Krapp’s Last Tape, York Theatre Royal, April 2025

Last night we indulged in a bit o’ Beckett at York Theatre Royal. This is a far cry from our usual reviews, which normally focus on musicals, comedies and family shows. However, we couldn’t miss the chance to see fellow-wizard Gary Oldman – of Sirius Black, Dracula and Churchill fame and more – in Krapp’s Last Tape.

What did we think? Read on. It’s all here, in black and white…

Oldman returns to his York roots, having began his career at the Theatre Royal in 1979. Not only does he play the titular Krapp, he also directs and designs this literary classic by Irish writer Samuel Beckett.

We are met with a desolate study, strewn with dusty boxes and boxes, and lit only with hanging lamps. As Krapp ascends the stairs coughing and spluttering, it’s clear that he’s world-weary and living an isolated life. The lonely Krapp records a new tape each year on his birthday, a time capsule of memories to reflect back upon.

Oldman plays with silence to great effect. Indeed, the first ten minutes or so are mute – save for the odd cough or rustle in an otherwise enraptured auditorium. Whether rearranging his desk, searching for a rogue tape or simply eating a banana (or three) Oldman is immensely watchable. We hang on every twitch, gesture and nuance that he so expertly delivers. He wrings so much out of so little, even delighting in the word spool.

When he does speak it is moslty on tape, as he reminiscences about his formative years with a tape deck. The very same deck previously used by Michael Gambon and John Hurt, who he dedicates the performance to.

Krapp ruminates on love lost, declining health and old age as he revisits the same clips with growing frustration. He seemingly accepts solitude until one last realisation. Our heart aches for a man haunted by troubled memories, and the finale hits hard. This powerful performance brings many to their feet.

Krapp’s Last Tape certainly won’t a-peel (banana pun) to every theatregoer. Don’t expect a pacey, punchy plot with lots of laughs. What works though is its simplicity, and the gravitas Oldman brings to the role.

If you’re barmy about Beckett, or want to see a legend of stage and screen right on your doorstep, it’s a masterclass in live theatre. It might just put you off bananas though.

Performances run until May 17th, tickets are limited so book to secure yours at https://www.yorktheatreroyal.co.uk/latest/gary-oldman-stars-in-samuel-becketts-krapps-last-tape-at-york-theatre-royal/

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

The 39 Steps, Grand Opera House York, July 2024

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

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

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

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

Clowning Around

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

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

Feeling the Strain

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

Tripping the Light Fantastic

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

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

A Step too Far…

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

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

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

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

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

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

The Animal Guyz, York Theatre Royal, June 2024

We followed our animal instincts all the way to York Theatre Royal to review The Animal Guyz! Billed as a fast-paced theatre show with visual effects, music and comedy – the company’s goal is to help the audience learn through laughter…

The brainchild of creator Craig Crowton (centre), it’s clear that Craig is passionate about the animal world. It’s inspiring to see that production, school tours and holiday park shows raise a lot of money for various animal charities too.

Opening with dinosaurs seems unnecessary and jars with the theme a little, especially as there are several other shows entirely dedicated to our Jurassic friends. I guess it’s a crowd-pleaser for the kids, however once the dinos are left in the past, the show truly finds it (furry) feet…

All Creatures Great and Small

Soon, animals come thick and fast in all shapes and sizes. Far too many to list, but you’ll see everything from a towering giraffe to a lazy sloth, giant turtle, orangutang, badger, penguin and even a pangolin…complete with licking tongue! There are no live animals here but a variety of costumes and puppets instead, often with a video of the real deal played behind.

Children are encouraged to participate throughout, initiated by a pre-show explanation of exactly how to join in, and how there are no real rules. This opening spiel is refreshing; many children may not know how to join in – and about it being ok to clap, laugh and cheer. Covid will have restricted visits to live performances for many children growing up, so this reminder is useful.

With permission to go wild, expect kids (and big kids!) howling like wolves, monkeying around and even dancing in the aisles. The promise of prizes soon turns the audience feral, and leads to plenty of extra cheering and frantic waving!

Kicking up a Stink

There’s toilet humour too, which gets squeals of delight. Our youngest (7) particularly enjoyed the flatulent walrus, and the squirting skunk – although to be more inclusive of the whole audience, we’d have loved some water pistols in the Dress Circle, not just down in the Stalls. It can be disappointing to see the frantic fun unfold and not be involved in it.

Fascinating facts are relayed by the highly enthusiastic cast and as part of video projections. I came away learning lots of new things, and my sons were eagerly sharing their favourite facts all the way home. Our eldest son (10) was quick to Google pangolins afterwards, and was alarmed at how quickly they’re disappearing.

The production is underpinned by a theme of conservation and a genuine care for animals and their welfare. There were some unexpectedly poignant moments; in a particular a tribute to Steve Irwin and a song set to images of endangered animals. Our eldest commented afterwards ‘It’s got me thinking, if I was able to vote I would choose a party that do things for the environment….’ so it obviously struck a chord.

Things don’t become preachy, but instead we’re encouraged to ‘do one thing’ to make a change – such as buying a packet of seeds and throwing them in the woods, or leaving water out for thirsty hedgehogs.

At eighty minutes without an interval, it’s a good length for children and keeps the pace with it’s multimedia approach, varied animals and interactive elements.

If you like animals and interactive fun, and you want to support some great causes with your ticket purchase, then check out the tour schedule at www.theanimalguyz.com/theatre-tour

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