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.

Dear Evan Hansen, Grand Opera House York, June 2025

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

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

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

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

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

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

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

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

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

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

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

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

Powerful, emotional, unforgettable theatre. A must see.

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

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

&Juliet, Sheffield Lyceum Theatre, May 2025

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

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

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

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

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

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

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

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

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

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

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

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

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

Not booking a ticket would be the real…tragedy!

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

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

Joseph and the Amazing Technicolor Dreamcoat, Leeds Grand Theatre, March 2025

We donned our colourful coats and headed to Leeds to catch the classic Andrew Lloyd-Webber hit Joseph and the Amazing Technicolor Dreamcoat.

Unless you’ve been living under a burning bush, you’ll probably know that the plot follows the tale of a young dreamer sold into slavery, who bounces back as Pharaoh’s right-hand man. Donny Osmond popularised the title role in the 1999 film, as well as Jason Donavan, Philip Schofield, Darren Day and Gareth Gates on stage.

The action takes place across Canaan and Egypt, and Morgan Large’s set transports this eager audience in a haze of drapes, stars and a vivid palette. Ben Cracknell’s lighting design is electric, and accentuates everything from the pulsing disco vibe of Go Go Joseph, to a dank jail cell in Close Every Door. There are props aplenty too, and I found myself wanting a go on the clever Camel-bikes or taking Joseph’s golden chariot for a spin!

We first meet Christian Bianco’s Narrator, who is the golden thread that holds it all together. Instantly likeable, she playfully jokes with the audience when her disguises (including Joseph’s dad Jacob) fool nobody. With powerhouse vocals and a real warmth, she reminds this reviewer of a younger Jane McDonald.

Adam Filipe might be the most well-spoken Joseph we’ve seen. He fills the boots well and is truly a walking work of art in his colourful coat. Boundless energy and incredible vocals, he excels during Close Every Door which he delivers with a real poignancy.

Star turn Joe McElderry (of X-Factor fame) is our Pharoah. A long time coming – Pharoah doesn’t appear until well into the second act – he is worth the wait and has all the swagger of this Elvis-inspired King of Egypt. Another tip-top singer, with the odd cheeky wink to the crowd. His key scene is a visual highlight too, and sees him surrounded by dancing statues, hieroglyphs and even a lip-syncing Horus and Anubis.

The entire ensemble work hard, and there is no weak link. I can only imagine the speed of quick changes behind the scenes, as performers switch in and out of wigs, beards and the many stunning costumes.

All the previous productions of Joseph we’ve seen have been very much by the (Good) Book, and we arrived last night thinking we knew exactly what to expect. However, this tour keeps things fresh and innovates in some surprising ways…

Firstly, the children are no longer consigned to just ‘ah ahs’ in the chorus, and instead play an integral role throughout. Donning fake beards, they join the band of brothers, and even take on some of the larger roles. A pint-sized Potiphar is a triumph! The Baker and Butler duo are fantastic too. All the children fizz with energy and enthusiasm, and get some of the biggest laughs of the night.

Other innovations include a cheerleading twist on Go Go Joseph, a slightly obscure Can Can routine in Canaan Days (“I said Canaan, not Can Can!”) and fresh, modern choreography. There are other nods to the modern day too, with iPhones, Starbucks and Converse all appearing.

Some theatregoers lament how simple Joseph’s score is, and it was originally written so that primary schools could stage it with ease. But oh boy are the songs catchy and varied! Expect everything from Calypso, Western and French ballads to rock and roll, pop and jazz. All are delivered with crystal clear vocals, tight choreography and a rousing live orchestra led by John Rigby.

Ideal for musical theatre fans, Joseph is song n’ dance from start to finish. There are dips in pace in the second act but overall its punchy and slick. The much-anticipated Megamix has the whole audience on their feet at the end, and brings the show to a close in a riot of colour and toe-tapping fun.

A Dream ticket, Go Go Go book now!

Joseph and the Amazing Technicolor Dreamcoat runs until Saturday 29th March at Leeds Grand Theatre. Book your tickets at https://leedsheritagetheatres.com/whats-on/joseph-2025/

For all upcoming UK tour dates visit https://uk.josephthemusical.com/tickets

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

Elf The Musical, Joseph Rowntree Theatre, November 2024

Elf is one of our favourite films, but does the company live up to its promise of New and Exciting Theatre?

Elf tells the tale of a baby raised as…you guessed it…a North Pole elf. He eventually realises he’s human and sets off to find his birth father in New York. Hijinks ensue as Buddy adjusts to city life, falls in love with a colleague and tries to restore Christmas spirit.

The shows opens on a familiar festive figure. Stephen Tearle embodies the Christmas spirit of jolly old St Nick, and a Santa meet-and-greet in the interval is a lovely touch. Tearle’s Santa is warm and engaging, and resplendent in beautiful robes, realistic beard and wig. Any grotto worth their salt (or sugar, an elf’s favourite!) would be glad to have him.

I’m a Santa snob – it’s so easy to get the big guy wrong and ruin the magic – but here it’s so very right. Stephen is also Creative Director, Chairman and Costume Designer for the company, and his attention to detail shines.

Finlay Butler’s Buddy has some big (pointy) shoes to fill, with so many people knowing Will Ferrell’s 2003 role so well. His entrance on a skateboard is an early indication of his playful, youthful demeanour.

I actually preferred this portrayal to clips of Buddy I’ve seen of some of the professional touring productions of Elf. Some Buddys don’t capture the childlike innocence and wonder, and play him more tongue in cheek, which really misses the point. Butler’s Buddy though hits the sweet spot, and he’s careful not to parody Ferrell’s performance.

Love interest Jovie (Maia Stroud) is more surly that her film counterpart, but transitions well into the lighter side when she finds the Christmas magic. A good singer too, particularly during Never Fall in Love (With an Elf)

Perri Ann Barley as mum (or ‘mom’ here , to suit the setting!) Emily Hobbs is a delight. She maintains a convincing American accent, and sings well throughout – especially in duet I’ll Believe in You.

James O’ Neill as Walter Hobbs has a great story arc; first appearing as a workaholic before realising the important of putting family first. O’ Neill demonstrates this well, and we’re eager to see him soften and get off that naughty list! Son Michael (Zachary Stoney in our performance) is well cast and confident in front of this full house. He could go far.

Scatty secretary Deb (Ali Butler-Hind) reminds this reviewer of Alice Tinker from The Vicar of Dibley, with a ditzy energy and zany costume to match.

The huge ensemble of children really give it their all, the enthusiasm is infectious and they are clearly having bags (or Santa sacks?) of fun! The adults too are all keen and committed to delivering festive fun.

The set is largely projected. In previous reviews we’ve commented on over-use of projection – in pricey professional productions we sometimes expect more set for the spend. However, here it works wonderfully well, and is an effective way to flit between New York and The North Pole. Extra set elements add depth, with fairy lights galore, a glittering sleigh and a stunning Christmas tree.

A live band is a treat for a small production, where others might rely on backing tracks. This is no fault of the company, but quite a few of the songs are forgettable in Matthew Sklar and Chad Beguelin’s score. There’s only a few you might come away singing but the cast deliver them all with boundless energy and enthusiasm nonetheless.

Bob Martin and Thomas Meehan’s script is very American too, with gags about particular States and franchises like Taco Bell that don’t always hit with this Yorkshire crowd. Perhaps a few local updates a la panto? Licensing rules may prevent making changes though.

The Joseph Rowntree Theatre is ideal for Elf. Even from the back of the stalls we had a perfect view in this cosy, community space. We all know how expensive Christmas is, and pantos and touring shows can cost a pretty penny. NE Theatre are budget-friendly, plus you’re supporting local arts and helping good causes (don’t forget your raffle tickets and programmes!)

NE Theatre has a real emphasis on giving people a chance and in really looking after their team. There’s a sense of family, and in everyone have a great time together. Whilst technically an amateur production, there’s plenty of talent here and the show made me smile (and to quote Buddy – smiling’s my favourite!)

I’d suggest booking a ticket but, true to form, NE Theatre have sold out yet another run – a testament to the company’s hard work and loyal following.

Been a Cotton-headed Ninimuggins and forgot to book? Call 01904 501935 in case of cancellations, and be sure to catch their other shows including Carousel and Charlie and the Chocolate Factory in 2025.

Find out more at https://www.facebook.com/NMusicals/

Not a show to snooze on…

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

The Rocky Horror Show, Lyceum Theatre, Sheffield, November 2024

Review originally written for The Reviews Hub

Like the iconic 1975 film, Rocky Horror tells the tale of lovestruck Brad and Janet Weiss who stumble across a gothic mansion full of ‘rich weirdos’. They soon meet transvestite Frank-N-Furter, and uncover a deliciously dark plot of murder, jilted lovers and aliens.

This isn’t our first Rocky rodeo. We’re regular Frankie fans and have seen many productions, so were looking to forward to this with great antici…

…pation! In Joseph, Jason Donovan handed over the dreamcoat to a younger performer and took on the role of Pharaoh instead. Here though, he reprises a part he first played almost thirty years ago. Cleverly, he’s adapted the role to suit his age, and now plays Frank-N-Furter as a washed up coke-addled old queen. Donovan minces around with a skittish energy, and is the most unhinged Frank we’ve encountered. His evil laugh is to die for!

Vocally, we initially felt he didn’t have the same strength as his co-stars, and Sweet Transvestite seemed a little under par. However, by the Floor Show in the second act he was on fine form. I’m Going Home is a triumph; delivered with both poignancy and power. Stunning.

Kristian Lavercombe has hung up his bald cap, and is no longer playing Riff Raff after thousands of performances across the globe. Job Greuter dons the padded-hunch and is smart to not imitate O’ Brien or Lavercombe. Greuter has sharp vocals and some nice comic touches, and isn’t just any old Riff Raff.

Connor Carson’s Brad has nerdish charm in spades. A strong singer, he also has great comic timing – especially when thrust together with Frank. Lauren Chia as Janet nails the transition from innocent fiancé to curious woman of the world. She sings well too, and belts Super Heroes with ease. Both have excellent chemistry together and capture the wide-eyed overacting of the B-movie era.

Columbia (Jayme-Lee Zanoncelli) and Magenta (Natash Hoeberigs) are both strong, and each put their own stamp on the roles. They hold their own when they could easily be overshadowed by those with more stage time. Zanoncelli is a whirlwind of energy in her fast and frenetic tap solo.

Morgan Jackson is the perfect Rocky; complete with rippling muscles, blonde hair and a tan. More than looks though, this Rocky can sing – and Jackson excels in The Sword of Damocles and Rose Tint my World/Floor Show. Edward Bullingham rocks to Hot Patootie as Eddy, in a role pioneered by Meatloaf (yes, really!) He also plays Dr Scott, and milks the reveal of his silky stockinged pins.

Nathan Caton’s Narrator is a sensation. Casting a stand up comedian is a smart choice, and that’s no joke. Caton gives as good as he gets, and snappily banters back with the quipping audience.

And quip they do. For the uninitiated, seeing Rocky Horror on stage isn’t a passive experience. With its cult following, there’s an unwritten audience-participation script that the die-hard fans follow to the letter. The constant interruptions can seem like heckling, but don’t beckon the ushers over though – it’s all part of the Rocky vibe.

The cast manage it well, and of course they expect it. Thankfully, this audience showed restraint in the more touch-a-touch-touching moments such as Brad’s Once in a While and Frank’s I’m Going Home.

In terms of design, this is largely the same production we’ve seen time and time again. ‘It Was Great When It All Began’, but this reviewer can’t help wishing they’d shake up the formula just a little, especially as the show celebrated fifty years in 2023.

That being said, there’s plenty of polish and pizzazz. Hugh Durrant’s stage is encircled by a film reel, and features cut-out flats reminiscent of a school production. Frank’s lab fizzles with electricity, and an upright bed welcomes naughty shenanigans that would make a gynaecologist blush.

Nick Richings’ lighting design dazzles in all the right ways. And a live band – led by musical director Josh Sood – brings the crowd-pleasing score to life. Fan favourites are all here, including The Time Warp which sees everyone up on their feet at the end.

Rocky Horror flies by in a haze of sequins, suspenders and smut. You’ll be thrilled and chilled with two hours of flirty, fabulous, toe-tapping fun. So dig out your glitzy heels, tighten that corset and prepare for a Rocky night ahead.

Don’t Dream It, Book It!

The Rocky Horror Show runs at Sheffield’s Lyceum Theatre until November 30th, before continuing the national tour. Find out more at https://rockyhorror.co.uk/

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

Nativity! The Musical, Grand Opera House York, November 2024

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!

Sent to Coventry

The action flits between two rival schools in Coventry, and 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 Mr Poppy’s My Very First Day at School and Dear Father Christmas.

Perpetual big-kid Desmond Poppy is played by Adam Sowter. He’s likeable, with as many t-shirts as he has impressions. His keyboard skit during the ‘Ordishuns’ is a treat, and he’s the teaching assistant any primary school child would dream of. Daft as a brush, and yet suitably annoying towards his new classroom colleague.

Mr Maddens (Alex Hogg) doesn’t have much to play with in a role that is largely a grumpy primary school teacher, but he fits the part well and has good chemistry with Jennifer. Alexandra Mather plays the girlfriend who moved to Hollywood; she sings well and is believable in the role.

That’ll Teach You

There are too many to name individually in this large cast but Alison Taylor returns to play Mrs Bevan. She embodies the stereotypical primary school headteacher, and we feel her frustration as the Ofsted inspection looms and the Hollywood lie is exposed.

Straight-laced Gordon Shakespeare (Jonny Holbeck) from Oakmoor Prep school clearly relishes the role, although sometimes strays into panto villain territory. His pupils are rigidly disciplined and suitably abhorrent in the smug Five Star Review / Better Than You.

The child actors are having the time of their life, and – sorry adults – often upstage their older co-stars! The audition sequence is a delight, and their rendition of Dear Father Christmas really tugs on the heartstrings.

Special mention to Angel Gabriel Dan Tomlin, who flies around the stage delivering Good News with plenty of sass! Ellen Dickson’s Katelyn brims with energy and is truly a ‘little pocket of stardust’. OIlie (Hughie Clelland) stands out as both Joseph and a rapping boy-band Wise Man.

Cracker the dog returns to plenty of ‘ahhs’ too – and the pooch is perfectly well behaved. Good boy.

Jesus, Mary and Joseph

In the 2022 production we mentioned that there were issues with sound, with some of the best lines getting lost due to lack of mics or technical blips. Things have somewhat improved this year, however there are still some lost lines. Some songs are too loud and can grate, and Herod’s Rock Opera is just indistinguishable screams and noise. We couldn’t make out any of the lyrics here.

The design largely hits the mark, and the stage transforms from classroom to cathedral smoothly. The Nativity production has that charming school show feel, with cardboard buildings and plenty of colour, fairy lights and glitter!

Pick Me Up Theatre do an admirable job bringing the story to life. It’s worth noting that this is an amateur production, in the sense that none of the cast are paid professionals. Whilst it’s not as slick or polished as other Christmas shows we’ve already seen this season, the energy and enthusiasm certainly (sparkles and) shines!

Just as with a primary school nativity, there are a few stumbled lines, late cues and early entrances but nothing unforgiveable, again especially as this is not a professional show. Pace definitely dips in the second act, but once we get to the staging of the actual Nativity it builds to a fulfilling festive finale.

It’s one to consider if you’re looking for a cheaper alternative to panto, and want to support a local theatre company giving it their all. Oh and you’ll be singing Sparkle and Shine all the way home!

Nativity! The Musical runs at Grand Opera House York until Saturday 3rd December, book at www.atgtickets.com/shows/pmu-presents-nativity-the-musical/grand-opera-house-york/

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

Hairspray, Sheffield Lyceum, October 2024

Review originally written for The Reviews Hub

Set in the swinging sixties, Hairspray follows the story of Baltimore schoolgirl Tracy Turnblad, who yearns to dance on the smash-hit Corny Collins Show.

Turnblad quickly becomes an overnight sensation and – like a can of hairspray – shakes things up in more than ways one. She uses her newfound success to encourage racial integration on television; pushing for more than just the monthly ‘Negro Day’ for African Americans. Network producer Velma and her toxic daughter Amber do all they can to stop her, but Tracy has teenage heartthrob Link Larkin on her side to help save the day.

Tracy is played by Katie Brace and is perfectly cast in the role. Comparisons to the 2007 film are perhaps inevitable, but Brace is just as good as Nikki Blonsky. With her excellent comic timing and incredible vocals, she also captures the youth and naivety of the teen girl with the big hair and even bigger heart. It’s a joy to see her efforts to follow her dreams, change the world, and impress her crush.

Comic relief comes from Tracey’s mum, or ‘mom’ to suit this Maryland setting. Neil Hurst dons the frocks and heels here, and occasionally strays too far into pantomime dame territory. The audience really warmed to Hurst after the glow-up in the Welcome to the Sixties, once he embraced the more confident side of Edna.

Doting husband Wilbur (Dermot Canavan) is the lacquer that holds Edna together. Always on Tracy’s side, Canavan plays dad with plenty of gags, and his playful antics perfectly compliment Hurst’s Edna.

Motormouth Maybelle (Sasha Monique) has powerhouse vocals, and brings a welcomed gravitas to the sensitive theme of racial integration in a show that is otherwise sugar, spice and all things nice.

Olly Manley’s Link Larkin is every teenage girls dream. Another strong vocalist, and reminiscent of a younger Austin Butler, Manley clearly delights in the role of TV pin-up. He’s versatile too, switching from pretty-boy to a more three-dimensional character, as his own preconceptions and ideals are challenged when he meets Tracy.

Joanne Clifton as Velma Von Tussle is deliciously evil without ever hamming it up too much. She schemes with her bleach blonde bitch of a daughter Amber (Allana Taylor) to stop Tracy’s plans for integration and acceptance of those who are different. Clifton plays the role with aplomb, clearly relishing every minute. Taylor’s Amber is delightfully dislikeable too.

This is a large cast, and the unwavering enthusiasm and energy of the ensemble shines through in the catchy songs and upbeat dancing. Choreography by Drew Mconie is tight, and the dancing in Run and Tell That reaches a fever-pitch level of energy, that left this reviewer breathless.

The set design by Takis is camp and colourful, even featuring a giant can of hairspray – the perfect entrance for Edna later in the show. Projection by George Reeve is used throughout, but thankfully not relied upon, as this reviewer has experienced in other shows. A particularly inspired moment sees the names of famous black rights activists projected during the song I Know Where I’ve Been; a sobering reminder of the challenges facing different races during the sixties.

It would be remiss not to mention the hair in Hairspray, and wigs come courtesy of Craig Forrest-Thomas. Every bouffant, bob and bushy barnet is here, coiffured to perfection.

A live band hits all the right notes too, led by Musical Director Richard Atkinson. Levels are well balanced which allow the fantastic songs to really pop. You Can’t Stop the Beat is an audience favourite which has everyone up on their feet to finish. I Can Hear the Bells is a comic masterpiece. You’re Timeless to Me is a standout hit too, although this is largely down to Hurst and Canavan’s risqué flirtations and subsequent corpsing.

Fun for all the family? Our eight-year-old loved every minute and it was worth the late-night. Directors Paul Kerryson and Brenda Edwards have captured the very essence of Hairspray, in a show that won’t disappoint fans young or old. This is pure feelgood fun, and I defy anyone not to toe-tap along to the catchy score.

Hairspray closes at Sheffield Lyceum on Saturday 19th October then continues the UK tour. The show visit the New Wimbledon Theatre next, followed by Grand Opera House York. For full tour dates visit https://www.hairsprayuktour.com/

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

Unfortunate: The Musical Parody, Grand Opera House York, June 2024

Unfortunate: The Untold Story of Ursula the Sea Witch, started life as a one-hour Edinburgh Fringe parody. The production is now a smash hit, and receives rave reviews throughout the extensive UK tour. Created by Leeds-based Robyn Grant, the show is a celebration of all things LGBTQI+

Hot on the (high) heels of York Pride, Unfortunate docks at the Grand Opera House York. But is everything ship-shape, or does it sink to the depths?

First up, this ain’t The Little Mermaid folks. The recommended age is 16+ for strong language, partial nudity and sexual themes throughout. There’s more than a smattering of smut, with songs about…well…I can’t even say here. In short, it’s not for kids but ideal for a fabulously fun child-free night out!

The show tells the (fishy) tail of queer icon Ursula, the villainous sea witch we all love to hate. This origin story takes us back to her early days when life…sucked. She’s a toilet cleaner in the murky depths.

Hook, Line and Sinker

Like a fish on a hook, we were quickly reeled in by the brash humour, colourful staging and camp shenanigans. The writing is witty, and the songs oh-so-catchy.

There’s puppetry too, with a hideous assortment of deep sea dwellers in the song We Didn’t Make it to Disney. It’s nautical nonsense in the best possible way!

Shawna Hamic plays Ursula, a formidably fierce villain who’s delights in tricking Ariel. Hamic wrings every nuance out of the role, and dominates the stage in a sea of tentacles and black leather. Incredible vocals and stage presence to boot, she’s the ultimate Ursula and a delight to behold.

Cry me a River

Drag fans will recognise River Medway from the 2021 series of Ru Paul’s Drag Race UK, and here Medway plays the naïve – and horny – Ariel. With a grating Essex accent, she plays the dumb redhead with superb comic timing. As ‘Speechless Lady’ she mimes her way through the second half, and carries the role with brilliant expressions.

Gone is the cod-Jamaican accent for Sebastian…here the castanet-clicking crab is from County Cork. Sebastian is an under-used character – and there’s no parody of Under the Sea – although Dart has time to shine as French chef Collette, and one half of ‘Gay Eeels’ Flotsam and Jestom.

Eric (Jamie Lawson) hits all the right notes, both figuratively and on his beloved flute. He is the perfect himbo to Ariel’s bimbo!

Like a young Boy George, Thomas Lowe is our Triton – complete with spandex and a mop of bleach blonde hair. He hams up the role and belts out the ballads to perfection!

It’d be shellfish not to mention the rest of the cast, and none of them flounder. This is truly an ensemble piece, and many performers play a dazzling array of roles. Julian Capolei is listed as Grimsby, but he also wows as Vanessa in Ursula’s shapeshifting attempt to woo the Prince. Hot Girl Summer is a pure drag-fest, complete with slut-drops, twerks n’ all.

Special mention to Kirsty the Sea Cucumber Princess too, the best vegetable-based royalty I’ve seen in a long time.

A-Band-on-Ship

Musical director Arlene McNaught leads the live band. Whilst this adds a real depth of sound, the levels aren’t always balanced. Especially in the pacier songs, many of the lyrics get drowned (also a sea pun) out, so we miss some o’ the funnies which is…unfortunate. Still, a good excuse to listen to the soundtrack!

Find your sea legs and book to experience this sensational show. To describe it using one word that I’m not sure even exists…TENTACULAR!

Unfortunate runs at Grand Opera House York until Saturday 15th June, tickets available from £13 here.

The show sets sail for Bromley next, and you can check all tour dates at https://unfortunatemusical.com/

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

Sister Act The Musical, Grand Opera House York, May 2024

What do you call a nun with a washing machine on her head? Sister-matic! Now that old joke is out the way, on with the review…

Nun’s the Word

Sister Act follows the story of club singer Doloris Van Cartier. Witnessing her gangster boyfriend shoot a man, she suddenly finds herself hiding out undercover in a convent whilst waiting to testify in court. This un-convent-ional nun has a lot to learn about the sisterhood, but soon uses her vocal talents to raise the (church) roof, both figuratively and financially.

Landi Oshinowo play Doloris. Can she sing? Oh sister! Oshinowo belts the showtunes, and is a vocal powerhouse throughout. Comparisons to Whoopi Goldberg are perhaps inevitable – and it’s a tough act to follow – but she makes the role her own and has plenty of sass.

Back in the Habit

Coronation Street icon Sue Cleaver returns to the stage after thirty years, to play Mother Superior. She brings a real warmth to the role and has great comic timing, a smart casting choice! Cleaver switches seamlessly from comedy to the desperate frustration of Dolores’ unholy influence on the straight-laced sisters.

Extra comedy ensues from the gaggles of nuns – ranging from the very old to to cranky, timid and, later, funky. Isabel Canning excels as over-eager evangelist Sister Mary Patrick. Canning is a ball of biblical energy and her enthusiasm is infectious. Sister Mary Robert (Eloise Runette) delivers a beautiful rendition of The Life I Never Led, and we really share in her joy at finally being let loose.

Alfie Parker’s Eddie Souther or ‘Steady Eddie’ gets some of the biggest laughs, and is the underdog we’re all rooting for. The romantic subplot between him and Deloris feels a little tacked on, but I Could be That Guy is sensational and has a very clever costume change.

Divine Inspiration

Morgan Large’s clever set design revolves around a huge stained glass window, lit to change in more colours than Joseph’s coat. Altar boys whisk set pieces on and off to transform the space from everything to a seedy back alley and nightclub to the nun’s cloisters, a police station and more.

The pace seems a little sluggish in the second act, and some of the songs are forgettable. Sadly, film favourites such as I Will Follow Him are missing, however this might be down to licensing rights. Niggles aside, the production builds to a satisfying finale and has many audience members on their feet and dancing in the aisles.

Overall this is a slick and polished show with production values worthy of the West End. Led by musical director Tom Slade, the live orchestra sounds divine and really lifts the score. The large cast work tirelessly and we’re treated to some tight choreography and strong vocals.

MAGIC RATING

VALUE FOR MONEY

OVERALL

Get thee to a nunnery (or The Grand Opera House Box Office) and book your tickets now! Sister Act The Musical runs in York until Saturday 11th May, booking at https://www.atgtickets.com/shows/sister-act/grand-opera-house-york/

Further tour dates and booking links at www.sisteractthemusical.co.uk

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