Men of the World
Magpie Drama
Duchess Theatre, Long Eaton on
January 9th 2014

John Godber’s Men of the World has been called “a Bouncers for the crinkly generation.”The play is about three Sheffield coach drivers, who are getting ready for a bus tour. They recreate an incident and laughter-packed trip down the Rhine Valley, by bringing their past passengers to life.

Gary Lever plays Happy Larry, a driver with a penchant for Mario Lanza, who is about to retire; Howard Mackintosh plays a splendidly sardonic Stick, who is scathing about his elderly passengers and dreads being old. He would much rather be driving sixth formers down to Spain hoping ‘to get lucky’. Both actors are excellent, have brilliant diction and fluency and inhabit their initial roles with an easy charm. They are also able to become a range of other characters of different ages and personalities, with absolute conviction.

Rachel Bates makes up the trio as Frank, a girl who is ‘one of the boys’, able to temper excesses and mediate in any dispute. Rachel excels in her various adopted roles and effortlessly convinces us, among other personnas, that she is both a chain smoking pensioner of 78 and a glamorous nightclub singer.

I have to say that I admire all three actors for their ability to learn such a huge amount of dialogue. They did this with great skill and if they did add or take anything away from the script, it was not apparent tonight.

The actors multi-role play, which requires them to slip in and out of over twenty different parts. They introduce us to a memorable crowd of characters, including those comically referred to as The Beverley Sisters, The Marx Brothers and Mack and Mabel. Despite their best efforts, the inability of the long-suffering drivers to manage their comical senior passengers into an organised schedule is the plot of the play. The ability of these actors to slip seamlessly from one character to another and to delineate each convincingly, is a mark of their quality.

For most of the time they reached a professional standard of acting and interpretation. It was amazing how they were able to change the way they looked on stage when playing each character, by the use of carefully thought out physicality and minimal props. All their characterizations were very believable.

Men of the World is an engagingly funny play well performed by Magpie Drama and expertly directed by Dan Bates. His direction is full of energy, guiding us through the action without detracting from the characterisations and dialogue. His use of a basic black set, plus a large number of suitcases which the characters move around the stage at regular intervals, is very effective. He creates other places and times by simple suggestions that enable our imaginations to fill in the gaps; we could almost have been on that coach tour with them – heaven forbid!

Scene changes often involved lighting effects and these were very well realised by Simon Birchall. He was also responsible for the sound, which was well balanced. This clever use of lighting and sound effects stimulated our imaginations and took us where the director wanted us to be.

I really enjoyed the play and would recommend it to anyone who likes a well written script, a well directed show, lots of laughs and a very talented cast.

Magpie Drama is a new company and this is only their second show, but already they are making quite a mark on the local drama scene. I look forward to their next production in May, the spooky “Haunting Julia” by Alan Ayckbourn. Now that, I am sure, will have us on the edge of our seats.

 

Cinderella
The Young performers
The Duchess Theatre Long Eaton
January 23rd 2014

Tonight at the Duchess Theatre the resident youth group, The Young Performers, entertained an almost full theatre with an enjoyable and traditional version of the pantomime, Cinderella. The title role was played with charming innocence by Rebecca Cox, a quietly determined Cinderella, who eventually overcomes her spiteful step-sisters to win the heart of the handsome Prince Charming. Rebecca looked and sounded just right for the part and had the audience willing her to go to the ball and meet the prince. She was comfortable on stage for what was, I believe her biggest role to date.

There were sparkling performances from Emily Owen as an excellent Principal Boy, Bradley Maclean as the very endearing and comedic Buttons, Curtis Salmon and Jonathan Higgins as the very Ugly Sisters, Dolche and Gabanna who made us laugh alot, and the very nasty twosome Doodle and Boo played by Brooke Marsden and India Smith. They certainly engendered considerable good natured booing from the audience. They were actually quite scary (as well as being good actors) – I wouldn’t like to meet them on a dark night in the enchanted forest!

Particular praise must go to Laura Davey in the cameo role of The Fairy Godmother. She acted the part so well it was easy to think she was a professional actress. Her plummy accent fitted the part well and she had complete control of the stage when she was on. She also was able to “work” the audience.

There were strong contributions, too from Natasha Grebby in the role of Dandini, Harvey Latter as the hen pecked Baron Hardup, Connie Turton as the quite nasty Baroness, Liam Morris as the equally hen pecked King and Amy Wilcox as the Queen. Phoebe Buxton completed the principals line up and was good as the amusing Lady Penelope.

There were some human animals in this show namely two brown mice played by Molly Parkinson and Chloe Young and the beautiful cow named Sir Loin (note the pun) played by Shannon Hickton and Victoria Garavan. I am afraid that I do not know who was at the front and who at the back!

Playing another strong cameo role was George Parkinson, who was Major Domo. His booming voice, both in an acting and singing role was fabulous and he entertained the audience throughout with his attention to detail and enthusiasm.

Simon and Zoe Davy’s set was bright and attractive while the costumes were very good indeed thanks to Alison Davey, Vicky Garavan and Jo Rogers. Simon Davey and his back stage crew worked hard to make sure all went smoothly on this opening night.

The show was written by Adam Stevenson and Leon Wade who also directed the band, which was in the wings but sounded great with the balance being just right, so that the actors were never drowned out. The sound quality was very good controlled by Zak and Roydon Charlesworth and I have to say that few microphones were used but I could hear every word the actors were saying which was great. The lighting under the direction of Mike Beedham sensitively enhanced the production.

I particularly enjoyed the opening of Act 1, Act 2 and the Finale, when the whole ensemble were involved. There was some very good singing and dancing (well choreographed by Aishah Memet and Vicky Moran.)

I would have liked to have seen a few more songs in the show, as some of the scenes were somewhat dialogue heavy and the excellent supporting ensemble showed that they were more than capable of big singing and dancing numbers. Well done to the whole cast.

Finally, congratulations to Elaine Clemerson, the producer/ Director, and her production team, for the excellent management of what was a fairly large cast and for maintaining the traditional nature of the story and yet making this production unique and fresh.

It may not be Christmas time but tonight the Young Performers showed that at any time of the year traditional pantomime is still alive and well in Long Eaton.

Les Miserables
EMUs
Duchess Theatre
Thursday February 7th 2014

Tonight at the Duchess Theatre I have watched the best youth production I’ve ever seen. It was simply stunning, mesmerizing and a triumph for the Erewash Musical Society Youth Group. (EMUs)

Although performed entirely by youngsters aged from 13 to 18, they handled the adult themes in this Schools’ version with ease and in a totally professional way.

The show, based on Victor Hugo’s novel, sees ex-convict Jean Valjean fight to care for adopted daughter Cosette, while being hunted by ruthless policeman Javert, in 19th Century France.

Wonderfully directed by Chris Renshaw and his hard working assistant Alysha Gomes, it was easy to forgot I was watching thirteen to 18 year olds, as they were completely in control. The singing was magnificent and the chorus numbers were fantastic both to listen to and to watch, thanks to the excellent Musical Director, Dave Dallard and the superb choreography of Carol Lawson.

It didn’t just sound great, it looked great too. The staging, costumes, lighting and sound fully enhanced the performances. Well done to Mark Robbins and his design and stage crew, plus excellent lighting and sound provided by Dave Dallard, Patrick Mackintosh, Dave Martin and Ben Tennett.

I’ve never seen an audience so stunned at the end of Act 1- it took them a while to get out of their seats at the start of the interval.

Packed with spine-tingling, goose-bump inducing, lump in the throat moments; honestly, I’ve seen semi and fully professional adult touring productions who could learn a lot from these youngsters.

Each of the vocal performances, from the lead principals, to the ensemble members, were clear and almost unfaltering. The energy and exuberance displayed from the ensemble was a joy to watch, most particularly in full-company numbers such as “One Day More.”

The whole cast was very strong both as singers and actors but I have to mention some individuals.

Zak Charlesworth as Valjean absolutely blew the audience away, particularly with his stunning rendition of “Bring Him Home” in Act 2. His interpretation of the character, who changes and ages considerably during the course of the show, was outstanding. Zak is only 16 and this is a huge part for any actor or singer, let alone one so young. He was fully in control of the part and dominated the stage whenever he was on.

Sam Chell, who played the policeman Javert, looked and sounded the part of someone who has an intense commitment to law, order and duty. He was menacing and yet at times showed moments of vulnerability and sadness. Sam produced a high quality performance, developing the character throughout the show. He is a powerful singer and his rendition of “Stars’ was very moving. Likewise, his suicide scene was strongly played and effective.

Ethan Fletcher, as the endearing young boy Gavroche, sang very well and has a voice that is exceptionally clear and expressive.

Oliver Wheedon was outstanding as Marius. His rendition of “Empty Chairs and Empty Tables” was fantastic. Not only was it sung well, but it was full of longing, sadness and anger.

Haydn Fletcher as Enjolras, a Student leader who led the rest into battle, gave a convincing depiction of the quest to win the battle against the French authorities. He was a commanding presence in the student scenes and sang with clarity and expression.

The bawdy and scene-stealing comedy of the delightfully vulgar Thénardiers, was played wonderfully by Hattie Kemish and Matt Biddulph. Their understanding of physical comedy, plus characterful vocal interpretation, made for rollickingly good performances - a little light relief from the tragic themes.

Also of particular note were the performances by the female members of the cast: Jess Bridge as Fantine sang ‘I Dreamed a Dream’, with range, control and evocative expression; Katie Lawson delivered a tragic and strong Eponine, particularly in her rendition of ‘I Love Him’; Laura Allen was very good in the role of the adult Cosette, with a lovely voice and Grace Deakin was a sweet and melodic Cosette. (This role is played also beautifully by Holly Pilgrim in some performances – I saw her on opening night).

Well done also to the ensemble within which there were many very good individual performances.

The orchestra provided excellent support for the cast. Considering how music-heavy ‘Les Mis’ is, they did a consistent and well-rehearsed job and sympathetically accompanied the soloists and chorus. The Musical Director, Dave Dallard, had trained the cast well and the result is quite remarkable, considering the extreme difficulty of much of the music in this show: there is no dialogue - it is all sung. This young cast certainly coped very well, often singing a melody line that was completely unrelated to the accompaniment being played by the orchestra. Fantastic stuff, indeed.

This was a superb production and the hugely deserved standing ovation at the end said it all. I have never seen any youth production as good as this. There was so much talent on the stage tonight and I expect to see some of this cast in leading roles on the West End in years to come.

This show sold out ages ago and now we all know why. Taking on the challenge of such a difficult and adult oriented show was I guess a risk for Erewash Musical Society, but it was one well worth taking.

Well done to all concerned. You were, to use a modern phrase, absolutely awesome - and that for me says it all.

 

 

Bad Girls The Musical
The Cast
Duchess Theatre, Long Eaton.
March 4th 2014

I knew very little about this show until coming to see it tonight. I was not a fan of the TV series, although I did see one or two episodes. However, I certainly enjoyed what I saw tonight.

Set in a wing of a women’s prison, Bad Girls - the Musical is tough, brutal but also at times very funny. It has songs staged with panache and excitement and there are great performances from this very talented group.

Previous experience of the popular TV show on which it is based is not necessary. This musical has its own bold style. Not exactly camp, not exactly bad taste, but gloriously audacious.

Kath Gotts’ songs range from a Blues lament to a Garland/Astaire inspired duet, to a Busby Berkeley type routine. All Banged Up, a raunchy ditty lamenting the girls’ lack of sex, was fantastic - funny and frank with delightfully outrageous choreography. The Two Julie’s played by Carrie-Anne Corner and Claire Farrand-Preston, are brilliant throughout, but particularly excelled during this number.

The entry of glam gangster’s wife Yvonne, played by Alex Tavener, is an event in itself. She takes over and decides to have a boozy party, so the inmates- and the audience- have a rip roaring time.

Chris Collington, as scheming prisoner officer, Jim Fenner is as Machiavellian as he should be, excelling in his song and dance numbers. In contrast is Kevin Chatten, well known at the Duchess, playing the gauche Junior Officer, Justin Mattison. He wants to do good, despite being constantly teased and undermined by the inmates. He plays the part very well, with a cleverly understated charm and often very amusing diffidence.

Heather Weaver plays the part of the dominating Shell Dockley, the wing’s tough nut, with a gritty realism and engagingly saucy flair. Her tough but vulnerable sidekick, Denny Blood is played beautifully by Kathi Ludlow. Playing Nikki, a lesbian prisoner, is Emily Harris. She gave a great performance and has a powerful and expressive singing voice.

Gina Coventry, who plays the virtuous Wing Governor, Helen Stewart, sang and acted well, as did Emily Corner who plays the young new inmate, Rachel Hicks. This was not easy for a young actress, as she has to play the role of a scared and exploited teenager. She excelled, however, and received a substantial ovation from the enthusiastic audience at the end. Rachel Brown as the “bible bashing” Crystal Gordon gave a sweet and poignant rendition of Freedom Road.

I particularly liked Mina Machin, who plays the Senior Officer, Sylvia Hallamby. She combines some excellent comedy with a ruthless disdain for the prisoners. Adding considerable comedy, but also great acting is Lawrie Trott, as the old timer and professional prison inmate, Noreen Biggs. She has some short but pithy lines throughout the show.

John Maddison, as the upright but unprincipled Prison Governor, convincingly portrays a man who only cares about appearances. The principals are very well supported by an excellent ensemble, who are engaged in the action throughout.

I suspect that few in the audience at the Duchess tonight will have seen or maybe even heard of this musical, but will have gone home with a smile on their faces and a desire to hear the music again.

The director, Rob Corner certainly captures the essence of this musical and as a result has produced a show of quality and depth. His production is slick and goes at a good pace. The use of some exceptionally good back projection gives many of the scenes a realistic feel.

Once again, Dave Dallard directs a good band, which accompanies the cast in a sympathetic and supportive way with quality musicianship.

The set, costumes and sound effects are just right and the sound balance between band and the cast is good. Rachel Brown’s choreography is witty and well executed.

The prolonged applause and cheering from the almost full house at the Duchess underlined the quality of this performance.

The Drowsy Chaperone
The Erewash Musical Society
Duchess Theatre Long Eaton
Tuesday April 8th 2014

“The Man” sits in his armchair thumbing through his record collection when he finds his favourite record. He puts it on his record player, and when it starts to play, his apartment is turned into a stage for one of his favourite musicals. From that point on smiles, fancy costumes and happy show tunes burst forth and the performance of The Drowsy Chaperone begins.

The Drowsy Chaperone, the Spring production from the Erewash Musical Society, is a taste of 1920's musicals within a comedy play. 'The man” sits by the side of the stage interacting with the audience and guiding them through his favourite musical and injecting his own views on the show and indeed many other things besides.

The Drowsy Chaperone is a brilliantly written musical. It is also a hilarious comedy with intelligently sharp and sophisticated humour.

The undoubted star of the production is David Hewitt who plays “The Man”, our sometimes tipsy narrator, who guides us through his favourite musical. His humour is subtle and precise, with a very thorough grasp of the vacillations and nuances in the writing. His connection with the audience is impeccably strong. David addresses the audience directly and is required to take control of all our reactions to almost everything that unfolds on stage. It is a very tall order, but he does it brilliantly.

Louise O’Boyle as Janet van de Graaf impresses with a beautiful, strong and versatile singing voice. Her role is a demanding one, and she delivers on all fronts. Her work is full of conviction, and she looks very much the part.

Her fiancé Robert Martin is played by Mark Haigh, who has created a character that seems to be magically transported from the 1920s. It is a performance that is authentic and meticulously delivered. He is delightful in the part, with a strong singing voice and confident execution of choreography. Not only is his rendition of “Cold Feet” well sung, but his tap routine is impeccable. He also shows a talent for comic roller skating, which is not easy on this small stage. His best man in waiting, the very stressed and sometimes manic George, is played with skill, conviction and great humour by Andrew Honman.

As with many a musical of the period there is a comedy duo, who are gangsters are dressed as pastry cooks – don’t ask why - and Adam Richmond and Carl McGarrigle are superb in the roles. They have to act, sing and dance while maintaining an air of two rather stupid gangsters. I really enjoyed their performances.

There is much to be admired about the performance of Dan Bates as the ever suffering Butler (Underling) – very funny and he works very well with his crazy mistress, Mrs Tottendale, played with wit and charm by Christine Hewitt.

The Drowsy Chaperone herself was played by Alex Tavener whose rendition of the song “As we Stumble Along” was one of the many musical highlights of the show. The role itself demands that she acts like an old style musical star who dismisses others of a lesser position in show business. This she does very well and she has a great presence on the stage.

No musical comedy would be complete of course, without the Latin Lothario, in this show it is Adolpho -who plans to seduce the bride- played with brilliantly oily comic timing by Phil Deakin. He doesn’t manage a seduction exactly, but is very funny as he tries; I wont say who he ends up with at the end!

The role of the theatrical producer Feldzieg was played very well by Steve Thornhill. He has to deal not only with the two gangsters but also a brainless chorine called Kitty played by Gemma Blake. She is absolutely brilliant in the role and screeches, screams and totters around the stage throughout, bringing much humour to the show.

Finally I must mention Steph Ure, who plays the part of Trix The Aviatrix. She leads the company in another of the big numbers towards the end of the Show “I do I do in the Sky.” She has a great stage presence and sings very well.

Completing the outstanding cast is an ensemble that plays a big part in the show. Rachel Brown, Andrea Kemish, Carol Lawson, Katie Lawson, Jane Maltby and Steph Ure are maids who sing, dance and move furniture brilliantly, while Nick Buckthorpe, Kay Cocks, Gary Fowkes, Julie Philips and Fiona Wright do similar things very well.

One of the strengths of this cast is that they dance and sing so well. Not all of them are trained dancers, but they all joined in with a level of proficiency not always seen on the amateur stage. Well done to them all and to the choreographer, Laurie Trott who through her design and training produced routines of a very high standard.

Mark Birch’s direction was tight, imaginative and clearly used the various talents of the cast to great effect. He has made sure that the show moved at a swift pace and there are no delays for scene changes.

Here I must mention the stage crew and the Maids in particular who ensured that the scene changes, and there were many of them, were swift and unobtrusive. Mark Robbins, the stage manager, is to be congratulated for the organisation of this and for the splendidly adaptable set that was both visually and practically excellent.

The orchestra was led by the Musical Director, David Walker. It was excellent and supported the cast sympathetically and was never too loud. The quality of the singing particularly in ensemble songs was outstandingly good and David obviously worked very hard with the company.

Lighting and sound were good as ever with this Society.

This is a supremely entertaining show with clever humour. It is also a show about our love of performance. “Man in chair” has an obsession for stage performers in his record collection, and this production gives us many reasons to be enthralled in our seats, amused and awestruck.

Well done once again to the Erewash Musical Society for producing a show of such high quality in all areas.

The choice of this show was undoubtedly a risk for the group as it is not well known. However, I am sure that all who will see it will go away with a bit of a buzz, feeling “a little less blue’ and maybe wanting to hear the songs again as they are certainly infectious.

I did not know the show until recently but I just love it now and had an absolutely great evening at the Duchess and I hope many of you will go and see it before it ends on Saturday Evening.

Jesus Christ Superstar
Long Eaton Operatic Society

The May Hall Theatre, Trent College
April 9th 2014

Tim Rice and Andrew Lloyd-Webbers Rock Opera is over 40 years old and yet this is the first time I have seen it live on stage. There are apparently almost as many versions of the show as years that have passed since its inception: this one is an up to date modern version. It was a bit of a surprise that right from the start the cast were wearing clothes of today, rather than the traditional garb of first century Palestine, but I soon got used to it. There were also mobile phones, and other modern electronic devices on show, but this did not detract from what is a timeless story of love, betrayal, faith and power.

From the start we were introduced to a sad and tortured Judas whose confusion about who Jesus really was led inevitably to disaster for them both. It is always good to see and hear Sam Barson, whose performance was powerful, dynamic and emotional. His splendid voice echoed out around the theatre, setting the scene for what was to come.

A new comer to Long Eaton, Mitch Gamble, plays Jesus as vulnerable, tortured and sadly accepting, as he approaches the final week of his life. He sang well, although on this occasion there was a problem with his microphone, which meant he could not always be heard. Thankfully this was corrected in the second Act and we were then able to fully appreciate his great voice. His performance in “Gethsemane” was excellent and his scourging and crucifixion were incredibly well done. He showed real agony in the way he both sang and spoke his final words. There was not a sound in the auditorium during this scene, which added to the at times, unbearable emotion.

The part of Mary Magdelene was played by Kathi Ludlow. She sang her part with understated but touching emotion, showing love towards Jesus as his agony became more intense. Her reactions to the hostility towards her from Judas showed that her sensitivity, calm and love cancelled out his anger.

An outstanding member of the cast for me was Graham Buchanan. His portrayal of Pilate was engaging, as he captured perfectly both the sympathy and anger he felt towards Jesus, plus an awareness of the threat to his own power. He switched between these brilliantly.

Keith Bird and Martin Briggs played the High Priests, Caiaphas and Annals very well, moving around the stage with great assurance and power. It was clever casting to use older performers to play the ruling elite against the younger, more idealistic disciples.

The actors playing the disciples were a talented mixed age group. They sang and moved with sensitivity, passion and enthusiasm throughout. They also showed a lot of emotional engagement with the events going on around them. Well done to Adam Collishaw, Zach Foster, Josh Jones, Keenan Jones, Alistair Langton, Tim Meakin, Martin Mould, Ben Woolley and Jack Wooley.

Peter Brooks played Peter and was excellent with a powerful voice that he used to great effect in the arrest and trial scenes. His agony at betraying Jesus was clearly seen in the expressive way he denied knowing him.

Zak Charlesworth, sang and acted the part of Simon very well. He has a great voice and was able to show raw emotion when urging Jesus to take on the authorities.

This show is pretty serious as you might expect, but my favourite song lifts the mood a bit and for that I think audiences are always grateful! That is ‘Herod’s Song’, which includes the immortal words of Tim Rice “Prove to me that you’re Divine, change this water into wine…Prove to me that you’re no fool, walk across my swimming pool.” Rob Byatt’s Herod was grotesquely amusing and he delivered these lines with some delicious gushing, leering and sneering.

In addition to the principals I have mentioned there was a large ensemble that the Director, Adam Guest, used to great effect. They were incredibly enthusiastic, dynamic and energetic and the show moved very quickly as a result.

The singing in the show was powerful, and the dancing was well executed, thanks to the choreography of Siobhan Parker. The Orchestra was ably directed by the Musical Director, Charlotte Daniel. She must have worked very hard to get such a large ensemble plus the principals to such a very high standard of performance.

The lighting and staging were good and once the problems with some of the mics were sorted during the interval, the sound was ok too.

Adam Guest made good use of both an impressive composite set and a projection screen on the side of the stage. The latter was used a number of times during the show to give a different view of some of the scenes and to widen and enhance the action.

One minor criticism is that I found the rather laid back finale too stark a contrast to the extreme emotion and sadness of the Crucifixion scene. I think I would like to have seen something a little more sombre and restrained, but then again the actors did deserve the sustained and enthusiastic applause they got from the audience.

This show had a Producer as well as a director: Margaret Butcher. She has obviously worked tirelessly to bring this musical to the stage and support Adam with such a big show and large cast.

To be honest this is not one of my favourite shows, but I think the Long Eaton Operatic Society did it proud and performed it brilliantly. They did enter truly into the spirit of the story and not for a moment did any of them lose concentration or go out of character.

Congratulations to Adam for his vision and the way he used and developed the many talents of his cast so well. Well done to everyone involved both on and off the stage and good luck for the rest of the week.

 

Sister Act
Carlton Operatic Society
Nottingham Theatre Royal
May 28th 2014

Two words describe last night’s performance of Sister Act – “Fabulous Baby!”

That is the title of a song sung by the central character, Deloris Van Cartier, a nightclub singer, at the start of the show. She has to seek refuge in a convent, as she is a witness to a mob murder and needs police protection. While in the Convent she miraculously transforms the off key Nun’s choir into a fabulous gospel choir. She also transforms her own life and breaks free from the shady nightclub world she lived in before, she contributes to the arrest of the mob boss and saves the church from closure. Yes, all in just over 2 hours – that’s the wonderful world of stage musicals for you – fabulous, baby!

However, there are some twists and turns along the way and some great musical numbers and dance routines, which move the action along quickly and keepthe toes tapping. Songs like “Take Me To Heaven;” “Sunday Morning Fever;” “Raise Your Voice;” “Bless Our Show’ and “Spread the Love Around’ are feel good, happy clappy numbers that raise the rafters and guarantee smiles all round.

This was a very professional performance from an operatic society with a great pool of talent. There were no weak performances in my view; in fact I think this was as good a performance as the professional version I saw in London some time ago.

The show is, to a large extent, an ensemble piece, with the Nuns Choir taking the central role. They are on stage for much of the show and have several large-scale routines to master. This they did with great energy, polish and obvious enjoyment. Much credit for this must go to the choreographer, Lisa Lee, who has worked to the strengths of the group and created some exciting and visually striking set pieces. This show is her first with Carlton: I am sure she will be working on many more in the future.

There are some excellent cameo performances, notably the gangsters played with careful characterisation and just the right amount of threat combined with slapstick, by Lyndon Warnsby, Liam Hall, Mark Coffey-Bainbridge, Nigel Newton and Desrick Francis. Other notable supporting roles are played by Jackie Dunn, Hannah Rogers-Gee and Laura Thurman, all of whom have absolutely nailed their characters through voice and mannerisms.

Ray Mcleod, who is well known in the Nottingham area as an accomplished singer and dancer, plays Officer Eddie Souther. He gives an energetic and characterful performance with many witty and amusing touches, making him a favourite with the audience. Sarah Walker Smith plays the Mother Superior, who almost right to the end, disapproves of Deloris’s influence on the music in the convent. She played the part with great confidence and expression and has a lovely voice. Graham Ward plays Monsignor O’Hare, the sympathetic Parish Priest, and he brings warmth and gentle humour to the role.

And so to Monique Henry, who plays the leading role of Deloris Van Cartier. I think it is fair to say that she was outstanding in the part – her singing, dancing and acting are of a professional standard and yet this is her first major role in a musical. From the first notes of “Fabulous Baby” it was obvious that she had the voice, personality and stage presence to excel in this role. What a find for Carlton Operatic and indeed the Nottingham musical scene. This will not be her last leading role.

The show ended with a full theatre standing ovation, which is not all that common in local shows. The whole company thoroughly deserved that and I for one was dancing through the Finale.

Great credit for the obvious success of the show must go to the production team, led by the very talented director, Amanda Hall. Amanda’s experience and vision, plus her obvious understanding of stage spectacle, make this polished production a veritable feast for the senses.

The Musical Director, Christopher Rees, who is elevated to the Papacy during the Finale, led an excellent orchestra very well and sympathetically accompanied the singers throughout. The standard of singing was very high and a great deal of hard work and rehearsal must have gone in to making this so.

This is a show that moves along quickly and scene changes need to be very slick. They were just that under the management of the Stage Manager, Jon Higton, and his largish stage crew. Lighting and Sound were excellent and Tom Mowat must be complimented on his sympathetic Lighting design.

This was an outstanding production, which I loved. Yes, the plot and the story are a bit predictable, but the energy, excitement and talent injected into this production by all the cast made it a joy to watch. This is a must see show.

Pick ‘N Mix
Young Performers
Duchess Theatre
June 19th 2014

Pick ‘N Mix by The Young Performers was an evening of music, dance, song and short plays. An eclectic mix of performances to show off the talents of the resident youth group at the Duchess Theatre.

This show began with an explosive and exciting version of Pharrell Williams “Happy” and the broad smiles on the faces of this large cast of young people and their enthusiastic singing, set the stage alight and delighted the audience.

This was followed by a mixture of comedy and more serious drama in the form of 5 short plays interspersed with some music and dance.

There were some musical numbers, including a very well performed and choreographed version of Cell Block Tango from Chicago. I was impressed by an extract taken from Alan Bennett’s The History Boys: the boys who performed this were excellent.

The finale of the show was a collection of James Bond film themes played by the band and sung by the whole cast. Although sung in a static choir formation, this was an excellent performance with impressive harmony singing and a solo.

There is no doubt that the young cast put their hearts and souls into all the performances tonight and received a well deserved round of applause at the end. I did feel, however, that the band, although very good musically, was a little loud at times for the singers who didn’t generally have microphones and were, as a consequence, sometimes not heard clearly enough.

The set design was simple but effective and the sound and lighting effects were good.

Overall I enjoyed this show and cannot praise too much the commitment, talent and enthusiasm of these young people. They opened and closed the show with some glorious singing and I would have liked to have heard a little more of this during the show.

It is worth noting that much of this show was produced by the young people themselves, including the choice of material, arranging of rehearsals, supplying props and much more. Well done to them all.

If you have the chance go along to the Duchess Theatre and support these great young people and their adult producers and enjoy a Summer Pick ‘n mix with them.

RENT
Robert Ludlam Theatre Derby
Centre Stage Theatre Arts
Tuesday July 15th 2014

Rent has been described as a "Marmite Show" some like it some don't. I have to say, I don't but I have no doubt in saying that this production by Centre Stage Theatre Arts did the show proud.

The production was excellent and there were some outstanding individual performances. The ensemble supported the principles very well and the casts rendition of Seasons of Love was absolutely brilliant. It is was certainly a show stopper and a crowd pleaser. The cast during the Finale sang their hearts out much to the delight of the audience and even I was moved by it!

The quality of the singing was high and this was appreciated on Tuesday evening by the capacity audience at The Robert Ludlam Theatre in Derby.

The band accompanied the cast sympathetically and was placed at the back of the stage. The balance between it and the performers was good and never over dominated the singers.

The musical directors, James Rayner and Bethan Davies are to be congratulated for that. Also I am sure they have worked very hard with the cast in order to produce such good vocals performances. The sound was very good throughout as was the lighting. The composite set was appropriate and well used by the cast.

The choreographer, Charlotte Robinson is to be congratulated for ensuring that the cast used the relatively small space on the stage so well.

The stage crew worked well and the scene changes were smooth and unobtrusive.

The production by Adam Guest was excellent and received a standing ovation at the end. This company showed in this performance that they have a considerable depth of talent and expertise.

As I said at the start, this is not a show I personally like but the cast and production crew should be congratulated for producing a show with energy, enthusiasm and emotion as demonstrated by the fact that many in the cast and some in the audience were in tears at the end.

Well done Centre Stage Theatre Arts.

Punk Rock
Magpie Drama
Duchess Theatre
July 18th 2014

This was an outstandingly good production by an amazing cast and production team. The performance was followed by a Q and A session with the cast and producer Rachel Bates: a perfect end to the evening. There were some very good questions from an engaged and interested audience and equally good answers. The young actors had clearly thought carefully about the characters they were playing and spoke thoughtfully about the development of their character portrayals.

Rachel and the cast had obviously worked very hard and had an exciting and interesting time producing this riveting play; their understanding of it and enthusiasm for it shone through. Rachel’s staging emphasised and underscored roles in the play. We saw dominant characters establishing themselves at the front on a sofa and passive characters placed at the back. Clever use of a blackboard and a background soundtrack took us into new scenes and established timings. It’s not easy to show development and character change in a static setting, but Rachel achieved this admirably. The claustrophobia of the small upstairs library in an elite school, in which the play takes place, becomes central to the action.

Matthew Biddulph played the role of William and he was outstanding at portraying the self-doubting protagonist on the edge of a catastrophic breakdown. He was able to switch convincingly between normality and abnormality, ratcheting up the chilling menace as the play reached its disturbing climax. From mild mannered cheerfulness to cold-blooded destruction, Matthew took us on the journey with him, ending with the shrug of a deeply flawed character who really can’t see what all the fuss is about. A huge part to learn, understand and do justice to, Matthew gave a great performance.

Adam Richmond was the "bully - Bennett" who goaded some of the other characters, using both physical and psychological methods to establish his dominance over them. Adam put his all into this physically and vocally challenging part, giving us a riveting performance of a deeply unlikeable character. The part is strongly written and Adam took advantage of this, fully exploring a character who is unsure of his sexuality and needs to cover this up with bluster. He shouts, swears and threatens others, particularly Chadwick, a brilliant geek who cannot fully understand modern preoccupations.

This part of Chadwick was played wonderfully well by William Rogers. William gave an excellently pitched delivery and showed a complete understanding of how to express his character’s vulnerability through physical gestures. The audience could sense the confusion and pain this bullied boy felt when in the presence of the hectoring, abusive Bennett. His performance was a joy to watch, particularly his soliloquy.

Jack Eccles played Nicholas, the good-looking golden boy who does not have to try too hard at anything. Jack has good diction and projection and confidently portrayed a character who has little conscience, because he has no need to think deeply about anything. We see Nicholas as the character who will go far without much effort – until events unfold that change the course of his life.

In my opinion the female parts in this play are somewhat underwritten, but the three girls in this performance had worked hard to understand and flesh out their characters. One of the most unpleasant characters is Cissy, Bennett’s girlfriend, played excellently by Rebekeh Fearn. She shows no compassion, ignoring her boyfriend's incessant tormenting and bullying of Chadwick and gleefully humiliating him herself. Rebekah’s sultry smirks and confident posturing portrayed a girl who is hiding her fear - fear of letting both herself and her parents down- by asserting her sexuality.

Jessica Bridge played the part of the independent thinking and more mature Lilly. She played the character in an understated but confident way, managing large chunks of dialogue with ease. Her use of certain gestures and props established her character most convincingly. She and Matthew played well together, especially in the first scene, as their characters soon recognise each other’s intelligence and develop an affinity and repartee, which is as engaging for the audience as the characters. The sense of entitlement of these elite students is cleverly suggested in the writing and Matthew and Jessica conveyed this beautifully.

I was very impressed with Laura Davey who played the nervous and unconfident Tanya, a character who has insight and compassion, but is powerless to resist Bennett’s taunting and insults. Her use of physical gesture, facial expression and some deliberate hesitancy in delivery made her character immediately recognisable and sympathetic.

This play is genuinely shocking and makes uncomfortable listening and viewing at times. However, it tells a cracking story, gives us some engaging and complex characters and at the same time, really makes us laugh. It showed the depth of this great Drama Group, who use their outstanding skills as producers to recognise and showcase the large pool of talent in this area. I have seen performances in this play that engaged and excited me and made me think. This is what I want from drama and I want to see more. I look forward to both Magpie’s future productions and more performances from the talented young members of this cast.

Why Me
The Infrared Comedy Theatre
Duchess Theatre, Long Eaton.
Friday September 12th 2014

Why Me is written and produced by Sara Lim-Smith, who leads the Infrared Comedy Theatre. Her productions are mostly original and this one is no exception.

It is billed as a “Musical Comedy” and contains some great songs, some big ensemble numbers and a very funny script.

This production could be described as a 1920’s musical version of the 1970’s Comedy TV show Are You Being Served, one of my favourites. It is set in a family department store, following the death of the owner and is about what happens when her son Barty inherits it.

This performance has exceeded my expectations by miles. I like this group and have been impressed with their previous productions, but this one is stunning. The performance of the cast and in particular the principals, is outstanding. Jack Archer, playing the part of Barty, is quite brilliant. Such a good actor who can also sing and dance and is very at home on the stage. Maisie Ramsey as Florence and Becky Elliot as Hester were also outstanding - great actors and very funny. The manic Owen Todd as Walter was just wonderful. I also liked the performance of Liam Wilkinson who camped up his part of Morris with aplomb! By the way, not mentioning other individuals in no way implies they had less of a role in making this a brilliant and very funny show, there are just too many to mention.

The show was very funny indeed - comic timing was good from the whole cast, not easy for young actors, but they all did so well.

However, there were some more serious and poignant moments as demonstrated just before the interval when there was a very moving duet sung by Jack and Masie, showing the depth of these two young performers. This was a lovely song.

The ensemble numbers, including some “Bee Gee" themed numbers, were of a very high standard: I loved watching the whole cast dance and sing.

The original script and songs by Sara Lim Smith are very well written, witty and based on a very clever idea. The production was slick and moved with considerable pace. The 1920s set and costumes looked very authentic.

I was very impressed with the sound. I don't believe many mics were being used and yet I heard every word; diction and projection were excellent.

The first Act sped by leaving the almost full house wanting more.

Act 2 was just as good as Act 1 if not even more dynamic. What a brilliant, talented and hardworking cast and crew. Well done to the tech guys as well - Lauren and George. This was a show that all involved can be justifiably proud of; I wish I could see it again.

What made it for me, in addition to the very high standards of performance, was the obvious enjoyment all the cast had at being on the stage. They sparkled during the big numbers and were so obviously having a good time and so were we in the audience.

In my opinion this is a must see show - a great night at our local theatre.

The Cast:

Jack Archer; Maisie Ramsey; Becky Elliott; Scarlet Salsbury; Owen Todd; Kieron Fisher; Geirgia Salsbury; Daniel Robinson; Mahesh Parmer; Alicia Biffen; Bella Ramsy; Amber Mckeon; James Kerr; Sydney Goddard; Becky Kroon; Robin Dunsford; Liam Wilkinson; Catherine O’Brien; Zak Brewin.

Plus:

ICODA Theatre School and Tiny Toes and Tiny Taps

 

The Witches of Eastwick
Erewash Musical Society
The Duchess Theatre, Long Eaton
Tuesday October 7th 2014

Last night at the Duchess Theatre I found myself “dancing with the devil” and I rather enjoyed it.

The Erewash Musical Society performed a sizzling version of the sometimes rather risqué musical, The Witches of Eastwick. It is loosely based on the 1987 film starring Jack Nicholson in the title role of Darryl Van Horne, and Cher, Susan Sarandon and Michelle Pfeiffer as his three 'witches.’

The show does have quite a lot of dialogue in the form of recitative, but there are also some great songs that tell the story and some big chorus numbers, which are catchy, energetic and toe tapping.

The excellent ensemble powered their way through well choreographed dance routines which filled the Duchess Theatre stage wonderfully. Routines like “Dirty Laundry,” “Darryl Van Horne” and “The Glory of Me” were excellent, but for me the best of them all was “Dancing with the Devil.” This was just wonderful and gave the whole cast the chance to let their hair down with skill, panache and enthusiasm.

The choreographer, Kris Cunnigham’s routines were fresh, exciting, energetic, lively and, although not easy, well performed by the whole cast. It was quite obvious that they were enjoying themselves, which for me, is one of the marks of a good show.

The three witches themselves – Alexandra Tavener (Alex), Stephanie Ure (Jane) and Rachael Brown (Sukie) – were absolutely sensational, moving from bored housewives living in a Stepford society to wickedly saucy mistresses dressed in corsets and slinky gear.

They sing beautifully, complementing each other with pleasing harmonies and very powerful solo numbers. Each plays her role with confidence: cleverly portraying the boredom and anxieties of the character, before they are all persuaded to let their desires run wild. And run wild they certainly do!

Their ensemble number “Make Him Mine” in the first half was particularly good, as the three women cast an unintentional spell for their ideal man, while raising martini glasses together. What they got when he arrived wasn't quite what they expected and that's where the fun really began.

Adam Richmond was incredible as the devil himself, oozing charm, smarm and downright evil in equal measures. I thought he made a wickedly charismatic Darryl Van Horne, belting out songs with plenty of bravado and a mischievous twinkle in his eye. His many well delivered ‘one liners’ were well appreciated by the audience, as was the energy and dynamism he brought to this challenging role.

There were a number of good individual performances in the show in addition to the main characters. Gill Cooke played the self important and officious Felicia and Martin Mould her hen pecked husband Clyde: both captured their characters in an engaging and amusing way. Zak Charlesworth and Gemma Blake as the star crossed teenage lovers were delightful and sang together beautifully. Jack Readyhoof as Daryll’s “manservant’ Fidel was very amusing, making the most of his role with a clever characterisation, unvoiced apart from one very effective word at the end!

The show’s Musical Director, Dave Dallard, conducting for the main society for the first time, did an excellent job, both with the orchestra and the company, resulting in musical performances of a very high standard throughout.

The whole show was very well directed by Laurie Trott, a well known performer, producer and choreographer. Her experience and creative talent was obvious tonight as she successfully produced this “big” show on a relatively small stage. Incidentally, the creative team produced some excellent special effects, one of which was a magnificent first at the Duchess - you need to go and see the show just for that - my lips are sealed!

This is a technically difficult show, but tonight it didn’t look so given the smooth and effective scene changes and the well designed lighting and sound plots. Well done to the Stage Manager, Mark Robbins and his crew, Simon Birchell (lights) and Ben Tennet (sound).

I really enjoyed tonight’s performance, despite this not being one of my favourite shows, because it was so well produced, so professionally performed and filled the Duchess Theatre with real quality.

It is a show with adult themes and some fruity language, hence the advisory age restriction. However, I think The Erewash Musical Society have stayed on the right side of risqué, with some very funny innuendo and the right measure of sauciness to provoke an amused reaction from the audience.

This was a devil of a good production at the Duchess Theatre: do go to see it if you can and have one hell of a night…

West Side Story
The Long Eaton Operatic Society
Trent College
Tuesday October 28th 2014

West Side Story is based on William Shakespeare’s Romeo and Juliet and coming home from Trent College tonight I wondered if he would have appreciated this musical production of his original play. I have come to the conclusion that he probably would. This is because the themes in the story are timeless and still resonate with us today in whatever genre or era they are presented. Sadly, the scourge of racial disharmony and a destructive tribal mentality, is all too easily recognizable to us today.

Shakespeare’s Montague and Capulet families are substituted by rival New York street gangs: the Jets from the Upper West Side and the Puerto Rican immigrant-based Sharks. It’s in one of the show’s early routines that pretty teenager Maria and ex-Jet Tony first meet and instantly become entranced by each other, on a crowded dance floor.There were excellent performances from Rachel Fenn as a sassy and passionate Maria and Adam Daniels as the principled but tortured Tony, who sang Stephen Sondheim’s timeless lyrics in Tonight, Maria and One Hand, One Heart, beautifully.

Michael Daniels was compelling as an embittered Riff, the cocky leader of the Jets. He and his gang open the show patrolling their patch while snapping their fingers to Bernstein’s bluesy beat. Daniels and the Jets’ infectious “Cool” number included a cleverly choreographed routine. Small scenes involving members of the Jets gave individual actors the chance to convincingly portray their characters and enable us to glimpse the troubled teen behind the gang member: this was well done.

As for the Sharks, led with strut and convincing menace by Maria’s brother Bernardo (Adam Guest), they are equally talented; both groups gave us some lively and engaging dance routines.

West Side Story is, for much of the time a very serious piece, but there is also some fun and that comes in the Gee, Officer Krupke number. Just forget the political correctness, this was a fabulous slapstick song. The choreography was entertaining while Sondheim’s lyrics engaged and amused the audience.

Bernardo’s girlfriend Anita played beautifully by Emily Marshall – Sims gave us some excellent singing and dancing, in particular the duet with Maria, A Boy Like That / I have a Love, performed after they learn Tony has killed the Sharks leader, was in perfect harmony.All the dance routines are dynamic – and that includes the brilliantly performed knife fight scene at the end of Act One, after which both Riff and Bernando lie dead in the street. There’s also a great number featuring the Sharks females who punchily deliver the vibrant song America. I did feel that this, although well done, needed a few more girls to bolster the singing, which was a little weak.

Playing the Jets and their girls were: Action (Ross Lowe), Baby John (Jack Woolley A-Rab (Zach Foster), Big Deal (Ben Woolley), Diesel (Dave O’Neil), Anybodys (Tayla Evans), Graziella (Emily Topham), Velma (Karen Woodhead), Pauline (Georgia Archer) and Minnie (Sheree Strickland), Clarice (Abbey Walker).

Meanwhile Bernardo’s Puerto Ricans were: Chino (Kheenan Jones), Pepe (Phil Brookes), Indio (Tim Meakin), Luis (Jack Draper), Juano (Josh Jones), Rosalia (Anna McAuley), Consuelo (Abigail Pigeon), Francicca (Emma Kelvey), Estella (Lucy Stokes) and Margarita (Kate Sleath)

The Drug Store owner, Doc, was played sympathetically by Martin Mould, Lieutenant Schrank by Lindsay Mould and Officer Krupke by Jason Parker and Glad Hand by Kathryn McAuley.

The set was atmospheric and there were plenty of interesting elements, which enabled the cast to go over, under and through it. The large stage crew handled the scene changes quickly and smoothly. The show’s 12-piece orchestra under the direction of Lizzie Bullard was not too overpowering and did not, for most of the show, drown the voices as can be the case at this venue, there being no pit.

However it’s the energy of the dance – from contemporary, cha cha, modern and classical ballet – which is quite remarkable in a show that’s more than half a century old: this production directed by Liz Woolley, along with her choreographer, Gemma Haigh, was pacy and fast moving. I did feel that on this opening night some of the large dance numbers such as The Dance in the Gym were crowded and a little chaotic at times. I am sure this will settle down though as the week proceeds.

The show does contain some of the best tunes in musical theatre history. It’s a show that leaves you wanting more with songs like, There’s a Place for Us, I Feel Pretty, Tonight and Somewhere.

I have no doubt that this is a difficult show which requires excellent singing and dancing in equal measure and from almost the whole cast which is not an easy task. Overall, this was achieved by the cast tonight, although there were a few wobbles in the full ensemble numbers that need to be corrected during the week.

The lighting, although effective, was not always changed quickly enough and there were some moments of darkness but again, I am sure this will be sorted out quickly.

Fans of West Side Story, and there are many of them, will really enjoy this production by The Long Eaton Operatic Society.

 

Cinderella 
The Ilkeston Theatre Company 
St. John Houghton School
December 6th 2014

This production of Cinderella by this popular local group was a traditional telling of the story of The Prince and the scullery maid who wants to go to the ball. It had all the essential elements of a traditional panto - A Fairy Godmother, a wicked Step Mother, Ugly Sisters, a love sick servant, a silly Father and loads of other colourful characters. Add to the mix popular songs of today and some of yesterday and you have the ideal recipe for a good afternoons entertainment for all the family.

The Ilkeston Theatre Company served this up on the recently enlarged stage of the Seven Oaks Inn Marquee Theatre which also has a new lighting system. The set and effects were good and the arrival on stage on a wonderful coach and horses was very exciting and impressive.

There were some good performances from Louise Bradley as Cinderella, Lauren Bull as The Prince, Steve Walton as Buttons and Courtney Fell as Dandini. Leonnie Mangan was a very booable Baroness Hardup, Adrian Thornley was a very hard done by Baron Hardup and Ben Mills and Ryan Pound were very funny as the Ugly Sisters.

Jennie Walker played the Fairy Godmother and she quite rightly described her role in the excellent Show Programme as "a rubbish fairy." Yes the fairy might have been rubbish at times but Jenni certainly wasn't. She was brilliant as always.

There was also an enthusiastic ensemble of young and "older' members of the company who supported the principals very well.

I can honestly say that we all enjoyed ourselves during the show not only watching what was going on on the stage but also during the audience participation sections of which there were many - Oh yes there were!

My only criticism was that there were times when the sound system did not do its job properly and the cast members could not be heard over the music. An investment in a better radio mic system would be well worth it as the venue at the Seven Oaks is a good one.

Congratulations go to the shows producer, Sue Golds , and her production team.

Well done to all who were involved in the production both on stage or off.

A Christmas Carol
Derby Theatre
December 8th 2014

This is yet another great Christmas production at Derby Theatre. Before the show started the audience was treated to an impressive set consisting of a large clock and composite set. During the performance this was used in many innovative and interesting ways and on different levels.

This is very much an ensemble piece despite there being some excellent individual performances. Like the production of James and the Giant Peach many of the performers were actor/ musicians who accompanied the singing and dancing. The scene changes were also carried out by the cast and things like wooden boxes were used in many imaginative and effective ways. Interestingly two of the Stage Managers were also cast members and musicians. As I said this was certainly an ensemble piece involving everyone.

The scenes were often linked together by well known Christmas Carols. The arrangements and orchestrations were very good.

The role of Scrooge was played by Jim Barclay. I enjoyed his performance and the way in which he changed his personality and beliefs in positive ways during the show. He was not for too long the nasty miserable old man who appears traditionally in this story. He was actually quite jolly at times!

Christopher Price was also very good as the ghost of Jacob Marley, Mr Fizziwig and a number of other parts.

As has become quite common at Derby Theatre, a group of local youngsters took part in this production. They played their parts very well. This is very much part of the philosophy of the theatre which has a very strong educational arm to its work.

Just one thing to be aware of. This production might be a bit frightening for the youngest children especially during the scene when the Ghost of Jacob Marley makes an appearance at the start to warn Scrooge of what could happen to him if he doesn't change his ways. However, my young grandchildren (6 and 5) were ok with this and enjoyed the show overall.

Congratulations once again to the Shows Director, Sarah Brigham and her creative team, for producing this well know tale in a fresh, fast moving and exciting way. The use of the actor/ musicians was a brilliant idea which worked very well.

Robin Hood and his Merry Christmas
The Infrared Theatre Company
Duchess Theatre, Long Eaton
December 19th 2014

Tonight’s performance was excellent and the exuberant applause and cheers from the audience at the end said it all. We all had a great time at the Duchess Theatre watching and joining in with what was an innovative, fresh and very funny retelling of this popular Pantomime story.

As I now expect from this very talented young company, there was good quality singing, dancing and acting. There was also great comedy, which is often difficult for young performers, but this group made it look easy.

On the whole they were all very comfortable on the stage and interacted very well with the audience. It was very obvious that they were enjoying what they were doing, which is essential in Pantomime. As a result we laughed a lot, applauded the songs with enthusiasm and appreciated the incredible amount of energy and vitality that was present throughout what was quite a long show.

Sara Lim-Smith who wrote the script and produced the show, certainly knows how to get the best out of her cast. Her script was witty, of today and yet maintained the traditional elements of Panto. “Oh yes it did.” Also I liked the way she managed, not only to include the usual colourful characters normally seen in this show, but included many other panto and fairy tale characters as well.

For example there was Jack and Jill but with a Jack who kept wanting to go up the hill, while Jill most certainly didn’t! The resulting interplay between them was superb. There were many other examples like that. Yes there were some windy and slightly crude jokes as well but that’s Panto!

The Dame – Mrs Hood- was excellent by the way and had a real connection with the audience, as did The Sheriff of Nottingham.

Unfortunately, I can’t mention the actors by name as there were no programmes, which I think was a pity. However, maybe that was deliberate as this was very much an ensemble piece, despite there being some excellent individual performances as well. The actor playing Robin Hood was very good. His characterisation was different. Rather than the traditional hero, he was a stressed out, camp and rather disturbed person who worried a lot about how he looked and what people would think about him! Then there was the Sheriff of Nottingham who could do nothing right until the end of the show when he became a singer in a Las Vegas night club. I am saying no more!!

I must make a comment about the young actress who played the part of a mischievous monkey – she was brilliant! The young man who played Little John was also very good and his underplayed asides were very funny. He has a very good grasp of comic timing. The irascible Maid Marion was fabulous and as it turned out had a great singing voice as well.

The production was great and the lighting and sound were very good. One thing has always impressed me with this group and that is that they do not generally use radio mics. I could, however hear every word both spoken and sung. Their voice projection was good and I suspect that is part of their training. This is obviously a group that doesn’t just rehearse for shows but who spend a lot of time being taught the tools needed for a good performance. They looked good as well – there was no corpsing or lack of attention.

The Finale was very impressive, involving almost the whole cast changing costumes very quickly and then changing back again for the curtain calls. These were very professionally done which something I think is the mark of a good production.

Pantomime is difficult for adults and can be more so for youngsters. This performance, however, showed that it can be done and done well by a cast ranging I guess from about 7 to 20ish.