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Nov 27th

Little Voice - Big Talent!!

By Paul Tyree

                            The Rise and Fall of Little Voice

Sheffield Lyceum Theatre 
Mon 26 November – Sat 1 December

Running time: Approximately 2 hours 35mins, including one interval of 20 mins

Coming on the back of a wonderful British Movie written especially for Jane Horrocks there is a lot to be expected of this touring production and in many respects it delivers fantastically well. Telling the story of Little Voice a young girl with a fantastic ability for mimicking her singing idols who is cajoled and dominated into singing in public to fulfil the dreams of lesser mortals, this is a musical with surprisingly sharp teeth and a nice line in sadism.

Beverley Callard as Little Voice’s alcohol fuelled, sex obsessed mother is surprisingly good and throws herself into the role with great gusto and a nice line in comedy. I would even go so far as to say she better represents the character of the fading beauty queen than Brenda Blethyn in the film role. In her climactic speech it even seemed as though she were drawing on her past experiences in real life to colour and give added intensity to her performance.

The real star however has to be Jess Robinson as Little Voice. I was worried about how closely her characterisation mirrored Jane Horrocks and would have preferred a different interpretation, but I would imagine that’s how she’s been directed in the role. However when it comes to the actual point of Little Voice, which is the impersonations, she is spot on and again better than the film version. Her voice is stronger and she brings with her a wider range of voices which are surprising and delightful. The first half lulls the audience into the misguided belief that she might be a one trick pony as the over-reliance on the Judy Garland impression matches the film, but it is in the second half where we finally see Miss Robinson as the genuine talent that she is. She is allowed to blossom and brings with her two show-stopping performances which genuinely leave you breathless.

As a warning however, if you’re not as familiar with the voices that she does as I am, then of course her true brilliance may go unnoticed. They are mostly note perfect and spot on which brings a real thrill and a genuine tear at the end.

Duggie Brown and the ensemble bring a real variety feel to the proceedings and some of their bits at the opening of the show and of the second act you really wished could have lasted longer.

Of course, the show is not without its flaws. Philip Andrew as Ray Say seems a strange casting considering Michael Caine played this character in the movie and it worked wonderfully. Mr Andrew is far too young and indeed unjaded to accept this role. He plays it professionally but there is a jarring because in this version his character would simply dust himself off and go looking for the next talent, whereas with Michael Caine you really felt his desperation and the sense this was his last chance at something good. Ray Quinn is also extremely professional but you do get a sense the producers simply wanted another name for the poster, as any young actor could have played this part.

Sally Plumb as Sadie, Beverley Callard’s fat friend is exceptionally good in a comedic role, but as my companion for the evening pointed out the fact that there are so many offensive references to her weight does leave you feeling slightly uneasy about how this character is being treated. The show would be no less if some of these were removed.

All in all, however this is a great night out at the theatre. Bear in mind, though, that swearing is included as I think some of the Lyceum’s older patrons nearly fell out of their seats several times throughout the night. Ah bless!

Tue 27 Nov 7:45pm   £17.00 - £26.00 Book Tickets
Wed 28 Nov 7:45pm   £17.00 - £26.00 Book Tickets
Thu 29 Nov 2:00pm   £17.00 - £24.00 Book Tickets
Thu 29 Nov 7:45pm Audio Described, Signed £17.00 - £26.00 Book Tickets
Fri 30 Nov 7:45pm   £17.00 - £28.00 Book Tickets
Sat 1 Dec 3:00pm Captioned £17.00 - £24.00 Book Tickets
Sat 1 Dec 7:45pm   £17.00 - £28.00




Nov 20th

Joseph's welcome return to Sheffield!

By Paul Tyree

Bill Kenwright presents

Joseph and the Amazing Technicolor Dreamcoat

Tue 20 – Sat 24 November

Having reviewed this show 7 years ago and disliking it intensely it was with a measure of trepidation that I took my seat tonight. The opening had impressed me last time only for the show to go downhill rapidly along with my appreciation. Lauren Ingram as the Narrator has a fantastic voice, effortlessly good and opens the show exceedingly well. However when Keith Jack entered as Joseph my heart sank. A face full of teeth and chock full of himself I really did fear the worst. Luckily as the evening continued I was treated to a show that appeared refreshed by new talent and an obvious willingness to go the extra mile for the audience.

Mr Jack isn’t the most charismatic of actors, yet, but his voice is excellent throughout and you can see the efforts he is making to deepen his performance. It’s precisely these efforts that make you really warm to him throughout the production. Luke Jasztal as the Pharoah/Elvis is excellent and whilst his Elvis is more Shakin’ Stevens than the real thing he has a real charm and likeability which the audience really responded to.

Henry Metcalf as Jacob, Joseph’s father has the rich and powerful timbre of a seasoned pro and his singing voice is amongst the best on show here. Another stand out performance and perhaps a real find is Steffan Lloyd-Evans as Simeon who sings lead on One More Angel in Heaven. You can sense he is really enjoying the opportunity and making the most of it throughout.

Whilst the last touring production of Joseph I saw appeared tired and flat with actors that were just going through the motions, you could palpably feel the excitement and adrenaline of this young cast at what they were appearing in. The audience were hugely appreciative at the end with a standing ovation that was richly deserved and which you could see the cast were grateful for. If you haven’t seen Joseph then this production is the real deal. My advice is see it now before they tour the heart and life out of the actors, because with three shows a day on some days the freshness and excitement  that is currently there is unlikely to last long. Book Now!!


Wed 21 Nov 2:00pm   £15.00 - £23.00 Book Tickets
Wed 21 Nov 7:45pm   £15.00 - £26.00 Book Tickets
Thu 22 Nov 2:00pm   £15.00 - £23.00 Book Tickets
Thu 22 Nov 7:45pm Audio Described, Signed £15.00 - £26.00 Book Tickets
Fri 23 Nov 5:00pm   £15.00 - £21.00 Book Tickets
Fri 23 Nov 8:00pm   £15.00 - £28.00 Book Tickets
Sat 24 Nov 1:00pm   £15.00 - £28.00 Book Tickets
Sat 24 Nov 4:00pm Captioned £15.00 - £28.00 Book Tickets
Sat 24 Nov 8:00pm   £15.00 - £28.00
Nov 6th

Straight! - We might have Sex but we are still British!

By Paul Tyree


adapted for the stage by DC Moore, Directed by Richard Wilson.

Henry Pettigrew as Lewis and Philip McGinley as Waldorf in Straight. Photo Robert Day.jpg

A young couple’s idyll is interrupted by the shocking entrance of an old university friend of the husband and, after a nights heavy drinking, a drunken bet sees the two men contemplating having sex together and filming it for the purposes of art by trying to subvert the pornographic norm.

What follows, however, is not the debauched tale you may have been expecting, or indeed hoping for, but instead a marvellous comedy of manners as the two men try to circumnavigate the relationships in their lives and also each other. Yes there is explicit content in terms of language, but the themes of this play can be traced all the way back to Oscar Wilde and Shakespeare.

Henry Pettigrew makes for a wonderful lead as his nervousness and essential britishness is the emotional heart of the play. Philip McGinley is a perfect foil, full of experience and debauchery, living life without any idea of consequence. No less are the two female leads. Jenny Rainsford is hilarious as a stoned sexually prolific conquest and indeed it is her involvement that sparks the main plot but perhaps best of all is Jessica Ransom in the unforgiving part of the wife which she plays with humour and real depth .

Richard Wilson’s direction is not overtly showy, but it is expert. You can feel his direction shining through letting us see that this play really does define the symmetry of awkwardness in sexual situations.

The play then discusses all of the things that we don’t say as individuals that sometimes we are so desperate to, but are too afraid to for fear of the repercussions. Indeed, amusingly, it shows us the difficulty we all have in being straight with one another. A wonderful night at the theatre.

Mon – Fri 7.45pm
Concessions £2.50 off

Sat 7.45pm

Matinees 2.15pm

Wed 7 Nov 7:45pm   £15.00 Book Tickets
Thu 8 Nov 2:15pm   £13.00 Book Tickets
Thu 8 Nov 7:45pm   £15.00 Book Tickets
Fri 9 Nov 7:45pm   £15.00 Book Tickets
Sat 10 Nov 2:15pm   £13.00 Book Tickets
Sat 10 Nov 7:45pm   £18.00 Book Tickets
Tue 13 Nov 7:45pm   £15.00 Book Tickets
Wed 14 Nov 2:15pm   £13.00 Book Tickets
Wed 14 Nov 7:45pm   £15.00 Book Tickets
Thu 15 Nov 7:45pm Talkback, Signed £15.00 Book Tickets
Fri 16 Nov 7:45pm   £15.00 Book Tickets
Sat 17 Nov 2:15pm   £13.00 Book Tickets
Sat 17 Nov 7:45pm   £18.00 Book Tickets
Tue 20 Nov 7:45pm   £15.00 Book Tickets
Wed 21 Nov 2:15pm   £13.00 Book Tickets
Wed 21 Nov 7:45pm   £15.00 Book Tickets
Thu 22 Nov 7:45pm   £15.00 Book Tickets
Fri 23 Nov 7:45pm   £15.00 Book Tickets
Sat 24 Nov 2:15pm   £13.00 Book Tickets
Sat 24 Nov 7:45pm   £18.00  


Located within the Crucible building, the Studio Theatre has a flexible design allowing the seating to be adjusted to play on one, two or three sides or in the round. Seating in the Studio is unreserved.
The Studio hosts a mix of small-scale in-house and touring productions, as well as hosting the acclaimed Ensemble 360's tri-annual Music in the Round Festival.

  • 55 Norfolk Street, Sheffield, S1 1DA
Nov 6th

The Woman in Black.. back again!!

By Paul Tyree

The Woman in Black

Review by Paul Tyree


This plays’ triumphant march throughout the country appears in ghostly form this week in Sheffield, bringing with it the deathly chimes of past glories. An old man with a real ghost story employs the services of a young actor to help him tell the ghostly tale, unaware of the costs to come for them both.

Julian Forsyth and Anthony Eden are both magnificent in what is essentially a two hander. They are both comic, daring and show great stage awareness. Mr Eden is extremely likeable in his part as the actor enthused with the idea of telling a good story and Mr Forsyth shows a real talent for playing many parts using many different accents. Together they manage to hold the audiences complete attention between them for the entire play, which is no mean feat.

The real star of this show however is the production and direction itself. The use of lighting, sound and staging to such great effect raise this in terms of stage craft to being one of the most accomplished pieces of theatre that you’re ever likely to see. What is perhaps most amazing is the fact that this cast and crew make it look so effortless.

There can be no doubts as to why this show has entered the nation’s consciousness. This is a great story told with simplicity and depth by two great actors, which manages to make us quake with fear in our theatre seats and also provide several very welcome laughs along the way. Not to be missed!

The Woman in Black

Mon 5 – Sat 10 November
Presented at The Lyceum Theatre, Sheffield
Running time: Approx. 2 hours 15mins including one interval of 20 minutes

Tue 6 Nov 7:45pm   £16.00 - £26.00 Book Tickets
Wed 7 Nov 7:45pm   £16.00 - £26.00 Book Tickets
Thu 8 Nov 2:00pm   £13.00 - £23.00 Book Tickets
Thu 8 Nov 7:45pm Audio Described, Signed £16.00 - £26.00 Book Tickets
Fri 9 Nov 7:45pm   £18.00 - £28.00 Book Tickets
Sat 10 Nov 3:00pm Captioned £14.00 - £24.00 Book Tickets
Sat 10 Nov 7:45pm   £18.00 - £28.00


The Lyceum plays host to a huge variety of touring productions every year, including large-scale musicals, drama, children’s shows, opera, ballet and contemporary dance.
With over 1000 seats, the Lyceum is a beautiful late 19th Century building located on Tudor Square, close to the Crucible Theatre.

  • 55 Norfolk St, Sheffield, S1 1DA, South Yorkshire, United Kingdom
  • Box Office: 0114 249 6000

Nov 2nd


By Paul Tyree



Presented by Sheffield City Opera. Review by Paul Tyree.

Montgomery Theatre, Sheffield. Daily till 3rd Nov at 7.30pm. Sat Matinee at 2.00pm.

Charles Gounod’s opera of Faust is set in 17th century Germany but has been updated by Sheffield City Opera to pre-WW1 Britain. It is the story of an old philosopher / scientist who sells his soul to the devil in exchange for youth and the hand of a beautiful maiden, Marguerite. As you can no doubt predict with the devil himself on hand the events that follow don’t go exactly as Faust might have wanted.

Sung entirely in English this then is a good introduction to anyone wishing to try opera for the first time. Easily understandable and expertly scored this might well serve to convert many people for whom opera is a foreign country.

The stand-out star of the evening is without a doubt Chloe Saywell as Marguerite. Her voice is magnificent, soaring and clear and better still she manages to act the part expertly as well. Also a stand-out is Debra Finch playing a male part called Siebel. Whilst the costume dept. seem to have gone all out to make her resemble Tin-tin (honestly we were all wondering where Snowy the dog was), her voice is also marvellous.

Indeed it is the women that really carry this production. Nigel Rothery as Mephistopheles sings well and relishes being the pantomime villain, however both Marl Ellse as Faust and Michael Willis as Valentine seem unsure of themselves as actors and whilst their voices are acceptable it is clear that nerves let them down on the night. Also whilst the chorus did their jobs it has to be said that there are so many that the stage often looks crowded and messy.

Overall, however there is much to commend this production Not least of all the two main female stars who are worth the price of the ticket alone and are definitely ones to watch for the future. Special commendation must also go to the orchestra who were note perfect throughout and supported the performers up on stage with aplomb.

Nov 2nd

Angelina Ballerina: The Mousical

By Paul Tyree

Angelina Ballerina: The Mousical


Sheffield Lyceum Theatre.

Angelina Ballerina and 5 of her school friends get the opportunity to put on a dance recital for a television show called ‘Dancing with Mice’, but when Angelina is given the responsibility of being their leader she finds that trying to do everything herself means she might just lose her best friend and ruin the show in the process.

This touring production aimed directly at the 3 – 6 yr old market has many plus points that raise it above the norm in terms of children’s adaptations of tv shows. Pleasingly it features live actors singing and dancing their way through an original musical rather than the plastic heads, miming and backing tracks that have come to dominate much of the genre.

All of the performances are bright and energetic and managed to hold the attention of the children throughout. Especially charming is Georgia Carling as Angelina Ballerina herself. As you would expect she dances well, but it is her singing voice that really catches the attention. She is pitch perfect and also manages to sing well whilst dancing at the same time which is no mean feat.

In a nice local touch the company have also managed to integrate one of Sheffield’s very own dance schools into the production allowing 8 young dancers to participate in the finale. This along with several moments of audience participation make this a fun and interactive afternoon in the theatre.

Playing twice a day until Sat 3rd Nov.

Oct 30th

Little Voice. Alhambra Theatre, Bradford


Currently on a UK tour the stage production of Little Voice is a tale of humour, loneliness, jealously and relationships set in northern England. 

It is always a challenge to try and emulate or even better a film production of a popular story such as this but this particular cast appear to have pulled it off.

The girl they call Little Voice seeks comfort in her late father’s record collection listening to the songs of Edith Piaf, Billie Holliday and Barbara Streisand in her bedroom whilst her man chasing mother (Mari) entertains her latest man friend Ray Say downstairs.

Coronation Street’s Liz McDonald (Beverley Callard) portrays a very convincing role as man mad Mari, whilst Philip Andrew plays a superb part as smooth talking Ray Say. Callard’s accent borders between a Blackburn and a Bradford accent and at times it was like watching Liz McDonald, so much so that you expect Jim McDonald to walk on stage at any moment. Next door neighbour Sadie (Sally Plumb) looks like she has lived on a diet of Yorkshire puddings such is her huge size, although extra padding to her outfits made her look bigger than she actually was.

Ultimately though the star of the show is Little Voice played by Jess Robinson who has a voice that mimics Cilla Black, Lulu, Diana Ross, Tina Turner and Lisa Minelli. Ray Quinn plays the boyish Billy who tries to win Little Voice’s heart.

Ray Say hears Little Voice singing along to her records one night in her bedroom whilst he is downstairs being entertained by Little Voice’s mother. His attention soon turns away to Little Voice and the pound signs start flashing across his eyes. Ray Say asks his northern club land friend Mr Boo (played by former Comedian’s comic Duggie Brown) to come and listen to Little Voice. In the end it all goes pear shape with Little Voice refusing to sing at an audition. Roy Orbison’s It’s Over is heard in the background – classic timing in tandem with Mr Boo’s jokes that are shared with the audience throughout the show.

With a set that resembles a doll’s house it was intriguing to see at the same time Little Voice in her bedroom listening and singing along to her records whilst the action and dialogue continued downstairs.

The show has the feel good factor about it has a story to tell rather than the jukebox musicals which are currently flavour of the month. An entertaining and a triumphant show.

Oct 30th

The Sweetest of Tastes in Sheffield!

By Paul Tyree

                           A Taste of Honey

eva pope.jpg

By Shelagh Delaney. Review by Paul Tyree

Crucible Theatre, Sheffield

25th Oct - 17th Nov

Shelagh Delaney’s slice of kitchen sink relies on a mother daughter battle played out over a generational gap whose life goes from bad to worse.  The Crucible stage manages to celebrate humour, pathos, angst, regret but mainly loss, pain and the grasping ache of all of our youth, let down, ultimately by those that we should have been able to rely upon on.

The play undoubtedly stands the test of time. We are not confused by plot or by the author trying to make a point. This is a play that speaks to us all about the nature of theatre or life itself. That, perhaps, we as an audience also carry some responsibility.   And without a doubt, we do. This is a play that asks of us the ultimate question about theatre. Does it have a life of its own. Does it make things better.

It has to be said that this play is supremely well performed and directed. At no point do we feel as though we have been let down. Indeed this play is one of the best that I’ve seen at the Crucible for many a year. Are there issues??? Well. Of course there are, as there would be with anyone, or any performance, but ultimately it delivers in ways that many productions don’t.

The performances are uniformly good as is the direction. The revolving stage helps in numerous ways, but it is really in the honesty and the openness of the performances that this production transcends what should, in reality, be expected.  This is definitely worth the price of the ticket.

What makes this worth going to see is not, however, all that has been previously mentioned but also the fact that this particular ‘kitchen sink drama’ transcends all of those ‘sinks’ that we have previously come to celebrate. This play has no plot, it has no story arc, indeed it has no claim to fame apart from the fact that it is ‘real’. The sink is real!! This is ‘Cathy Come Home’ combined with Jeremy Kyle. This is the reality of life given to us through the wonder that is theatre.

This is a play that has the power to overtake every other kitchen sink of its’ day, simply because it has no axe to grind. It shows us as an audience, what is. And what is, sometimes is the most powerful  thing that a playwright has left to say. Luckily Shelagh Delaney obviously knew that and managed to construct the most wonderful play around it.

If you were in two minds about this production – don’t be. This is most certainly worth the price of admission and much more. Trust me. This is one of the good ones. This is what theatre is truly about. Sometimes it happens on your doorstep. And if it does – you really should go see it.


Oct 17th

Absolute Bloody Murder!

By Paul Tyree

                                 Murder on the Nile

      The Official Agatha Christie Theatre Company

The Lyceum Theatre, Sheffield.   Mon 15th – Sat 20th Oct

 murder on the nile.jpg

As we entered the theatre on Monday night to review Murder on the Nile we were told that Kate O’Mara, the big name draw in this production had dropped out due to ill health and that Nichola McAuliff had replaced her for the rest of the tour. As we settled into our seats we thought no more about it but as the evening progressed I couldn’t help but wonder if Ms O’Mara’s illness might not have been brought on by the sheer awfulness of this production and therefore she had decided to politely withdraw rather than carry on with the charade.

Nichola McAuliffe, perhaps still fresh and unaware, is by far the best thing about this and acquits herself well as does Robert Duncan as Canon Pennefather the amateur sleuth who solves the crime. (No Poirot in this unlike the film version). Then again being the best actors in this play really isn’t a compliment.

The rest of the company are undone by some extremely dodgy accents, poor casting and lazy direction which means this play is the worst thing that I’ve seen in the theatre for years if not ever. Whilst the first half was uninvolving it was in the second half where the real stench that was the rotting corpse of this play began to waft around the theatre.

Long before the end people began to walk out much to the amusement of the crowd and embarrassment of the actors. At one point whilst discussing a gunshot wound one of the actors said that ‘Infection might be setting in’ to which someone to my right loudly said ‘let’s hope so!’.

You could tell that not one of the actors believed in this play or indeed what they were saying. At one point when one of the cast got shot, instead of being dramatic, it got the biggest laugh of the night. The play by this point had descended into farce and was beyond salvation.

Most of the acting seemed like the efforts of some well-meaning amateurs rather than professionals and you could tell that the entire cast just wanted to get it over with as quickly as possible. (A sentiment shared by the audience believe me). This then is a play to be avoided at all costs. No theatre goer should have to suffer in the way that we poor unfortunates did on Monday night and believe me if I’d paid for my ticket then I would have asked for my money back, it really is that bad. If you value Agatha Christie’s memory then please buy one of her books instead. The poor girl will be spinning in her grave about this one.

Oct 1st

We all wanted to be killed by this......but unfortunately we're still here!!

By Paul Tyree

            The Ladykillers

               Review by Paul Tyree


Mon 1 – Sat 6 October, The Lyceum Theatre, Sheffield.

Do you know the nagging feeling at the pit of your stomach when you realise that your great Uncle Albert is talking rubbish at someone’s funeral or that your great Aunty Eileen has just left more on the seat than any wedding party ever wants to find? In other words when you hope to goodness no-one finds out what has really happened and that you’re left to simply enjoy the experience without having to explain the hot air or stained seats?

An odd part of me felt exactly that way whilst watching The Ladykillers. In a strange way I’m not sure that Graham Lineham (one of the writers of Father Ted – so feck off!!), would be insulted by my reaction.

In a sense there is very little point in reviewing this because, ….A – it’s ‘The Ladykillers’ and :

B: It’s by the guy who wrote ; ’Father Ted’ (one of the best tv shows of the last 20 years by a country mile).

So am I then to reconsider my position as a critic or indeed my worth as a human being on this planet???


I think, probably, I should go to Craggy island and perhaps kick myself up the arse. And if I could get a photo then that would only serve to make me feel better about my current situation.

Remember I’m not a critic….I’m just very far away!!

The funny thing is (and please don’t assume that the play is funnier – that would be a mistake) is that this play... is not bad at all.

I know – I too am feeling a little bilious!

This is not bad at all. By that I mean it’s funny…..ish! It’s well scripted….ish! And well acted…..let’s not forget that…..ish!!

Of all the famous faces you’ll recognise Clive Mantle is the best of them all. An actor, it should be said that has honed his craft up and down the theatres of this country, and by goodness it shows! His timing, his willingness to make himself look stupid for our entertainment, but most of all for his absolute control (which only comes through enormous effort and years of experience), he takes a thankless part and pretty much steals the show with it.

Will Troughton (younger brother of Sam – Much in Robin Hood – sorry Will, the family resemblance gave it away) as Harry Robinson is marvellous. He gets most of the big laughs thoughout the play simply by being the slapstick foil. (Nothing wrong with that by the way).

Outrageously, the biggest laughter of the night came when a case full of money designed to open at a specific time, just….well… didn’t! The audience and the actors were all suitably amused. Again, when a piece of scenery was playing up, causing the actors to physically push it into place, we were all in hysterics.

Unfortunately, dodgy scenery aside, this play wasn’t quite what it should have been. When things that go wrong on stage get the biggest laughs – that surely has to say something to someone in the know…..shouldn’t it??

Paul Brown as Professor Marcus (the Alec Guiness part) it has to be said, was weak and underpowered. This is not a comparison to Alec Guiness, because we all understand that actors have to make every part their own. (Something that perhaps Mr Brown, hasn’t really understood).

Shaun Williamson, with an accent fashioned from….(one can only assume the 1940’s – when we as a nation only travelled under duress)…proves yet again how competent he is at being himself, or is it that bloke from Eastenders, or if you’re young enough – ‘Scoop’, from CBBC. (But, don’t get me wrong – I’ve seen worse……....especially from him!).

As a critic I realise that this show is pretty much bomb proof! Let’s be honest, Al Qaeda could send out a video telling the world that the next theatre to show this play would be bombed out of existence and most of us would still risk it!.. After all it’s ‘The Ladykillers’ and the guy who wrote ‘Father Ted’. No son or daughter of Britain would ever give in to terrorist threats…..especially if comedy was on the line!

So let’s all celebrate the fact that no terrorist will ever decide to bomb this play…..

Al Qaeda really aren’t that funny……

Unfortunately…….(well, you get the point don’t you????) ......Neither is this!!

Good though….Worth going to see….Not bad….I laughed……So will you…..And others around you....Funny……………………...ish!!! ..Aargh go on......You know you want to...

Audio Described, Signed, Captioned
Running time: Approximately 2 hours 10 mins, including one interval of 20 mins

Tue 2 Oct



£15.00 - £26.00

Book Tickets

Wed 3 Oct



£15.00 - £26.00

Book Tickets

Thu 4 Oct



£15.00 - £24.00

Book Tickets

Thu 4 Oct


Audio Described, Signed

£15.00 - £26.00

Book Tickets

Fri 5 Oct



£15.00 - £28.00

Book Tickets

Sat 6 Oct



£15.00 - £26.00

Book Tickets

Sat 6 Oct



£15.00 - £28.00