Review originally written for The Reviews Hub

Billed as a dazzling reinvention of the successful West End production, Charlie and the Chocolate Factory flies in to Leeds Playhouse this holiday season. But is it a fudgemallow delight, or a stinking bowl of cabbage soup? The Hatter family took The Great Glass Elevator up to Leeds Playhouse last week to find out…

Based on the beloved Roald Dahl story, the plot follows young Charlie Bucket as she wins a tour of Wonka’s wondrous factory. She’s joined by four other winners, who aren’t all as gracious in accepting this golden opportunity. Personalities clash and all is not what it seems, as the lucky recipients delve deeper into Wonka’s weird world.

The ticket winners are all played by adults. From gum-chewing Violet Beauregarde (Marisha Morgan) to sausage munching Augustus Gloop (Robin Simoes Da Silva) and media-obsessed Mike Teavee (Teddy Hinde), they each bring out the worst of their despicable personalities. Kazmin Borrer’s Veruca Salt delivers a perfect portrayal of a mid-dance tantrum, and she’s the daddy’s girl you’ll love to hate. A real bad nut.

Michael D’ Cruze is heartwarming in his portrayal of Grandpa Joe. He captures the geriatric charm of a doting grandad, and we’re all rooting for him to get to the factory.

Leonie Spilsbury’s Mrs Bucket is an unexpected treat too, with powerful vocals and a beautifully emotive rendition of Candy Man tugging on the heartstrings.

The Oompa Loompas are robots, and clearly unsettle some younger children. Our own six-year-old was spooked by these faceless factory drones. This isn’t the saccharine sweet world of Wonka you might expect, and it’s worth noting that the suggested age range is seven plus.

A live orchestra adds a real richness of sound, led by Musical Director Ellen Campbell. Fans of the 1971 film will recognise classics such as Pure Imagination and Candyman, but it’s also choc-full of new songs by Marc Shaiman and Scott Wittman. Almost Nearly Perfect stands out, and Doncha Pinch Me Charlie gets the audience toe-tapping along.

Special mention must go to Simon Higlett’s sumptuous set design. The Quarry Theatre is transformed into a world of pure imagination, particularly in the first act where we visit a towering dump, the Bucket’s shack of a house and – ultimately – the entrance to the grand factory. Steampunk looks to be an influence throughout.

Projection is perhaps overused in the second act, and in all honesty the reveal of The Chocolate Room is anticlimactic. That being said, there are some fantastically inventive multimedia tricks, but I’m glad that The Great Glass Elevator is a physical effect. I tip my top hat to illusion consultant Chris Fisher too, who conjures extra theatrical magic. There’s plenty to enchant and amaze.

Director James Brining creates a world of pure imagination, a fantastical feast for the senses. Like a selection box, there’s something for everyone…with some unexpectedly dark chocolate moments, transitions as smooth as caramel and a sweet finish. You’ll be hungry for more.

This festive season, Charlie and the Chocolate Factory is a scrumdiddlyumptious alternative to a pantomime. It’ll raise your spirits faster than a fizzy lifting drink, and you’ll leave on a sugar-high of excitement.

Worth a visit? I should cocoa!

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Book your golden ticket at https://leedsplayhouse.org.uk/events/charlie-and-the-chocolate-factory/

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

Kicking off our Christmas shows, the Hatter family headed to see Nativity! The Musical. Pick Me Up Theatre have picked up the rights to adapt the classic film for the stage, and fill this pre-pantomime slot at Grand Opera House York.

Based on the 2009 film (one of our favourites!) the story follows primary school teacher Mr Maddens’ attempt to stage a nativity play, with hapless teaching assistant Mr Poppy both helping and hindering. A little white lie gets out of hand and soon the whole town believes that Hollywood producers are coming to film the show. The web of lies untangles, but there’s plenty of comedy and festive fun along the way!

Audiences can expect all the jokes, songs and silly situations from the film. There are new songs too, but in all honesty these are a mixed bag and some are forgettable – it’s the classics from the film that really shine. Highlights include Nazareth, She’s the Brightest Star and toe-tapper Sparkle and Shine. Out of the new songs, we especially enjoyed My Very First Day at School and the touching, Dear Father Christmas.

Gone to Coventry

It was clear from the start that Pick Me Up wouldn’t be scrimping on production values. Visually, it shone throughout, with some fabulously festive costumes and stunning sets. Clever use of scenery and props helped create everything from Madden’s living room to the headteacher’s office, Hollywood boulevard and – eventually – Coventry Cathedral.

A huge cast bring the story to life, under the helm of director Robert Readman. Large dance numbers choregraphed by Lesley Hill are full of energy and pizzazz.

Stuart Piper makes his company debut as Mr Maddens and makes for a believable primary school teacher. He has some wonderfully poignant moments as he reflects on his relationship with Jennifer Lore (Toni Feetenby) Not nearly as grumpy as Maddens-turned-Hobbit film actor Martin Freeman, he is instantly likeable and effortlessly engaging.

The comic foil to Maddens’ stoic professionalism, Mr Poppy is the classroom assistant any pupil would dream of! Silly, playful and anarchic, Jack Hooper plays him with naïve charm and bags of energy. Comparisons to the film are inevitable, but Hooper manages to stamp his own identity on the role. A real highlight for us and our two boys, the mini Hatters loved his daft impressions, funky dance moves and childlike personality.

Stuart Hutchinson’s delightfully theatrical Gordon Shakespeare – teacher at posh rival school Oakwood Academy – milks every moment, and almost ventures in panto villain territory. Speaking of villains, he even plays Herod in a rock opera and clearly relishes the role. ‘Camp as Christmas’ critic Patrick Burns (Jonny Holbeck) gets some big laughs with some fabulous lines.

In such a large cast there are too many roles to mention individually, but the whole team work together well as an ensemble spanning almost all ages.

It’s a Cracker

‘Never work with children or animals’ goes the dated old adage, but this show does both! Cracker the dog could’ve been easily omitted from the script but, no, Pick Me Up bring in an actual four-legged friend. There were shrieks of delight at the stage door afterwards where audiences could meet the cast, both canine and human.

Two teams of children shares the roles of the pupils. Our cast had bags of enthusiasm and energy, with some real aah moments amidst all the gags and funny auditions. There are some excellent singers too, with Beau Letrin as Star standing out in particular. Her confidence and vocals – even when flying high above the stage – is a treat! Jonah Haig as Ollie is a strong performer who I suspect will go on to bigger things. All the children were confident and didn’t seem phased by first-night nerves. Crucially, they all looked be having fun!

Silent Night

Unfortunately though, some lines and vocals were lost on this opening night due to a lack of microphones. With such a large cast, I can appreciate that it would be hard to effectively amplify everyone, but it’s a shame that some performers – especially the children – lost their moment in the spotlight as they fell almost silent.

Whether the production needs more floor mics, or some creative use of actors standing closer to those who do have microphones, I hope that it can be fixed as the run goes on. The live band are excellent, but they also regularly overpowered the vocals.

The only other niggle is that the shows runs long, and sometimes doesn’t feel as pacey as it should. Like a sheep in the nativity stable, it could use a little shearing. These are minor quibbles though, and the production is a testament to all the hard work and effort the team have put in.

The Gospel Truth

It’s worth noting that this is not the same professional production of Nativity! that is touring the UK. However, Pick Me Up have done an incredible job of adapting the show for the stage with a much smaller budget. Listed as an amateur production in the programme, don’t let that put you off as I’ve seen professional shows that don’t match the energy, dedication and production values of this theatrical treat. The fact that an amateur organisation can pull off such a feat is nothing short of Christmas magic.

Nativity! has that festive feel-good factor that is hard to describe, and even harder to engineer. I defy anyone to leave the theatre not humming Sparkle and Shine…oh boy is it catchy!

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Nativity! The Musical runs until December 3rd, with tickets from £22.90. Like the travelling Magi, be a wise man (or woman) and book your tickets at www.atgtickets.com/venues/grand-opera-house-york/.

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

Myself and Mrs Hatter went to the newly refurbished Grand Opera House York for a night of child-free comedy, with Dave Gorman’s new show Powerpoint to the People. We first discovered Dave through his books. I read Are You Dave Gorman many years ago – a hilarious account of trying to meet and photograph a full deck of cards worth of his namesake.

His Googlewhack Adventure soon followed; which saw Dave travelling around the world in search of a chain of ten Googlewhacks (two search terms that only yield only one result in the massive search engine)

Dave is now a familiar face on shows like Have I got New for You?, Taskmaster, QI and his own Modern Life is Goodish. This was our first time seeing him live on stage on though, so what did we make of it? Find out below!

Straight the (Power)Point

As the title of the show suggests, Dave makes use of technology throughout the show. There are no gimmicks or props here…just Dave, a laptop, projector and clicker. He clicks, scrolls, photoshops and green-screens his way through modern life. Topics range from being a dad, turning fifty, celebrity culture, the exact science of crisps, cryptic crosswords and how the alphabet is wrong. Internet comments become a source of japes too!

To say too much on the content of the show would spoil a lot of the fun, but I will say that it’s worth paying close attention, as there are a lot of running jokes and call-backs to earlier material. The jokes come thick and fast, but it was also interesting to note that – between the laughs – the audience are silent and hanging on his every word. A great comedian, but also a captivating storyteller.

This tour started in September, and there are a few minor blips and fumbles as Dave finds his feet with the new material. However he is so likeable and engaging, that these are entirely forgivable. It actually makes him more endearing, and the audience are very much on his side.

His childlike enthusiasm for being back on stage and his genuine warmth for the crowd helped us to feel in safe hands too. There’s no roasting of audience members here, a smattering of swears maybe but nothing especially offensive – although it’s definitely not for young children! The suggested age rating is 14+.

In it for the Long Game

At over two hours with no support act, the show is a testament to how Dave can carry an audience along with him, engage us all in a long-winded but funny prank and then swear us to secrecy. No spoilers here, but this prank bonds the audience, like we’re all part of one big in-joke!

In general the time flew by in a flurry of funnies, anecdotes and truths we can’t handle. Only a Tom Hanks routine in the second act seemed to drag, and ultimately not go anywhere, but I imagine even this will be pruned to perfection as the tour goes on.

It’s refreshing to see a tour in it’s infancy as material is still being refined, and this is still a very polished and slick show. Effortlessly engaging, he really ‘clicked’ with this York crowd.

Tickets around £30. For all venues and tour dates, visit https://davegorman.com/live/

RATING

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

You’d have to be living under a powder keg to not know of York’s links to the infamous Guy Fawkes. He was born in the city in 1570, baptised at St Michael Le Belfry church and attended St Peter’s School. There’s a pub named after him, and he even appears in cutlery form – Guy Forks – in my Wizard Walk of York!

His later life is now documented here on stage, in a new play written by David Reed and directed by Gemma Fairlie. Described as The Princess Bride meets Horrible Histories and Blackadder, this is the tale of the plotters conspiratorial plans to overthrow King James. But did it light up the stage or fizzle out? Find out below!

Rogues Gallery

As well as penning the script, Reed takes on the title role of Guy. Rugged and dangerous, he brings a seriousness – and later a pathos – to a role which contrasts well against the others.

Cassie Valance shines as Martha Percy, bringing some fantastic physical comedy to the stage. To begin with, she’s a kept woman and dotes on her husband, minding her p’s and q’s and not stepping out of line. Later, she joins the plotters and finds a more feisty footing. We’ve seen Cassie in Teddy Bear’s Picnic and at several Story Craft Theatre parties, and she always manages to engage an audience, whether young or old.

Oh and the frocks! There are plenty of fabulous dresses that any panto dame would covet. Speaking of dames, we loved Robin Simpson’s Manky Hardup in Cinderella last year, and so it was refreshing to see him here in such a different role. He plays Robert Catesby with excellent comic timing, and has the experience not to falter when a few things go wrong in this early showing. As Catesby’s stress levels builds, so too do the funnies!

Jamie Zubairi’s Kit adds some flamboyant fun, and Greg Haiste’s Thomas Percy reminded us of a young Rik Mayall. His downfall from almost-hero to firewood collector is a joy to see, and he wrings out every moment of jealousy.

Andrew Pollard as Thomas Winter completes the cast, and his intriguing tale of theatrical woe builds nicely. His surprise appearance in the second act is un-bear-ably good!

Slow Burner

We’ve seen many historical comedies, with two of our favourites in recent years being Le Navet Bete’s The Three Musketeers and Dracula, The Bloody Truth.

For us, the first act in particular didn’t quite reach the billing of ‘explosive comedy’. Yes there were some laughs, but they seemed few and far between amidst a lot of (gunpowder) plot. That’s not to say it wasn’t interesting or well done though, and there were still plenty of sparks flying amongst the talented cast. 

Barrel of Laughs?

Act two is slicker, and offers more ‘bang’ for your comedy buck. There are some delightfully silly moments, misunderstandings and witty to and fros, as the plotters install the barrels under parliament. It feels like the second act really lets the characters off the leash and they start to have the most fun with both the dialogue and the action.

The special effects ramp up as the show goes on too, from explosions and fire to a rogue fuse. Swordfight sequences add to the action, and are suitably exciting and well choreographed by fight director Kev McCurdy.

Plotting the Stage

Special mention must go to Carla Goodman’s work as set and costume designer. As an audience, it was easy to be transported back to 1604, with such authentically detailed staging. Whether the draughty tavern (the Duck and Drake), Catesby’s scullery or the gloomy cellar beneath parliament, the design is outstanding throughout.

Costumes stand out, and help each member of the gang really identify as individual characters. Think upper class fashion with rich bold fabrics, gems, jewels, feathers and all of the pomp and finery. Guy has that classic look you’d expect too, complete with iconic hat.

All Fired Up?

I had considered taking my eldest son (aged nine) but, even though Horrible Histories was mentioned in promotional material, I don’t think he would’ve found it pacey or engaging enough. The recommended age is 12+ as there is also some strong language. Language aside, I wouldn’t say this is a family-show, but nor is it pitched as one.

Likening the show to Blackadder and The Princess Bride led to high expectations. It’s a bold claim to reference such iconic comedies – and we didn’t feel Guy Fawkes quite reached these heady heights. However, if you’re a history buff with a penchant for parliamentary plotting, or looking for a light-hearted take on the Guy Fawkes story, you’ll most likely have…a blast! 

With tickets from £15, you won’t need money to burn either!

MAGIC RATING

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Guy Fawkes runs at York Theatre Royal until November 12th, tickets can be booked via the Theatre Royal website.

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

I’ve always been fascinated by dinosaurs. As a young Hatter the original Jurassic Park hit the cinemas and I was instantly hooked on these ROARsome beasts. As an old(er) Hatter, I proudly display the iconic Jurassic gates and T-Rex in Lego – and it’s still my favourite film! 

Dinos make the leap from screen to stage here, with Dinosaur World Live currently touring the UK. The production has toured the US, London’s West End and theatres up and down the country for a number of years. Audiences can expect a spectacular history lesson featuring a myriad of monstrous dinosaurs…some friendly, some less so!

Etheria Chan plays Miranda, daughter of a palaeontologist and something of a wild-child herself. Her boundless energy keeps the show pacey, and she is instantly warmed-to by the young audience. Part narrator, part historian and part explorer, she works the crowd and seems to thrive off the reactions from the audience.

All your classic dinos are here, from velicoraptors, a triceratops and T-Rex to perhaps the lesser known Giraffatitan and Segnosaurus. With interesting facts throughout, Miranda does a great job of imparting the history and keeping it lively and engaging.

Walking with Dinosaurs 

The puppetry is akin to shows like War Horse or The Lion King, with cleverly articulated wearable dinosaurs alongside smaller rod and hand puppets. The creative team bring the dinosaurs to life with prehistoric precision, and it’s easy to look past the performers and believe you’re seeing living, moving creatures of the past.

Inviting children up on the stage, it’s a delight to see them react to the puppets as if real…a little nervous at first, then curious and finally intrepidly facing – and even feeding – the dinosaurs. 

D’ya think he heard us?

A word of warning for little ears…Dinosaur World Live is loud! Whether it’s the screams from Miranda or the suitably fierce T-Rex roars, there were a few tears from unsettled children. The puppets too are incredibly realistic, and jokey comments about dinosaurs eating young children only exacerbate the waterworks! 

The suggested age is 3+ but we saw much older children visibly upset, and would suggest – even on volume alone – that it’s more suited to 5 or 6 and up, but of course each child is different. Upset children were soon reassured by Miranda though, and the pace of the show meant the bigger and scarier beasts weren’t on stage too long.

Brief trauma aside, for the right age group Dinosaur World Live does a REX-cellent job of bringing the extinct back to life. And, with the recent film release of Jurassic World Dominion, dinos are the current hot topic once again…although to be honest, they never stopped being cool! Big kids too seemed to enjoy the dino-antics, and there are some truly impressive moments…with the T-Rex being, quite literally, head and shoulders above the rest.

Jurassic proportions?

Coming in a little short at only 45 minutes, we were expecting a longer show – however it’s an action packed production with plenty of variety and lots of interaction. Tickets are around £14-18 each depending on the venue, so it still represents good value compared to many shows. A shorter length may also be a Jurassic ‘Perk’ if bringing young children who get restless easily!

The meet-and-greet at the end was somewhat chaotic and rushed, but the children loved the chance to pet a baby T-Rex. At a previous performance they had another dinosaur out too though, which helped to spread the excited crowds out. 

Our 6 and 8-year-olds really enjoyed it, and picked up a few new facts along the way!

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Dinosaur World Live continues to stomp, screech and ROAR it’s way around the country. Find out more and book tickets at dinosaurworldlive.com

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

Magic…going wrong? Clearly this is something that I, as The Magic Hatter, know very little about. Ahem. Ok, fine! It has happened, thankfully not too often, but hey…nobody’s perfect!

Magic Goes Wrong though relies on it all going wrong. Not just slightly but badly, catastrophically and sometimes downright dangerously wrong. And Mischief Comedy know how to do wrong…right!

Vegas duo Penn and Teller collaborated with the team, and their influence is clear. I grew up watching their television specials in the nineties, and the pair specialise in shock magic – and in exposing tired old tricks, then doing them again with a twist. This theme permeates Magic Goes Wrong; an illusion goes wrong and we see how it works, then – boom – the trick still works out, leaving the audience baffled!

The action is framed around a fundraiser for Disasters in Magic, with the acts putting on a benefit show for donations. All of the clichés of magic are here, from rabbits and doves to silk handkerchiefs and top hats. The show also takes inspiration from more modern magic too, with The Blade (Kiefer Moriarty) a spin on magicians like Criss Angel.

He risks life and limb (quite literally!) with some dangerous magic which – you guessed it – doesn’t always go to plan. His card stab (emphasis on the stab!) and water torture escape are both brilliantly done.

Sophisticated Comedy

The Great Sophisticato (Sam Hill) acts as compere, and honours his late father by performing some of his beloved routines. His dead dad was apparently crushed by magical props as his attic gave way under the strain…perhaps a wake-up call, as my own attic groans with all manner of magical apparatus!

His dove act is a real highlight, packed with productions that send feathers flying – and the subsequent clean-up is delightfully bird-brained!

Mind over Matter

The Mind Mangler (Rory Fairburn) brings mentalism to the table, with plenty of pseudo-mindreading packed with gags and silliness. Whether revealing names, colours and chosen cards or playing Russian Roulette with a broken bottle, this wannabe Derren Brown rarely gets it right but the audience are very much rooting for him to succeed.

In the second act he claims to contact a dead relative, however this routine falls a little flat and is the only dead time (pun-intended!) in an otherwise pacey performance.

German duo Bar and Spitzmaus (Chloe Tannenbaum and Jocelyn Prah) bring acrobatics, contortion, quick costume-changes and efficient German humour to the proceedings. Perhaps a nod to Siegfried and Roy, the pair add some extra variety and vaudevillian fun…watch out for that bear though!

Even as a magician myself, I’m not a big fan of card tricks, and I personally find a lot of them can be very dull and samey. However, the Goes Wrong team (along with Penn and Teller) have developed some truly quirky and unusual card reveals that make even the most mundane ‘pick a card’ trick exciting and unique. A roving cameraman and giant screen allow the performers to deliver close-up for a packed theatre audience.

Do two Wrongs make a right?

Overall, Magic Goes Wrong didn’t seem to flow quite as well as other Goes Wrong shows. I think this is largely down to the fact that the audience knows each illusion has to…well…go wrong. In The Play that Goes Wrong for example, the failings were more random and sporadic, and so there was a greater element of surprise. That being said, this was still a hilarious show – full of inventive ideas, some great magic and lots of laughs!

Is it family friendly? I’ve no doubt that much of the magic and silliness would amaze and amuse young audience members. However, there are some gory moments…with the end of the first act proving particularly grisly! No spoilers here, but let’s just say I don’t think younger audiences would have the ‘stomach’ for it. A bloody good presentation of a classic trick though!

With top-tier seats at £42.50 each this could seem like a quick way to make money disappear, with no magic wand required. However the show boasts high production values, large-scale illusions and a varied cast of characters. Magic Goes Wrong features all the razzle dazzle of a big magic show. Audiences can expect pyrotechnics, confetti cannons, a sumptuous set, fabulous costumes and a great lighting design. A magical night out!

Right, time to go and reinforce our attic…

MAGIC RATING

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Magic Goes Wrong is playing at York Theatre Royal until Sunday May 1st, before continuing the UK tour.

Tickets range from £23 to £42.50 and can be booked at www.yorktheatreroyal.co.uk/show/magic-goes-wrong

Photos by Pamela Raith

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

Despite our eldest son melding two musicals and saying he wanted to watch ‘The Little Shop of Rocky Horrors’ (!), myself and Mrs Hatter booked a babysitter and set out for a child-free night at the Grand Opera House York

Having not seen Rocky Horror since 2006 at the New Wimbledon Theatre, we were looking forward to this 2021-2022 World Tour production with great antici…

…pation!

“It was great when it all began…”

The show certainly doesn’t get off to a Rocky start, and opens with Science Fiction before introducing the lovestruck couple from Denton. Strictly Come Dancing winner Ore Oduba as Brad has bags of nerdish charm and a great singing voice. Partner Hayley Flaherty’s Janet plays the transition from innocence to sexual awakening perfectly, and is perfectly cast for the role.

Kristian Lavercombe’s Riff Raff is as strong as ever. He was playing the role when we saw Rocky fifteen years ago…and has an eyewatering amount of performances under his belt! In fact this was his 1999th performance, he’ll cross the 2000 threshold on March 16th. An incredible feat and amazing performance all round, with a nod to Richard O’ Brien’s iconic performance but his own take on the character too. When it comes to casting, this isn’t…any old Riff Raff!

Let’s be Frank

Stephen Webb plays alien transsexual Frank N Furter. Comparisons to Tim Curry are inevitable, and I don’t think anyone could fully fill those boots (or heels) However, Webb gives a solid performance. Like a muscular Eddie Izzard, he thrusts his way through Sweet Transvestite and flirts outrageously with Brad, Janet and his man-creation Rocky. Every cheeky nod, wink and gyration is here, and he whips the audience into a frenzy. For me, Webb really shines towards the end with his powerful and emotional rendition of I’m Going Home.

Ben Westhead embarks on his first UK tour as muscle-man Rocky, and is clearly having a great time. His enthusiasm brings bundles of energy to Sword of Damocles. Joe Allen plays both leather-bound biker Eddie and wheelchair-bound professor Dr Scott, with the two roles showing his versatility. Hot Patootie in particular is a blast!

Suzie McAdams (Magenta) and Lauren Ingram (Columbia) play Frank’s female servants with strong vocals and some great comedic moments. Columbia’s gas-induced hysteria in the second act seemed to go on a little too long though.

Narrator Philip Frank excels in bantering with the audience. He clearly relishes the rapport, and has a comeback for every line and quip. Some of the shows biggest laughs come from his witty asides! In previous tours, the Narrator has be filled by a number of celebrities (everyone from Nasty Nick from Big Brother, Dom Joly and Mel Giedroyc to the legendary Christopher Biggins) but Philip is a great casting choice here and the best Narrator I’ve seen.

“Truly beautiful, to behold…“

Rocky is a feast for the senses, and visually the show is stunning. Hugh Durrant’s set design begins with garishly-painted flats of a car, church and castle that wouldn’t look out of place in a high-end school production.

The action soon switches to the sumptuous house (a hunting lodge for rich weirdos), hi-tech laboratory complete with sonic oscillators, and shimmering mylar curtains for the rousing floorshow.

The stage is circled by a huge film reel, a nod to the B-movies of the 1930’s that inspired the original story by Richard O’ Brien. Above the action, a rocking live band brings the score to life.

Shock Horror

As many of you know I mainly review family experiences, but this was strictly a child-free night out. The show isn’t suitable for children, although we noticed that the production has a suggested age-rating of 12+

To be honest though, we couldn’t imagine ever taking a 12-year-old! The film seems tame in comparison to the stage show and – without going into too much detail – the scenes in bed are much more suggestive than we’ve ever seen. In fact, perhaps blatant is more apt!

We would suggest perhaps a 15+ rating, although of course it depends on your own children. I implore you though, if you don’t know Rocky – watch the film first to get a sense of the content and help you decide. Oh and if you’re new to it, don’t expect the story to make a lot of sense!

For the uninitiated, seeing Rocky Horror on stage isn’t a passive experience. With it’s cult following, there’s an unwritten audience participation script that the die-hard fans have no shame in shouting out. If you’re not prepared for this, the constant interruptions can seem like heckling. Don’t beckon the ushers over though; for better of worse it has become part of the Rocky vibe. It makes the show more adult too – the call-outs from the audience are, let’s just say, not so subtle!

The cast manage this well, and I’m sure they expect it, but at times it interrupts the pace and becomes annoying – especially in the more touch-a-touch-touching moments such as Brad’s Once in a While and Frank’s I’m Going Home.

Hardworking Front of House staff had a tough call to make about what crossed the line. We missed most of The Time Warp due to two women front-row centre deciding to stand up and dance…fine for finale reprise, but not during the first act. Of course, we were all too British to complain so there was much tutting, leaning and shaking of heads.

However, by the end the whole audience is encouraged to get up and dance…and we were quick to oblige and do The Time Warp too (yes, I know all the moves!)

“Time is fleeting…“

Rocky Horror flew by in a haze of sequins, suspenders and smut. Director Christopher Luscombe has remained faithful to what Rocky fans have to come to expect, but with new ideas that keep the 40-year-old show fresh. In a recent interview, Ore Oduba describes The Rocky Horror show as pure escapism – and it is exactly that. All the glitz and glamour of a West End show, with a sensational score and stunning design.

Tickets range from £13 to £67.50. The upper end may seem pricey but this is in line with other shows of the same size. For such a popular show with a large cast and crew, high production values and a fantastic live band, we feel it would be good value as a treat. You also don’t need top-price seats to fully experience the show in all it’s glittering glory.

You’ll be thrilled and chilled with two hours of camp, riotous, toe-tapping fun!

MAGIC RATING

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Richard O’ Brien’s Rocky Horror is playing at Grand Opera House York until Saturday 19th March. Book on the Grand Opera House website

For more details and tour dates visit www.rockyhorror.co.uk/tour

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