King’s Head Theatre – 9 May touring until 11 July 2025

Reviewed by Claire Roderick

4****

Bet’n Lev Theatre’s charming and celebratory show is a masterclass in storytelling. This witty and surprisingly moving show is a real treat.

From the moment you step in the auditorium, greeted with smiles and jokes by the cast, it’s obvious that this is a welcoming and safe space. Conceived by Joel Samuels and Roann Hassani McCloskey, Remythed reclaims myths and legends from around the world and recentres them around queer characters. Tales from Scheherazade’s dreams and stories to Lilith rejecting Adam are shared with a sense of wonder and mischievous joy. A banished arrogant prince travels to a mysterious community where he discovers humility and fellowship, the tale of Lady Godiva becomes her big romantic gesture towards spinster tailor Tom, while Anansi helps a contemporary black gay man to remember his own strength and power.

The cast – Emile Clarke, Ishmael Kirby, Roann Hassani McCloskey, Joel Samuels and Lucy Roslyn – are warm and engaging, making each other laugh and working together with fantastic chemistry. Joel Samuels is full of energy and when jokes land, often breaks character to announce his delight. Roann Hassani McCloskey charms as various characters, and one VERY strange beast. Lucy Roslyn is effortlessly moving as Lilith and Tommy, and hilariously absurd with Emile Clarke as they gesture ridiculously as the prince’s parents. Clarke is brilliantly brattish as the entitled Adam, unable to understand Lilith’s rejection of his ownership of her. Ishmael Kirby moves regally and seductively. As they portray different characters, their movement shifts from spiritual to funny to frankly bizarre in this captivating queer show with a huge heart.

Tour dates

2 – 3 May Shakespeare North, Prescot

9 May Kings Head Theatre, London

15 – 16 May Ustinov Studio, Theatre Royal, Bath

24 – 25 June Live Theatre, Newcastle

6 July Tobacco Factory Theatre, Bristol

11 July Old Joint Stock Theatre, Birmingham

Rose Theatre, Kingston upon Thames – until 24 May 2025

Reviewed by Phil Brown

 5***** 

What sets the revelatory Marie and Rosetta apart from many excellent musicals that appear on London stages are the nature of the subject and the format.  

It’s a joyous celebration of the seminal nature of Sister Rosetta Tharpe’s role in the development of popular music.  And Rosetta Tharpe is unlikely to have much, if any name recognition outside of serious musicologists or the boomer generation who lived through the British blues explosion of the 60s.  This applies even more in the case of the little known Marie Knight.  Secondly, it’s a dialogue intense two handed play (writer – George Brant) with music, rather than being predominantly music with a few spoken word links.  

In keeping with an inspirational story of black female musicianship, this follows through to the classy four piece backing band (although musical supervisor Liam Godwin was on piano for press night). 

Sister Rosetta Tharpe (1915–1973) was a pioneering gospel singer and electric guitarist, and cared little for convention by moving between spiritual and secular (eg Cotton Club) settings.  She is credited with influencing the likes of Presley, Cash and Little Richard.  Her 1945 hit “Strange Things Happening Every Day” (performed in the show) is considered the first rock ‘n’ roll record.  It seems grossly unjust that such a ground breaking star often referred to as the “Godmother of Rock and Roll” or the “original soul sister” is largely a forgotten figure today.  This hit-in-waiting play should help rectify that.

Marie Knight (1920–2009) started as a gospel singer in a vocal group called The Sunset Four before rising in prominence after teaming up with Rosetta in the mid-1940s.  Possessing a powerful contralto voice she caught Rosetta’s attention whilst performing on a Mahalia Jackson bill.  Like a canny football manager, she moved quickly to recruit her before Jackson, another powerful gospel presence, could.  Together, Rosetta and Marie performed gospel duets with strong blues and R&B influences, producing hits like Up Above My Head (also featured in the show). 

The play opens in Mississippi 1946.  Rosetta (played by Beverley Knight) and Marie (played by Ntombizodwa Ndlovu) are getting to know each other in one of the most unusual settings you are likely to see – a funeral parlour including a coffin, illuminated cross and shrouds which hide the band members (set designer – Lily Arnold).  The funeral home is used for rehearsal and as a place to sleep after the show, black performers not being allowed into hotels in the American south.

In the course of 100 engrossing minutes (no interval) of wonderfully natural, often hilarious imagined conversation, punctuated by some of the most uplifting music there is, we get to know their respective back stories, philosophies and hang ups.  Even though Rosetta is only a few years older than Marie, she has a depth of experience, self belief and focus to have a definite vision for their future.  

After they each demonstrate their vocal prowess – Rosetta (Knight) with This Train and Marie (Ndlovu) with the gorgeously sung Were You There, they start to iron out how to perform together in amusing detail.  Rosetta generously mentors Marie in her role as collaborator – from how to swing her hips to “you’re not my back up little sister, you’re my and” – as in Rosetta and Marie.  “Keep that up for too long and it’ll be Marie and Rosetta”.  This ends up in the first full blooded duet with Rosetta and Marie combining fabulously in audience favourite Didn’t It Rain.  “Mahalia gonna be mad…”

As streetwise Rosetta surprisingly declares she can’t be doing with the commercial side of things and asks Marie to look after the money, the conversation takes another hilarious turn to useless and occasionally violent men – “squirrels” in Rosetta parlance, as in “squirrelling my money away for a rainy day”. “Preachers – they’s the worst squirrels there is…”  This leads to a rocking duet I Want a Tall Skinny Papa.

This was followed by possibly the standout moment of the evening as Rosetta (Knight) sang I Looked Down the Line accompanied only by music director Shirley Tetteh’s funk guitar having stepped out of her booth into the spotlight with Rosetta.

Then in quick succession we have the fully functioning duo tearing it up with Up Above My Head, and Strange Things Are Happening Everyday.

At this point, events take a strange turn as we suddenly understand that Rosetta has died and Marie Knight has been mentally reminiscing about their time together and agonising over the lack of recognition, presumably on the occasion of Rosetta’s death in 1973.  Arguably, the true progenitor of rock and roll ended up in an unmarked grave in Philadelphia, a headstone eventually being erected in 2009.  The play concludes with Marie (Ndlovu)’s beautifully soulful Peace in the Valley.

Overall, the thrilling Marie and Rosetta is a triumph.  It showcases sheer excellence from the whole production team.  Brant’s dialogue is brilliantly written and superbly delivered, although with the actors speaking in authentic sounding but heavy southern US accents, it was tricky at first to pick up all of the speech.  Direction by Monique Touko is first rate, whilst the singing and music accompaniment is non pareil.  We’ve come to expect Beverley Knight MBE to perform at the highest level, but I have to especially commend Ntombizodwa Ndlovu on a truly sparkling performance.

Soho Theatre – until 24 May 2025

Reviewed by Claire Roderick

5*****

When I was offered a press ticket for Meow Meow, I jumped at the chance to see this incredible force of nature live again. Once seen, never forgotten.

With It’s Come to This, Meow Meow muses both on her career and the state of the world, mixing her chaotic comedy with darker political commentary. After performing on grand stages like the frequently mentioned Carnegie Hall, Meow Meow riffs on the joke that Soho Theatre is a major letdown brilliantly as she makes her chaotic entrance and has to set up the stage herself. Of course, she stages her entrance again with the front row adoringly throwing roses at her, resplendent in a stunning black ballgown with amazing hair.

Advertising as an “international singing sensation and purr-fect post pandemic, post-post-modern Superstar” seems hyperbole, but it could be an understatement here. Meow Meow’s storytelling, through her comedy and her singing, is simply astonishing. With a gorgeously expressive and controlled voice, songs ranging from the Weimar era to Radiohead are performed with passion and charisma, accompanied by Ben Dawson on piano – the calm in the eye of the onstage storm.

There is unhinged comedy and audience interaction – no one is safe as Meow Meow prowls the audience looking for victims – and their belongings. And, of course, she crowd-surfs. In a ballgown and stilettoes. Up steeply raked seating. Hilarious and terrifying.

Music from the era when fascism was on the rise in the 1920s and 30s hits harder now, and stories about the survival of art, philosophical ideas and the angel of history, are shared with the audience. Meow Meow asks if any of us have any answers to stop history repeating but doesn’t offer any. Instead, the show reminds us that amongst the despair and anger at the politics and aggression around us, creativity endures to connect and share beauty and joy, even in the darkest hour.

A sublime show from a true superstar.

Kings Theatre Portsmouth – until 10 May 2025

Reviewed By Lucy Hitchcock

4****

CCADS have done it again, this time bringing you the ultimate feel good evening as you join four ladies reliving their childhood dreams of meeting ‘The Band’!

Written by Tim Firth, with well known hits from ‘Take That’, director John-Paul McCrohon has taken the script and made a fabulous production of this musical. Following the story of Rachel (Kerry McCrohon) as she wins a competition to see ‘The Band’-who she was once obsessed with-she invites her three best friends from school along with her, Heather (Kat Millmore-Davies) Zoe, (Caroline Westmorland) and Claire (Kim Seagrove). Together, they reunite after 25 years and along the way discover why they mean so much to each other and their friendship is allowed to Shine! Each of these women were fantastic, giving beautiful moments of humour and sadness to their characters with such ease and accompanied by their fabulous vocals.

The stand out for me was Kim Seagrove as Claire, she was so beautifully poignant with her storyline and had me in tears as I felt myself fully emotionally connect to her character. The story starts with the younger version of the characters Keighley Smith, Jasmin Richardson, Charlotte Coqueral and Maisie Wallace playing Younger Rachel, Heather, Zoe and Claire respectively. These girls were brilliant, completely immersing themselves in the childlike giddiness everyone can relate to at hearing or seeing their favourite band play on tv and radio.

A special mention to Danielle Cox as Debbie-their friend from school who can no longer join them in their lives, but is ever present on stage as a forced reminder of their past. She was fabulous and really excelled in the role. However, my favourite cast member had to be Tony Dart, playing a vast range of roles and showing up for complete comedic effect-everytime he joined the stage the audience laughed at his one line quips.

The Band, known also as ‘The Boys’ were played by Paul Goldthorpe, Max Hunt, Christopher McCrohon, Chris Smith and Arthur Westmorland. They were great! As a quintet, their harmonies were nearly always perfect and showed such charisma and presence-I was enamoured with their ability to perfectly join the scene with music and not detract from the action on stage.

What are you waiting for to buy your tickets, it only takes a minute! I think I’ve said it all, so get online, have a little patience and never forget that this could be the greatest day of your life!

SHOWS CONFIRMED FOR THE

ACTING FOR OTHERS

2025 WEST END FLEA MARKET

Theatrical charity Acting for Others today announces the leading West End theatre shows participating in this year’s West End Flea Market. This year’s event will take place on Saturday 17 May at St Paul’s Church and Churchyard, Covent Garden from 10am – 2pm.

Top West End shows will set up uniquely designed stalls with show merchandise, special limited-edition collectables, theatrical memorabilia, signed posters and special items for auction. Each stall will be tailored by the company to celebrate their productions, including ATG Productions, Back to The Future, Cabaret at The Kit Kat Club, Clueless, Go Live Theatre Projects, Hadestown, Hamilton, Les Misérables, Mamma Mia, Mean Girls, Moulin Rouge, Operation Mincemeat, Phantom of The Opera, SIX, Stiletto, The Book of Mormon, The Devil Wears Prada, The Lightning Thief: The Percy Jackson Musical, The Mousetrap, Mischief & The Play That Goes Wrong, TINA – The Tina Turner Musical and Titanique.

Shows hosting a stall will compete to win Best Dressed Stall, decided by a panel of starry judges including West End Flea Market regular Christopher Biggins, with further judges to be announced shortly. The winner will be announced at the event.

 
Also announced today are the West End stars who will be signing autographs at the event. Joining the previously announced Luke Bayer, Cassidy Janson, Natalie Paris, Tom Read Wilson, Giles Terera and Rachel Tucker are Bronté Barbé, Janie Dee, Alfred Enoch, Clare Foster, Shanay Holmes, Derek Jacobi, Lesley Joseph, Lily Kerhoas, Alexia Khadime, Debbie Kurup, Simon Lipkin, George Maguire, Toby Marlow, Lucy Moss, Ewan Miller, Natalie Paris, Mason Alexander Park, Arlene Phillips, Dianne Pilkington, Caroline Sheen, Lucy St Louis, Giles Terera and Harriet Thorpe. Additional stars will be announced in the lead-up to the event.

Other highlights of the fifth annual market include the West End Charity Football Club’s star-studded team taking part in a penalty shoot-out running throughout the event, with additional stalls including Peter Hannah Art selling handmade drawings, Ensemble Games and Gifts, Encore Gifts with a Hook a Duck and Jamie’s Bakery supplying theatrically themed baked goods for attendees. On the day there will also be entertainment from Mariachi Loco and the Panto Dames.

An online auction set up with BidAid will be taking place on the day with auction items available via this link: https://bidaid.com/auction/FM25. More auction items will be added in the lead-up to the event.

Keep an eye on Acting for Others socials to stay up to date on announcements:

Facebook: /Acting4Others

Instagram: @actingforothers

Twitter: @ActingForOthers

West End Flea Market is organised in aid of Acting for Others, a fundraising organisation for a network of 14 UK theatrical and welfare charities supporting all theatre workers.

For those unable to attend the event, Acting for Otherscan still be supported by donating at www.actingforothers.co.uk/donate

West End Flea Market

Saturday 17 May 2025, 10am – 2pm

St Paul’s Church, Bedford Street, London, WC2E 9ED

Entry £5

I’M EVERY WOMAN

THE CHAKA KHAN MUSICAL

WORLD PREMIERE TO OPEN AT THE PEACOCK THEATRE

FOR LIMITED RUN FROM 5 – 28 MARCH 2026

Producer Adrian Grant, in association with Chaka Khan, is thrilled to announce that I’M EVERY WOMAN THE MUSICAL, the powerful and inspiring life story of the award-winning, multi-platinum selling, global icon, Chaka Khan, will open at The Peacock Theatre in London for a strictly limited engagement from 5 – 28 March 2026 with an official opening night on 11 March. The new musical which reveals the woman behind the diva, and her rise to stardom has a book by Nia T. Hill, direction by Racky Plews, choreography by Jade Hackett and casting by Debbie O’Brien with further creatives and casting to be announced.

Tickets go on sale at 10am on 19 May.

Chaka Khan shares “Many of you know that my life has always influenced my music—but you may not know the full story. I’ve lived a rich, beautiful, and sometimes difficult life, and now those experiences will come alive on stage in I’m Every Woman: The Musical. It’s the greatest honour to have my journey and work celebrated in this way. London holds a special place in my heart, and I can’t wait to share this moment with the fans who have sung, danced, and stood by me through it all. I’ve always wanted to inspire joy, truth, and love—and I know this musical will be filled with all of that and more. This is for you!”

The fame, the fire, the fight — this is her story. I’m Every Woman: The Musical brings to life the untold story of Chaka Khan, one of the most influential voices of our time. Unapologetically bold and deeply human, the production explores her unwavering passion for civil rights, her defiance in the face of a toxic music industry, the harrowing road through addiction, and the unrelenting pressure of being a working mother. At its core, it’s a story of resilience, purpose, and power — a celebration of the woman behind the legend.      

I’M EVERY WOMAN THE MUSICAL will feature Chaka Khan’s much-loved songs released as a solo artist and lead singer of the band ‘Rufus’ such as I Feel For You, Tell Me Something Good, Ain’t Nobody, Sweet Thing, Higher Love and Through The Fire. The show, which is a journey of music, love and betrayal has a book that includes an array of Chaka’s famous friends from Joni Mitchell and Prince, to Stevie Wonder and Robert Palmer.

Producer, Adrian Grant said, “I’m excited to be bringing a stage show about the life of Chaka Khan to the West End. I grew up listening to hits such as Ain’t Nobody and I Feel For You, with her powerhouse vocals and electric videos which have left an undeniable imprint on popular culture. My brilliant creative team cannot wait to present that energy on stage, with a bold and empowering new musical celebrating Chaka’s legacy and amazing catalogue of songs.” 

Chaka Khan is a global music icon whose influence spans generations of singers, songwriters, musicians, and storytellers. With a career defined by innovation and resilience, she has redefined the sound of pop, soul, jazz, and funk—helping to shape the contemporary music landscape into what it is today. Inducted into the Rock and Roll Hall of Fame’s Class of 2023, Khan is not only a trailblazer but also a symbol of strength, creativity, and longevity. She has developed a vast and loyal global fan base, having performed on six continents. With over 100 million records sold, streamed, and downloaded worldwide, her legacy includes 10 Grammy Awards and 22 nominations—three of which she earned as a member of the groundbreaking band Rufus. Beyond her extraordinary voice, Chaka Khan is also a gifted songwriter, producer, visual artist, author, actress, humanitarian, activist, mother, and grandmother.                    

I’M EVERY WOMAN THE MUSICAL is produced by Adrian Grant in association with Chaka Khan. 

Willette Klausner Murphy for WMK Productions is Co-producer.

Website: www.imeverywomanmusical.com

Instagram: @imeverywomanmusical

TikTok: @imeverywomanmusical

Facebook: @imeverywomanmusical

LISTINGS INFORMATION

I’M EVERY WOMAN THE MUSICAL

5 – 28 March 2026

Peacock Theatre
Portugal Street
London
WC2A 2HT

Box office: 020 7863 8222  

tickets@sadlerswells.com 

Tickets for the general public will go on sale at 10am on Monday, 19May.

You can sign up for more information on the musical’s website.

Running time: 2 hours 20 minutes plus an interval

Performances:

Mondays, Tuesdays, Wednesdays, Thursdays, Fridays & Saturdays at 7:30pm

Wednesday & Saturday matinees at 2:30pm*

*N.B there will be no matinee performance on Wednesday 11 March, and no show on Monday 23 March

Theatre Royal Concert Hall Nottingham – until Sunday 18th May 2025

Reviewed by Amarjeet Singh

4****

Nick Stafford’s stage adaptation of Michael Morpurgo’s best-selling 1982 war novel, War Horse is magnificent. Emotional and character driven, this production, directed by Tom Morris with revival director Katie Henry, is a triumph. The story recounts the experiences of young Albert and his beloved horse Joey. Acquired via a drunken challenge between Albert’s father and uncle, Albert raises Joey from a foal, building an unbreakable bond as they grow together on the family farm while facing many trials and tribulations. World War One parts them, as Joey is sold as a military horse by Albert’s immoral father and is set to be sent into war immediately. Albert tries to enlist but is told he is too young. He is reassured by the general who is to ride Joey, that he loves, rides and sketches horses and he would take good care of Joey. But upon receiving the general’s sketchbook after he is killed in battle, Albert sets out to reunite with Joey.

Exquisitely designed by Handspring Puppet Company and masterfully choreographed by Toby Sedgwick, War Horse is brought to life by its incredible puppets and puppetry. Foal Joey is operated by Diany Samba-Bandza (Head), Jordan Paris (Heart), and Eloise Beaumont-Wood (Hind). Adult Joey is operated by Tea Poldervaart (Head), Robin Hayward/Ross Green (Heart) and Gun Suen (Hind). Topthorn, Joey’s fellow war horse is operated by Tom Quinn (Head), Lewis McBean (Heart) and Michael Larcombe (Hind). The sheer effort these performers put in is astounding. The realism is mind-blowing, ear twitches, tail swishes and vocal sounds are spot on. From a gallop to a trot, the movements are fluid, and you forget in an instant that they are not real. To see the horses being ridden is amazing. As well as the horses, there are birds, riders and a rather delightful goose. Tom Sturgess is a wonderfully endearing Albert, his relationship with Joey is authentic and adorable. The whole company combine to create a magnificent production.

John Tams songs, sung by Sally Swanson who narrates the show takes us through emotional moments when words are not enough. Adrian Sutton’s music is rousing and raises the emotional stakes and the drama. Rae Smith’s set design is subtle but sublime, with an empty stage adorned with a ripped page from what could be the generals sketch book. Animation from 59 illuminates the page with moving sketches which take us through different times and places. We see galloping horses, fields, farms and depictions of war, but these never detract from the action on the stage. Sticks and bars are held in different positions by the cast to create dynamic fences, boats and gates. Rob Casey’s Lighting combined with the simple sets is what elevates it all. We fully experience the war through bright flashes. Spotlights highlight certain parts of the action whilst others are left in shadow, switching between the two ensuring the action is never static.

War Horse is a life affirming tale told in a truly magical way. A touching tearjerker that traverses the multilayered impact of war and the power of friendship in all its forms

Greenwich Theatre – until 24th May 2025

Reviewed by Ben Jolly

3***

There’s a dense cloud of dry ice oozing from the stage and the sombre soundtrack of nostalgic piano pop-covers offers an atmospheric greeting as we enter the auditorium of Greenwich Theatre where a revival of Jez Butterworth’s critically acclaimed play, Parlour Song has just opened. Through the dimly lit stage, we can make out Emily Bestow’s well thought out set design consisting of a midnight blue structure representing a house, starkly contrasted with clinically bright white household items scattered around the set and a projected floor plan with white tape on the floor of the stage to indicate doors and walls akin to a practice often used in the rehearsal room; these elements lead me to believe at first glance that this production has chosen to lean into the darker side of this “darkly comedic” play.

For this piece, Butterworth opted to investigate the life of suburbia in England; whatmaterialises in the life behind the white picket fence and how does life go on with want and desire continuing to interrupt the realm of “happily ever after”? We have Ned our tragi-comedic character and his wife, Joy; joining from next door is Dale who is also married with two children. The dust has well and truly settled on Ned and Joy’s eleven-year marriage and with routine and stability births new problems of desire and paranoia between them.

Dale arrives on stage, “It started slowly.” he announces soberly, and we start at the point where it all began, with the cracks just starting to show in Ned’s psyche. Throughout the various comedic beats in the inaugural scene, it is evident that the macabre undertones weigh down the lighter, witty dialogue and continuing from scene to scene, it’s an uphill struggle for the cast to bring the audience in on the joke. Despite this, Naveed Khan is a great tonic with his theatrical energy, masterful physical comedy and range. Kellie Shirley as Joy is sexy and sultry, who in contrast to Khan, opts to internalise her performance, cleverly leaving you to want more. This stark opposition in dynamics only highlights the couple at odds. Jeremy Edwards plays the “everyday man”, Dale with charm but lacks any further findings in his character development resulting in an unbalanced feel of characterisations.

James Haddrell’s staging is a masterclass in the macabre but does not organically lend itself to the comedy. The momentum suffers with the Pinter inspired pauses and each scene is stretched out to the point where it wears thin over time. The aesthetic of the piece and character motivations appear contrived as the play reaches its conclusion just in time narrowly avoiding outstaying its welcome.

For completists of Butterworth’s work who might have missed this earlier piece or fans of the cast, the trip to Greenwich Theatre will undoubtedly prove worthwhile. However, despite evident effort from the cast and crew, the production ultimately falls short in its comedic potential.

Hull Truck Theatre – until 24th May 2025

Reviewed by Dawn Bennett

5*****

To Have and To Hold at Hull Truck theatre last night was one of the best plays that I have seen for a long, long time. Written by Richard Bean (One Man Two Guvnors, Made in Dagenham and The Hypocrite to name just a few) it was a roller coaster of emotions all the way through, from moments of sadness to full belly laughs.

Jack (Ian Bartholomew) and Florence (Paula Wilcox) have been married for 60 years. Jack isn’t as well as he’d like to be and Florence has a few memory problems and her eyesight isn’t as good as it once was. They live in Wetwang in the Yorkshire Wolds; they’re plodding along with their lives but just finding it a bit of a struggle now. Their niece Pamela (Sara Beharrell) does their shopping for them and the couple’s friend, Eddie (Adrain Hood) also helps out, going to the bank, keeping Jack company and taking up running his allotment.

Jack and Florence have two children, Rob (Stephen Tompkinson) and Tina (Rebecca Johnson) Rob is a crime writer and lives in London and is often in Los Angles were he’s in talks for his book to be made into a film. As he says he couldn’t stay in Wetwang as there’s no film industry there! Tina runs a company, which specialises in private Doctors practices, down in Somerset.

Rob and Tina don’t live near their parents so are not there to help them day to day as their cousin Pamela is always reminding them. They come home to have a family meeting to suggest to Jack and Florence that they move in with Tina and what follows is a heart-warming story of family life and the problems that go with it.

The interactions between the cast are just wonderful and very believable, they are very experienced actors and they were an absolute joy to watch,

The cast all played their parts brilliantly, I was really drawn into their story and a lot of it really resonated with me and possibly a lot of the audience with parents/partners of a certain age.

This is definitely must-see production, a five-star show by a five-star cast.

Grand Opera House York – until Sunday 11th May 2025

Reviewed by Michelle Richardson

4****

York Stage are currently treading the boards at the Grand Opera House York. Under the direction of Nik Briggs, their latest production is Shakespeare’s comedy play, A Midsummer Night’s Dream. I was fortunate to attend opening night, and I was excited to see their fresh interpretation of such a classical well-known piece of work.

The play is a truly crazy, bonkers story, where reality and the world of fairies merge. Set in the mystical realm of Athens, where comedy and chaos collide, you get three sagas for the price of one. Two pairs of mismatched lovers, a mischievous group of fairies, led by a fairy King and Queen, and a ramshackle troupe of amateur actors. As the audience is drawn into the enchanting world of A Midsummer Night’s Dream, the playful elements of the piece take centre stage. Magical mishaps, love potions and fairy mischief create romantic chaos, but ultimately love prevails.

This isn’t your usual run of the mill Shakespeare, York Stage have shaken things up with the set, the costumes and the music. Straight from the off, the stage is set with metal railings, the actors decked out in metallic and animal print costumes, very 80’s disco vibe. The Moon (May Tether) is belting out “Freed from Desire”, whilst the stage is shimmering with enthusiastic ravers. Certainly, a break from tradition, but intertwined with Shakespearean dialogue, it makes for a compelling piece of theatre.

Theseus (Mark Holgate) is soon to be married to Hippolyta (York favourite Suzy Cooper), but they get drawn into a family quarrel courtesy of Egeus (York Stage matriarch Joanne Theaker). This conflict about love matches gets more complicated with the manipulation of the fairies, and the involvement of the mischievous Puck (James Robert Ball). The play within the play, is to celebrate the upcoming nuptials. It is there we meet Bottom (Ian Giles) and the rest of the troupe. The action becomes more absurd and comical as they stumble through rehearsals, until their final performance hysterical performance.

At times it was a struggle to hear what the actors were saying, especially with the Shakesperean language, and the plot can be confusing to say the least. Saying that, the whole cast performed with energy and charisma and brought this whimsical play to life.

May Tether was hitting the high notes, with hits like “You’ve Got the Love” and “Show Me Love”, often descending or flying through the air. Hats off to her. The choreography throughout was executed with much exuberance and vigour and one of the highlights of the evening.

The costumes were superb, vivid and vibrant. A theme running throughout, the same animal prints appearing in a lot of the cast’s clothing. The fairies didn’t have traditional voile tutus, instead they wore metallic pieces, whilst the fairy ensemble were encased in silver lame suits. The drama group outfits, during their final performance were a feast of orange workwear, so fitting for this interpretation, and providing much merriment. The edition of a shell suit, in a metallic animal print, worn by chavvy Puck and huge gold chain worn by Oberon, were reminiscent of tv shows Shameless and Brassic. Who knew they would fit in with a production of A Midsummer Night’s Dream? The only negative I had was Bottom when he turned into a donkey, his headpiece was underwhelming, I wanted more.

As ever with York Stage, they have a live band performing, under the direction of Stephen Hackshaw. This musical accompaniment is always a highlight of their productions, and a joy to hear.

Whilst not your traditional Shakespearean play, it is refreshing to see something different and a new take on an old favourite. York Stage and their wonderful performers have delivered an energetic, fun and somewhat bizarre show. What more could you ask for from a night out at the theatre?