Blood Brothers
National Tour
Theatre Royal, Nottingham
February 15th 2016

Blood Brothers ended with an instantaneous whole theatre standing ovation which was justly deserved. A brilliant production with a superb cast. Lyn Paul excelled as Mrs Johnstone and I can now see why she has been described as "the definitive Mrs Johnstone." Kristopher Harding as the narrator was also unbelievably good. With a powerful voice he dominated the proceedings on the stage whenever he was on it. Actually the whole cast was very good indeed.

There were some other outstandingly good individual performances especially from Sean Jones as Mickey, Joel Benedict as Eddie, Paula Tappenden as Mrs Lyons, Danielle Corglass as Linda and Peter Washington as Sammy.They were very well supported by Tim Churchill as Mr Lyons, Graham Martin as the policeman, Laura Harrison as Donna and Henry Regan as Perkins. Other parts were played well by Josh Capper, Lois Molloy, Graeme Kinniburgh.

This is only the second time I have seen this show and I am enjoying it much more than the first. The production is very fast paced and full of energy. The singing and movement is first class as is the set, lighting, sound and stage production.

The final scene and rendition of "Tell Me It's not Not True" by the whole cast was spellbinding and they took a number of bows to the delight of the packed theatre.

The show is powerful and emotional and yet also has many humorous episodes. When I first saw it in London I thought "this is ok" but tonight I thought "Wow! This was something special!"

Mother Goose
Nottingham West Music and Drama Society (Nowmads)
Kimberley School Theatre
Wednesday February 17th 2016

It doesn’t matter at what time of the year you go to see a pantomime as long as it is well produced, well performed, funny and entertaining. Tonight at Kimberley School Nowmads fulfilled all that and I loved it!

It was a traditional staging of the story of Mother Goose and her family, who go from being poor to very rich upon the arrival of a Goose that lays golden eggs. Unfortunately, the wealth brings no lasting good to the family who almost lose everything as a consequence of Mother Goose’s vanity. However, as in all good pantomimes, everything works out well for almost everyone at the end. The story was brought up to date with the usual topical jokes and local references and a really good selection of well known songs from today and yesterday.

There were many very strong performances from the principal cast members. Playing Mother Goose was Steve Clarke who was a cross between Les Dawson and Ken Dodd, with some other famous comics thrown in, with a panache all of his own. His timing and stage presence was outstanding and his awful pantomime jokes were well appreciated by us all. Playing against each other with some skill were Merle Harrison as the good Fairy Paxo (an interesting name) and Danny De Martino as The Demon King. Their performances were in rhyme and there was just something special in the way they worked with and against each other. Merle charmed the audience from the start and has a lovely singing voice and Danny encouraged the usual boos and hisses from the audience whenever he appeared. His costume was quite spectacular, as well.

The rather nasty Squire of the Village was played magnificently by Graham Lambert, a very familiar member of the group who has been in many previous shows: his ability as an experienced actor was obvious. Assisting him in his plans to evict Mother Goose from her home and steal the goose were Hannah Lishman as Ella and Ashely Smith as Sam, who were very funny indeed and played their parts in a beautifully deadpan way. Their characterizations and comedy routines were very sharp and well received by the audience.

Also deserving of considerable recognition were Thomas Bailey as Billy Goose, the traditional cheeky chappie of panto who worked the audience well, Laura Collins as Jill Goose who has a lovely voice; she was involved in a number of pleasing duets with her on stage fiancé, Jack Horner. He was played by Jaiden Ragozins who also had a great voice.

The largish ensemble was excellent and I have to say that when the curtain opened at the start of the show and the ensemble began to sing and dance I was blown away. This happened throughout the show and actually I would have liked one or two more ensemble numbers.

The ensemble was: Jane Clark, Emma Heydon and Lauren Belcher (all great dancers) – Abi Harvey, Emily Coulter, Lucy Coulter and Rowan Smith (Youth Chorus).Carole De Martino, Elaine Oldham, Lucy Hardy, Evelyn Skellett, Irene Berridge, Clare Hawksworth, Lis Hipkiss, Philippa Taylor, Alison Reeves and Jo Needham (Ladies Chorus). Philip Robertson, Pete Crofts, Robert Livermoore and Oliver Goodman (Male Chorus)

Finally, I must further mention Oliver Goodman whose training for Priscilla the Goose was excellent.

This was a very colourful and entertaining production with very bright and attractive sets (constructed by Steve Clarke and Thomas Bailey) that were changed very smoothly and discretely by Sue Campbell, Debbie Draper and the stage crew (Joe Chamberlain, Luke Tantum, Andy Henderson and Richard Harvey). The costumes, under the direction of Molly Limpets Sheffield and Sue Lowe, were fantastic and there were many changes during the show. The sound by Rob Beech and lighting by Phil Herriott was good (I liked the spot as well operated by David Draper) and I thought the sound effects were particularly good throughout. The make up by Gilly Williams was good and I am pleased to say that the prompt Pam Culshaw had little to do!

The band under the direction of the Musical Director, John Wilson, was excellent and just right for the size of the theatre, its acoustics and the cast. At no time was it over dominant and along with the good sound system ensured that I could hear every word. I liked the incidental music as well.

The stage at Kimberley School is not over large and there was a danger of the cast looking a bit squashed, but overall this was not the case. The excellent direction of Gillian Williams and the great choreography by Jane Clark and Merle Harrison ensured that the space was well used and shared out creatively amongst the ensemble.

This was a thoroughly engaging production that was enjoyed by the full house in the theatre, who showed their appreciation at the end with an enthusiastic and sustained ovation, which was well deserved.

A big well done to the Director/ Producer, Gillian Williams, who brought this traditional story to life with directorial skills that were very apparent in so many ways during the show. I loved the way in which each Act began and ended with vibrant and bright ensemble musical numbers.

The Wizard of Oz
Leos Youth Group
Duchess Theatre
February 18th 2016

It was off on the Yellow Brick Road last night, to find the Wizard of Oz at the Duchess Theatre. This was the spring show from the well respected Long Eaton Operatic Society (Leos) Youth Group. Always a favourite with adults and children, the theatre was full for this opening performance and is for the rest of the run.

Based on the 1939 film that was one of the first to be made in colour, this version was actually a revival at the Barbican Theatre in London by The Royal Shakespeare Company in 1987. It tells the story of Dorothy from Kansas who finds herself whisked off during a storm to the magical world of Oz where she encounters a Witch or two, A Scarecrow with no brain, a Tin Man with no heart and a Lion who has no courage, and a number of other colourful characters. Her aim is to find a way home and find the things her friends need from the mysterious Wizard of Oz. On the way there is much drama and singing and dancing.

The main character of Dorothy was played Beth Ward, who has a lovely voice and a stage presence beyond her years. She also handled her dog Toto played by Osca very well. Osca works at Treetops Hospice as a therapy dog, but has found time to star (his words) in his own little show! The first character Dorothy meets is the Scarecrow, played wonderfully by Oliver Ridgway – his characterization was very good and he played the part with an engaging confidence. I suspect we will be seeing more of Oliver in future productions.

The second character she met was a Tin Man played by Robert McAuley. He handled the many physical demands of the part exceptionally well and showcased his considerable ability to sing and dance.

The third main character was a cowardly Lion played with great depth and understanding by regular Josh Jones. He was very funny and had obviously thought very carefully about how to move as an easily frightened animal. The audience loved him.

Supporting the four main characters very well were Elise Thornhill as the delightfully evil Wicked Witch of the West and Abbie Harper as Glinda, the reassuringly good witch. There were also a number of cameo and group roles in the show and these gave others in the company a chance to shine. Many of them were also in the excellent ensemble. They were Matthew McAuley (Uncle Henry), Emily Scott (Aunt Em), Ryan Phelps (professor Marvel), Izzy Gultch (Almira Gultch), Lilli White( Emerald City Guard), Charlie Briggs (Commander of the Monkeys). There were also some excellent trees played Grace Collishaw , Eleanor Carty, Bella Ridgeway and some fine crows played by Jennifer Finley, Esme Parker and Patricia Holmer.

By the end of the show the friends had made their way to the palace of the Wizard of Oz and eventually met him, although he was not really what they expected. Daniel Jones, one the older members, of the group played the wizard with power and sensitivity.

As I have said, this cast did contain some excellent individual performers but I was particularly impressed by the standard of the ensemble, which had so obviously been well directed by the production team of Siobhan Parker (Director/ choreographer), Karen Woodhead (Producer/ choreography) and Sam Griffiths (Musical Director). The set piece routines for example, The Munchkin Sequence, The Poppy Field and The Haunted Forest were excellent. They were all enhanced, as was the show in general, by excellent Animated Backgrounds, provided by Small Wonder Studio. They were not just static scenes but were often part of the action; they and the excellent lighting plot by Tom Olding gave the stage at times, a filmic quality. The use of black and white backgrounds at the start and finish also resonated nicely with memories of the 1939 film: imaginative stuff. I must not forget to mention the costumes that were very colourful and appropriate to the look of this iconic show.

Accompanying the songs and dances very sympathetically was an excellent 12 piece band conducted by Sam Griffiths. It was never too loud and along with excellent sound directed by Dave Dallard, I could hear almost every word both sung and spoken. Incidentally, it is not long since this group used backing tracks for their shows and I suspect that this orchestra is the largest they have ever had, which is a great experience for the young performers.

Although the animated backgrounds were very effective, other appropriate scenery was used and changed very efficiently by Stage Manager Heath Parkin and his largish stage crew.

Finally, this was an excellent production and the production team and the cast should be justifiably proud of the result. A good production well produced and performed.

The show continues until Saturday.

The excellent ensemble was:

Kian Booth, Charlie Briggs, Izzy Broadley. Isaac Brooks, Eleanor Carty, Grace Collishaw, Jennifer Finley, Hannah Glossop, Abbie Harper, Patricia Holmer, Jamie Lane, Jay Littlefair, Lottie Ludlow, Matthew McAuley, Sam Norris, Esme Parker, Ryan Phelps Sammy Platkiw, Bella Ridgway, Emma Roberts, Olivia Savage, Lorley Shelton, Trinity Sheldon, Emily Scott, Megan Trindell, Katie Young, Kian Booth, Ryan Phelps, Katy Young, Matthew McAuley, Sam Norris, Emma Roberts,

Jekyll and Hyde The Musical
The Peoples Theatre Company
The Nottingham Arts Theatre
March 23rd 2016

Dark, delicious and dangerous, we think, is a suitable description of last night’s performance of Jekyll and Hyde from the People’s Theatre Company at the Arts Theatre. It was indeed dark with minimal lighting, a simple yet effective set, including the frequent use of black curtains and smoke. It took us back to the dreary and decadent days of Victorian England, with some excellent period appropriate costumes and it dealt with the timelessly dangerous notions of good and evil.

Once again the People’s Theatre Company have produced a show of great quality, with many professional touches. From start to finish the audience were spellbound by the dramatic story of the tortured Dr. Jekyll, who in the interests of science, turns into a monster. He then wreaks his vengeance on those around him, especially those who do not understand what he is trying to do. There were times when the fear and anticipation of what was going to happen next filled the theatre and kept the audience absolutely silent.

The part of Dr. Jekyll is a demanding one, both vocally and dramatically, but Curtis Taylor-Tipton coped with both elements magnificently. His voice is well suited to the part and he rampaged across the stage, giving an incredibly powerful performance as Mr. Hyde. We were impressed by the way he did this, not relying on any artificial make up or other aids to transform himself between the two characters. He did it entirely by the way he acted – his voice, his demeanor and the physicality of his characterization. By the end of the week I would guess he will be exhausted, but not before thrilling more audiences at the Arts Theatre. This young actor is certainly gaining quite a reputation for excellent performances in the area and we can quite understand why.

Rachel Barry, who played Dr Jekyll’s prospective bride Emma, has a truly wonderful voice and a very natural acting style, which impressed us. Her agony and disbelief as she finally realized that all was not well in the laboratory was brilliantly acted. We particularly liked the duet “In His Eyes,” that she sang with Lauren Gill, who played the prostitute Lucy Harris. At this performance, because of illness, her songs were voiced by of Morven Harrison, who also has a great voice and sang live from the Orchestra Pit. However, Lauren coped well with miming and maintained her dramatic persona throughout. She received a well-deserved ovation at the end of the show.

It was good once again to see Luke Grainger back with People’s, playing Jekyll’s friend, John. As always he thoroughly inhabited the character he was playing and his stage presence was outstanding. He sensitively portrayed the confusion and concern of a friend of Jekyll, watching the shocking events unfold. He has a great singing voice and he was also involved in some really dramatic scenes with Jekyll… or was it Hyde?

Supporting the four main characters very well was a group of talented and skilful actors: Luc Chigwell as Sir Danvers, Rob Harrison as Simon Stride; Harriett Hollowell as Lady Beaconsfield; Lucas Young as Sir Archibald Proops; Barry Hobbs as General Glossop; Paul Rice as The Bishop of Basingstoke; Paice Lees as Lord Savage; Jenny Scott as Nellie; Jason Wrightman; Michael Wood as Bissett, Aaron Hayes as Minister and Harry Illyk.

There were some excellent whole cast and ensemble scenes that were very well directed and choreographed by Chris Teasdale (Director), Lindsey Rice (Assistant Director) and Stephanie Wright with Jenny Scott and Lucas Young (Choreography). I particularly liked the fabulous opening chorus, Façade, Bring on the Men and Murder, Murder, which were particularly good. The production team ensured that these big and dramatic scenes involved everyone.

The Ensemble was: Marisol Fokes, Christine Boothe, Imogin Birkett, Fiona Huberry, Barbara, Benner, Vivenne Tay, Michael Wood, Arun Hayes, Harry ILyk, Joe Smith, Olivia Rice, Callum Barr and Courtney Giddy.

There was also a young ensemble that performed well often alongside the adults which was impressive. They were Xenia Smith, Chloe Wilson, Molly Benner, Maddie Smith and Alex Williams.

Vocally this show was of a very high standard. David Hails, The Musical Director, has done a fantastic job with the cast and a score that is by no means easy. His fabulous orchestra accompanied the show brilliantly throughout. The volume was just right and its musical proficiency was very high. With that in mind I would add that overall the sound and lighting was excellent in the hands of College Street Technicians.

The Stage Managers, Chris Brawn, Paul Rice and their team were effective in the scene changes and I liked the simplicity of the set design, which along with the two sets of black curtains, supported the story well and contributed to the chilling atmosphere of the story.

The Director, Chris Teasdale’s tightly produced show was a joy to watch, despite a couple of minor scenery malfunctions, which I am sure will not happen again. He used his cast well and created a fast paced and exciting spectacle, which was thoroughly engaging. I am sure he will be very proud of the achievement of his cast to produce a difficult show with such ease, at least that’s how it looked from the audience, as it should.

And so this was yet another first class production from People’s Theatre and all concerned should be justifiably proud of their achievements. The audience certainly showed their appreciation at the end.

Grease

Long Eaton Operatic Society
May Hall Theatre, Long Eaton
April 6th 2016

Grease certainly was the word this week in Long Eaton, as Leos stormed onto the stage with a great production of the popular teenage musical, featuring toe tapping songs such as "Grease Lightening," "You're The One That I Want," and "Summer Nights."

From curtain up it was clear that the relatively young cast was going to produce something rather special. After the opening chorus, which was delightfully off beat, the quality of the singing and dancing was very high indeed. There was instant energy and enthusiasm on the stage from the whole cast.

Grease tells the story of an awkward on off teenage romance between the central characters of Sandy and Danny and the reactions of their school friends at the fictional Rydell High School in Chicago. As you might expect, there was a goodly mix of fun, messing about, angst and ribbing amongst the youngsters, but also heartwarming support for each other through the trials of adolescence, so all ends happily in the end.

There were very strong principal performers: George Groom is a swaggeringly self-assured Danny, yet he manages to perfectly portray the character’s developing integrity. Lydia Thacker is a charming Sandy: her sweet voice and unassuming demeanour make her ultimate makeover into the leather clad vamp of the final scene quite spectacular. Zach Foster is engaging as a charismatic Kenicki, Lewis Haycock is a delightfully cocky Sonny, and both Jack Draper as Roger and George Mercer as Doody are wonderfully comedic: George’s solo “Those Magic Changes’ is a real highlight. The Pink Ladies are equally well cast: Emily Corner uses her face so well to show both Rizzo’s bitterness and vulnerability, Karen Woodhead is a beautifully frothy Frenchy, Katie McDonald has perfect comic timing as Jan and Rachelle Bragg brings just the right amount of faux sophistication to Marty. In supporting roles are Rob Chilton as a charmingly gormless Eugene, Georgia Archer as the earnest Patty, Andrew Bould as Teen Angel (loved his solo), the excellent Angela Waters as Miss Lynch, plus very lively performances from Kheenan Jones as Jonny, Abigail Pidgeon as Cha Cha and Jason Parker as Vince Fontaine.

However, this show only works when there is a strong ensemble and a clear connection between everyone on stage. This was absolutely what there was in this production and director Adam Guest must be lauded for achieving this in such spectacular fashion. His flair for working with this kind of cast and show was very apparent.

The ensemble, comprising of young and older members of the society was Amy Clover, Claire Collishaw, Tayla Evans, Eleanor Harvey, Josh Jones, Kathi Ludlow, Tertia Meakin, Milly Shawcross and Melissa Vickerstaff. They all sang and danced with great commitment and enthusiasm.

Grease is a song and dance show with a number of big routines. These were super and the choreography of Sian Scattergood was outstanding, allowing all the cast to perform with confidence and it appeared, ease. The smiles on their faces during these routines were a joy to watch.

Musically this show was of a high standard with a great band directed by Charlotte Daniel. As musical director she needs to be congratulated for her work with the cast to achieve such a high standard. Her orchestra was never over dominant and supported the cast well.

The staging of the show was very smooth with very fast and almost invisible scene changes, which I have come to expect from this company. John Woolley and his stage crew were excellent and the set by Proscenium was bright, colourful and appropriate.

The costumes from Nottingham Community Wardrobe and Leos were very realistic and really added to the feel of the piece, likewise the hairstyles of both boys and girls were in keeping with the times.

Lighting under the direction of Tom and Laura Olding was good and the sound directed by Andrew James was generally good but there were one or two moments when I could not hear some of the principals when they were at the back of the stage.

To sum up, there were excellent performances all round and it is quite obvious how much this relatively young cast are enjoying what they are doing. The singing was great and the dynamic dancing was full of excitement and enthusiasm. The cast quite simply sparkled throughout and the audience loved every minute of it, the smiles and the foot tapping were evidence of that.

Well done to all involved in this excellent production.

Rock of Ages
Heanor Musical Theatre Company
The Palace Theatre, Mansfield
April 21st 2016

The Palace Theatre in Mansfield rocked for ages last night with the presence of the Heanor Musical Theatre Company and great rock songs such as Cum On Feel the Noise, We Built This City, Waiting for a girl like you, Here I Go Again and The Final Countdown.

Rock of Ages is about Drew, an aspiring rock singer, who at the start of the show works as a bartender at the Bourbon Rooms club; he falls for Sherrie who wants to be an actress. However, as always, the course of true love, especially in rock musicals, never runs smooth! Throw into the mix a German developer who arrives to demolish the area in which the characters live, an over sexed fading rock star who also fancies Sherrie and you have the basis for a ….. rock musical.

There follows lots of great songs, dancing, movement, comedy and drama, which all combine to keep the story moving at a fast pace, although some of the songs did end rather suddenly but that is, of course, in the writing.

There were some very strong performances from the principals.

Ben Jones, as Lonny, was very funny throughout, making the most of his role as narrator, dominating the stage every time he came on and usually making us laugh. Paul Mills, as Dennis Dupree excelled in the role of club owner with his great voice and spot on comedy timing. The Song, "I Can't fight this feeling," was brilliantly performed by Ben and Paul and was uproariously funny and almost brought the house down. We all loved it!

Tom Lucking, as the rock singer Drew and suitor of Sherrie, was ideally cast and made the most of the opportunity to sing some great tunes using his lovely voice. Gemma Blake, in her first leading lady role as Sherrie, was absolutely wonderful. Her voice was fabulous and she acted with sincerity, passion, pathos and understanding.

Paul Whitworth as Hertz Klineman, the German Developer and Brett Walkeras as Franz Klineman as his son, who spoke these immortal words “I’m not gay, I’m just German,” were very well cast and worked well together. The audience loved Brett and in particular his physical comedy, which was great.

Aine O'Neil-Mason as Regina, the leader of the anti development group was fantastic in her role and sang with incredible power and commitment. You really did get the feeling that no one was going to demolish anything while she was around!

Al Tandy in the role of the Stacee Jaxx, the over sexed, yet lacking in real confidence, singer and Kathy Freeman as Justice the strip club madam were perfectly cast and really brought their respective roles to life.

Everyone in the cast played important parts in the action, some in cameo roles. They were Katie Ward, Laura-Jane Jacobs, Alana Moran, Julia Harris, Ben Sherwin, Kerry Van de Broucke, Tracy Coope, Lucy Stokes, Alison woodruff, Lauren Victoria Wells, Molly Hewitt-Richards, Brianna Undy and Tom Clay.

The shows Director, Kim Harris, along with his technical director, Paul Young, succeeded tonight in producing a show of considerable quality. It was full of excitement, energy, fun and powerful performances. The choreographer, Josephine Walker successfully combined rock informality with some carefully plotted dance and movement sequences.

The Musical Director, Emily Marshall-Sims led a fine sounding band although there were a few times especially in Act 2, when they slightly overpowered the performers. This, I feel, was a problem more with the sound amplification and balance with the microphones rather than with the performers or musicians. This is, of course, a very loud show and I guess will always have this as a potential problem. However, the overall musical standard was very high throughout and Emily has obviously worked very hard with the cast to produce this.

Scene changes were smooth and well handled by Stage Manager, John Thompson and his assistant Nathan Hird. The simple set and back projections complemented the production well, as did the lighting plot.

The final ensemble song "Don't Stop believing" was sung with power and spirit. The cast were obviously enjoying themselves and this was infectiously transmitted to the audience, who responded with an enthusiastic and prolonged ovation. Many were standing.

Well done to everyone involved in this production which was very well received by all at the Palace.

Fame
Centre Stage Theatre Arts (Intermediate Section)
The Robert Ludlam Theatre, Derby 
Friday April 22nd 2016

Fame “remember my name” – I for one will certainly remember it after tonight’s excellent performance by Centre Stage Theatre Arts at The Robert Ludlam Theatre in Derby. The cast were I, I think, aged between 12 and 16 (sorry if that is wrong).

The musical, based on the 1980 film of the same name, tells the story of students who go to the High School of Performing Arts, among them fame-obsessed Carmen, ambitious actress Serena, wisecracking comedian/bad boy Joe, quiet flute playing Schlomo, talented but dyslexic dancer Tyrone, determined actor Nick, overweight dancer Mabel, and dancer Iris.

There are some great toe tapping songs featured in the show which include: Hard Work, There She Goes!, Fame, Bring on Tomorrow, Mabel's Prayer and Let's Play a Love Scene.

In tonight’s performance there were some very strong performances from the principals, led by Tamara Morgan as Carmen Diaz, Marcus Bush as Schlomo Metzenbaum, Natasha Neale as Serena Katz, Joe Barker as Tyrone Jackson, Will Evans as Nick Piazza, Iggi Duncan as Jose ‘Joe’ Vegas, Ruby Newcombe as Mabel Washington and Hanna Bricklebank as Iris Kelly. There is a range of great talent here, including exceptionally strong vocals, playing of individual instruments and fine delivery of lines.

They were very well supported by Alice Proudler as Grace ‘Lambchops’ Lamb, Isaac Levitt as Goodman ‘Goody’ King, Emilia Palfreyman as Miss Sherman, Emma Merrey as Miss Bell, Nic Gordon as Mr Myers and Christina Allen as Ms Sheinkopf. Again, engaging individual performances and some lovely solos.

There was an impressively supportive and talented ensemble of singers and dancers:

Amy Brownhill, Amy Burchell, Holly Burchell, Matthew Carrington, Charlotte Crane, Romilly Das, Izaac Drew, Phoebe Drew, Megan Frisby, Jasmine Harrison, Tabitha Hartshorn, Alisha Hunter, Ethan Jones, Amber Lord, Lilja-Mai McKevitt, Chloe Merrey, Lily Morris, Nadia Potter, Luke Preston-Davies, Hannah Riley, Katie Ringer, James Spink, Eleanor Wentworth, Bailey West, Nathan Wilson

The Creative team of Bethany Bennet (Director), Bethan Davies, James Rayner (Musical Directors), Josephine Walker and James Rayner (choreographers), are to be congratulated on producing a show of such high quality. Not only was there some excellent dancing and singing but some very powerful and moving drama, as well. This was particularly impressive as the cast were so young; a lot of work must have gone in to developing character and honing delivery.

I must at this point mention the “Fame Band” that was brilliant and never once overpowered the singers.

The sound, under the control of Dave Dallard and Harry Greatorex was just right and there was excellent lighting from Brian Counter and Richard Eymes. The Stage Management/ set crew of Steve Thornhill, Mark Birch and Lee Hartshorn had obviously worked hard to make everything look good and the production move so smoothly.

I really enjoyed this show, which was punchy, exciting, energetic, exuberant and provided superb entertainment. It was great to see young actors of such talent working with each other to produce something so impressive.

Fame has as an important message for young and old – never give up, believe in yourself, always having a go, support each other and you will achieve what you want. The cast did that tonight and brought the message alive for us all.

Well done to all involved and for giving me another (the third this week) great night out at the theatre.

Little Shop of Horrors
Creatio Arts
Nottingham Arts Theatre
Friday May 6th 2016

Last night I went to see a performance of one of my favourite musicals, Little Shop of Horrors and once again, I loved it.

This high-energy show was performed very well by an enthusiastic and talented cast.

Little Shop is about a florist shop worker who raises a plant that feeds on human blood and flesh. The music is composed in the style of early 1960s rock and roll, doo-wop and early Motown and has several well-known tunes, including the title song, "Skid Row (Downtown)", "Somewhere That's Green", and "Suddenly, Seymour".

The lead role of Seymour was played to perfection by Tom Stanley. 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 has a great singing voice as well and I particularly liked his performance of “Grow for me” - there was a lot of emotion in that.

Audrey was played by Katy Freeman. Her characterisation of the badly done to woman, who eventually falls for Seymour, was outstanding, Her acting and singing was first class and her performance of “Somewhere that's green” was superb.

Mushnik, the owner of the flower shop in which most of the action takes place, was played by Adam Guest. Adam always excels in all the roles he plays and tonight was no exception. His duet, “Mushnik and Son” with Tom was extremely well done and was very funny.

I was particularly impressed by Jack Readyhoof, 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, exciting and interesting. His comedy timing was exact, but he was also very scary at times. I may well think about him with some trepidation when I next go to the dentists!

A special mention must be made of the girls singing some of the backing vocals Laura Jones (Crystal), Georgie Bond (Ronnette), Aine O’Neil (Chiffon) plus The Rockets who also sang very well - Laura Jacobs, Eleanor Mallinson, Rebekah Fearn. They were all fabulous and looked good in assorted colourful 60’s costumes.

The standard of singing throughout was excellent, some wonderfully powerful solos and lovely ensemble work from the talented group of singers and dancers. They complemented the principles in so many ways and deserve a name check, each and every one of them.

They were: Charlotte Richardson, Alex Richardson, Laura Tracey, Josephine Walker, Josh Birchall, Kheenan Jones, Andrew Bould and Ray Elliott. There were also a few guest appearances from the director – Matt Powell. Well, I suppose he has to keep an eye on everyone!

Praise indeed must go to the hard work of the Musical Director Martin Lewis, for helping the whole cast to achieve such a high vocal standard. His band was first class and the balance between them and the performers was just perfect.

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 operator, Milly Shawcross, did a great job as did the “voice of Audrey 2,” Phil Stanley.

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

Congratulations go to the show’s production team of Matt Powell, the Director, Kheenan Jones, Assistant Director, Charli Ricoh, the choreographer and those many others who were involved in the technical aspects of the show under the direction of the Stage Manager, Andrew Bould.

Overall this was a seamless production with a ‘wow’ factor, which delighted the audience. This was Creatio’s first production and it has certainly raised the bar to a very high level. After tonight I can’t wait for their next two productions of Les Miserables, Schools Edition, at Derby Theatre in July and Bare at the Duchess Theatre in Long Eaton in September.

Well done to Matt Powell who not only directed this production brilliantly but is also is the brains and powerhouse behind Creatio Theatre Arts.

This is a show that I would recommend everyone goes and sees.

Grease
The Carlton Operatic Society
June 1st 2016
Theatre Royal Nottingham

Grease was certainly the word last night at the Theatre Royal, as this award winning society scored another triumph with a dynamic, energetic and stunning performance of this feel good show. The show ended with a brilliant finale and sustained applause from an enthralled audience.

Grease is a high octane, fun musical loved by many: it’s set in 1959 at fictional Rydell High School and follows ten working-class teenagers, as they navigate the complexities of peer pressure, politics, personal core values and love. The score attempts to recreate the sounds of early rock and roll. Although it is a fun show, it also mentions some more serious topics, such as teenage pregnancy, peer pressure and gang violence; its themes include love, friendship, teenage rebellion, sexual exploration during adolescence, and, to some extent, class consciousness/class conflict.

It has many foot tapping tunes and big dance numbers that lighten the spirit and lift the mood. Well known songs include: "Summer Nights", "Freddy, My Love", "Greased Lightnin", "Look at Me, I'm Sandra Dee" and "We Go Together." The talent and skill of the performers meant that all of these numbers were beautifully executed; in fact this whole production was rivetingly good and would be worthy of the professional stage.

There were very strong and engaging principal performances from Mark Coffey-Bainbridge as Danny, Catherine Cunningham as Sandy, Judie Matthews as Betty, Sarah Millington as Frenchy, Abby Wells as Marty, and Aston Fisher as Jan. They were very well supported by Sam Hutchinson as Kenickie, Patrick McChrystal as Doody, Liam Hall as Roger, Paice Lees as Sonny, Amy Rogers-Gee as Patty, Sophie Petruccio as Cha-Cha DiGregorio, James Murray as Eugene, Ross Lowe as Vince Fontaine, Graham Ward as Johnny Casino, Matt Wesson as Teen Angel, Michelle Smith as Miss Lynch and Zoe Scott-Smith as Blanche.

The excellent ensemble (some cameo performances as well) delighted us with the high quality song and dance routines. They were, Adam Collishaw, Helen Tunnicliff, Rosie Carter, Gareth Morris, Laura Thurman, Alison Stones, Hannah Rogers-Gee, Bethany Wear, Celine McKeown, Katherine McNamara, Sarah Hill, Tia Elvidge, Ellie Monterosso, Lucy Bailey, Laurence Grandy, Emily Newsome, Bekki Wilson, Maya Thompson, Eva Sheppard, Alice Wright, Olivia Jones, Charleigh Hurst, David Hurt.

Well done to Amanda Hall, the Director and her talented production team, Jessica Royce (the Assistant Director and Assistant Choreography), Rachael Rees (the choreographer), Chris Rees (the Musical Director) - for producing a show of great quality and with a freshness that made this interpretation their very own. The band was superb and accompanied the cast sympathetically.

The simple but effective tiered set designed by Amanda Hall and Tom Mowat was just right for the needs of the production. The lighting plot by Tom Mowat and the sound controlled by Rob Kettridge was excellent. Scene changes were very smooth under the direction of the Stage Manager, Vicky Johnson and her large and obviously well drilled stage crew. The costume designs by Alison Stones were most evocative of the period and were complemented by appropriate hairstyles and well chosen contemporary props.

The show ended with a breathtaking finale - one of the best I have seen for a very long time. You can't beat a good finale and this one gave us all the chance to join in with the songs again and to clap for all we were worth, to give the cast all the credit they deserved. It was fully choreographed and performed with remarkably high energy and enthusiasm. It was worth coming to see the show just for that.

Go and see this show - you will love it!! Tonight’s audience left the theatre with lots of smiles and that is what going to the theatre is about isn't it? Enjoying yourself. I love to listen to the buzz of conversation when leaving the theatre and to pick up some words. Tonight the words were "brilliant." "really good," "great singing" and from one younger person, "can we come again?."

One Man Two Guvnors 
Encore Theatre Arts
Nottingham Arts Theatre
June 21st 2016

Described by The Guardian as 'A triumph of visual and verbal comedy, One Man, Two Guvnors is a glorious celebration of British comedy: a unique, laugh-out-loud mix of satire, slapstick and glittering one-liners."

This play is based on Goldoni's 18th-century comedy, The Servant of Two Masters. It concerns Francis Henshall, who has been fired from his skiffle band and taken a job as minder to Roscoe Crabbe, a small time East End hood, now in Brighton to collect £6,000 from his fiancée’s brother. But in fact Roscoe’s sister Rachel is posing as her brother, as he’s been killed by her boyfriend, Stanley Stubbers. Holed up at The Cricketers' Arms, the permanently ravenous Francis spots the chance of an extra meal ticket and takes a second job with Stanley Stubbers, who is hiding from the police and waiting to be re-united with Rachel. To prevent discovery, Francis must keep his two guvnors apart. Simples!

Well, as you might guess, it is definitely not simples and the result is a catalogue of misunderstandings, riotous goings on and what might be described as manic farce.

Encore have gathered together an exceptionally talented cast to present this play that began its life at the National Theatre, before moving into the West End.

The show was very slick and the cast obviously know the production inside out, meaning that the lines flow at a perfect pace, which is vital with a farce. I could clearly hear and understand all of the dialogue, even if the machinations of the plot are occasionally delightfully unfathomable.

The cast handled both the vocal and physical demands of this play with ease. Adam Guest is simply brilliant as the man with two guvnors and throws himself into his performance with engaging gusto. He has enormous stage presence and is so comfortable with the role that he is entirely believable and able to work the audience with ease. This all takes tremendous energy and huge skill, as it involves a lot of riotous physical comedy, exquisite timing and very quick thinking.

Fast paced dialogue and witty banter come from all the cast and each brings something extra to their character. Emma Collins is a jaunty but steely ‘Roscoe’ – a real twinkle in her eye - and Ross Lowe shines as the public school buffoon, with absolutely spot on delivery and diction. Jack Readyhoof is a gloriously over the top aspiring actor – his arms must surely ache the next day - and Aston Fisher is brilliant as a captivatingly dense Pauline Clench. Special mention to Lewis Haycock, who took over the part of her shady brother, Charlie Clench, late on and absolutely nailed the character, a fine piece of acting. Amy Clover is simply delightful as the man eating Dolly, Clive Williamson gives a beautifully balanced performance as Lloyd Boatang and Kathryn McCauley brings just the right level of dignity, barely contained restraint and consequently humour, to Gareth, the waiter. Last, but by no means least, especially as he played not only Harry Dangle, the family solicitor, but also a number of other cameo roles was Gary Lever. He is an extremely versatile and talented actor who brought so much to the play in so many ways.

Special mention must also go to Kheenan Jones who delighted the audience with his portrayal of slow - moving geriatric waiter Alfie. For a 19 year old to play an 86 year old so believably is impressive indeed: a great example of how physicality can create a character.

The set design was impressive for a relatively small space and well thought out, turning Charlie’s House into the Cricketer’s Arms smoothly andquickly, albeit behind the red curtain. The “acts’ that filled the time were varied, quirky, and very entertaining. They kept the action moving. The production team led by Ollie Turner (Director) ably supported by Verna Bayliss (Assistant Director) and Sam Griffiths (Producer) can bejustifiably proud of the result. So much thought had obviously gone in to staging the action, managing the set pieces, honing the performances and simply capturing the energy of the piece: evidence of great direction. There were also many others who contributed to this very well produced show.

There was a well-deserved ovation at the end, which the cast were obviously delighted with. I hope they survive the week though, giventhe amount of energy they used, as this is a high-energy show. It is refreshingly different and often packs a punch; there really isn’t a dull moment.

If you like slapstick comedy combined with audience participation, great one liners, a crazy but clever plot and a superb cast, you really need to go and see it

Jesus Christ Superstar
People’s Theatre Company
September 6th 2016

This show was first performed in 1971 and at the time was ground breaking in the world of musical theatre. Tim Rice and Andrew Lloyd Webber’s rock opera tells the story of the last seven days in the life of Jesus through an extraordinary and exciting score. As compelling today as it was at its inception over 40 years ago, Jesus Christ Superstar has some of musical theatre’s most legendary songs from I Don’t Know How to Love Him, Everything’s Alright and Gethsemane through to, of course, Superstar.

Last night at the Nottingham Arts Theatre, the People’s Theatre Company once again produced a fine production of this very popular show. This version was performed in a simple and straightforward way and in modern dress, emphasising the timeless nature of the story. The set was bare, apart from a small podium at the back of the stage with a few piles of scaffolding that was used for various purposes. The fairly large stage area in front allowed the cast to move around smoothly and often as a large crowd. This made for some very energetic and exciting ensemble work both in terms of singing and dancing.

From the very first entrance of the ensemble it was obvious that this was going to be a dynamic and interesting production. Throughout, every member of the cast was involved in the action and maintained their characters. They were all comfortable on stage and the director ensured that they all had something to do: there was never a dull moment and always something to take your eye.

The show focuses to a large extent on the troubled character of Judas played magnificently by Sam Barson. He has a very strong and dynamic voice, which he used brilliantly to show how tortured he was. He also showed how he felt throughout the show by the way he moved around the stage – he is a very good physical actor as well as singer.

Playing the part of Jesus was Patrick McCrystal and he complimented Sam well by being so opposite in character. While Sam was railing and shouting, Patrick was naturally calm and thoughtful. His performance was utterly convincing as a puzzled, vulnerable and ultimately broken Jesus, with his emotional Gethsemane a particular highlight for me.

Playing the sad and sometimes confused Mary Magdalene was Vivienne Tay whose voice was lovely and just right for the character. Her performance of I don’t Know How To Love Him was very well sung

There were many other good performances that need a mention. Jason Wrightman’s portrayal of Pilate was suitably dramatic and displayed genuine stagecraft and presence. Laura Ellis as Simon the Zealot and Connah Porter as the anguished Peter gave accomplished performances. John Gill as a very camp Herod provided an object lesson in playing a one-scene role – clever and funny without going over the top too much. He also combined humour with absolute evil.

The Role of the High Priest, Caiaphas was played very powerfully by Meng Khaw who was pretty frightening and his assistant, Annas was played by Luke Grainger, who was so at home and believable in the role. His facial expressions were captivating.

The ensemble is very important in this show and this one was particularly remarkable. The choruses were performed with a considerable degree of drive and clarity, with the togetherness of the dancing being very impressive. Every one of them deserves great praise – as do the backstage team that has brought them to this high standard.

They were: Ted Ball, Imogen Birkett, Danny Buttfield, Adam Chapman, Serena Eadon, Courtney Giddy, Barry Hobbs, Isabella Keen, Jenny Pike, Joseph Smith, Roy Smith, Tianya Stokes, Daisy Weston, Michael Wood.

The sound and lighting by Tom Mowatt and Richard Zamorski was just right, as was the simple set design by Laura Ellis and Francis Lowe.

The Orchestra directed by the Musical Director David Hails was very good and just right for the show, although there were just one or two times when the rock nature of score was just a little overpowering for the soloists. This was rare though.

The production team of Chris Teasdale (Director), Luke Grainger (Assistant Director), David Hails, (Musical Director) and Jenny Scott (Choreographer), Amy Rogers Gee (Stage Manager) is to be congratulated for producing an exciting, vibrant, dynamic and thoughtful version of the show. I was pleased that the scourging of Jesus and the crucifixion scenes were sensitively directed so as to make it meaningful rather than gory, as I have seen in some other productions.

This is not one of my favourite shows but this production was the best I have seen and the whole cast should be justly proud of the success they made of it. They will, I am sure be very tired at the end of the run as the effort and power they all put into it was enormous.

That is what made me enjoy it more than I have before. Well done everyone.

Sweeney Todd: The demon barber of Fleet Street
Derby Theatre
Tuesday 11 October 2016

Review by Zak Charlesworth (Theatre Online)

Sweeney Todd has never really caught my eye and is a show I've never been able to get into, but last night that was all changed by this dark production directed by Daniel Buckroyd. It hit every nail on the head. From the moment the lights started to dim I knew this was going to be a fantastic show.

As you enter the auditorium you see a hanging dirty cloth, with the set behind it. There are two balconies either side with a revolving stage. A few years ago I saw a production of Sweeney Todd with a revolving stage and personally didn’t think it worked with this, so I was interested to see how Sara Perks’ design was going to work.

Hugh Maynard as Sweeney Todd was incredible. I've seen Hugh in many productions from Simon in Jesus Christ Superstar and John in Miss Saigon, so I was interested how he would portray the role of Sweeney Todd and whether he would add his classic soul and rock tones to the role. However he didn’t and his portrayal of Sweeney was just right, showing every emotion that Todd goes through.

Jack Wilcox as Anthony Hope sang with his heart and soul as he tried to free his love of his life Johanna. She was played by Christina Bennington, who has clean crisp vocals and acts with convincing innocence. Jack's version of the song “Johanna” was sweet and perfect and for me, better than any that are on Sweeney soundtrack recordings I have heard.

David Durham had for me one of the most difficult scenes of the show when he had to whip himself because of his feelings for his 'daughter', but he didn’t hold back and his commitment to the role of Judge Turpin was strong.

Julian Hoult who played Beadle Bamford added some humour to the role and it worked very well. Mr Fogg was played by Daniel Buckley and his character stood out especially in the Mental Asylum scene – which has to be praised as it worked incredibly well.

Kara Lane as the Beggar woman added great comedy and also let you empathise with her character shortly before going off to ply her trade on the streets. Signor Pirelli (Simon Shorten) was a great character throughout the show and I was amazed by how quickly and easily Simon could switch between accents.

The two characters that added the hotness to the pies were Ryan Heenan (Tobias) and Sophie-Louise Dann (Mrs Lovett). Ryan’s portrayal of Tobias Ragg was engaging and vocally perfect. You felt his love for Mrs Lovett and his worry for her especially throughout “Not while I'm around”. Sophie-Louise had everything Mrs Lovett needed for the character which was outstanding and added comedy and laughter to the production.

The community cast added a nice touch to the production. The revolving stage was used perfectly and let the audience see every angle of the building in Fleet Street and it enabled the lighting team to use shadows and silhouettes, which worked very well. Smells are used in the production and they worked very well: I've never seen a production use this effect before.

Daniel Buckroyd’s direction was good, sharp and well executed by the cast. Michael Haslam controlled the band very well and the band volume level was just right throughout the performance.

This production is a must see especially for anyone wanting to go into the industry, but also go see it if you enjoy well produced theatre as this was as good, if not better, a production than you might see in London's West End.

Oliver
Long Eaton Operatic Society
May Hall Theatre,
Trent College, Long Eaton
October 19th 2016 

Consider yourself well off if you can get a ticket for this show, which I really enjoyed last night at Trent College. Once again The Long Eaton Operatic Society have produced a highly professional and very well produced show.

Oliver is a well-known and popular show, both with adult and youth group societies. It has also been produced in the West End many times and on national tours.

It is based on the classic story of the orphan boy, Oliver Twist, by Charles Dickens, although the stage musical by Lionel Bart does depart somewhat from the original book, particularly in Act 2.

It is full of many colourful characters, who are brimming with potential for actors, singers and dancers. In the show tonight this potential was reached and sometimes exceeded.

From the opening chorus of “Food Glorious Food” and through super choruses such as “Consider Yourself,” “Who will buy” and “0om-Pah-Pah”, there was a real energy and passion from the whole cast. I must mention the 4 street vendors who introduced one of my favourite songs from the show, “Who will Buy.” They were Sian Scattergood, Emma Collins, Anna McAuley and Hadrian Munroe. They sang beautifully.

There are a number of demanding roles in the show and one of the most is that of ‘the Jew’, Fagin. This was performed brilliantly by Lewis Haycock, who I have seen perform a number of roles: this was, in my opinion, his best so far. His characterisation was totally believable, as he skilfully played the part of a much older man. He acted and sang really well and was a commanding presence on the stage throughout.

Playing the role of Nancy, the girlfriend of local villain, Bill Sikes, was Abigail Pidgeon. She was wonderful in the role, having not only a fabulous voice, but she is also a skilled actor. Her rendition of "As Long as he needs me" was excellent being full of emotion and raw power, with every note sung with absolute perfection.

I was also impressed by Katie Macdonald who played Bet, Nancy's friend. She also has a lovely voice and shone in the excellent “Oom Pah Pah”.

The show begins with the entry of the orphan boys into the dining hall. As they entered and began to sing the sound was terrific; it was obvious they have been well rehearsed and this high standard continued throughout the show. I understand that some of them are seasoned performers, while others were making their first appearances on stage. However, it was impossible to tell the difference.

Well done to Abraham Collishaw, Harley Fennell, Alfie Foster, Evan Hagen, Matthew McAuley, Robert McAuley, Ryan Phelps, Jake Reynolds, Charlie Sharp and Billy Sweet.

Amongst the boys was Dominic Wood playing the orphan Oliver. He has a lovely singing voice and his apt facial expressions plus the sweet delivery of his lines, captured the character perfectly. I was impressed by the way in which he completely inhabited the role and looked very comfortable on the stage.

When Oliver arrives in London he meets the Artful Dodger, played by Bailey West who I last saw in Les Miserable as Garoche. He was thoroughly engaging, bringing a chirpy warmth and humour to the role of a child criminal, old before his time and totally corrupted by circumstances. Both boys acted, sang and danced beautifully and must surely be seen in many other roles in the future.

The main comedy element of this show is provided by Mr Bumble, The Town Beadle and his love interest, the Widow Corney. They were played by Jack Draper and Claire Collishaw, who had obviously worked very hard on creating the physical presence of their characters, as well as the splendid delivery of their lines. They captured both the comic and nastier sides of their characters and played very well together.

Playing the two characters who have few redeeming features, the Undertaker Mr Sowerbury and his wife, Mrs Sowerberry, were Rob Byatt & Liz Woolley. Their characterisations were spot on and although they are nasty characters, they also brought out considerable humour. They made us laugh with the song "That's your Funeral," which is a great example of the skilled and witty writing of Lionel Bart.

Supporting well in the undertakers were Jack Woolley (Noah) and Tayla Evans (Charlotte). They ably created the awfulness of their characters and Jack's brash unpleasantness was well complemented by Tayla's incredible screams!

John Paxton played Bill Sikes really well and he certainly chilled me during his rendition of “My Name.” As is traditional, he received many boos during the curtain calls, which is a well deserved compliment of his sinister and gritty performance. I would perhaps have like to have seen more of the action during his murder of Nancy and his own death, as both of these were mostly off stage.

There were also some nice cameo roles in the show, which were well played by Lindsay Mould (Mr Brownlow), Angela Walters (Mrs Bedwin), Martin Mould (Dr Grimwig), and Aiden Carson (Charley Bates).

I must also mention the names of those in the adult ensemble who were great in the set piece numbers. They were Jenny Carty, Emily Corner, Sue Corner, James Dalrymple, Joanna East, John East, Megan Fennell, Zach Foster, John Fox, Eleanor Harvey, Kathi Ludlow, Tony Newton, Dave O’Neal, Lydia Thacker and Ann Woolley.

Every scene was visually pleasing, owing to good stage design and very appropriate costumes and props- well done to those responsible for this.The set was very well built and had great flexibility enabling the excellent stage crew, under the direction of Stage Manager John Woolley, to change the sets swiftly and often invisibly. The Lighting under the direction of Tom Olding and the sound by Andrew James was first class. Sound has in the past been a bit of an issue at this venue but tonight it was crisp, clear and well balanced with the excellent orchestra, which was never over powering.

The production team of Siobhan Parker (Director), Karen Woodhead (choreography) and Sam Griffiths (Musical Director) have done a magnificent job to produce this great production and should be justifiably proud of the results of their work.

The May Hall was pretty full tonight so tickets may be in short supply but I would suggest that "Who will buy?" should be you!

The Wedding Singer
Beeston Musical Theatre Group
Duchess Theatre
October 25th 2016

Last night at the Duchess Theatre we were taken back to the 1980’s and reminded of big hairstyles, shoulder pads and brightly coloured clothes. The Wedding Singer is based on the 1998 Adam Sandler movie of the same name and follows the story of Robbie Hart, a charming and entertaining musician from Ridgefield, New Jersey. Left at the altar by his long-time fiancé and having developed feelings for his unhappily engaged co-worker Julia, Robbie’s story explores the confusion and temptations of a forbidden love with a humorous script and a robust musical score.

The Beeston Musical Theatre Group worked hard to produce an evening of enjoyable musical theatre.

The principals were well cast giving excellent performances. The somewhat sketchily drawn characters were brought to life by their attention to detail, expressive delivery and infectious humour. The quality of the acting shone throughout, along with excellent singing, plus well-rehearsed and energetic dancing routines.

Chris Bryan played Robbie Hart, with Claire Rybicki as Julia Sullivan. Chris portrayed the role of the failed romantic who is turned bitter by a jilting, in a thoroughly engaging and entertaining way. He has great stage presence and his easy amiability and amusing descent into comic self pity, ably expressed in the wonderful ‘Somebody Kill Me’, were a joy to watch. His ability to perform a range of different singing styles is also perfect for this role. Claire, as the female lead was the same pleasing combination of good humour and innocent goofiness, coupled with a beautiful voice: a captivating performance. Both actors used facial expressions, mannerisms and clear nuanced delivery to great effect. Their duets, particularly ‘If I Told You’, were lovely to listen to.

The two boys in Robbie’s band were played well by Rob Holman as Sammy and David Hurt as George. Both had obviously worked hard on their characterisations, physical style and lively delivery. They delighted with many humorous moments, and, in David’s case, some excellent gymnastics!

Zoe Brinklow as Holly, Julia’s friend had an incredible impact on stage. She sang and danced her heart out and showed real acting flair, bringing the part of the brassy but compassionate Holly to life.

Rob Charles as the sleazy womaniser, Glen Guglia, was as suave and nastily materialistic as you would expect, giving contrast to the leading couple. His big number All About the Green’ was a delight.

Abby Riddell as Linda portrayed a calculating vamp with great panache. She has real self assurance on stage and performed her two solos, which were much appreciated by the audience, with wonderful style.

I have to say that one of my favourite characters was played by Mina Machin: Robbie’s Grandma Rosie. She brought the character of the raunchy and cringe inducing senior citizen to life: through excellent acting and a spot on accent. The audience were highly amused by her singing, rapping and dancing; her duet with ‘George’ was a highlight.

The ensemble gave excellent support, not only to the leading players, but also to the show as a whole, they were used very effectively throughout. Many of them played interesting cameo roles. They were David Artiss, Katie Bird, Ronja Breitkopf, Craig Butterworth, Jenny Chatten, Jane Cottee, Jodie Cresdee, Kayrakise Evans, Claire Ferrand-Preston, Laura Henson, Rachel Maddison, Ruth Maddison, Cheryl Mills, Simon Owen and Christine Walton.

The show’s choreographer, Craig Butterworth, ensured that the set piece dance numbers were fast, slick and highly energetic. The big numbers like “Saturday Night in the City” and “All About the Green” involving the whole cast, were exciting and very evocative of the period.

The Director, Lisa Smith, is to be congratulated for the way in which she handled the big group scenes, alongside some small intimate moments, plus her obvious attention to developing the relationships between the main characters. Given the complicated logistics involved throughout the show, the stage management was seamless. Entries and exits worked almost like clockwork. The excellent set was used extremely well and the props were to hand with impeccable timing and organisation throughout. The Stage Managers, Lisa Smith and Garry Smith, plus their team, are to be congratulated for their excellent work. The costume changes were numerous and well-coordinated in typical 80s style, which gave the performance an authentic throwback feel. Well done to Mina Machin for that.

Nathan Truesdale (Musical Director) effectively managed the music as an integral part of the show. This is demanding production, as the songs flow thick and fast and there is a lot of incidental music to be managed throughout. The orchestra sounded good and supported the cast well throughout. The sound was in the capable hands of Sean Renshaw.

The lighting director, Dave Martin provided the show with some beautiful moments which enhanced the overall feel of the show.

The Director, Choreographer and MD plus the whole company are to be congratulated for the high standard of tonight's performances.

This was a feel-good, heart-warming, smile-inducing show and, as I have come to expect from BMTG, a high-quality performance.

Dick Whittington 
People's Theatre 
Nottingham Arts Theatre 
Friday December 9th 2016

"If you can only get to one Pantomime this year it should be this one."

Once again Amanda Hall and the People's Theatre Company have produced a superb Pantomime at Nottingham's Arts Theatre. It had all the elements of a good Pantomime - comedy, pathos, well known songs and a great script with local references.

Dick Whittington was excellent in all respects combining a very well written and witty script with great direction by Amanda Hall.

What was so noticeable was the obvious enjoyment the cast displayed on stage. This was infectious and soon transmitted itself to us in the audience. They were having a ball as were we. There were some outstanding performances from both individuals and the adult and Junior Choruses.

Contrary to what some people may think, Pantomime is not an easy genre but tonight People's made it look so.

The excellent principal cast was led by Michael Pearson (Dick), Laura Thurman (Idle Jack), Matt Wesson (Sarah the cook), Mike Newbold (Alderman Fitzwarren), Rob Goll (King Rat) and Alison Sheppard (Fairy Bowbells).

They were very well supported by Kimberley Allsopp (Alice), James Murray (Tommy the Cat), Cassie Hall (Twoey), Gareth Morris (Barnacle), Marie Rogers (Mr Bilge) and Barry Hobbs (Sultan).

The adult ensemble worked really hard in all the scenes they were in and sang and danced with great enthusiasm and with considerable precision. Well done to Christine Booth, Poppy Cook, Lucie Conroy, Euan David, Laura Ellis, Charleigh Hurst, Anna King, Patrick McChrystal, Soleil Quarless, Eva Shepard, Kacey Scrimshaw and Nikki Jarvis.

The Junior Chorus was split into two teams for the duration of the run and when I saw the show it was team Storm who were excellent.

There is an old theatrical saying, “Don’t work with children or animals.” Well I must just say that at the end of the show the traditional invite to a group of children on to the stage for a chat and sing song was managed to perfection by Laura Thurman and Matt Wesson. Their natural style was loved by the children and the audience. Well done to both.

The choreography by Amy Rogers Gee was exciting and appropriate for this show and the whole cast. The routines were sharp, exciting and well performed.

The Musical Director, Ray Samuel Mcleod, did a great job in the pit as usual and his great work with the cast paid off, leading to some excellent vocal performances. The balance between the music and the performers was spot on.

Well done to everyone who was involved not forgetting the staging and tech guys. Well done to Tom Mowat (Lighting design), Oliver Reed (lighting operator), Rob Kettridge (sound), Cris Brawn (great Set Design) and Amy Rogers-Gee (Staging).

My view after seeing this production is that if you only go to one Panto this year, and the Region has many, my advice is, make it this one.

Amanda Hall, her production team and the very talented cast have proved once again that an amateur group can do Pantomime as well if not better than some of the professionals.