Old Joint Stock Theatre, Birmingham until 30th December 2025

Reviewed by Emma Millward

5*****

Staged in the intimate setting of the Old Joint Stock Theatre, It’s a Wonderful Knife-Christmas Dundee delivers a riotous burst of festive silliness and affectionate parody. The production leans boldly into a very unusual premise, blending the sentimentality of a classic holiday redemption tale with the swaggering, sun-soaked world of Australian superstars. What follows is probably one of the most chaotic yet enjoyable shows I have seen. The idea for the show stems from the surprising fact that the movie Crocodile Dundee holds the record for the biggest single Christmas Day TV audience in UK history, when a staggering 21.77 million viewers tuned in for its premiere in 1989.

The story follows the star of the movie, Paul Hogan (Paul Westwood) on a particularly bleak Christmas Eve. Feeling the burden of old age and his waning fame, he wishes he had never been born. His loyal crocodile companion Burt (Oliver Cartwright) returns from the afterlife to guide him and show him just how different the world would be if Paul had never existed. It’s a deliberately outrageous setup, but the Old Joint Stock creative team embrace the premise with such commitment that the audience quickly accepts the production’s eccentric reality. The result is a playful blend of thoughtful redemption, second chances, big musical numbers and extremely tongue-in-cheek humour. Along the way, Paul crosses paths with other famous Australians whose career trajectories were changed when Paul ceased to exist. Kylie Minogue (Thea Jo Wolfe) is no longer a pint-sized hitmaker. She is now a trigger-happy rebel fighter who takes great pleasure in waving a machine gun around, particularly at the front row. Hugh Jackman (Will Usherwood-Bliss) also appears complete with boomerangs as his Wolverine claws and manic energy. Hogan discovers in this alternate reality that Arnold Schwarzenegger (Tom Kiteley) played Mick Dundee, and the film subsequently bombed at the box office, ruining the careers of all involved. Kiteley’s hilarious padded muscular costume is a sight to behold. His song ‘Get To The Chopper’ is still in my head as I write this review!

Burt is portrayed as an unapologetically camp and stylish Crocodile, clad in a tricorn hat and beautiful green tailcoat with glittery crocodile-skin lapels. We are not in panto territory with his crocodile costume. The costume design by George P. Martin is superb throughout. There is the famous Crocodile waistcoat and crocodile teeth-decorated Akubra hat of Mick Dundee and knowing nods to recognisable outfits worn by the famous people portrayed. Martin’s wooden shack set design is also simple, yet effective. Lilly Butcher’s direction is tight and ensures the show doesn’t spiral too out of control, not easy in such a fast-paced show. The lighting and sound by Theatre SSL are beautifully atmospheric, especially during the battle scenes (yep, in a Christmas show!). William Spencer’s choreography complements the madcap nature of the show, including a tap dancing Burt the Crocodile. 

Writer James Edge’s witty, but heartfelt lyrics are brought to life by composer Adam Gerber and Musical Director Maddy Lygo. The score mixes high-energy songs and mournful ballads that showcase the performer’s vocal and comedic abilities. Oliver Cartwright and Thea Jo Wolfe especially excelled with powerhouse vocals during their solo numbers. The small ensemble of five performers give their all as multiple characters. As Burt the Crocodile proudly states during the show, he is indeed a scene stealer. Never have I ever wanted to hug a crocodile so much!

Old Joint Stock Theatre have produced a gleefully surreal festive show that is anything but traditional. It’s A Wonderful Knife-Christmas Dundee has a quirky, fever dream-like energy, but crafted with genuine heart creating a show that is memorable for all the right reasons.

PLAYHOUSE THEATRE, LIVERPOOL – UNTIL SATURDAY 3RD JANUARY 2026

REVIEWED BY MIA BOWEN

5*****

Young Frankenstein: The Musical is an uproariously funny, high-energy production that transforms Mel Brooks’ legendary comedy into a vibrant stage performance filled with wit, charm, and impeccable execution. The show is packed with rapid-fire jokes, clever wordplay, and brilliantly exaggerated physical humour, ensuring that the audience remains entertained from start to finish. It successfully retains the essence of the film while introducing its own theatrical elements, resulting in a truly refreshing and enjoyable experience.

The cast was exceptional in every regard. Each performer exuded remarkable charisma, had impeccable comedic timing, and clearly demonstrated a deep love for their role. Their ability to merge bold, exaggerated humour with authentic character work made each moment captivating. As an ensemble, they operated seamlessly, playing off one another’s energy, enhancing punchlines, and transforming every scene into something memorable. Their chemistry was so powerful that even the smallest interactions became shining comedic highlights.

The true highlight of the evening was Curtis Patrick as Igor, who completely stole the show with a performance that was nothing short of brilliant. His irresistibly animated facial expressions were comedic gold, transforming even the slightest reactions into laugh-out-loud moments. Combined with his quick, witty lines, delivered with impeccable timing and mischievous charm, he consistently elicited some of the loudest responses from the audience. Patrick’s portrayal of Igor was not only humorous but also magnetic, injecting a spark into every scene he graced and firmly establishing himself as the standout of the show.

Young Frankenstein presents a succession of show-stopping musical numbers, each brimming with humour, energy, and impeccable theatricality. The entire score bursts into life, infused with riotous comedy and extraordinary vocal talent, making the musical performances some of the most memorable highlights of the evening.

One standout performance came from Amelia Adams as Elizabeth Benning, particularly during her brilliantly executed number “Please Don’t Touch Me.” Adams’ comedic timing, sparkling vocals, and exuberant dramatics had the whole audience in fits of laughter. By the end of her performance, many were in tears from laughing, utterly captivated by the absurdity and charm she infused into the role. Another electrifying moment was delivered by Pete Gallagher as the Monster in the iconic “Puttin’ on the Ritz.” This was the scene everyone had eagerly anticipated, and it certainly lived up to expectations. Gallagher’s charismatic presence, coupled with the number’s splendid mix of chaos, choreography, and unexpected elegance, created an unforgettable highlight of the show. Equally amusing was Julie Yammanee as Inga, whose lively and spirited rendition of “Roll in the Hay” had the audience in stitches. Those seated beside me were in tears from laughter—Yammanee’s infectious energy and comedic brilliance made this number a true favourite among the crowd.

On press night, just as Act II commenced, the performance was momentarily halted when Julie Yammanee sustained an injury. Stepping in on remarkably short notice, Jessica Wright took over the role with ease. Her swift adaptability, confidence, and polished performance showcased her professionalism and highlighted the strength of the production’s cast and crew.

Overall, this production is shockingly funny and an electrifying theatrical success. It sparks laughter at every turn, providing a night of unforgettable entertainment that leaves the audience buzzing with joy long after the curtain falls.

Festival Theatre, Malvern – 5th December 2025

Reviewed by Courie Amado Juneau

4****

I have seen Armonico Consort many times and they have never been anything less than fabulous, so the opportunity to see them performing Handel’s Fireworks music was an enticing prospect.

The first half of the programme was given over to Handel’s Te deum. The programme notes helpfully explained how Handel’s “inclusion of military trumpets and timpani… …depict the victory over death” and in this very joyous piece the trumpets were indeed in large part responsible for this euphoric feeling. But the orchestra also shone in the quieter moments with movement 3’s woodwind giving us a sumptuous contrast between winds and tutti which was especially lovely. All the soloists were fantastic and the part with 3 soloists melting away into just the chorus (singers on their own) was extraordinarily dramatic.

Speaking of the soloists… I felt that the balance wasn’t quite right with the full orchestral forces overpowering the chorus. This really stood out when soloists came forward and they could be heard much clearer when in front of the orchestra. When the chorus could be heard though they did sound perfect. Secondly, I wish the programme had photos of the musicians so that us reviewers could name the stars personally to highlight their excellence. Far nicer than “the second soloist” did…

Although not soloists per se, I loved the low strings and organ throughout so they deserve a special mention for the way they enriched the music – I’m a sucker for an organ in any setting.

The second half really took off with Coronation Anthems bookending the Music for the Royal Fireworks. “The King Shall Rejoice” and “Let Thy Hand be Strengthened” gave the players the chance to display their immense skills before Fireworks truly lived up to its name. Martial beats were graced via more powerful timpani work – I believe using period timps and beaters as it sounded rather rounded and perfectly in keeping with the rest of the orchestra (also using period instruments) now augmented by horns.

The concert concluded with two more coronation anthems, building an impressive crescendo which finally broke with that first “Zadok the priest” entry! But that was after some masterful anticipatory strings to build the tension. Blistering stuff to stir the heart now, just as it did back then!

Director Christopher monks gave helpful background information to the original Fireworks Music night fiasco in a speech that was full of wit and charm. This continued in his closing farewell. He has an obvious rapport with his adoring audience and musicians and a palpable affection for Malvern Theatres which is very much reciprocated.

All in all a joyous evening of Baroque musical splendour from one of the Baroque’s greatest composers. Personally I’ll take Handel over Bach any day of the week. In the company of one of the great ensembles of our time playing at the top of their game, this was an evening’s musical feast to savour and I cannot wait till the next time they are in town, which I will not miss (and I advise you not to miss them either). I 100% wholeheartedly recommend that you purchase your tickets to the next concert in their series asap.

Crucible Theatre, Sheffield – until 10th January 2026

Reviewed by Alison Beaumont

4****

A Christmas Carol is a classic book by Charles Dickens and comes to the stage in this adaptation by Aisha Khan, directed by Elin Schofield combining Sheffield carols into this much-loved tale. It starts on Christmas Eve when the miserable Ebenezer Scrooge avoids all festive cheer and kindness. He is visited by the Ghost of Jacob Marley (his deceased business partner) who tries to warn him of his fate. Scrooge is then transported on a journey of his life through the ghosts of past present and future.

This was a very different type of production, and the play was told through the narrative of a story by Jack who was played by Mel Lowe. Mel took on this role extremely well captivating the audience.

The Ghost of Marley played by Anthony Ofoegbu came to Scrooge, the highlight from this character was the door scene which was good trickery. I would have liked him to have been a little louder in his speech which would have added to a more powerful performance.

Ian Midlane took on the part of Scrooge and was absolutely amazing, he really did the character of Scrooge justice and was fitting of the role.

The singers were all outstanding with very good harmonies. At one point they came down the stairs in the audience to sing making you feel a real part of the play and making full use of the entire theatre. Some of the carols had been adapted to add a bit of Sheffield relevance into the songs. There are parts when the actors are talking, and the singers are singing. Although very effective and shows the talent of everyone involved, I sometimes didn’t know whether to listen to the actors or listen to the singers.

The parts of the children are all played by three different actors. On this occasion we had the pleasure of seeing William Turnbull as Tiny Tim/Young Ebenezer, Daniel Rhodes as Bader/Peter/Bertie, Renee Elliott-Latif as Mary/Clara and Bonnie Hill as Tilly/Lottie. All four of the children played their roles well and I am sure they have got exciting futures ahead of them. It was a pleasure to be sat next to some of the other children playing these roles who had come along to watch their friends.

The scenery was simple but effective, and most props were moved by actors, a table came up through the floor, and decorations down from the ceiling.

And of course, no Christmas production is complete without the snow falling at the end. This truly is well worth going to see and will get you in the Christmas spirit.

The Lost Estate, London – until 4th January 2026

Reviewed by Amarjeet Singh

4****

For the eighth consecutive year, The Lost Estate delivers its signature festive experience with The Great Christmas Feast. It’s a seamless blend of immersive theatre and fine dining that brings Dickens’s A Christmas Carol to life in a manner which few could rival. Upon entering the venue, we are greeted with a charming walk through a hallway of Dickens’ paraphernalia before being ushered through his front door and into a Victorian-inspired home, dressed for Christmas. Strewn with lanterns, books, and rugs, the setting feels intimate yet grand, comfortably hosting around a hundred diners while maintaining the illusion of stepping into Dickens’ world.

The Performance

The show is a show within a show. We are greeted by Dickens who introduces the story of A Christmas Carol before he performs it solo, in three acts, punctuated by the meal. The immersive side comes from the multiple stages, dotted around the central stage allowing the actor to weave through the audience and perform on each. The dynamic staging makes us feel part of the performance. Minor roles are additionally played by selected audience members who are given cards to read from, but it isn’t clear how this came about.

Tama Phethean shines as Charles Dickens, carrying the narrative with tremendous energy and warmth. Fully embodying every role, ghosts, children, Scrooge, Marley, he makes it look effortless. Peppering in colloquial humour as well as some ye olde puns, he is thoroughly engaging. Musicians are an integral part of the storytelling, enhancing the narrative and the emotion which flows through it. ‘Turveydrop’, Guy Button on violin, ‘Copperfield’, Charlotte Kaslin on cello and ‘Pumblechook’ Beth Higham Edwards on percussion perform flawlessly, alongside a small ensemble of house staff.

Lighting works brilliantly to enhance the mood and atmosphere. Flickering lamps, spotlights, lightning and shadows cleverly compliment each part of the drama as it moves forward.

The Dining Experience

The culinary element is woven into the evening, with courses served between acts. Starters offer three choices, the potted beef, salmon or cheese, each served with bread and pickled vegetables. The main course is a duck roast dinner, served with stuffing, parsnip puree and red cabbage. Duck fat roasted potatoes are served to the table to be shared. The vegetarian option is a mushroom dish or a risotto. Dessert is a Twelfth Night Cake.

Where the night excels in performance, it dips when it comes to the meal. The potted salmon is delicious. The duck, whilst well seasoned was served with a watery jus, and the delicious potatoes were cold. It could have been due to being seated on the peripheral and the food taking longer to arrive. The dessert appears to be layers of pastry and not much else, although the ice cream is wonderful. The vegetarian option contains alcohol, the alternative which is a risotto lacked flavour. With tweaks, it could definitely be a dining delight as the service and staging are impeccable. Some tickets include a flight of cocktails which complement each course. Unfortunately they had run out of one of the non-alcoholic choices before service had begun. The Wassail, a warming, honey, chestnut and star anise, non alcoholic mulled drink is delicious. The signature Smoking Bishop is easily the best mulled wine I have ever had. Enhanced tickets include champagne and canapés and more luxury seating.

The Lost Estate delivers a distinctive seasonal treat: an interesting dining experience paired with a rich narrative experience which unfolds around you. It’s a celebration of Dickens, Christmas, and convivial dining, and a must for anyone seeking a festive experience with a twist.

ACCLAIMED STAR OF STAGE AND SCREEN

RICHARD FLEESHMAN

TO TAKE THE ROLE OF WILLIAM SHAKESPEARE

AS HE JOINS

JASON MANFORD

IN THE UK PREMIERE OF AWARD WINNING COMEDY MUSICAL

SOMETHING ROTTEN!

OPENING IN MANCHESTER NEXT SUMMER 

IN A WORLD WITHOUT MUSICALS,

TWO BROTHERS DARED TO DREAM A DREAM.

somethingrottenthemusical.com

Acclaimed star of stage and screen Richard Fleeshman (Company, Ghost the Musical, Legally Blonde The Musical) is to join the cast of award-winning comedy musical Something Rotten!, which will have its highly anticipated UK premiere at the Manchester Opera House from 16 June to 19 July 2026, ahead of a West End run.

Fleeshman joins the previously announced comedy, TV and musical theatre icon Jason Manford (Sweeney Todd, The Producers, Chitty Chitty Bang Bang) in the side-splitting mash-up of song, dance and Elizabethan absurdity that tells the story behind the creation of the world’s very first musical.

Fleeshman, whose screen credits include Netflix’s The Sandman, Syfy’s The Ark and BBC’s Riot Women, as well as many years playing Craig Harris in Coronation Street on ITV, will take the role of William Shakespeare.

Richard Fleeshman said:

“I’m absolutely thrilled to be joining the cast of Something Rotten! This show is very special and absolutely riotous. I can’t wait to bring this larger-than-life rock star version of the Bard to the stage and I’m especially proud that the UK premiere will be in my home town of Manchester. 

Having the opportunity to perform alongside my good friend Jason Manford makes the experience even more joyous. This is an outrageously funny and uplifting show and I’m sure audiences will love every hilarious minute of it.”

The ‘90s are back! The 1590s, that is. Brothers Nick and Nigel Bottom are desperate to write a hit play but remain stuck in the shadow of that pompous Renaissance rockstar Will Shakespeare. When a quirky soothsayer foretells an outlandish future for theatre – full of acting, singing and dancing all at the same time – Nick and Nigel set out to write this strange new creation called A MUSICAL! But amidst the scandalous excitement of Opening Night, the Bottom Brothers discover that reaching the top means being true to thine own self… and all that jazz.

Created by the award-winning team behind Mrs. Doubtfire: The Musical: Grammy award-winning songwriter Wayne Kirkpatrick (Change the World, Every Heartbeat), screenwriter Karey Kirkpatrick (Chicken Run, Over the Hedge,  James and the Giant Peach) and best-selling author and comedy scriptwriter John O’Farrell (Spitting Image, Have I Got News for You, Just For One Day), Something Rotten! was the toast of Broadway where it received 10 Tony Award nominations. 

This new production, which follows the acclaimed 2023 WhatsOnStage Award-winning concert version, is directed and choreographed by Tim Jackson (Merrily We Roll Along, Two Strangers Carry a Cake Across New York) and presented by Broadway and West End producers, Kevin McCollum of Alchemation and Joshua Andrews of JAS Theatricals. This production is licensed by Music Theatre International. 

Manchester Abid has supported the Opera House’s Manchester Gets it First programme to help bring Something Rotten! to Manchester.

Savoy Theatre – until 25 October 2026

Reviewed by Claire Roderick

5*****

Paddington has arrived in London in style. The beloved bear is in good hands, as the care and love for this project shines through in every facet of this beautiful production.

Based on Michael Bond’s “A Bear Called Paddington” and the 2014 film, the musical tells the story of the young bear arriving in London and meeting the Brown family in Paddington station. His quest to find the friendly explorer who encountered Aunt Lucy in Darkest Peru, leaving an open invitation to visit his home city, leads to chaotic adventures around London as Paddington looks for somewhere he belongs. The plot is simple enough for the youngest audience members and crammed with jokes and references for the older ones: Jessica Swale’s book and Tom Fletcher’s music and lyrics unashamedly celebrate the innocence of Paddington, British eccentricity, and the energy of London with irresistible charm.

Visually, the show is stunning. Tom Pye’s set is full of quirky detail and is lit beautifully by Neil Austin, taking the audience on a whirlwind journey through London from Paddington Station to Windsor Gardens and the National History Museum – the latter being gloriously dark and ominous as jeopardy rises. For the doubters who question how live theatre could match the spectacle of the film, the opening number should dispel any doubts, but if the magical scene where Paddington is transported to Peru watching the explorer’s recording doesn’t bring a lump to your throat, then you deserve a hard stare: Ash J Woodward’s video design is absolutely spectacular, transforming the auditorium throughout the show. Tom Fletcher’s music and lyrics are glorious, referencing many musical theatre styles with an unstoppable pop energy, with some real earworms and bangers. “The Rhythm of London” is an exuberant love song to the city and its people, and “Pretty Little Dead Things” is the ultimate villain’s song. There’s even a singalong in the sublimely silly act 2 opening number – a loving tribute to marmalade with deliciously daft choreography by Ellen Kane. Swales draws humour and pathos from every scenario while keeping the plot moving, and Luke Sheppard’s exquisite direction ensures that no chance to wow the audience is missed. They have developed some frankly insane characters with distinctly panto vibes that made the audience roar with laughter.

The Brown family (Amy Ellen Richardson, Adrian Der Gregorian, Delilah Bennett-Cardy, with Leo Collon playing Jonathan at the performance I attended) are superbly dysfunctional until Paddington brings them together, with Richardson and Der Gregorian artfully portraying Mr and Mrs Brown’s inability to connect with impressive nuance amongst such broadly drawn characters. Tom Edden and Victoria Hamilton-Barritt chew the scenery as Mr Curry and Millicent Clyde. Edden channels Basil Fawlty and Mr Rigsby as the jobsworth neighbourhood watch leader, hilariously breaking the fourth wall at every opportunity, while Hamilton-Barritt prowls around the stage in tweed and fox fur full of malicious glee. Bonnie Langford is a hoot as wise but wacky Mrs Bird; Teddy Kempner is the calm centre of the chaos and Amy Booth-Steel is brilliantly bonkers as the snooty head of the Geographers’ Guild. As amazing as the human cast is, it is Paddington that, quite rightly, steals the show. His first appearance brings gasps and giggles as Tahra Zafar’s brilliant design is brought to life by the onstage performer (Abbie Purvis at this performance). Voiced with delicate charm and innocence by James Hameed, the facial expressions and body language of Paddington is emotive and enchanting – those eyebrows! The emotional heft of this character is immense – you will be invested in his fate from the get-go. A superb realisation of everyone’s favourite bear – and who knew he had such an amazing singing voice!

Heartfelt, heartwarming and irresistibly sweet, Paddington the Musical has already made its mark in London. This beautiful bearhug of a show is unmissable.

Cambridge Arts Theatre, Cambridge – until 4th January 2026

Reviewed by Steph Lott

5*****

After a year of closure, walking back into the Cambridge Arts Theatre felt like coming home. The new seats! The buzz of excited chatter, and that special anticipation before the curtain rises – we’ve missed it all so much! Last night’s performance of Sleeping Beauty was the perfect way to celebrate the theatre’s reopening, delivering exactly the kind of magical pantomime experience we’ve all been waiting for and have come to expect at the Cambridge Arts Theatre.

From the moment the curtain rose, it was clear that director Michael Gattrell and set designer Ian Westbrook had crafted something truly special. The scenery was absolutely stunning – rich jewel colours that sparkled under the stage lights, creating a fairy-tale world that felt both traditional and fresh. And a dragon! It’s these touches that make pantomime such a wonderfully immersive experience.

The costumes, as always during pantomime season deserve special mention. They were consistently gorgeous throughout, but Nanny Nutkin’s outfits were particularly spectacular – each entrance brought something more fabulous than the last! Sarah Stammler and her team should be very proud.

Chris Jarvis has written a script packed with jokes – and I mean packed. I’m genuinely not sure whether he should be proud or slightly ashamed of just how many puns, one-liners, and groan-worthy gags he managed to squeeze in! There was Happy Harry’s clever ditty about Cambridgeshire and the song about “a Prince called Ken” was brilliantly silly. As always, there were plenty of topical references and local in-jokes that had us all nodding and laughing in recognition.

The cast was uniformly excellent. Matt Crosby was back as Nanny Nutkins – need I say more. Every year he returns to the stage and he’s just as fresh and energetic as ever. Steven Roberts brought real charm to Happy Harry, and the kids in the audience obviously loved him. Joseph Hewlett as handsome Prince Ken was not only an excellent performer but also had a great voice.

The ensemble were the true unsung heroes of the evening. Their snappy dance moves and singing added so much energy and polish to every scene. It’s easy to focus on the leads, but these talented performers kept the whole show moving with style and precision. This was pantomime at its very best – funny, beautiful, perfectly pitched for all ages, and performed with genuine heart. Welcome back, Cambridge Arts Theatre. We’ve missed you!

Leeds Grand Theatre – until Saturday 13th December 2025

Reviewed by Adam Craddock

3***

Tonight I had the privilege of being invited back to Leeds Grand Theatre, this time to review the touring production of Schönberg and Boublil’s legendary “Miss Saigon”. This is a show incredibly close to my heart, I played John while training and Last Night of the World is going to be my first dance at my wedding so it is fair to say that this is a show and text I know and love.

The production is a new staging for the tour, with several lyric changes and differences very noticeable to anyone the knows the original. For me, the main thing I noticed straight away from the first number was just how much the show has been toned back and made PG. This for me made some of the setting and background drop straight off as the seediness and lad-culture was what immerses you in the dingy world of pre-fall Saigon in Dreamland. To me, Miss Saigon should never be a show seen as PG!

Seann Miley Moore stars as The Engineer. Moore puts an interesting spin on the character, more androgynous than capitalist but, for me, showed a prime case of an actor pre-conceiving what they are going to do rather than letting the emotion guide the performance. Julianne Pundan was solid as Kim, definitely growing into it as the show went but slightly feeling on one level emotionally for me throughout. Jack Kane was vocally strong as Chris but for me again was very much on one level throughout, always feeling like he was about to burst into tears at any one moment. I didn’t feel much of a connection between Pundan and Kane and again it felt very staged for me in the scenes when the characters are falling in love, less so feeling like they actually wanted to kiss each other and more feeling like that was what the director had told them. This really hurt the climax of the show for me, which should be a brutal gut punch but instead I felt… indifferent?

On a more positive note, Ace was exceptional as Gigi, giving a stirring rendition of Movie in My Mind and showing the power of letting your lyrics tell a story, not darting around the stage. Emily Langham was fantastic as Ellen, a character I have been previously indifferent to but her story really connected with me today! Langham found a real human connection to the character and for the first time I think I actually sided with Ellen! Dominic Hartley-Harris was strong as John, with this staging of Bui Doi being a particular highlight of the show for me, really showing the trauma that a brutal world such as this can leave the survivors with.

The production design was very strong, particularly with the all important helicopter scene. I had wondered how they would pull this off on tour and for me, I struggle to think of a better way of doing it than this. The lighting was good, and the sound design was mostly strong, apart from two microphones that were noticeably louder and more bassy than the others during ensemble numbers.

In conclusion, whilst I would recommend a trip to see Miss Saigon for its beautiful score and touching story, I think this production is slightly lacking in connection with its material at times. For me, the heat wasn’t on in Saigon, it was lukewarm.

Hull Truck Theatre – until 4th January 2026

Reviewed by Dawn Bennett

5*****

Hull Truck Theatre presents Oliver Twist, based on the novel by Charles Dickens, adapted by Deborah McAndrew and directed by Mark Babych.

Hull Truck Theatre have yet again managed to produce a brilliant show as their festive production. It was a deliciously dark show, with fantastic acting, singing and dancing by all the cast.

The set (designed by Patrick Connellan) and costumes (Siân Thomas) really provided the atmosphere for the show; it was it really helped set the scene of Dickens time in history.

We first meet Oliver (Vivienne Rowland) at his birth in the workhouse when his mother dies in childbirth. The workhouse is run by Mr Bumble (Andrew Whitehead) and Widow Corney (Alison Fitzjohn) and they run it with a rod of iron. Oliver is left hungry, tired and badly treated so decides to leave the workhouse and walks the 70 miles to London. It’s there he meets Fagin’s (Lisa Howard) gang led by The Artful Dodger (Zak Robinson) and Charley (Aimee Brett), a group of child pickpockets preying on the richer member of society. Oliver isn’t treated any better by the group with the exception of Nancy (Alyce Liburd) and on the day he is let out to join the gang he gets arrested. He’s taken in front of the magistrate and it’s there he meets Mr Brownlow (William Relton) a kindly man who, along with his ward Rose (Jessica Jolleys) take Oliver into their home when he became ill. Now Fagin needs Oliver back with them, she’s scared that he will tell the powers that be about the gang and what they are up to. Nancy finds Oliver while he is running an errand for Mr Brownlow and takes him back to Fagin. Then Bill Sikes (Christopher D. Hunt) arrives, a scary and very violent character and he needs a boy to help him a robbery, and this causes Nancy to make a decision that will change her and the rest of the people involved lives.

This show is well worth watching, all the cast are so good, the music (under musical director and composer John Biddle) was from traditional carols to an original score with some of the cast playing instruments on stage. The young cast need a mention, from the main characters to the ensemble (Sophia Pike, Vivienne Rowland, Eve McDonald, Zak Robinson, Maia Lowthorpe, Remi Condette, Aimee Brett, Lydia Failey, Alexandra Spore, Ella McDonald, Felix Dunstan, Matthew Rodriques, Neve Mills-Ward, Ameila Ellerby, Edie Pyke, Edward Healey, Grace Ward, Jonah Smith and Matilda Burgess) they were excellent with clear singing and speaking voices. Definitely ones to watch.

It’s funny, poignant, covers some quite harrowing subjects sensitively and deserves every accolade it will no doubt get.