Tag Archives: Theatre Royal Haymarket

PEPPA PIG’S BIG FAMILY SHOW

★★★★

UK Tour

PEPPA PIG’S BIG FAMILY SHOW

Theatre Royal Haymarket

★★★★

“a warm, playful introduction to theatre for very young audiences”

From the moment the signature theme music swells through the theatre, audiences of every age are gently ushered back into Peppa Pig’s bright, familiar universe. When the much-loved song “Today is the Day” starts up, the tiniest theatregoers practically lift out of their seats, sensing that a full day of play and adventure is about to unfold. The unexpected heart of this new stage outing, however, lies in the introduction of baby Evie — a storyline fans have only just begun to encounter in recent announcements. Seeing it play out live gives the production an immediate emotional charge, as if the young audience has been invited to witness a family milestone from inside the Pig household itself.

Daisy, the show’s human guide, anchors us inside the oversized puppetry world with warmth and clarity. Through her perspective, the children learn what it means to prepare for a new sibling: decorating the house, helping the grown-ups, and sharing in the anticipation. Scenes with Peppa and George preparing baby Evie’s room gently invite children to think about pregnancy, family change, and what it means to welcome someone new. The narrator’s performance is sharply tuned to the cartoon’s vocal style, giving the sense of a television episode brought to life. Music drives the production, with nearly every number built around interactive dance moments — from decorating the house to playing outdoor games — ensuring young viewers seldom sit still for long.

The most inventive sequences come from the show’s playful use of theatre magic. When George cries real water tears, droplets shoot out toward the audience, causing delighted shrieks across the stalls. Later, a glowing nighttime tableau appears as fluorescent ducks, a rising moon, and three enchanted paint buckets emerge from behind a lowered black curtain. Brushes seem to dance and paint on their own, transforming the set in a moment of genuine stagecraft charm.

The second act quietens in tone as baby Evie finally arrives. The entire auditorium lowers its voice to greet the newborn — a surprisingly tender communal moment. A song about Evie learning and growing resonates with parents, especially when the sound of a newborn’s soft cry drifts through the theatre. The finale returns to high energy with a game of musical statues and an appearance from Santa, who, despite resembling a very slim Santa image, delights the children nonetheless.

Where the production falters is in its target age range, the storytelling and interaction level skew strongly toward children aged two to four. For older children, the narrative may feel too simple, closer to an early-years activity session than a full theatrical experience. Meanwhile, for toddlers under two, the long running time can feel demanding.

Overall, this Peppa Pig stage outing delivers exactly what its core audience hopes for: bright colours, gentle humour, familiar songs, and moments of theatrical magic that feel lifted straight from the cartoon. While its age targeting could be clearer, the production succeeds as a warm, playful introduction to theatre for very young audiences — and a charming celebration of Peppa’s ever-expanding family.



PEPPA PIG’S BIG FAMILY SHOW

Theatre Royal Haymarket then UK Tour continues

Reviewed on 7th December 2025

by Portia Yuran Li

Photography by Mark Senior


 

Shows most recently reviewed at this venue:

OTHELLO | ★★★★★ | November 2025
SALOMÉ | ★★★★ | September 2025
THE SCORE | ★★★½ | February 2025
WAITING FOR GODOT | ★★★★ | September 2024

 

 

PEPPA PIG

PEPPA PIG

PEPPA PIG

OTHELLO

★★★★★

Theatre Royal Haymarket

OTHELLO

Theatre Royal Haymarket

★★★★★

“gorgeous to look at and stunningly staged”

Shakespeare’s “Othello” is categorised as a tragedy. After all, the full title ‘The Tragedy of Othello, the Moor of Venice’ puts it in that box, although it has often been argued that it is not so easy to pigeonhole. While not specifically a ‘Problem Play’, it always has been problematic, due to its controversial and complex issues – particularly regarding race and misogyny. However, there is no problem whatsoever with Tom Morris’ beautifully and stylishly directed revival which captivates throughout, focusing more on the troubled motivations of an unhinged protagonist and his antagonist, Iago.

David Harewood is an imposing Othello with an implicit vulnerability, the degree of which he portrays with an understated precision. Morris makes explicit Othello’s epilepsy, but it is Harewood who manages to convey that there is much more going on under the skin. This play is less about the blackness of his skin than the greenness of the eyes. The monster looms large, drawing audible gasps from the audience at the key moments of violence. Toby Jones, as a deliciously impish Iago, steals more than his fair share of jealousy too. In turn, he shares his resentful and covetous secrets with the audience while manipulating his victims. A show-stealing, darkly mischievous performance that amazingly manages to tease out perverse comedy with impeccable timing; but still be pretty creepy too.

The timeless quality is enhanced by Ti Green’s use of modern costume, set against her opulent, regal backdrops that could belong to any era. The gold trimmings of the theatre’s auditorium stretch to the back of the stage in the shape of gilded picture frames that slip away to reveal the bed on which the murderous climax takes place. Richard Howell’s lighting creates suitably unsettling moods, softening us with warm coppers and cobalts, before shattering our complacency with crashes of white. PJ Harvey’s music (composed with Jon Nicholls) bubbles underneath, often unnoticed and subliminal; unnerving yet still magnificently stylised.

Caitlin Fitzgerald’s Desdemona matches the grandeur. Regal in stature she fights back at her husband’s powerplay with a stillness and strength that (almost) conceals her fear of her own inevitable fate. Video projections reveal the dual emotions in her eyes up close – a fitting omen for the final tragic scenes. It is in these scenes that the peripheral characters take centre stage too – notably Vinette Robinson’s Emilia, the wife of Iago, who breaks out of her subservient pragmatism to deliver lines rich with emotion. Luke Treadaway, as the easily led, hard-done-by Cassio, is impressively charismatic, mixing gallantry and gullibility in explosive measures. Tom Byrne, as Roderigo, adds a lighter touch. Another pawn in Iago’s great scheme, he is more of a fool for love, allowing himself to be easily manipulated.

The whole story is crystal clear, each actor masterfully enunciating Shakespeare’s text and projecting to the rafters with ease. The only slight quibble is that the writing is, at times, a bit long-winded, to say the least. But who’s going to argue with the playwright? This slick production swiftly steers through the soliloquies to stab at the unpalatable truths of human nature. Shakespeare may have written ‘Othello’ surrounded by different principles and outlooks in society, but Morris and company take his words and speak to us in a modern setting with just as much urgency. The show is gorgeous to look at and stunningly staged. Pacy and provocative, filmic and theatrical, full of dark humour and darker candour. Compelling, chilling and thrilling; and staged with the choreographic fluidity of a ballet.

 



OTHELLO

Theatre Royal Haymarket

Reviewed on 4th November 2025

by Jonathan Evans

Photography by Brinkhoff/Mögenburg


 

Previously reviewed at this venue:

SALOMÉ | ★★★★ | September 2025
THE SCORE | ★★★½ | February 2025
WAITING FOR GODOT | ★★★★ | September 2024
FARM HALL | ★★★★ | August 2024
HEATHERS | ★★★ | July 2021

 

 

OTHELLO

OTHELLO

OTHELLO