Talk to a member of staff at the auditorium entrance if you have a disability that means you can’t queue, or you need extra time to take your seat. They can arrange priority entry for you as soon as the doors open. Read this book. Love this book. Embrace it and discuss it with your kids. Barnett and Klassen do it again. As it turns out, it’s pretty nice living inside the belly of the beast with a new friend. There’s delicious food, dancing and – better still – no more fear of being eaten! The book is a wonderful read, and will have children enthralled in the three animal’s adventures. It also explains (not factually), why wolves howl.

For access to the Queen Elizabeth Hall auditorium seating rows A to C and wheelchair spaces in the Front Stalls, please enter via the Artists' Entrance in the Queen Elizabeth Hall Slip Road (Level 1).For step-free access from the Queen Elizabeth Hall Slip Road off Belvedere Road to the Queen Elizabeth Hall auditorium seating (excluding rows A to C) and wheelchair spaces in the Rear Stalls, plus Queen Elizabeth Hall Foyer and the Purcell Room, please use the Queen Elizabeth Hall main entrance. They may have been swallowed, but they have no intention of being eaten... A new comedy from the unparalleled team of Mac Barnett and Jon Klassen. Klassen's signature palette, compositions, and comedic, horizontally elongated eyes are here along with the heightened action propelled by Barnett's narrative. Barnett wrestles Aesop and Grimm into pretzels, adding a groaner ending ("And that's why the wolf howls at the moon") for the mustard. A howl. One might find themselves rooting for the success of every character—save the hunter for, who could really bear to part with the wolf who carries the others safely with him through the deep, dark woods? This is a sweet & funny tale of friendship, adventure & intrigue. Turns out it’s pretty nice inside the belly of the beast – there’s delicious food, elegant table settings and, best of all, dancing. And there’s something more: no more fear of being eaten by a wolf! Life’s not so bad, considering the alternatives.

The much-loved children’s story by Mac Barnett and Jon Klassen becomes a musical adventure in this world premiere for families and children aged 4–8. You can also use the external lift near the Artists' Entrance on Southbank Centre Square to reach Mandela Walk, Level 2.

Thanks to its consistent pace, flowing dialogue, catchy one-liners, and ample use of repetition, this title makes for a read aloud that will have young readers on the edge of their seats. This title is a delightful way to introduce anthropomorphism, and teachers may also consider using it to discuss making predictions and inferences.

That is, until a hunter shows up… With a nod to traditional fables and a wink to the reader, the award-winning Mac Barnett and Jon Klassen of Sam and Dave Dig a Hole, Extra Yarn and Triangle offer a tale of cooperation and creative cuisine that is sure to go down easy. This style of book reminds me of some of the ones I used to enjoy as a young child & the way this story is presented, alongside the illustrations done by Jon Klassen, truly brings the book together to form something quite quirky. This is the perfect book to read as an introduction to elaborating the concept of thinking outside the box; exploring different laneways & confronting what might initially seem scary, & turning it into something humorous instead. The illustrations by Jon Klassen suit the story perfectly with his unusual style of drawing, almost like rough sketching, or a first draft. The story is so fantastical and so cleverly written that children will love it. They will want to hear it over and over again. Klassen’s signature palette, compositions, and comedic, horizontally elongated eyes are here along with the heightened action propelled by Barnett’s narrative. Barnett wrestles Aesop and Grimm into pretzels, adding a groaner ending ("And that’s why the wolf howls at the moon") for the mustard. A howl.The atmospheric score is engaging in itself, a combination of contemporary, ambient sequences and quirkily melodic, almost neo-Classical passages. Aurora’s musicians were arranged less traditionally than they might be for a standard orchestral concert, allowing for enough space for the scripted performers to move around the stage, but equally managing to keep the instrumental families together, which made for an easy segue into an educational side note about the various timbres.