A raptor-rap could be fun, as she casts off the Doctor’s love of long lectures in a modern twist! Just an idea. Or, copyright-permitting, a remix of Aqua hit Dr Jones? A bit of nostalgia for us oldies.

The cast all work hard to bring history to life, and are full of energy and enthusiasm for the theme. The size of the cast also adds value and makes the production feel bigger. This is an ensemble production with everyone pulling the strings…and rods, and tails!

Comparisons to similar shows are inevitable, so how does this differ? Unlike others which see each dinosaur brought on, talked about and then taken off, Jurassic Earth features more variety and more interaction. From Ranger Danger’s training routine, to a stomping dinosaur song and slapstick with a tranquiliser gun, there’s plenty on offer to mix things up. Perhaps it’s not as fact-packed as it could be, but it is fun – and we’d take that over facts any day!

There’s a plot too, following a mysterious dinosaur egg and new trainee Ranger Rookie (Daisy Leigh) and her attempts to earn a coveted Ranger badge. The audience are rooting for her to pass her training, and we’re pleased to say – spoiler alert – it’s a happy ending! Daisy plays Rookie well, with a bumbling naivety and plenty of ‘oops’ moments.

A Tail of Two Halves…

…well, one actually! At one hour and fifteen minutes without an interval it’s an ideal length for dinosaur fans. The action keeps the audience interested, and there’s a good variety of dinosaurs on display. Each beast is puppeteered to perfection, and you’d be forgiven for thinking that scientists had finally mastered DNA splicing from amber.

From Emily the Brontosaurus, to a pair of Raptors, a Spinosaurus, Carnotaurus and a Triceratops – there are plenty of fan favourites here. Of course, Zeus the T-Rex stands out, and is given plenty of stage time at the end. Unlike other productions, this Rex wasn’t too ferocious – and volume levels were set sensibly – so children weren’t reduced to subsequent nightmares! Seriously, in another production the bass was cranked up and ol’ Rex had children cowering in the Stalls, and many exiting in tears.

In this production, a child is gently encouraged to not only join Zeus on stage, but to retrieve a Ranger badge from his very jaws. Not an easy task, and that’s the tooth of the matter! Again, the cast know how to facilitate this moment carefully and are clearly experienced at working with children.

Director Sharon Lancaster has delivered a ROARsome show of truly Jurassic proportions. The dinosaurs look great, but credit must go the hard-working cast and crew who pull off a prehistoric marvel.

When it comes to dinosaur shows…nothing tricera-tops this!

MAGIC RATING

VALUE FOR MONEY

OVERALL

To find out if Jurassic Earth is stomping it’s way to you, you can visit the official website, check tour dates and book tickets at www.jurassic-earth.co.uk/tour-dates. You can even pre-book VIP tickets with top-tier sets, and a pre-show meet-and-greet with some of the smaller dinosaurs. A must for diehard dino-fans, and a great photo opportunity too!

Based in Yorkshire? It’s coming to the Royal Armouries in Leeds on Sunday February 26th. Book tickets before they go…extinct!

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