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.

Blue Beard, York Theatre Royal, February 2024

Last night we ‘opened the bloody door’ of York Theatre Royal, and attended Blue Beard by Wise Children. Not knowing what to expect, we weren’t quite prepared for the powerful and emotive performance that followed…

I won’t give much away in terms of plot, but the story is a heady mix of betrayal, grief and dark humour. Don’t let the word children in the company ‘Wise Children’ mislead you…this is no family show. Expect explicit language, violence, sexual themes, blood and raw emotion. The age guidance is 14+

The entire cast are absolutely first-rate – strong performers, musicians and vocalists. This is truly an ensemble piece but I would like to mention Katy Owen as Mother Superior, and how well she switches between a darkly comedic role to an outpouring of raw unfiltered emotion. A stunning performance throughout.

As a magician, I was intrigued by the portrayal of Blue Beard as a man of magic. More Greatest Showman than Paul Daniels, he searches for his next assistant and wins over the unsuspecting females with his intoxicating charm. This flamboyant conjuror cuts a sharp image in his burgundy suit, and Tristan Sturrock relishes each moment of the role. Every single performer is given plenty of time to shine, and they all shine brightly.

Blue Beard is a feminist piece of theatre that explores various themes such as a grief, and every woman’s story of feeling unsafe at one time or another. My wife said she felt a real camaraderie as the cast shared their stories, their fears and their strength – and that this was a wholly unifying experience. As a male audience member, I didn’t feel as though the production was villainising men but rather highlighting the fact these things, sadly, do happen and that many woman feel like they don’t have a voice or the courage to speak up.

Technically the show is a triumph, everything is slick, polished and well choreographed. The sound is rich, and the talented actor-musicians add a real depth. All kinds of instruments feature from live piano, harp, bass and acoustic guitar. Unlike some productions, the sound is crystal clear and the levels well balanced.

Every aspect of this production is meticulously planned. The set is simple but effective, and has a flavour of vaudevillian theatre. Trunks and magician’s cases transform into wardrobes, and even a well-stocked refrigerator. The lighting design is sensational too, casting shadows and silhouettes or helping to conjure a vibrant cabaret atmosphere.

The costumes range from plain clothes and unassuming coven habits to a brilliantly designed Pierrot clown. When the nun’s habits are later removed, we see plain jeans and t-shirts…as if these people could be anyone. And that, I think, is entirely the point.

Emma Rice’s company innovates both on and offstage. I was pleasantly surprised to see the usual paper programme replaced with a QR code to scan, and that the entire backstage crew shared the bows with the cast at the end. The musical adaptation works well, and the songs range from catchy to poignant and heartbreaking.

We both left feeling a little shell-shocked, blown away by the powerful nature of the piece and the incredible storytelling and performances throughout. Despite challenging topics, love is an overriding theme too – whether the love of two sisters, mother and daughter, brother and sister or man and wife.

What really struck me was how deathly silent the entire audience was during some of the most evocative moments. Not a single cough, shuffle or murmur. This is the power of great theatre, and Wise Children had us hanging on every word. Breathtaking.

MAGIC RATING