theatre-review – Review Wizard

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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