The Rocky Horror Show, Grand Opera House York, July 2026

Review originally written for The Reviews Hub

Popularised by the 1975 cult film, The Rocky Horror Show celebrates more than 45 years on stage…

A tribute to science fiction B-movies of the 1930s, the story opens on college sweethearts Brad Majors and Janet Weiss. When they blow a tyre on a stormy night, the pair seek refuge in a creepy mansion, and meet a party of oddballs and the charismatic Frank N’ Furter. Frank has been cooking up a man in his lab, and a sinister plot ensues involving murder, cannibalism and seduction. Sound dark? Barely! This is camp, colourful fun from start to finish.

Many famous faces have donned the heels and fishnets, from Jason Donovan and Anthony Head to musical theatre stalwart David Bedella. Our Frank is Stephen Webb, who has racked up many years of performances.

Revealed through the fabulous Sweet Transvestite, Webb embodies the iconic role and carefully treads the line between smut and sincerity. Impossible not to compare to Tim Curry, Webb puts his own stamp on Frank and seems to relish every moment. Solid vocals and an impressive range.

A live narrator helps keep track of the meandering plot. Often a celebrity guest role, Jackie Clune of Motherland fame is the current star turn. Clune is sharp and milks the laughs with a dry wit and cheeky wink. She bounces off audience feedback with ease.

Brad (James Bisp) and Janet (Haley Flaherty) nail the innocent couple led astray by temptation. Their story arc leads to their respective awakenings and a rocky (pun intended) start to their engagement. The chemistry is believable and the pair have excellent vocals throughout.

Ryan Carter-Wilson as Riff Raff is smart not to imitate Richard O’ Brien, but pays homage to the role and adds extra comic flair. Fellow servants Columbia (Daisy Steere, later replaced by understudy Bethany Amber Perrins) and Magenta (Laura Bird) give strong performances, and Colombia’s tap routine is especially slick.

Eddie (Edward Bullingham) follows in the footsteps of Meatloaf, and also doubles as Dr Everett Scott in Act Two. Bullingham doesn’t get a great deal of stage time, but makes an impact with each appearance. Rocky himself is played by Morgan Jackson, who – whilst a one-dimensional character – brings charisma to the role. The large ensemble keep the energy fizzing with honed dance numbers and tight choreography.

Hugh Durrant’s set design captures the essence of the B-Movie era. A film reel encircles the stage, and set-pieces range from wobbly cut-outs to elaborate machines. Nick Richings’ lighting dazzles, and adds camp colour between bursts of lightning, the glow of a neon lab and spotlit bridal suite.

Costumes by Sue Blane are suitably fabulous and give plenty of nods to the film whilst adding their own pizzazz. Inspiration is often drawn from burlesque, with corsets, boas and stockings galore.

A live band brings the sensational score to life, and all the film hits are here. At times the band overpowers the vocals, but levels are balanced overall. There are real toe-tappers such as Dammit Janet and Hot Patootie, and the tender I’m Going Home. Songs choices feel stronger in Act One, but the finale is a chance for eager fans to dance along to The Time Warp.

If you’re easily bothered by a rowdy audience, this might not be the show for you. Rocky isn’t a passive experience; there’s an unwritten participation script that diehard fans will shout throughout. It’s all part of the fun though – think panto for adults – and this audience was respectful during the more poignant moments. Although not the sing-a-long version, people will sing along nonetheless.

Family fun? A kids show it is not. The age rating is 12+ and there are self-proclaimed naughty bits. A bed scene is particularly raunchy, and the song Touch-a-Touch-a-Touch-Me is, as you’d expect, suggestive. The cast are often scantily clad, and audience hollers don’t hold back.

A few technical issues were unexpected in a show that has remained largely unchanged for nineteen years and has visited the venue many times before. A twenty-minute show stop due to the sudden indisposition of Daisy Steere as Columbia was unfortunate too, however her understudy quickly took over and the show was thankfully able to proceed. A testament to the cast and crew.

Despite these issues, there’s no experience quite like it. Billed as ‘The Biggest Party’, expect two hours of brash, bold fun with a smattering of smut and an electrifying score.

Don your high heels, shake off your feather boas and experience a night out like no other!

The Rocky Horror Show runs at York’s Grand Opera House York Saturday 25th July, book at www.atgtickets.com/shows/the-rocky-horror-show/

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.

Jim Henson’s Labyrinth: In Concert, York Barbican, May 2026

I’ll come right out and say it, Labyrinth is one of my all-time favourite films. The old adage is true, ‘they don’t make ’em like they used to!’ and this cult classic stands the test of time. After 40 years, the hit film is touring with a live band to welcome diehard fans and those new to the magic of Jim Henson…

In an age of lazy AI, it’s refreshing to see all creature effects done solely through puppetry – courtesy of the Jim Henson team. There are practical effects throughout too, and even Jareth’s glass ball tricks were delivered by (hidden) juggling master Michael Moschen. There’s clearly still a lot of love for the 1986 film – the venue was packed, and many fans had dressed up in some of the more memorable film costumes.

The plot follows fantasy fan Sarah (Jennifer Connelley) who accidentally banishes her baby brother to the goblin city, ruled over by Goblin King Jareth (David Bowie). Jareth offers her the chance to rescue said brother, by completing his labyrinthian maze of twists, turns and traps. Along the way we meet the loveable Ludo, loyal Sir Didymus and the surly Hoggle, plus a whole host of goblins…

The score of the film is delivered live by a talented band who appear on stage for the duration. It isn’t only the songs that receive musical accompaniment, but also much of the underscoring and incidental music – there’s very little time the band aren’t playing. A gong takes centre stage, and other instruments include keys, guitar, electric guitar, bass, saxophone and drums.

A smart lighting design also adds to the magic, with flashes of lightning as Jareth appears on a stormy night, a fiery glow during the song Chilly Down with the Fierys and swirling projections during the dreamy masked ball sequence.

The Barbican is an ideal venue for this film/concert hybrid. Although large, there isn’t a bad view in the house and the seating is tiered so that everyone can see. Sound was crystal clear, and the image quality on the huge HD screen was sharp.

But does it work? Yes and no. The evening opened with the conductor encouraging participation by singing along, shouting and cheering. From the opening scene it was clear that the film would be subtitled, perhaps to help those hard of hearing. However, subtitles throughout became distracting at times, and I’d have been reaching for the remote to turn them off at home…

During the songs though, there weren’t any lyrics onscreen at, almost as if to discourage singing along. This led to people trying to sing, but not always knowing the words, and not sure whether they could – or should – be joining in.

This not-quite-cinema not-quite-concert vibe is jarring at times, and leads to some confusion of what exactly the experience is trying to be. If we compare for example The Rocky Horror Singalong experience, there is an audience participation script with clear cues of when to join in, and a bag of props to use at key moments.

This reviewer feels Labyrinth: In Concert could’ve been pitched as either fully interactive, or not all, rather than some shaky ground between. An interval feels superfluous in a short film too.

The experience commands a high price tag, with tickets ranging from £45 to £80. A merch stand in the foyer also saw t-shirts at £25 and hoodies at £50. This isn’t a cheap night out, but if you’re a fan of the iconic film it’s certainly a treat to see it on the big screen, and with live music.

If you do book, we recommend staying through the credits. The band continue to play an excellent medley of songs, but many audience members were up and out sharpish, as if it was a mere cinema trip. Others were up (Magic) Dancing in the aisles, but many left before the band had chance to take a Bow-ie.

Film

Experience

Labyrinth: In Concert is touring the UK, before continuing a global tour in Canada and the USA.

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

Legally Blonde The Musical, Grand Opera House York, April 2026

Last night we saw Legally Blonde The Musical at York’s Grand Opera House. But were we tickled pink? Find out below…

I have no memory of the 2001 film but Mrs Wizard assures me the show is faithful to the plot, with a few modern twists. For what is essentially a rom-com, the love story plays second fiddle to a tale of bettering yourself, loving who you are and not judging a book by its cover.

The narrative revolves around Elle Woods, who lives a dream Malibu lifestyle and loves hanging out with her gal pals. Desperate to woo back love interest Warner, she applies to Harvard to study law alongside him. At law school she finds her new calling, and vies for one of four internship places offered by tutor Callahan. But first she must prove she’s more than a pretty face…

Amber Davies is a perfect fit for the role of Elle. Famed for Love Island, reality TV stars may not always be well accepted in theatre but Davies holds her own, and reminds this reviewer of a young Idina Menzel. She brings a star quality to the role, with fans anxious to meet her at the stage door after.

Later Elle meets Emmett, with George Crawford playing the secondary love interest with a real warmth and likeability. He grounds Elle and helps her believe that she has what it takes. His down to earth nature is a far cry from her big bubbly pink persona.

Special mention to Karen Mavundukure as Paulette too, who not only gets some of the biggest laughs of the night, but oh boy can she belt. The audience lap up her solo Ireland, and are rooting for her to find her Irish sweetheart.

A large ensemble snap, bend and change wigs with ease. The sharp choreography comes courtesy of Leah Hill, and is so slick it left us breathless at points. The fitness video inspired number Whipped Into Shape, sees the ensemble skipping at speed whilst simultaneously singing their hearts out. Brooke (Jocasta Almgill, also resident director) takes the lead vocals here, and is barely out of breath after. No easy feat.

Expect dogs too, in the form of Bruiser the chihuahua and Rufus the British Bulldog. The canine co-stars delight with each appearance, but never dominate or distract too much. They certainly have the ‘aww’ factor though and are expertly trained with treats. Who’s a good boy? They are!

For a pink and fluffy show, there are some inspired moments that add depth. Elle’s friends appear as a Greek chorus a la Hercules, and are always on hand to offer advice and motivation through song. The song Gay or European turns what would be a dated reference into a tongue-in-cheek stroke of genius.

Colin Richmond’s set design is a triumph, and even features a mini Harvard – and a comically oversized judge’s booth, that doubles as a shower! Ben Cracknell’s lighting design dazzles, and you can expect an abundance of pink in Tom Rogers’ costumes.

This is a musical in every sense of the word, and the songs far outweigh the dialogue. Some might be forgettable, but all are delivered with the fizz and energy of a crate of Red Bull.

Legally Blonde is undoubtedly West End worthy. The production values are first-rate in this feelgood musical packed with toe tapping hits. This opening night crowd were on their feet by the end, and some had been all night…standing tickets were added to meet demand!

Polish, pizazz and pink, pink, pink!

Legally Blonde The Musical runs until Saturday 25th April. Bend and snap your way all the way to the Box Office, or book online at www.atgtickets.com/shows/legally-blonde/grand-opera-house-york/

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

2:22 A Ghost Story, Grand Opera House York, March 2026

York. Arguably the most haunted city in Europe, if you believe in all that. Either way, it’s the perfect city to catch a ghost story in, and last night we did just that…

2:22 A Ghost Story has run in the West End for seven seasons, as well as touring nationally to rave reviews. This kitchen-sink drama sees a group of dinner party guests staging a vigil to investigate an apparent haunting at precisely 2:22am each night.

As the evening passes, the mix of believers and sceptics discuss life, death, science, religion, reincarnation and more. Personalities clash, props crash and the drama builds and builds. It’s not a shock-a-minute show but a slow-burner that grips you with effective storytelling, then startles with scares and revelations.

The cast of four give believable performances throughout. Sam (James Bye) is a staunch non-believer with an ‘I think you’ll find’ answer for everything. Wife and new mum Jenny (Shvorne Marks) is spooked by happenings in their daughter’s room, and frustrated with Sam’s lack of support.

Ben (Grant Kilburn) draws on his spiritualist mother’s beliefs, and is pivotal in trying to make contact with the dearly departed. Natalie Casey – of Two Pints of Lager and a Packet of Crisps fame – plays Lauren. She quickly descends into drunken depravity, and throws some epic dance moves, as she wrestles with her own early ghost-sightings and unrequited love.

The dynamic between the four works incredibly well. There’s a strong and tangible tension; not just because of the spooky shenanigans but down to the opposing views and belief systems. Any new parent will relate to Jenny’s maternal worries too; that desperate need to protect her daughter at all costs. And those sleepless nights that can play tricks on a weary mind…

The last spook-show we saw was Susan Hill’s The Woman in Black, a classic haunted house ghost story set in the Edwardian 1900s. 2:22 is an altogether more modern affair…you won’t find baby monitors or Alexa in Hill’s tale!

There’s something refreshingly different about a ghost story set in the present day. We arrived not to tinkling music boxes, but a pumping dance soundtrack. There are no creaky doors or creepy dolls, but other horror conventions are still very much intact. From sudden blackouts and inclement weather to footsteps on floorboards and wailing voices…there’s plenty to set the heart racing.

Danny Robinson’s writing is sharp, and a special mention should go to Anna Fleischle’s set design, and Lucy Carter’s dramatic lighting. It’s a haunted house, but not as you know it. Expect crumbling brickwork, flaking paint and a dodgy boiler, but also sliding glass doors and an IKEA fitted kitchen. Oh, and a garden besieged by mating foxes.

For kids? Not little ones! The recommended age is 12+. I took my 12-year-old and he loved it, and didn’t find it especially scary overall. He was hoping to be more scared – in a fun way – but appreciated the drama of it all, and the clever twists and turns had him gripped.

Scary? That depends on your terror-tolerance, but we didn’t find it as scary as anticipated. There are some effective jump scares and surprises though. It perhaps takes a little while to really get going, but the plot is engaging enough to build suspense, and the discussions of the afterlife are thought-provoking.

My advice if you are planning to see it, is avoid reading too much about it. There are spoilers to be…spoiled…and the less you know, the better! Thankfully, this reviewer went in cold and enjoyed not knowing what to expect.

Four stars from me, five from my son!

2:22 A Ghost Story runs at Grand Opera House York until Saturday 4th April. Feeling brave? Book your tickets at https://www.atgtickets.com/shows/2-22-a-ghost-story/grand-opera-house-york/

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

The Secret Garden The Musical, York Theatre Royal, March 2026

Last night we were transported from North Yorkshire 2026 to…North Yorkshire 1906, with York Theatre Royal’s revival of The Secret Garden The Musical, based on the 1912 book by Frances Hodgson Burnett.

The story revolves around orphaned Mary Lennox, who finds herself uprooted from India to the wuthering moors of Yorkshire. Taken in by her uncle – still grieving his wife’s passing from ten years prior – she befriends maid Martha and her brother Dickon, and learns of a secret walled garden on the estate.

Previously belonging to her aunt, the key is missing and the garden overgrown, but Mary’s curiosity gets the better of her. Discovering she has a bedbound and sickly cousin, Mary encourages him to leave the confines of his room and explore the outside world and the mysteries of the hidden garden.

Most of the plot here is told through song, and at times it feels almost like a opera – albeit with more of a folk song vibe. There is little movement to go with the music – no real dance or choreography to speak of – and the music very much underpins the narrative throughout.

The large cast of actor-musicians exude talent; playing everything from guitar, double bass, piano, flute and even a grand harp. Sound is rich and levels are balanced; we hear all the lyrics clearly except maybe during the chaotic storm songs where vocals get a little lost.

All the adult actors are strong, but special mention to Martha (Catrin Mai Edwards) and Dickon (Elliot Mackenzie) who brought a real joy to the characters, and a liveliness to the stage. Mackenzie brings a youthful energy to a role that is meant to be a 12-year-old boy in the novel.

The two actual children, Mary (Estella Evans) and Colin (Dexter Pulling) are exceptional. Both are strong, confident performers with excellent singing voices. The book suggests that both characters are brattish and unpleasant, but soften as the plot unfolds. This doesn’t quite come across in the play, simply because there isn’t a lot of time for such character development.

Staging is generally basic but effective. The tale is beautifully told, but a lot is left to the imagination rather than shown visually. This reviewer was reminded at times of The Woman in Black, with suitcases and boxes becoming elements like beds and stairs. Large flowing drapes drop in and and out, representing the rolling moors and billowing storm clouds.

Costumes by Gabrielle Dalton are largely in-keeping with the era, with one notable exception – Mary wears a modern pink hoody, striped t-shirt and jeans, without any explanation. It stands out – and it’s clearly a conscious design choice – but we weren’t sure why.

Is it suitable for families? We don’t feel it would especially engage young children, there isn’t a lot of action and the pace is a little slow overall. At 1 hour 25 minutes too, it’s not lengthy although there is no interval – so it’s perhaps a long time for children to sit. Our 9 and 12 year olds said they enjoyed it but admitted it dragged at points for them, and that some songs were repetitive.

The Secret Garden is well-staged, and expertly cast and directed. It’s not a fast-paced feelgood musical like some, but a clever retelling of a classic story. The themes of loss soon make way for a tale of redemption and hope, and don’t we all need a little more of that in a weary world?

The Secret Garden The Musical runs until Saturday 4th April. Tickets can be booked at https://www.yorktheatreroyal.co.uk/show/the-secret-garden-the-musical/

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

Barnum The Circus Musical, Grand Opera House York, February 2026

The circus has come to town, and we headed to York’s Grand Opera House to see Barnum, The Circus Musical

At first glance, you’d be forgiven for thinking that this show is a stage adaptation of The Greatest Showman. It isn’t, although a theatrical version of the hit Hugh Jackman film is coming.

Barnum predates this by decades, starting first on Broadway in 1980 then London’s West End the following year. The title role was popularised by Michael Crawford – famed for his Phantom (of the Opera) and, yes, Frank from Some Mother’s Do ‘Ave Em. Ooh Betty!

In this 2026 revival, Any Dream Will Do winner Lee Mead steps into the ringmaster’s boots. Mead has plenty of presence and charm, as he humbugs his way through the life of Phileas Taylor Barnum.

Mead walks a fine line – literally and figuratively – between conman and showman. The American accent never waivers, and there are some sharp comedic moments and asides with the audience. He’s strong vocally too, and boasts an impressive range.

Wife Charity (Monique Young) grounds Barnum and takes no nonsense. Young plays her with a real authenticity, and the chemistry between the pair is believable. Penny Ashmore’s Swedish opera sensation Jenny Lind is a triumph, with powerhouse vocals and elegant harpistry.

The huge ensemble sees a talented troupe playing over one hundred live instruments. This adds an extra dimension to an already vibrant show, but at times levels aren’t balanced and we struggle to hear the vocals.

Although dubbed a circus musical, it isn’t until the end that Barnum moves into the big top with business partner Bailey. Circus acts pepper the action throughout though – everything from aerial skills, acrobatics, contortion, juggling, fire breathing, and a tightrope act (walked by Mead himself) These are impressive but can sometimes feel superfluous.

Instead of focusing on the circus itself, the plot follows earlier sideshow acts such as the world’s oldest woman Joice Heth (Dominique Planter) and the diminutive Tom Thumb (Fergus Rattigan)

Both performers have strong solos, and Rattigan’s Bigger Isn’t Better gets rapt applause. He’s joined by Jumbo the Elephant too, from a family of puppet pachyderms we’d seen previously in Circus 1903 in London. Think War Horse meets circus.

Lee Newby’s design is perfect, and really sets the scene of 1800s America. It’s circus but with that vintage edge; the slightly muted colours and lamplit haze. Costumes are tip-top too – from Lind’s opulent frocks to a troupe of stylised sad Pierrots. Mead’s own clown in the second act is adorable.

Choreography is by renowned Strictly Come Dancing dancer Oti Mabuse, and is slick and polished throughout. Sensibly, the creative team have hired consultants – such as Zippos Circus, and magician Richard Pinner – to offer expert guidance on these specific arts. Magic in The Colours of My Life is a nice touch.

Where Barnum perhaps falls short is that the musical itself is a little dated and shows it’s age. Comparisons to The Greatest Showman are inevitable – and that brings a modern twist to an age-old story, with a fresh new score and arguably more memorable songs.

Although delivered with an abundance of energy and talent, the songs here are sometimes forgettable and some tend to drag. The first act runs long, and the pace dips at times – especially during Barnum’s foray into politics later.

That being said, if you’re a fan of Barnum already then this is a solid production. Expect plenty of razzle dazzle, a sumptuous set, a huge cast of actor-musicians and circus skills aplenty. The rousing finale of Join the Circus is a feast for the senses, and there’s an undeniable appreciation for this huge cast and unseen hardworking crew.

Pack your trunk (elephant pun) and Follow the Band for a circus extravaganza.

Barnum The Circus Musical runs at York’s Grand Opera House until Saturday 28th February. Roll up, roll up and book your tickets at https://www.atgtickets.com/shows/barnum/grand-opera-house-york/

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