The Lion, The Witch And The Wardrobe, Grand Opera House York, April 2025

After a harsh winter, we stepped out into the sun blinking and excited to see The Lion, The Witch And The Wardrobe at Grand Opera House…

For those new to the C.S. Lewis tale, the story follows four siblings evacuated to the countryside during World War 2. They discover a grand wardrobe and stumble upon the magical kingdom of Narnia. Locked in an eternal winter by the vengeful White Witch, it’s down to the children and a talking lion to lift the curse and save the land and it’s many unusual inhabitants.

Early on we’re reminded of the atrocities of war, with a sombre and haunting rendition of We’ll Meet Again. Actors manipulate glowing train carriages and suitcases, as families are packed off to safer surroundings.

The four children – Lucy, Edmund, Peter and Susan – are played by adult actors (Molly Francis, Bunmi Osadolor, Jesse Dunbar and Joanna Adaran) who capture the rivalry of bickering siblings well. Each makes the character their own, and has a believable story arc as they became the heroes of the piece. At this show Lucy was played by an understudy, but blended in perfectly and gave a stellar performance.

Aslan here is both human actor and stunning puppet, seemingly carved from intricate wood as a nod to the opulent wardrobe. Stanton Wright brings a true poignancy to the role, seamlessly switching between the majestic and godly lion to defeated wildcat. Expertly puppeteered, the wooden Aslan’s performance is anything but…well…wooden. Speaking of cats, raggedy fleabag ‘Schrodinger’ is another puppet, and scampers around the stage with plenty of purr-sonality.

Younger audience members may be unsettled by the wicked White Witch, played by Katy Stephens. We had seen this same production before, and it was interesting to see what was scaled back to fit the York space, with Jadis’ chariot noticeably absent. However, Stephens has such a deliciously dark grandeur that she commands the space well on foot. Wolf-like servant Maugrim (Shane Antony-Whitely) prowls the stage, ever-hunting the daughters of Eve and sons of Adam.

Father Christmas makes an appearance too, but is a far cry from the Coca-Cola red St. Nick. A whirling-dervish of tassels, Myra the Gift Giver delivers presents to aid the siblings on their quest. His song of the same name is perhaps the most catchy, and the one I was humming all the way home. The role shows real versatility too, with Father Christmas played by Kraig Thornber, who we first meet as the eccentric Professor, and later a musical owl.

Thornber is one of many talented actor-musicians who bring the rich score to life, and punctuate moments of drama with tribal beats. Many are dressed as stylised animals, and the pair of Beavers – who take a larger speaking role – add comic relief. Ed Thorpe and Anya De Villiers have a great dynamic together. Thorpe reminds us of actor Jim Cowick, and in particular his Ghosts role Pat.

Special mention to Mr Tumnus who first meets Lucy under the iconic lamppost, cleverly installed in a piano. Alfie Richards delivers his inner struggles to perfection, as he wrestles with obeying the Witch and letting Lucy go. He’s excels in the beautiful When There Was Spring

Tom Paris’ set and costume design is first-rate throughout. We’re transported from a bleak war-torn Britain to the icy expanse of Narnia in a blizzard of brilliance. There are many clever effects, from a flower blooming within a book to a trippy Turkish Delight sequence I won’t spoil! Illusions by Chris Fisher are well executed if sometimes a little overlooked, but only because they integrate so effectively into the story.

Jack Knowles lighting design is one of the best we’ve seen, with inventive use of darkness and spotlights to draw attention to where it was needed and hide scene changes. The stone table scene is a particular highlight, as are the transitions in and out the wardrobe.

This is a slick and polished production that succeeds in bringing the beloved novel to life. Inventive, engaging and full of theatrical magic, it’s a must if you’re a fan of the timeless tale. Simply ROARsome.

The Lion, The Witch and The Wardrobe runs until Saturday April 26th before continuing the UK tour. Book your tickets at https://www.atgtickets.com/shows/the-lion-the-witch-and-the-wardrobe/grand-opera-house-york/

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

The Lion, The Witch and The Wardrobe, Leeds Playhouse, November 2024

Review originally written for The Reviews Hub

Kicking off the festive season, we wandered through the wardrobe into the magical realm of Narnia, via the Quarry Theatre at Leeds Playhouse…

The show opens with a rousing rendition of We’ll Meet Again, a sobering reminder of the turmoil of Britain in the 1940s. We soon meet siblings Edmund (Bunmi Osadolor), Peter (Jesse Dunbar), Lucy (Kudzai Mangombe) and Susan (Joanna Adaran) who are sent off to the country as part of the wartime evacuee program. It’s in their new home that they meet an eccentric professor, and ultimately discover the portal to Narnia through an innocuous wardrobe in the spare room…

The four children are adult actors but capture childlike excitement and innocence well. The siblings are perhaps less distinct in personality than in the film and television versions – and none stand out especially above each other – but they work well as a family unit. Their relationships are believable, and the bickering relatable.

Alfie Richards plays Mr Tumnus, and has a genuinely caring and almost fatherly instinct towards Lucy. We feel his pain as he wrestles with his conscience under orders of the Witch. He excels with beautiful vocals in the bittersweet song When There Was Spring.

Mr and Mrs Beaver (Ed Thorpe and Anya De Villiers) help progress the plot and guide the children to Aslan. Thorpe’s Mr Beaver adds comic relief, especially when experiencing deep shame. De Villiers Mrs Beavers is the mumsy leader of the resistance, and the plays the role with a real feistiness.

Katy Richards as Jardis The White Witch gives a brr-illiant performance. No frosty reception here; she’s deliciously dark and will have younger audience members cowering at points. Her minions are the stuff of nightmares too, especially the wolf-like Maugrim who leaps around on hand-stilts. Shane Anthony-Whiteley plays the beast with real menace, and engages in some slick stage combat.

Santa appears briefly to gift useful tools to our young heroes-to-be, and is accompanied by cavorting reindeer. Nothing corporate or ‘Coca Cola’ here though, St Nick is presented tastefully whilst still being suitably jolly and rotund. Kraig Thornber shows versality in playing Santa, the Professor and the Wise Owl – and is likeable and endearing as each.

Aslan’s reveal is a long time coming but worth the wait. He prowls the stage with feline precision, and it’s easy to forget that we are watching a puppet – a testament to the puppetry team. His human counterpart (Stanton Wright) – in a majestic mane of a fur coat – didn’t have the rich tonal voice I expected. However, Wright’s more understated Aslan is refreshing, and he plays the lion with more heart than grandeur.

Chris Fisher is illusion consultant, and the effects are executed well. Theatrical magic should blend seamlessly with the action, and not come across as ‘tricks’, and the audience were suitably spellbound here, with audible gasps at one point. Jack Knowles’ lightning helps hide some of the trickery, and his design is striking and bold throughout. Transitional scenes such as passing through the wardrobe, train travel and changing seasons are all enhanced by Knowles’ artistry.

The design across all areas is second to none. There are many inventive moments; from a train sequence where luggage becomes carriages, to a trippy fever-dream with giant cubes of Turkish Delight. Costumes by Tom Paris are excellent too, whether the opulence of the Witch’s plush robes, or the subtle animal elements of the non-human roles.

Whilst the production features songs, think more folk music than musical theatre. A motley band plays everything live, and the audience hang on every note – led by Musical Director Ben Goddard. Levels are well balanced, and the talent on display is inspiring. Santa even plays the spoons!

C.S. Lewis’ iconic tale remains just as relevant and enchanting today, and this production is ideal as an alternative to the many pantomimes this festive season. Whilst not laugh-a-minute like a panto, our children (8 and 11) were gripped.

This production first opened in 2017 in Leeds, toured in 2021 and will tour again next year. Plenty of opportunities to open the wardrobe, push past the fur coats and experience the magic for yourself.

A ROARING triumph!

The Lion, The Witch and The Wardrobe runs at Leeds Playhouse until January 25th. Book at www.leedsplayhouse.org.uk/event/the-lion-the-witch-and-the-wardrobe-2/

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

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

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

Cleaning Up Their Act

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

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

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

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

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

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

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

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

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

Pringles and Prejudice

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

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

Tiers of Laughter

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

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

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

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

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

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

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

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

The Kite Runner, York Theatre Royal, June 2024

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

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

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

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

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

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

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

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

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

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

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

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

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

Tess, York Theatre Royal, May 2024

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

A Little Horse-Play

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

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

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

Milking It

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

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

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

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

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

Circus of Horrors

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

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

Bold, inventive and beautifully realised.

MAGIC RATING