Horrible Histories Live (and Dead)!: The Concert – York Barbican

Writers: Ben Ward and Claire Wetton

Music: Richie Webb

Director: Neal Foster

History has rarely felt this alive – or this cheeky. Horrible Histories Live (and Dead)!: The Concert storms the stage with a swagger that feels less like a traditional theatre outing and more like being dropped into a brilliantly chaotic history lesson where the teachers have completely lost control (in the best way possible).

Framed around a flustered William Shakespeare attempting to assemble the “greatest show on earth,” the production quickly spirals into delightful anarchy as famous figures hijack proceedings. Before long, the likes of Henry VIII, Elizabeth I, Queen Victoria, Boudica and Cleopatra are all vying for attention – and the final number. It’s a simple premise, but one that allows for a constant stream of punchlines, musical interruptions, and gleeful absurdity.

At the centre of it all is writer of the music of ALL of the more than 200 Horrible Histories songs, including the iconic Monarchs Song, Richie Webb and his incredible band. The songs, which are already beloved from the television series inspired by Terry Deary, land just as well live, if not better. There’s a thrill in hearing them performed with a full band, and the variety ensures that no two numbers feel the same. Whether it’s a tongue-in-cheek ballad or a full-blown comedic anthem, each one is delivered with commitment and precision.

Meanwhile, fronting the narrative is the excellent Richard David-Caine, whose Shakespeare is flamboyant, quick-witted, and brilliantly in tune with the audience. His improvisational ease gives the show a sense of spontaneity, especially during the many moments that spill off the stage and into the crowd. Children shout back, adults join in, and at times it borders on pantomime without ever losing its rhythm.

The ensemble cast prove equally impressive. Harrie Hayes, Ethan Lawrence, Inel Tomlinson and Alison Fitzjohn juggle multiple roles with remarkable agility, often switching characters in the blink of an eye. The costume changes alone are worth marvelling at – blink and you’ll miss one. Even a minor onstage mishap with a skeleton becomes part of the fun, handled so smoothly it feels almost scripted. David-Caine is clearly enjoying upping the ante each performance and trying to make his fellow actors laugh – and the audience laps it up.

What elevates the production beyond a simple musical revue is how tightly it’s stitched together. Short comedic scenes between numbers keep the momentum going, while recurring gags give the whole thing a satisfying sense of structure. It never feels like a disconnected playlist; there’s always something pulling you forward – this is one slick production, as expected from the BBC.

If there’s a noticeable gap, it’s the absence of Rattus Rattus. For a franchise so closely tied to its anarchic rodent host, his nonappearance is surprising and just a little disappointing. Still, it’s a small gripe in an otherwise exuberant production.

What’s most striking is how universal the appeal remains. Younger audience members are completely swept up in the silliness and interaction, while older fans, many of whom grew up with the series, find plenty to enjoy in the nostalgia and sharp humour.

In the end, this is theatre that knows exactly what it wants to be: loud, playful, a little bit chaotic, and thoroughly entertaining. Educational? Technically. But you’ll be having far too much fun to notice.

Reviewed on 6th April 2026. Touring the UK.