The Animal Guyz, York Theatre Royal, June 2024

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

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

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

All Creatures Great and Small

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

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

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

Kicking up a Stink

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

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

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

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

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

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

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

Sister Act The Musical, Grand Opera House York, May 2024

What do you call a nun with a washing machine on her head? Sister-matic! Now that old joke is out the way, on with the review…

Nun’s the Word

Sister Act follows the story of club singer Doloris Van Cartier. Witnessing her gangster boyfriend shoot a man, she suddenly finds herself hiding out undercover in a convent whilst waiting to testify in court. This un-convent-ional nun has a lot to learn about the sisterhood, but soon uses her vocal talents to raise the (church) roof, both figuratively and financially.

Landi Oshinowo play Doloris. Can she sing? Oh sister! Oshinowo belts the showtunes, and is a vocal powerhouse throughout. Comparisons to Whoopi Goldberg are perhaps inevitable – and it’s a tough act to follow – but she makes the role her own and has plenty of sass.

Back in the Habit

Coronation Street icon Sue Cleaver returns to the stage after thirty years, to play Mother Superior. She brings a real warmth to the role and has great comic timing, a smart casting choice! Cleaver switches seamlessly from comedy to the desperate frustration of Dolores’ unholy influence on the straight-laced sisters.

Extra comedy ensues from the gaggles of nuns – ranging from the very old to to cranky, timid and, later, funky. Isabel Canning excels as over-eager evangelist Sister Mary Patrick. Canning is a ball of biblical energy and her enthusiasm is infectious. Sister Mary Robert (Eloise Runette) delivers a beautiful rendition of The Life I Never Led, and we really share in her joy at finally being let loose.

Alfie Parker’s Eddie Souther or ‘Steady Eddie’ gets some of the biggest laughs, and is the underdog we’re all rooting for. The romantic subplot between him and Deloris feels a little tacked on, but I Could be That Guy is sensational and has a very clever costume change.

Divine Inspiration

Morgan Large’s clever set design revolves around a huge stained glass window, lit to change in more colours than Joseph’s coat. Altar boys whisk set pieces on and off to transform the space from everything to a seedy back alley and nightclub to the nun’s cloisters, a police station and more.

The pace seems a little sluggish in the second act, and some of the songs are forgettable. Sadly, film favourites such as I Will Follow Him are missing, however this might be down to licensing rights. Niggles aside, the production builds to a satisfying finale and has many audience members on their feet and dancing in the aisles.

Overall this is a slick and polished show with production values worthy of the West End. Led by musical director Tom Slade, the live orchestra sounds divine and really lifts the score. The large cast work tirelessly and we’re treated to some tight choreography and strong vocals.

MAGIC RATING

VALUE FOR MONEY

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Get thee to a nunnery (or The Grand Opera House Box Office) and book your tickets now! Sister Act The Musical runs in York until Saturday 11th May, booking at https://www.atgtickets.com/shows/sister-act/grand-opera-house-york/

Further tour dates and booking links at www.sisteractthemusical.co.uk

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

Joseph and the Amazing Technicolor Dreamcoat, Grand Opera House York, April 2024

We donned our coats of many colours and headed to The Grand Opera House, to catch York Stage’s latest production, Joseph and the Amazing Technicolor Dreamcoat. A family favourite, we were excited to see how the team would stage the hit Andrew Lloyd-Webber classic.

For those not in the know, Joseph follows the tale of a young dreamer from a large family who is sold into slavery, but bounces back as Pharaoh’s right hand man. Donny Osmond popularised the title role in the 1999 film, as well as both Jason Donavan and Philip Schofield in stage adaptations.

Here, Reuben Khan is expertly cast as Joseph, and oh boy can he sing. Close Every Door is a highlight, and brings the house down. He’s a walking work of art in his coat too, in fact all of the costumes are a treat.

Hannah Shaw draws everything together as the Narrator, and is another powerhouse vocalist. She plays the Narrator with a genuine warmth and has a great quick costume change too…blink and you’ll miss it! Pharaoh was played by Amy Barrett, complete with oversized Elvis quiff and plenty of swagger. It’s unusual for this role to be played by a woman, but she brings lots of energy and pizzazz to the role.

In such a large cast there are too many to mention individually, but this is truly an ensemble piece – and there is no weak link. The brothers have a believable camaraderie and, even with Simeon (Finn East) on crutches, the energy never dips.

The large group of children in Team Canaan have boundless enthusiasm and bags of talent. They are clearly having the very best time, and I’m glad they get their own Joseph megamix at the start of Act Two! Expect slick choreography, a few ‘aww’ moments and even a little sass. Special mention must go to Darcie Hynes and Daniel Tomlin, who were especially dynamic and expressive – but all the kids were stars!

Technically the show is a triumph. Beautifully lit and staged, there are some inventive ideas here. I was especially impressed with the use of ladders to represent things like a prison cell and tall chariot, even if they looked a little precarious and wobbly at points. A live orchestra led by Adam Tomlinson ensures a rich sound across the diverse songs style in Joseph – everything from Calypso, Western and French ballads to rock and roll, pop and jazz.

We’ve seen several professional productions of Joseph so it’s difficult not to compare, however this is well up there with the best of them. Although technically an amateur production, you’d be forgiven at points for thinking this is a fully realised West End show. And that’s a testament to the hardworking cast, crew and creatives at York Stage. Pure theatrical magic.

This opening night crowd were on their feet at the end, and the accolades are well deserved. Thank you York Stage for a sensational show.

Go Go Go book your tickets now for feel-good family fun that’ll have you toe-tapping ’til the very end!

MAGIC RATING

VALUE FOR MONEY

OVERALL

Joseph and the Amazing Technicolor Dreamcoat runs at Grand Opera House York until Saturday 20th April 2024. Book online at https://www.atgtickets.com/shows/york-stage-presents-joseph-and-the-amazing-technicolor-dreamcoat/grand-opera-house-york/

King Arthur, York Theatre Royal, March 2024

We galloped over to York Theatre Royal to catch some old(e) school entertainment, courtesy of Le Navet Bete…

Having seen The Three Musketeers, Dracula, Treasure Island and A Christmas Carol, this wasn’t our first rodeo. Or…joust…to be more in-keeping with the theme. With Le Navet, you can always Bete on a great night’s entertainment, and King Arthur does not disappoint.

Part Monty Python, part The Play That Goes Wrong, expect a high-energy show with lots of knockabout fun, quick (and countless) costume changes and gags galore.

I’d Like a Room for Three (K)nights

The plot follows a motley trio and their quest to stage a play for Arthur-fest, by request of the King himself. The problem? There are no legends to be found, and the clock is ticking. The gang scramble to embellish stories from characters they meet around Camelot, or risk a year of scrubbing toilets…or worse!

This is a real comedy of errors, confusing at times but that only adds to the fun. Nick Bunt, Al Dunn and Matt Freeman play an eye-popping array of characters, and seamlessly switch roles, accents, wigs, tabards and frocks. Seldom-seem Stage Managers (Fi Russell and Jess Crocker) must be working their socks off behind-the-scenes to keep order amongst the chaos!

In the second act, each of the stories is highlighted with a catchy jingle. There are tales of dragons, knights, an invisi-bullock and a bath of boiling beans. My own knowledge of Arthurian legend is limited, so I’m not sure how much of a spin they’ve put on a each tale…but I’d wager they’re not 100% accurate.

A Little Horseplay

What the show lacks in accuracy, it more than makes up for in fun – with brilliant buffoonery, larger than life characters and just the right level of audience participation. There were many highlights, one of mine being Merlin’s wife who – inexplicably – could walk upstairs but never down them. As Merlin exclaimed between naff magic tricks, ‘She’s like a cow!’.

A flirtatious Guinevere elicits laughs too, with a chocolate milkshake and a familiar song. Oh and of course things go amiss, and the gents are quick to acknowledge the absurdity of the whole premise. The montages as the trio learn acting and stagecraft are inspired.

There was a slight dip in pace in the first act, and things took a while to hit the big funnies of the brilliant intro again. However, once it found it’s (ostrich) legs, it was a sprint to the finish with fast-faced frenetic fun.

Taking Stock

Is that image a stock photo, I wonder? The production team have gone positively medieval on the design of the show.

Fi Russell’s set design features a castle backdrop that transforms into a show tent, and cleverly uses multiple levels for the players to scale up and down, and even leap off at points.

And there wouldn’t be a round table big enough for all the props here; from frying pans, planks and puppets to vegetables, sacks, swords and the classic cup and ball game. ‘Thrust Cup’ are two words I didn’t expect to hear last night…

Sometimes you have to be a Little Bit Naughty

Fun for all the family? The suggested age rating is 7+ and there’s plenty of innuendo and a very funny naughty bit at the start (that I won’t spoil) which our seven and ten-year-old loved. The gents are so likeable though, that these cheeky moments are just that…a little cheeky, and never really offensive. I’ve heard far worse in so called family-friendly pantomimes.

Younger audience members may struggle to follow the many twists and turns of the absurd plot, but the show is highly visual and delightfully silly. Our two boys have been reenacting some of the scenes over breakfast, and are interested to find out more about the legends (fist pump) of King Arthur.

Queen songs, egg puns and more slapstick than you can shake a sword at. What’s not to like? This is comic chaos of the highest (ex)calibre!

MAGIC RATING

VALUE FOR MONEY

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King Arthur runs at York Theatre Royal until Saturday 23rd March. Book tickets at www.yorktheatreroyal.co.uk/show/king-arthur/. Follow Le Navet Bete’s tour at https://lenavetbete.com/

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

Blue Beard, York Theatre Royal, February 2024

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

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

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

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

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

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

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

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

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

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

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

MAGIC RATING