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The Bunker Theatre – until 21 December 2019

Reviewed by Claire Roderick

4****

Little Miss Burden is a vibrant celebration of sisterhood and triumph over adversity, inspired by writer Matilda Ibini’s own experiences. Little Miss (Saida Ahmad), Big Sis (Michelle Tiwo) and Little Sis (Ani Nelson) share an unbreakable bond growing up in 90s London as Little Miss’s physical condition worsens and the family go through tests, treatments and diagnoses together. Ahmed is a force of nature as Little Miss, magnetic and hilarious, and Tiwo and Nelson give astonishing performances full of energy and passion.

Staging the play on a paint splattered set resembling children’s TV show and introducing Little Miss as a Mr Men character sets the tone beautifully, allowing the darker, more troublesome events to make a huge impact, but never overshadow the upbeat joy of Little Miss’s story. Tiwo and Nelson play a multitude of roles that bring shrieks of delighted recognition from the audience, from Nelson’s beautifully realised Nigerian mother to Tiwo’s pastor, the two actors slip effortlessly between the colourful characters in the family’s life. It takes a long time for Little Miss to be diagnosed with LGMD, and until the diagnosis, the word disabled is beeped out because of all the negative connotations dreaded by their mother.

We watch as the family go to church praying for a cure, travel to Nigeria hoping that traditional medicine will help, and finally resort to a medical procedure. Throughout it all the cast impishly mock the various characters, encouraging and reacting to audience interaction brilliantly. Punctuated by the three breaking into dance routines to 90s classics, the mood is playful and warm, only reminding the audience of the obstacles put in families’ way when medical and education professionals talk about and to Little Miss in a truly dehumanising manner. Ibini emphasise the power of language to harm and heal – the loving and well-meaning mum’s prayers and constant search for a cure making Little Miss feel as if she’s letting her down, the racist, cruel words of school children and the mechanical, cold language of clinicians, tempered by the naïve but supporting and loving words of her friends and sisters. Ibini personifies Little Miss’s mental difficulties, with Tiwo becoming a chilling embodiment of Depression and Nelson a jittery version of Anxiety, but she also gives her condition a voice – allowing Little Miss to have brutal arguments with LGMD and portraying her long journey to acceptance in a visceral and heart-breaking style.

The fantastically upbeat final song gets everybody on their feet and then the cast land an emotional and empowering sucker punch of a speech about disabled rights that will have you in tears. Simply brilliant.

Blue Elephant Theatre – until 17 December 2019

Reviewed by Claire Roderick

4****

The Blue Elephant Theatre’s extensive experience working with children is obvious in this production, as this is exactly the sort of story a child would make up, but with an adult polish and professionalism.

Elliot the Elf is a nervous but committed elf – his job is to keep the Letter Machine working so that Santa can give every child what they want. On the day that Ruby the reindeer and her friend Teddy sneak in to see it, the Machine breaks because of a terrible storm. The only hope for saving Christmas is finding another crystal for the Machine, but the crystals are in a deep dark cave at the end of a dangerous trek, and the three new friends will have to go on the quest with no help.

Niamh de Valera has written two joyful characters – Elliot the uptight, perfectionist elf and Ruby the reckless reindeer discover their similarities and that they share the same fears, while Teddy represents everyone who is different. Teddy can’t speak and needs to be carried so Elliot is convinced that he will get in the way, much to the young audience’s disgust. Elliot’s realisation that Teddy is vital to their quest and a good friend is a warm and loving message of inclusion that doesn’t preach to the children watching, alongside his and Ruby’s finding out more about themselves and giving scary and risky things a try. Santiago Del Fosco is a hoot as Elliot –managing to be quiet and measured even whilst performing acrobatic physical comedy. Amelia Parillon as Ruby is a bundle of energy, and the two spark off each other brilliantly, capturing the hearts of the audience. Special mention must go to Campbell the Bear in his theatrical debut as Teddy. With little in the way of set, this show depends on the actors’ portrayals, and the children around me were completely rapt, holding their breath as the two teetered on the “edge” of a cliff, and getting every child in the audience on stage to help the trio reach the cave was a superb embodiment of the show’s message.

Sweet and deceptively simple, The Christmas Quest is a fantastic festive treat for the whole family.

Park Theatre – until 4 January 2020

Reviewed by Claire Roderick

4****

Park Theatre’s Christmas production of The Snow Queen is deliciously dark and dangerous – perfect for children who have outgrown the saccharine Disney versions. Abigail Anderson plays with Hans Christian Anderson’s original story, omitting the Christian moralising and creating a sibling war between the seasons as The Snow Queen tries to silence the other seasons and create an eternal Winter.

Gerda and her friend Cei have both lost a parent, and this loss has affected their families in different ways. Gerda suffers from panic attacks at the thought of breaking rules, while Cei is a daring and creative risktaker. Cei catches the eye of the Snow Queen, who takes him to her palace to mend her shattered mirror, not knowing that a shard has already fallen in Cei’s eye. Everyone thinks Cei is dead, but Gerda won’t accept this and goes on a quest into the wide world to bring Cei home, travelling through the lands of Spring, Summer and Autumn and meeting the weird and wonderful inhabitants.

The show is a slow burner, as there is a lot of back story to set up, but the multi-roling cast inject enough physical comedy into the introductions to keep the interest of the younger audience members. Richard Williamson’s lighting effortlessly realise each season, and the cast have a ball with the OTT characters. When the little girl next to me realised that the stern father (Justin Brett) had now become the preening and ridiculous Daffodil she screamed with delight. Brett, Paula James, Sarah-Louise Young and Matthew Cavendish are wonderful comedy performers, interacting with each other and the young audience joyfully and irreverently. Ayesha Casely-Hayford is the calm centre of the mayhem, subtly portraying Gerda’s growing determination and self-awareness as she searches for Cei (the impressive Esmonde Cole). Frances Marshall as the Snow Queen is the epitome of cold and selfish evil – there is no redemption for her, which is refreshing.

Even though part of me feels that this may be for older children, the smiles on the audience members shrinking into their parents’ arms during scarier moments proves me wrong – there’s nothing wrong with a little scare, as long as it’s followed by a big laugh. Even the cannibal robbers didn’t faze the kids – because what child doesn’t find a man in a skirt being bopped over the head with a bone hilarious?

Another Christmas cracker from the Park Theatre – thrills, chills and silliness that will melt the coldest heart.

MICHAEL HARRISON AND DAVID IAN

PRESENT
THE WORLD PREMIERE OF

MY BEST FRIEND’S WEDDING
THE MUSICAL

STARRING ALEXANDRA BURKE

AS JULIANNE POTTER

SONGS BY BURT BACHARACH AND HAL DAVID

BOOK BY RONALD BASS AND JONATHAN HARVEY

DIRECTED BY RACHEL KAVANAUGH

OPENING AT PLYMOUTH THEATRE ROYAL

ON 16 SEPTEMBER 2020

AHEAD OF A UK AND IRELAND TOUR

Michael Harrison and David Ian are delighted to announce the world premiere of MY BEST FRIEND’S WEDDING THE MUSICAL opening at Plymouth Theatre Royal on 16 September 2020 ahead of a UK and Ireland tour. Full tour schedule below. The show will star Alexandra Burke as Julianne Potter with further casting to be announced soon. www.bestfriendsweddingmusical.com

MY BEST FRIEND’S WEDDING is based on the wickedly funny film of the same name and features some of the most iconic pop anthems ever written by the legendary Burt Bacharach and Hal David, including I’ll Never Fall in Love Again, I Just Don’t Know What To Do With Myself, Walk on By, I Say A Little Prayer and What’s New Pussycat.

The musical will have a book by Ronald Bass (My Best Friend’s Wedding, Rain Man, The Joy Luck Club) and Jonathan Harvey (Beautiful Thing, Gimme Gimme Gimme, Coronation Street).

Alexandra Burke can currently be seen in the role of Rachel Marron in the hit musical The Bodyguard having played the role to critical and audience acclaim in both the West End and the subsequent sell out 2015/2016 tour. She first rose to fame after winning the fifth series of The X Factor and her debut number one single Hallelujah sold over one million copies in the UK, a first for a British female soloist. She most recently appeared as Svetlana in Chess at the London Coliseum and as Roxie in Chicago at the West End’s Phoenix Theatre. In 2017 she reached the final of Strictly Come Dancing. Her other theatre credits include Deloris Van Cartier in the national tour of the musical Sister Act. 

Fiery food critic Julianne Potter has always turned her nose up at romance. It’s the reason she broke up with her sweetheart Michael O’Neal.  When she hears he’s about to be married, she vows to win him back for good, but with perfect Kimmy in the way, it’s not as easy as she first thought. Can she derail her best friend’s wedding in time and keep Michael all for herself?

MY BEST FRIEND’S WEDDING is directed by Rachel Kavanaugh. It has a book by Ronald Bass and Jonathan Harvey and is based on the Tristar Pictures Film, screenplay by Ronald Bass. It Features the songs of Burt Bacharach and Hal David.

MY BEST FRIEND’S WEDDING

UK and Ireland Tour Listings 2020

www.bestfriendsweddingmusical.com

FRIDAY 19 SEPTEMBER – SATURDAY 26 SEPTEMBER 2020

Theatre Royal Plymouth

https://theatreroyal.com

ON SALE SOON

TUESDAY 29 SEPTEMBER – SATURDAY 3 OCTOBER 2020

Palace Theatre, Manchester

www.atgtickets.com/venues/palace-theatre-manchester

ON SALE SOON

MONDAY 5 OCTOBER – SATURDAY 10 OCTOBER 2020

Bradford Alhambra

www.bradford-theatres.co.uk

ON SALE SOON

TUESDAY 13 OCTOBER – SATURDAY 17 OCTOBER 2020

Curve, Leicester

www.curveonline.co.uk

ON SALE SOON

MONDAY 19 OCTOBER – SATURDAY 24 OCTOBER 2020

His Majesty’s Theatre, Aberdeen

www.aberdeenperformingarts.com/his-majestys-theatre

ON SALE SOON

MONDAY 26 OCTOBER – SATURDAY 31 OCTOBER 2020

Regent Theatre, Stoke-on-Trent

www.atgtickets.com/venues/regent-theatre

ON SALE SOON

MONDAY 2 NOVEMBER – SATURDAY 7 NOVEMBER 2020

Bord Gáis Energy Theatre, Dublin

https://bordgaisenergytheatre.ie

ON SALE SOON

TUESDAY 10 NOVEMBER – SATURDAY 14 NOVEMBER 2020

Wolverhampton Grand Theatre

www.grandtheatre.co.uk

ON SALE SOON

MONDAY 16 NOVEMBER – SATURDAY 21 NOVEMBER 2020

Milton Keynes Theatre

www.atgtickets.com/venues/milton-keynes-theatre

ON SALE SOON

MONDAY 23 NOVEMBER – SATURDAY 28 NOVEMBER 2020

Lyceum Theatre, Sheffield

www.sheffieldtheatres.co.uk

ON SALE SOON

TUESDAY 1 DECEMBER – SATURDAY 5 DECEMBER 2020

Congress Theatre, Eastbourne

www.eastbournetheatres.co.uk 

ON SALE SOON

Darlington Hippodrome – until 5 January 2020

4****

Darlington Hippodrome proves its “Strictly Got Talent “with its pantomime this year with Shirley Ballas and George Sampson leading the cast in Jack and the Beanstalk.

Qdos Pantomimes can be relied upon to provide a good show and this years production does not disappoint.  Alan McHugh has written a decent script full of jokes and tongue twisters and all the fun you expect to see at a panto.  The basic story is that Giant Blunderbore is causing havoc by raising the rent in a small village and driving the villagers into poverty. Life is so bad that Dame Trot (Iain Stuart Robinson) is going to have to sell her cow to try and make ends meet and support her two sons, Jack (George Sampson) and Simple Simon (Phil Walker). Jack is upset about selling the cow but he is also distracted as he has met and fallen in love with the beautiful Princess Apricot (Lauren Hall). Unfortunately, the giant wants to eat the princess and his evil henchman Fleshcreep (Daniel Taylor) has taken her and Dame Trot’s cow Moomoo, off to Cloudland where Giant Blunderbore lives. With the help of his family and Mother Nature (Shirley Ballas) Jack sets off on his quest to rescue Apricot, the cow and the village from the grip of the evil giant.

Mother Nature is Strictly Come Dancing’s chief judge Shirley Ballas not only fantastic on her feet, but she also gets stuck in with the acting and singing too. Ballas commands the stage and recites her poetic lines with perfect comedic timing and with the grace and poise of the beautiful dancer that she is. Daniel Taylor is on fine form as the ferocious Fleshcreep, the audience just love to lap up his antics and share their excitement with boos aplenty

George Sampson’s Jack was just right as the young, handsome hero,  a nicely judged characterisation, combining that essential childlike innocence and simplicity but with fabulous footwork.  Whilst Sampson is a swashbuckling Jack – Lauren Hall was a sadly under used Princess Apricot. However she did have some excellent vocals when she got the chance.

Iain Stuart Robertson was everything a pantomime dame should be. Horrendous make-up, over the top dresses and a completely OTT performance. Putting Robertson and Simple Simon, Phil Walker, together on stage was a spark of genius as they really work as a double act. Outrageously trying to make each other corpse and delivering some of the worst puns in the history of Christmas cracker jokes, this is a pairing that just works beautifully.

Obviously this was a very dance orientated production with Ballas and Sampson showing us what they were made of but a highly entertaining “dance off” with Phil Walker joining in was fun too.  Gerry Zuccarello’s choreography was spot on with the 6 ensemble members (Jessica Carrick, Annabelle Clappison, Abbi-Mae Neilson, Connor Parkinson, Callum Rayment and Crischaela Vallender) and the glorious children from the Joanne Banks Dancers.  I especially enjoyed the baby sheep.

This was only the second night of the run, so some things might have gone a bit wrong, but the sheer joy of panto is that no one cares when mistakes are made – in fact it can add to the hilarity of the show.  All the traditional elements are there and the humour is pitched just right for the age range of the audience. There is plenty of audience participation, Jack and the Beanstalk is well worth a visit.

Stephen Joseph Theatre, Scarboroug – until 29 December 2019

Reviewed by Sara Garner

4****

A brand-new adaptation of the Robert Louis Stevenson classic Treasure Island by Nick Lane. The adventure begins in Scarborough and takes us to Treasure Island where we join the crew aboard the Hispaniola in search of Captain Flints’ buried gold and hopefully back home in time for Christmas. Nick Lane’s adaptation promises songs, swords, talking vegetables and a giant mechanic crab called Susan and swashbuckling a plenty.

The story begins the inn that belongs to Jim Hawkin’s parents. A mysterious stranger called Billy Bones, rents a room at the inn, warns Jim to keep a look out for a ‘one legged man’. One day, Billy is visited by a beggar called ‘Blind Pew’ who gives him the ‘black spot’ which is the mark of imminent death among pirate crews. This is adapted cleverly in the play to a fight with the “Black Dog” which had the audience laughing out loud. Jim and his mother find a treasure map which Jim takes to Squire Trelawney and Doctor Livesey who realise that it shows where Captain Flint, an evil and heartless pirate, has buried his stolen treasure. The Squire and the Doctor decide to go and find the treasure and invite Jim to come along. They hire a crew led by the respected Captain Smollet. The ship’s cook is a one-legged man called Long John Silver whom everyone admires.

The ship sets sail and we immediately begin to doubt the trustworthiness of this crew. However, the night before they reach Treasure Island Jim overhears Silver and other members of the crew plotting to kill them all. He realises that Long John Silver and most of the crew are pirates and were once members of Captain Flint’s crew. Jim warns the Doctor, the Squire and the Captain about the crew’s evil plans. Will they be saved and home in time for Christmas?

The cast of 5 fearsome pirates (Alice Blundell, Niall Ransome, Ben Tolley, Marcquelle Ward and Scarlet Wilderink) engaged with the children in the audience prior to the show putting them at ease. At the beginning of the play I did wonder how 5 actors where going to deliver a panto, but they did not disappoint as they took on multiple roles throughout the play. They acted, sung, danced and played musical instruments during the performance to tell us the elements of this story which was delivered with high energy from start to finish.

Favourite parts for us where the meeting of Ben Gunn who was abandoned years ago – (this song will stick in your head for the rest of the Christmas period), flashback scene and the leadership contest.

Children and adults of all ages will love this swashbuckling somewhat bonkers slightly, Monty Pythonesque reinvention of a classic story.

Lyric Theatre – until 5 January 2020

Reviewed by Donna Easton

5*****

Well, what a Saturday afternoon treat Oi Frog was for my little girl and I. 

The much loved books by Kes Grey and Jim Field are a firm favourite in our house so it was wonderful to see the story brought to life in such a compelling and vibrant way. 

The action takes place in Sittingbottom School where the rules state that the animals have to sit on something that rhymes with their names but new boy, Frog doesn’t want to sit on an uncomfortable log so decides to change to rules. Frog seems to like being in charge although his rise to power not only goes to his head (I loved the maniacal laughter) but seems to cause more problems than it resolves. 

The puppetry and character work are glorious with incredibly accomplished actors who have mastered the physicality of their animals beautifully. Whilst I was admiring the skill, my little girl was transfixed with no mention of the people in control of the animals, just an acceptance of the animal characters on stage. Magical! 

In consultation with my 4 year old little girl, some highlights for us were Frog getting a splinter in his bottom, the Cheetah serving fajitas, we loved witnessing the demise of eight of Stunt Cat’s nine lives and adored the bit when the elephant (searching for a mouse) came out into the audience and squirted water into the crowd. 

Catchy tunes, total silliness, audience participation and pitch perfect puppetry. 

What a joy of an afternoon and the perfect way to introduce young people to the magic of theatre. Thank you Oi Frog team. It was superb! 

The Lowry, Salford – until Sunday 12 January 2020

Reviewed by Angharad Crabtree

4****

The Gruffalo’s Child is a heartwarming performance which is suitable and entertaining for all ages. The skilful animation of the cast kept the audience constantly engaged, as well as the elements of interactivity which were cleverly woven into the story line.

The level of humour stimulated both young and older audiences, adding in some references that were only to appeal to the adults in the audience. The cast were very talented, undertaking multiple roles and adapting seamlessly. It was hard to see them as human beings and not cartoon animals at times, as they fully immersed the audience in their characters.

Despite the story line being simple, to cater for the youthful audience, it was well thought through and incorporated some resounding messages about bravery, friendship and misconception. The set was smartly navigated, as it was made of a few simple parts that were rearranged to give a new environment for each different scenario. The use of lighting also added to the dramatisation of certain scenes, whilst the use of song was both well performed and well received. There were many catchy, joyful numbers which incorporated rhyme and repeated patterns, allowing the audience to recognise familiar themes and feel more involved with the characters.

Wilton’s Music Hall – until 4 January 2020

Reviewed by Molly Stannard

4****

This rendition of Charles Dickens classic book brings a new twist to the modern audience. Piers Torday brings an interesting take on Scrooge’s character, shining a light on the struggles women had to endure during the 19th century. Following Jacob Marley’s inevitable demise, Fan Scrooge, his widow is forced to take over his company in order to survive. Gaining an ever-growing anger towards men’s attitude to women, fuelled by a childhood living in fear of her father’s drinking and gambling habits after losing his wife and her mother and then being left destitute as he was put in a debtor’s prison.

The seven strong cast played multiple rolls and included 3 puppets but was very well-executed. They brought an emotional yet comedic performance to the stage, taking the audience along the thrilling journey Scrooge endures.

The modern twist highlights the plight of women then and now, bringing it right up to date through a distant descendant by an ingeniously spooky spirit of Christmas future. It shows the struggle continues despite changing attitudes. Although a controversial subject it was laced with well-timed humour

This adaptation was rousing and will take you on an emotional roller coaster and leave you feeling Christmassy.

The Royal Exchange Theatre, Manchester – until 25 January 2020

Reviewed by Joseph Everton

4****

After years of being the second best sister, craving her mother’s attention, Louise, or Gypsy Rose Lee, burst onto American stages, emerging from the shadows to become a legendary performer in Burlesque. Jo Davies’ production, which tells the story of Louise’s childhood, brings together a strong cast, some clever staging and dazzling lighting by Colin Grenfell.

Reminiscent of American reality TV dross, Dance Moms, Rose (Ria Jones) is the ultimate pushy parent. Utterly determined for her favourite daughter June to achieve fame, Rose drags the family across the country, performing the same routine, with June thrust to the fore, in an attempt to make a life for her daughters that she was never able to obtain. Rose is a steely, unrelenting character who is sometimes difficult to like. However, Ria Jones’ Rose is more warm than some of her predecessors with much made of of the bond between her daughters and her. She is also adored by Herbie (Dale Rapley), who overlooks her personality flaws in a patient wait for the chance to marry her.

Melissa James as Louise is almost a figure of fun. Overshadowed by her sister’s talent, often forced to play one half of a cow, her character and charisma is hidden behind a meek yet likeable exterior, and a baggy and uninspiring wardrobe. Aside from a delicate performance of Little Lamb, James did a wonderful job of being thoroughly a underwhelming understudy to her sister. However, when she burst into life, finding a release in Burlesque, she was breathtaking.

Ria Jones earned rapturous applause for her passionate performance of Rose’s Turn which brought an excellent show to a close. The Royal Exchange seemed the perfect venue for a show that was a treat for the eyes and the ears. It is a must see