At Playstosee.com, our YOUNG REVIEWERS series invites adults to experience theatre through the eyes of a child. Sometimes those young companions speak in full sentences, sometimes only with giggles, gasps, and applause — and that’s enough. This review pairs my observations as an adult with the reactions of my young theatre companion, Marlow.
Judith Kerr’s The Tiger Who Came to Tea (first published in 1968) is a beautifully told and excitingly illustrated children’s classic, blending everyday domestic life with a whimsical twist — a polite yet ravenous tiger who shows up unannounced and consumes absolutely everything in Sophie’s house. Part of the story’s enduring charm lies in Kerr’s warm, retro illustrations and her refusal to explain why the tiger came or whether it will return, leaving a delightful air of mystery.
David Wood’s Olivier Award-nominated stage adaptation captures that spirit with warmth and wit. The excellent production at the Theatre Royal Haymarket — with its careful balance of visual storytelling, gentle humour, and audience participation — managed to sustain the book’s magic while adding theatrical sparkle. And at its heart was the real hero of the performance: the tall, magnificent tiger.
Child’s View (through observation)
Marlow, like many in the audience, knew the story from home — yet watched with unwavering attention. His excitement reached its peak with the tiger’s appearance. The young audience were enthralled by the tiger’s sheer presence — towering yet graceful, playful yet never threatening. This tiger swayed and moved across the stage with irresistible charm, and his brief dance with the soft toy kitten Sophie showed him was pure delight.
Marlow lit up when Sophie first received the parcel from the postman: the soft toy kitten. The delight on his face showed how easily children could relate to such a small, cuddly treasure. Later, when Sophie introduced the kitten to the tiger and the tiger responded with fondness, it felt like a secret handshake between the stage and the young audience.
He laughed at the tiger’s enormous appetite, sang along when prompted, and clapped eagerly in every audience-participation moment. The biggest thrill came when the tiger rang the doorbell — the audience helped the mother and Sophie open the door, finding no one there… until the tiger appeared behind them. The children’s excitement at knowing something the on-stage adults did not was pure pantomime magic.
Adult Commentary
Seeing the production through Marlow’s reactions reminded me how deeply children respond to clear, visual storytelling and genuine emotional beats. The tiger never utters a word, yet his intent is always understood. For young audiences, who often communicate more through gesture and feeling than speech, this silent communication is both relatable and powerful — and here it was delivered with charisma, humour, and total control.
David Wood’s adaptation embraces that wordless connection, enriching it with lively songs that invite children to join in — from the repeated “tick-tock” refrain marking the passage of time to playful musical moments woven throughout.
The staging is simple but brilliantly thought through. The kitchen, where most of the drama unfolds, is neat, uncluttered, and universally relatable — it could belong to any family, regardless of economic background. The clock on the wall, with its hands moved by the mother to mark breakfast, lunch, tea, and dinner, gave young viewers an easy way to follow the day’s events.
Early on, the arrival of Sophie’s soft-toy kitten created a perfect emotional hook. By giving Sophie something precious and familiar to share with the tiger, the production offered children a bridge into the story — they could imagine offering their own beloved toy to a magical visitor. The tiger’s tender response to the kitten was a small moment that spoke volumes.
Supporting characters — the absent-minded father, the milkman, and the postman — kept the pace lively, though the postman’s exaggerated posture still felt more caricature than comic. A short, light-hearted song might give him the same appeal as the other secondary roles.
At just 55 minutes, the show sustained its young audience’s attention effortlessly. For Marlow — and for so many in the theatre that morning — the tiger was more than a guest. He was a magical friend, understood without a single word spoken, and the true star of the stage.
Duration: 55 minutes with no interval
Suitable to age 3+
Director/Author : David Wood
Associate Director & Choreographer: Emma Clayton
Cast include: David Scotland, Katie Tripp, Millie Robins, Aaron Andrews