Operation Mincemeat, Leeds Grand Theatre, September 2026

Review originally written for The Reviews Hub

Operation Mincemeat boasts the highest number of five-star reviews for any West End production, and the national tour is picking up plaudits aplenty. It’s easy to see why, war has never been this entertaining…

Where The Producers sent up Hitler, Mincemeat focuses more on the larger war effort, in a tale of tricking the troops. Based on real accounts from 1943, the Germans are blindsided by subterfuge with a corpse, a briefcase and a misleading note. Allied forces are duped into moving their men out of Sicily to Sardinia in an attempt to ‘win the war with a magic trick’.

It may not seem like suitable subject matter for a musical, but Mincemeat manages to find the funnies without ever being insensitive to the subject matter. Laughs come thick and fast, but there is also a real poignancy as we’re reminded of the sacrifices made. This is especially true during Dear Bill, beautifully performed by Christian Andrews as Hester Leggart.

Andrews’ dry wit and sharp comic timing is reminiscent of a young Mark Gatiss. He shows a softer side as Hester too, quietly encouraging the next generation of women – even against her own better judgement. He’s fabulous as body-collector Bernard Spilsbury too, complete with glittering blood stains and a camp flair for all things macabre.

Ewen Montagu (Holly Sumpton) has the classic stiff upper-lip, and that Etonian-graduate air. Montagu always gets his way and won’t take no for an answer. Sumpton captures this unwavering confidence with a cocksure swagger, and has excellent chemistry with her plotting-partner Cholmondeley.

Charles Cholmondeley (Sean Carey) is the nerdy scientist who apologises for even existing, and the underdog we’re all rooting for. Initially out of his depth, it’s Cholmondeley that has the genius idea of The Trojan Corpse that becomes the titular Operation Mincemeat. Carey gives us a masterclass in physical comedy, and this reviewer enjoyed seeing him gradually let go – even standing up to Montagu as he grows in confidence.

Charlotte Hanna-Williams’ Jean Leslie is the pint-sized new recruit desperate to climb out of the typing pool. Clever, brave and strong, she’s flying the flag for feminism and yearns to shake things up at MI5. Jean allows the production to address gender inequality without it ever feeling forced or preachy.

The top brass at MI5 is Jamie-Rose Monk’s Jonny Bevan. Bevan barks the orders and tries to reign Montagu (and his spending) in. Monk’s turn as Haselden – the ‘bafflingly sweaty’ Spanish spy – is excellent, offering a whirlwind of silliness in a slapstick scene with phones and hats. Monk also plays Ian Fleming, with less stage time as the Bond writer but still managing to steal the show.

The cast of five play over fifty roles between them, with astonishing versatility, strong vocals and some very slick quick changes. The entire ensemble work together like a well-oiled (war) machine, with nobody firing blanks in this powerhouse team.

Musically, Operation Mincemeat is packed with toe-tappers. Not only are the songs catchy, the lyrics are often cleverly satirical. Some are spiffingly British, some modern and upbeat, and others tender and poignant. Led by Musical Director Sam Sommerfeld, the live band hit all the right notes, and the levels are perfectly balanced to let the vocals shine.

Ben Stones’ set design is necessarily simplistic, to allow for the fast-paced fun. A wall of blueprints is an inspired backdrop; a constant reminder of the plans that are afoot. The action transforms from the MI5 control room, a submarine deck and a London nightclub with simple set pieces – effortless swapped in and out. No spoilers, but the stage really comes to life in the aptly named Glitzy Finale – where it feels like 90% of the budget is used up in five minutes!

The set is elevated by Mark Henderson’s striking lighting plan. There’s an unexpected use of neon, and clever projection mapping over the blueprints. It’s especially electric in act two opener Das Übermensch, which is reminiscent of German electro-pop artists Kraftwerk.

You’d be forgiven for thinking a war musical may only attract history buffs and the older generation, but this is a show with a broad appeal and a huge following. The writing is razor-sharp throughout, both self-aware and unapologetically British. The tribute to Glyndwr Michael – the real man behind the body of Bill Martin – is pitched perfectly.

Operation Mincemeat is, quite simply, a mighty flash of joy. And for a show set in 1943, this is one of the most refreshingly modern musicals this reviewer has seen. Deserving of all the accolades, expect a riotous romp that tactfully acknowledges the true cost of war.

Jolly good show!

Operation Mincemeat runs at Leeds Grand Theatre until Saturday 12th September, book at https://leedsheritagetheatres.com/whats-on/operation-mincemeat-2026/

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

Heathers The Musical, Leeds Grand Theatre, September 2026

Last night we cracked open some corn nuts, slurped on a slushie and settled in for Heathers The Musical…

For those unfamiliar with the 1988 film, the plot follows students at Westerberg High desperately trying to find their place and fit in. The untouchable Heathers rule the roost; a trio of formidable femmes that call the shots and show no mercy. Think Mean Girls in bright colours (Red, Yellow and…Green Girls?!)

Veronica Sawyer helps the group out and unwittingly becomes enlisted as Heather number four. A crisis of heart follows, as she tries to stay loyal to her friends whilst following the new social rules. Add love interest Jason Dean into the mix, and you’re in for a wild ride…

We first saw Gerardine Sacdalan as Juliet in &Juliet, and were wowed by her incredible performance and powerhouse vocals. She excels here as Veronica too, and adds some goofy comedy to the role. Nominated Best Professional Debut, she deserves every accolade.

Heather Chandler (Liberty Stottor) is the baddest of the bunch, full of sass and swagger. The Mythic Bitch is perfectly cast, and is somehow likeable despite her acid tongue.

Heather Duke (Jessica Ibadin) transforms seamlessly from underdog to queen bee, and I Will Never Shut Up Again is the pinnacle of her evolution. Heather McNamara (Lou Henry) is the airhead cheerleader who follows the crowd, whilst battling her own demons as her friendships fall apart. Her solo Lifeboat is delivered beautifully, and tugs on the heartstrings.

All the Heathers gel perfectly – choreography is tight, vocals first class and harmonies sublime. They’re supported by a large ensemble, who have bags of energy and never miss a beat.

Wayward wanderer Jason ‘JD’ Dean, is believable as the mysterious out-of-town misfit. No spoilers, but his character arc is played to perfection, and Louis Hearsey nails every moment of his unhinged descent. Formidable vocals, his duet with Veronica in Our Love is God had this audience hanging on every word.

Hippie teacher Ms. Fleming (Veronica Carabai) just wants everyone to explore their feelings. Her interaction with an unsuspecting audience member is a treat, it’s refreshing to see such a honed show go ‘off book’ and allow room for improvisation.

Our heart aches for Martha Dunstock (Sophie Manners). The butt of every joke, she doesn’t fit in and she knows it. Manners has less stage time than some, but makes the most of every moment. Kindergarten Boyfriend is bittersweet and performed to perfection.

Dim-witted football jocks Kurt Kelley (Markus Sodergren) and Ram Sweeney (Beau Jackson) get some of the biggest laughs. The stereotype could fall flat, but they send it up so well and bravely spend much of the show in their pants.

David Shields’ design perfectly captures the 80s high school environment. Simple set dressing transforms the school into a house party, bedroom and even a 7-11. Ben Cracknell’s lighting design is worth a special mention, with those iconic colours highlighting each Heather perfectly.

The score is fantastic and the live band thrash out every note with gusto. Between the toe-tappers there are some touching ballads and tender moments too. It’s loud, but the levels only rarely overwhelm the vocals. This is a soundtrack we play regularly and, honestly, it’s hard to pick favourites!

Family fun? Only with older kids, the recommended age is 14+. For a seemingly colourful show, the narrative takes some dark turns. Again no spoilers, but expect themes of suicide, date rape, homophobia, bulimia and more. Despite this, you’ll still have the biggest smile on your face and go home humming the hits.

There’s clearly lot of love for Heathers The Musical, with many fans dressed up, and huge queues for merch and stage door. More than a show, this feels like an experience with a like-minded community.

Big Fun from start to finish, Heathers is So Very good.

Honey, what you waiting for? Book now!

Heathers The Musical runs at Leeds Grand Theatre until September 5th, before continuing the UK tour. Book at https://leedsheritagetheatres.com/whats-on/heathers-2026/

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

The Rocky Horror Show, Grand Opera House York, July 2026

Review originally written for The Reviews Hub

Popularised by the 1975 cult film, The Rocky Horror Show celebrates more than 45 years on stage…

A tribute to science fiction B-movies of the 1930s, the story opens on college sweethearts Brad Majors and Janet Weiss. When they blow a tyre on a stormy night, the pair seek refuge in a creepy mansion, and meet a party of oddballs and the charismatic Frank N’ Furter. Frank has been cooking up a man in his lab, and a sinister plot ensues involving murder, cannibalism and seduction. Sound dark? Barely! This is camp, colourful fun from start to finish.

Many famous faces have donned the heels and fishnets, from Jason Donovan and Anthony Head to musical theatre stalwart David Bedella. Our Frank is Stephen Webb, who has racked up many years of performances.

Revealed through the fabulous Sweet Transvestite, Webb embodies the iconic role and carefully treads the line between smut and sincerity. Impossible not to compare to Tim Curry, Webb puts his own stamp on Frank and seems to relish every moment. Solid vocals and an impressive range.

A live narrator helps keep track of the meandering plot. Often a celebrity guest role, Jackie Clune of Motherland fame is the current star turn. Clune is sharp and milks the laughs with a dry wit and cheeky wink. She bounces off audience feedback with ease.

Brad (James Bisp) and Janet (Haley Flaherty) nail the innocent couple led astray by temptation. Their story arc leads to their respective awakenings and a rocky (pun intended) start to their engagement. The chemistry is believable and the pair have excellent vocals throughout.

Ryan Carter-Wilson as Riff Raff is smart not to imitate Richard O’ Brien, but pays homage to the role and adds extra comic flair. Fellow servants Columbia (Daisy Steere, later replaced by understudy Bethany Amber Perrins) and Magenta (Laura Bird) give strong performances, and Colombia’s tap routine is especially slick.

Eddie (Edward Bullingham) follows in the footsteps of Meatloaf, and also doubles as Dr Everett Scott in Act Two. Bullingham doesn’t get a great deal of stage time, but makes an impact with each appearance. Rocky himself is played by Morgan Jackson, who – whilst a one-dimensional character – brings charisma to the role. The large ensemble keep the energy fizzing with honed dance numbers and tight choreography.

Hugh Durrant’s set design captures the essence of the B-Movie era. A film reel encircles the stage, and set-pieces range from wobbly cut-outs to elaborate machines. Nick Richings’ lighting dazzles, and adds camp colour between bursts of lightning, the glow of a neon lab and spotlit bridal suite.

Costumes by Sue Blane are suitably fabulous and give plenty of nods to the film whilst adding their own pizzazz. Inspiration is often drawn from burlesque, with corsets, boas and stockings galore.

A live band brings the sensational score to life, and all the film hits are here. At times the band overpowers the vocals, but levels are balanced overall. There are real toe-tappers such as Dammit Janet and Hot Patootie, and the tender I’m Going Home. Songs choices feel stronger in Act One, but the finale is a chance for eager fans to dance along to The Time Warp.

If you’re easily bothered by a rowdy audience, this might not be the show for you. Rocky isn’t a passive experience; there’s an unwritten participation script that diehard fans will shout throughout. It’s all part of the fun though – think panto for adults – and this audience was respectful during the more poignant moments. Although not the sing-a-long version, people will sing along nonetheless.

Family fun? A kids show it is not. The age rating is 12+ and there are self-proclaimed naughty bits. A bed scene is particularly raunchy, and the song Touch-a-Touch-a-Touch-Me is, as you’d expect, suggestive. The cast are often scantily clad, and audience hollers don’t hold back.

A few technical issues were unexpected in a show that has remained largely unchanged for nineteen years and has visited the venue many times before. A twenty-minute show stop due to the sudden indisposition of Daisy Steere as Columbia was unfortunate too, however her understudy quickly took over and the show was thankfully able to proceed. A testament to the cast and crew.

Despite these issues, there’s no experience quite like it. Billed as ‘The Biggest Party’, expect two hours of brash, bold fun with a smattering of smut and an electrifying score.

Don your high heels, shake off your feather boas and experience a night out like no other!

The Rocky Horror Show runs at York’s Grand Opera House York Saturday 25th July, book at www.atgtickets.com/shows/the-rocky-horror-show/

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

Operation Mincemeat, Grand Opera House York, June 2026

War. What is it good for? Absolutely nothing.

…to quote the 1969 anti-war protest song by Edwin Starr. But, it would seem it is good for inspiring theatre-makers. Operation Mincemeat first opened in 2019 to 80 people, and has since been nominated for 64 prestigious awards and won many.

Billed as the highest-reviewed West End show of all time, how does this touring production fare in York?

The plot is based on the true-life account of a 1943 deception operation during the Second World War. In an effort to confuse the Nazis, false information was planted on a dead body to make them think an attack was imminent in Sardinia. However, the allied troops were in fact heading for Sicily…

Whilst the subject matter may seem heavy, this is a laugh-a-minute comedy of errors. Think The Producers meets 39 Steps meets vaudevillian musical hall. There are nods – and digs – at Etonian culture and military intelligence, and plenty of references to James Bond.

All in all, five actors play a staggering thirty-two characters – and the ensemble work is first-rate. The cast gel perfectly, and their timing is sharp and well-honed. Many of the funnies come from traditional old-fashioned comedy, something fairly rare to see live on stage these days.

Although not his primary role, Christian Andrews’ crooked coroner Spilsbury is a real scene-stealer. He reminds this reviewer of a young Mark Gatiss, and is a firm audience favourite.

Charlotte Hanna-Williams plays Jean Leslie; a feminist ahead of her time. Her song All the Ladies is a SIX-esque tribute to the women powering the war effort – and a real earworm!

Sean Carey and Holly Simpson excel as scientist Charles Cholmondeley and Lieutenant Ewen Montagu. Their on-stage chemistry is perfect. Carey relishes his evolution from scaredy-cat to intelligence mastermind…and his newt lines get some of the biggest laughs. Simpson has excellent comic timing and a fantastic singing voice, and is believable in the old-boy persona.

Jamie-Rose monk plays top-brass Johnny Bevan, who everyone else had to impress. But it’s Monk’s turn as Ian Fleming that really stole the show for us. An incredible performer, with razor-sharp comedic skills.

Oh What a Lovely War…Musical?

Musically, Operation Mincemeat is surprisingly diverse. Expect musical theatre showtunes yes, but also pop, ballads and even a catchy hip-hop number. The score is catchy and the songs are delivered with an abundance of energy.

For all it’s upbeat fun, there are a few that tug on the heartstrings too, as we’re briefly reminded of the true gravitas of war. Dear Bill is bittersweet, and beautifully performed by Christian Andrews.

Unfortunately some of the lyrics are lost when the music overpowers the vocals, especially in the opening numbers. But the soundtrack is so good, I’m loading it up on Spotify as I type!

Ben Stones’ set is simplistic but works well. The blueprint design may seem bare-bones, but set pieces are used cleverly to reveal actors and new locations. Mark Henderson’s lighting design is striking, with modern touches including an unexpected use of neon. Das Ubermensch in Act Two becomes a hip-hop Nazi party.

Do Mention the War!

With dancing Nazis, it’s hard not to compare to Mel Brooks’ The Producers – but Operation Mincemeat offers a more thorough history lesson. Whilst it has taken Broadway by storm too, it’s an altogether British affair that draws on our stiff upper lip and readiness to defend King and country.

A show about war may not be everyone’s cup of tea, but Operation Mincemeat brews up a winning blend of fun and farce in this fight to victory. Worthy of it’s awards and accolades, this spiffing production is bally brilliant!

Operation Mincemeat runs at Grand Opera House York until Saturday 6th June, book your tickets at https://www.atgtickets.com/shows/operation-mincemeat-a-new-musical/

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.

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.

Here and Now – The Steps Musical, Grand Opera House York, February 2026

Last night we were teleported back to the 90s for a blast of pop-tastic nostalgia with Here and Now – The Steps Musical.

This isn’t the sort of show we normally go and see, in fact it was The Last Thing on my Mind. A musical masterpiece, or Better Best Forgotten? Find out in 5, 6, 7, 8…

Steps produce this jukebox musical, but it isn’t a biographical story of the band. Instead, think Eurovision meets Supermarket Sweep…

The action takes place in fictional Better Best Bargains. With her 50th birthday approaching, shopworker Caz challenges her colleagues to fix their broken love lives, during what she dubs The Summer of Love.

The narrative covers themes of broken relationships, affairs, and even baby loss. But if you’re not One for Sorrow, don’t worry – the plot feels more like a thread to hang the songs on. Some tracks fit, and others are clearly shoehorned in – with mixed results. Western hoedown 5, 6, 7, 8 is the most tenuous, but a real crowdpleaser nonetheless.

All the hits are here, often presented with nods to the original choreography. There are lesser known songs too…although a few are not so Hard 2 Forget. A preshow announcement about not singing along is a smart move, as this isn’t a concert and the excellent vocals and live band deserve to be heard unaccompanied.

The large cast fizz with energy and there’s plenty of talent on stage. We were thrilled to see Lara Denning as Caz; an absolute powerhouse performer who we loved as Anne Hathaway in &Juliet. Denning is effortlessly likeable and warm, and with possibly the best vocals we’ve heard on stage. A true asset to the show.

Also from &Juliet, Rosie Singha Steps up from ensemble to lead, and plays Neeta. Singha is engaging, and has solid vocals and a believable chemistry with love interest Ben (Ben Darcy)

Jacqui Dubois as Vel nails the down-to-earth, chatty supermarket shelf-stacker. Naive Robbie (Blake Patrick Anderson) hasn’t known love and is scared to commit when he meets a local drag legend. Store manager Patricia (Sally Ann Matthews) keeps the workers in check, and gets laughs with cheeky lines and an attempt at French.

Ru Paul’s Drag Race favourite River Medway plays Jem, and we’re treated to a full drag routine in the second act. Medway milks every moment, and has some of the standout costumes of the show. The character is delivered with heart, especially during the more poignant scenes.

Tom Rogers set design is striking, rife with Steps signature blue and pink motif. What it lacks is variety though; visually the show looks similar throughout, and the supermarket setting can look cheap at times. Maybe it was marked down? Perhaps the budget look is intentional, but we’ve been spoilt with the production values of jukebox shows like We Will Rock You.

That being said, fans won’t be booking for a sumptuous set or complex plot. Ultimately, if you’re a follower of the band, there’s plenty to enjoy here. A trip down musical memory lane, for those old enough to remember…

Here and Now is a few hours of camp, colourful fun. The inevitable megamix triggers a Chain Reaction that has this enthusiastic audience on their feet. Steps fan? Listen to these Words of Wisdom. Missing it would be a…you guessed it…Tragedy.

Step-tacular!

How to book? Here! When? Now! https://www.atgtickets.com/shows/here-and-now-the-steps-musical/grand-opera-house-york/. Runs until Sunday 15th February 2026.

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.

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.