Jim Henson’s Labyrinth: In Concert, York Barbican, May 2026

I’ll come right out and say it, Labyrinth is one of my all-time favourite films. The old adage is true, ‘they don’t make ’em like they used to!’ and this cult classic stands the test of time. After 40 years, the hit film is touring with a live band to welcome diehard fans and those new to the magic of Jim Henson…

In an age of lazy AI, it’s refreshing to see all creature effects done solely through puppetry – courtesy of the Jim Henson team. There are practical effects throughout too, and even Jareth’s glass ball tricks were delivered by (hidden) juggling master Michael Moschen. There’s clearly still a lot of love for the 1986 film – the venue was packed, and many fans had dressed up in some of the more memorable film costumes.

The plot follows fantasy fan Sarah (Jennifer Connelley) who accidentally banishes her baby brother to the goblin city, ruled over by Goblin King Jareth (David Bowie). Jareth offers her the chance to rescue said brother, by completing his labyrinthian maze of twists, turns and traps. Along the way we meet the loveable Ludo, loyal Sir Didymus and the surly Hoggle, plus a whole host of goblins…

The score of the film is delivered live by a talented band who appear on stage for the duration. It isn’t only the songs that receive musical accompaniment, but also much of the underscoring and incidental music – there’s very little time the band aren’t playing. A gong takes centre stage, and other instruments include keys, guitar, electric guitar, bass, saxophone and drums.

A smart lighting design also adds to the magic, with flashes of lightning as Jareth appears on a stormy night, a fiery glow during the song Chilly Down with the Fierys and swirling projections during the dreamy masked ball sequence.

The Barbican is an ideal venue for this film/concert hybrid. Although large, there isn’t a bad view in the house and the seating is tiered so that everyone can see. Sound was crystal clear, and the image quality on the huge HD screen was sharp.

But does it work? Yes and no. The evening opened with the conductor encouraging participation by singing along, shouting and cheering. From the opening scene it was clear that the film would be subtitled, perhaps to help those hard of hearing. However, subtitles throughout became distracting at times, and I’d have been reaching for the remote to turn them off at home…

During the songs though, there weren’t any lyrics onscreen at, almost as if to discourage singing along. This led to people trying to sing, but not always knowing the words, and not sure whether they could – or should – be joining in.

This not-quite-cinema not-quite-concert vibe is jarring at times, and leads to some confusion of what exactly the experience is trying to be. If we compare for example The Rocky Horror Singalong experience, there is an audience participation script with clear cues of when to join in, and a bag of props to use at key moments.

This reviewer feels Labyrinth: In Concert could’ve been pitched as either fully interactive, or not all, rather than some shaky ground between. An interval feels superfluous in a short film too.

The experience commands a high price tag, with tickets ranging from £45 to £80. A merch stand in the foyer also saw t-shirts at £25 and hoodies at £50. This isn’t a cheap night out, but if you’re a fan of the iconic film it’s certainly a treat to see it on the big screen, and with live music.

If you do book, we recommend staying through the credits. The band continue to play an excellent medley of songs, but many audience members were up and out sharpish, as if it was a mere cinema trip. Others were up (Magic) Dancing in the aisles, but many left before the band had chance to take a Bow-ie.

Film

Experience

Labyrinth: In Concert is touring the UK, before continuing a global tour in Canada and the USA.

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

Legally Blonde The Musical, Grand Opera House York, April 2026

Last night we saw Legally Blonde The Musical at York’s Grand Opera House. But were we tickled pink? Find out below…

I have no memory of the 2001 film but Mrs Wizard assures me the show is faithful to the plot, with a few modern twists. For what is essentially a rom-com, the love story plays second fiddle to a tale of bettering yourself, loving who you are and not judging a book by its cover.

The narrative revolves around Elle Woods, who lives a dream Malibu lifestyle and loves hanging out with her gal pals. Desperate to woo back love interest Warner, she applies to Harvard to study law alongside him. At law school she finds her new calling, and vies for one of four internship places offered by tutor Callahan. But first she must prove she’s more than a pretty face…

Amber Davies is a perfect fit for the role of Elle. Famed for Love Island, reality TV stars may not always be well accepted in theatre but Davies holds her own, and reminds this reviewer of a young Idina Menzel. She brings a star quality to the role, with fans anxious to meet her at the stage door after.

Later Elle meets Emmett, with George Crawford playing the secondary love interest with a real warmth and likeability. He grounds Elle and helps her believe that she has what it takes. His down to earth nature is a far cry from her big bubbly pink persona.

Special mention to Karen Mavundukure as Paulette too, who not only gets some of the biggest laughs of the night, but oh boy can she belt. The audience lap up her solo Ireland, and are rooting for her to find her Irish sweetheart.

A large ensemble snap, bend and change wigs with ease. The sharp choreography comes courtesy of Leah Hill, and is so slick it left us breathless at points. The fitness video inspired number Whipped Into Shape, sees the ensemble skipping at speed whilst simultaneously singing their hearts out. Brooke (Jocasta Almgill, also resident director) takes the lead vocals here, and is barely out of breath after. No easy feat.

Expect dogs too, in the form of Bruiser the chihuahua and Rufus the British Bulldog. The canine co-stars delight with each appearance, but never dominate or distract too much. They certainly have the ‘aww’ factor though and are expertly trained with treats. Who’s a good boy? They are!

For a pink and fluffy show, there are some inspired moments that add depth. Elle’s friends appear as a Greek chorus a la Hercules, and are always on hand to offer advice and motivation through song. The song Gay or European turns what would be a dated reference into a tongue-in-cheek stroke of genius.

Colin Richmond’s set design is a triumph, and even features a mini Harvard – and a comically oversized judge’s booth, that doubles as a shower! Ben Cracknell’s lighting design dazzles, and you can expect an abundance of pink in Tom Rogers’ costumes.

This is a musical in every sense of the word, and the songs far outweigh the dialogue. Some might be forgettable, but all are delivered with the fizz and energy of a crate of Red Bull.

Legally Blonde is undoubtedly West End worthy. The production values are first-rate in this feelgood musical packed with toe tapping hits. This opening night crowd were on their feet by the end, and some had been all night…standing tickets were added to meet demand!

Polish, pizazz and pink, pink, pink!

Legally Blonde The Musical runs until Saturday 25th April. Bend and snap your way all the way to the Box Office, or book online at www.atgtickets.com/shows/legally-blonde/grand-opera-house-york/

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

Horrible Histories: The Concert, York Barbican, April 2026

Our Wizard family love Horrible Histories, and were excited to see the songs from the CBBC series brought to life in this touring show.

We weren’t sure what to expect, and wondered if the production would just be a string of songs one after another – concert-style. Whilst that wouldn’t have been horrible (history), far more effort has gone into it – there’s a throughline involving finding the right monarch to sing the final song. Poor Shakespeare faces Queenie’s guillotine if he messes up the show, and the plot thickens as more and more monarchs are unwittingly signed up for the solo number.

Like all the best shows aimed at families, it’s interactive. There are plenty of opportunities for kids – and big kids – to join in. From crooning along to the hit songs and boos and oohs aplenty, to participating in mock-gameshow Chop or Not.

The stellar cast features many of the performers from the later CBBC series – and they’re all first-rate. Richard David-Caine plays host Shakespeare, and gets some of the biggest laughs. He moves with the silky precision of a crab, and is a master of comic timing. Want to see Shakespeare twerk? You won’t be disappointed. We look forward to seeing him in York Theatre Royal’s Snow White this Christmas.

Ethan Lawrence, who we recognised from the Ricky Gervais series Afterlife, plays Henry VIII amongst others. He gives a right royal performances, and can belt out the tunes with gusto. He’s clearly honed his comic skills too, and will have you laughing your head off…eek.

Harrie Hayes gives a sharp performance, with the delightfully dark and daft Stupid Deaths. Comparisons to the TV show are perhaps inevitable here, but Hayes puts her own stamp on the iconic role. She’s anything but grim…and make no bones about it.

Horrible women are well represented too with Queen Elizabeth I (Harrie Hayes again), Queen Victoria (Alison Fitzjohn) and Cleopatra (Verona Rose) all…coming at ya! All the femme fatales excel, and and are all suitably frocked-up in historical attire by designer Jackie Trousdale

Birmingham Stage’s own Neal Foster directs but also dons the wigs and hats, and effortlessly switches between party animal Charles II, Dick Turpin, and – bizarrely – a Dudley-born Viking. As Shakespeare quips…’Questionable regional accent!’

We were surprised at just how strong vocally the entire cast is too. The production team don’t scrimp on talent and there’s no ‘oh it’s for kids, it’ll do’ attitude here. Musically the show is a treat, with a versatile live band hitting all the right notes. They are led by none other than Richie Webb, who we were delighted to find out wrote all the Horrible Histories songs! The love for his work shines through, and we’re glad he gets to witness that every day of the tour.

The action spans multiple eras, and the only part that felt slightly out of place was PT Barnum. Whilst technically historical, the circus theme felt a little jarring against the ‘ye olde’. However, It’s How You Put on a Show is a banger that made up for it, and Inel Tomlinson’s Barnum is a triumph. His I Want to Spend It, Spend It as Mansa Musa is also…solid gold!

Despite reviewing theatre all over the region, this was our first trip to York Barbican, and the concert production fits the venue perfectly. Sounds levels were balanced, and we could hear every word. The concert format means it’s loud, so those sensitive to noise might want to bring ear defenders. Expect smoke, glitter, a diverse lighting plot and more. Sparks don’t fly though, and this reviewer would’ve loved a pyro or two!

If you know the series as well as us, there’s lots to enjoy here. And even if you don’t, it’s presented in such an engaging and interactive format that’s fun for the whole family. Educational? Maybe. But entertainment takes priority, and it’s never boring.

Horrible? Hardly!

If you’re thinking of booking…chop chop (guillotine pun) Look sharp (another) and visit https://www.yorkbarbican.co.uk/whats-on/horrible-histories/

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

The Secret Garden The Musical, York Theatre Royal, March 2026

Last night we were transported from North Yorkshire 2026 to…North Yorkshire 1906, with York Theatre Royal’s revival of The Secret Garden The Musical, based on the 1912 book by Frances Hodgson Burnett.

The story revolves around orphaned Mary Lennox, who finds herself uprooted from India to the wuthering moors of Yorkshire. Taken in by her uncle – still grieving his wife’s passing from ten years prior – she befriends maid Martha and her brother Dickon, and learns of a secret walled garden on the estate.

Previously belonging to her aunt, the key is missing and the garden overgrown, but Mary’s curiosity gets the better of her. Discovering she has a bedbound and sickly cousin, Mary encourages him to leave the confines of his room and explore the outside world and the mysteries of the hidden garden.

Most of the plot here is told through song, and at times it feels almost like a opera – albeit with more of a folk song vibe. There is little movement to go with the music – no real dance or choreography to speak of – and the music very much underpins the narrative throughout.

The large cast of actor-musicians exude talent; playing everything from guitar, double bass, piano, flute and even a grand harp. Sound is rich and levels are balanced; we hear all the lyrics clearly except maybe during the chaotic storm songs where vocals get a little lost.

All the adult actors are strong, but special mention to Martha (Catrin Mai Edwards) and Dickon (Elliot Mackenzie) who brought a real joy to the characters, and a liveliness to the stage. Mackenzie brings a youthful energy to a role that is meant to be a 12-year-old boy in the novel.

The two actual children, Mary (Estella Evans) and Colin (Dexter Pulling) are exceptional. Both are strong, confident performers with excellent singing voices. The book suggests that both characters are brattish and unpleasant, but soften as the plot unfolds. This doesn’t quite come across in the play, simply because there isn’t a lot of time for such character development.

Staging is generally basic but effective. The tale is beautifully told, but a lot is left to the imagination rather than shown visually. This reviewer was reminded at times of The Woman in Black, with suitcases and boxes becoming elements like beds and stairs. Large flowing drapes drop in and and out, representing the rolling moors and billowing storm clouds.

Costumes by Gabrielle Dalton are largely in-keeping with the era, with one notable exception – Mary wears a modern pink hoody, striped t-shirt and jeans, without any explanation. It stands out – and it’s clearly a conscious design choice – but we weren’t sure why.

Is it suitable for families? We don’t feel it would especially engage young children, there isn’t a lot of action and the pace is a little slow overall. At 1 hour 25 minutes too, it’s not lengthy although there is no interval – so it’s perhaps a long time for children to sit. Our 9 and 12 year olds said they enjoyed it but admitted it dragged at points for them, and that some songs were repetitive.

The Secret Garden is well-staged, and expertly cast and directed. It’s not a fast-paced feelgood musical like some, but a clever retelling of a classic story. The themes of loss soon make way for a tale of redemption and hope, and don’t we all need a little more of that in a weary world?

The Secret Garden The Musical runs until Saturday 4th April. Tickets can be booked at https://www.yorktheatreroyal.co.uk/show/the-secret-garden-the-musical/

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

Cinderella, Grand Opera House York, December 2025

The Grand Opera House waves its fairy wand over Cinderella this year, and here’s what we thought…

Cinderella is played by Rachel Grundy, one of the finest Cinders we’ve seen. A vocal powerhouse, she also has a genuine chemistry with both Buttons and her dashing Prince.

Double trouble comes in the form of Ugly Sisters Melody and Harmony Hard-Up aka Luke Attwood and Brandon Nicholson. Drag queens are increasingly filling roles (and stockings) as dames, and it works especially well here as the acid-tongued duo. The ‘rip it up’ scene is particularly vicious, and they delight in the drama. Speaking of which, Drama and Glamour – a take on Gaga’s Abracadabra – is a gem!

Expect outrageous frocks, towering wigs and plenty of panto eleganza. They pick on an unsuspecting dad to be their boyfriend, but ultimately this doesn’t really go anywhere and he’s only mentioned once or twice. A shame, as there’s more to play with here.

From frocks to…shocks? There’s plenty of innuendo, bordering on smut. It’s a fine line to tread, and it’s not just the dames doing the dirty…Buttons and the Prince have some naughty lines too! Too far? As Kenneth Williams once said, “If I see any innuendo in a script, I whip it out immediately.” Oh matron! In truth, it’s pitched at a level where it should go over the heads of most younger audience members.

Prince Charming (Tobias Turley) is a surprise smash. So often, the Prince is a bit wet and one-dimensional, but here he sends up the pomp and ceremony, and gets some big laughs with valet Dandini (Bradley Judge). Karl Moffatt’s Baron Hard-Up is suitably bumbling, but doesn’t get a lot of stage time to really shine.

Our Fairy Godmother – Lisa George of Corrie and Emmerdale fame – is a firm audience favourite. No airs and graces here, she’s ditzy, down to earth and puts her own stamp on the role. A strong singer too, she belts Don’t Rain on my Parade with gusto!

Jimmy Bryant’s Buttons instantly wins over the audience and is delightfully daft. Another strong singer, in a role that doesn’t often play to a vocalist’s strengths. He can bust some moves too, and Uptown Funk is a real toe-tapper!

The adult ensemble, and two teams of child dancers from Dance Expression and Lisa Marie Performing Arts, all help fill the stage with energy and enthusiasm. Rarely do they get to speak – silenced comically by an overbearing Melody before they can (“You’re ensemble, no speaky speaky!”) but they aren’t consigned to background extras either.

Costumes by Elizabeth Dennis fit the brief and have plenty of sparkle. Special mention must go to the dame’s wardrobe – with many designs by the Ugly Sisters themselves (Luke Attwood and Brandon Nicholson) Morgan Ferguson also works his design magic, and created the fabulous frocks featured in the images in this review!

The production excels musically, with a diverse song list featuring modern hits and classic tracks, often with parody lyrics. Pulp’s Common People for example lists all the things that…well…common people do, including trips to Greggs and Primark! The live band, led by Rob Bannon, was music to our ears and never missed a beat.

This telling of the rags to riches story is not especially inventive; it doesn’t break the mould or offer anything especially new or different. Elements such as the ghost scene or ball transformation are the same as we’ve seen countless times before.

There are flashes of innovation, but overall it’s a tried-and-tested formula. However, the standard is high throughout and it features all the key ingredients of pantomime – with the traditional routines and skits you might expect.

If you’re looking for a classic pantomime (plus a smattering of smut!) then it could be just the ticket!

Cinderella runs at Grand Opera House York until Sunday 4th Jan 2026. Want to go to the ball? Book your tickets at www.atgtickets.com/shows/cinderella-pantomime/grand-opera-house-york/

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

The 39 Steps, Grand Opera House York, July 2024

We stepped back in time to the 1930s, to see The 39 Steps at Grand Opera House…

Based on the novel, the plot sees dapper gent Richard Hannah who becomes embroiled in an international spy ring following a murder in his apartment. Fleeing the police, he follows a trail to Scotland to get to the bottom of this whodunnit comedy of errors.

Tom Byrne plays Richard Hannah. Like a young Hugh Grant, he personifies the polite English gentleman, complete with stiff upper lip and pencil moustache.

Safeena Ladha plays three characters here – Pamela, Annabella and Margaret. She has some good physical comedy as Annabella in particular. Pamela is quite a whiney and wet character, but Ladha manages to bring a dry wit and feistiness to the role.

Clowning Around

Listed as Clown 1 and Clown 2, Eugene McCoy and Maddie Rice play a whole host of roles. The billing suggests 139 characters but we didn’t count nearly as many so this might be marketing spiel. Hats fly, accents change and genders blur with strong characterisation throughout. Their clowning is excellent and there were little flashes of Monty Python, Laurel and Hardy and Chaplin.

Expect slapstick and knockabout comedy that is, on the whole, tight and well choreographed. A highlight during strong winds sees the cast billow their costumes in unison each time a door is opened. There are silly moments with windows, sandwiches and the daft antics that come from two performers handcuffed together.

Feeling the Strain

Acoustically, the show is hard to hear at points. Even from the middle of the stalls we strained to hear some of the dialogue. Visually though the staging is excellent, and captures the 1930s setting perfectly. From a London flat, to the Scottish highlands and glitz of the Palladium – Peter Mckintosh’s set design is first rate.

Tripping the Light Fantastic

Ian Scott’s lighting design is excellent too, often reminiscent of a vintage film. A shadow puppet sequence is a clever touch, and sets the scene of a chase well. Elsewhere lights are used as car headlights, and searchlights over the moors.

We’ve seen many farcical shows, from Noises Off and Le Navet Bete’s The Three Musketeers to the various ‘Goes Wrong’ shows. Whilst a few things did indeed ‘go wrong’ here, these moments were tame in comparison to similar shows, and fairly predictable.

A Step too Far…

…or not far enough? For us, it feels like The 39 Steps plays it too safe. There are some inspired moments, but on the whole it’s a gentle and quaint affair that never quite seems to find its momentum.

Some of the jokes felt laboured too; amusing initially but drawn out too long. I love puns, but when a family joke about uncle Bob (“Oh, Bob’s your uncle?”) gets the biggest laugh of the night, it feels like the script needs refreshing.

That being said, there are plenty of people who adore the show – and it’s had a successful West End run along with Tony and Olivier Awards. We had high expectations but found the pace slow, and the laughs didn’t come thick and fast enough. Hitchcock film references are clever though, and again the slapstick is generally well honed.

Overall, we found the comedy underwhelming, the plot a little convoluted and the pace off at times. However, we commend the hardworking cast and crew. If you’re a fan of the book, or you’re new to farcical comedies, you may still find plenty to enjoy here.

The 39 Steps runs at Grand Opera House York until Saturday 27th July 2024. Tickets start from £13 and can be booked at https://www.atgtickets.com/shows/the-39-steps/grand-opera-house-york/

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