Nativity! The Musical, Grand Opera House York, November 2024

Based on the 2009 film (one of our favourites!) the story follows primary school teacher Mr Maddens’ attempt to stage a nativity play, with hapless teaching assistant Mr Poppy both helping and hindering.

A little white lie gets out of hand and soon the whole town believes that Hollywood producers are coming to film the show. The web of lies untangles, but there’s plenty of comedy and festive fun along the way!

Sent to Coventry

The action flits between two rival schools in Coventry, and audiences can expect all the jokes, songs and silly situations from the film. There are new songs too, but in all honesty these are a mixed bag and some are forgettable – it’s the classics from the film that really shine. Highlights include Nazareth, She’s the Brightest Star and toe-tapper Sparkle and Shine. Out of the new songs, we especially enjoyed Mr Poppy’s My Very First Day at School and Dear Father Christmas.

Perpetual big-kid Desmond Poppy is played by Adam Sowter. He’s likeable, with as many t-shirts as he has impressions. His keyboard skit during the ‘Ordishuns’ is a treat, and he’s the teaching assistant any primary school child would dream of. Daft as a brush, and yet suitably annoying towards his new classroom colleague.

Mr Maddens (Alex Hogg) doesn’t have much to play with in a role that is largely a grumpy primary school teacher, but he fits the part well and has good chemistry with Jennifer. Alexandra Mather plays the girlfriend who moved to Hollywood; she sings well and is believable in the role.

That’ll Teach You

There are too many to name individually in this large cast but Alison Taylor returns to play Mrs Bevan. She embodies the stereotypical primary school headteacher, and we feel her frustration as the Ofsted inspection looms and the Hollywood lie is exposed.

Straight-laced Gordon Shakespeare (Jonny Holbeck) from Oakmoor Prep school clearly relishes the role, although sometimes strays into panto villain territory. His pupils are rigidly disciplined and suitably abhorrent in the smug Five Star Review / Better Than You.

The child actors are having the time of their life, and – sorry adults – often upstage their older co-stars! The audition sequence is a delight, and their rendition of Dear Father Christmas really tugs on the heartstrings.

Special mention to Angel Gabriel Dan Tomlin, who flies around the stage delivering Good News with plenty of sass! Ellen Dickson’s Katelyn brims with energy and is truly a ‘little pocket of stardust’. OIlie (Hughie Clelland) stands out as both Joseph and a rapping boy-band Wise Man.

Cracker the dog returns to plenty of ‘ahhs’ too – and the pooch is perfectly well behaved. Good boy.

Jesus, Mary and Joseph

In the 2022 production we mentioned that there were issues with sound, with some of the best lines getting lost due to lack of mics or technical blips. Things have somewhat improved this year, however there are still some lost lines. Some songs are too loud and can grate, and Herod’s Rock Opera is just indistinguishable screams and noise. We couldn’t make out any of the lyrics here.

The design largely hits the mark, and the stage transforms from classroom to cathedral smoothly. The Nativity production has that charming school show feel, with cardboard buildings and plenty of colour, fairy lights and glitter!

Pick Me Up Theatre do an admirable job bringing the story to life. It’s worth noting that this is an amateur production, in the sense that none of the cast are paid professionals. Whilst it’s not as slick or polished as other Christmas shows we’ve already seen this season, the energy and enthusiasm certainly (sparkles and) shines!

Just as with a primary school nativity, there are a few stumbled lines, late cues and early entrances but nothing unforgiveable, again especially as this is not a professional show. Pace definitely dips in the second act, but once we get to the staging of the actual Nativity it builds to a fulfilling festive finale.

It’s one to consider if you’re looking for a cheaper alternative to panto, and want to support a local theatre company giving it their all. Oh and you’ll be singing Sparkle and Shine all the way home!

Nativity! The Musical runs at Grand Opera House York until Saturday 3rd December, book at www.atgtickets.com/shows/pmu-presents-nativity-the-musical/grand-opera-house-york/

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

&Juliet, Leeds Grand Theatre, November 2024

Review originally written for The Reviews Hub

With the popularity of shows like Six and Hamilton, historical productions are making history of their own…

Shakespeare gets the musical glow-up here, and &Juliet asks one key question – what if Juliet didn’t kill herself at the end of the tragic tale? Our Juliet moves to Paris and carves her own path without needing a Romeo to call her own. Themes of girl power, loving yourself and trusting your instincts underpin David West Read’s writing.

The titular Juliet (Gerardine Sacdalan) is a vocal powerhouse, and excels throughout. Her opening song – Britney’s Baby One More Time – is delivered sat down, but with seemingly effortless control and range. Later she sings atop a swinging chandelier, and nails that too.

Shakin’ Things Up

Shakespeare is hailed here as the forerunner of gender-bending, and &Juliet celebrates modern relationships and gender identities. Will is played by 2010 X-Factor winner Matt Cardle, who is a strong vocalist. Initially he seems a little lost amongst the musical theatre stalwarts, but soon finds his feet. We warmed to his take on the bewildered Bard, forced to rewrite his greatest work.

Cardle isn’t the only time-travelling telly face either. Ranj Singh plays Lance with a muddled French accent and comical codpiece. His silky gyrations are a far cry from his CBeebies doctor days.

Jordan Broatch shows a real sincerity as May, especially in the song I’m not a Girl. Broatch sings well, particularly in duet with Kyle Cox’s Francois. Cox embodies the nerdy shy guy pressured into settling down, and revels in discovering his rebellious side with the wayward Juliet.

That’s the Way, I Like It

Nurse Angelique (Sandra Marvin) adds extra comic relief, and has a rich and soulful voice that is a pure delight. Lara Denning’s Anne Hathaway may be older than many of the characters – a point she frequently jokes about – but Denning never struggles to keep up. Singing, dancing and acting are all first-rate, and her rendition of Celine Dion’s That’s the Way is a highlight of the entire show.

Paloma Young’s costumes are absolute perfection, in-keeping with the era but brought bang up-to-date. Soutra Gilmour’s set design is stunning throughout, with a bold and striking set, clever use of projection and slick special effects. This is Shakespeare with added graphic equalisers, horse-drawn rickshaws, mixing desks and thumping beats.

The pop song choices are a diverse mix, and a live band adds depth. I grew up in the nineties, and aren’t ashamed to admit I recognised many. Expect hits from Britney Spears, Kelly Clarkson, Katy Perry, The Backstreet Boys, Bon Jovi, and many more. It’s a soundtrack that spans the decades, with something for everyone to toe-tap along to. The soundtrack is downloading on Spotify as I type.

Many may be turned off by mandatory Shakespeare on the school curriculum, but a modern twist breathes new life into old stories. Don’t expect the original prose or plot, but the writing is inventive, the concept original and the energy relentless.

Bard Language

Family friendly? The suggested age range is 6+ with a PG rating. However, this seems to jar with the sexually suggestive themes and strong language; particularly the act two song P!nk’s F*cking Perfect.

&Juliet has the audience on their feet at the end, beneath a shower of sparks and golden confetti. This is a cast that shines brightly and sparkles with a glittering array of talent. In fact, P!nk probably sums it up best in the previous paragraph.

Shakespeare has never been so camp, so colourful and so fun. Missing out on a ticket would be the real tragedy. A brilliantly Bard-ass spectacle!

&Juliet runs until 30th November 2024, book at leedsheritagetheatres.com/whats-on/and-juliet-2024/

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

Hairspray, Sheffield Lyceum, October 2024

Review originally written for The Reviews Hub

Set in the swinging sixties, Hairspray follows the story of Baltimore schoolgirl Tracy Turnblad, who yearns to dance on the smash-hit Corny Collins Show.

Turnblad quickly becomes an overnight sensation and – like a can of hairspray – shakes things up in more than ways one. She uses her newfound success to encourage racial integration on television; pushing for more than just the monthly ‘Negro Day’ for African Americans. Network producer Velma and her toxic daughter Amber do all they can to stop her, but Tracy has teenage heartthrob Link Larkin on her side to help save the day.

Tracy is played by Katie Brace and is perfectly cast in the role. Comparisons to the 2007 film are perhaps inevitable, but Brace is just as good as Nikki Blonsky. With her excellent comic timing and incredible vocals, she also captures the youth and naivety of the teen girl with the big hair and even bigger heart. It’s a joy to see her efforts to follow her dreams, change the world, and impress her crush.

Comic relief comes from Tracey’s mum, or ‘mom’ to suit this Maryland setting. Neil Hurst dons the frocks and heels here, and occasionally strays too far into pantomime dame territory. The audience really warmed to Hurst after the glow-up in the Welcome to the Sixties, once he embraced the more confident side of Edna.

Doting husband Wilbur (Dermot Canavan) is the lacquer that holds Edna together. Always on Tracy’s side, Canavan plays dad with plenty of gags, and his playful antics perfectly compliment Hurst’s Edna.

Motormouth Maybelle (Sasha Monique) has powerhouse vocals, and brings a welcomed gravitas to the sensitive theme of racial integration in a show that is otherwise sugar, spice and all things nice.

Olly Manley’s Link Larkin is every teenage girls dream. Another strong vocalist, and reminiscent of a younger Austin Butler, Manley clearly delights in the role of TV pin-up. He’s versatile too, switching from pretty-boy to a more three-dimensional character, as his own preconceptions and ideals are challenged when he meets Tracy.

Joanne Clifton as Velma Von Tussle is deliciously evil without ever hamming it up too much. She schemes with her bleach blonde bitch of a daughter Amber (Allana Taylor) to stop Tracy’s plans for integration and acceptance of those who are different. Clifton plays the role with aplomb, clearly relishing every minute. Taylor’s Amber is delightfully dislikeable too.

This is a large cast, and the unwavering enthusiasm and energy of the ensemble shines through in the catchy songs and upbeat dancing. Choreography by Drew Mconie is tight, and the dancing in Run and Tell That reaches a fever-pitch level of energy, that left this reviewer breathless.

The set design by Takis is camp and colourful, even featuring a giant can of hairspray – the perfect entrance for Edna later in the show. Projection by George Reeve is used throughout, but thankfully not relied upon, as this reviewer has experienced in other shows. A particularly inspired moment sees the names of famous black rights activists projected during the song I Know Where I’ve Been; a sobering reminder of the challenges facing different races during the sixties.

It would be remiss not to mention the hair in Hairspray, and wigs come courtesy of Craig Forrest-Thomas. Every bouffant, bob and bushy barnet is here, coiffured to perfection.

A live band hits all the right notes too, led by Musical Director Richard Atkinson. Levels are well balanced which allow the fantastic songs to really pop. You Can’t Stop the Beat is an audience favourite which has everyone up on their feet to finish. I Can Hear the Bells is a comic masterpiece. You’re Timeless to Me is a standout hit too, although this is largely down to Hurst and Canavan’s risqué flirtations and subsequent corpsing.

Fun for all the family? Our eight-year-old loved every minute and it was worth the late-night. Directors Paul Kerryson and Brenda Edwards have captured the very essence of Hairspray, in a show that won’t disappoint fans young or old. This is pure feelgood fun, and I defy anyone not to toe-tap along to the catchy score.

Hairspray closes at Sheffield Lyceum on Saturday 19th October then continues the UK tour. The show visit the New Wimbledon Theatre next, followed by Grand Opera House York. For full tour dates visit https://www.hairsprayuktour.com/

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

The Animal Guyz, York Theatre Royal, June 2024

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

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

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

All Creatures Great and Small

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

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

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

Kicking up a Stink

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

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

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

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

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

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

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

Blue Beard, York Theatre Royal, February 2024

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

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

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

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

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

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

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

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

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

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

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

MAGIC RATING