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…
Photo credit Gisele Schmidt
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.
Photo credit Gisele Schmidt
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.
Photo credit Gisele Schmidt
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.
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.
We donned our colourful coats and headed to Leeds to catch the classic Andrew Lloyd-Webber hit Joseph and the Amazing Technicolor Dreamcoat.
Photo credit Tristram Kenton
Unless you’ve been living under a burning bush, you’ll probably know that the plot follows the tale of a young dreamer sold into slavery, who bounces back as Pharaoh’s right-hand man. Donny Osmond popularised the title role in the 1999 film, as well as Jason Donavan, Philip Schofield, Darren Day and Gareth Gates on stage.
The action takes place across Canaan and Egypt, and Morgan Large’s set transports this eager audience in a haze of drapes, stars and a vivid palette. Ben Cracknell’s lighting design is electric, and accentuates everything from the pulsing disco vibe of Go Go Joseph, to a dank jail cell in Close Every Door. There are props aplenty too, and I found myself wanting a go on the clever Camel-bikes or taking Joseph’s golden chariot for a spin!
We first meet Christian Bianco’s Narrator, who is the golden thread that holds it all together. Instantly likeable, she playfully jokes with the audience when her disguises (including Joseph’s dad Jacob) fool nobody. With powerhouse vocals and a real warmth, she reminds this reviewer of a younger Jane McDonald.
Photo credit Tristram Kenton
Adam Filipe might be the most well-spoken Joseph we’ve seen. He fills the boots well and is truly a walking work of art in his colourful coat. Boundless energy and incredible vocals, he excels during Close Every Door which he delivers with a real poignancy.
Star turn Joe McElderry (of X-Factor fame) is our Pharoah. A long time coming – Pharoah doesn’t appear until well into the second act – he is worth the wait and has all the swagger of this Elvis-inspired King of Egypt. Another tip-top singer, with the odd cheeky wink to the crowd. His key scene is a visual highlight too, and sees him surrounded by dancing statues, hieroglyphs and even a lip-syncing Horus and Anubis.
Photo credit Tristram Kenton
The entire ensemble work hard, and there is no weak link. I can only imagine the speed of quick changes behind the scenes, as performers switch in and out of wigs, beards and the many stunning costumes.
All the previous productions of Joseph we’ve seen have been very much by the (Good) Book, and we arrived last night thinking we knew exactly what to expect. However, this tour keeps things fresh and innovates in some surprising ways…
Firstly, the children are no longer consigned to just ‘ah ahs’ in the chorus, and instead play an integral role throughout. Donning fake beards, they join the band of brothers, and even take on some of the larger roles. A pint-sized Potiphar is a triumph! The Baker and Butler duo are fantastic too. All the children fizz with energy and enthusiasm, and get some of the biggest laughs of the night.
Other innovations include a cheerleading twist on Go Go Joseph, a slightly obscure Can Can routine in Canaan Days (“I said Canaan, not Can Can!”) and fresh, modern choreography. There are other nods to the modern day too, with iPhones, Starbucks and Converse all appearing.
Photo credit Tristram Kenton
Some theatregoers lament how simple Joseph’s score is, and it was originally written so that primary schools could stage it with ease. But oh boy are the songs catchy and varied! Expect everything from Calypso, Western and French ballads to rock and roll, pop and jazz. All are delivered with crystal clear vocals, tight choreography and a rousing live orchestra led by John Rigby.
Ideal for musical theatre fans, Joseph is song n’ dance from start to finish. There are dips in pace in the second act but overall its punchy and slick. The much-anticipated Megamix has the whole audience on their feet at the end, and brings the show to a close in a riot of colour and toe-tapping fun.
Despite the recent beastly weather in York, the shows must go on, so we headed to the Grand Opera House for Beauty and the Beast. UK Productions are back, but this time without Berwick Kaler and gang. We welcome the change and were excited to see if this production would have us roaring with laughter…
Disney fans may be a little confused as this isn’t the cartoon (or more recent live action) tale, presumably for licensing reasons. You won’t find Gaston, Lumiere or Chip or even the toe-tapping Be My Guest or other film favourites. What you will find though is a polished panto with high production values and a talented cast from stage and screen.
CBBC favourite Dani Harmer (aka Tracy Beaker) is the headliner this year, performing in her favourite fairytale. This isn’t the first time Dani has graced the Opera House stage either; she played Janet in a national tour of Rocky Horror…
Photo credit Kirkpatrick Photography
Here though, her Fairy BonBon is much more family-friendly. Harmer is instantly engaging, and fizzes with fairy fun. There are plenty of nods to Tracy Beaker too, including a familiar musical ditty on every entrance. Dani clearly loves what she does, and that enthusiasm is infectious. Her rhyming patter is pun-packed, and she even acknowledges filling time to cover scene changes. Tres Bon (Bon!)
That’s a Rap!
A rap battle with Hugo Pompidou (Phil Atkinson) is an inspired choice, and helps add sass to a sweet role. This is a pantomime that does some things traditionally (like the never-changing ghost scene) and innovates elsewhere.
Photo credit Kirkpatrick Photography
The gyrating Hugo in tight pants up the risqué-factor further, and flirts with the front rows. Not quite Magic Mike but expect dancing pecs, hip thrusts and innuendo. Rod Stewart classic Do Ya Think I’m Sexy? is his highlight, and performed with plenty of swagger. The audience boo Hugo, but he’s never quite a panto villain in the traditional sense. And the Beast is simply misunderstood, so in reality there’s no cackling evil baddie here.
Jennifer Caldwell’s Belle is truly the belle of the ball, and perfect in the role. Sweet without ever being sickly, she’s a true musical theatre stalwart hot off the heels of Six the Musical. Doting dad Clement (David Alcock) has a believable relationship with his worldly-wise daughter, and is warm and genial.
Making an Ass of Himself
Phil Reid’s Louis La Plonk has boundless energy, particularly in the Wonky Donkey skit which sees him cantering around on a donkey throughout. The audience soon warm to him, and he’s daft as a brush. He quickly puts the young volunteers at ease who join him on stage for the songsheet at the end too.
Some of Reid’s funniest scenes are with Dame Polly La Plonk, and the pair bounce off each other effortlessly.
Photo credit Kirkpatrick Photography
Polly (Leon Craig) is larger than life, and suitably outrageous. Unlike many dames, she can really sing too and deserves a full solo. Naughtier than we expected, there’s a smattering of smut here but many of the more adult jokes will (hopefully) go over the kids’ heads. Fab frocks and wigs too, with a giant teapot driving us…well…potty!
Photo credit Kirkpatrick Photography
Samuel Wyn-Morris’ Beast – or Mr Beast to appease the YouTube generation – packs a powerful punch with incredible vocals. In Act Two, he adds comedy to the role with an almost Grinch-like characterisation, as he attempts to learn dating etiquette to woo Belle. He looks the part, and the inevitable transformation to human is slick and inventive.
A large ensemble help fill the stage, and choreography is tight throughout. Young dancers from Dance Expression and Lisa Marie Performing Arts are clearly living their best life; bundles of enthusiasm with smiles all round.
A Tale as Long as Time?
At 2 hours 45 minutes, this is the longest pantomime we’ve seen. It’s generally pacey, but – like an unused rose – could do with a little pruning. I imagine it will get shorter as the run goes on though.
Visually the show is stunning, with incredible sets and stunning costumes. There are a few unusual choices though. A giant rose sits in a bell jar in a royal box – lit for the entire production but never acknowledged. The petals don’t drop like in the classic tale which is a shame. And this reviewer always misses a water pistol session or messy slosh routine, both becoming increasingly rare in modern panto.
Beauty and the Beast is a treat for fans of musical theatre. Most of the songs are from shows like Cats, Joseph, Moulin Rouge, Wicked, The Wiz and more. The rousing Act 1 close is Les Miserables’ One More Day, complete with waving flags and familiar choreography. There are also hits by Lady Gaga and Taylor Swift to help keep things current, plus older classics. I especially enjoyed the Beast’s I Will Do Anything for Love by Meatloaf.
Photo credit Kirkpatrick Photography
Our boys (8 and 11) said this was the best pantomime they’ve seen at the Opera House, and the best version of Beauty and the Beast. Their highlights include silly shenanigans during a kitchen scene making baguettes, the jokes, slapstick and knockabout fun.
It’s refreshing to see a new take on pantomime at the theatre, with a young and fresh cast offering a genuinely family-focused production (a few naughty gags aside!)
Fairytale fun with plenty of razzle dazzle…a beauty of a show!
On a stormy Thursday evening we were transported from York’s Shambles to…Egypt’s Shambles. Apparently they exist in a parallel universe, in this year’s inventive take on Aladdin.
CBeebies favourite Evie Pickerill plays both the Spirit of the Ring and the Genie of the Lamp. Initially, I felt it was a bit of a cop-out not to have a standalone genie, but there’s plenty of fun wrung out of the quick changes. Pickerill is energetic and likeable, and a great singer too.
Photo credit SR Taylor Photography
I don’t know you, but your fez is familiar!
Robin Simpson returns as dame but there’s no mention of Widow Twankey here. Instead the washroom has become ‘Born to Pun’ – a joke shop full of wacky wares run by Dame Dolly. It’s really just a vehicle for daft gags galore, but this fellow punslinger isn’t complaining.
Simpson is, as ever, a treat – and is quickly making his mark as York’s new legendary dame. He doesn’t resort to smut beyond the odd light innuendo, and playfully picks on an audience member without ever really making them the fool. The frocks are all bobby-dazzlers too, especially the peacock finale and the two joke shop ensembles.
Photo credit SR Taylor Photography
Diamond in the Ruff
His chemistry with villain Ivan Tobebooed (Paul Hawkyard) is pure joy, and these theatre stalwarts have the audience eating out of their palms. Hawyward is a classic panto villain and acknowledges his theatrical approach, even donning a Shakespearean ruff at one point. Hammier than a Peppa Pig box set, but does it work? Oh yes it does!
More comedy comes from Tommy Carmichael’s Charlie, and a little juggling adds variety. He can bust some funky moves too. Unexpectedly though, it’s Rowan Armitt-Brewster’s PC World that gets some of the big laughs with his excellent comic timing and brilliant lip-syncing in a ‘push the button’ song skit.
Aladdin (Sario Solomon) brings great musical theatre vocals to the role. Often the hero is overshadowed by the dame and comic male, but Solomon really holds his own here. Love interest Jasmin (Emily Tang) is well cast, and she’s the feisty female who takes her time to get to know Aladdin. No ‘love at first sight’ mush in this production!
Photo credit SR Taylor Photography
Carpet…Right!
There are key moments I look out for in each panto. The transformation scene in Cinderella, flying in Peter Pan, and the magic carpet in Aladdin. I won’t pull the rug from under your feet, but I will say it’s quite simply the BEST carpet we’ve ever seen. Even from row G in the Stalls, the illusion was perfect. A dizzying delight!
In fact for us this is a panto of bests. Visually it’s the best we’ve seen, excelling in design across set, costume and special effects. It also has some of the strongest song choices we’ve heard, spanning the decades with something for everyone. Aladdin and Jasmin’s romantic medley is a highlight – featuring I Will Always Love You, Can you Feel the Love Tonight? and Your Song. Closing number Free from Desire has everyone up on their feet too.
Photo credit SR Taylor Photography
This reviewer misses a slosh scene or water pistol routine – and there are no children up on stage for the song sheet – but it’s still far fresher and funnier than any pantomime we saw before Evolution Productions started at the Theatre Royal.
Aladdin features everything you might expect…from local references, big song and dance numbers and audience participation. But it also mixes up the formula with things like oversized animals, marauding mummies and a clever comic-book twist on the good vs. evil fight scene.
Photo credit SR Taylor Photography
A lavish production with puns aplenty, toe-tapping tunes and lots of panto magic.
A wish come true!
Aladdin runs at York Theatre Royal until January 5th 2025, book your tickets at www.yorktheatreroyal.co.uk
Thumbs up from us? Yes two big ones!
Photo credit SR Taylor Photography
Disclaimer: Tickets were kindly provided for this performance, however all opinions are honest and are our own.
Elf is one of our favourite films, but does the company live up to its promise of New and Exciting Theatre?
Elf tells the tale of a baby raised as…you guessed it…a North Pole elf. He eventually realises he’s human and sets off to find his birth father in New York. Hijinks ensue as Buddy adjusts to city life, falls in love with a colleague and tries to restore Christmas spirit.
The shows opens on a familiar festive figure. Stephen Tearle embodies the Christmas spirit of jolly old St Nick, and a Santa meet-and-greet in the interval is a lovely touch. Tearle’s Santa is warm and engaging, and resplendent in beautiful robes, realistic beard and wig. Any grotto worth their salt (or sugar, an elf’s favourite!) would be glad to have him.
I’m a Santa snob – it’s so easy to get the big guy wrong and ruin the magic – but here it’s so very right. Stephen is also Creative Director, Chairman and Costume Designer for the company, and his attention to detail shines.
Finlay Butler’s Buddy has some big (pointy) shoes to fill, with so many people knowing Will Ferrell’s 2003 role so well. His entrance on a skateboard is an early indication of his playful, youthful demeanour.
I actually preferred this portrayal to clips of Buddy I’ve seen of some of the professional touring productions of Elf. Some Buddys don’t capture the childlike innocence and wonder, and play him more tongue in cheek, which really misses the point. Butler’s Buddy though hits the sweet spot, and he’s careful not to parody Ferrell’s performance.
Love interest Jovie (Maia Stroud) is more surly that her film counterpart, but transitions well into the lighter side when she finds the Christmas magic. A good singer too, particularly during Never Fall in Love (With an Elf)
Perri Ann Barley as mum (or ‘mom’ here , to suit the setting!) Emily Hobbs is a delight. She maintains a convincing American accent, and sings well throughout – especially in duet I’ll Believe in You.
James O’ Neill as Walter Hobbs has a great story arc; first appearing as a workaholic before realising the important of putting family first. O’ Neill demonstrates this well, and we’re eager to see him soften and get off that naughty list! Son Michael (Zachary Stoney in our performance) is well cast and confident in front of this full house. He could go far.
Scatty secretary Deb (Ali Butler-Hind) reminds this reviewer of Alice Tinker from The Vicar of Dibley, with a ditzy energy and zany costume to match.
The huge ensemble of children really give it their all, the enthusiasm is infectious and they are clearly having bags (or Santa sacks?) of fun! The adults too are all keen and committed to delivering festive fun.
The set is largely projected. In previous reviews we’ve commented on over-use of projection – in pricey professional productions we sometimes expect more set for the spend. However, here it works wonderfully well, and is an effective way to flit between New York and The North Pole. Extra set elements add depth, with fairy lights galore, a glittering sleigh and a stunning Christmas tree.
A live band is a treat for a small production, where others might rely on backing tracks. This is no fault of the company, but quite a few of the songs are forgettable in Matthew Sklar and Chad Beguelin’s score. There’s only a few you might come away singing but the cast deliver them all with boundless energy and enthusiasm nonetheless.
Bob Martin and Thomas Meehan’s script is very American too, with gags about particular States and franchises like Taco Bell that don’t always hit with this Yorkshire crowd. Perhaps a few local updates a la panto? Licensing rules may prevent making changes though.
The Joseph Rowntree Theatre is ideal for Elf. Even from the back of the stalls we had a perfect view in this cosy, community space. We all know how expensive Christmas is, and pantos and touring shows can cost a pretty penny. NE Theatre are budget-friendly, plus you’re supporting local arts and helping good causes (don’t forget your raffle tickets and programmes!)
NE Theatre has a real emphasis on giving people a chance and in really looking after their team. There’s a sense of family, and in everyone have a great time together. Whilst technically an amateur production, there’s plenty of talent here and the show made me smile (and to quote Buddy – smiling’s my favourite!)
I’d suggest booking a ticket but, true to form, NE Theatre have sold out yet another run – a testament to the company’s hard work and loyal following.
Been a Cotton-headed Ninimuggins and forgot to book? Call 01904 501935 in case of cancellations, and be sure to catch their other shows including Carousel and Charlie and the Chocolate Factory in 2025.
Like the iconic 1975 film, Rocky Horror tells the tale of lovestruck Brad and Janet Weiss who stumble across a gothic mansion full of ‘rich weirdos’. They soon meet transvestite Frank-N-Furter, and uncover a deliciously dark plot of murder, jilted lovers and aliens.
This isn’t our first Rocky rodeo. We’re regular Frankie fans and have seen many productions, so were looking to forward to this with great antici…
Photo credit David Freeman
…pation! In Joseph, Jason Donovan handed over the dreamcoat to a younger performer and took on the role of Pharaoh instead. Here though, he reprises a part he first played almost thirty years ago. Cleverly, he’s adapted the role to suit his age, and now plays Frank-N-Furter as a washed up coke-addled old queen. Donovan minces around with a skittish energy, and is the most unhinged Frank we’ve encountered. His evil laugh is to die for!
Vocally, we initially felt he didn’t have the same strength as his co-stars, and Sweet Transvestite seemed a little under par. However, by the Floor Show in the second act he was on fine form. I’m Going Home is a triumph; delivered with both poignancy and power. Stunning.
Kristian Lavercombe has hung up his bald cap, and is no longer playing Riff Raff after thousands of performances across the globe. Job Greuter dons the padded-hunch and is smart to not imitate O’ Brien or Lavercombe. Greuter has sharp vocals and some nice comic touches, and isn’t just any old Riff Raff.
Connor Carson’s Brad has nerdish charm in spades. A strong singer, he also has great comic timing – especially when thrust together with Frank. Lauren Chia as Janet nails the transition from innocent fiancé to curious woman of the world. She sings well too, and belts Super Heroes with ease. Both have excellent chemistry together and capture the wide-eyed overacting of the B-movie era.
Photo credit David Freeman
Columbia (Jayme-Lee Zanoncelli) and Magenta (Natash Hoeberigs) are both strong, and each put their own stamp on the roles. They hold their own when they could easily be overshadowed by those with more stage time. Zanoncelli is a whirlwind of energy in her fast and frenetic tap solo.
Morgan Jackson is the perfect Rocky; complete with rippling muscles, blonde hair and a tan. More than looks though, this Rocky can sing – and Jackson excels in The Sword of Damocles and Rose Tint my World/Floor Show. Edward Bullingham rocks to Hot Patootie as Eddy, in a role pioneered by Meatloaf (yes, really!) He also plays Dr Scott, and milks the reveal of his silky stockinged pins.
Photo credit David Freeman
Nathan Caton’s Narrator is a sensation. Casting a stand up comedian is a smart choice, and that’s no joke. Caton gives as good as he gets, and snappily banters back with the quipping audience.
And quip they do. For the uninitiated, seeing Rocky Horror on stage isn’t a passive experience. With its cult following, there’s an unwritten audience-participation script that the die-hard fans follow to the letter. The constant interruptions can seem like heckling, but don’t beckon the ushers over though – it’s all part of the Rocky vibe.
The cast manage it well, and of course they expect it. Thankfully, this audience showed restraint in the more touch-a-touch-touching moments such as Brad’s Once in a While and Frank’s I’m Going Home.
Photo credit David Freeman
In terms of design, this is largely the same production we’ve seen time and time again. ‘It Was Great When It All Began’, but this reviewer can’t help wishing they’d shake up the formula just a little, especially as the show celebrated fifty years in 2023.
That being said, there’s plenty of polish and pizzazz. Hugh Durrant’s stage is encircled by a film reel, and features cut-out flats reminiscent of a school production. Frank’s lab fizzles with electricity, and an upright bed welcomes naughty shenanigans that would make a gynaecologist blush.
Photo credit David Freeman
Nick Richings’ lighting design dazzles in all the right ways. And a live band – led by musical director Josh Sood – brings the crowd-pleasing score to life. Fan favourites are all here, including The Time Warp which sees everyone up on their feet at the end.
Rocky Horror flies by in a haze of sequins, suspenders and smut. You’ll be thrilled and chilled with two hours of flirty, fabulous, toe-tapping fun. So dig out your glitzy heels, tighten that corset and prepare for a Rocky night ahead.
Don’t Dream It, Book It!
The Rocky Horror Show runs at Sheffield’s Lyceum Theatre until November 30th, before continuing the national tour. Find out more at https://rockyhorror.co.uk/
Photo credit David Freeman
Disclaimer: Tickets were kindly provided for this performance, however all opinions are honest and are our own.
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!
Photo credit Lotty Farmer
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.
Photo credit Lotty Farmer
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.
Photo credit Lotty Farmer
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
Photo credit Lotty Farmer
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!
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.
Photo credit Ellie Kurttz
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.
Photo credit Ellie Kurttz
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.
Photo credit Pamela Raith
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.
Photo credit Pamela Raith
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/
Photo credit Ellie Kurttz
Disclaimer: Tickets were kindly provided for this performance, however all opinions are honest and are our own.
We’re no stranger to the stage adaptations of David Walliam’s bestsellers. Gangsta Granny, Billionaire Boy, Demon Dentist…you name it, we’ve probably seen it. We had high hopes for Awful Auntie as we know that, when it comes to children’s theatre, Birmingham Stage certainly don’t just…phone it in!
Awful Auntie is whodunnit tale of murdered parents, a comatose niece and a bumped off chimney sweep-turned-cockney ghost. Add a barmy butler, a few fart jokes and a smattering (or should that be splattering?) of toilet humour, and you know what to expect.
Neal Foster’s Auntie Alberta is like the lovechild of both Rik Mayall and Ade Edmonson, with a little Monty Python thrown in too. Delightfully dastardly, Foster never strays into panto dame territory and would make an excellent Miss Trunchbull. Truly awful in the best possible way, but also unlikely to cause any nightmares.
Annie Cordoni plays Alberta’s niece Stella, and has plenty of childlike enthusiasm. She’s feisty too, and doesn’t stand for any injustice. The audience are quickly on her side and we’re all rooting for her to save the day!
That’s the Spirit
Stella soon partners up with cheeky-chappie ghost Soot (Matthew Allen) to try and scare Alberta out of the house before she gets her hands on the title deeds (or ‘deedy weedies’) Allen is instantly likeable in the role, and our boys enjoyed sleuthing out his cockney rhyming slang. He has some poignant moments too, and delivers them sincerely.
Zain Abrahams butler Gibbon is like the circus clown who comes on for a quick skit between acts. Each gag or prop joke here is well executed though, and they certainly add comic relief! Abrahams bumbles around and relishes each moment of buffoonery.
Puppetry is used throughout to great effect. Puppet Captain Emily Essery manipulates Wagner the owl in various forms, landing the bird on Alberta’s arm or swooping it over the audience with ease. This wandering Wizard now wants an articulated owl puppet of his own!
Adorable miniature dolls of Soot and Auntie are well received, and movements are precise and expertly choreographed. Puppet designer and director Yvonne Stone has done wonderful work here, and a cliff-hanger of a scene between mini Stella and Auntie is inspired!
Vrrroom with a View
Jacqueline Trousdale’s set design is excellent, and really captures the grandeur of Saxonby Hall. There are some great set-pieces, from Stella’s parents car, a snow owl and a giant booby-trapped cage that tortures whoever is inside.
Unfortunately our performance had a breakdown of it’s own, and was briefly halted due to technical issues with the set. Hopefully this was just opening night teething troubles at a new venue. Speaking of first nights, the cast here did remarkably well to maintain the atmosphere with a very small audience. It didn’t seem to faze the performers when they weren’t getting the big reactions of a fuller house.
Just Desserts
Good for all ages? There’s an overriding theme of death, murder and betrayal, but we didn’t find it nearly as dark as The Demon Dentist. Music is dramatic and creepy at points but sets the scene perfectly, and there’s lots of silliness to keep things light. A highlight is when Alberta gets her comeuppance in a series of pranks set by Stella and Soot. No spoilers, but it’s a delight to see the calamity unfold!
Our eldest (11) particularly enjoyed this show over others, and it was my favourite David Walliams adaptation so far. It’s quite different to previous shows, and less formulaic – there’s no Raj the shopkeeper, no songs, and no audience participation. Awful Auntie stands out in its inventiveness though – with clever theatrics, brilliant puppetry and a genuinely engaging plot with plenty of twists and turns.
Review Wizard 