After the five-star success of her 2009 pirate adventure Scrimshaw, Pump House director Karen Rhodes returns with Timeless, which received its debut in in Watford in late January prior to an Edinburgh run this summer.

Geared towards an audience that has outgrown Horrible Histories, Timeless takes a whistlestop tour through the ages, calling in at ancient Egypt and the court of Queen Elizabeth I before taking in the Wild West and The Blitz.

Following his father’s mysterious disappearance, Walter grows up in the care of his flighty aunt Francesca. Her string of unsuitable suitors and taste for the high life threaten to leave the family destitute until Walter makes a timely discovery – his father has not vanished, he simply skipped dimensions.

Walter sets off on a journey into the past to find his father and his quest brings him wealth and also love. When he frees a slave girl Sheriti, Walter unwittingly unleashes the wrath of the crazed Pharoah Ahmentchop who will stop at nothing to wreak his revenge no matter what the date is.

Every time Walter arrives in a new era, folk have of heard of his father but the old man has moved on and wherever Walter goes, Ahmentchop and his goons go too.

The young cast deal competently with a complex script and handle the mix of choreography and elaborate scene changes with style.

Of the many highlights in this madcap romp, the hilarious barber’s shop quartet deserve high praise for smashing through the fourth wall and Kirsty Henley Washford (Sheriti) Alice Stevenson (Queen Bess) and Jono Pamplin (Deadjet) demand a mention for their brilliant characterisation.

Timeless has the potential to be a great show with a little trimming. There are plot developments that need no explanation and the pacy action, talented cast and clever visual aids can and should be allowed to speak for themselves.

Melanie Dakin