Skip to main content

Review of Horrible Histories: Terrible Tudors at Milton Keynes Theatre

It is now a remarkable 32 years since the first Horrible Histories book reached the shelves, and since that first Terry Deary book, suitably for this show, The Terrible Tudors, the children's entertainment franchise has become a historic event of its own. Since 1993, there have been 23 books, several TV series, a game show and a film. During those years, the Horrible Histories franchise has also graced the stage for several past shows, and here, now at Milton Keynes Theatre, comes a joint pairing of Terrible Tudors and Awful Egyptians on alternating performances. The question though, is it a deserving part of the famous franchise?

A categoric yes is an answer to this neat, fast-paced show, written by original writer Terry Deary and directed by Neal Foster, who also co-wrote the show. Performed by a cast of three, it entertains and thrills throughout. The level of comedy scares, and, most importantly, education is pitched perfectly, as the series has become famous for.

The cast comprises Rob Cummings as Dr Dee, Jack Ballard as Drab and Megan Parry as Dross, and they are full of wit, professionalism and an unnerving amount of energy to keep an audience of many children engrossed. It is fantastic to hear the enthusiastic and thrilled children leaving the theatre at both the interval and end of the show, and this, as the target audience, is the job done right. As an adult, it remains excellent entertainment, with knowing nods to material more likely to fall at the funny bone of the grown-up, including a few modern political comments.

The show is pitched at the level of a quality pantomime, keeping audience members of all ages interested and swaying some way into panto territory with shouts out and even a split audience singalong of a song which quickly follows members out the theatre doors at the show end.

The show runs as a series of sketch sequences, following the journey from the end of the House of York, with the demise of Richard III, as the House of Tudor takes charge, to their demise with the death of Elizabeth I.

During this show, there are some magnificent moments, including superb and catchy songs. A haunting moment also comes from a telling rendition of Greensleeves seeing the death of Anne Boleyn. The best moment comes later as Elizabeth's favourite, Shakespeare, becomes Will.i.am for a high comedy musical moment.

Also, in the second half, there is an added 3D Bogglevision element, as audience members are encouraged to wear 3D glasses. This clever and, at times, scary addition includes the grim demise of Mary, Queen of Scots, a decaying portrait, and creepy bugs.

In summary, Horrible Histories: Terrible Tudors is immense fun. It combines plenty of comedy with education and great performances from the trio and their multitude of characters. The key to a show like this is how it grips the young, easily distracted audience, and here, the very bloodthirsty youngsters were thrilled from start to finish.

Magnificent entertainment. Far from as terrible as those Terrible Tudors


Performance reviewed: Friday, 7th February 2025, at the Milton Keynes Theatre.

Horrible Histories is at Milton Keynes Theatre until Sunday, 9th February 2025.

For further details about Milton Keynes, see their website at http://www.atgtickets.com/venues/milton-keynes-theatre/

Production photos: Mark Douet (cast differs from this review)


Popular posts from this blog

Review of Here & Now at Milton Keynes Theatre

During the late 90s and early 2000s, the dance-pop group Steps was a mighty presence in the British charts. They accumulated two number-one albums in the UK and 14 consecutive UK top-5 singles, including two number ones. They were juggernauts of lightweight pop. It is perhaps a surprise that it took until 2024 for a musical to be based on their hits. Now, writer Shaun Kitchener brings enough campness to keep Alan Carr and Julian Clary in work for decades. Here & Now , the show everyone was waiting for, is at Milton Keynes Theatre as part of a UK tour. So, the question is: has it been worth the wait? Here & Now is, fundamentally, a ridiculous concept that should not work. Set in a supermarket, yes, a supermarket, our eclectic cast of characters go through the typical dramas of many a musical as love and drama unfold against a backdrop of jukebox music. It should never work, but it does, extremely well in fact. A huge amount of the success here has to go to writer Shaun Kitchene...

Review of Blood Brothers at Royal & Derngate (Derngate), Northampton

A theatre in the east midlands, a thousand people stand applauding and cheering towards a stage where fourteen people stand. There on the stage, they bow, and bow, an inordinate number of times. They depart after a time and the lights come up over the capacity audience. So did you hear the story of the Blood Brothers show, how people flocked and came to see them play? Did you never hear about how we came to be, standing applauding the brightly lit stage this November day? Come judge for yourselves how this night did come to be. Blood Brothers was a significant show for me back in 2014, being the first musical that I saw live. Hiding up in the upper circle of the Derngate back then, not really sure what to expect, it was it turned out perhaps the perfect show to graduate me from play to musical that I could choose as Willy Russell's gritty and solid story is as confident as a straight play that perhaps any musical is. So strong is the story of the Johnstone's twins, tha...

Review of National Theatre Connections 2017 (16 Shows) at Royal & Derngate (Royal & Underground), Northampton

Alongside the University of Northampton BA Actors Flash Festival, the Connections festival at Royal & Derngate is now my joint favourite week of theatre each year. This is my fourth year at the festival and each time I have tried my very best (and succeeded) in seeing more and more of those on offer (four in 2014, ten in 2015 and twelve last year). This year I cracked sixteen shows, including the most interesting, a chance to see two of the plays by three different groups. I was able to see nine of this year's ten plays (a single nagging one, Musical Differences by Robin French was missing from the R&D line-up), and most I either enjoyed or finally understood their merits or reasons for inclusion. The writing of sixteen reviews is a little bit of an daunting prospect, however, I will do my best to review each of the plays and those I saw more than once, and pick around the comparisons. Extremism by Anders Lustgarten Performed by Bedford College Extremism was perfo...