Cinderella, Grand Opera House York, December 2025

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Sleeping Beauty, York Theatre Royal, December 2025

Panto season is upon us once again, and this year’s Theatre Royal offering is Sleeping Beauty by Evolution Productions. Did it awaken our excitement, or send us to the land of nod? Find out below!

Robin Simpson returns once again, and continues to delight as dame Nurse Nellie. Genuinely warm and funny, he’s just what the Theatre Royal pantomimes needed – and we hope he continues to don the frock n’ wigs for many years. It’s a stellar cast, but he’s the ‘thread’ (spinning wheel pun) that holds it all together. Not afraid to go off-script and riff with the audience, he also ensures the action never unravels too far (another)

Jennie Dale is the star-turn this year, perhaps best known as Captain Captain from CBeebies Swashbuckle. They perhaps play down this link a little too much; we would’ve loved to see her come on in full pirate regalia and exclaim she’s in the wrong panto. That being said, she’s a fun and bubbly Fairy Moonbeam and an excellent singer to boot.

Aofie Kenny’s Aurora is sweet but also feisty, with plenty of girl power. Prince Michael is suitably dashing and dapper, and both have great vocals. Tommy Carmichael returns as the comic male, and is reminiscent of a young Mr Tumble. He also reminds us of former-Theatre Royal Buttons Max Fulham. He instantly engages the audience, and has great chemistry with Robin throughout.

Jocasta Almgill’s Carabosse is our panto baddie, and puts her own stamp on the role. Less hammy than most panto villains – I don’t think I heard a typically evil laugh – she’s refreshingly modern, and belts out some great hits. A West End powerhouse, she’s not so scary but still gets plenty of boos for her wicked ways.

As pantomimes go, Sleeping Beauty doesn’t offer the most engaging story. Not a lot really happens, and it often has to be padded out to fill the run time. The creative team here throw anything and everything at it to keep it flowing. At points it may be overkill; for example the ghost scene features a whole stage of different ghouls, ghosts, monsters and a spider, and leaves the young audience confused with what to shout out when Nellie hollers ‘What was it?’

By the end of Act One we’re all fired-up by the skills of Kris Madden as Guardian of the Raptor. The stage is ablaze with fire juggling and a shower of sparks, as he – bafflingly – brings on Kevin the Velociraptor. Whilst we love dinosaurs, it does feel a little out of place and shoehorned in.

A dragon would surely suit the story and era (and fire tricks) more effectively, and could lend itself to a spectacular flying effect a la Twins FX. Maybe this is just the Wizard in me talking though!

It’s refreshing to see a slosh scene, when most pantomimes shy away from mess for safety and clean-up reasons! This was a highlight of the show for us, with a modern twist on the classic ‘If I Were Not A…’ skit, which sees Nurse Nellie, Jangles and Prince Michael exploring job options and getting covered in foam. A treat!

Family fun? Our two boys (9 and 12) loved it. It’s all here…the song sheet, the wheelbarrow of jokes, audience participation, local gags, topical jokes, songs, dances, pyrotechnics and even bubbles. Whilst some elements don’t always gel with the story and theme, you won’t lose sleep (see what I did there?) over the inconsistencies.

Overall, we thought it was wheely good (sorry!) and a hot ticket this festive season (ahem!) Once again, this is an excellent pantomime with plenty of colour, sparkle and razzle dazzle.

Expect sumptuous costumes and sets, eye-popping special effects and a solid cast with bags of energy and talent!

Sleeping Beauty runs at York Theatre Royal until Sunday 4th January 2026. Book your tickets at https://www.yorktheatreroyal.co.uk/show/sleeping-beauty/

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

Lost Atoms, York Theatre Royal, October 2025

Last night we saw Lost Atoms at York Theatre Royal, a little unprepared for the moving evening ahead of us. This is Frantic Assembly’s 30th anniversary production; a company whose remit is brave and bold theatre. They push the boundaries of a performer’s physicality and specialise in storytelling in a unique way. Their trailblazing work flits between brutal and tender, and this was no exception…

The story follows Robbie (Joel Layton) and Jess (Hannah Sinclair Robinson) as they reflect on their relationship, from a chance meeting at a pretentious coffee shop, to crazy golf and a stormy date in Grimsby. By the second half, the cracks in the relationship begin to show and we invest in this rollercoaster of emotions until the bitter end.

Layton and Robinson both deliver incredible performances; raw and emotional without ever feeling forced. Jess ends the show in tears, with a performance that touches on all aspects of a relationship with honesty and clarity. From little niggles at each other to those huge life-changing arguments, Anna Jordan’s writing explores the relationship completely unflinchingly.

The production features physical theatre and dance extensively. Every movement is perfectly choreographed, as the actors swing off railings, intertwine their bodies and scale the set with ease. The movement is so fluid and effortless that it’s easy to forget just how physically demanding it must be.

Andrzej Goulding’s design is exceptional. Drawers open and close and become stepping stones, platforms and vessels for the couple’s memories. Unseen stage crew meticulously ensure that every platform is ready, in a real feat of synchronicity. Two chairs seamlessly become a bath, a car, a waiting room and more. The set is simple, practical but oh so effective.

Simisola Majekodunmi’s lighting design is first rate too. The dramatic change from one state to another to indicate when they’re reliving a memory – and when chatting in real-time – is both striking and effective. The use of lightbulbs as memories, or possible life outcomes, is a real…well…lightbulb moment.

This opening-night audience was absolutely enraptured. Drama students filled the stalls, and what a treat to see live theatre done this well. The auditorium was gripped by a silence broken only by audible gasps at some of the more shocking moments.

Speaking of which, no spoilers here but it may be worth checking trigger warnings. The play deals with some harrowing issues and difficult themes, delivered with a raw intensity. There are moments of comedy but don’t expect an uplifting evening. Lost Atoms hits hard, and by the end we were both a little shellshocked. It’s thought provoking too, as the couple muse over how different people hold the idea of romantic love.

Powerful. Moving. Intense. Lost Atoms won’t be for everyone, but this is a honed and slick production that tells a hard-hitting story really well. Unforgettable.

Lost Atoms runs at York Theatre Royal until Saturday 11th October. Find out more and book at https://www.yorktheatreroyal.co.uk/show/lost-atoms/

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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.

Dracula: The Bloody Truth, Theatre @41 Monkgate, May 2025

Last night we shapeshifted into bats and flew on over to Theatre@41 Monkgate to catch the inaugural production of newly-formed Neon Crypt…Dracula: The Bloody Truth!

All stoked up for Stoker? Don’t expect a classic retelling of Bram’s tale…this is Dracula done daft! Farcical fun, slapstick comedy and plenty of macabre mishaps a la The Play That Goes Wrong.

We first saw this production by creators Le Nevet Bete – one of our favourite theatre companies who often frequent York Theatre Royal. It’s difficult not to compare, but Neon Crypt do an admirable job and have bags of energy and enthusiasm. Purchasing the license, this is the same comedy of errors…complete with every prop gag, mishap and stumble.

Four actors and a tireless stage manager bring the text to life…or death? Laura Castle sinks her teeth into the title role, and you Count (see what I did there?) on her for a suitably larger than life performance. With panto credits aplenty, the audience warm to her right off the (vampire) bat. Castle’s Transylvanian accent is a treat, and a stark contrast to the more stoic Seward she also plays.

Jamie McKeller directs and produces, and is also Professor Abraham Van Helsing. His increasing frustration is a delight, and a bump on the head only exacerbates the funnies further. Van Helsing yearns to be in the piece rather than just narrate, and we’re all rooting for him to finally feature.

Real life wife and business partner Laura McKeller is Mina Harker, Arthur Holmwood and a whole host of other characters. With accents aplenty – and hats and wigs to match – she breezes through the plot and nails every entrance and exit. Master of a silly face, she gurns and grimaces with ease.

Lady McKeller is also responsible for the show’s production and costume design – both of which are excellent. A low budget works for this spoof-show, and there are some clever touches like origami ice-creams and an inventive horse and trap.

Michael Cornell plays Jonathan Harker and Lucy Westerna. At times Cornell is almost Monty Python-esque, with a screeching high voice and a penchant for cross-dressing. With a rich voice and sharp comic timing, he’s a versatile and engaging credit to the team.

Theatre@41 is an ideal space for Dracula: The Bloody Truth. The intimate setting draws us into the action, and the actors don’t shy from chatting to the audience…and even involving one unsuspecting front-row victim! The in-house team are friendly and welcoming, and it’s a fang-tastic opportunity to support a local community theatre.

Is it suitable for children? We took our two mini wizards (8 and 11 – odd names but it’s all I could think of) and they generally enjoyed the show, although lost track of the twists and turns of the plot. It’s not children’s theatre, and the suggested age rating of 8+ may be a little low here. There are a few naughty words and sex references, and more gyrating than we remember (!) – but overall it’s silly and visual enough to hold children’s interest.

Scary? Not really! This the hammiest of Hammer Horrors.

Dracula: The Bloody Truth runs at Theatre@41 until Saturday 10th May. Book your tickets at https://tinyurl.com/draculatruth

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

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.

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.

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.