OUT THERE
EMUs
Duchess Theatre
February 5th 2015

Last night at the Duchess Theatre, The Erewash Musical Society Youth Group once again showed what a spectacularly talented group of young people they are. Last year they hit the heights with a highly praised production of Les Miserables, while this year they have taken us into space with James Bourne’s original musical Out There.

The musical is set in the fictional town of Hope, Texas, and follows the story of Logan Carter, who is on the run from his hometown near Detroit, after committing a minor crime. Hope is a dead-end, one-horse town (even the horse has died) and its inhabitants are searching for ways to rescue the town from obscurity and financial ruin. Meanwhile, a few miles away in the desert, an old man is building something weird in his barn. What this is you need to find out for yourself, but suffice to say it might be the answer to their dreams and indeed the dreams of the central characters in the story.

The highly talented Hayden Fletcher, who’s brilliant singing voice, plays the central character of Logan, outstanding acting ability and comic timing were all on display during this show. Never straying from the character of Logan, he was supremely at home on the stage and exuded confidence throughout.

Turning in a very accomplished and mature performance as Logan’s Grandfather was Dylan Singfield. His characterisation of a much older man was impressive for a young actor and very accurate. His part demanded considerable concentration throughout and he certainly gave it his all.

Zak Charlesworth, playing the part of Logan’s Dad, the single minded business man who had no time for his son, once again impressed with the power of his acting and perfectly pitched singing. He also had the difficult task of also playing an older man, but he was totally believable in the role.

Katy Lawson, as the girl who helped Logan, and of course, fell in love with him, after all this is a musical, was just right for the part. She has a lovely singing voice and is an intuitive and sensitive actor who knows how to inhabit a part. She and Hayden were very well cast together in my opinion.

Lucy Judson was very good as the Hope Sheriff, finding the comedy in this rather unpleasant character, singing well and delivering her lines clearly. She was helped or should I say hindered, by a newly discovered comedy duo of Oliver Wheddon and Lewis Haycock: the hilariously bungling deputies. What movement from both of them!! I hope that partnership will return in future shows.

A great strength of this show and indeed this Youth Group is the number of multi talented youngsters who make up the ensemble and they all deserve recognition for the many excellent performances both individually and together. So well done to:

Rebecca Groombridge(Claudia Pointers), Jasper Males(Stuart Prince), Lucy Ledger, Holly Pilgrim, Joe Langley, Daisy Wright, Daya Khosse, Eliza Charnock, Emily Marshall, Ethan Fletcher, Ethan Lee, Georgia Green, Grace Deakin, Katie Baddiley, Libby Pilgrim, Lizzie Buckthorpe, Martin Lewis, Molly McCarthy, Rob Cattanach, Sophie Robbins, Tom Judson. Dan Langley, Megan Asher, Robyn Oleshko, Gabryl Oleshko, Emily Bridge, Michelle Blair, Callum Shay, Sam Eccles, Charlie Vallans.

Making her debut as a producer with EMS, Alysha Gomes must be congratulated in the way she brought this story to life. The result was a show full of energy, excitement and emotion and a cast of highly committed and enthusiastic young performers who were so obviously loving every minute and working so hard for her. Her stage design was very effective and well used by the cast. Her excellent stage direction also ensured that the large cast was in the right place at the right time and there was no overcrowding.

Carol Lawson choreographed the show and as always her routines were just right for the company. They looked great and were within the young peoples capabilities without looking too simple. It was particularly effective in an energetic dance complete with beautiful sequinned costumes and later, a touching dance hall scene.

It was great to see the multi talented musician, Josh Kemp working from the first time with EMUs as Musical Director. His excellent four-piece band was just right for the show and he carefully ensured that their accompaniment was sympathetic to the performers and was never dominating.

The lighting and sound, in the ever capable hands of Dave Dallard, Dave Martin and Ben Tennett, was well planned and executed. The importance of the lighting cannot be under estimated in this show as various scenes were often defined by the lights and this worked very well. The sound plot was good and I had no difficulty hearing what the cast were saying.

Last, but certainly not least, the Stage Management was, as always in the very capable hands of Mark Robbins and his dedicated crew. This show involved a considerable number of scene changes most involving large trucks and even a car. These were, however carried out smoothly and unobtrusively which is, of course, so very important.

Out There may be a new and fairly unknown show but the music is easy to listen to and is a great show for youngsters to get their teeth into and enjoy on so many levels. Of course it carries with it the message that we should “Never give up on our dreams.” Well, tonight at the Duchess Theatre these youngsters showed that “they never will.”

Les Miserables
The People’s Theatre Company
Nottingham Arts Theatre
February 12th 2015

This production of les Miserables is the Schools Edition, which is about 30 minutes shorter than the professional version, but no less powerful and engaging.

The young cast of tonight’s production produced a wonderful and impressive performance. From the opening lyrics of ‘Look Down’, it was obvious that this was going to be a highly professional show. Each of the vocal performances, from the lead soloists to more minor chorus members, were clear and unfaltering and the ensemble performances showed real energy, commitment and enthusiasm.

Curtis Taylor-Tipton played Jean Valjean and showed what a charismatic, skilful and versatile actor he is. I last saw him in “Grease” at The Guildhall Theatre in Derby, playing a very different character. He has a lovely voice and his tone, power and range are impressive. During his excellent rendition of “Bring Him Home” there was not a sound in the packed theatre, as the audience were transfixed. Curtis completed inhabited this challenging role with a compelling physical presence, emotional maturity and stage confidence that belie his years. I am certain we will be seeing much more of him in the future in major roles.

Luke Grainger, as Inspector Javert, was outstanding. I have seen him in a number of other productions with The Gatepost Theatre Company and have always had a high regard for his acting skills. Tonight he showed what a brilliant singer he is, as well. His voice is tonally very good and beautifully expressive. A highlight of the show was his performance of ‘Stars’, which was quite simply breathtaking. His interpretation of Javert was a clever portrait of a vengeful and bitter man who is driven by principle and a deep sense of moral duty. Luke is, I am sure, destined to play many great parts on the stage in the future.

Scarlett Wainwright as Fantine is a very competent actor and singer who really brought out the feistiness of this vulnerable character. Her rendition of “I Dreamed a Dream” was fabulous.

Natasha Brown played Eponine. She showed us a mistreated girl who has been brought up to grab what she can, but she was also able to bring out a softer side, as we see her sacrifice all for Marius. Her lovely ‘On my Own’ solo was much appreciated by the audience.

Zoe Garton played the grown Cosette with a captivating sweetness, she has a lovely voice, her words were very clear and her performance well pitched to complement the strength of Valjean.

Connah Porter as the tortured Marius was earnest and thoughtful, giving a moving performance of the emotional song ‘Empty Chairs and Empty Tables’ with a maturity beyond his years.

Paice Lees was thoroughly engaging as the student leader, Enjolrus, giving us convincing passion and idealism, plus beautifully sung spine tingling songs and rousing refrains.

Lucas Young and Celia Brown were very funny as the compelling but unpleasant Monsieur & Madame Thenardier – the smiling vipers. So much work must have gone into these characterisations, resulting in perfectly pitched performances. They combined excellent vocal delivery with well-judged physical comedy and their ‘Master of the House’ was a performance highlight.

Lennon Bradley as the young Gavroche was a breath of fresh air in the midst of the tension of the barricades. He commanded attention on the stage and sang and acted brilliantly. He was in complete control of the role and exuded huge amounts of talent and confidence for one so young.

One of the strengths of this show is the range of emotions that are portrayed through an exploration of the human condition in particular circumstances. Never once did I feel that these were sold short because the cast were so young. Desperation, vengefulness, selfishness, passion, redemption and love were beautifully expressed through their performances, taking the audience through a range of reactions. We had our heartstrings tugged, our spirits uplifted; we reflected on humanity, we despaired and, at times, we laughed. This is what theatre is about!

I was impressed with the way in which the cast as a whole had grown their hair into the style of the period, plus the variety and veracity of the splendid costumes. The minimal stage set was cleverly conceived and moved the action convincingly through several locations, including behind and in front of the barricades. Well done to the production team on this, which again shows the professionalism of this company.

Both the lighting and sound directed by College Street Technicians was first class and were highlights for me. The sound never faltered and was crisp and clear. I liked the use of the headsets, which were unobtrusive but picked up every word superbly. The lighting was very appropriate- particularly the evocative red hue- and the use of the follow spot was very effective. I would personally like to see more use of these at other shows.

The orchestra, directed by David Hails, was excellent and accompanied the performers sympathetically and at the right volume. There was never a moment when this was not the case. He had also obviously worked very hard with the cast in order to produce such high quality singing. The ensemble songs were very well sung, capturing the passion, desperation and pride of this wonderful score. While on the subject of the ensemble, I was particularly impressed by the dancing in the Wedding Scene – congratulations to Natalie Randall for that.

The stage Crew under the direction of Chris Collins produced very smooth and almost invisible scene changes, sometimes utilising the cast in an effective way.

Once again the brilliance of the director, Maggie Andrews, shone through She ensured that all on the stage were featured and effectively used, even if it was just a through a small action or an expression that added colour to a scene. This was a large cast, yet Maggie never left anyone out or allowed the space to become overcrowded. Every young person on that stage knew their character: easy to believe each had a back story that they used to inform their performance, giving nuance and credibility to every scene.

Although this was a very large cast I am going to mention all of the performers as they all played a huge part in making this show such a success.Xenia Smith and Lottie Marshall (Young Eponine): Izabela Keen and Jasmine Warder (Young Cosette): Thomas Thorne (Gavroche): Sam Chell (Grantaire): Callum Shay (Combeferre): Alfie Sanders and Callum Battlemuch (Prouvaire)Jamie Leigh Marley: Daisy Weston: Vivienne Tay: Charlotte Brailsford: Rianna Feghali: Courtney Kelham Giddy: Megan Ellis: Imogen Birkett: Evie Marlow: Milly Evans: Poppy Cook: Jenny Gray: Emily Wilkins: Lily Soteriou: Lauren O’Donoghue: Roberta Solbe: Lara Drew: Evie Klyman: Reuel Berg: Ryan Phelps: Ben Brown: Lily Palmer: Stan Cook: Harry Ilyk: Lorik Deliu: Danny Buttfield: Alex Pickard Brace: Oliver Brooking: Olivia Brooking: Olivia Rice: Ellen Lyon: India Roberts: Millie Botterill: Millie Tatham: Charlianne Sutcliffe: Chloe Wilson: Ema Ferjentsikova: Francesca Pajovic: Serena Eadon: Rosalind Montgomery: Elsie Archer: Jacob Caseley: Amy May Beach.

This was a thoroughly entertaining and enjoyable night’s theatre, showcasing some very impressive young talent. Well done to those countless people involved in producing this fabulous and highly professional show and of course to the production team whose hard work, talent and skill shone right through to the end.

The whole theatre rapturous standing ovation at the end says it all. “A great night, at a great show from a great Theatre Company.”

 

 

Bugsy Malone
Long Eaton Operatic Society Youth Group
The Duchess Theatre Long Eaton
Thursday February 19th 2015

There was plenty of splurging going on tonight in Long Eaton when Bugsy Malone moved from the silver screen to the stage. This is the latest production from the award winning Long Eaton Operatic Youth Group and entertained a full house at the Duchess Theatre.

The show is about the ambitions of nightclub singer, Blousy Brown, set against the rivalry of gangs in prohibition era Chicago. Given that the show is written for young performers, the prohibition is against coca cola rather than whiskey.

Bugsy was played by Leighton Perry who gave a solid performance in his first leading role for LEOs. He had a good accent and interacted well with the audience. His prospective girlfriend ‘Blousey Brown’ played by Eleanor Carty gave a polished performance, with good stage presence and her song ‘Ordinary Fool’ was excellent and very emotional.

Another noticeable performance came from Lilli Woodhouse as the vampish Tallulah - wow can she belt out a song! I liked her performance throughout the show, as she kept up an air of mischief as well as mystery.

Josh Jones as Fat Sam was outstandingly good throughout the show, interacting well with his stupid gangsters. He showed tonight what a good actor he is and he displayed great comedy timing, not an easy thing for a young actor. His arch enemy, Dandy Dan, was played very well by Daniel Jones, the mobster boss. He was quite scary at times.

‘The Grand Slam Girls’ all caught the mood of the occasion well, along with Dandy’s girls who all worked very hard, as did ‘The Night Club Dancers.’ Bella Ridgeway as Fizzy sang and danced very well through the classic “Tomorrow.” I enjoyed her performance very much.

One young performer I must mention is the lead singer in the Boxing number Ryan Phelps whose microphone fell off at the start of the number. However, he sang and projected his voice so well that it didn’t matter: we at the back could still hear him. Well done, proving that microphones are not always needed, even with a live band.

The rest of the cast worked very hard to support the principles and many had small cameo roles as well. There was a lot of enthusiasm and energy from everyone on stage tonight which was good to see.

So well done to:Charlie Briggs: Izzy Broadley: Isaac Brooks: Sarah Downing: Jennifer Finlay: Hannah Glossop: Abbie Harper: Jamie Lane: Grace Letherland: Jay Littlefair: Matthew McAuley: Robert McAuley Esme Parker: Ryan Phelps: Sammy Platkiw: Emma Roberts: Tamzin Rowley: Olivia Savage: Lorley Shelton: Merrin Shelton: Trinity Shelton: Zoe Thompson: Elise Thornhill: Elliot Weir.

The chorus numbers “Fat Sam’s Grand Slam,” “My Name is Tallulah” “So and “So You Wanna Be A Boxer,” were very well done and I particularly like “Down & Out” which was particularly well choreographed and performed.

The costumes, hairstyles and props looked very authentic, which added to the story that was being told.

It was good to see a live Orchestra for a Leos Youth show and this was a very good one under the tight and accomplished control of Sam Griffiths. I am delighted to say they accompanied the young performers well and as a consequence were never in danger of overwhelming them. Sam has also obviously worked hard with the young cast to ensure that their singing was of a good standard.

The sound by Dave Dallard was spot on and I could hear every word while the Lighting by Tom Olding was very imaginative and lit the set sympathetically; I liked the use of the follow spot.

I was very impressed by the background, used mainly in the nightclub scenes. I won’t say what it was but it was very evocative of the period in which the story is set and made the Duchess Stage look much bigger: it was very dramatic.

This is a technically tricky show as there are so many scenes, many of which are very short, which means the stage crew (and the cast) have to be on their toes to avoid too many pauses in the action. There were some such pauses, but I am sure these will be ironed out once the first night is over. Well done to John Woolley and his excellent crew for changing the scenes and props smoothly and unobtrusively.

The production team of Karen Woodhead, Siobhan Parker and Sam Griffiths have worked very hard with this relatively young cast to produce a show full of energy and enthusiasm. It certainly entertained the large and very appreciative audience who left the theatre smiling and making very positive comments.

The show itself is not the easiest to perform and I think needs rather more songs and less dialogue, both of which are out of the control of the company. Given that, they worked hard to make it flow and to keep it moving and they succeeded.

Finally, well done to the Cast, Crew and Production Team for all their hard work over 6 months, which made the first night of Bugsy a pleasure to watch.

Little Shop of Horrors
The Cast
Duchess Theatre, Long Eaton
Friday March 13th 2015

Little Shop of Horrors was described to me before I saw it tonight as "a very silly story." I would agree with that, but must add "but a very entertaining one”. The show is all about an alien plant that takes over a shop and the lives of those who come into contact with it. The songs are very catchy and really do capture the style of 1950’s America.

Once again The Cast have produced a show of exceptional quality, proving they can excel year after year.

This is my first experience of the show and wow, it certainly didn’t disappoint me. The Cast have assembled a very talented and enthusiastic group including puppeteers and special effects people.

Playing the lead of Seymour is Craig Arme. He was excellent in the role and his comic timing was a joy to watch. His manic descent into doing the wrong things in order to keep the plant alive was excellent. He can sing and dance well.

Emily Marshall-Sims plays Audrey and what a great actor and singer she is. Her characterisation of the badly done to woman, who eventually falls for Seymour, was outstanding,

John Maddison who plays the shop owner, Mr Mushnik, once again showed what a fine actor he is.

The nasty dentist is played with great relish by Christopher Collington: you could see that he was enjoying every moment of it, as was the audience.

Although there are very strong leads in the show I was very impressed by the three piece singing group of Carrie Anne Corner, Mina Machin and Katie Bird plus the three friends, played by Emily Corner, Claire Farrand Preston and Kathi Ludlow.

Then there was the ensemble, many of whom play more than one part and are all totally committed to their supporting roles. Well done to Laurie Trott, Rob Holsman, David Artiss, Christine Daykin and Lucy Stokes.

The special effects and the puppets in this show were incredible, as were their operators and the very powerful voice of the plant, Audrey 2. Adam Richmond has to be congratulated for the way he operated Audrey, coordinating absolutely perfectly with the voice of Kevin Chatten. What a different part this was and he did it brilliantly. The other puppeteers, Damon Pipes and John Carley also need a mention for their great work.

I think this was one of the most perfect technical shows I have seen recently and the Cast should be justly proud of their work in all areas.

The show’s excellent director, Martin Holton was very ably supported by Dave Dallard whose 5 piece band was great. Jennifer Chatton, the show’s choreographer ensured that the action created an accurate feeling of the 50’s. Movement around the stage had to be carefully plotted for reasons of scale (those who have seen the show will know what I mean.)

The attractive set was also designed by Martin and due to the nature of the show was quite a technical one. It all worked perfectly. It was complimented by the excellent lighting by Dave Martin and the very crisp and easy to listen to sound by Ben Tennett. The stage management of this show obviously needed great care and attention to detail and Lisa Smith and Gary Smith made everything go smoothly.

In all departments this was an outstanding production and yet another great success for this renowned local company. Well done to everyone and here’s to Acorn Antiques the Musical, which unfortunately we will have to wait until 2016 to see.

 

 

Acorn Antiques
The Cast
Duchess Theatre, Long Eaton
March 17th 2015

Mrs Overall or Mrs O, as she is referred to in this show, is one of my favourite Victoria Wood characters from her spoof TV Soap, Acorn Antiques. As a consequence, I was a little nervous before the show started, as I was afraid I might be disappointed: for me Julie Walters is Mrs O. However, I need not have worried as Mina Machin played her brilliantly, capturing perfectly the heart and soul of the character. She also showed what a fabulous singer, actor and comedian she is. Not only did she have the Brummie accent that is so much part of the character, but also wonderful comic timing, coupled with hilarious physicality. She was a sheer delight to watch, but she was aided and abetted by other very gifted actors: there was an abundance of talent on the stage tonight.

Acorn Antiques is a fictional shop based in the equally fictitious town of … wait for it … Manchesterford. Through the shop passed all the well-known characters from the TV show and others beside, as they sang, danced and generally had a good time.

There were very strong performances from Carrie-Anne Corner as the man hungry comic caricature, Miss Babs, and Carolyn Smith as the bumbling but engaging Miss Berta, Both brought their characters to life with beautifully delivered dialogue and perfect comic timing. Their solo songs were a delight: ‘Remind Him’ by Miss Berta was particularly pleasing. Alex Tavener chilled and thrilled as the scheming Miss Bonnie and Jason Parker was perfect as the hapless Mr. Clifford. They were all a joy to watch and listen to: their characterisations, delivery and timing were excellent.

Supporting them equally strongly was Adam Richman as a nasty loan shark with a carbohydrate deficiency, Keith Butcher as the earnest Mr. Watkins and Chris Collington as his charming friend, Derek.

I was also very impressed with the two younger members of the principal cast, Zach Foster as Hugh and Emily Corner as Mimi. They used gestures, vocal mannerisms and facial expressions so well to develop their characters of monosyllabic, slightly baffled, teens.

The show had some witty and smutty Victoria Wood lines in it - her fans will know what I mean – and these were given the delivery they deserve by the cast. However, for me it was the songs and great dance numbers, choreographed brilliantly by Laurie Trott, which thrilled me most. They were danced with vigour and vitality by a super ensemble, many of whom played small cameo roles as well.

The ensemble was: Claire Farrand-Preston, Rob Holsman, David Artiss, Siobhan Parker, Jack Draper, Katie Bird, Christine Dakin, Laurie Trott, Kathi Ludlow, Lucy Stokes and Cheryl Camm

The orchestra was excellent and accompanied the singers very well indeed. The Musical Director, Dave Dallard, had obviously also worked hard with the cast, as the vocal standard was very high indeed. Victoria Wood’s score is derivative: you can hear strains similar to those from many popular musicals, but it has a life of its own and can be genuinely moving and very uplifting.

The lighting and sound by Dave Martin and Ben Tennett was sympathetic and the set was well designed and visually pleasing. Scene changes were smooth, when they were supposed to be and there was a spectacular prop in the second act, which brought the house down. However, you need to go and see the show to find out what that is: it does involve the wonderful Mrs O!

Finally, I must say that the Director (and Stage Manager), Rob Corner did a wonderful job, as he always does. Although this is a bright and breezy musical, is not easy, particularly in terms of the narrative arc and pacing. His cast appeared at all times very comfortable with their parts on stage, were tightly directed and were obviously enjoying every moment of it. The whole cast ensemble numbers were a joy to watch and I will remember some of them for a long time.

I have to say that the show itself is perhaps not the best I have seen from the pen of Victoria Wood, in terms of the story and its construction, but the wonderful songs, great one liners, fab dance routines and the absolute joy of it all, made up for that. To put it simply, it was just a very enjoyable night at the theatre. Thank you – The Cast.

I was expecting a great show from this popular local group and as always I was not disappointed. Well done to everyone involved and I can’t wait for Dolly Parton’s 9 to 5 next year. Going by this one it is going to be brilliant!

South Pacific
The Erewash Musical Society
The Duchess Theatre, Long Eaton.
March 24th 2015

Rogers and Hammerstein’s South Pacific is one of the best loved musicals of all time and has been performed frequently by Amateur and Professional companies since it first opened in 1949. It also spawned a very successful film version in 1958. Because of its age it is always a challenge to keep it fresh and relevant to modern audiences, but last night at the Duchess Theatre in Long Eaton the Erewash Musical Society did just that.

The excellent cast enthralled and entertained an almost full house for just over 2 and three quarter hours – yes this is a long show, which requires not just stamina from the cast, but also from the audience! It is full of well-known songs, some of which have become standards over time. “Some Enchanted Evening,” “Younger than Springtime,” “There is nothing like a Dame,” and “This Nearly was Mine” are just some of the glorious compositions from the pens of Richard Rogers and Oscar Hammerstein II.

The story contains some very emotional scenes and explores some difficult issues such as racism and mixed race romance, which all add up to a show that is not easy to produce. However, Director Mark Birch and his production team did a splendid job of weaving all this together in ways that are still relevant and understandable today, while retaining the wonderful score and many comic moments. The production was fresh, vibrant and easy on the eye.

Playing the lead of Nelly Forbush is the outstanding Stephanie Ure: her singing voice is delightful, her acting convincing and her dancing polished. She completely captured the character of the popular ditsy nurse who is confused by her feelings for the French Plantation owner, Emile de Becque. He is played sympathetically by Steve Thornhill, who maintains an excellent French accent throughout and impresses with his calm stage presence. I thought they were very good together in the roles and their troubled relationship was well portrayed. They brought out the emotions of the songs through their performances and both stayed very much in character throughout the show.

Zak Charlesworth played the role of LT. Cable He is a natural actor, in complete command of the role and the stage with a superb singing voice. He was every inch the smart, committed officer and his performance of “Younger Than Springtime” was a joy to listen to. He also powerfully sang the song “You’ve Got To be Carefully Taught” which is so very important to the story.

Fiona Wright was magnificent as Bloody Mary, the unscrupulous and hilarious Tonkinese trader. She turned in a very powerful performance throughout the show and completely inhabited the role: convincing in both her vocal delivery and her mannerisms. Her daughter Liat, played by Alysha Gomes , was charming and innocently portrayed how much in love she was with Cable.

As well as the darker themes there is comedy in the show and Mark Perry, playing the “Arthur Dailey” of the South Seas- Luther Bisset- kept us entertained with his attempts to corner the souvenir market in the south Pacific. The affectionately known “Hinge and Bracket” of the show, Keith Butcher and Adrian Perkins, were excellent, had great timing and convincing American accents, as Captain George Brackett and Cmdr. William Harbison.

Carol Lawson’s choreography throughout the show was excellent and as usual was just right, not only for the show but also for abilities of the cast. Showstoppers such as There is nothing like a dame’ and ‘I’m gonna wash that man right out of my hair’ were beautifully staged, the ensemble putting huge effort into them. There was such enthusiasm on that stage tonight during these and other numbers – they were really enjoying themselves and that enhanced our enjoyment of the show. It was good to see the wide age span of this cast, which brought realism to the production and also showed that the future of this society is secure.

In tonight’s show Sophie and William Robbins played the children of Emile and they were charming. (At some performances they were played by Giselle Tavener and Ewan Hagan.)

In addition to the cast I need to say that the set was excellent and the use of projected backgrounds was great – no more about them as you need to see them to believe them. This was a technically challenging show but all went very smoothly thanks to Mark Robbins and his stage crew as quick scene changes helped keep the show moving, plus the excellent sound by by Ben Tennett, and the appropriate and subtle lighting by Dave Martin. A number of people commented to me after the show that they could hear every word from the stage.

The superb orchestra directed by Dave Dallard accompanied the performers very well indeed. This show does have a relatively long overture but it was played very well and sounded very good. Dave, incidentally, was also very involved with many of the technical aspects of the show, so well done to him for that as well. As Musical Director he had obviously worked hard with the cast to produce singing of very high standard.

The ensemble was Laura Blake; Joan Clark; Heather Howe, Cheryl Mills; Tracy Renshaw; Karen Robbins; Heather Ure; Nick Buckthorpe; Hayden Fletcher; Gary Fowkes; Lewis Haycock; Martin Lewis; James Rayner; Ian Slack and Jack Warburton. Many of them also had smaller supporting roles.

Overall this was a great show from The Erewash Musical Society, which deserves considerable praise. This is an old show but one that is still popular today. When performed, as it was tonight, I am sure it will continue to delight audiences for many years to come as, I believe, will this Musical Society.

Well done to everyone who has been involved.

 

Oklahoma
Long Eaton Operatic Society
May Hall, Trent College
Thursday April 15th 2015

"O what a beautiful morning" sings Curly at the start of the show and it certainly became a beautiful evening in the May Hall at Trent College. The Long Eaton Operatic Society energetically spirited us away to Oklahoma - that "brand new state!"

When the show opened on Broadway in 1943 it began a whole new genre of musical plays, which were so different to what had gone before that one famous critic wrote "No gags, no gals, no chance”. He was very wrong as proved by the record run of 2,212 performances it notched up in New York, a record that stood for fifteen years, before being beaten by My Fair Lady. It is considered by many to be the first musical comedy to have a plot, musical score and dances, which were not just incidental, but advanced the story line.

Set in Midwest America in 1906, the high-spirited rivalry between the local farmers and cowboys provides the colourful background against which Curly, a handsome cowboy, and Laurey, a winsome farm girl, play out their love story. Although the road to true love never runs smooth, with these two headstrong romantics holding the reins, love's journey is as bumpy as a cart ride down a country road.

The music and lyrics have proven to be some of the best in musical theatre with songs that include "Oh What a Beautiful Morning", "The Surrey with the Fringe on Top", People Will Say We're in Love, "I Can't Say No", "Oklahoma!” and many more, making this a musical treat for everyone.

Tonight The Long Eaton Operatic Society did absolute justice to the show and proved that after over 70 years Oklahoma can still be as bright, fresh and entertaining as ever, while also dealing with some serious dramatic themes.

The show was brought to life by uniformly excellent performances from the cast in singing, dancing and acting and some simply brilliant set pieces. The show’s producer Liz Woolley is to be congratulated for the way in which she directed a large cast around the stage with real flair and attention to detail. This show needs a vibrant, exciting and enthusiastic ensemble and they certainly were: they looked to me as if they were enjoying every minute of it. Liz has created an exciting, heart warming, rousing, toe tapping spectacle which, coupled with the well loved tunes, provides a wonderful evening of musical theatre for the audience.

Playing the part of Curly is the engaging Dave O’Neal, who brings charisma, spirit and humour to the role. He sings beautifully and puts expression and emotion into every line: I have never heard ‘Oh What a Beautiful Morning’ sung with such conviction. He is well cast opposite Anna McAuley, who plays Laurey with matching professionalism and flair. She portrays a headstrong lively girl who gradually reveals her vulnerability, yet loses nothing of her spirit. She has an absolutely lovely voice: her rendition of Many A New Day was delightful, as was the beautifully choreographed duet with Curly, “People will say we’re in Love.” Both these leading actors are to be congratulated on their understanding and interpretation of their roles- even their tiny mannerisms and facial expressions were perfect.

Aunt Eller is played so well by Kathryn McAuley, who completely convinces as an older woman who has led a hard physical life. She portrays Aunt Eller as strong, gritty and tough character, but also brings out her humour and love for those around her.

I have always loved the character of Ado Annie, the girl who can’t say No. Tonight the lively performance of Rachelle Bragg was captivating: her comedy timing is first class and she sings and dances brilliantly, too. Her partnership with Jack Draper as her longs-suffering boy friend Will Parker is a comedy highlight of the show. Jack completely inhabits his character and his dancing is a joy to watch. Both these young actors have the ability to engage an audience and have great stage presence.

I was very impressed with Kheenan Jones who plays the hard done by peddler, Ali Hakim. A much older actor usually plays this, but Kheenan took the role and made it his own, disguising his youthful years. Clear diction coupled with an understated but obvious roguishness make his performance a pleasure to watch.

Although the show is bright and funny it has some darker moments, especially surrounding the disturbed character, Judd Fry. This is not an easy role to take on, but Ben Woolley did a very good job, adopting a convincingly gruff and surly voice and a menacing delivery. He certainly alarmed me and others in the violent confrontation with Curly in the smoke house. Watch out for the loud gunshots, which made me jump and I knew they were coming!

This show features what many believe to be one of the greatest dance sequences in musical theatre, the 'dream ballet', in which dancers portray Laurey's anxiety over the choices she has made. Tonight’s very well choreographed performance of the ballet was beautifully performed and unusually they did not use dance doubles, which added to the reality of the scene.

It has to be said that Choreographer, Laurie Trott produced superb routines for the ensemble that were some of the best I have seen recently. I must particularly comment on “Kansas City’ and "The Farmer and the Cowman" which were spectacularly good. Well done to Laurie and the cast who must have worked incredibly hard to reach such a very high standard.

The set was simple but very effective indeed and combined with a lovely lighting plot by Tom Olding certainly made the show visually wonderful to watch. Scene changes were smooth and very quick which is down to the skill of Stage Manager, John Woolley and his crew. The sound in the hands of Andrew James was good and there was no problem hearing the cast over the orchestra, which under the expert baton of Lizzie Bullard, and was excellent. She has quite obviously worked very hard with the cast to produce vocals of such a high standard and they were universally so.

Oklahoma is one of my favourite shows and I am always a little nervous when I see a new production. I should have known better as Long Eaton Operatic rarely disappoint and certainly didn’t tonight. Well done to all concerned with this brilliant production which is well worth coming to see if you can get a ticket.

The show continues at Trent College until Saturday.

In addition to the principles mentioned above the excellent ensemble was comprised of:

Georgia Archer (Gertie Cummings), Lindsay Mould (Farmer Carnes), Ann Woolley, Martin Briggs, Eleanor Harvey, Jack Woolley, John Fox, Claire Collishaw, Carrie-Anne Corner, Tony Newton, Melissa Baston, John Paxton, Mandy Walker, Sue Hagan, Martin Mould, Zach Foster, Lydia Thacker, Joanna East, June Baston, John East, Maria Lawrence, Gemma Blake, Clare Toska.

 

Evita 
The Chesterfield Operatic Society
The Pomegranate Theatre, Chesterfield
April 21st 2015

Featuring music by Andrew Lloyd Webber and lyrics by Tim Rice, The Chesterfield Operatic Society’s production of the iconic musical ‘Evita’ was very well received by the large audience at the Pomegranate Theatre last night.

Based on the life of actress and political powerhouse Eva Perón, the story depicts the rise and fall of this charismatic leader, as she became one of the most famous- and infamous- figures in the history of South America.

This was a very polished production with some outstanding individual performances from the principals, supported by an excellent ensemble.

What immediately struck me was the very high standard of singing by all and as this show is almost completely sung and vocally challenging, this is most important.

The principal cast is very strong, led by Sue Higgins who is magnificent as Eva. She has a very powerful voice which never wavered and was always on key. Her interpretation of the Latino firecracker, who seduces and schemes her way to the very top of Argentine society, is riveting. She is able to sensitively portray a complex woman, driven by poverty and corrupted by power, who never forgot where she came from. Consequently, her superbly performed renditions of “Don’t Cry for Me Argentina” were very moving.

Linking everything together is the engaging Davron Hicks as the narrator, Che. An insightful portrayal of a character who deeply despises the hypocrisy of the ruling elite, but is wryly amused by the course of events. Davron has just the right balance between sarcasm spitting passion and insouciance, never overplaying this vital pivotal role. His excellent voice opens the show and sets the scene perfectly.

Danny Winson plays Eva’s husband Juan Peron as a statesman like dictator: I was impressed by the emotion he injected into a character who could so easily become a caricature. Ably supporting the central characters are Andy Moore as Magaldi and Jessica Dharratt, in the cameo role of Peron’s mistress. Her rendition of the well-loved “Another Suitcase” was fabulous.

This production by Phil Simcox was accomplished and his direction of the large cast was outstanding. Supported by the choreographers, Julie Metcalf and Paula Wilson he has produced a vibrant and fresh version of the show. The set was simple but effective and was enhanced by good lighting by Shane Ayres and superb sound by Simon Birchall. I was delighted that I could clearly hear all that was being sung.

The Orchestra was exceptionally good under the baton of Jonathan Francis. It played well and was never over dominating. Having a “pit” helped. Jonathan also needs congratulating for the way he had trained the singers to such a high standard. The young peoples choir in the opening scene was excellent.

The costumes and hairstyles were very authentic which enhanced the feeling of reality.

Finally, the staging of the show was excellent with smooth scene and props changes under the control of the Society’s Stage Manager Keith Owen and his team.

This is the first time I have seen a production by this company or been inside the Pomegranate Theatre. After tonight I am sure I will be coming back to this lovely theatre very soon and also look forward to seeing Chesterfield Operatic Society’s next production.

They are obviously a very good Musical Society.I can most certainly recommend that you come and see this show that continues until Saturday.

In addition to the Principals above the excellent ensemble featured:Bob Newton; Diane Povall; Helen Welch; Matt McGregor; Barbara Booth; Matt Rogers; Marlene Smith; Sam Widdowson; Gill Cook; Ryan Mitchell; Margaret Dring; Edward Telfer; Judith Doram; Robert Spencer; Kelly Wallhead; Alan Blair; Tammy Marsh-Beresford; Danny Scott; Sue Basson; Wendy Barnett; Victoria Bond; Sally Roberts; Phoebe Wallington; Georgii Bailey; Jacqui Day; Sarah Bates; Roseanna Sanderson; Alison Doram; Charlotte Wilbourn; Nicola Crossley; Charlotte Gratton; Pauline Hindle; Neil Yewman

 

Addams Family
Centre Stage Theatre Arts
The Robert Ludlam Theatre
April 23rd 2015

A decided chill fell over the audience at the Robert Ludlam Theatre in Derby last night when the curtain opened to reveal The Addams Family in all their macabre glory. The opening song led by Gomez Addams, set the scene on what was to become a comical musical romp into the world of the infamous, dysfunctional dead and alive family we have grown to love over the years.

This show is a musical comedy based upon The Addams Family characters created by Charles Addams which depict a ghoulish American family with an affinity for all things macabre. Numerous film and television adaptations of Addams' cartoons exist, but the musical, which is the first stage show based on the characters, is based upon the cartoons rather than the television and film characters. However I am sure that fans of the stories will enjoy this musical adaptation – I certainly did.

This young cast produced some very good principal performances and there was a large ensemble that supported them well. Everyone in the cast contributed to what was a good performance, but in particular I was very impressed with Ryan Wiggins who played Gomez and Olivia Grace who played Morticia. Both of these young actors were outstanding in their respective roles and provided us with very powerful performances and extremely good and well-timed comedy. Their interpretation of the roles was outstanding and I am sure both of them will be seen again in many future shows.

Will Evans gave a polished performance as Fester, who for some reason was in love with the Moon – oh well, it is that sort of show! The star crossed lovers, Wednesday and Lucas played by Eleanor Wentworth and Jude Bush injected just the right level of emotion and drama into their roles. They are both good actors who remained in character throughout the story. Playing the young Addams boy, Pugsley, was Luke Preston-Davies who played his part very well and was extremely funny while being “tortured for pleasure” by his sister. His comedy timing was very good for such a young actor. He interacted well with Emma Merrey who played his Gran. She was delightfully funny in her role and again I was impressed with her comic timing. Lucas’ parents were well played by Lowri Spear and Sam Rowe. They are obviously developing well as actors and they played their parts in a very natural, mature and confident manner.

Finally Nic Gordon as the servant, Lurch, was magnificent in the role, making the audience laugh almost every time he appeared. He never came out of the role even during the Finale.

Visually this show was excellent with, a well-designed set, great costumes, garish and macabre makeup and good lighting from Brian Counter. The band was very good, both in quality of musicianship but also in the sympathetic way in which it supported the cast. The musical Directors, James Rayner and Bethan Davies have obviously worked very hard with musicians and cast to have achieved such a high standard.

The sound, directed by Dave Dallard, was very good and I could hear almost every word that was sung or spoken by the principals. Just one minor criticism – while the quality of the ensemble singing was fine, it seemed a little quiet at times but I am not sure if that was due to the acoustics of the theatre or lack of microphones. I am sure, though, that this will improve as the run goes on.

This show’s large cast was well directed by, Adam Guest, Lucy Bramley and the choreographer Josephine Walker. There were many examples where the ensemble was given individual or group actions, which were very effective and supported the principal action. The dance routines were exciting and inventive. Coming on and off the stage was smooth and without fuss. The staging of the show was good and the Stage Manager, Steve Thornhill and his team are to be congratulated on keeping the scene changes as short and unobtrusive as possible. Many of these were done during complete black outs which was impressive.

Overall, this was a great production of this new musical, which has some catchy songs and a witty script. The young cast threw themselves into it with enthusiasm and gave us all an entertaining and enjoyable evening. Well done everyone!

The supporting cast were:

Millie Eaton; Lucy Vickers; Romilly Das; Tabitha Hartshorn; Any Burchell; Lana Mihic; Christina Allen; Mia Thompson; Amelia Legg; Izaac Drew; Hannah Riley; Bailey West; Ella Holmes; Lucy Bennett; Lona Jackman-Hart; Tamara Morgan; Lilly Shields; Tiny Simbani; Joe Barker; Natasha Neale; Emelia Palfreyman; Phoebe Drew; Lily Morris; Charlotte Curran; Annie Young; Amber Lord; Bailey West; Nathan Wilson; Rose Mather; Mia Page; Lydia Walsh; Charlotte Gilliver; Chloe Merrey.

The Addams Family Musical
Heanor Musical Theatre Company
The Palace Theatre 
April 25th 2015

There was a bit of a chill wind and a dark cloud above the Palace Theatre yesterday, despite the sun shining everywhere else in Mansfield. Later, when the blood red curtains opened it became obvious why. The Addams Family in all their glory was in town. That was, incidentally, after a single disembodied hand had been seen running up and down the theatre curtain! For the past 4 days The Heanor Musical Theatre Company have recreated possibly the strangest, weirdest, most macabre family in TV and comic book history. However, from the start it was obvious we were in for an enjoyable, hilarious and entertainingly good evening.

This show is a musical comedy based upon The Addams Family characters created by Charles Addams, which depict a ghoulish American family with an affinity for all things macabre. Numerous film and television adaptations of Addams' cartoons exist, but the musical, which is the first stage show based on the characters, is based upon the cartoons rather than the television and film characters.

The opening number introduced the main characters in the show with a catchy song called “When you’re an Addams.” The quality and power of the principals was very evident during this song. Leading the Addams clan was Kim Harris as Gomez and Yvonne Taylor as his wife, Morticia. Both were superb in their respective roles, being strong singers and great actors whose comic timing was perfect.

Their daughter Wednesday, who according to her Dad would soon grow up to be Thursday, was played by the outstandingly good Emily Marshall Sims. What a powerhouse of a singer and actor she is. Her rendition of “Pulled” was excellent and very much of a professional standard.

Brett Waller, who had actually shaved all his hair off, was hilarious as Uncle Fester, a very funny character in the show. He looked very much like the character in the cartoons and his vocal characterisation was spot on. He certainly wooed the audience with his talk of love and his infatuation with the moon.

A very important Addams Family character is Lurch, the Zombie butler, who, balancing on some very large shoes, entertained us with his strange noises (he doesn’t actually speak until right at the end of the show) and the very slow way he moved deliberately across the stage. Damon Hatton was marvellous in the role and as well as being ‘dead pan’ for most of the time he also occasionally sported a very cheeky smile!

Andrew Buxton was a charming and earnest Lucas Beinekes- Wednesday’s love interest- who, with the well cast Paul Whitworth and Trish Church who played his parents, made their ‘normal’ family a splendid contrast to the Addams. In particular, Trish’s fabulous solo in “Final Disclosure” was a real show stopper.

The youngest Addams member, the errant boy Pugsley, was played by the appropriately named, Billy Sweet. He has a lovely clear voice but also acted the part so well, staying in character as the not so sweet boy, who really enjoyed being tortured by his sister, Wednesday.

Sheila Warhurst who played Grandma, whose interaction with Pugsley was splendid. She was very funny in a number of cameo scenes.

The ensemble was very good and displayed the depth of talent in this company with some high quality singing and dancing. I really liked the dance and movement in two of the set piece numbers “Full Disclosure” and “The Moon and Me.” Well done to the choreographer, Helen Burton and the Musical Director, Charlotte Daniel. Incidentally I thought that the orchestra was very good and always at the right volume.

Adding to all this was the excellent use made of projections which were outstandingly good, in my view. I know that the jury is still out for many about using digital technology instead of traditional scenery but for me, in this case, it worked very well and contributed a lot to my enjoyment of the show. There were some traditional props used as well and the Stage crew under the direction of John Thompson moved these on and off the stage smoothly, quickly and almost invisibly.

The costumes were excellent and varied, making the Ancestors in particular look really good. A lot of make up was needed in this show as you can imagine and this looked excellent. Congratulations go to the make up designer Jessica Hill and also to Gemma Ryan who was responsible for the Ancestors.

Linked in with the excellent projections was a good lighting plot and excellent sound.

The show’s Director Damon Hatton and Technical Director, Paul Young have certainly produced a quality production which was appreciated by the audience, many of whom gave it a standing ovation. This is first time I have seen a show by this company and I certainly hope it will not be the last.

Having seen the show twice this week (in different venues) I have grown to like the music very much and the script is funny and generally well written. However, I felt that the second Act slows the action down somewhat as the plot is very much thinner. If it ever goes to the West End I suspect it will need some re writing to sustain a long run. However, that is no criticism of either production.

Supporting the Principal Actors very well in this show were:

Steve Radford, Michelle Vardy, Gemma Ryan, George Groom, Tracey Coope, Dorothy Platts, Lucy Stokes, Alison Woodruff, Kerry Van de Broucke, Josh Waldron, Stacey Hyndman, Emma Henshaw, Sara Ruston.

Well done to all concerned with this excellent production.

Legally Blonde
Carlton Operatic Society
Nottingham Theatre Royal
Tuesday May 5th 2015

Last night at the Theatre Royal, Carlton Operatic Society once again showed that they produce excellent and professional musical productions. Legally Blonde was a regional premiere for this popular company and they did it proud.

The production had a very strong cast, a bright colourful set, great costumes and very good music.

It tells the story of Elle Woods a girl who enrols at Harvard Law School to win back her ex-boyfriend, Warner. She then finds that her knowledge of the law can help others, and successfully defends exercise queen Brooke Wyndham in a murder trial. Throughout the show, no one has faith in Elle Woods, but she manages to surprise them when she defies expectations while staying true to herself.

In the leading role of Elle Woods was the quite brilliant, Rosie Wade. What a fantastic performer she is- a very strong actor, wonderful singer and proficient dancer. She certainly made the role her own and sparkled throughout. He comedy timing was first rate and she was an utter joy to watch.

The rest of the principal line up was also very strong with Mark Coffey-Bainbridge as Emmett Forest, Rob Holsman as Warner Huntingdon II, Graham Ward as Professor Callahan, Sarah Kelly as Vivienne Kensington and Jessica Royce as Brooke Wyndham.

Helen Eadsforth was a fantastic Paulette, the hairdresser. She entranced the audience with her superb comedy style as well as being a great singer and dancer.

The ensemble supported the principals well and there were some good set piece dance routines. I particularly enjoyed the “Irish Dancing Scene” which was well choreographed and performed. The choreographer, Rachael Rees, is to be congratulated for her work with the whole cast.

As always, the Director, Amanda Hall, ensured that this was a show that moved with cracking pace and her direction was tight and imaginative. In particular, I loved her direction of the “Gay or European” song, which was brilliant, packed with action and very funny.

Musically this production was excellent and I must compliment the Musical Director, Christopher Rees. Everyone sang very well and the orchestra was first class.

Technically this show wasn’t easy, having many scene changes often after short scenes. However, the changes were very smooth, quick and unobtrusive, thanks to the excellent work of the Stage Manager, Jon Higton and his first class crew.

One important feature of this production is that the cast looked throughout as though they were having a great time, happily taking the audience with them to another time and place. There was certainly an enthusiastic ovation at the end.

If you enjoy watching bright, feel good and happy shows and ones that are performed with great enthusiasm and at a professional standard, go and see this production by The Carlton Operatic Society before it ends on Saturday.

The excellent ensemble featured:

Andrea Chapman, Lucy Bailey, Ella Greenwood, Hannah Rogers-Gee, Aston Fisher, Catherine Cunnigham, Sarah Hill, Laura Thurman, Sophie Petruccio, Gareth Morris, Ross Lowe, Alison Stones, Peter Newman, Tom Keeling, Adam Collisham, David Hurt, Nigel Newton, Jenny Scott, Mike Newbold, Heidi Hargreaves, Celine McKeown, Zie Scott-Smith, Michelle Smith.

There were, of course, also the two excellent canine performers, Hugo and Lady!!

The Government Inspector
The People’s Theatre Company
Nottingham Arts Theatre
Friday May 15th 2015

The Government Inspector by Nikolai Gogol has been described as one of the most famous comedies in World Theatre and has been performed worldwide since the 1830’s. It is all about mistaken identity in the context of a corrupt establishment in a small Russian Town and the consequences of being greedy, stupid and selfish.

Last night it was performed very well by the People’s Theatre Company at the Nottingham Arts Theatre. We were put in the mood as soon as we entered the theatre by some splendid Russian music, which set the scene perfectly and got our toes tapping.

It is a very funny play: the script is amazingly fresh and still reflective of life in many parts of the world today. The Director, Robbie Robb, had set his version of the play in a modern day provincial town in Russia. His production succeeded in giving us, as many modern takes on Shakespeare do, a comic exploration of universal and timeless themes in a contemporary context.

This play has a large cast. There were 18 actors playing 22 parts, many of who were on stage for much of the time, especially the Mayor and the visitor, Khlestakov. There were many very strong performances from the cast, who had obviously worked very hard. Some had to work even harder with their characterizations, as they were playing roles of characters intended to be much older.

The leading actors were very strong indeed and turned in some excellent performances. Rob Shuttle as the Mayor was outstanding, very much making the character his own: giving the audience the pleasure of hearing a beautifully modulated and well projected voice and perfectly pitched delivery. Richard Fife in the role of the visitor gave us a smoothly arch roué who used his charm and an unexpected run of luck to manipulate the townspeople to great comic effect. Both these actors had huge amounts of text to learn and never faltered once; great work from both of them.

The Mayor’s wife, played by a great character actress, Sarah – Lee Reed, was a joy to watch and listen to, as she played this magnificently haughty character who spat venom at every opportunity, while amusingly trying to retain poise and dignity. She was complemented by a long-suffering daughter, played with just the right amount of anguished naivety by Kerry Leibrick. Luke Grainger as the Health Commisioner, Matthew Humphries as the Director of Education, Wendy McLoughlin as the Magistrate and Alex Mead as the scatty Post Mistress were very entertaining in their respective roles and had obviously worked hard on their well-developed characterizations. The director and actors must have spent a long time discussing how vocal and physical mannerisms can build a character and bring it to life. I can imagine that this may have involved creating back stories, as each character was strongly and consistently portrayed.

The comedy duo in the play, Dobchinsky and Bobchinsky were perfectly cast – Chris Teasdale and Malcolm Todd: hilarious as they bumbled their way around the stage adding some witty lines, slapstick comedy and pithy comments on corruption.

Chris Collins, who played the visitors servant, Osip, inhabited the role of the “cheeky chappie’ with some considerable skill. He remained in his character at all times while he was on the stage and his wry observations on his master’s folly were beautifully delivered. This character reminded me of the one that James Corden made famous in One Man Two Guvnors- so look out for that role in the future, Chris!

Without giving anything away, the play ends with a frenetic scene involving almost all the cast, which was very well performed and funny. Robbie is to be congratulated for managing to line up a lot of characters, yet retain focus and movement.

There was a simple set that did the business, although I think it would have been enhanced by a few more pieces of furniture and props in some scenes. However, the play did move very quickly from scene to scene, which gave the production some considerable pace. I would also liked to have seen a little more contrast with the lights, but overall this did not detract from the performance.

I enjoyed this lively performance from this excellent company, as did the small but very enthusiastic audience. The sustained applause at the end was indicative of this.

Well done to the Director, Robbie Robb his production team and all involved in the play. Once again The People’s Theatre Company have produced a show of some considerable quality and reminded us how lucky we are in this area to be able to see such talent in action on a regular basis.

In addition to the actors mentioned above the excellent ensemble consisted of:

Roy Smith; Glen Murphy; Alex Meade; Laura Ellis; Glenn Murphy; Barry Hobbs; Mike Baker; Cassandra Stone; Jessica Mclean.

Sweeney Todd
Streetlight Theatre Arts
Robert Ludlam Theatre
May 16th 2015

Last night at the Robert Ludlam Theatre there was considerable blood on the floor by the end of what was a stunning performance of Sweeney Todd by Stephen Sondheim. This musical is considered by Sondheim aficionados to be his greatest work to date and it certainly is a big brute of a musical.

Set in 19th century England, the musical tells the story of Benjamin Barker, alias Sweeney Todd, who returns to London after 15 years' transportation, on trumped-up charges, to take revenge on the judge who banished him. As his madness and obsession increases he, in league with a Mrs Lovett, who runs a failing pie shop, murders many people. They end up in her pies, which become a great success!

All the leading roles in this show are highly demanding and none so more than the part of Sweeney, who was played brilliantly by Mitch Gamble. He embraced the role of the tortured ex convict with a violent energy, capturing the essence of a grimly determined man who is relentless in his quest for vengeance. He sang his part beautifully, impressing with the intensity of feeling he conveyed.

Alongside him was Eleanor Mallinson, as the charming and yet evil owner of the pie shop who joins eagerly in the carnage, yet retains her grisly sense of humour. This is also a demanding part that requires a great singer and an actor with a well-developed sense of comic timing. She has both these skills and was quite superb in the role.

Playing the role of the lovesick friend of Sweeney, Anthony Hope, was Andrew Smyth - this role was his first in a musical, although he is an experienced local singer. He played the part with an engaging earnestness and was very convincing in his obsession with Joanna, Sweeney’s long lost daughter. He has a super voice, well matched by that of Emily Cox who played Joanna. She looked and sounded lovely and was able to convincingly convey the desperation of the situation she was in.

It was good to see Adam Guest on stage again in the role of Judge Turpin. He also played the role of Sweeney in the Long Eaton Operatic Society production of the show I saw a few years ago: tonight the roles were reversed. He is an excellent all round actor, singer and director and he brought his wide range of skills to the role. He was convincingly evil and yet touchingly vulnerable in his obsessive love for his ward, Joanna. In the programme he said the role was challenging both vocally and in terms of interpretation. However, he rose to both challenges and fully succeeded.

The youngest member of the cast, 15 year old Oliver Wheddon played the part of Tobias Ragg with confidence. This is no easy part, as it involves high quality singing, comic timing and considerable emotion. For any actor this would prove difficult, but his portrayal of the character was outstanding. He was a joy to watch and listen to and I am sure this accomplished young man has a very bright future ahead of him on the stage.

I also enjoyed the performances of Josephine Walker as the crazy Beggar woman who was quite mad- with a teasing ambiguity -and Ollie Hand as Beadle Bamford, who supported Judge Turpin in a very powerful way.

This was a well produced show with some outstanding individual performances and a polished ensemble. This comprised of: Tom Stanley, Rob Chilton, Kheenan Jones, Becky Morley, Emily Bramley, Amy Haley, Heidi Lewin and Daniel Woolley.

Such a powerful piece of musical theatre demands a high production values to enable it work. The Director, Matt Powell did a splendid job with it and had obviously overcome a number of technical challenges. The use of the theatre’s revolving stage was excellent and kept the show moving with pace. His stage direction was also tight, engaging and eye catching. He describes himself as “a slightly crazy young adult” and” a Sondheim fanatic.” I guess putting the two together is the reason why this show was so good.

Sondheim’s music is well known for being incredibly difficult, both for the musicians and the performers. However, tonight the orchestra conducted by the Musical Director, Sam Griffiths was excellent and was, as far as I could tell, in perfect synchronisation with the performers, not easy with this typically discordant, edgy music. Sam has obviously worked very hard with the cast who achieved a good vocal standard throughout.

Finally, the set was authentic and changed with great speed by Ollie Turner and his stage crew.

Matt Powell and his cast, creative team, musicians deserve considerable praise for what is an outstanding production and performance.

New York, New York
The Beeston Musical Theatre Group
Duchess Theatre
Wednesday May 27th 2015

Last night at the Duchess Theatre in Long Eaton I found myself on a very enjoyable musical journey to New York and back. This was courtesy of The Beeston Musical Theatre Group who, with great energy, passion and style entertained us with songs, routines and dances from many famous shows first seen on Broadway.

The show moved very quickly and smoothly from solos to duets to large cast ensemble routines with an ease that was a joy to watch. It was great to listen to songs from shows such as “West Side Story,” Funny Girl,” Little Shop of Horrors,” “Guys and Dolls,” “Annie and “Sweet Charity” to name just a few.

It is impossible to pick out any one performer for praise as this was an ensemble show in which everyone was fantastic. However, using great skill and expertise, Keli Wain, the choreographer and some members of the cast deserve considerable praise for the very well choreographed dance routines.

There were, of course, some excellent individual performances, but many of these were also supported and enhanced by the talented ensemble.

The lighting by Dave Martin assisted by Garry Smith and the sound by “Sounds-Technical” were very well designed as were the costumes, which were bright and easy on the eye.

The 4-piece band conducted by Nathan Truesdale accompanied the soloists and ensemble members very well and was never over loud.

Lisa Smith and her production team are to be congratulated for very creatively linking all the acts together and making sure that the show moved at a good pace.

The finale, which was appropriately comprised of songs related to New York, demonstrated the wonderful sound that this group makes when singing as a whole company. The standard of the singing throughout was very high indeed.

This excellent show spotlighted the considerable range of talent that this group has within its membership. A big well done to everyone, including the stage crew and other members of the team who worked hard to make sure that everything went very smoothly.

This journey to the Big Apple is worth the ticket price and more, so for a very enjoyable and comfy ride across the Atlantic and back get along to the Duchess Theatre before the journey ends on Saturday evening.

The Cast was:

Ian Baggott; Hannah Baird; Ronja Breitkopf; Keith Bird; Chris Bryan; Cheryl Camm; James Capel; Cathy Chatten; Kev Chatten; Rob Charles; Jane Cottee; Laura Cotton; Jodie Cresdee; Kayrakise Evans; Paul Gardner; Steph Gray-Blest; Alex Grosse; Mollie Harwood; Mina Machin; Ruth Madison; Claire Rybicki; Cat Tuckey; Rachel Van Krimpen; Keli Wain; Christine Walton; Beth Yearsley

The Orchestra, directed by Nathan Truesdale, comprised of Ron Newsham, Jeff Widdowson, Louis Ogando and Jonathan Curtis

 

The Mikado
People’s Theatre Company
Nottingham Arts Theatre
June 2nd 2015

Call me “old fashioned” but last night at the Arts Theatre I had a fantastic time, watching a brilliant performance of an operetta first performed in 1885. It had everything that makes for a really enjoyable night at the theatre. Very professional acting and singing, some extremely good individual performances and a crisp and well-rehearsed ensemble. Add to that a simple but very appropriate set and lighting plot and you have the latest production from the People’s Theatre Company of Gilbert and Sullivan’s best loved operetta, The Mikado.

Although it was basically still the same work as first performed, it had freshness and vitality about it, due to some minor changes to the script to bring it up to date. It is set in modern times and all the performances are freshly nuanced and contemporary. This could have been a professional performance, it was so well done.

The story is, as with most G & S operettas, somewhat fanciful and contrived. It revolves around a young man named Nanki-Poo, who has banished himself from the little town of Titipu. Nanki-Poo, it seems, has fallen in love with a beautiful girl called Yum-Yum. Unfortunately, Yum-Yum is engaged to be married to her guardian, the tailor Ko-Ko. However, when Nanki-Poo hears that Ko-Ko has been condemned to death for the capital crime of flirting, he hastily returns to Titipu, only to learn that Ko-Ko has not only been granted a reprieve, but has been promoted to the post of Lord High Executioner a role that requires some action…

The plot unravels from this point and, as with all G and S operettas, comes to a satisfactory conclusion at the end, but not until lots of twists and turns occur!

The casting for the operetta was excellent, with Stephen Godward playing the central role of Pooh-Bah, The Lord High Everything Else. The role required him to allude to being many different characters, which he did very well, employing an impressive and highly amusing range of accents. He was physically very funny, as well being dressed in what I am sure was a “fat suit,” which comically impeded his movements. Stephen is a very well known and experienced local actor whose singing and acting skills, diction and delivery are absolutely first rate. He is a joy to watch and listen to.

The part of the Lord High Executioner was played by a very accomplished actor and singer, Tom Parry. It is pure genius to play the part as a Cockney Arthur Daley type character, with a superb accent and the cocksure confidence of a spiv. He brought the house down with a very witty and hilariously tweaked version of The Little List Patter Song, which was completely up to date, even including mention of a certain international football president…

Nanki-Pooh was played by Drew Dennis, who sang the part so well: a tenor voice that many a singer would die for. He is also an expressive actor who was able to bring life to a mercurial character, who is not to be taken seriously as he dices with love, life and death. Along with Alexandra Hazard as Yum-Yum and Tom Parry, he was excellent in the comedy trio “ Here’s a how-de-do.” The audience loved that.

Alexandra has a superb singing voice and also acted the part of Yum-Yum exceedingly well. She managed to convey a coy but self-assured schoolgirl who finds herself in an unexpected and rather tiresome dilemma, which may result in her being buried alive. She was very well supported by the other two “Three Little Girls from School,” Pitti-Sing played by Elaine Bishop and Alice Hands as Peep-Bo. The famous trio was sung and performed to perfection by the three of them. Each girl knew her character well and brought life to her through convincing physical and vocal mannerisms, showing an admirable level of preparation.Playing the role of Pish-Tush, the other village official, was John Carter, who also sang beautifully and was very amusing with a good sense of comic timing.

The operetta has a sub plot involving an elderly lady of the Mikado’s Court, Katisha, who is desperate to marry Nanki-Pooh. She was played powerfully by Jean Krzeminski, who expressed her anger and annoyance so well in both song and facial expressions, when she discovered that Nanki-Pooh was to marry Yum-Yum instead. This complex singing role was performed brilliantly.

The Ladies and Gentlemen of the Chorus were great and the stage production by Andrew Nicklin was meticulous, ensuring that they all had things to do while on stage. This production has such energy and great attention to detail- look anywhere on the stage and you will see little comic cameos, bringing life to each scene.

Two comments I must make about this production. There were no microphones used in this performance and in the orchestra there were no keyboards just “real” instruments. This ensured a superb sound from performers and instrumentalists, who were completely balanced. Just goes to show that modern technology is not always needed on the stage.

When the full cast sang together the sounds were blissful. When the orchestra played as in the overture the sound was excellent. Well done to all.

This was a production of great quality in all departments and all involved need to be congratulated. Another “must see production’ for the fabulous People’s Theatre Company.

Planet Rock/ Journey to the Centre of the Earth
The Young Performers
Duchess Theatre
June 18th 2015 

Last night at the Duchess Theatre in Long Eaton was a very special one for all of us, as we witnessed a truly breathtaking performance of Journey to the Centre of the Earth and a showcase of great acting, singing and dance – Planet Rock.

“Planet Rock” certainly showed us the many talents of this large theatre group. There were songs, sketches and dance routines, linked together well by Zak Charlesworth whose lively and humorous interjections kept things moving well. He also produced the sketches.

There were some very funny, well written and well performed sketches during this first Act and I was very impressed by the quality of the acting. A dance sequence involving most of the cast was great and was well performed; this was beautifully choreographed by Alex Tavener.

Act 2 was a stunning arrangement by Leon Wade of Rick Wakeman's Fantasy choral rock composition: the performance of the Orchestra and the Young Performers Choir and soloists was excellent.

This is by no means an easy piece and the youngsters must have worked so hard to achieve this standard of singing. The soloists in the piece (Rebecca Cox, Nicola Northcott, Emily Owen and Zak Charlesworth) were very good and came in perfectly at the start of their pieces – not an easy thing to do with this type of music. The young chorus sang as well as I have ever heard them and their concentration and professionalism was impressive.

I feel I must mention the narrator of the piece, Jonathan Higgins, whose dramatic interpretation of the script was superb. Having seen this performance tonight I have no doubt that if Rick Wakeman comes to see this he will be impressed and very pleased indeed.

I loved the end of Act I in particular, when the whole cast, accompanied by the full 16-piece orchestra, performed a wonderful version of Bohemian Rhapsody. The quality of the performance of this iconic piece was very high indeed. A performance of Palladio by the orchestra - The Leonettes was also very good – a thrilling experience.

When singing together as a chorus the Young Performers were fantastic and the concentration and love of what they are doing was very pleasing: you can just see on their faces how much they all love performing! This is what it's all about.

The sound and lighting for the show was in the very creative hands of Dave Martin and certainly enhanced the drama, of Act 2 in particular. The production team of Elaine Clemerson, Victoria Garavan, Vicky Moran, Alex Tavener and Leon Wade (also the Musical Director) must also be congratulated for their hard work and creative flair.

I could go on but I will simply say thank you to all in The Young Performers and all in the Orchestra - you were brilliant tonight and yet I suspect you will be even more brilliant by the end of the run and very tired indeed!

The Young Performers are: Phoebe Buxton, Rebecca Cox, Harriett Slatcher, India Smith, Ellie Simmonds, Giselle Tavener, Tayla Evans, Tasha Grebby, Ava Jaylock, Shannon Hickton, Megan Thomas, Hayley Watson, Caitlin Whiteley-Blundell, Amy Wilcox, Erin Hill, Lucy Kenyon, Abby Kilford, Hazel Lawrence, Chloe Young, Zak Charlesworth, Joe Downing, Harvey Latter, May Lee, Chloe Manley, Brooke Marsden, Siena McQuade, Oliver Latter, Bradley McClean, Liam Morris, George Parkinson, Niclola Northcott, Emily Owen, Molly Parkinson, Lauren Riley, Curtis Salmon, Joe Scard, Daniel Smith-Barnes and Harvey Taverner.

 

Little Shop of Horrors
Chesterfield College
Pomegranate Theatre,
Chesterfield. June 23rd 2015

Last night I went to see the opening performance of Chesterfield College’s latest production, Little Shop of Horrors and I loved it.This high-energy show was performed very well by an enthusiastic and talented cast. The lead role of Seymour was played to perfection by Matt Parker, a performer who has everything – fantastic stage presence, great acting skills, a good singing voice and the ability to dance. This young man will surely go far in the acting profession. He played the role of the down-and-out shop assistant who unwittingly propagates a monster, with such confidence, clarity and humour that he was a joy to watch.

Audrey was played by a powerhouse of an actress and singer, Anisha Ismail. Her fantastic singing voice filled the Pomegranate Theatre: her rendition of ‘Somewhere that’s Green’ was so beautifully phrased it was truly moving. Her brilliant American accent never faltered and her ability to deliver cleverly nuanced lines with absolute clarity is impressive. She was just perfect in the part and will most surely be seen in many other roles in the years to come.

Mushnik, the owner of the flower shop in which most of the action takes place, was played by Jordan Stanbrook; his characterisation of a much older man was outstandingly good. He had obviously worked hard on the physical and vocal mannerisms of middle aged man and portrayed these effortlessly on stage to great comic effect.

I was particularly impressed by Luke Hutchinson, who played Audrey’s violent boyfriend and a sadistic dentist. He was outstanding in the role. His interpretation of what could be a shallow caricature was dynamic and interesting. His comedy timing was exact, but he was also rather scary at times. One particular scene in the dentist’s surgery, shared with another great actor Ollie Green, was outstanding. These two played the scene just right and to the right level of manic insanity without being silly. Well done to them, a lot of rehearsal must have gone into perfecting that scene.

A special mention must be made to the three girls playing the backing vocals of The Ronnettes: April Parker, Freya King and Ellie Scott who played their roles perfectly. The standard of singing throughout was excellent, some wonderfully powerful solos and lovely ensemble work from a talented group of singers and dancers. Praise indeed must go to the hard work of the Musical Director Jonathan Francis for helping the whole cast to achieve such a high standard.

The star of this show is, of course, Audrey 2, the plant that grows into a blood-eating monster. This is achieved by models of different sizes concluding with a very large one, which can consume human bodies and does so with great pleasure. Achieving this is not an easy matter, but in this production the operators Daniel Fessey and Levi Daines, plus the wonderful voice of Mark Page were excellent.

It was a polished production, with good lighting and sound, an appropriate and well-used set, barely noticeable set changes, good dance routines, some stunning costumes and a very committed and talented cast.

Congratulations also to the show’s production team of Sam Rowlands, the director, Becky Parker, the choreographer and those students involved in the technical aspects of the show under the direction of the Stage Manager, Georgii Bailey. Your hard work has certainly paid off.

Overall this was a seamless production with a ‘wow’ factor, which delighted the audience. I am delighted that these very talented students are leaving the college with such great performances to look back on. I know that many of them are going on to continue their drama studies and I am sure they will do very well in the future. Good luck to you all, musical theatre will be the richer for your contribution.

Les Miserables
Creatio Theatre Arts
Derby Theatre
July 5th 2015

Last night at Derby we all joined the revolution with a very talented group of young performers, who stormed the barricades and scored a decisive musical victory. Les Miserables is one of the longest running stage musicals in the world and is loved by so many. Therefore, any amateur theatre group needs to perform it very well and last night Creatio Arts did just that.

Set in early 19th-century France, it is the story of Jean Valjean, a French peasant, and his quest for redemption after serving nineteen years in jail for having stolen a loaf of bread for his sister's starving child. Valjean decides to break his parole and start his life anew after a kindly bishop inspires him by a tremendous act of mercy, but he is relentlessly tracked down by a police inspector named Javert. Along the way, Valjean and a slew of characters are swept into a revolutionary period in France, where a group of young idealists make their last stand at a street barricade.

There were some excellent performances, both from the principal actors and the impressive and very hard working ensemble. From the first chorus, sung incredibly powerfully by the convicts, it was clear that the vocal standard of the cast was going to be very high indeed.

Leading the cast was Zak Charlesworth, playing the part of Jean Valjean. This is the third time I have seen him play the part and it was unquestionably his best performance to date; he has developed and honed this character into something very special. His voice is brilliant, with every note performed perfectly. His rendition in particular, of “Bring Him Home” was sensational and for me, sung as well as any version professional or amateur I have heard. He injected just the right level of emotion throughout the show, successfully depicting a bitter man who is transformed by an act of forgiveness into one driven by compassion and honour. This is a huge role for any performer, let alone one so young, but he was a commanding figure on stage throughout and was able to effectively suggest the aging process simply by mannerisms and movement.

Ryan Wiggins played Javert, the police inspector who devotes his life to tracking down Valjean. He played the part with conviction and had obviously thought very carefully about how to portray this tortured personality. He maintained a stiff demeanor and measured movements throughout, which perfectly captured the inflexibility of a blinkered individual who is driven by duty. I liked his rendition of “Stars”, which was performed with just the right level of emotion.

Lizzy Ives as Fantine was superb, having a brilliant voice and a range of acting skills. She successfully portrayed the tragic victim who finds the strength to fight for her child: a sensitive performance with beautiful diction. Could anyone not be moved by the way she sang the beautiful “I Dreamed A Dream” – a real vocal highlight.

This show does not have many laughs, but playing the two characters who do lighten the mood from time to time, Thenardier and his wife, were Alex Dickenson and Grace Orgill, who threw themselves (at times literally) into the roles. Grace employed a range of vocal and facial expressions and mannerisms to suggest the delightful coarseness of her character: these were well appreciated by the audience. Both were very entertaining during the song “Master of the House”, which Alex sang with engaging gusto.

The role of the tragic Eponine was played brilliantly by Georgie Bond, who has a voice of superb quality: her performance of “On My Own” was very moving, a real showstopper. Her scenes with Nic Gordon who played Marius, for whom she has unrequited love, were sensitive and involving. Nic acted and sang well, performing the song “Empty Chairs and Empty Tables” beautifully, with maturity and emotion.

Hope Redfern played the adult Cosette, showing her considerable acting and singing ability and bringing the rather one-dimensional character to life with a range of expressions.

Paddy Stafford was a powerful Enjolras, the student leader. I understand this was his first performance in a stage musical and he did very well indeed, coping well with the never easy music and acting with conviction and passion.

There was a very endearing and powerful performance from Bailey West as the young boy, Gavroche. He sang with feeling (Little People) and has a beautifully clear speaking voice with excellent diction and projection.

Supporting the above brilliantly in a number of other roles and in the ensemble were Nadia Potter (Young Cosette), Lewis Haycock (Bishop), Adam Griffiths Vernon (Bambatois), Aaron Titterton (Combferre), Andrea Pocock (Pouvaire), Erin Keogh (Joly), Jonathan Banks (Feuilly), and Natasha Neale (Young Eponine).

Although there are very important principal parts in this show, its success depends on having a strong and high quality ensemble and this production had just that. They sang, acted and moved well. They were:

Bianca Undy, Eleanor Carty, Ella Holmes, Erin Hill, Gemma Strange, Jenna Gregory, Katie Wendorf, Lowri Spear, Lucy Bennett, Lucy Chapman, Philippa Gurney, Olivia Grace, Rachael Webb, Rhiannon Bown, Shannon Blake, Tammie Morgan, and Tayla Evans. Well done to you all.

The Creatio Production Team are to be congratulated for taking this cast to such high levels of performance. They were Matt Powell (Director), Oliver Weddon (Assistant Director), Sam Griffiths (Musical Director), Josh Kemp (Assistant Musical Director), Charlotte Richardson-Astle (Choreographer) and Stage Manager, Lucy Young.

There was a very large orchestra in the pit, which accompanied the cast effectively and sympathetically under the accomplished baton of Sam Griffiths.

The show featured an innovative set involving a revolving stage and a multi purpose “barricade” centre piece that was used in a number of ways. It was effective in keeping the action moving, but did take up quite a lot of the available stage and this restricted the movement of the cast in the big ensemble songs. Also, cast members and stage crew could sometimes be seen taking their places behind on the revolve, which was a little distracting during some solo items. There were some problems with microphones last night, but I am sure that will be sorted before tonight’s performance.

Finally, this was a quality performance from a talented cast, crew and production team and all need to be congratulated for their hard work. The show ended with a sustained standing ovation, which was very well deserved.

Fans of Les Miserables will, I am sure, be very happy with this excellent production,

Oliver
The Erewash Musical Society Youth Group
Duchess Theatre
July 9th, 2015
“I'm reviewing the situation,I must quickly look up ev'ryone I know.Who can help me make a real impressive show!”

Well, tonight at the Duchess Theatre this talented cast certainly did perform a ‘real impressive show.’ From the moment the curtain opened and the boys and girls in the workhouse marched on to the stage singing the ever popular, “Food Glorious Food” it was clear this was going to be a great show.

In front of an impressive set, the story unfolded of the orphan who is sold to an undertaker and then finds himself embroiled in the shady world of Victorian street children, eventually being reunited with his rich grandfather. Along the way he comes across an assortment of colourful characters, giving a large number of cast the chance to show us their impressive acting, singing and dancing skills.

There were some very big chorus numbers in this show including “Consider Yourself.” “I’d Do Anything,” “Who Will Buy,” “"Oom-Pah-Pah,” and “"You've Got to Pick a Pocket or Two.” These were all superbly done and wonderful spectacles to watch.

Oliver was played sensitively by Joe Langley who impressed me with his rendition of “Where is Love.” This was sung well and with feeling. Joe also looked the part and had just the right amount of innocence and vulnerability.

It was good to see Hayden Fletcher, complete with impressive girth, playing the Beadle, Mr Bumble. I loved his sterling performance, which was very well observed. He added highly amusing theatricality to a man who has few redeeming features; even managing to make us feel sorry for the bumbling bully when he gets his comeuppance. His partnership with Ellie Simmonds as Widow Corney was perfect: their scenes are the comic highlight of the show. Ellie was simply magnificent in the role and shone both as a singer and a comic actor.

As I said earlier there were many cameo roles in the show and they were all great. In particular I appreciated, Mr Sowerberry played by Ethan Lee, Mrs Sowerberry played by Emily Marshall, Noah by Ethan Fletcher and Charlotte by Michelle Blair.

One of the most important roles in this show is that of the Artful Dodger, Tom Judson. He looked good and had a twinkle in his eye. His characterization of the wise street boy, hardened but not demeaned by poverty, was lively and engaging. In particular his singing in “Consider yourself” was very good.

Fagin was played by Dylan Singfield, who portrayed the old man superbly. He maintained the persona of the Jew throughout the show. This was impressive for such a young actor. He also sang the songs very well and his movements around stage were carefully judged and sustained, which added to his characterisation. It was easy to forget that this role of a middle-aged man was being played by a teenager: this was true of all the ‘adult’ roles- our disbelief was well and truly suspended by great acting and characterisation.

Katie Lawson made the role of Nancy her own, convincingly portraying the strength and spirit of this abused character, as well as her warmth and compassion. Her rendition of “When He Needs Me” was beautifully sung and phrased. She was well supported by her friend, Bet, played by Sophie Robbins.

Finally, Lewis Haycock was quite brilliant as the violent bully, Bill Sykes. He stomped around the stage frightening everyone and singing with great power. Lewis is a very talented singer and actor and he showed this tonight every time he came on stage.

Cameo roles were well performed by Charlie Bates as Rob, Mr Brownlow by Zak Charlesworth, Dr. Grimwig by Reuben Gotts, Mrs Bed win by Rebecca Groombridge, Old Annie by Megan Asher and Old Sally / Meg by Grace Deakin.

The supporting cast was outstandingly good and were Lizzie Buckthorpe, Daya Khosse, Lucy Ledger, Lucy Judson, Holly Pilgrim, Daisy Wright, Charlie Pierson, Libby Pilgrim, Molly McCarthy, Eliza Charnock, Katie Baddiley, Robyn Oleshko, Kai Cox, Tom Baddiley, Emily Bridge, Gabryl Oleshko, Sam Eccles and not forgetting Bullseye the dog, played by Ziggy.

The staging of this show was excellent and the design and use of the composite set was outstanding. The Director, Chris Renshaw’s strong vision was translated into a show that moved with pace, variety and excitement. Dickens shone a light on appalling social injustice in his times, but he did so with humour and a keen sense of the absurd. Chris captured all of this in his production. He was also ably supported by Jack Readyhoof as Assistant Director and Martin Lewis as Rehearsal pianist.

The performance was well supported by the stage crew led by Stage Manager Mark Robbins, who did their work quickly, without fuss and often almost invisibly.

One of my biggest delights in this show was the outstanding quality of the dancing both in terms of choreography and performance. Carol Lawson and Katie MacLaughlin, the choreographers, produced a dance plan that was impressive, while being just right for the skill and age of the cast. All the big musical items were lovely to look at despite working with a large cast on a smallish stage.

The Orchestra under the baton of the show’s Musical Director, Mitch Gambon, was fantastic and I have to say it was one of the best I have heard of late at the Duchess. The accompaniment was sensitive to the needs of the performers throughout the show. Well done, incidentally to the Violinist, Karen Eveson, whose playing in “Reviewing “ was beautiful.

Sound and Lighting by Ben Tennent, Dave Martin and Dave Dallard was well plotted.

This was yet another blistering performance by the Erewash Musical Society Youth Group. Fantastic singing and dancing and some outstanding individual performances supported by a superb ensemble who worked very hard and were always completely focused.

This is a very popular show and tonight's fresh and vibrant production shows why that is. Well done to all involved with this outstanding production, which I really enjoyed. Well done Emus!

 

Our House
Spotlight Theatre Company
Nottingham Arts Theatre
July 11th 2015

From start to finish this production of the Madness Musical, “Our House,’ was a triumph for Amanda Hall’s popular Theatre Company. The production featured the older members of the company and there were some very talented performers. There were strong performances from the principals, but the show relies on a very strong ensemble and this was certainly the case.

This is a musical featuring the well known and catchy music of Madness, but telling the story of 16-year-old Joe Casey. On one fateful night he has to decide whether to run away or face punishment: the story then charts his subsequent life, showing the results of both choices concurrently.

The role of Joe Casey is a demanding one, as the actor must clearly show how the character reacts and changes in different circumstances, following each choice. Sean Goodwin played this part superbly and was completely engaging. He was able to show us a Joe who, although often in a mess of his own making, was sweet and likeable and eventually got the happy ending he deserved. Alongside this he portrayed the other Joe, who appeared to have everything, but was gradually hardened and eventually destroyed by dishonesty and greed. No small feat to show these concurrently, frequently with very rapid changes of costume: Sean cleverly used subtle changes in delivery, the varying warmth of his smile and a quick tousle of his hair to embed each part. His acting and dancing was of a very high standard and his singing heartfelt.

Joe’s love interest, Sarah was played by Catherine Cunningham who has a beautiful voice: powerful and yet pure as well. She also had to play her part in different situations and with subtle changes, according to which Joe she was with and this she did with great confidence. She is a talented singer, dancer and actress who, I feel, will go far.

Kayleigh Philips played Joe’s Mum, in what was her first musical. That is something I would not have known had it not been in the programme. She sang confidently with a good voice and played the part with emotion.

The story features Joe’s Dad who acts as an “invisible advisor” to Joe throughout and has to keep the story moving through pieces of narration. Nigel Newton is well known in Nottingham both as a performer with the Nottingham Operatic Society but also as a producer and Stage Manager. His performance confidently linked the story and brought out the character’s deep regret for the way he had messed up his own life.

Matty Collins who is only 15, was outstanding in the role of the wise boy Reecey. He sang very well and danced with tremendous power and skill. His facial reactions were great and he maintained the characterization throughout. He played the role with just the right amount of smarm and the showed the development of a very nasty piece of work. I have little doubt that Matty will be seen often in the area in a range of roles.

Joe and Sarah have supportive friends who play comedy roles for most of the show. The casting for this show was perfect as James Murray (Lewis), Adam Monk (Emmo), Georgia Hodgett-Young (Billie) and Aston Fisher (Angie) were all excellent. Comedy timing was great and they sang and danced well. There were also times in the show when they had to show emotion, anger, concern and fear. This they also did convincingly, showing how much hard work must have gone into developing their characterisations.

Joseph Smith played the role of Callum, who sort of got in the way of the relationship between Joe and Sarah. He is a competent actor who paced his delivery well and he has a lovely voice.

The large ensemble excelled particularly in the big scale dance routines which were performed to great Madness songs including “Our House,’ “Baggy Trousers,” “Tomorrow’s Just Another Day,’ “Wings of a Dove,” and more. The choreography of all of these was quite simply, superb. They were all exciting, powerful, innovative, startling and fun. The choreographer, Jessica Royce produced these in such a way as to often leave us with our mouths open in admiration. The cast, and that is all the cast, danced their hearts out and were all together and in time. There were a number of gymnastic moves included as well. Breathtaking stuff!

The excellent ensemble was:

Barbara Benner, Ben Gregory, Bethany Wear, Billy Stockwell,Cassie Hall, Charleigh Hurst, Daisy Whittle, Ella Rotton, Ellie Monterosso, Elissa Reeve, Eva Sheppard, Grace Hogett-Young, Gvansta Saneblidze, Hannah Tasker, Laura Ellis, Lizzy Ives, Molly O’Driscoll, Peter Newman, Serena Eadon, Tamzin Forrester.

All of this was greatly enhanced by some terrific lighting designed by Tom Mowat. It was at times very atmospheric, using lights both on and off the stage. It was also good to see the use of two follow spots. The sound was good, although there were a few times when perhaps the band was slightly dominant over the voices. The band itself was very good under the direction of Chris Rees and overall there was not a problem. Scene changes were swift and well done by the crew under the direction of Stage Manager Amy Rogers – Gee.

Chris also needs to be congratulated on bringing the cast up to a very high standard of vocal performance.

The Director, Amanda Hall, has once again produced a show of exceptional quality. Her creative expertise and vision shone through this production, which is a tricky one to get right, as it has the potential to be confusing for the audience. Amanda’s use of a rotating black and white door, which matched the colours worn by each Joe, was simple and effective. Quick scene changes, simple props and great use of the curtains kept up with the exciting pace set by the dance numbers; there was never a dull moment.

The show ended with a huge song and dance mash up that was brilliant and brought many in the audience to their feet. It was good to see a finale and curtain calls that allowed the audience to show their appreciation. In my view too many local shows end with too few curtain calls. As I have said before, milk the audience for all they are worth if the performers deserve it and these most certainly did.

My only negative comment has to be that this show should have run for more performances, as it was so good!

Well done to all who were involved with this outstanding production, which was full of talent, joy and energy: I enjoyed it immensely and can’t wait to see what is next.

Rent
Gatepost Theatre Company
Guildhall Theatre, Derby
September 16th 2015

Gatepost Theatre Company have done it again …. produced a superb show of a very high standard. Well up there with the previous shows I have seen, this one brought the audience to their feet at the end with ecstatic applause.

Rent is a rock musical with music and lyrics by Jonathan Larson, loosely based on Giacomo Puccini's opera La Bohème. It tells the story of a group of impoverished young artists. They are struggling to survive and create a life in New York City's East Village in the thriving days of Bohemian Alphabet City, under the shadow of HIV/AIDS.

This production was excellent and there were some quite outstanding individual performances. The ensemble supported the principals very well; the cast’s rendition of Seasons of Love was wonderful, a show stopper and a crowd pleaser. The cast during the Finale sang their hearts out, much to the delight of the audience: even I was moved by it! The fantastic ensemble was a major force in the success of this show.

The quality of the singing was high and musical director, Emily Marshall – Simms, had obviously worked very hard with the cast to achieve such a professional standard. Her small band was just right for the show and despite being at the front of the stage, never got near to dominating the performers.

The principal performers were all very strong as is required by this rock opera. Jon Dawkins, who also produced the show, played the part of Mark. His sympathetic and often humourous portrayal of the guy who kind of narrates the action was engaging and well received.

Josephine Pearson as Joanne, Gemma Ryan as Maureen and Richard Pearson as Benny powerfully portrayed their respective characters and sang and acted very well.

Simon Collington as Roger and Laura Howard as Mimi were very well cast and brought so much emotion to their roles that sometime you could cut the atmosphere they generated with a knife.

Daniel Collington and Luke Grainger were superb in their roles of Angel and Collins. Not easy roles to play given the subject matter, but they worked well together and their “romantic moments’ as well as the very energetic and exciting songs, were very sensitively done.

This innovative production was in the creative hands of Christopher Collington. He brought the story alive for me and, as I joked with him afterwards, although I still don’t completely understand the plot, I am getting there! Thanks, Chris for that. His production is tight and shows both a sympathetic understanding of the individual characters and a strong vision of the piece as a whole. The use of doors around three sides of the stage was very effective and certainly enhanced the dramatic effect. Well done to Chris and John Cliff for the set design and and to Chris Grantham for his excellent and complimentary lighting plot and Harry Greatorex for outstandingly good sound. I could hear every word!

Well done also to Stephanie Wright, the show’s choreographer. The dance routines were exciting, powerful and well performed.

Congratulations to all involved with this outstanding production, proving once again that Gatepost are one of the best Theatre Groups around.

The excellent Ensemble was made up of Ben Gray, Brett Waller, Jude Cliff, Lucy Newton, Lucy Stokes, Martin Holtom. Matthew Sharratt, Milly Victoria, Richard Symes, Ryan Taylor, Stephanie Wright, Victoria Palmer.

 

White Christmas
The Long Eaton Operatic Society
Trent College May Hall
Wednesday October 21st 2015

It may only be October, but Long Eaton Operatic Society certainly brought the magic of Christmas to Trent College tonight. From the Overture to the play out music at the end, this was a splendid evening of entertainment. The show is packed with well-known songs by the legendary Irving Berlin, which were well appreciated by the audience: many of whom joined in enthusiastically with the title song at the end of the show.

White Christmas is based on the 1954 film staring Bing Crosby and Danny Kay -which in turn was based on the 1942 film Holiday Inn- and was first performed in 2004. It tells the story of two ex-army pals who team up with a pair of singing sisters to put on a show to save a remote Vermont ski lodge, which has fallen on hard times.A little mischief, a few misunderstandings and a whole lot of romance are the perfect excuse for a magical evening of laughter, tears, great dance numbers and some of the greatest songs ever written, including Sisters, Blue Skies and, of course, the legendary White Christmas.

There were good performances from Martin Mould (Bob), and Jack Draper (Phil) who took the demanding leading roles and gave us a variety of powerful song and dance numbers. Sian Scattergood (Judy) and Claire Collishaw (Betty) played the singing sisters with excellent characterisations and both have beautiful voices.

Ross Lowe (General Waverley) was excellent in his expressive portrayal of the strict general with a soft heart. The part of his granddaughter, Susan, was played by the charming Megan Taylor, who has stage presence, good comedy timing and a very nice voice. The delightful Georgia Archer and Lydia Thacker played the comedy roles of the ditzy but talented dancers, Rita and Rhoda. Jack Woolley made the part of the stressed stage manager Mark his own, with flamboyant characterisation. Ralph Sheldrake played the role of the TV Executive confidently while Ben Woolley was amusing as Ezekiel.

I particularly enjoyed the performance of Carrie-Ann Corner (Martha) who was outstanding as the “Ethel Merman’ style hotel receptionist: she lit up the stage with her amazingly powerful singing and speaking voice, coupled with immaculate comic timing. She and Ross Lowe were perfect foils for each other.

The principals were supported by an excellent ensemble, who performed the superb choreography by Laurie Trott with style and enthusiasm. There are several spectacular set piece song and dance routines, which are a visual and auditory delight.

The ensemble were:June Baston, Kate Beer, Gemma Blake, Rachelle Bragg, Carolyn Briggs, Jenny Carty, Grace Collinshaw, Joanna East, Tayla Evans, Zach Foster, John Fox, Adam Guest, Ruth Hansard, Eleanor Harvey, Emma Kelvey, Helena Keys, Josh Jones, Alistair Langton, Kathie Ludlow, Kheenan Jones, Katie MacDonald, Kathryn McAuley, Tony Newton, David O’Neil, Siobhan Parker, Melissa Vickerstaff, Mandy Walker, Angela Walters, Karen Woodhead, Ann Woolley.

The quality of the singing overall was of a good standard, as I have come to expect from this well regarded company. The staging of the show was lively and the director, Liz Wolley, ensured that the large cast made full use of their time on stage. Her eye for detail and spectacle was evident throughout the production. I particularly liked the device of using small groups of singers around radio mikes at the side of the stage, to provide backing.

The scene changes were quick and efficiently undertaken by the large and well organised stage crew and the scenery was bright and colourful. I was particularly impressed by the inside of a railway carriage that was used in Act 1. There was no use of projections in this show, but the more traditional forms of backcloths and curtains were very effective and pleasant to look at.

The Orchestra, conducted by Sam Griffiths, was excellent and accompanied the cast sympathetically. Lizzie Bullard, the MD and Sam the Assistant MD, had obviously worked hard with the cast to achieve the high musical standard.

Unfortunately, there were times when it was difficult to hear some of the words being delivered and sung, due to the sound system being somewhat muffled. Things were much better when ensemble numbers were being sung.

However, the overall production was good and very enjoyable. I really enjoyed the show and for once it was great to be able to sit and watch a show that was entertaining, fun and lively. So often today, musical theatre seems to be becoming far too deep and serious for my liking.

There is no doubt that the large audience in the May Hall had a great time tonight and left the theatre feeling uplifted, happy and maybe even looking forward to Christmas.

Well done to all involved in the show and carry on enjoying yourselves on stage right through the week.

Into The Woods
Beeston Musical Theatre Group
The Duchess Theatre, Long Eaton
Tuesday October 27th 2015

“Be careful what you wish for” is one of the main themes of Stephen Sondheim and James Lapine’s fairy tale inspired musical, Into the Woods. Well, I was wishing for an enjoyable night out at the Duchess but did I get it? Read on ….

The story is about a Baker and his wife, who is desperate to have a child, Cinderella who wishes to go the King’s Festival, and Jack who wishes his cow would give some milk.

When the neighbourhood witch, who reveals to them that she placed a curse on their family, visits the Baker and his wife, the two set off on a journey into the woods to reverse the curse. While in the woods other well known characters appear - Little Red, who is trying to visit her grandmother, the Wolf who loves tasty little girls, the Witch’s daughter Rapunzel, and the Princes chasing after their loves. By the end of Act I, everyone has received their wish and will presumably live happily ever after?

However in Act II the consequences of their actions haunt them in disastrous ways. The community must come together to save each other and their kingdom, but sacrifices must be made. Does it end happily after all? Well, you need to go and see it to find out.

I have only seen the Junior version of this musical before and I am not at all a fan of the “Marmite” composer, Stephen Sondheim – so I was wondering what tonight was going to be like. However, from the opening scene I was entranced by this outstanding production from the Beeston Musical Theatre Group.

Everything about it was of an incredibly high standard – the acting, the movement, the singing and the orchestra. All combined seamlessly to bring this complex story to life. The atmosphere throughout the show was enhanced by the wonderful set, designed by Craig Butterworth and Lisa Smith. The outstandingly good lighting, designed by Dave Martin, was absolutely right for the show and the set. This was enhanced by the sound, engineered by Sean Renshaw.

There were very strong performances from all the main characters: Rob Charles as the Baker, Cat Tuckey as his wife, George Lamb as Jack, Zoe Brinklow as Little Red Riding Hood, Claire Rybicki as Cinderella, Andrea Chapman as the Witch, Mina Machin as Jack’s Mum, Anna McAuley as the Narrator who kept things moving throughout both in words, song and actions. Kevin Chatten and Tim Yearsley played the two Princes whose duet, Agony, was wonderfully performed and was very funny indeed! Also impressing were Steph Gray-Blest as Cinderella’s Evil Step Mother, Ronja Breitkopf as Florinda, Keli Wain as Lucinda, Alex Grosse as the pretty scary Big Bad Wolf, Kendra Korte as Cinderella’s Mother and Beth Yearsley as Rapunzel.

In addition to the above the rest of the cast were outstandingly good. Well done to Irina Veleanu, Keith Bird as the Mysterious Man, Ruth Maddison as Granny, Lisa Smith as the Giant, Laura Walton as Snow White, Kayrakise Evans as Sleeping Beauty and Josh McGregor as the Steward.

One other group of this large cast that I liked very much were the Woodlanders / Puppeteers. Their excellent use of props and puppets to enhance the story was a joy to watch. Well done to Jane Cottee, Naomi Cummins, Kendra Korte, Christine Walton, Chris Bryan, Andy Bulmer and Dave Henderson.

Huge congratulations must go to the Director, Craig Butterworth for his fantastic realisation of this complex and difficult show. He ensured that it moved with considerable pace and energy, provided constant action for the cast to be involved in and he also made the complex plot line understandable and believable. I actually now understand what this show is all about and indeed how cleverly written it actually is. Thank you, Craig.

Musically this production was quite simply faultless. The Musical Director, Morven Harrison, managed to combine a great orchestra with a very high standard of singing from the entire cast. There is no doubt that the score, as with all Sondheim’s works, is far from easy, but tonight they made it sound so which is a massive achievement.

Scene changes were smooth and unobtrusive thanks to Lisa Smith and her crew helped by the superb set, which was built on three levels and enabled the actors to smoothly move from place to place and through time.

The costumes, controlled by Mina Machin, were very well matched to the characters and looked great.

The use of simple but effective props was brilliant. I am not going to say what they were as this will spoil the surprise and the enjoyment of the production, but I will say watch out for a very interesting Giant!

I have to say that tonight the Beeston Musical Theatre Group have shown me that I can actually enjoy a musical by Sondheim, in fact surprisingly I loved it. Maybe I need to listen to more of his music?

If you can get a ticket, do, and go along and enjoy a fabulous trip Into The Woods and hopefully out again. I can guarantee that Sondheim, fan or not, you will be amazed and delighted by this production that has all the qualities of a professional show in the West End.

Well done to all who have been involved in this phenomenal production and The Beeston Musical Theatre Group should be justifiably proud of what they have achieved tonight. Brilliant hardly comes near to describing it!

Entertaining Angels
The Arcade Players
The Duchess Theatre, Long Eaton
November 12th 2015

The phrase “entertaining angels” refers to the practice of treating all guests, whoever they are, as if they were visiting angels which is an ancient challenge set for Christians and indeed a number of other faiths.

The play is about faith, loss, family secrets, confession and forgiveness. These painful, thought-provoking themes are played out with humour against the calmness of an English country garden.

The central character is Grace, a recently bereaved vicar’s wife who opens the play contemplating her life so far. She has many good lines but in my view one of the best is "I’ve made four thousand six hundred medium-sized quiches and personally baked two tons of light crust pastry. And for what?” So begins her quest for the meaning of her life. There is little doubt that the huge role of Grace is challenging, but Sheila Poyzer made it all her own.

I liked her spiky, no holds barred quality and it was interesting to observe the empathy the audience developed with such a divisive and angry character, during the play. When she finally found the strength to forgive and move on, we felt we had taken the journey with her. Congratulations to both Sheila and the play’s director Beverley White, for realising the fine balance between the laugh out loud humour and touching poignancy.

Mandy Simpson, as the new female vicar Sarah, was engaging and totally believable. This is not an easy role, considering how full of doubt and angst this initially rather fey character turns out to be; Mandy’s assured characterization was convincing.

Grace’s daughter Jo, a counsellor, is going through marital problems while being exasperated and upset by her mother’s bitterness as she mourns her father. Roberta King showed range as a calm and convincing intermediary between her mother and aunt, while juggling her own grief and problems with sensitivity.

Jeanette Speak was well cast as Ruth, Grace's missionary sister, recently returned from Africa. She was played her as quirky, warm and truthful but also with a playful, mischievous side - the perfect foil for her sardonic sister Grace.

Mike Beedham had the perfect qualities for Bardy, the English vicar, whose calm, spiritual, empathetic exterior is to the fore while he counsels his bereaved wife and helps her let go so he can leave his beloved garden. He acted the part with confidence and humour and has excellent diction.

All the actors are to be commended on their clear delivery and the attention to detail that brought each character alive.

The set, designed by Steve Biggs, was nothing short of a triumph and was most certainly one of the best I have seen at the Duchess for some time. It was a well designed and constructed composite set, which was enhanced by excellent lighting directed by Margaret Beedham.

Entertaining Angels has been likened to some Ayckbourn plays. Indeed it is a very cleverly constructed with real heart, authenticity and lots of well written humour. It was clear that it resonated with the audience. During the performance there were a number of occasions when there were audible gasps and comments from the audience who were fully absorbed in the action. There was also enthusiastic and well deserved applause at the end.I very much enjoyed this production, which was well directed and performed by this renowned drama company.

Cinderella
The People’s Theatre Company
Nottingham Arts Theatre
December 5th 2015

Wow! What a wonderful production this afternoon at the Nottingham Arts Theatre: another triumph for The People’s Theatre Company.This performance of Cinderella was brilliant from the start and featured a very talented all age cast, a beautifully crafted script, excellent special effects, very attractive costumes, a wonderful set and a breathtaking transformation scene, which brought gasps from many in the audience.

The whole cast were just perfect - great singing and acting, plus stunning choreography by Amy Rogers Gee, that was so well executed by everyone.The principal part of Cinderella was played beautifully by Lauren Stephenson, who has a great voice and really looked the part. She was adored by the love sick Buttons, played brilliantly by Sean Goodwin. He worked the audience very well throughout the show and played the part in a very physical way. His grimaces and asides both physical and verbal were outstanding.

Holding the whole show together was Laura Thurman, as the Fairy Godmother. Her vivacious and humorous characterisation was loved by everyone. She also sang well and I was delighted when she sang one of my favourite Christmas tunes “We Need A little Christmas” from Mame. I was very impressed with the way she and Sean worked with the children that were brought up on to the stage for the traditional singsong at the end.

There were terrific performances from Michael Pearson and Rob Goll as The Ugly Sisters. They were certainly ugly, delightfully over the top, very funny indeed and their dresses were magnificently gaudy. Oh yes they were!

Hannah Rogers Gee as Prince Charming and Catherine Cunningham as his servant, Dandini, were perfect and had fabulous singing voices. They acted their parts well and did a convincing job of thigh slapping!

There were also excellent performances from Cliff Hart as Baron Hardup, Marie Rogers as Baroness Hardup, Cassie Hall as Mozzarella and Roy Smith as Major Domo.

Supporting all the above was a terrific mixed aged ensemble, whose enjoyment of what they were doing was obvious from the start. They performed with enthusiasm, great energy and panache. What a talented group!The adult ensemble was Christine Boothe, Poppy Cook, Katie Dudgeon, Laura Ellis, Charleigh Hurst, James Murray, Peter Newman, Natalie Randall, Vicki Reckless, Kacey Scrimshaw, Joseph Smith and Billy Stockwell.

The Juniors on Saturday were in Team Pumpkin: Elsie Archer, Callum Barr, Hattie Campion, Mia Carey, Tamzin Forrester, Ben Gregory, Emma Gregory, Grace Hodgett-Young, Jonathan Jaycock, Maddie Keown, Anna King, Darcey Yeomans, Lily Proudlove, Elissa Reeve, Jasmine Smith and Madi Smith.

Amanda Hall's script was just so good that I was in danger of dying of laughter. Her production was also wonderful, allowing the whole cast to excel in whatever parts they had. Amada obviously demanded a high standard of performance and got it from this committed cast.

The staging was outstanding along with great lighting by Tom Mowat, and crystal clear sound by Rob Kettridge, who ensured that the music balance was perfect. The back stage crew, directed by the Stage Manager Amy Rogers Gee and her assistant Nigel Newton, made sure that scene changes were smooth and unobtrusive.

The set was bright and attractive - well done to the large team who worked on it.The singing was a joy to listen to and the Musical Director, Ray McLeod, is to be congratulated for all the work he had obviously done to ensure such high quality. The choice of songs was excellent and many were well known favourites that fitted very well into the script.

This was an absolutely brilliant show performed by a very talented cast of young and older performers. In fact this is one of the best amateur shows I have seen.

If you only go to one pantomime this year I would suggest that you make it this one.