After a year spent travelling the country in pursuit of theatre – from the North East to London, Edinburgh, Manchester and beyond – I was delighted to return to my old stomping ground of sunny Farnham for a press performance at Farnham Maltings. Despite living in the area for almost twenty-two years, this was somehow my first visit to the venue, making the evening feel like something of a homecoming.

Set in 1905, Rabbits Out of the Hat introduces siblings Norvil and Josephine, who perform together in a travelling magic act. While Norvil enjoys life as the celebrated magician, Josephine has grown weary of her role as the glamorous assistant – consigned to being sawed in half, hidden in boxes and relegated to the sidelines. What unfolds is part comedy, part musical and part magic show, wrapped up in an ambitious exploration of gender politics and authenticity. It is certainly an impressive balancing act, though one whose breadth occasionally proves its greatest challenge.

The undeniable highlight of the production lies in Micah Young’s lyrical writing. The songs offer genuine emotional depth, providing insight into the characters while advancing the narrative with clarity and charm. Importantly, they remain accessible to younger audience members without feeling patronising. Among the strongest moments comes late in the show, with the lyric, “Am I a master of illusion or a victim of delusion?” – a line so sharp and unexpected that it genuinely stopped me in my note-taking tracks. Throughout, the songwriting demonstrates a wit and sophistication that elevates much of the material surrounding it.

Where the production struggles somewhat is in its engagement with the Suffragette movement. While I appreciated the desire to situate the story firmly within its historical moment, these references often felt caught between two intentions. They were not explored in enough depth to become genuinely educational, yet they appeared too frequently to function merely as background context. As a result, they occasionally disrupted the momentum of the show rather than enriching it. This was particularly noticeable among the younger audience members, many of whom visibly disengaged during these sections. The production seems uncertain whether it wishes to use suffrage as a meaningful point of discussion or simply as a historical touchstone. Either approach could work well if developed, but sitting between the two ultimately weakens the impact of both.

Complicating matters further was the audience response itself. Farnham is not always the most politically progressive, and some unfortunate reactions from a handful of audience members highlighted how quickly these references became politicised. This is, of course, no fault of the production itself, but it did emphasise a broader tonal uncertainty. In a family show built around magic, spectacle and joy, these themes need either greater development or a lighter touch. As it stands, they feel slightly at odds with the production surrounding them.

Fortunately, Rabbits Out of the Hat shines brightest when it embraces its own celebration of sequins, panache and unapologetic silliness. Beneath the discussions of gender disparity lies a far more universal and effective message about self-belief and authenticity. These themes resonate far more naturally with the show’s intended audience and are delivered with warmth, humour and charm. Above all else, this is a production that understands the importance of fun.

The visual design reflects this wonderfully. Credit must go to Emma Burton, Emma Wee and Desirée Kongerød for costumes that are delightfully flamboyant, sparkly and bursting with personality. Working in tandem with Martin McDougall’s direction, they create some genuinely memorable stage pictures. Kongerød’s all-white ensemble, evoking wings and flight, was particularly beautiful, lending an almost dreamlike quality to several moments. Her black tailcoat costume was easily my favourite look of the evening, while the gloriously pink sparkly tap shoes deserve a special mention of their own. There were, however, occasional choices that felt less successful. One sequence encouraged audience applause as Kongerød removed layers of costume, a moment which sat somewhat uncomfortably alongside the production’s wider themes of empowerment and female agency. While no doubt intended as playful comedy, it jarred with some of the show’s more overt feminist messaging.

The magic itself was phenomenal and undoubtedly one of the production’s greatest strengths. The classic sawing-in-half illusion was cleverly disguised and executed with impressive precision, while the broom illusion proved genuinely spectacular. Smaller moments involving handkerchiefs, flowers and a wonderfully baffling magic egg captured exactly the sense of wonder that great magic should evoke. Most impressively, these sequences held the attention of children and adults alike, serving as a reminder of just how captivating live magic can be when performed well.

If only the same energy had consistently extended to the musical sequences. While Young’s lyrics are exceptionally strong, the performances occasionally lacked the conviction needed to bring them fully to life. The choreography itself was inventive and well-structured, but execution sometimes felt tentative, preventing several numbers from reaching their full potential. Similarly, the vocal performances would benefit from greater confidence and dynamism, particularly given the strength of the material they were working with.

Ultimately, Rabbits Out of the Hat is an entertaining and often delightful evening of family theatre. Its magic is genuinely impressive, its visual identity bursts with personality, and its songwriting contains moments of real brilliance. Yet the production remains somewhat tonally conflicted, torn between historical commentary and light-hearted family entertainment. With greater clarity of focus and a little more energy in its musical performance, there is every chance this charming show could transform from a pleasant diversion into something truly magical.

Image credit – Rabbits Out of the Hat provided by Chloé Nelkin Consulting.