The Chiltern Reviews
The Beekeeper of Aleppo
Aylesbury Waterside Theatre, 3 March 2026
**** “totally compelling “four stars
This is a story for our times, although set between ten and fifteen years ago, with more and more refugees and migrants leaving their countries in 2026, either searching for a better life or fleeing conflict.
Based on the best-selling book by Christy Lefteri and adapted for the stage, three protagonists leave war-torn Syria to journey to the UK – having lost everything including their sons killed in conflict. They must deal with people smugglers and their demands, a rough sea crossing between Turkey and Greece, severe health problems – and then meet officialdom in the form of Border Control and NHS bureaucracy.
The book tells the very powerful story chronologically – the stage version tells the story via flashbacks, but it is totally compelling. Some members of the audience I spoke to who had read the book were undecided as to which version they preferred but all agreed it was a very strong story well told and acted.
A hardworking cast of nine play all the disparate characters to perfection and were totally immersed in their assorted personae. Small changes of clothing, hairstyles and stance transformed the actors and made their roles very believable.
The eerie sound which greeted the large audience heralded our view of the set – a backdrop behind a framework covered with a light cloth, which itself was behind piled sand coloured mounds which somehow incorporated a doorway, a single bed, an armchair and a trapdoor – plain, yes, but projections transformed this into everything from pre-war Syria to, finally, an English beach, via a rough sea crossing from Turkey to Greece, an NHS reception desk, an Athens Square and a refugee house in the UK to name but a few of the settings as the story progressed. This enabled a fast-moving show which left little to the imagination.
I think there were sound issues on the first night in Aylesbury as the level of the actors’ voices varied greatly and some dialogue was lost – I was not the only one who had to strain to pick up all the words as I discovered when I compared notes with other members of the audience in the interval. I assume they were all miked, so it was presumably the sound balance which varied? Had it not been for that, my star rating would have been much higher!
Apart from that, this was a powerful, thought provoking and engrossing production which had the audience completely immersed in the story. Do see it if you can.
Judith Watsham
At Aylesbury Waterside until 7th March and then touring until 13th June 2026.
The Red Shoes
Milton Keynes Theatre
“Sumptuous artistry”
5 stars
The Red Shoes is a much-loved film made by Powell and Pressburger from 1948 that many dancers cite as being the reason they became dancers - such was the inspiration from the movie - once seen never forgotten! I have to admit that I have never seen the movie so was wondering how the evening would unfold as I made my way to the theatre!
Based on Hans Christian Anderson’s fairy tale - The Red Shoes, the plot revolves around the love story of a Ballerina Victoria Page - Cordelia Braithwaite, and Composer Julian Craster - Dominic North, and the dance company’s Impresario - Boris Lermontov played by Reece Causton.
Lermontov demands the highest artistic achievement cannot be found if distracted by human love and we watch as the three characters love, create, distract and jealously oppose each other as the Red shoes eventually conquer and control leading to a dramatic conclusion.
Matthew Bourne’s artistry and creativity in directing, compiling and choreographing this piece is very skilful. The sumptuous artistry we were treated to was simply breathtaking and it felt like we were being drawn into a compelling live action silent movie in full colour. The dancers told the story so well leaving us in no doubt what was happening despite the fact there were no words, just brilliant movement, characterisation and performance. Each member of the company gave 100% and were all excellent.
Beautifully costumed and cleverly staged by Lez Brotherston, it is a wonderful, mesmerising piece of theatre that transports you back to the glamorous and elegant days of youthful 1940’s Theatre. I loved the beach scene where we were able to enjoy some lighter moments alongside the dramatic intensity. The swivelling use of the curtain to depict front of house and back stage was cleverly done.
Bernard Herrman’s score - not used in the original film, but sourced by Bourne to be used in this staged production was a touch of brilliance as it created the perfect backdrop to the unfolding story creating much tension, tenderness, humour and everything in between where needed.
I wasn’t totally sure what to expect when I arrived, but came away feeling I had been treated to something rather special and that will remain in my memory for a long time.
Thank you to the New Adventures Production company and to the marvellous team at MK Theatre as always for looking after us so well - we had a fabulous and most enjoyable evening
Mandy Watsham Dunstall
Christmas Carol Goes Wrong
Aylesbury Waterside - 5 stars
Feb 3rd, 2026
Mischief Theatre Company’s ‘Goes Wrong’ shows, are now a familiar and a much-loved stalwart of British Stage and Screen.
The characters of Cornley Drama Society are like favourite eccentric family members who we now know what to expect from each of them and love it when we see these characters do exactly what we hope they will! Rambunctious Robert – (Henry Lewis), Disastrous Dennis – Jonathan Sayer, Crotchety Chris – Daniel Fraser and Tough Trevor – Chris Leask, alongside Irrepressible Annie – Nancy Zamit/Dumile Sibanda, Jaunty yet Jumpy Jonathan – Greg Tannahill, Malleable Max – Matt Cavendish and Stagey Sandra – Ashley Tucker, all gave the audience their best characterisations of their Cornley characters, and we all thoroughly enjoyed ourselves!
No expense was spared in the excellent set - designed by Libby Todd – very impressive for a touring production particularly, and the lighting and sound design again really enhanced the entire production. Credit to David Howe and Alexandra Faye Braithwaite.
Director Matt DiCarlo did a wonderful job – there was so much detailed movement and slick timing needed to make the most of the script and the humour within it and he really maximised the funny! The whole show was top drawer and big on quality and production.
Stand out stars of the show for me were Henry Lewis as Robert and Jonathan Sayer as Dennis whose comedy relationship is always a joy to behold, and they just know how to time and land a line!
Indeed, these two, alongside Henry Shields – another Mischief Theatre Company original – were the writers of the piece, and I love their obvious chemistry as they create such brilliantly funny material time after time. It’s fair to say that when writers and actors are long term friends and clearly know each other so well – it really does create great material that works so well and brings a lot of pleasure to so many people. It is a beautiful gift!
Even the programme was so detailed and well put together with a lot of comedy within its’ pages.
Thanks as always to Alison and her team for looking after us so well.
The show is touring until March and is highly recommended. Hold onto your sides and prepare for a lot of laughter and an entertaining night out!
Mandy Dunstall
Tina: The Tina Turner Musical
Milton Keynes Theatre until Saturday February 7th.
***** “Simply Rock and Roll at its best”
The acclaimed Tina: The Tina Turner has arrived at Milton Keynes Theatre. Tina tells the story of the eponymous rock ’n’ roll superstar and her rise to fame. Directed by the acclaimed Phyllida Lloyd (Mamma Mia).
The show opens with Tina (Elle Ma-Kinga N’Zuzi} ’preparing to go onstage before one of her concerts. The audience is then transported back in time to her humble beginnings as Anna Mae Bullock in Nutbush, Tennessee. Her father (Rushand Chambers) is a preacher who beats his wife (Letitia Hector) which ultimately drives the family apart. Her mother leaves, taking Anna Mae’s sister (Georgia Gillam) with her and leaving Anna Mae to be brought up by her grandmother, ‘GG’ (Claude East). This theme of domestic violence and abuse runs throughout Act 1 and intensifies once we meet Anna Mae’s future husband, the controlling Ike Turner (David King-Yombo). The portrayal of violence is uncomfortable and fairly sickening to watch. Ike realises Anna Mae’s talent and quickly rechristens her ‘Tina Turner.’ As Ike takes Tina and their band on tour, we see them face racism in the American South.
The score strings together many of Tina Turner’s biggest hits and has the audience clapping and, by the end, dancing along. The book, by Katori Hall, Frank Ketelaar and Kees Prins, packs a punch and is strong particularly in Act 1. The pace of the piece dragged a little after the interval and lacked some clarity, particularly the reasons for Tina’s mother rejecting her which appeared to be addressed in the hospital room scene but in truth were muddied.
The cast were all excellent. Elle Ma- Kinga N’Zuzi as Tina was incredible. Her vocal performance was flawless, and she manages to capture the charisma and charm of Turner without it being an impersonation. One tragic moment which Elle Ma played so well was towards the end of the first half where she is pleading for a motel room, bloodied, and bruised from her latest battering by Ike. Other notable performances were David King-Yombo as the toxic Ike Turner and Isaac Elder as the architect of Tina’s reinvention, Roger Davies. The young performers in the production were all excellent.
Mark Thompson’s set is sparse and is complemented well by Jeff Sugg’s dynamic projection design. Some particularly strong moments for the projection design that stood out were the use of sound waves on the back wall and the portrayal of a busy highway/street as Tina finally flees from Ike’s brutality. A great moment for the set was towards the end, before the ‘mega mix’ moment, when the LED screen wall was flown up to reveal the onstage live band which really gave the sense of us being at one of Tina’s concerts.
Whether or not you are a fan of Tina Turner, or jukebox musicals in general, Tina: The Tina Turner Musical offers a powerful, fun, yet harrowing night at the theatre. The audience were on their feet enjoying some great music and great performances. Get your tickets today before it leaves Milton Keynes.
Five Stars
Reviewed by Stephen Johns
Dear England
Milton Keynes Theatre
Tuesday 20th Jan
5 stars “a superb winner”
The National Theatre production of Dear England is now on a National Tour, and we were delighted to watch it at the superb Milton Keynes Theatre where we were looked after very well as always.
I didn’t know fully what to expect with this play so went with an open mind wondering if it was just predominantly an evening for die hard football fans or whether it would have a broader appeal.
The latter was proved to be true after a superb evening of thought-provoking storytelling, mindful analysis, the power of team building, and all done very entertainingly!
Football fans or not, we all know the story of ‘the impossible job’ tag that comes with the title of the England manager’s role and the suffering of almost 60 years of hurt as no trophy has been won by the men’s England football team since 1966!
The plot revolves around Gareth - call me ‘Gareth’ - Southgate being offered the job on a temporary basis following the departure of Sam Allerdyce after one game in charge. Southgate realises there is a fundamental problem causing the lack of trophy wins and seeks to explore what it is and to try and solve it with the help of Pippa Grange - physio analyst - played by Samantha Womack.
Writer James Graham intelligently weaves the story through the characters as they are called to become a team and build genuine friendship and care for each other which in turn changes the mindset and results, with England reaching semi-finals and finals for the first time in years.
It was a brilliant snapshot of human study and relationships and dynamics within the team between the characters and peppered with plenty of comedy and thought-provoking moments which made a powerful and entertains mix.
The set design and choreography of the staging was brilliant and full of sharp routines. Praise goes to Es Devlin as set designer and the movement directors Ellen Kane, Hanes Langolf and Thomas Heron who made this all work smoothly and effectively.
Director Rupert Goold also deserves much of the credit for the polished performances and staging.
Star of the show was David Sturzaker who was excellent in the role of Gareth Southgate. He had certainly done his homework on studying the mannerisms and voice of the ex-England Manager and had a colossal part to play as all the action revolved around this character.
The audience gave the show a well-deserved standing ovation and we left all talking and buzzing about what we had just seen which is always a good sign of an excellent night at the theatre!
Reviewed by Mandy Dunstall
Goldilocks and the Three Bears
Milton Keynes Theatre
Wednesday 10th December
Five stars “packed with sparkle and showbiz”
Having not ever seen Goldilocks and the three bears as a panto, I was very much looking forward to seeing what the Crossroads team did to present this classic story in panto form!
I and the packed house were not disappointed as we were treated to a spectacular evening of sparkle and show biz! The stops were all pulled out for this big budget production, and we were treated to plenty of lights, glorious costumes, wonderful special effects including flying motorbike and pyrotechnics, and much talent was to be enjoyed from the cast and production team. The sequined ensemble dancers were excellent and set the opening scene off spectacularly as they were the first to appear which gave us a taste of what was to come.
Headlining the show this year is Brian Conley, who brings his own humour and act to the role and the audience loved it! Supporting him were his daughter Lucy as Goldilocks, David Robbins as his mother, Gary Milner as Baron Von Blackheart, Phil Hitchcock as The Magical Mysterio, and Joshua Lay, Lauren Bimson, and Charlotte Pourret as Daddy, Mummy and Baby bear.
They were all well cast and had a lot of natural chemistry between each other which was very enjoyable for the audience. If the cast are enjoying themselves the audience will too especially in panto!
Special mention must go the Timbuktu Tumblers, a team of acrobats who were highly skilled and brought the wow factor to the show alongside Phil Hitchcock who did some wonderful illusions.
Directed by Kathryn Rooney and musical director was Josh Sood.
Really appreciated the lighting design by Nell Golledge.
All in all, a fabulous family night out where you feel like you get value for money with all the special effects and laughs and you will leave with a spring in your step!
The excellent team at MKT looked us very well and thankyou to them for inviting us along.
Plays until Sunday 11th January
Mandy Dunstall
Jack and the Beanstalk
Waterside Aylesbury
Jack and the Beanstalk, Aylesbury Waterside Theatre, 9 December 2025. Judith Watsham
The Theatre was full of excited youngsters and their families for this year’s Aylesbury panto offering. They gave a rapturous welcome to local radio presenter, Andy Collins, who, as has been the case for the last 16 years, took on the traditional ‘silly boy’ role – this time as Silly Simon. Returning in the equally traditional role of Dame was Leon Craig as Dame Dot Trott.
This version of Jack and the Beanstalk included most of the panto essentials – as already mentioned there was a cross dressing Dame and a ‘silly boy’ – in addition to a very pretty Principal Girl; an excellent dancing ensemble which included local youngsters, on Tuesday night it was a team from Castielli School of Dance, on alternate performances it will be the Allstars Academy; a Good Fairy and a scheming ‘baddie’. Other essentials of course include badinage with the audience and a sing-along. Everything present and correct.
Add the giant inflatable beanstalk which grew so quickly, and you have most of the vital elements which make up this traditional British Christmas entertainment. No traditional cross dressing Principal Boy though as Jack was well played by a young man.
In addition, Aylesbury obviously has its own panto ‘must haves’ – a totally chaotic version of The 12 Days of Christmas, accompanied by total mayhem when both the cast and the audience soaked each other with water guns and pistols, (yes, those ‘in the know’ – not me – had brought their own weapons along! Judging from the reactions on both sides of the spotlights this is a moment to be anticipated and really relished.
However, the real highlight for both me and my young companion was the addition of incredible 3D special effects, and, yes, the audience does get issued with the necessary specs.
Highly recommend entertainment for all the family, no dodgy or embarrassing jokes which have parents trying to explain to the very young either. However, don’t forget to take your loaded water guns along!
Inspector Morse House of Ghosts
Waterside Aylesbury until 29th November
**** “slick and superbly structured”
Morse’s shoes seem to be a comfortable fit for Tom Chambers in this stage adaptation of Colin Dexter’s Oxford detective. It was of course made into a huge hit for ITV running for many years, with John Thaw playing the rather grumpy sleuth. The swift scenes and clever scene swops still give the production a bit of a televisual feel. Enhanced even more by the sweeping classical music so beloved by Morse.
The twists and countless turns all evolve from a death on stage following a production of Hamlet. In a rather handy turn of the page Morse is in the audience to lend a long arm of the law.
The structure is excellent and not straight forward, and Chambers is understated and deeply thoughtful as Morse. The pace as a result is a little pedestrian and the plot a tad confusing at times. The back stories and indeed the working relationship between Lewis and Morse could do with a bit more digging.
But for Morse and indeed detective fans it’s a delight and an astute evening at the theatre. Just pay attention throughout.
Reviewed by Barry Norris
Friends: The Musical Parody
Aylesbury Waterside all this week.
“Fun time with good friends” ***** 5 stars.
The huge 90’s hit was a television phenomenon, and the stage musical is a must for all fans of the programme. The show is crammed with popular phrases from all the sextet to recreate some iconic moments, a tricky task considering the huge number of episodes they had to choose from. The curtain was a little tardy going up on the first night and it must be said the early scenes struggled a little to gather up the giggles, the loud laugh out moments soon in came in numbers.
The set is cleverly flexible tying in nicely with the show being set during a live transmission of the programme. There are some nice touches and nods to the TV show, but of course the production lives or dies on the re-creation of the much-loved central perk characters. And this they by and large get close to the bullseye with. Not exactly look alike but close enough, with more than enough characteristics to make all six hugely believable and enjoyable.
It is rightly promoted as a parody and a musical, and more importantly a rather lovely dip into the 90’s and an opportunity to wallow in some recent nostalgia.
The whole event feels very much tongue in cheek and if you arrive with that in mind you will be in the company of bright and breezy bunch of actors and be allowing yourself a pleasant couple of hours. Enjoy it with friends.
Runs until Saturday
Reviewed by Barry Norris
Mary Poppins
Milton Keynes Theatre
5 Stars ***** “a highflyer for all”
The magic of Mary Poppins didn’t disappoint at Milton Keynes Theatre, delivering a night of pure theatrical delight.
From the moment the curtain rose, the audience was transported into a world of wonder, thanks to exceptional staging and amazing costumes that perfectly captured the charm and had you felt transported back to the Edwardian Era in London.
The acting was incredible — from the bustling streets of Cherry Tree Lane to the enchanting flying from Mary herself.
The cast delivered world-class acting and singing, with each performer giving a truly out-of-this-world performance.
Their energy, precision, and warmth brought the story to life in a way that felt both nostalgic and fresh. The chemistry among the ensemble was electric, creating real believe in the characters and joy that radiated through the theatre.
At the centre of it all was Mary Poppins herself, played by Stefanie Jones, a superb performance from the lead actress, who embodied the role with effortless grace, charm, and a touch of mischief.
Her vocals were stunning, her poise impeccable, and her portrayal captured everything needed for the iconic character. She was, in every sense, practically perfect.
The magic was further enhanced by the amazing orchestra, whose vibrant and dynamic performance brought the timeless score to life. From the opening overture to the final notes, the musicians’ precision and passion elevated every song and dance number to a whole new level.
This production of Mary Poppins is a triumph!
A purely joyful, heart-warming, and unforgettable experience that will leave you humming all the way home.
Reviewed by Josefine Pope
The Lion the Witch and the Wardrobe
Waterside Aylesbury all this week.
Five stars *****
Imaginative, innovative, and inspiring piece of theatre.
Director Michael Fentiman
The Lion the Witch and the Wardrobe is the popular and much loved first book from the Narnia Chronicles written by the renowned academic and literary giant C.S Lewis.
The book has brought joy to many generations and the subsequent big screen versions of the early 2000s ensured its continued success and popularity.
All this means that it is no small feat to create a new version of something so loved and familiar to many and yet this is exactly what this production does.
Michael Fentiman has reimagined this popular piece by skilfully creating a complex, multi layered piece of theatre which is extremely enjoyable and cleverly executed.
Every person onstage is valuable in this truly ensemble piece as most are playing a character, instrument, and even being part of the staging and set as different props and back drops are brought on and off stage. The complexity of making this all work as people and objects weave in, out and between others is to be highly commended as a fantastic piece of choreography and timing in order to make it work so well - which it certainly does!
I particularly enjoyed the simple white back drops floating down in a coronet like tent which provided the feeling of snow and winter before becoming the walls of Mr Tumnus’s house and later The Beavers dam. The set was minimalist but cleverly effective.
The puppetry was beautifully done first with The Professor’s cat and then the Lion, Aslan which was powerfully effective and created an intimidating presence onstage.
I was interested in the fact that Aslan was depicted as both lion and human and wondered about the significance of this beyond the practicalities of needing a human to be Aslan when he was lying on the stone table. As the story of the lion the witch and the wardrobe famously depicts the gospel story, I reflected on the symbolism of the full-sized lion puppet representing God the Father, and the human fur coat clad Aslan representing Jesus, relating to the people and animals around him - God in human form was the visual we were presented.
The Celtic folk style music was effective to punctuate the scenes and provide a musical back drop. It almost didn’t need actual songs to progress the narrative as the story and the instrumental music was strong, but I am sure others would disagree!
All in all, a brilliant, innovative clever piece of theatre, beautifully created crafted and performed telling a powerful age-old story which made for a fantastic evening.
Thanks as always to the excellent team at Waterside for looking after us so well.
Mandy Dunstall
TOP HAT
MILTON KEYNES THEATRE
23rd SEPTEMBER 2025
*****
A toe tappingly brilliant show!
Milton Keynes Theatre hosted an enthusiastic audience on Tuesday night for this tuneful and spectacular stage adaptation of Irving Berlin’s 1935 film which was originally written for the darlings of the silver screen - Fred Astaire and Ginger Rogers. Such is the quality of the music, gentle, not to mention romantic, storyline, dancing and singing that it never once seemed dated.
Full of well-known songs, apart from the title, Top Hat, White Tie and Tails, there are so many other songs which have become standards - Puttin’ on the Ritz, Dancing Cheek to Cheek and Isn’t this a Lovely Day to be Caught in the Rain – just some of them. Versions of these numbers have been, and still are, sung by famous performers all over the world and consequently the tunes are very familiar.
This is a real ‘feel good’ show with superb dancing by both principals and chorus – the tap routines are amazing, perhaps some of the ballroom dancing is not quite as effective occasionally, but the audience was swept up by the glamour, colour and sheer spectacle of the show.
There is comedy too and the audience rocked with laughter at times, especially at the dead pan humour of manservant Bates and the exuberant excesses of the Italian Alberto Beddini.
The costumes are colourful, fully redolent of the time when the rich dressed up in full evening gear, hats were de rigueur and chorus girls tapped danced in short skirts and high heeled shoes.
The amazing set, with every element in period and based on a huge revolve, enabled set changes to be instant and totally in place and period – all enhanced by brilliant lighting effects.
The band, hidden in the traditional orchestra pit, played brilliantly, never overpowering the vocalists which can happen – but not this time.
Dear Evan Hansen
Aylesbury Waterside Theatre
Reviewed by Judith Watsham
*****
Another almost full house in Aylesbury last night for the staging of Dear Evan Hanson, a musical which has been touring the UK after winning six Tony Awards and three Olivier Awards in New York and London respectively. The brilliantly original musical comes from the pens of Benj Pasek and Justin Paul – well known as the writers of La La Land and The Greatest Showman.
The story covers many teenage problems – loneliness, uncertainty. love and general angst, familiar to most of us whether from our own youth or as parents, as Evan gets drawn into an escalating situation following the suicide of a fellow High School pupil. Sounds an unlikely subject for a musical? Yes, but believe me there is plenty of humour and affection – not to mention the excellent singing and acting from the entire cast, especially from Ryan Kopel in the title role who has the ability to express a range of emotions not only through vocals but with his excellent use of facial expressions and body language.
The cleverly designed set with its sliding elements, changed almost imperceptibly to reveal so many different venues, and worked so very well alongside the clever lighting and projection plot to ensure a fast paced production which never flagged. This way of presenting a modern musical really worked with this production as the cast, principals and ensemble, guided tables, lockers, beds and chairs into place so there was never a pause in the fast unfolding storyline.
The live small band worked hard – accompanying the fourteen-strong cast in sixteen musical numbers (including two reprises).
The cast fully deserved the standing ovation they received on Tuesday night!
Playing at Aylesbury Waterside until Saturday 14th June then touring until 5th July
...Earnest?
Waterside Aylesbury
**** Stars “time for a laugh”
From Michael Frayn’s” The Art of Coarse Acting” to this production from the theatre company with the unusual name of ‘Say It Again, Sorry?’, via several hilarious plays from ‘The Goes Wrong Company’, is a short step – the theatre world is very good at poking fun at itself! Last night’s audience revelled in it, although unfortunately the venue was not as full as I usually see it. Those who missed the show also missed an opportunity for a good laugh and a most entertaining evening.
The storyline goes like this:
A production of Oscar Wilde’s play The Importance of Being Earnest is scuppered when several of the cast either do not arrive or, in the case of those who do, suffer a series of mishaps. The harassed Director calls on members of the audience to replace them, starting with the role of Earnest himself; after that the original cast is replaced with little regard for any appropriate casting, the sight of a man dragged from the comfort of a stalls seat and hustled off stage to reappear in an elaborately frilled pink frock and hair bows – not to mention a skirted lady thrust behind a piano (on the grounds that she could play something on it) and clad in an ill-fitting morning coat, are just two examples both of which will remain with me for a while.
Torn up copies of the play leave the volunteers clueless and judicious use of large pieces of cardboard placed in the audience to be read from the stage all added to the fun as the play’s Director, aided by an inarticulate stage manager and the one actor remaining available struggle to adhere to Wilde’s original script.
The play has entertained many during its current UK tour which ends on the 14th June before returning to the Edinburgh Festival in August where it has won many plaudits.
Reviewed by Judith Watsham
Speakeasy Tour 2025..with Gorka and Karen
Waterside Aylesbury
22/03/2025
***** Spellbinding experience” five stars
What an amazing experience seeing Gorka Marquez and Karen Hauer, two world class dancers set the stage alive!
The dancers keep you engaged throughout the show with great story telling in every dance from start to finish.
The music was a mix from the 1900’s, unlocking the door to an under-cover world of elegance and iconic dance flavours, which ranged with some Jazz, taking you back to the Burlesque Cabaret Clubs right through to the glittering mirror balls of Studio 54.
The dance styles were mixed, performed to perfection by all the dancers on stage, going from Mamba, Salsa, Charleston, Foxtrot and Samba, which certainly got you off your feet dancing to the songs which were perfectly sung and live performed by the band.
The staging and the costumes the whole cast wore, were beautiful and fitted the show perfectly.
The atmosphere that was created in the theatre, through the dancing, the music and everything put together in the show had everyone spellbound and in love with every routine and the storytelling.
Gorka and Karen got very creative with some exciting and dynamic new choreographies and mixed up a great evening of entertainment and escapism.
Reviewed by Josefine Pope
HAIRSPRAY, AYLESBURY WATERSIDE THEATRE,
17 FEBRUARY 2025.
JUDITH WATSHAM
**** “Amazing Energy throughout”
This is one of those ‘feel good’ musicals and there are many hit numbers in it, Good Morning Baltimore, Mama, I’m a Big Girl Now and You Can’t Stop the Beat being just being a few of them, which the cast delivered apparently effortlessly to the undoubted delight of the audience. The amount of energy coming off the stage was amazing.
Aylesbury Waterside Theatre was nearly full on a Monday night which is an indicator of just how popular this show is, and there was an expectant buzz among the patrons as the curtain rose.
As anyone who knows the venue is aware, the stage is very big and there is no proscenium arch which means, of course, that there is a requirement for very tall scenery – the development of back projections has enabled many productions to tour successfully, and these were amazing in accurately setting scenes for modern audiences well used to watching film versions of big musical productions like this. All changes were slick and totally non-disruptive as we moved effortlessly from one venue to another. The live band at the back provided the accompaniment to a talented cast who sang and danced so energetically and enthusiastically.
Sound can present some small problems in these circumstances and as it was the first night I felt that adjustments were needed at times in Act I, especially in Motormouth Mabel’s big number which ends Act I which somehow lacked the impact of the number when I first saw the show in the West End years ago. This is no criticism of Michelle Ndegwa, who was perfect in the role, nor to the other performers on stage but rather down to the fact that there were, perhaps, too few of them to make the requisite impact in such a big space.
I think, perhaps, that the levels were adjusted in Act II as this was never a factor later in the evening.
Incidentally, the Act I sound issue is the only reason I have had to give this show four stars, otherwise it would have been higher.
By the last number, You Can’t Stop the Beat, the entire audience was on its feet giving the energetic and hardworking cast the standing ovation they deserved.
Undoubtedly this is well worth catching if you can.
Hairspray runs at Waterside Theatre until Saturday 22 February and then tours until April.
Reviewed by Judith Watsham
BIRDSONG
AYLESBURY WATERSIDE THEATRE
***** “Mesmerizing from beginning to end”
This play was amazing and can be described in just a few words – powerful certainly fits the bill; mesmerizing does too – and the entire audience was spellbound right from the start. You could have heard a pin drop, as the saying goes, most of the time. Beautifully and sensitively acted by the thirteen strong cast, over half of whom played other, named roles, and all of whom acted as both ensemble and crew, changing furniture and props to reset the many scenes slickly and very efficiently.
Yes, it is long, since there are two intervals, but the audience was so engrossed by the unfolding story that I am sure that they all, like me, did not notice; my companion and I were amazed how quickly the time passed and we seemed to reach both intervals very quickly!
The set itself was extremely well designed to enable all the different scenes to be played very effectively. These ranged from a French factory with busy workers to the trenches via the Battle of the Somme, and I was particularly impressed by the adjustable ceiling panel which added greatly to the effects when the Sappers were mining under the German lines. The lighting too was excellent and contributed so much atmospherically to the illusion.
The entire cast was totally invested in their assorted roles, some playing Frenchmen one moment and British soldiers the next.
If you plan to see this production, please note that it does carry an age warning for a very good reason as there are scenes which include both male and female nudity and explicit sex as well as suicide and violence. Real cigarettes are smoked on stage too and the effects of explosions with clouds of smoke could affect anyone with breathing problems so if this is you, don’t sit in the stalls!
Sebastian Faulks’s novel of the same name was brilliantly adapted for the stage by playwright Rachel Wagstaff who did complete justice to the original story – this reviewer had been a tad worried about it because so many favourite novels have suffered in the translation – this was enhanced by it.
Birdsong runs at Waterside Theatre until Saturday 15 February.
Reviewed by Judith Watsham
Calamity Jane.
Aylesbury Waterside Theatre. 15 January 2025
**** Four Stars “ Get down to the Hoe Down”
his new production of the 1950s musical – the film version of which starred Doris Day – arrived for the start of its UK tour in Aylesbury this week and played to an enthusiastic audience, most of whom were obviously familiar with all the hit songs from the original.
There were no big show-stopping song and dance numbers – primarily I suspect because almost the entire cast – the ensemble and some of the principals – formed the on-stage (and very mobile) band and it is a tad difficult to dance the Cancan, for example, as it appeared in the original show whilst holding a fiddle or cello! Only two of the band, the Musical Director on keys and the percussionist remained out of sight in the wings throughout. All the performers were multi-talented, acting, singing, dancing, most of them wielding musical instruments at the same time. Full of verve and enthusiasm they lit up the stage.
The tall set was very impressive; with the addition of a couple of draw cloths (to change the scene on the Golden Garter’s small stage within a stage) and some props it served to give the audience a variety of venues for the storyline to progress. Particularly clever was the use of the onstage piano and a few props to create an instant stagecoach. The different levels provided by balconies gave the instrumentalists more space to accompany musical numbers which did not involve them in their roles in the ensemble numbers.
Lighting was cleverly designed and very effective, especially the large metal hoop which was raised and lowered as the scene demanded.
In the title role Carrie Hope Fletcher rapidly grew into the part as the story progressed and paired well with Vinny Coyle as Wild Bill Hickok.
The Finale, after the curtain calls, gave the audience an enthusiastic hoe-down of a dance routine which sent them out happy with many humming along! At The Waterside until 18th January and then touring nationwide until September.
Reviewed by
Judith Watsham
The Further Adventures of Peter Pan – Aylesbury Waterside
Tuesday 10th December 2025
Production company – UK Productions
****4 Stars..”Get Hooked for Christmas”
Aylesbury Waterside Theatre’s panto season started with a swashbuckling bang as we were treated to a night of fun, frivolity and frolics on Tuesday on their gala night. Waterside was jam packed with eager young faces waiting to be entertained and they weren’t disappointed. We were treated to Pyrotechnics, Confetti cannons and Andy Collins – BBC 3 Counties Breakfast DJ, as Smee leading the iconic 12 days of Christmas routine! Top tip – if you are sitting in the stalls take a waterproof coat!
The story tells the tale of how things have moved on in Neverland following the demise of Captain Hook. But he’s back and he wants his ship and his crew back – even if they are a dim-witted acrobatic crew. Peter Pan played by Bradley Riches (Netflix’s Heartstopper, Celebrity Big Brother), a roller-skating Tinker Bell - Leanne Garretty and Ethel Mermaid Emma-Jay Thomas seek to thwart him with the help of Emily Darling (Wendy’s great, great granddaughter) – Maeve Byrne.
Mark Moraghan (Holby City & Coronation Street) played a dastardly Captain Hook and the acrobatic scene on board The Jolly Roger brilliantly executed by pirate trio, The Nitwits Tristan Crabtree, Shane Hampden and Jack Robbins was a particular highlight.
What’s lovely about panto is there is always plenty of audience interaction and there was plenty of that in this production, including an extended toilet roll throwing session! My only slight gripe was that it ran for almost 3 hours which was a long time for younger audience members particularly on a school night! But it was gala night so that might have contributed to the extended length on this occasion, and it didn’t detract from the overall enjoyment factor.
Great lighting, set and sparkling costumes all add to the magic and the band led by Jamie Noar all added to the magic of the evening.
Directed by Chris Nelson for the 10th year, choreography by Adam Scott and very well supported by the ensemble: Charlotte Day, Molly Lewin, Jessie May Simmons, Ryan Webb and Charley Vincent, and junior crews Castielli School of Dance and Allstars Academy.
A very enjoyable evening overall. is running until Sun 5 Jan 2025.
Mandy Watsham Dunstall
Nobody- A dance circus Adventure
Aylesbury Waterside
**** “Does not disappoint”
Having not seen a Motionhouse dance show before, I was unsure of what was to unfold before me on the stage. The title description left me intrigued as to what it was all about, but the production of Nobody a dance circus adventure did not fail to disappoint and we were enthralled.
From the programme notes we understand that each of the 7 performers are playing two roles, a crow and a human, and they creatively explore the relationship between the crow representing the inner voice, and the human character as they struggle to connect with reality and each other. There is a sort of structured chaos at points where the dancers are literally weaving and flying and tumbling around each other.
The second act brings a greater sense of fluidity and freedom as the humans find themselves working in tandem with each other and the crows have disappeared.
The coordination, strength, gracefulness, agility and balance are exceptional as the dancers smoothly tell the story and trust each other as they hurl themselves off the set into each other’s waiting arms!
Simon Dorman’s set is extremely clever. There is an enormous cube which can be used as a cage or gymnastic bars. At other times it becomes a piece of scenery as various images are projected onto it and other smaller pieces around the stage as well as the back drop becoming a city scape in the first act.
It is a highly skilled cast who worked tirelessly leaving us feeling almost breathless as we watched them soar around the stage.
Motionhouse co-founder and choreographer Kevin Finnan created this piece along with his team of seven dancers, and his creativity and imagination are very much in evidence throughout this piece.
All in all a fascinating evening of consummate skill that we and the rest of the audience thoroughly enjoyed and engaged with.
Reviewed by Mandy Dunstall on Tuesday 30th April
It will appear in the Chilterns Review this week and David will talk about it on his weekly radio show on Box Office Radio.
Calendar Girls The Musical Aylesbury Waterside Runs until Saturday.
Judith Watsham
*** - “Catch it if you can please”
There must be very few people in the country who have not lost a relative or a close friend to, what one of the characters in this piece calls, this “shitty” disease of cancer. This is undoubtedly why the true story resonates so strongly with audiences up and down the country – usually culminating in a standing ovation as happened at the theatre last night.
I confess to knowing both the original play and musical version of this story very well, but this touring version has been ‘reimagined with new songs’ which has meant that several characters have been cut -resulting in a loss of some of the scenes and a complete change of set.
The show benefitted from some of this editing but, in my opinion, lost some of the impact by cutting others.
The action now takes place in a restored tithe barn type of village hall with a high beamed pitch roof, polished floor, and a view of the distant Yorkshire Dales out of the window. The audience only really appreciates the beauty of the setting, which has influenced the characters of the protagonists, at the curtain call when parts of the set fly upwards to show the full glory of the view.
However, I felt that the addition of the bright coloured strip lighting outlining the shape of the hall and its roof detracted from the rest of the set – just my opinion naturally.
In this version, every scene has to be played within the hall, so a few pieces are flown in, and props added, to let audiences know that we are now in a hospital or at the WI National Conference at the Royal Albert Hall. This works well. What does not work so well are the two scenes, one a solo song in the actor’s home, the other in the flower shop run by two of the principal characters. I think that trying to work out why these three were in the hall was a tad puzzling, especially as the lighting did not isolate the players sufficiently.
The cast, nearly all with good music, TV, and film credits under their belts, were full of energy and enthusiasm, on the whole acting and singing very well. Any ensemble vocal numbers were also well performed.
An enjoyable show combining a great many comedic moments with tragedy. Do try and see it if you can.
Playing at Aylesbury Waterside until Saturday March 30th then touring until May.
Waterside Aylesbury
Runs until Saturday 25th November
The Full Monty – ***** “Well worth a watch!”
The ultimate girl’s night out, that will have you laughing from the opening line.
Based on the Fox Searchlight Pictures Motion Picture, this award-winning play by Simon Beaufoy has been directed by Michael Gyngell and choreographed by Ian West who have done a fantastic job in bringing the show to life on stage.
The story has Gaz, played by Danny Hatchard, wanting to get back into work and make some money, to be able to support his son. He therefore comes to the idea of being coming a male stripper, together with his best friend Dave, played by Neil Hurst.
Soon the group grows to 6 men, who are all happy to learn how to dance and take their clothes off in the process. They learn a routine and the grand finale has them doing their show in their local pub on a Friday night!
The colours used are quite faded, to recreate the bleak atmosphere the characters faced, following the closing down of the steelworks. Though it is focused on showing the struggle the characters faced back then, there is plenty of room for comedy, fun and humour throughout. The music choices are great, to ensure the audience gets more involved, clap along and enjoy themselves watching the show. The cast is brilliant, and every member really gets into character throughout.
Well deserved the standing ovation at the end, it was humorous, fun, and worth seeing - 5 stars!
Reviewed by Josefine Pope
Madagascar,
Aylesbury Waterside Theatre, Judith Watsham
**** 4 stars “Full of energy and fun”
The average age of the recent Waterside audience plummeted as this family show attracted dozens and dozens of pre-school and primary age children last night, all with parents and grandparents tagging along. It was lovely to see this generation, reared on computer generated entertainment become absolutely absorbed by live theatre. One slightly puzzled toddler couldn’t understand why he could not rewind a bit he particularly liked when he had watched film versions.
The scenery, especially in a touring production like this was excellent but once again I must criticise the lighting when it was directed at the audience. Please keep it on the action and not let it roam! It certainly distressed one youngster near me.
Back to the set which slid on and off, turning as required with panels opening to display performers and the trailing tropical island vegetation. The New York skyline worked very well as did the tropical palms in Act II. All changes were slick and well-rehearsed by the cast responsible for the changes.
The programme is colourful and full of information, much of it to appeal to young children with, for example, facts about the lives of the real animals depicted on stage by the actors in beautifully designed costumes.
The very energetic dancing and singing brought the characters to life and, although I have never seen the animated film on which the story is based, I was told it was true to the original concept.
A true family show, Madagascar has everything to appeal to a young audience – colour, lively music, a brilliantly costumed cast and a simple, easy to follow plot. At the end everyone was on their feet, singing and dancing along with the dozen actors on stage.
Running in Aylesbury until Saturday November 18th and then touring.
Reviewed by Judith Watsham
