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.

A Christmas Carol, Leeds Playhouse, November 2025

We returned to Leeds Playhouse to catch their latest production of A Christmas Carol. But did it leave us…over the moon?

Adaptor Deborah McAndrew keeps the narrative faithful to the text, whilst throwing in a few seasonal surprises too with director Amy Leach.

Reece Dinsdale is everything you’d hope for in Scrooge. He embodies Ebeneezer’s miserly manner, gradually softening as he’s shown the error of his ways. His look of bemusement whilst circled by tap-dancing baubles is a joy!

For sheer versatility, Obioma Ugoala stands out. He plays both Marley and Fezziwig with strong performances and a powerful singing voice. Lucas Kerr’s Tiny Tim is believable, as one of three child performers sharing the role. Belle (Amy Forrest) is saccharine sweet, and Danny Colligan has plenty of warmth as Fred.

The production champions accessibility. Mr and Mrs Cratchit (Stephen Collins and Nadia Nadarajah) are deaf, and the whole family sign – with a watchful Scrooge often translating for the audience.

A clever moment sees Mrs Cratchit silently rant about Scrooge; we don’t need to know what’s said as it expressed through raw emotion, and her husband’s shocked reactions. The whole show is also signed by an on-stage interpreter.

The large ensemble have talent by the sleigh-load, and all fizz with festive energy and tight choreography in the stage-filling dance numbers.

Visually the show is a treat, with production values worthy of the West End. Hayley Grindle’s costume are first rate throughout. The Ghost of Christmas Present is a highlight, far removed from film versions. Claudia Kariuki plays her to perfection, and opens act two with plenty of pizzazz and sparkle.

Grindle’s set design is a nod to Leeds industrial heritage. Chimneys belch out smoke against a moonlit sky, as workers toss baskets of fabric and unspool reels of cotton. Scrooge’s counting house is now a cotton mill which, interestingly, is lit above by fairground lights – long before the invention of electricity – with Marley’s bulbs ominously fizzled out.

This is not Scrooge the Musical, although music does feature throughout. Expect original songs on live instruments, and twists on familiar carols. The actor-musicians set the scene perfectly, from the rousing opening to the toe-tapping finale.

Good for families? Whilst it might not hold the attention of younger audience members as well as a pantomime, it’s visual, pacey and full of theatrical magic. The Ghost of Christmas Future has the potential to scare – but it’s brilliantly done, and suitably foreboding. Our 9 and 12-year-old loved it, and were gripped by the innovative storytelling and lavish design.

Like Santa on schedule, Leeds Playhouse never fail to deliver. This is another winter winner, guaranteed to leave you in high…spirits. And yes, that was a ghost pun.

Give A Christmas Carol a (ghost) of a chance, and book at www.leedsplayhouse.org.uk/event/a-christmas-carol. The production runs until 17th January 2026.

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.

Danny Lee Grew 24K Magic, Friargate Theatre York, June 2025

Danny Lee Grew brought his one-man show to York’s Friargate Theatre last night, and it was a treat for this Wizard to be on the other side of the curtain after a day of tours!

24K Magic features a magical myriad of effects. Expect everything from magic with cards, silk handkerchiefs, eggs, oranges, rings, milk, paper and even a bowling ball. There are modern and inventive tricks and many classics dusted off too, such as the multiplying bottles (of Tommy Cooper fame) A one-tricky pony he ain’t!

A highlight for me was a variation on the Slydini Silks – a trick as old as the hills but given a smart twist using wordplay on NOT and KNOT. The variety keeps the show pacey and ensures there is something for everyone. There’s plenty of comedy too, with little asides, puns and gags that were right up this wizard’s alley!

A loose (invisible) thread centres around Danny’s background; from his first magic set, to his hospital work and time on cruise ships. A routine with coathangers makes sense, as he claims to pack his own for hotel stays on tour. And a twist on the classic cut and restored rope uses a bandage as a nod to his NHS days. These links lift the show from a random assortment of tricks and props, to something we feel more connected to and invested in.

More important than the magic though is that Danny is instantly likeable and engaging. He wins over a small audience on a hot evening, and the comedy is gentle without ever needing to shock or offend. He isn’t the ‘haha fooled you!” type, and invites us to share in the wonder rather than presenting puzzles and gotcha moments.

Crucially, he treats his volunteers with respect and puts the audience at ease by announcing he won’t be embarrassing anyone or making fun of them. Many is the magician who goes for a cheap shot at someone else’s expense, but thankfully none of that here. I’m reminded of seeing Geoffrey Durham (mentioned in the show) many years ago, who had the mantra “All done with kindness”.

It was our first visit to Friargate Theatre, which is an ideal intimate size for this kind of show. A few technical blips in a new venue are expected and forgivable, and didn’t take away from the experience. The set is sparse but this allows the magic to really shine. Danny doesn’t resort to big advertising banners on stage, which is a smart move and adds class.

So who is it for? It’s not strictly a kid’s show, but the magic is family-friendly and visual enough to hold young audience members’ attention. This audience was a mix of families, fellow magicians (who Danny kindly plugged and encouraged people to follow) and couples.

Our mini Wizards were both picked out to help, and were thrilled to be involved. Our youngest said “Mind-blowing, I loved finding my card in an orange!”. Eldest said “It was spellbinding, I enjoyed the Three Card Monte but my favourite part was being levitated!”

If you haven’t seen a live magic show before, I’d urge you to give it a try. Done well, there really is nothing like live magic. In this era of social media, YouTube and AI, it’s not always easy to be ‘wowed’ but Danny elicits gasps and surprised laughter throughout.

This was a one-night-only affair, but Danny tours regularly and you can check out his schedule at https://dannyleegrew.com/live/

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

Dear Evan Hansen, Grand Opera House York, June 2025

Dear Evan Hansen follows the titular character Evan; an anxiety-riddled teen who is tasked with writing himself letters in the interest of positivity and self-development. When one of these letters gets into the wrong hands, Evan spins a web of lies. Although he has good intentions, we soon see the fallout and damaging impact of his actions.

Evan is played by Ryan Kopel, who perfectly embodies social anxiety with every twitch, hand-wring and stutter. He is a standout performer in an already incredible cast, and an extraordinary singer too. The phenomenal and complex score would push any actor, but he nails every note and nuance. The performance is first rate, and we really feel his anguish and longing to belong.

Frazzled mum (Alice Fearn) struggles with work life balance, finances and raising a son who clearly finds life a challenge. Fearn gives a stellar performance and her vocals switch between impressive belts to gentle poignancy. She excels in the song So Big/So Small.

Best friend, or ‘best family friend’ Jared (Tom Dickerson) brings extra comic relief, as he ribs his buddy over his attempts to woo love interest Zoe. He is believable and relatable as a high-school teen who relishes the banter. Expect sex jokes, swearing and crass teenage humour. A kid’s show this ain’t!

Another friend to Evan, Alana (Vivian Panka) is preppy and eager to please. Another excellent singer, she is unwittingly responsible for the exposure of Evan’s deceit.

Connor, played on press night by understudy Will Forgrave, is the high school rebel with deep issues and a quick temper. For such a grungey character, he really shines in the comic song Sincerely, Me, which sees him and Jared hot stepping and cavorting around the stage.

Sister Zoe, (Lara Beth-Sas) was another understudy for this performance. She begins as a surly teenage girl but later softens – bringing an understated gentleness to the role as her character arc progresses.

Connor’s mum (Helen Anker) and dad (Richard Hurst) complete the family dynamic, and give solid performances filled with remorse. Their fractured relationship clearly hangs in a delicate balance but they take Evan under their wing, showering him with affection and becoming a fantasy family for the troubled teen.

Technically, the show is a triumph. Projection is used effectively throughout, but never over-used. Morgan Large’s set is sparse at points, and allows the performers to really shine. We may see a suggestion of a bedroom with just a few beds, or a row of lockers to represent a high school corridor. Cleverly, said lockers open up with lights inside – just one aspect of a clever and dynamic lighting design by Matt Daw.

The fantastic band is led by Michael Bradley. Levels are well balanced and the score blew us away. We were to quick to stream the soundtrack on Spotify after!

This powerful and emotive show is a far cry from the twee and often cheesy musicals of yesteryear. Don’t expect toe-tapping fun throughout, and there’s certainly no megamix at the end. In fact, the finale of the show is unlike any musical I’ve seen – opting for a relatively gentle and poignant conclusion rather than a rousing encore or reprise.

Dear Evan Hansen tells an interesting and important story that echoes the challenges of the modern day. Heart wrenching at times, it packs an emotional punch. This somewhat shellshocked audience were instantly on their feet at the end for a full and deserved standing ovation.

Powerful, emotional, unforgettable theatre. A must see.

Dear Evan Hansen runs at the Grand Opera House until Saturday 28th June. Secure your seats at https://www.atgtickets.com/shows/dear-evan-hansen/grand-opera-house-york/

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

&Juliet, Sheffield Lyceum Theatre, May 2025

Last night we got our ‘Bard on and headed to Sheffield’s Lyceum Theatre for &Juliet. We caught the production in Leeds last year, but thought we’d see it (Baby) One More Time…

The production follows other historical happenings such as SIX and Hamilton, and breathes new life and ideas into Shakespeare. Don’t expect the literary tale as written, instead the story explores what would happen if Juliet didn’t kill herself. Here, she starts a new life in Paris without needing a Romeo to call her own. Expect girl power, modern language and themes, and a banging soundtrack of 90’s favourites. It’s a megamix of hits from Britney and Bon Jovi, to Kelly Clarkson, Katy Perry and even The Backstreet Boys.

Jay McGuinnes fills the shoes of Shakespeare himself. Likeable and engaging, and suitably smug in reminding the audience which famous phrases he wrote. His relationship with Anne Hathaway is bittersweet, and the pair work well together.

This is our second time seeing Gerardine Sacladan (Juliet) and Lara Denning (Anne), and we can say unreservedly that they are two of the best musical theatre performers we’ve seen in any show. Powerhouse vocals with perfection in every note, and engaging performances throughout. Denning’s heartfelt That’s The Way It is is a highlight, and Sacladan manages to deliver a passionate performance even when sat on the floor or flying through the air. Incredible.

We’d also seen Jordan Broatch’s May and Kylie Cox’ Francois before, and both absolutely excel in the roles. Broatch delivers I’m Not a Girl so movingly, and has an endearing quality and quiet sincerity. Cox’s nerdy Francois wrestles with his new feelings towards May, but also wrings comedy out of the role with daft piano playing and cringe-inducing social awkwardness.

More comedy comes from Nurse Angelique (Sandra Marvin) who tries to keep Juliet on the straight and narrow, but ultimately gives up and goes wayward herself. Marvin’s voice is rich and soulful, and she swoons for old love interest Lance, played by understudy Michael Nelson. Nelson brings some French swagger to the role, but plays it more seriously than Raj Singh we’ve previously seen. Singh played the part more tongue-in-cheek, but both found the funnies in the dance numbers.

But what of Romeo, dear Romeo? Benjamin Jackson Walker plays the self-confessed douche with a swaggering flamboyancy that works well. Yes Romeo is a wet lettuce, but that’s how he’s written here, and he doesn’t take as a large role as you might expect.

A huge ensemble fill the stage with seemingly effortless energy and slick choreography throughout. They cleverly mask scene transitions and costume changes, and keep the show moving with ease. They’re all dressed in period attire but with a modern twist, and Palmona Young’s costumes are a triumph.

&Juliet is a feast for the senses, and worthy of the West End in terms of production values. Soutra Gilmour’s eclectic set transports us between London, Verona and Paris, through neon lights, giant balloons and grungy shabby-chic set pieces. At one point Juliet swings from a chandelier, rides a moon swing and is pedalled by a fairground-horse rickshaw. There’s plenty of razzle dazzle too, from pyrotechnics and smoke to raining glitter.

On a technical note, the sound levels were slightly out of balance at points. This is a shame as the vocals are so strong and well delivered, but sometimes drowned out by the music. Dialogue was occasionally a strain to hear too, even from the mid stalls. Hopefully these technical issues can be ironed out as the run goes on, and I suspect they were opening night niggles.

This eager audience were itching to get up and dance but – thankfully – posters and announcements ask to refrain from this until directed by the cast. This is a sensible touch; in Leeds many people treated it like a concert and crooned along to the 90s hit list.

When the moment does come though, there’s no stopping us. We all bopped along to Can’t Stop the Feeling, and the show received a resounding and well deserved standing ovation. A celebration of independence, of being yourself and carving your own path in life.

Family friendly? It’s certainly a fun, fast-paced and colourful show. There were several primary school groups in last night, and the age rating is 8+. However there are sexual themes, and strong language – especially in P!nk’s F**king Perfect. It’s a song title that probably sums up the show well though, and it comes highly recommended.

Not booking a ticket would be the real…tragedy!

&Juliet runs at Sheffield’s Lyceum Theatre until Saturday 31st May. Book your tickets at https://www.sheffieldtheatres.co.uk/events/and-juliet

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

Matthew Bourne’s Swan Lake: The Next Generation, Lyceum Theatre, Sheffield, May 2025

New Adventures brings Matthew Bourne’s Swan Lake to Sheffield Lyceum Theatre. Directed and choreographed by Bourne himself – and first performed back in 1995 – this is a masterclass in innovative ballet, drawing a new audience to this traditional theatre form.

Bourne takes the original story, score and dances, and adds a contemporary twist too – most notably casting all the traditionally-female swans as male dancers. Swan Lake is, at its heart, a love story, but this production is so much more…

A ballet is always notable for the amount of dancers involved. The ensemble are all superb dancers, each bringing their own nuances to the variety of characters they play. Every performer can switch seamlessly between everything from maids, club dancers and debutantes, to soldiers, sailors and the swans themselves.

Ballet is just as much about acting and storytelling as it is about dancing; and oh boy, can this cast act! James Lovell as the Prince embodies the nativity and vulnerability of someone held captive by his upbringing and privilege, but unable to find the love he craves from his family. Lovell moves like nobody I’ve ever seen before – making every moment seem so natural and effortless. He switches from graceful to jerky and erratic, to reflect his descent into madness.

Rory McLeod is superb as the Swan/the stranger. He brings a strong sense of masculinity to an incredibly physically demanding role but also shows a gentle, caring and almost paternal side. The intense connection between Lovell and McLeod is palpable.

Katrina Lyndon was well cast as the Queen. Lyndon captured the distant, haughty nature of a Royal, who preferred the company of her soldiers to her own son. Bryony Wood as a girlfriend has the most amazing facial expressions! She plays the seductress role well, and has excellent comic timing. Benjamin Barlow Bazeley as the private secretary is suitably scheming in his plans to keep up appearances at all costs, for the sake of the royal family.

Lez Brotherston’s set and costume design perfectly reflects Bourne’s balance of the traditional and contemporary. Costumes are lavish, however ball dresses are swapped for cocktail dresses in the Royal Ball scene. The Queen and Prince could belong to any era, but this makes the production both relatable and accessible. My only slight quibble is the swans didn’t have feathers. Instead we see loops of wool which, in all fairness works well, but I did miss the feathers from earlier productions.

The set itself is oversized and deliberately wonky. It gives the entire production a dream-like quality and reflects the mental turmoil of the prince. Paule Constable’s lighting design is equally superb. Constable plays with light and shadow throughout; most notably in the Prince’s Private quarters scene where the Prince, the Queen, and a mirror frame created a beautiful shadow puppet illusion.

Worth sticking your neck out for? Almost certainly! The production received a deserving standing ovation. Matthew Bourne’s Swan Lake truly soars.

Matthew Bourne’s Swan Lake runs at Sheffield’s Lyceum Theatre until May 17th. Find out more and book your tickets at https://www.sheffieldtheatres.co.uk/events/matthew-bournes-swan-lake-2024

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

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

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

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

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

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

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

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

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

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

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

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

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

The Lion, The Witch And The Wardrobe, Grand Opera House York, April 2025

After a harsh winter, we stepped out into the sun blinking and excited to see The Lion, The Witch And The Wardrobe at Grand Opera House…

For those new to the C.S. Lewis tale, the story follows four siblings evacuated to the countryside during World War 2. They discover a grand wardrobe and stumble upon the magical kingdom of Narnia. Locked in an eternal winter by the vengeful White Witch, it’s down to the children and a talking lion to lift the curse and save the land and it’s many unusual inhabitants.

Early on we’re reminded of the atrocities of war, with a sombre and haunting rendition of We’ll Meet Again. Actors manipulate glowing train carriages and suitcases, as families are packed off to safer surroundings.

The four children – Lucy, Edmund, Peter and Susan – are played by adult actors (Molly Francis, Bunmi Osadolor, Jesse Dunbar and Joanna Adaran) who capture the rivalry of bickering siblings well. Each makes the character their own, and has a believable story arc as they became the heroes of the piece. At this show Lucy was played by an understudy, but blended in perfectly and gave a stellar performance.

Aslan here is both human actor and stunning puppet, seemingly carved from intricate wood as a nod to the opulent wardrobe. Stanton Wright brings a true poignancy to the role, seamlessly switching between the majestic and godly lion to defeated wildcat. Expertly puppeteered, the wooden Aslan’s performance is anything but…well…wooden. Speaking of cats, raggedy fleabag ‘Schrodinger’ is another puppet, and scampers around the stage with plenty of purr-sonality.

Younger audience members may be unsettled by the wicked White Witch, played by Katy Stephens. We had seen this same production before, and it was interesting to see what was scaled back to fit the York space, with Jadis’ chariot noticeably absent. However, Stephens has such a deliciously dark grandeur that she commands the space well on foot. Wolf-like servant Maugrim (Shane Antony-Whitely) prowls the stage, ever-hunting the daughters of Eve and sons of Adam.

Father Christmas makes an appearance too, but is a far cry from the Coca-Cola red St. Nick. A whirling-dervish of tassels, Myra the Gift Giver delivers presents to aid the siblings on their quest. His song of the same name is perhaps the most catchy, and the one I was humming all the way home. The role shows real versatility too, with Father Christmas played by Kraig Thornber, who we first meet as the eccentric Professor, and later a musical owl.

Thornber is one of many talented actor-musicians who bring the rich score to life, and punctuate moments of drama with tribal beats. Many are dressed as stylised animals, and the pair of Beavers – who take a larger speaking role – add comic relief. Ed Thorpe and Anya De Villiers have a great dynamic together. Thorpe reminds us of actor Jim Cowick, and in particular his Ghosts role Pat.

Special mention to Mr Tumnus who first meets Lucy under the iconic lamppost, cleverly installed in a piano. Alfie Richards delivers his inner struggles to perfection, as he wrestles with obeying the Witch and letting Lucy go. He’s excels in the beautiful When There Was Spring

Tom Paris’ set and costume design is first-rate throughout. We’re transported from a bleak war-torn Britain to the icy expanse of Narnia in a blizzard of brilliance. There are many clever effects, from a flower blooming within a book to a trippy Turkish Delight sequence I won’t spoil! Illusions by Chris Fisher are well executed if sometimes a little overlooked, but only because they integrate so effectively into the story.

Jack Knowles lighting design is one of the best we’ve seen, with inventive use of darkness and spotlights to draw attention to where it was needed and hide scene changes. The stone table scene is a particular highlight, as are the transitions in and out the wardrobe.

This is a slick and polished production that succeeds in bringing the beloved novel to life. Inventive, engaging and full of theatrical magic, it’s a must if you’re a fan of the timeless tale. Simply ROARsome.

The Lion, The Witch and The Wardrobe runs until Saturday April 26th before continuing the UK tour. Book your tickets at https://www.atgtickets.com/shows/the-lion-the-witch-and-the-wardrobe/grand-opera-house-york/

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