Mistero Buffo, Friargate Theatre, July 2026

During York’s season of Mystery Plays, Riding Lights Theatre Company have revived Mistero Buffo at Friargate Theatre.

Dario Fo’s famously-controversial satire uses clever storytelling that defies a timeline. The writing takes Biblical tales and folk stories, and reframes them to fit the present day. Names dropped here include Musk, Trump and even Russell Brand – a who’s who of those in power, and those that abuse that level of authority.

Fo typically uses satire to bring down the powers that be, whilst raising up those less fortunate. This seems especially relevant in a time of political unrest and manages not to feel preachy, but rather provoke thought.

Originally performed as a one-man show, Riding Lights’ latest offering is a two-hander, with a fresh take on Fo’s story. Cathy Sara’s storyteller is first introduced to the audience as a cleaner, who weaves a tale describing the birth of the Villeyn; personifying the peasant, the working class, the downtrodden.

Bin bags, bottles and even a Hoover are used here to clever effect – and a shining floor reflects as much as we do on the subject matter. As she cleans, our storyteller ruminates on everything from Ai, remote working and employee unions.

Although there are two performers, often there is only one on stage at a time. Watching Sara’s brilliant embodiment of several different characters simultaneously, as she waits for the miraculous raising of Lazarus, is a particular highlight. At times she reminds this reviewer of a young Julie Walters.

Thomas Frere’s turn as the Jongleur is a treat too. A character created to provoke laughter, he uses satire to fight back against the oppressors. Although comic initially, the performance captivates the audience to a hushed silence as his story unfolds.

When both actors take the stage together, it’s clear they have excellent chemistry; whether delivering comedy or tragedy. The script is excellent but watching it brought to life by two actors of such high-calibre is where the magic really happens.

Speaking of magic, director Paul Birch incorporates illusions into the show that really lift the action. Crucially, magic in theatre shouldn’t feel like tricks for the sake of tricks – and thankfully these added moments complement the storytelling perfectly. Against the stark set, they add unexpected visual surprises too.

Lighting is used well throughout, with Ollie Brown’s design keeping the audience lit for much of the action. As a production in the round this can feel vulnerable at times, but that’s the point. This intention is not to make you comfortable, but rather to challenge.

A bare-bones set and costume design allows the actors to shine all the more too, and it’s refreshing to see a show that is stripped back to the basics. Live music helps maintain ties to the medieval roots of the mystery plays. Frere is adept at both guitar and ukulele, and even encourages a little sing-song!

Expect an emotional rollercoaster. There’s audience participation, laugh out loud moments, then a raw vulnerability that hits likes a gut punch. Whilst Fo’s satire may not be for everyone, Mistero Buffo is funny, thought-provoking, hard-hitting and perhaps more relevant than ever.

The production runs until Saturday 4th July. Find out more and book your tickets at www.ridinglights.org/misterobuffo

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

Oh Zeus!, York Theatre Royal, June 2026

We’ve seen every Le Navet Bete play in York, and are big fans. But did Oh Zeus! have us grinning from Oia to Oia? Or should you give this one a myth?

Sabotaged banana splits, pool noodle battles, talking pot plants, flying babies…fair to say this isn’t your typical retelling of the Greek tales.

Set in the fictional Hotel Krapios – think Fawlty Towers meets that ramshackle villa from Mamma Mia – the plot revolves around the wedding of Greg (not Greggs) and Hebe. Dad Zeus is against them getting hitched, and concocts a scheme to keep the two apart.

Le Navet Bete bring their usual madcap nonsense, and the team delight with more silliness than you can shake a trident at. With boundless energy, Al Dunn, Nick Bunt and Matt Freeman certainly urn (another Greek pun, no Apollogies) their ticket sales.

Between them they play 40 characters, and some of the quick changes are almost Olympic speed. Some of the slapstick is so fast, I’m surprised they haven’t slipped a discus.

Special mention to hardworking Stage Manager Abi Jones too, who also dons costumes to fulfil some of the roles…when she’s not organising a mindboggling array of props, wigs and costumes backstage.

Katie Haywood’s costumes are eclectic and fun, and Fi Russell’s set isn’t a tragedy either. Visually stunning, it doubles as both a krap hotel and Hades’ Underworld. The design cleverly hides trapdoors, smoke machines, fans and more – and has clearly been designed to complement the action.

Linking the Greek Gods is no easy feat, and the plot can feel disjointed at times. If you don’t have prior knowledge of Greek mythology then you may struggle to keep up, but it’s daft and visual enough to engage nonetheless. Whilst the pace dips at points, the trio are so likeable and have such strong chemistry that it’s like being in the company of hilarious mates.

Highlights for me included the dead-Zeus banana-split sequence (it really a-peels!) as the farce builds and builds. The appearance of Hydra is a treat, and you can never have too many dancing bats.

Family fun? 12+ is the recommended age; a fair few naughty words and plenty of flesh on show, but nothing extreme! It’s not panto or a kids show as such, but the fourth wall breaks more easily than a plate at a Greek wedding.

Expect slapstick, songs, puppetry, unicycling, a centaur with loose bowels and a narrative madder than an angry Zeus. Just don’t take it too Syrosly.

Still time to book? Feta late than never, visit www.yorktheatreroyal.co.uk/show/oh-zeus/

Oh Zeus! runs until Saturday 20th June at York Theatre Royal, before continuing its UK tour. All tour dates at www.lenavetbete.com/current-shows/oh-zeus

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.

Kool Story Bro, Grand Opera House York, May 2026

Medieval chickens, the curse of Tim Henman, chairs in compromising positions…just a few of the improvised sketches in last night’s Kool Story Bro

Kiell Smith-Bynoe – of shows like Ghosts, Taskmaster and Stath Lets Flats – hosts a troupe of comedy improvisers on this national tour. Taking anecdotes from the audience, the team spin these into skits and often go off on surreal tangents.

Each show promises a different celebrity guest, often featuring comedians from Taskmaster, sitcoms and panel shows. Ours was Farrel Hegarty from Coronation Street and TikTok who, for us, didn’t quite match previous billings of well-known comedians and performers like Amy Gledhill, Lily Allen and Adam Buxton. If you’re a Corrie fan though, it might be different.

For a show that relies on audience stories, the team had some challenging material to work with. Stories offered up at this performance often didn’t make sense, or didn’t have enough going for them to riff off.

The performers sometimes stood confused and had to ask lots of questions to eke out any comedy potential. At times, instructions from the improvisers and Hegarty were a little unclear, especially to those new to the concept or who hadn’t been before.

A single microphone was slow to be brought to audience members, which slowed the pace and led to shouting and the company struggling to hear or understand. They did eventually find the magic though – even with so little to play with – and were all skilled with accents, physical comedy and of course improv.

Rude? Of course! Plenty of smut and adult language, but that’s to be expected at a show like this – and it’s the sort of material that does get easy laughs. And there were laughs aplenty, with highlights including Tim Henman’s strong backhand killing people with one touch – from a true story of him saving a choking man’s life then shrugging it off.

The final sequence had clever call-backs to early stories, and wrapped things up as The Worst Story Ever Told – another dig at the poor selection of stories from the audience.

Whilst ‘yes let’s’ is key in improvisation (agreeing to offers) it felt that if the performers weren’t happy with initial stories, they could’ve asked for more suggestions and then picked from the best. However, they tended to run with the early offers or quickly dismiss others – with mixed results.

That being said, it was a fun evening, and there’s no doubting the skills, timing and performance ability of Kiell and his motley bunch. And of course each show is guaranteed to be different, so you never know what to expect or which way it will pan out.

Unpredictable, unscripted and worth a shot if you like improv.

Kool Story Bro continues a UK tour, details can be found at www.koolstorybro.co.uk

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

Horrible Histories: The Concert, York Barbican, April 2026

Our Wizard family love Horrible Histories, and were excited to see the songs from the CBBC series brought to life in this touring show.

We weren’t sure what to expect, and wondered if the production would just be a string of songs one after another – concert-style. Whilst that wouldn’t have been horrible (history), far more effort has gone into it – there’s a throughline involving finding the right monarch to sing the final song. Poor Shakespeare faces Queenie’s guillotine if he messes up the show, and the plot thickens as more and more monarchs are unwittingly signed up for the solo number.

Like all the best shows aimed at families, it’s interactive. There are plenty of opportunities for kids – and big kids – to join in. From crooning along to the hit songs and boos and oohs aplenty, to participating in mock-gameshow Chop or Not.

The stellar cast features many of the performers from the later CBBC series – and they’re all first-rate. Richard David-Caine plays host Shakespeare, and gets some of the biggest laughs. He moves with the silky precision of a crab, and is a master of comic timing. Want to see Shakespeare twerk? You won’t be disappointed. We look forward to seeing him in York Theatre Royal’s Snow White this Christmas.

Ethan Lawrence, who we recognised from the Ricky Gervais series Afterlife, plays Henry VIII amongst others. He gives a right royal performances, and can belt out the tunes with gusto. He’s clearly honed his comic skills too, and will have you laughing your head off…eek.

Harrie Hayes gives a sharp performance, with the delightfully dark and daft Stupid Deaths. Comparisons to the TV show are perhaps inevitable here, but Hayes puts her own stamp on the iconic role. She’s anything but grim…and make no bones about it.

Horrible women are well represented too with Queen Elizabeth I (Harrie Hayes again), Queen Victoria (Alison Fitzjohn) and Cleopatra (Verona Rose) all…coming at ya! All the femme fatales excel, and and are all suitably frocked-up in historical attire by designer Jackie Trousdale

Birmingham Stage’s own Neal Foster directs but also dons the wigs and hats, and effortlessly switches between party animal Charles II, Dick Turpin, and – bizarrely – a Dudley-born Viking. As Shakespeare quips…’Questionable regional accent!’

We were surprised at just how strong vocally the entire cast is too. The production team don’t scrimp on talent and there’s no ‘oh it’s for kids, it’ll do’ attitude here. Musically the show is a treat, with a versatile live band hitting all the right notes. They are led by none other than Richie Webb, who we were delighted to find out wrote all the Horrible Histories songs! The love for his work shines through, and we’re glad he gets to witness that every day of the tour.

The action spans multiple eras, and the only part that felt slightly out of place was PT Barnum. Whilst technically historical, the circus theme felt a little jarring against the ‘ye olde’. However, It’s How You Put on a Show is a banger that made up for it, and Inel Tomlinson’s Barnum is a triumph. His I Want to Spend It, Spend It as Mansa Musa is also…solid gold!

Despite reviewing theatre all over the region, this was our first trip to York Barbican, and the concert production fits the venue perfectly. Sounds levels were balanced, and we could hear every word. The concert format means it’s loud, so those sensitive to noise might want to bring ear defenders. Expect smoke, glitter, a diverse lighting plot and more. Sparks don’t fly though, and this reviewer would’ve loved a pyro or two!

If you know the series as well as us, there’s lots to enjoy here. And even if you don’t, it’s presented in such an engaging and interactive format that’s fun for the whole family. Educational? Maybe. But entertainment takes priority, and it’s never boring.

Horrible? Hardly!

If you’re thinking of booking…chop chop (guillotine pun) Look sharp (another) and visit https://www.yorkbarbican.co.uk/whats-on/horrible-histories/

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

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.