80s nostalgia is a big thing at the moment so what better way to spend a Friday evening than watching one of the best things from the 80s.
Set in the fictional town of Bomont, Footloose tells the story of a group dog teenagers who want the right to dance and have a school prom. Led by new boy Ren (Tom Handley) the teens explain why they should be allowed to have the dance and why the actions of teens in the past shouldn’t affect them today.
Although the cast are all young they were amazing. Handley gives a superb performance as Ren and Charlotte Windell is a fantastic Ariel but true stars of the show are Bradley Riches as Willard and Gemma McKay as Rusty. The pair steal the show every time they are one stage and although McKay seemed to have problems with her shoes during the last dance number she didn’t let it stop her. The best scene in the show is McKay and Windell singing I Need a Hero, along with Jasmine Woodward and Kiki Brookes-Truman who play Wendy-Jo and Urleen respectively. The four song their hearts out and the reveal of sparkly dresses under their characters costumes gives the show the wow factor.
Although the scenery is basic the cast are able to utilise every last bit of it and the audience are left wanting more. The costumes are similar to those worn in with the original movie and the remake but are given their own twist to make them stand out.
All in all a good night out which will leave you singing and dancing for days afterwards, grab yourself a ticket whilst you can and go and see the show.
Inspired by the 2000 hit film Bring It On starring Kirsten Dunst, this production follows the competitive world of high school cheer-leading. The show is presented by The Quay Players. Directed by Kate Hannam, this company was established as an amateur musical theatre group in 1997.
I was curious to see how such a successful film comprising of complex cheerleading routines would translate on the live stage and had some reservations but as I turned up to a sold our show on opening night, I realised my fears were unfounded.
The story revolves around pretty blond and privileged Campbell, who is the current head cheerleader from predominantly white and wealthy Truman High School. She is determined to lead her team to victory at the cheerleading national championships. However her dreams are crushed after she is deviously transplanted into an inner city neighboring school Jackson high which gasp- does not have a cheerleading squad!
Campbell makes it her mission to befriend the Jackson high hip hop crew with the intent of secretly transforming them into a cheerleading squad to compete against her previous nemesis Eva who has now taken over her old cheerleading squad.
The very beginning of the show focused on life at Truman high, I feared that this was going to be an overdone teen age drama love story but this was actually about the development female friendships and loyalty which was very refreshing.
The shift to Jackson high raised the level of excitement and energy with the characters, music and dance moves generating a lot of interest and enthusiasm from the crowd.
The time barely registered as the stage was engulfed with great dance moves, cheerleading flips and colorful costumes. There was an energy which was consistent throughout the evening! The hard-working ensemble show high energy and precision, especially with slick choreography. The Cheerleading routines are particularly impressive considering the small space.
The hardworking cast was a key contributor of the enjoyment of Bring it on. I also loved the cast who were of differing ethnic backgrounds but also of various shapes and sizes, echoing a message of inclusion which I sadly find to be a rarity in musical theatre.
The characters were very well developed and you really felt yourself rooting for the underdogs! In particular the standouts were Jackson high’s Danielle played by Gabriella Mccoy who brought a great mix of toughness and vulnerability along with powerful vocals. The scenes with Danielle and her squad were some of the most enjoyable! We also see the transformation of Bridgette, (played by Emily Law) who transforms from a dork to a fierce friend, singer and friend while finding a romantic partner.
There was constant humor and the vocals were strong with very catchy tunes. Unsurprising given the fact that the Music was created by Tom Kitt and Lin Manuel Miranda, the later who is behind the musical fame of Hamilton and has been nominated for an Oscar. The superior music in this is reflective of this work.
If you want a fluffy, upbeat musical then this will delight as the cut throat satirical world of cheerleading resulted in many laugh out loud moments.
Bring It On is currently playing at the Greenwood theatre until Saturday August 3rd.
Assembly Rooms – Reviewed 1 August, Playing until 25 August
Reviewed by Manetta McIntosh
4****
The One That Has Potential.
This parody musical of the hugely successful Friends series may seem a bit confusing to anyone who has not watched Friends, in fact, it may confuse some who have seen it. The show covers 10 years of the series in 1 and a half hours with a timeline that is slightly distorted, but this is part of the show.
Jamie Lee-Morgan’s depiction of Ross is like watching the episode with Russ, it is…but it isn’t. In fact most of the cast where spot on with their version of the Friends characters, Thomas Mitchells may not have looked exactly like Chandler but he had his mannerisms and catch phrases off pat. However, Sarah Goggins WAS Monica Geller, I could not take my eyes off her when she was acting because it was like Courtney was in the room. The only one who I could not really place was Joey, Jordan Fox did not look or really sound like the loveable rogue, but you knew who he was supposed to be…even though he never once appeared on stage with blue lipstick.
The show definitely has potential, there were so many comedy references to iconic scenes that will have true fans howling at parts of the script, but for me some of the lines were delivered so quickly I almost missed the punchline. Some of the gags were visual, *Spoiler Alert* I don’t think you need to sit too close to the front to be able to see Rachel’s (Charlotte Elizabeth Yorke) nipples, it was almost as if they were becoming more obvious as the show went on, and Monica with the turkey on her head was as funny in this version as it was in the original.
There are a couple of very important faces that made an appearance, some of them were the main cast doubling up, but my favourite had to be Gunther who, I believe, was played by Duncan Burt, he had the dead-pan coffee shop owner to a tee. He also came on as Magnum PI during the very catchy song ‘Richard’s Moustache’. Jordan Fox doubling up as Chloe the hot Xerox girl was pure genius and oddly attractive, and Ohhhh Myyyyyy Gawddddddd no series or version of Friends would be complete without Janice.
There were parts of the behind the scenes production that needed tweaking, the sound was sketchy at times and the scene changes were awkward, I also felt that the venue was too small for the production, but that is likely down to the resources available during the Fringe. The cast worked incredibly hard to make the scene/costume changes as smooth as possible as they were also doubling up as the stage crew, during the dream scene the costume change for Chandler was so quick his zip was still down.
I think if you don’t expect this to be a replica of Friends or a follow on from where they ended, then fans will love it.
Brockley Jack Studio Theatre – until 3 August 2019
Reviewed by Catherine Françoise
4****
Katheryn Howard was Queen of England from 1540 until 1541 and is well known as the fifth wife of Henry VIII.
She was beheaded at the Tower of London on the 15th February 1542 aged just 17 and this play chillingly suggests her body was covered in lime to leave ‘no trace’. Certainly no trace of her body has ever been found.
A gruesome and upsetting tale indeed and the subject of an interesting, unsettling new play by Catherine Hiscock.
The spelling of the title name Katheryn, comes from one surviving signature on the only surviving letter written by herself where she called herself ‘Katheryn’. But other spellings also still exist including ‘Catherine’ and ‘Kathryn’ and so it is very hard to say which spelling is the original one.
The recent interest and popularity of Henry’s 6 wives because of SIX the Musical perhaps now give other theatrical endeavours an added gravitas though this play is rather less ‘entertaining’ and rather more intense, thought provoking and disturbing. It is quite something to realise just how young this girl was when ~ around 11 or 12 years old ~ she was first molested by her 36 year old music teacher Henry Mannox. She was then pursued and she alleged, repeatedly raped aged14/15 by courtier Francis Dereham who said he was in love with Katheryn and wanted to marry her.
Who knows the truth? Only one letter written by Katheryn survives to (unfortunately) Henry’s favourite male courtier, Thomas Culpeper, Katheryn had considered marrying Culpeper during her time as a maid-of-honour to Anne of Cleves, and she was clearly extremely fond of him though she was adamant to the end that she had not betrayed Henry for him. But the accusations made were essential to manipulate her ultimate downfall and free the King from her.
It is to Hiscock’s credit that she not only has written this play but also plays her (differently spelt) namesake. There is an intensity, desperation and depth to her portrayal of young Katheryn. Hiscock’s play is set in the tower where the 17 year old Katheryn dreads and awaits her fate. I found this genuinely upsetting. It is recorded that Archbishop Cranmer when sent to question her, described the teenager as frantic and incoherent saying, “I found her in such lamentation and heaviness as I never saw no creature, so that it would have pitied any man’s heart to have looked upon her.” He ordered the guards to remove any objects that she might use to commit suicide.
Little wonder! She must have been utterly terrified. As her female companions tell what has been said and the accusations against her she retells from her own perspective. It is clear she was groomed and was led into sexual activity by older men (and women) at court. She is genuinely confused but also excited by the feelings and sensations discovered in these encounters. No one would have much cared about any of it until the King sets eyes on her at Court aged around 15. He makes her his 5th wife but then uses her past behaviour against her only a few years later.
Katheryn Howard is indeed a very “poignant examination of power, truth and blame set against the closeted, opposing confines of the Tudor court”.
Hiscock’s four other female supporting cast work well together. All five cast remain on stage the entire 75 minutes and it is clear which character(s) each person is playing with some compelling acting from Natalie Harper, Srabani Sen, Emmanuela Lia and Francesca Anderson.
I was a bit confused as to why the costumes are contemporary, as it is clearly presented as an historical piece of its time despite the language being less formal. Although the women occasionally play their male trial accusers, they mostly portray female characters and skirts would have made more sense (to me). If wearing trousers was supposed to make us relate the gossiping / accusations / tittle tattle to current day, I’m not sure it worked. It looked rather that they had run out of money for costumes so made do. But this is a small niggle and does not in any way diminish the substance of the play nor the acting.
This is an interesting and powerful play that deserves a longer run (and hopefully better costumes). There is much interesting historical information without feeling force fed. It is certainly disturbing but powerful and thought-provoking.
“There are men talking about me now…
Talking about you but mainly about me”
Definitely one for history buffs and those intrigued looking at things from a strong female perspective.
The Elo Experience have been recreating and celebrating the music of Jeff Lynne and the Electric Light Orchestra for the past 13 years. With a sensational string section, a laser light show and a large screen projection, The ELO Experience accurately reproduce the songs and sound of ELO, taking you back to where it all began in the 1970’s.
It was great to see so many bums on seats at the theatre, I was expecting the majority to be over a certain age, but I was pleasantly surprised to see quite a wide range of ages, from early teen, to just a wee bit older. You could feel the anticipation in the air before the 8 piece group appeared on stage. What followed was a packed set full of ELO songs.
ELO were just a little bit before my time, but I do remember a few songs, and a few others were just niggling in the back of my mind, others I had completely no idea. This honestly did not matter at all as they were all just really good musicians and they put on a great show.
Some of the songs are accompanied by short films on the big screen that made up the backdrop. One to note here is a Lego animation, which accompanied The Diary of Horace Wimp. Whilst I really enjoyed this short piece, the lady who I sat next to commented about how she disliked the film, just goes to prove how we all have different tastes. After the interval the blue glow sticks came out and the light show began, adding to the whole atmosphere.
The band are made up of Andy Louis, the lookalike and soundalike Jeff Lynne, Steve Hemsley on keyboards and special effects vocals, Pete Smith on bass guitar and vocals, Jan Christiansen on lead guitar and vocals and Tony Lawson on drums. They do truly deliver a fabulous homeage to the ELO legacy, and are marvellous musicians. The icing on the cake though, are the string section. All three were absolutely fantastic and certainly make the show what it is. Francesca McDonald and Rachel Hoffman, on their cellos, certainly rocked it. Liz Stacey on her blue violin was just memorizing, a true joy to listen to and watch, wow just wow! All 8 musicians looked like they were having a complete blast, and appeared to be a tight knit group.
With the finale song of Mr Blue Sky, a song I do remember and could sing along to with no problem, probably to the detriment of the poor bods sitting next to me, it was a fitting end to an enjoyable show. A nostalgic evening of great entertainment, that truly captures the era and gets the whole audience rocking in their seats. the most important and influential bands ever.
Royal Exchange Theatre, Manchester – until 10 August 2019
Reviewed by Julie Noller
4****
Neither I, or the audience members sitting close to me at the matinee performance of There is a Light That Never Goes Out, truly knew very much about Luddites as a movement – never mind the rebellion this plays tag line refers to. In my mind they were a group of people hell bent on wanton destruction. Would history actually prove me wrong?
What becomes apparent is that there’s no excuses, no this is why, no this actually happened. But what it does very clearly is what all theatre does well and that’s tell a story. Where it goes in between or at the end is yours to decide upon. The feeling you have in the set up of the Royal Exchange theatre is one of belonging to a crowd perhaps in the throes of a riot, perhaps as an innocent bystander.
Created by James Yeatman and Lauren Mooney who bring together some painstaking research into those few years that saw the industrial revolution, wars in Europe and the American colonies not to mention a mad King and a Prince Regent that’s all a side line to the tales of an experienced weaver scared at the coming advancement of the power loom. Much as we protest today at self service checkouts and computers replacing workers this is a fear and struggle that will always be there in some manifestation forcing insecurities to the forefront. What does a man do when faced with poverty, unable to feed himself and his family? Irrational acts are born out frustration and fear, anger. Survival of the fittest often does not mean accepting technology and improvements. New money was bred with the mills of industry booming, old money had managed the peasants, keeping them in their places with pompous propriety. New money enjoyed the new privileges and change whilst calling for new changes, it was a tornado of public unrest that would see them struggle to hold sway in the power struggle.
We must applaud the cast of six multi talented actors who take on multiple roles, quick costume changes; ok so it might only have been a coat and hat but it was enough to not confuse us. Amelda Brown, Nisa Cole, David Crellin, Reuben Johnson, Daniel Millar and Katie West bring to the stage a poignant tale of our very own history, the audience will have contained a distant relative of one of the characters or at least someone who was caught up with the Luddites.
What is incredible is that the riot act was read all those years ago after a public meeting within the very same building in which we were sat; yes The Royal Exchange. This part of our history of which we know so little occurred under the very same roof we now looked upon. It is as we are told from the very first spoken words a tale based upon some facts extremely well researched and equally a small dose of speculation to fill in the blanks. Luddites led by the so called General Ludd, King Ludd or Captain Ludd, why so many names? Perhaps because he didn’t exist as we believed. But rather a faceless name to bring the impoverished workers together, what better than to gather many together in mass protests.
Like a religion, this was a form of early trades union, secretive in recruiting members. The set is somewhat simplistic a deep red (like the blood that runs deep) platform that rises like the Pennine hills that separate many of the old mill towns. Its transformation from peaceful existence of cottage industry, birds chirping, breeze rustling to the booming ear splitting heavy machinery of the mills is impressive. How we see Clem a young daughter defy her father and begin back breaking work in the local mill in order to put food on the table. The desperation to feed families keeps the workers going, life is no longer simplistic but monotonous. Her father in turn worries about his livelihood, fearing the changes that are coming he joins the Luddites and life moves on as those fears are mirrored in each class, mill owners fear for their new found wealth, old ruling classes fear change will lead to them losing position.
The sounds throughout are a bold move, instead of using sight as a main sense we are treated with many sounds to follow and yet I saw everything glass smashing as in those bubbles, heavy loom machinery deafening to all, birds chirping quietly. It isn’t so much horrible histories as complicated histories. Don’t expect to understand this era, prepare to walk away confused. There is no definitive answer as to just who the Luddites were. Their hold was only a few short years, but 20 years before workers rights led to some men being given the right to vote, nearly a century before women would see that privilege. It didn’t really stretch the full length of the country and you could be forgiven for not knowing any reasons why they happened but it’s just a small stepping stone in our past that brings about change. They were executed, or sent to the colonies but they were beaten out of the country that ultimately feared revolution above change. That’s the lesson we learn from the rather flat ending, although we were told it’s an ending we all know. Not so much from the history books but by witnessing life around us.
Change isn’t always welcomed but rather thrust upon us by those around us. There is a Light That Never Goes Out, could refer to the mill lights, the workers cottages or it could refer to constant change never ending – no one can stop progress.
KING’S THEATRE, GLASGOW – UNTIL SUNDAY 4TH AUGUST.
REVIEWED BY SIOBHAN WILSON
5*****
“Who likes to party?” Well if you do, I suggest you “Move It, Move It” down to ticket office and get yourself along to see this fabulous feel good show.
Very true to the movie, the Penguins are trying to escape the Zoo in New York to get back to Antarctica. Marty the Zebra gets swept up in the idea of visiting the wild. Alex the Lion, Gloria the Hippo and Melman the Giraffe try to stop Marty, they all end up sedated waking up in crates on a ship in the South Indian Ocean. The Penguins then take over the ship and the crates are thrown into the sea. The friends are then washed up on the shore of Madagascar where they encounter a whole new adventure with King Julian the Thirteenth and his subjects.
The first half was a little slower and towards the interval, the smaller children in the audience where starting to get a little restless so the interval was perfectly timed. Then the second half explodes into life getting the party started from the kick off and not stopping until the lights comes up. Including the encore with the whole audience on their feet having a boogie because “We like to move it move it”.
Posi Morakinyo (Marty) dancing skills brings Marty to life. Matt Terry (Alex) and Hannah Victoria (Gloria) have incredible voices which harmonise amazingly together. With Connor Dyer (Melman) managing to make Melman feel the same height as the others with his skillful handling of the giraffe extension. Kieran Mortell (King Julian the 13th) is a whole other level, he has all the mannerisms and humour that are in the movie, you can’t help but laugh and feel like you are right there in the Madagascan Island with him and his subjects. William Beckerleg (Skipper/Maurice) has the voices down to a fine art sounding exactly like they do in the movie. The score is just a great feel good soundtrack that will have to tapping, singing and dancing along.
This was just such a great show and I would highly recommend this. I’m booking tickets already to take my nephew. Whether you be a 6 year old child or a 60 year old child, there is no doubt you will love this show.
Stephen Joseph Theatre, Scarborough – until 28 September 2019
Reviewed by Sara Garner
4****
Season’s Greetings is a comedy play written by British playwright Alan Ayckbourn in 1980 which premiered at Stephen Joseph Theatre in 1980.
Set in the home of hosts Neville and Belinda spanning 4 days over the festive period from Christmas Eve onwards. Anxiety, boredom and frustration mixed with copious amounts of alcohol can only lead to mayhem.
We are introduced to Uncle Harvey (Bill Champion) and Uncle Bernard (Leigh Symonds), who argue over a violent film that is watched every year at Christmas. Neville (Matt Addis) and his ex work colleague Eddie (Michael Lyle) are preoccupied over his latest invention – a remote control that turns on the lights and music on the Christmas Tree which Neville’s’ wife Belinda (Frances Marshall) is decorating. Heavily pregnant Pattie (Mercy Ojelade) (Eddie’s wife) is trying to get the unseen children to sleep. We sense that both marriages are desperately unhappy, wives feel unloved and disregarded and we can sense the frustration in their relationships from this 1st scene and throughout the play.
Other guests include Phyllis (Eileen Battye) Neville’s alcoholic sister who is trying to cook Christmas Eve dinner. We get the sense that she is accident prone and a serious of incidents occur which has her bumbling husband Bernard who is a hopeless GP running back and forwards to intervene. Belinda’s unmarried virginal sister Rachel (Rachel Caffrey) who is anxiously awaiting the arrival of her new boyfriend Clive (Andy Cryer).
Black comedic scenes occur with Uncle Harvey an ex security guard with psychopathic tendencies. Clive and Belinda develop a mutual attraction which develops more over Christmas day and culminates in a thwarted attempt to have sex in which a drumming toy bear is set off and rouses everyone in the house. Bernard attempts to go through his dreaded protracted boxing day puppet play. This ensues with a frustrated grabbing the puppets angering Bernard.
As in most of Aycbourn’s plays I felt that Season’s Greetings took time for the comedy to come to fruition. The characters need establishing and dramatic situations are set up. All families are dysfunctional even more so at Christmas time. Trapped in a home with relatives and friend and their children from Christmas Eve Season’s Greetings can resonate with audience. Hilarious at times, frustrating at others.
Tickets still available to a variety of West End shows
Go behind the curtain with exclusive activities and workshops
Tips on how to make a day of it in London with the family
From today, thousands of children and families will be experiencing the magic of live theatre for free, as the 22nd annual Kids Week kicks off in London’s West End and beyond.
With 45 top London shows participating in Kids Week this year, over 153,000 tickets have been purchased through the scheme since going on sale in June. There are still tickets available for many West End favourites and family-friendly shows like The Worst Witch, Zog, Monstersaurus!, Brainiac Live, Dinosaur World Live, Aliens Love Underpants and Horrible Histories: Brainy Britain – Part Four.
Booking is also still open for some of the exclusive, free Kids Week activities taking audiences behind the scenes, whether it’s a choreography workshop at Come From Away or Thriller Live, a backstage tour at Captain Corelli’s Mandolin, an Equus cast Q&A, a chance to learn the Waitress finale song, an improv class at Barber Shop Chronicles or insights from the Wicked technical team.
Kids Week offers a free ticket to every child aged 16 or under accompanied by a full paying adult. Half-price tickets can also be purchased for two additional children in the same group. There are no booking, postage or transaction fees.
Theatre Tokens, the only nationwide theatre gift card and voucher scheme for the UK theatre industry, can now be redeemed online to purchase Kids Week tickets.
Kids Week is one of the biggest, longest-running audience development initiatives in the world, engaging around 1.6 million children and families since it began in 1998.
How to make a day of it in the West End with Kids Week
The TKTS Theatre Mural
Visit the Theatre Mural at the TKTS ticket booth in Leicester Square, spot your favourite theatre characters and win a prize.
This large-scale artwork, on display until 30 August, contains many of the West End’s historic theatres and other famous sights, with characters from current and forthcoming West End shows hidden amongst the crowds. An online interactive version of the mural allows theatre fans to click on the hidden characters and enter into a prize draw for £500 of Theatre Tokens until 31 August.
Theatreland Tour with Ian McKellen
Explore London’s historic theatre district with renowned actor Ian McKellen, in a free audio walking tour available on VoiceMap.
The free audio walking tour, created by Official London Theatre, sees Sir Ian guide listeners around London’s famous West End, telling fascinating stories about theatres and performers past and present, and anecdotes from his own career.
The tour can be accessed for free by downloading VoiceMap on a phone, signing up via email or Facebook, then searching ‘Official London Theatre’. It starts and ends at the TKTS ticket booth in Leicester Square.
Kids Week restaurant offers
Families can take advantage of ‘Kids Go Free’ deals at many of our partner restaurants in central London, with deals at Boulevard Brasserie, Caffe Concerto, Gillray’s Steakhouse & Bar, Maxwell’s, Old Compton Brasserie, Palm Court Brasserie and Sticky Fingers.
Full details of Kids Week dining offers are available on the website.
York Theatre Royal until Saturday 24th August 2019
Reviewed by Michelle and Marcus Richardson
5*****
A taste of adventure, childhood innocence and endless days spent outside created memories of summer that stick with us way into our adulthood. Swallows and Amazons is a tale of such a summer, written by Arthur Ransome in 1930.
We follow a group of children, the Walkers, who are on holiday. They have been given permission from their absent father, via telegram, to take their boat, the Swallow, out onto the lake. With the wind behind their sail, their adventures begin as they create stories of pirates and Spanish conquistadors. York Theatre Royal brings this all to life to remind us what summer should really be about.
The cast of nine, played instruments, sang and of course acted. The Walker siblings made up of John, Susan, Titty and Roger, were the Swallows. John (Alex Wingfield), is the eldest and is the Captain of the ship. Susan (Laura Soper), is the First Mate and likes sticking to the rules. Titty, whose name elicited a giggle from the young audience, (Hanna Khogali), is the Able Seaman and dreams of adventure and pirates the most. Roger (William Pennington), is the youngest and the Shipsboy. The actors playing these children have great stage chemistry and really sell the desire of adventure each one of them has.
The Amazon Pirates, who are the Swallows arch enemy, at least at the start, are two sisters, Nancy (Anne-Marie Piazza) and Peggy (Rachel Hammond). Both do a great job of creating their persona as ruthless ‘pirates’. These two provided the audience with a lot of the comic element within their roles.
The adults of the show are played by Ellen Chivers (mother), Kieran Buckeridge (Uncle Jim/Captain Flint and also the Musical Director) and Ed Thorpe (Mr Jackson/Policeman), as well as their main roles they take on other characters at times. According to all the children all the adults are barbarians. Buckeridge playing along as Captain Flint was thoroughly enjoyable.
The whole cast were strong and each actor made sure the performance went smoothly as possible. The interaction between all the cast is wonderful, and the six who played the children were 100% believable. I certainly enjoyed Pennington’s young Roger, even though he was by far the tallest of the six, his mannerisms and innocence totally encapsulated the part. Khogali’s Titty was full of bravo, fearless and enthralling to watch. Honestly, I could not find fault in any of the actors, they all delivered splendidly, with such talent.
While we didn’t get to see an actual boat, we used our imagination, something that we often use in our childhood, but somehow gets forgotten as we get older. As with various shows directed by Damian Cruden, the stage is smart and simple but with tricks and hidden secrets. I loved how the cast played instruments, sung and acted too, it kept things lively and made sure the children in the audience didn’t get too bored. The show also used a few bird puppets, with the cast stepping in to control the birds at different times.
Swallows and Amazons is Damien Cruden’s last show, after 22 years, at the York Theatre Royal as the Artist Director at York Theatre Royal. This is fabulous show to end his tenure, ending on such a high.
This is a family friendly show, which is suitable for children, however I would say it is aimed at 6+. It’s important to remind ourselves of what summer should be about, yearning for the forgotten freedom of going out and creating your own adventures during the long summer holidays. It was lovely and so refreshing to see an era where children are not glued to televisions, tablets, or mobile phones. This sweet, innocent bygone tale is a real must for all, take your children, parents, grandparents, you will not be disappointed.
