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The Watermill Theatre, Newbury – until 15 November 2025

Reviewed by Marcia Spiers

5*****

Brilliantly adapted, modern and funny – a great evening!

This Victorian farce has been expertly revived by Rob Madge, directed by Sophie Drake and written by Brandon Thomas to more reflect society today, confirming that women can be as equally deceptive and mischievous as men in their quest for romance and financial gain, as well as highlighting that being non-binary or queer is now more accepted, albeit still a challenge for some to get their head round.

The play focuses on two posh Oxford University students Charley Wykeham and Jack Chesney who have set their sights on landing themselves two attractive wealthy young women – Amy Spettigue and Kitty Verdun. The women on the other hand wish to discover if their potential suitors’ intentions are genuine and how they themselves will wrestle out of the grips of Spettigue (Amy’s father and Kitty’s guardian) who holds the keys to their futures and fortunes.

Desperate for adventure, the ladies engage in the help of their Butler Babbs to assist them in their quest. Babbs has a backstory which slowly comes to light after reluctantly agreeing to embrace the role of Charley’s Aunt Donna Lucia from Brazil when Donna Lucia is unexpectedly delayed and girls need the support of a chaperone at lunch with the boys. Babbs, discovers that being dressed as the rich widow from Brazil is all empowering and allows Babbs to be more visible, use keen intellect and most importantly have more fun!

In true fashion the real Donna Lucia does show up later with her young assistant Eli Delahay only to discover an impersonator in her place. Rather than challenging the situation, she seeks to find out more about her double and brings about her own level of justice to the unfolding events. In the meantime, Eli reveals he thinks he knows the rogue Donna Lucia and works to establish the truth.

Not wishing to give too much away – in essence this play is utterly hilarious. There are many laugh out loud moments, excellent one liners, farcical misunderstandings, physical comedy, dance, music, joy and sadness. It also shines a light on the prejudice we still see today and how true heroes are often those that slip silently into the shadows.

All the actors gave fantastic performances – Benjamin Westerby as the scheming Jack Chesney, Jonathan Case as his rather less confident pal Charley Wykeham, Mae Munuo as the feisty Amy Spettigue and Yasemin Ozdemir as the flirty Kitty Verdun. Richard Earl portrayed the haughty Spettigue who is used to getting his own way, Maggie Service was very much her own true Donna Lucia and Elijah Ferreira as her adopted Eli Delahay of whom she is very fond and does not want to lose. Finally, by no means least Max Gill, who was exceptional as Babbs and Donna Lucia!

I must mention the fantastic Victorian inspired costumes and creative set which could easily be adapted for the different scenes. These were designed by Alex Berry.

Well done to all the cast and backstage crew. This play is unmissable – go see it while you can! I loved it.

Kings Theatre Portsmouth – until 11 October 2025

Reviewed by Lucy Hitchcock

4****

Having grown up knowing very little of Buddy Holly, it was a delight to be thrust into his music and determination for the evening. I went into the show, thinking ‘I’m not going to know many of these hits’-however I was quickly proved wrong!

The Buddy Holly Story is exactly that-the story of Buddy Holly. His rise to fame, his grit and determination to sing how he wanted and his untimely death at only 22 years of age. AJ Jenks was cast as the titular Buddy, and my did he do a sterling job! He was quirky, enigmatic and entrancing with every step, song and strum of his guitar! The fact that he was dancing around, singing and playing, whilst keeping the audience encapsulated was absolutely enthralling. Alongside his other friends ‘the crickets’ Melker Nilsson, Stephen Alexander-Kerry and Joe Sterling as Joe B Maudlin, Jerry Allison and Nikki Sullivan, this quartet was a real treat. The bassist in particular had me smiling from ear to ear with his smooth operation of the double bass.

My stand out star of this performance however, was Miguel Angel as ‘Ritchie Valens’. His wit, humour, charm and beautiful voice were the perfect amalgamation for his performance of ‘Reet Petite’- which had everyone dancing and singing along. There was not a moment when he was on stage when I was transfixed to his physicality and palpable smile.

This was a masterpiece and I am always thrilled when I discover a new show that I can shout about-and boy, will I be shouting! I truly loved this show, even down to the tiniest details such as colours of a character’s socks – I was truly in awe with the meticulous performance. This really is a story that needs to heard-don’t just listen to my ‘words of love’!

Greenwich Theatre – until 25th October 2025

Review by Elizabeth J Smith 

5*****

Blue/Orange is a gripping psychological drama laced with sharp, dark humour. Written by Joe Penhall and revived here in an updated version, the play remains a biting exploration of race, power, and the politics of psychiatry.

The story centres on Christopher, a young Black man who has been sectioned under the Mental Health Act following a psychotic episode. His psychiatrist, Dr Rubina Farooqui, is newly qualified and still under supervision. She believes Christopher’s time in hospital has been too short and wants him to remain for further assessment — possibly to confirm a diagnosis of schizophrenia.

However, her mentor and supervisor, Dr Robert Smith, disagrees. He insists that Christopher should be discharged and treated in the community. Smith’s motives are less about the patient’s welfare and more about politics and personal ambition. He wants his ward’s statistics to look good and sees Christopher’s case as material for his upcoming book — an ethically questionable move that sets the tone for the power struggle to follow.

From this disagreement unfolds a tense and escalating battle between the two doctors. Both believe they’re acting in Christopher’s best interest, yet each is also driven by self-interest, institutional pressure, and moral uncertainty. Caught between them, Christopher becomes a confused pawn in their intellectual and ethical tug of war — his sanity and freedom hanging in the balance.

All three performers deliver compelling and emotionally charged performances. Matthew Morrison gives a deeply physical portrayal of Christopher, capturing his anxiety and volatility through nervous twitching, darting eyes, and bursts of frustration. His unpredictable shifts between humour, paranoia, and vulnerability make him painfully real.

Rhianne Barreto, as Dr Rubina Farooqui, evokes genuine empathy. Her performance is passionate and nuanced, portraying a young psychiatrist torn between her duty, compassion, and the weight of institutional hierarchy. Barreto’s voice trembles with conviction during her speeches, embodying the struggle of a woman — and a woman of colour — trying to be heard in a male-dominated profession.

John Michie brings poise and authority to Dr Robert Smith, imbuing the character with a convincing blend of charm, arrogance, and intellectual vanity. He’s not a caricatured villain but rather a disturbingly recognisable figure — someone who believes he’s always right, even when blinded by ego.

Beneath the verbal sparring and flashes of humour lies the play’s darker heart. Blue/Orange examines:

• Race and cultural bias — how racial stereotypes can distort psychiatric diagnosis and influence medical judgment.
• Power and authority — who gets to define what “normal” means, and how easily that power can be abused.
• Mental health and bureaucracy — the cold machinery of systems that can dehumanise those they claim to help.
• Truth and manipulation — each character’s version of events shaping a different, sometimes self-serving reality.

Director James Haddrell keeps the action tightly focused, allowing the dialogue and performances to drive the intensity. The claustrophobic setting of the hospital consulting room amplifies the psychological pressure — three people locked in confrontation, each convinced of their own truth.

Ultimately, Blue/Orange remains as relevant and unsettling as ever. It’s a play that exposes not just the cracks in the mental health system, but also the fragile boundaries between care and control, compassion and ambition, sanity and madness.

At Greenwich Theatre, this 25th-anniversary production does the play justice — thought-provoking, superbly acted, and impossible to walk away from without questioning your own assumptions.

Curve Theatre Leicester – until 11th October 2025

Reviewed by Amarjeet Singh

4****

Noël and Gertie invites us into the beautiful and complex world of Noël Coward and Gertrude Lawrence. Two of Britain’s most iconic figures, they formed a lifelong friendship which was forged in childhood. Lawerence was instrumental in Coward’s career, cited as his mercurial muse and confident. Their professional collaboration took the stage by storm, and this show explores some of their unseen and most tender moments. The show is devised by Sheridan Morley from the writings, songs, letters and diaries of Coward. This rendition finds refreshing emotional resonance under the skilful direction of Thom Southerland.

More than just a musical biography, Noël and Gertie is a carefully crafted love letter to a lifelong friendship and creative partnership. From their first meeting as child actors, Coward and Lawrence share a bond that transcended the stage and we bear witness to the intimacy, humour, and occasional tension that marked their relationship. Focusing on the emotional truth of these legendary personalities, parodies are avoided and we are gifted pitch-perfect performances. Gary Tushaw brings a composed and dry wit to Coward, portraying him as the meticulous and mellifluous playwright with a guarded heart. Rebecca Trehearn sparkles as the vivacious and spirited Gertie, a woman whose energy and ambition matched Coward’s brilliance stride for stride. Together, Tushaw and Trehearn bring an energy to the stage that’s engaging and enthralling, whether sparring with dry one-liners or sharing quiet moments of mutual understanding. They slip seamlessly into scene and song never failing to entertain. Joey Hickman and Michaela Murphy, on twin pianos, provide elegant musical accompaniment throughout. Superbly talented, the two are on hand to add to scenes, play the accordion and ukulele and at one point Hickman was playing two pianos at once. The movement of the pianos proved clunky at times as they were manoeuvred across the stage to set up several scenes but the melodies they provided made up for this.

The show features a host of Coward’s musical gems, including Don’t Put Your Daughter on the Stage, Mrs Worthington, and scenes from Private Lives. There is an incredibly touching rendition of Mad about the Boy where we get a glimpse into Cowards own private life.

Cory Shipp’s set is minimal yet evocative. The stage framed in gilded art deco, silk curtains, the space is illuminated with theatrical flair. Scenes are wonderfully enhanced by Mark Dymock’s lighting design, which shifts mood and tone with understated but incredible precision. Hair and make-up by Lottie Davies and costume and wardrobe by Caroline Hannam and Josie Thomas conjures up the glamour of a bygone era with subtlety and grace.

Witty, wistful and deeply human, in all, Noël and Gertie is a charming and sophisticated evening of theatre. It’s a tribute not only to two beloved stage stars, but to the enduring power of friendship.

York Theatre Royal – until Saturday 11 October 2025

Reviewed by Michelle Richardson

4****

Frantic Assembly have returned to York Theatre Royal with their latest production. Lost Atoms is Frantic Assembly’s 30th anniversary co-production with Curve, Mayflower Southampton and Lyric Hammersmith Theatre. Written by Anna Jordan and directed by Frantic Assembly’s Artistic Director Scott Graham.

The play focuses on the love story of Jess (Hannah Sinclair Robinson) and Robbie (Joe Layton). It is a tale of opposites attract, who first meet in a coffee shop, then reconnect by chance at a train station. This coincidental reunion sets the stage for a wild ride through their life changing relationship.

From its opening moments, this compelling, intimate two-hander, is non-linear, beginning not at the start of Jess and Robbie’s romance, but at its conclusion, as the pair pick apart the fragments of their shared past. The audience journeys with them though the pivotal milestones, first kiss, holiday, awkward introductions to the in-laws, moving in together, or at least their recollection from their differing perspectives. Showing their memories from multiple perspectives. It is a minefield of a relationship remembered, and perhaps misremembered, by two lovers.

Hannah Sinclair Robinson is fierce, a force of nature, magnetic to watch as the more exuberant, extrovert Jess. Joe Layton delivers a heartfelt performance as the more vulnerable Robbie. Their performances are fluid, almost dance like, full of dialogue. They move in symmetry together with amazing fluidity, every glace and gesture is loaded with their shared history. You can feel the tension between them with each movement, even though they barely touch. This is so powerful to watch and experience and their chemistry captivated the whole audience. They both embody their characters, complete with their inner demons, so well that you are immersed in their whole relationship.

The stage, designer Andrzej Goulding, is minimalist, set with two large chairs and a huge filling cabinet with numerous drawers, all of different sizes, that are used to store all sorts. Wine glasses, golf clubs, clothing all emerge from the drawers, as well as lit bulbs, depicting Jess and Robbie’s memories. The drawers are used as seating, steps and even a toilet. Central to the unit is what looks like a door, this turns into a bed. The utilisation of the unit is a stroke of genius, and with the accompanying lighting, by Simsola Majekondunmi, is a wonderous sight to behold.

It was great to see witness such a packed theatre, especially with so many students present. The buzz in the air afterwards was just what this show deserved. As I made my way out, I noticed director Scott Graham at the centre of a circle of eager students, all brimming with enthusiasm and energy, a wonderful testament to the show’s impact.

Lost Atoms is stunning to watch. Captivating from start to finish, gripping the audience for more than two hours with its mesmerising performance. It make you feel, makes you think and touches of difficult themes, and handles them with sensitivity. It’s full of emotion that resonates long after the final curtain. A triumph of physical theatre that Frantic Assembly does so well.

MISCHIEF RELEASES REHEARSAL

PHOTOGRAPHS FOR

By Henry Lewis, Jonathan Sayer and Henry Shields

Directed by Matt DiCarlo

AT THE APOLLO THEATRE IN LONDON’S WEST END

FROM

6 DECEMBER 2025

TOUR BEGINS AT THE LOWRY IN SALFORD

ON 2 NOVEMBER 2025

www.ChristmasCarolGoesWrong.com 

(London – October 9 2025)  Mischief, the multi-award winning creators of The Play That Goes Wrong (now in it’s 11^th year at  London’s Duchess Theatre) have released new rehearsal pictures for their upcoming  festive fiasco, Christmas Carol Goes Wrong. 

West End performances begin at the Apollo Theatre on 6 December 2025 and its UK tour begins a the Lowry in Salford on 2 November 2025.

Turning this Christmas classic into chaos are:  Matt Cavendish as Max, Daniel Fraser as Chris, Sasha Frost as Sandra, Chris Leask as Trevor, Henry Lewis as Robert, Jonathan Sayer as Dennis, Greg Tannahill as Jonathan, and Nancy Zamit and Dumile Sibanda will share the role of Annie.  The understudies are: Alex Bird, Will Bishop, Siobhan Cha Cha, Colm Gleeson and Ashley Tucker.

This brand new Goes Wrong comedy sees the chaos and humour of the Cornley Amateur Dramatic Society return, and is written by original Mischief Members Henry Lewis, Jonathan Sayer and Henry Shields. The production welcomes back director Matt DiCarlo following critical claim for his West End directorial debut of the Comedy About Spies.

Christmas Carol Goes Wrong will run at the Apollo Theatre, Shaftesbury Avenue for a limited 7 week run from Saturday 6 December 2025 – Sunday 25 January 2026 and there will be a Gala Performance on Sunday 14 December 2025 at 5pm. 

The show will embark on a UK Tour from 2 November 2025 at the Lowry in Salford, then tours to the Cheltenham Everyman Theatre, the Wales Millennium Centre in Cardiff and Theatre Royal Bath before heading into the West End.  It will then continue to crash around the UK until March 2026, visiting Nottingham Theatre Royal, the Waterside Theatre in Aylesbury, the Edinburgh Festival Theatre, the King’s Theatre in Glasgow and the Marlowe Theatre in Canterbury, where the tour finishes on 1 March 2026.

The Cornley crew battle miscommunication, delays to their set, actors missing in action and a growing feud over who will play the lead. It’s sure to be a disastrous take on the much-loved classic Christmas story of Ebeneezer Scrooge. Will Cornley finally change their ways, or will their misfortunes wreak havoc yet again?

Christmas Carol Goes Wrong is produced by Kenny Wax and Stage Presence. 

Trafalgar Theatre Productions

presents

MISCHA BARTON

TO MAKE UK STAGE DEBUT

IN

DOUBLE INDEMNITY

MAJOR UK TOUR OF GRIPPING NEW ADAPTATION

OF THE CLASSIC FILM NOIR THRILLER

TICKETS AVAILABLE FROM XXX

Hollywood star Mischa Barton (The O.C.) makes her long-awaited UK stage debut as the ultimate femme fatale in Double Indemnity, a darkly compelling new stage adaptation of one of the greatest crime novels of the 20th century, written by James M. Cain.

The story that inspired Billy Wilder’s legendary film noir masterpiece opens at Eastbourne’s Devonshire Park Theatre on 5 February and then travels to cities and towns in the UK and Ireland until May. Ticket information and on sale dates can be found at doubleindemnityplay.com

Mischa Barton said: “I am absolutely thrilled to be returning to the stage and making my UK theatre debut in ‘Double Indemnity’. This classic film noir favourite is a gripping tale of deceit, tension, and suspense and I cannot wait to step into the role of Phyllis and share her with audiences across the UK and Ireland for the first time.”

Set in Los Angeles during the 1930s, amidst the wreckage of the Great Depression, Double Indemnity follows Walter Huff, a sharp-eyed insurance salesman who has built his career spotting scams. But when he meets the dangerously seductive Phyllis Nirdlinger (Barton) to discuss her husband’s life insurance policy, he is drawn into a web of lust, greed, and betrayal.

Together, they plot the perfect crime: murder the husband, cash in the policy, and vanish into the Californian sunset. But passion clouds judgment and guilt corrodes even the most perfect of plans. As their conspiracy unravels and mistrust festers, Walter and Phyllis find themselves battling not only the law, but each other.

James M. Cain’s thrillingly amoral masterpiece of murder, deceit, and desire is adapted for the stage by Tom Holloway and directed by Oscar Toeman, promising a razor-sharp, atmospheric reimagining of one of the most iconic crime stories ever written. Further casting will be announced soon.

Double Indemnity brings together the glamour and danger of old Hollywood with the tension and allure of classic noir storytelling. A must-see event that will immerse audiences in a world of danger, desire and double-crossing hearts.

Full creative team for Michael Harrison’s brand new musical Weird announced

Weird makes its worldwide premiere at Newcastle Theatre Royal

The creative team has been announced for Michael Harrison’s brand new and thrilling musical Weird, an electrifying pop-powered musical reimagining of Shakespeare’s classic tragedy Macbeth which will premiere at Newcastle Theatre Royal in the new year.

Michael, widely considered as one of the industry’s leading theatre producers with credits including Joseph and the Amazing Technicolor Dreamcoat; Evita; Titanique and Starlight Express, has a long association with the iconic Grey Street venue. He produces its annual sell-out panto,and has this month (Oct) opened a brand-new production of Miss Saigon from its stage. He has chosen his hometown theatre for the world premiere of Weird (Wed 28 – Sat 31 Jan 2026).

The show is directed by West End and Broadway director, Tim Jackson (Two Strangers Carry a Cake (Across New York); The Parent Agency); with choreography by Alexzandra Sarmiento (42 Balloons; Starter for Ten).  

Completing the creative team is Set Designer Andrew Exeter (The Creakers; Oscar at the Crown); Costume Designer Gabriella Slade (Starlight Express – Olivier Award winner; SIX – Tony Award winner); Lighting Designer Howard Hudson (Starlight Express; Natasha Pierre and the Great Comet of 1812 – Olivier Award nominations 2025); Sound Designer Paul Gatehouse (Mary Poppins; SIX); Orchestrator, Musical Supervisor and Co-Arranger Joe Beighton (Six the Musical; 42 Balloons).

Telling the dramatic tale of the Scottish king through the eyes of the three witches, Weird – written by Nick Butcher (The Little Big Things), and siblings Kerri Watt and Fraser Watt – will combine witchcraft, mischief, mayhem with a soundtrack of newly created pop anthems, when the production hits the stage.

Also announced today, there are more opportunities for North East audiences to see the world premiere of Weird on their doorstep, with a limited number of additional seats being released for public sale today for the 1.30pm performance on Fri 30 Jan 2026.

Michael Harrison said: “When I first read Weird and listened to the incredible soundtrack, I knew I wanted the biggest audience possible to see it so I’m, delighted that more seats have now been allocated for members of the public to be part of the world premiere run in Newcastle. It’s fair to say some of us don’t understand Shakespeare – Weird will change that. We hope this is just the beginning and that many more will be able to see this thrilling new British musical.”

Marianne Locatori, Chief Executive of Newcastle Theatre Royal said: “I’m thrilled to be collaborating with Michael, one of the most successful and well-respected theatre producers in the UK, to premiere this brand-new musical. Working with Michael, hot on the heels of his string of recent national theatre industry awards and hit productions in the West End, on Broadway and on tour, this is a fantastic opportunity for our theatre and audiences in the city and region to see an amazing new musical. We’re delighted to be releasing a limited additional allocation of seats to the public in response to overwhelming public demand, ensuring that even more people can witness a never-seen-before production make its debut on our stage.”

In an exciting new collaboration between Wallsend-born theatre producer Michael Harrison and Newcastle Theatre Royal, more than 5,000 schoolchildren from across the North East have been allocated free-of-charge tickets to Weird. The initiative is part of a shared ambition that young people, particular those living outside London, need as many opportunities to engage with the arts to enable more children to develop a love of theatre that lasts a lifetime.

Weird plays at Newcastle Theatre Royal Wed 28 – Sat 31 Jan 2026. Tickets can be booked at theatreroyal.co.uk or by calling the Box Office on 091 232 7010.

Lyceum, Sheffield – until October 11th 2025

Reviewed by Sharon Farley

5*****

“Breathes life into 19th Century English high society with 21st Century comic timing.”

This adaptation of Jane Austen’s Emma, by Ryan Craig (What we did to Weinstein, Waterloo Road, First of Millions), is delightfully witty and very well played by the entire cast. Even in moving the set pieces around, the Ensemble (Lukwesa Mwamba, Jordan Kilshaw, Jordan Stamatiadis, Hugh Osborne, Charlie Norton) manage to portray the very essence of poise and precision that this comedy of manners exemplifies. Indeed, it is the same quality Emma (India Shaw-Smith) herself seeks to pass on to her protégé, Harriet Smith (Maiya Louise Thapar). Every aspect of this performance breathes life into 19th Century English high society with 21st Century comic timing. From the delicate yet powerful backdrop to the Regency costume, the detailing has been beautifully thought out by designer Ceci Calf (Farm Hall, The Comedy of Errors, Stiletto).

Many will be familiar with the story of Emma and its characters; notable performances came from Ed Sayer (Cybeline, Midwinter Break, The Crown), playing George Knightly, providing competition to Emma’s interference in the lives of others, and William Chubb (Othello, Sandman, Empire of Light), who performs as the irascible but deeply caring Mr Woodhouse. Sayer’s interpretation is perfectly stern with the emotional intelligence required to counter Emma’s meddling ways, while Chubb immediately wins over the audience with seemingly effortless comedic talent. Maiya Louise Tharpar and Jade Kennedy (Little Women, Winter Palace, Billy Elliot), as Jane Fairfax, provide highly convincing counterbalances to the character of Emma with their respective awkwardness and quiet grace. Shaw-Smith shines in the lead role as the supremely confident but meddlesome Emma and had the house roaring with her excellent comic timing, yet also blended in Emma’s more vulnerable moments seamlessly.

Overall, this performance is evidently well-crafted and a credit to the direction of multi-award winning Stephen Unwin (The Winslow Boy, A Midsummer Night’s Dream, Hay Fever). Aside from the many layers of talent, experience and professionalism being combined here, this production of Emma is in no way a dry, dusting off of an old story, instead it injects a light, modern and uplifting spark into what is essentially a very enjoyable tale. On tour until November.

Aylesbury Waterside Wednesday – until Saturday 11th October 2025

Reviewed by Rachel Clark

5*****

A Magical Performance

The London West End – in Aylesbury!. A fantastic production with live music, puppetry, magic which drew you in.

The performance starts before the starting time with a single pianist on the stage playing war time songs, the stage is just a piano against a black background, very dark but in a good way, it is dramatic.

The performance is based on the C S Lewis novel and is fully followed as the book. It exported me back to being a child (which was a while ago) and reading the novel but also watching the TV series. The story is about 4 children from the Pevensie family, Peter, Susan, Edmund and Lucy, who are evacuated during the Second World War to a house in Scotland. Upon exploring the house Lucy finds a wardrobe, she steps through the wardrobe and she comes across the country – Narnia where it has been winter for over 100 years, ruled by the Evil White Witch that turns creatures into stone, and only Alsam and the 2 girls from Adam and Eve and 2 boys can save Narnia and show the sunlight again.

The stage is very simple but it was powerful, the changes in the sets and scenes was done in a magical way, like illusions. The start of the performance was at the railway station and journey was very cleverly carried out that gave you the sense of the journey on the steam train.

Lucy was played by Kudzai Mangombe and she played the excited child, that was inquisitive and enthusiastic she played the part so well you forgot she wasn’t a child. Her siblings were Peter played by Jesse Dunbar, Susan played by Joanna Adaran and Edmund – Bunmi Osadolor – all played convincing, that they were children. Lucy was the first to step into Narnia and she met Mr Tummis, (Alfie Richards) if you read the book he came across exactly how I visualised him.

It was quite a large cast, some playing multiple characters and most if not all played a musical instrument.

The White Witch played by Ffion Haf in this production, was good but didn’t come across too evil but looked stunning in her fur coat.

Alsam was a puppet but also a character played by Stanton Wright, I will say whilst the puppetry was faultless and Stanton , I felt the head and mane weren’t large enough for the front legs, that to me were visually wrong, my only other niggle was the costumes were superb except for the crowns – they looked like they were made out of card – not the quality of the rest of the set/costumes and scenery.

A superb production, to me for age 10 upwards, not sure a younger child would not be kept entertained without fidgeting and it was a dark set with powerful music with plenty of bass! This added to the dramatics and made it what it was. It felt like it was a production for the adults after reading the book as children, it took us back superbly to our childhood memories.