Eira Whatmough
(2 Reviews)

Based on the hit book first released in 1982, Dear Zoo was expected to be an upbeat, family friendly show that brought the characters to life, and it did not disappoint. Before having watched the show, and with my limited research, I was excited to watch the audience participate in the interactive aspects of the show, seeing children captivated by the immersive story telling, and enjoying the relaxed experience provided by Lowry, on the intimate stage of Quays Theatre. Walking into the theatre, the room was upbeat and lively, the music lending itself to creating an anticipatory atmosphere where kids were eager to watch on their readily provided booster seats.

Dear Zoo, following the same plotline as the lift-the-flap book, explores the adventure a boy (Ben) and his friend (Sally) face sending letters to the local zoo, asking for a pet, and the animals the zoo and zookeeper (Sam) deliver in response. We see the stage bring to life the story of all the animals that get sent to fulfil these children’s wishes, ranging from creatures too big to animals too scary, before finally receiving the perfect pet to resolve the story. Throughout the show there were educational moments, teaching the children the meaning of words, like ‘fragile’ and ‘danger’, whilst keeping the story moving ahead. Whilst this story may not be the most original or full of twists, it is perfect for families who want a laugh and a learning experience all in one. The constant use of actions to relate back to animals helps the children to remember characters and motives, aiding them in their memory and cognitive skills however subconscious it is.

The curious and excitable Ben is portrayed well by Marcus Jones (The Dinosaur that Pooped; A Rock Show) who melded learning and fun seamlessly for children to enjoy. He brought laughter to the audience with his brilliant comedic timing and well placed slapstick, interacting with the props, cast and audience with a joy that infected everyone he performed for. 

Jennifer Peters (The Three Little Pigs - UK Tour, Beauty & The Beast - Chequer Mead Theatre) portrays best friend Sally, who aids her friend in finding a suitable pet to keep. Peters uses her charismatic attitude to captivate and welcome the audience in interacting and enjoying the experience. She brings life to her character and makes the experience riveting for all children watching, whilst utilising her voice and musical aptitude to lead group singalongs with the audience.

The final named character is Sam the Zookeeper, who is the one to deliver each animal to the friends. The actor brought laughter to the role, showing his experience through the delivery of his lines and actions, for example making the weight from the animals in the crates seem realistic to the children whilst not losing his stage presence. Everyone of his entrances is eagerly awaited  by audience members who verbally showed their delight at his arrival. He helps to teach the children watching that kindness is always the way to go, expertly threading the positive attitudes into his character through both small actions throughout the show and to mention again, the delivery of his lines.

Working alongside those three were two other actors who both worked to make sure the animals worked seamlessly onstage, from being playing the parts of the mischievous monkey and jumpy frog, to puppeteering the scary snake and grumpy camel along with the rest of the unusual animals that are shown. Getting the timing and movements right in these parts is essential for children to fully enjoy themselves and these actors nailed it. Eliciting excited shrieks and enthusiastic shouts from the audience, these people did an amazing job with the puppeteering. 

One of the first things I noticed about the set was the incredible faithfulness to the original book it portrayed throughout the performance, which we can thank Ian Westbrook (Treasure Island - UK tours, The Horrible Histories, Chicago - Verona Arena) for. His creative set design, with his cartoonish mix of 2D and 3D props to bring the animals and set to life, feature bright colours and simple, almost childish designs that make the show entertaining to watch, lending into the quirky atmosphere of the show.

Of course, this whole show would be impossible to put on without the original book, written and illustrated by Rod Campbell (other books include Dear Santa, and Noisy Farm), who first published the book in 1982 and then released the Pop-up version later on in 1989. The repetitive message presented in the book and the show makes it easy for kids to digest and enjoy, leading to just under an hour of laughs and fun for the whole family. The bright and amusing show is perfect for both first time theatre-goes, with its relaxed, interactive style, as well as frequent watchers who can anticipate watching another great show.

Overall, this show is a great watch for all children from ages 2 to 6, with an easy to follow and exciting storyline as well as fun interactive songs and actions the children can participate in, making a memorable day for families. This show presents both educational and upbeat moments, with comedy present throughout for a light-hearted informative show that gives kids voices to show off their knowledge of animals and counting among other areas throughout the story. There is no expectation to keep still and quiet either through the show which makes it perfect for talkative, excitable children. Overall I would wholeheartedly recommend this show for families with young children, no matter if they have been to a show or not, as it is a great experience that has already been proven to be successful. 

WE SCORE DEAR ZOO...

Going into this show, expectations were high. Winner of the Best New Musical Olivier award in 2024, Operation Mincemeat had left me with excitement for what was to come. It created an eagerness to discover how they had turned such a dark period of history into a fast-paced musical comedy that has captured the attention of theatre-goers enough to inspire a world tour spanning four continents. As a fan of multirole playing, this five person show inspires anticipation for what the show has in store, and as a person who frequents Lowry, I am never disappointed with the musicals and plays shown.

Operation Mincemeat is a comedic musical that centres around a well-known (successful) mission devised by the British Intelligence during WWII in an attempt to misdirect the German forces about the invasion of Sicily. The story follows a plan to disguise a dead body as a royal marine officer, who was carrying ‘sensitive’ documents, and have it in a plane crash over neutral Spain’s waters in order for it to land in enemy hands (German spies who were stationed in Spain). It focuses on the involvement of five main characters as well as multiple others who had smaller involvement in the success of the plan.

Getting to watch this outstanding cast was unbelievable, with Christian Andrews (Turning the Screw, Cinderella) who fully embodied the character of Hester, amongst other characters such as the American Pilot and Burnard Spilsbury, and brought tears to our eyes both from laughter and sadness. He created a hilarious villain within Spilsbury, covered in bloody jazz hands and a sparkly apron, whilst also portraying the reserved and sharp Hester with a well suited finesse.  Seán Carey (The Play That Goes Wrong, Sweeney Todd), playing the genius, if socially awkward, Charles Cholomondeley as well as his brief, yet memorable stint as an office clerk, and his impressive performance of Dr. Nararro, the Spanish coroner, created a unique atmosphere for each of the characters he played. He brought each character to life in distinct ways, keeping it easy to distinguish each character from the others whether that through accent, posture or even nervous habits. Alongside them was the talented Charlotte Hanna Williams (Bells Are Ringing, The Wing in the Willows), who perfectly played the independent, empathetic Jean, portraying her as youthful and inexperienced in a light and comedic fashion whilst also making sure to keep the audience hooked and aware of the situation women faced during both the wars. She also featured as Haselden’s assistant, commonly seen with extreme bad posture and Haselden’s telephone. She brought the meek, ‘geeky’ character to life with impeccable comedic timing and line delivery as well as performing the complicated choreography for the four person briefcase swap scene, and showing a woman unafraid to uplift others and speak up for herself. Castmate Holly Sumpton (Lovers actually, Till The Stars Come Down) brought to life the egotistical, self-centered MI5 agent Montague, as well as briefly appearing as a London Newsperson, a Submariner and an office clerk. She creatively encompassed the role of a stereotypical narcissistic man who believes himself smarter and better than his peers, irony clear in the character being played by a woman. She uses her skills to really embody the character and his core attributes whilst also hitting every punchline well in order to get the joke across.  Jamie-Rose Monk (Romeo and Juliet, A Midsummer Night’s Dream) really is to be commended for her absolute iconic performance, spanning from Johnny Bevan, the strict, no nonsense captain, to the overly sweaty contact for Spain, Francis Haselden. She really is a talented and well rounded actor who knows how to engage an audience. She masters the art of quick changes in the musical, showcasing her skills as an extremely multifaceted actor, with Bevan, a submariner, Haselden, bar staff, an Admiral painting, a Nazi girl band member along with many others.

One particular stand out moment from the show, especially as it is a comedy, is the deeply emotional and tear evoking ballad, ‘Dear Bill’ sung by Christian Andrews as Hester Leggatt, which was powerful enough to get the audience’s sympathy for a character that was previously seen as an uptight rule follower, rather than the woman who had a partner, and dreams and aspirations. Another moment for remembering was the cleverly choreographed scene showcasing the swapping of hats, telephones and the briefcase that the show is centered around. The speed in which everything happened made an already complicated piece impressive to execute but was conveyed perfectly to get a good laugh out of the audience.

Another person to commend is the director Robert Hastie (Guys and Dolls, Hamlet), who did an absolutely incredible job of directing this show. With a cast of only five, it is imperative that each moment is purposeful and filled, but not so much so the actors are run ragged. Robert Hastie perfectly balanced this performance and the choreography from Jenny Arnold truly complimented and enhanced the work put into the show. The music is a big part of the show and we couldn’t have asked for better music. The fast-paced, upbeat score composed by the group Splitlip, made up by the members David Cumming, Natasha Hodgson, Felix Hagan and Zoë Roberts got them receiving the Best New Musical Olivier Award in 2024, as well as three Tony nominations for Best Musical, Best Original Score, and Best Book of a Musical in 2025. All of this was complemented by the minimalistic set, designed, along with the costumes, by Ben Stones, which made set changes quick and easy to follow, whilst also engaging and relevant.

Operation Mincemeat expertly balances humour and the reality of wartime methods. It’s a great show to enjoy as a family outing, its music captivating and easy to enjoy for all ages, whilst its quick wit entices adults. The age rating as put out by the show is 5+, however there are mild profanities sprinkled throughout the show which are witty enough for them to get away with. This show is a captivating and exciting musical whilst staying largely factually correct, which makes it a great choice for all people, history buff or not.