Elf The Musical, Joseph Rowntree Theatre, November 2024

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.

Find out more at https://www.facebook.com/NMusicals/

Not a show to snooze on…

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

The Rocky Horror Show, Lyceum Theatre, Sheffield, November 2024

Review originally written for The Reviews Hub

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…

…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.

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.

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.

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.

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/

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

Nativity! The Musical, Grand Opera House York, November 2024

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!

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.

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.

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

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!

Nativity! The Musical runs at Grand Opera House York until Saturday 3rd December, book at www.atgtickets.com/shows/pmu-presents-nativity-the-musical/grand-opera-house-york/

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

The Lion, The Witch and The Wardrobe, Leeds Playhouse, November 2024

Review originally written for The Reviews Hub

Kicking off the festive season, we wandered through the wardrobe into the magical realm of Narnia, via the Quarry Theatre at Leeds Playhouse…

The show opens with a rousing rendition of We’ll Meet Again, a sobering reminder of the turmoil of Britain in the 1940s. We soon meet siblings Edmund (Bunmi Osadolor), Peter (Jesse Dunbar), Lucy (Kudzai Mangombe) and Susan (Joanna Adaran) who are sent off to the country as part of the wartime evacuee program. It’s in their new home that they meet an eccentric professor, and ultimately discover the portal to Narnia through an innocuous wardrobe in the spare room…

The four children are adult actors but capture childlike excitement and innocence well. The siblings are perhaps less distinct in personality than in the film and television versions – and none stand out especially above each other – but they work well as a family unit. Their relationships are believable, and the bickering relatable.

Alfie Richards plays Mr Tumnus, and has a genuinely caring and almost fatherly instinct towards Lucy. We feel his pain as he wrestles with his conscience under orders of the Witch. He excels with beautiful vocals in the bittersweet song When There Was Spring.

Mr and Mrs Beaver (Ed Thorpe and Anya De Villiers) help progress the plot and guide the children to Aslan. Thorpe’s Mr Beaver adds comic relief, especially when experiencing deep shame. De Villiers Mrs Beavers is the mumsy leader of the resistance, and the plays the role with a real feistiness.

Katy Richards as Jardis The White Witch gives a brr-illiant performance. No frosty reception here; she’s deliciously dark and will have younger audience members cowering at points. Her minions are the stuff of nightmares too, especially the wolf-like Maugrim who leaps around on hand-stilts. Shane Anthony-Whiteley plays the beast with real menace, and engages in some slick stage combat.

Santa appears briefly to gift useful tools to our young heroes-to-be, and is accompanied by cavorting reindeer. Nothing corporate or ‘Coca Cola’ here though, St Nick is presented tastefully whilst still being suitably jolly and rotund. Kraig Thornber shows versality in playing Santa, the Professor and the Wise Owl – and is likeable and endearing as each.

Aslan’s reveal is a long time coming but worth the wait. He prowls the stage with feline precision, and it’s easy to forget that we are watching a puppet – a testament to the puppetry team. His human counterpart (Stanton Wright) – in a majestic mane of a fur coat – didn’t have the rich tonal voice I expected. However, Wright’s more understated Aslan is refreshing, and he plays the lion with more heart than grandeur.

Chris Fisher is illusion consultant, and the effects are executed well. Theatrical magic should blend seamlessly with the action, and not come across as ‘tricks’, and the audience were suitably spellbound here, with audible gasps at one point. Jack Knowles’ lightning helps hide some of the trickery, and his design is striking and bold throughout. Transitional scenes such as passing through the wardrobe, train travel and changing seasons are all enhanced by Knowles’ artistry.

The design across all areas is second to none. There are many inventive moments; from a train sequence where luggage becomes carriages, to a trippy fever-dream with giant cubes of Turkish Delight. Costumes by Tom Paris are excellent too, whether the opulence of the Witch’s plush robes, or the subtle animal elements of the non-human roles.

Whilst the production features songs, think more folk music than musical theatre. A motley band plays everything live, and the audience hang on every note – led by Musical Director Ben Goddard. Levels are well balanced, and the talent on display is inspiring. Santa even plays the spoons!

C.S. Lewis’ iconic tale remains just as relevant and enchanting today, and this production is ideal as an alternative to the many pantomimes this festive season. Whilst not laugh-a-minute like a panto, our children (8 and 11) were gripped.

This production first opened in 2017 in Leeds, toured in 2021 and will tour again next year. Plenty of opportunities to open the wardrobe, push past the fur coats and experience the magic for yourself.

A ROARING triumph!

The Lion, The Witch and The Wardrobe runs at Leeds Playhouse until January 25th. Book at www.leedsplayhouse.org.uk/event/the-lion-the-witch-and-the-wardrobe-2/

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

&Juliet, Leeds Grand Theatre, November 2024

Review originally written for The Reviews Hub

With the popularity of shows like Six and Hamilton, historical productions are making history of their own…

Shakespeare gets the musical glow-up here, and &Juliet asks one key question – what if Juliet didn’t kill herself at the end of the tragic tale? Our Juliet moves to Paris and carves her own path without needing a Romeo to call her own. Themes of girl power, loving yourself and trusting your instincts underpin David West Read’s writing.

The titular Juliet (Gerardine Sacdalan) is a vocal powerhouse, and excels throughout. Her opening song – Britney’s Baby One More Time – is delivered sat down, but with seemingly effortless control and range. Later she sings atop a swinging chandelier, and nails that too.

Shakin’ Things Up

Shakespeare is hailed here as the forerunner of gender-bending, and &Juliet celebrates modern relationships and gender identities. Will is played by 2010 X-Factor winner Matt Cardle, who is a strong vocalist. Initially he seems a little lost amongst the musical theatre stalwarts, but soon finds his feet. We warmed to his take on the bewildered Bard, forced to rewrite his greatest work.

Cardle isn’t the only time-travelling telly face either. Ranj Singh plays Lance with a muddled French accent and comical codpiece. His silky gyrations are a far cry from his CBeebies doctor days.

Jordan Broatch shows a real sincerity as May, especially in the song I’m not a Girl. Broatch sings well, particularly in duet with Kyle Cox’s Francois. Cox embodies the nerdy shy guy pressured into settling down, and revels in discovering his rebellious side with the wayward Juliet.

That’s the Way, I Like It

Nurse Angelique (Sandra Marvin) adds extra comic relief, and has a rich and soulful voice that is a pure delight. Lara Denning’s Anne Hathaway may be older than many of the characters – a point she frequently jokes about – but Denning never struggles to keep up. Singing, dancing and acting are all first-rate, and her rendition of Celine Dion’s That’s the Way is a highlight of the entire show.

Paloma Young’s costumes are absolute perfection, in-keeping with the era but brought bang up-to-date. Soutra Gilmour’s set design is stunning throughout, with a bold and striking set, clever use of projection and slick special effects. This is Shakespeare with added graphic equalisers, horse-drawn rickshaws, mixing desks and thumping beats.

The pop song choices are a diverse mix, and a live band adds depth. I grew up in the nineties, and aren’t ashamed to admit I recognised many. Expect hits from Britney Spears, Kelly Clarkson, Katy Perry, The Backstreet Boys, Bon Jovi, and many more. It’s a soundtrack that spans the decades, with something for everyone to toe-tap along to. The soundtrack is downloading on Spotify as I type.

Many may be turned off by mandatory Shakespeare on the school curriculum, but a modern twist breathes new life into old stories. Don’t expect the original prose or plot, but the writing is inventive, the concept original and the energy relentless.

Bard Language

Family friendly? The suggested age range is 6+ with a PG rating. However, this seems to jar with the sexually suggestive themes and strong language; particularly the act two song P!nk’s F*cking Perfect.

&Juliet has the audience on their feet at the end, beneath a shower of sparks and golden confetti. This is a cast that shines brightly and sparkles with a glittering array of talent. In fact, P!nk probably sums it up best in the previous paragraph.

Shakespeare has never been so camp, so colourful and so fun. Missing out on a ticket would be the real tragedy. A brilliantly Bard-ass spectacle!

&Juliet runs until 30th November 2024, book at leedsheritagetheatres.com/whats-on/and-juliet-2024/

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

Hairspray, Sheffield Lyceum, October 2024

Review originally written for The Reviews Hub

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.

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.

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.

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.

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/

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

The 39 Steps, Grand Opera House York, July 2024

We stepped back in time to the 1930s, to see The 39 Steps at Grand Opera House…

Based on the novel, the plot sees dapper gent Richard Hannah who becomes embroiled in an international spy ring following a murder in his apartment. Fleeing the police, he follows a trail to Scotland to get to the bottom of this whodunnit comedy of errors.

Tom Byrne plays Richard Hannah. Like a young Hugh Grant, he personifies the polite English gentleman, complete with stiff upper lip and pencil moustache.

Safeena Ladha plays three characters here – Pamela, Annabella and Margaret. She has some good physical comedy as Annabella in particular. Pamela is quite a whiney and wet character, but Ladha manages to bring a dry wit and feistiness to the role.

Clowning Around

Listed as Clown 1 and Clown 2, Eugene McCoy and Maddie Rice play a whole host of roles. The billing suggests 139 characters but we didn’t count nearly as many so this might be marketing spiel. Hats fly, accents change and genders blur with strong characterisation throughout. Their clowning is excellent and there were little flashes of Monty Python, Laurel and Hardy and Chaplin.

Expect slapstick and knockabout comedy that is, on the whole, tight and well choreographed. A highlight during strong winds sees the cast billow their costumes in unison each time a door is opened. There are silly moments with windows, sandwiches and the daft antics that come from two performers handcuffed together.

Feeling the Strain

Acoustically, the show is hard to hear at points. Even from the middle of the stalls we strained to hear some of the dialogue. Visually though the staging is excellent, and captures the 1930s setting perfectly. From a London flat, to the Scottish highlands and glitz of the Palladium – Peter Mckintosh’s set design is first rate.

Tripping the Light Fantastic

Ian Scott’s lighting design is excellent too, often reminiscent of a vintage film. A shadow puppet sequence is a clever touch, and sets the scene of a chase well. Elsewhere lights are used as car headlights, and searchlights over the moors.

We’ve seen many farcical shows, from Noises Off and Le Navet Bete’s The Three Musketeers to the various ‘Goes Wrong’ shows. Whilst a few things did indeed ‘go wrong’ here, these moments were tame in comparison to similar shows, and fairly predictable.

A Step too Far…

…or not far enough? For us, it feels like The 39 Steps plays it too safe. There are some inspired moments, but on the whole it’s a gentle and quaint affair that never quite seems to find its momentum.

Some of the jokes felt laboured too; amusing initially but drawn out too long. I love puns, but when a family joke about uncle Bob (“Oh, Bob’s your uncle?”) gets the biggest laugh of the night, it feels like the script needs refreshing.

That being said, there are plenty of people who adore the show – and it’s had a successful West End run along with Tony and Olivier Awards. We had high expectations but found the pace slow, and the laughs didn’t come thick and fast enough. Hitchcock film references are clever though, and again the slapstick is generally well honed.

Overall, we found the comedy underwhelming, the plot a little convoluted and the pace off at times. However, we commend the hardworking cast and crew. If you’re a fan of the book, or you’re new to farcical comedies, you may still find plenty to enjoy here.

The 39 Steps runs at Grand Opera House York until Saturday 27th July 2024. Tickets start from £13 and can be booked at https://www.atgtickets.com/shows/the-39-steps/grand-opera-house-york/

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

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

OVERALL

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