Operation Mincemeat, Leeds Grand Theatre, September 2026

Review originally written for The Reviews Hub

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Jolly good show!

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

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

The Selfish Giant, Friargate Theatre, York, September 2026

As summer draws to a close, we packed up our deckchairs and went to see Riding Lights latest children’s theatre offering of Oscar Wilde’s The Selfish Giant…

Arriving to a stage shrouded in dust sheets, children were enlisted to help tidy up and we were soon welcomed into the Giant’s garden. The task at hand? Reminding a rather grumpy Smog how much fun it is to tell stories and learn a little about himself along the way.

In this two-hander, Jared More and Matthew Rutherford embody a host of fun and silly roles over fifty-five minutes. Both are engaging and enthusiastic throughout, and kept this audience’s attention span effortlessly. Whilst more suited to younger children perhaps, toddlers through to 11-year-olds at this performance were equally transfixed. No calls of ‘I’m bored’, tears or or restless shuffling.

More has boundless energy as the affable Miff, adding excitement and joy to the frantic Garden Games, which rely on audience participation. He later brings a quiet thoughtfulness to The Boy – puppeteered beautifully, and connecting well with younger members of the audience.

Rutherford perfectly portrays grumpy giant Smog, who normally revels in storytelling but becomes lost and needs help to discover his joy once more. Never scary of overbearing, these “snotty, grotty, picky-nosey, scratchy botty” kids loved him!

Accents and costumes change seamlessly, and we’re treated to a varied roster of characters. Our personal favourites were Daffy and Dill – sassy flowers who love a bit of gossip. And as for the floral puns? Blooming brilliant!

Like all good children’s theatre, the interaction is plentiful and all children were involved who wanted to be. From the get-go we were all invited to be part of the action – uncovering the set, planting windmill flowers and watering the emerging garden.

The aforementioned Garden Games offer even more onstage fun; often frantic but always well-managed. In a two-player game, a third child wandered onto the stage – a moment that would throw many less experienced performers. No issues here though – without missing a beat they made her head cheerleader from the sidelines!

This duo really shines by encouraging audience participation, without ever forcing it. Their own infectious enthusiasm and confidence creates a safe space for all ages to join in, without fear of looking silly or ever being the butt of the jokes.

Anna Gooch’s set and prop design inventively uses everyday objects to transform both the stage and characters. From a hatstand and stripped-down umbrellas for a tree, to the simple use of white dust sheets for snow and ice. A kazoo-wielding bee is a stroke of genius, and a firm audience favourite. What a buzz!

Director Paul Birch breathes new life into this Riding Lights revival – adding some beautifully poignant moments between the daft antics. There are many children’s theatre staples, including live music, bubbles, water pistols, and plenty of surprises. Patrick Burbridge’s original songs add to the joyful atmosphere.

At just under an hour this is the perfect length for pre-schoolers, and is advertised as especially suitable for ages 3-10 years. Our ten-year-old thoroughly enjoyed it, more than he expected to, and loved the interactive elements – even joining in on stage twice.

Theatre can create a divide between stage and audience, but not here…Riding Lights breaks downs barriers, and it would be Selfish not to let the eager children play!

The Selfish Giant is children’s theatre done right – equally captivating, engaging, colourful and thought provoking.

A tall tale, told well. Fee Fi Fo…FUN!

The Selfish Giant runs at Friargate Theatre in York until Saturday 5^th September, and then embarks on a UK tour. How to book? It’s no tall order! Visit www.ridinglights.org/theselfishgiant

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

Heathers The Musical, Leeds Grand Theatre, September 2026

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Honey, what you waiting for? Book now!

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

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

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.