Review of Les Miserables (School Edition)
Wilsthorpe School
February 10th 2017

Well done to all involved with tonight's stunning performance of Les Miserables, which received a richly deserved whole hall standing ovation. As the Headteacher said at the end of the evening, “this was not just a school show, but a theatrical production.”

A few years ago it would have been unthinkable that a school could even attempt producing a show as complex and difficult as this one, but tonight this team proved that with talent, vision and dedication they certainly can.

All the cast worked so hard and there were many excellent individual performances.

There were strong performances from all the principal actors, led by the charismatic Aiden Carson, in the role of Jean Valjean,. He portrayed this central character in such a sensitive and thoughtful way, suggesting the vulnerability of the character, as well as his determination to do the right thing He has excellent acting skills and a clear and tuneful voice; he handled the complexity of such a big role very well.

Isaac Brookes played the part of the agonised policeman, Javert, with considerable skill and maturity, inhabiting the role convincingly throughout the show. He has excellent diction, expression and projection and is a pleasure to listen to. He sang his solo, “Stars” with passion.

Erin Hill sang and acted the part of Fantine very well indeed. She has a lovely mature voice and showed in her excellent acting how well she understood the pain that the character had endured. She owned the stage and her rendition of “I dreamed a dream,’ was wonderful.

I was very impressed by Tayla Evans, who I have seen before in other shows; her portrayal of the tragic Eponine was, in my opinion, her best. Her powerful voice combined with honed acting skill produced a thoroughly engaging performance. Her death scene with Jack Truman who played Marius, was very moving and brought real tears to many in the audience. Well done to both. Jake’s portrayal of the idealistic Marius was spot on, earnest and thoughtful. This came out particularly in his rendition of the haunting “Empty Chairs and Empty Tables.”

This show does not have a lot of laughs but the comedy duo, The Thenadiers, played with huge gusto by Grace Deakin and Nathan McKinley, were splendid. Their presence on the stage always lightened the mood, but they were also able to show the nastiness of their characters, particularly in Act 2. That is not easy, but these two managed it with aplomb, using their voices and cleverly apt mannerisms with wonderful posturing. Grace has perfected a particularly nasty laugh, which delighted the audience!

Playing the part of the student leader was Lenny Antwi and what a powerful performance he gave. His strong singing voice filled the hall and he fully portrayed the character’s strength and determination. I am sure we will be seeing more of this young actor in the future.

Hazel Laurence fully inhabited the part of the older, sweet Cosette and she has a splendid, beautiful voice. It is of operatic quality and she hits every note perfectly, wow! Her duet with Jake was a real pleasure to listen to.

I also enjoyed “Castle on a Hill’ which was well sung by Ruth Lewis playing the Young Cosette.

You always need a powerful young singer/ actor for the part of the boy Gavroche and this production found one in Jude Yellop – great voice and sparkling personality. I think he is quite a talent for the future.

There were many other good performances from this cast, some had small or cameo roles, while other contributed well in the ensemble. All need recognition for their absolute concentration and enthusiasm; there was evident passion from everyone throughout. Those playing the smaller roles were Ryan Yates (Bishop), Henry Davage (Foreman), Eve Yellop, (Factory Girl 5), Becky Black, Lucy Black, Maddie Batten-Plowright (Factory Girls), Jarrad Thurman ( Bamatabois/Courfeyrac), Harriet Slatcher (Old woman), Serena Simpson, Georgia Cowans, Ellie Picker, Danica Vernon-Flint (Lovely Ladies), Jack Shaw (Pimp/Feuilly), Harriet Slatcher (Fauchelevant), Jon Franklin (Judge), Jack Chambers (Army Officer/ Combeferre), Kate Derrick(Young Eponine), Finley McQuade (Joly), Beth Wildgust (Prouvaire), Katie Tew (Lesgles), Henry Davage (Grantaire), Billy Stewart (Major Domo). The hardworking ensemble was comprised of Victoria Askam, Jessica Batten-Plowright, Zara Brown, Tia Clements-Fletcher, Beth Cunliffe, Amy Dawson, Shannon Driver, Amelia Grundy, Leonardo Gulbe, Tamzin Irvine, Hannah Jenkins, Lottie Ludlow, Emily Morris, Kiera Newton, Miguel Simoes, Tommy Stewart, Amelie Tuck and Megan Willis.

This was one of the largest casts I have seen in an amateur performance of the show and they had obviously been very well directed by the creative team of Mrs P Barnes, Mr G Coles, Mrs L Dewhurst, Miss S Edwards, Tayla Evans, Kheenan Jones, Mr A Rose, Miss R Simpson, Mrs K Wiles and Mrs K Young. Entrances and exits were smooth and from various directions, with imaginative use of the hall space. All the characters were given lots to do and each performer was fully immersed in their role.

Musically this show is very difficult, but the Musical Director Mr A Rose has done an excellent job with the principals and the ensemble, raising their performance to the highest level possible. His band also supported the cast very sympathetically and did not overwhelm them.

There was a simple set which worked well and the barricade in Act 2 was impressive. It appeared smoothly from the back of the stage and provided a pleasing multi level platform for the action.

The director had obviously worked hard on the libretto with the cast members to achieve such a high level of performance. There was a strong sense that everyone fully understood the story they were telling, no mean feat with such a wide spread of age across the year groups.

Up until tonight I had become somewhat disenchanted with this show- having seen it many times - but the commitment, enthusiasm, energy and storytelling skills of this cast have brought it back to life for me.

Annie Jr
The Long Eaton Operatic Society Youth Group
February 16th 2017
The Duchess Theatre, Long Eaton

Annie Jr. is about a young girl who has the bad luck of being an orphan and stuck in an orphanage run by the horrible Miss Hannigan. Annie dreams of the day she’ll be picked up by her parents, who left her there as a baby. Then, in an unexpected stroke of luck, she’s invited to spend Christmas with billionaire Oliver Warbucks, who is going to help her find her parents.

That in a nutshell is the story in which there are some lively and tuneful songs, good ensemble numbers, comedy and a feel good ending.

This Junior version is much shorter than the adult version or the film and does suffer a little from the removal of a number of songs. However, tonight at the Duchess Theatre in Long Eaton the Long Eaton Operatic Youth Group performed an excellent and very charming version of it. Many in the audience gave them a well deserved standing and prolonged ovation at the end of what was the first night.

There was a large cast in this show and all are to be commended for working very hard throughout the performance.

There were some very strong principals led by Grace Collishaw, playing the part of Annie. This was her first leading role and she showed herself to be a confident performer with a sweet singing voice and an unselfconscious charm, making it all look easy. She very competently handled her dog, Eddie, obviously also a very talented performer, who the audience adored. It is not easy for any performer to work with a dog, but Grace did it well.

Playing the part of the evil Miss Hannigan was Lilli White and she was excellent and very scary in the part, although she was also able to “put on the charm’ when she wanted something. As well as being a very good actor she sang and danced well, a real all rounder.

Oliver Warbucks was played by the talented Isaac Brooks, who last week was on stage as a very different character, Inspector Javert in Les Miserables, at Wilsthorpe school. He was excellent in that and just as good in this, showing his versatility.

I was very impressed by the stunning performance of Grace Farrell as Oliver Warbuck’s assistant, Bella Ridgway. Her acting was superb, as was the way she inhabited the character throughout, which is impressive in a young actor. She sang well too and used the stage area with great confidence.

Another ex Les Miserables actor was Aiden Carson, who last week was the very serious Jean Valjean, while this week he is the comic character Rooster. It was good to see a different side of his performing ability: he sparkled on stage, often with a twinkle in his eye, and his comedy timing was impressive.

Completing the principals was Abigail Barker, who played Rooster’s girlfriend, Lily. She worked very well with Aiden – a well cast duo. I remember seeing her as a brilliant narrator in a previous production of Joseph. She has a lovely stage presence.

While all of the routines were well done, I particularly enjoyed the trio “Easy Street” sung by Lillli, Aiden and Abigail. It was beautifully choreographed and danced with style.

Supporting the principals very well were:

The Orphans: Emily Scott, Hannah Pettit, Jennifer Finlay, Lottie Ludlow, Trinity Shelton, Naomi Thomas, Emma Lowe, Chloe brooks, Amy Young, Megan Trindell and Anna Green.

I was impressed by their routines, which were well performed and imaginatively choreographed by Directors Karen Woodhead and Siobhan Parker.

There was a large and very hard working ensemble some of whom had smaller parts. They had quite obviously been very well trained and the set pieces they were in were very enjoyable to watch.

Matthew McAuley (Bundles), Billy Stewart (dog catcher), Oliver Ridgeway (Lt. Ward), Sammy Platkiw (Apple Seller), Kian Booth (Drake), Lydia Cumley (Mrs Greer), Lorley Shelton (Mrs Pugh), Emma Abel (Cecille), Hannah Glossop (Annette), Izzy Broadley (Star to Be), Emma Roberts (Usherette), Robert McAuley (Bert Healey), Jamie Lane (Sound Man), Ryan Phelps (President Roosevelt), Elise Thornhill (Mrs Roosevely), Jake Reynolds (Perkins) and Dominic Wood (Howe).

The set used some excellent projections and the stage props were appropriate; I was particularly impressed with the costumes, which certainly brought a feeling of the ‘30s to the stage. The wardrobe team are certainly to be congratulated for sourcing and creating such a good look. There were a number of quick changes as well, which the cast coped with well.

The Stage Manager, Rob Corner and his crew, changed the scenes very quickly and almost invisibly. The excellent sound design by Dave Dallard and the Lighting by Tom Olding certainly enhanced the production.

The production team of Karen Woodward(Director/ Choreographer), Siobhan Parker(Director/ Choreographer), Anna McAuley (Muiscal Director) and Claire Collishaw(Production Assistant) have obviously worked very hard with the cast to produce such a high quality performance.

The show has been cut down significantly and runs at a speedy 70 minutes. Nevertheless, all the classic songs, including Maybe and It’s the Hard Knock Life, are there and were performed with bucket loads of enthusiasm by the young cast. Plenty of attention has obviously been paid to the singing and the excellent ensemble set pieces such as Tomorrow, NYC, I Think I’m Gonna Like It Here and the Finale.

Overall, tonight was a very enjoyable theatre outing, and really, you can never go wrong with something as infectiously cheerful as this. Despite the strangeness of seeing this shamelessly sugary, Christmassy show in February, I certainly left the theatre with a smile on my face and a few songs in my head.

Review of Gypsy
Christchurch Theatre Club
Loughborough Town Hall
May 1st 2017

What a fantastic show this was tonight from a renowned Musical Theatre Club that, for some reason, I have never seen before. One thing is certain though, it will not be my last time watching this company, who tonight produced a highly polished performance of a professional standard. There was a very strong cast overall, plus some exceptionally good principals.

Gypsy was first performed on Broadway in 1959 and has music by Jule Styne, lyrics by Stephen Sondheim and a book by Arthur Laurent.

It is loosely based on the 1957 memoirs of Gypsy Rose Lee the famous striptease artist, and focuses on her mother, Rose whose name has become synonymous with "the ultimate show business mother." It follows the dreams and efforts of Rose to raise two daughters to perform onstage and casts an affectionate eye on the hardships of show business life.

The musical contains many songs that have become popular standards, including "Everything's Coming up Roses”, "Together (Wherever We Go)”, "Small World", "Let Me Entertain You", "All I Need Is the Girl", and "Rose's Turn".

The part of Momma Rose was played by the wonderful Liz Berrisford. She ended Act 1 with a brilliant rendition of the well loved standard Every Things Coming Up Roses: this was a real show stopper and a thrilling experience. Her dynamic performance was thoroughly engaging and beautifully acted throughout, putting her up there with the many others who have played this powerful and demanding role. The intensity of her passion to live her own dreams and make a star of one of her daughters - at any expense -was expertly characterised. Liz managed to retain our sympathy even at her ‘stage mom’ worst, by investing her character with humour and warmth and an irresistible drive.

Lee Costelow played Herbie who falls in love with Rose and then has to put up with her obsession with the theatre. He is an excellent actor, another one who can characterise his performance with an engaging warmth and humanity; he also has a lovely singing voice.

I loved the performances of the youngsters in the first part of Act One, which included some well performed gymnastics from one of the boys. A huge well done to Beth Barber (Baby June) and Lauren Honeysett (Baby Louise) who are both very talented young performers. The other young performers were Harriet Woodward, Charlie Ann Mudge, Matthew Leeming, Luca Anastassiades, Noah Anastassiades, Scott Millar, Tommy Mudge and Charlie Ward. The transition between the children and their adult counterparts was smoothly achieved during a dance number; our delight at the youngsters’ performances was even further increased by their adult counterparts.

Both the adult June played by Anja Palmer and her adult sister Louise played by Lucy Maden are excellent performers. I loved their duet, "If Moma was married." The adult “boys” all played their respective parts well. Their dancing, when not deliberately ‘off beat’ was very good and their comedy timing was spot on.

Among many good performances I particularly liked “All I need is the girl” performed by Ashley Bright (Tulsa) and Lucy Maden (Louise).

The choreography must have been thoroughly researched to replicate the dances of the period in which the musical is set. It was a delight to sample some old vaudeville routines- complete with pantomime cow- and some stirringly patriotic set pieces, all executed to an impressive standard. Some of the dancing needed to be deliberately bad, which isn’t easy to do; everybody involved must have worked their socks off to achieve all this so convincingly.

Stage management was polished and the sets, ranging from shabby rooms and backstage theatre to swanky hotel rooms and New York stages, was very appropriate. Impressively, no back stage personnel were seen on stage during the performance, at least I didn’t see any. The use of the captions on a front screen between quick changing scenes was extremely effective. This, plus the use of gauze, gave the whole production a filmic quality and helped me to feel totally engaged in the story that was being told. The company, of course, is lucky to be in a theatre that has the facility of flying curtains and set, which was enhanced by the sympathetic lighting (Robert Bridges) and excellent sound (Total Theatre).

The production team led by John R Lewin, the Director, Vicki Hing, the Musical Director, Louise Smith, the choreographer and Adrian Wray, the Stage Manager should be congratulated for producing a hugely enjoyable and slick show of a professional quality. They had a good show, great tunes and a lot of talent, but it is the way they have combined those elements that has given this particular production a touch of magic.

The Orchestra conducted by Vicki Hing was excellent throughout and the balance between it and the performers was perfect.

Everyone who enjoys high quality musical theatre should go and see this production. The audience here tonight gave the cast a very well deserved and prolonged ovation at the end with many including me, standing.

All Shook Up
Beeston Musical Theatre Group
The Duchess Theatre Long Eaton
May 9th 2017

The audience at last night’s opening performance of their 50th Anniversary year from the highly regarded Beeston Musical Theatre Group were suitably “All Shook Up” from the start of the show to its excellent finale.

The production team of Chris Collington (Director), Jodie Cresdee (Choreographer), Nathan Truesdale (Musical Director) with Lisa Smith and Gary Smith (Staging) are to be congratulated for a show of the highest quality in all departments.

All Shook Up is a 2004 American jukebox musical with Elvis Presley music and with a book by Joe DiPietro. The story is very loosely based on William Shakespeare's 1602 play Twelfth Night. There is only a little of Shakespeare’s original story in it, although it pays homage to some of the universal themes, and is a very witty and well structured musical in its own right.

It uses many of Elvis’ hits such as "Jailhouse Rock," "Love Me Tender," Heartbreak Hotel," Blue Suede Shoes," plus the title song "All Shook Up." I thought they were very well adapted to help tell what is a good story of love in a small American town. The story concerns Chad, a hip-swivelling, guitar-playing roustabout, being released from a short spell in prison and what subsequently happens to him and the people he meets - many of whom find love unexpectedly!

The standard of singing of both the principals and the excellent ensemble was very high indeed. Accompanied by the great orchestra conducted by the musical director, Nathan Truesdale, the cast excelled and filled the theatre with the great melodies and toe tapping tunes made famous by Elvis Presley.

I have never seen this show before and I thought it was very well written, had a solid story and the various themes came together well at the end. It was also very funny in parts and laughs at itself; it is obviously a show that the cast really enjoy performing.

The principal cast was very strong with Chris Bryan as a confident and beguiling Chad, David Hunt as the perfectly pitched nerd Dennis and Laura Such as a delightfully endearing Natalie. Abby Riddell is a warm and feisty Sylvia, John Hand a naïve but self aware Dean and Claire Rybicki a sweet and lively Lorraine. Keli Wain plays a deliciously vampish Sandra, Simon Owen a gruffly lovesick Jim, Cat Tuckey a wonderfully uptight Matilda and Rob Holsman a hilariously vacant Earl. All excellently characterised and fully believable, with the power and projection to keep the audience fully engaged.

They were supported by an outstanding ensemble that sang and danced with conviction, precision and joy. Well done to Ronja Breitkopf, Andy Bulmer, Jennifer Chatten, Jane Cottee, Daniel Da’Bell, Alex Grosse, Martin Holton, Mariko Jones, Mina Machin, John Maddison, Cheryl Mills, Rachel Maddison, Ruth Norris-Maddison, Lottie Valks and Christine Walton.

The imaginative direction and tight choreography ensures that every song is enlivened by movement and each scene is visually interesting. The show moves with considerable pace and this production has capitalised on that with energy and excitement - and a knowing self-deprecation. Breaking the fourth wall doesn’t always work, but in this show the nods to the audience and the sheer delight the performers have in their characters’ foibles add a lot of fun.

The choreography is so evocative of the time in which the action is set and each move and every hand gesture beautifully thought out. Comic highlights abound: a scene with the Mayor and several bearded elderly ladies of the town brought the house down; it isn’t just the youngsters in this group who can dance and sing up a storm!

The lighting by Dave Martin and the sound by Harry Greatorex (tonight controlled by Chris Collington) were very good and the theatre's new sound system worked well.

The show was stage managed by Lisa Smith and Garry Smith and their stage crew changed the set with speed, efficiency and near invisibility. The set itself was simple but appropriate and was used well to enhance the story and keep the action moving. Well done also to Mina Machin for the colourful and hugely evocative costumes, which add so much to the overall look.

The band was excellent and given that the show has an often powerful rock and roll sound, the balance between them and the performers was very good.

I loved this show from start to finish and would be very happy to see it again! It ended with one of the best managed finale/ curtain calls I have seen for quite a while, performed with huge energy by the entire cast. Many in the theatre tonight stood up at the end (including me) and gave the cast a prolonged and enthusiastic ovation, which they so richly deserved.

I am delighted that BMTG’s next production is ‘Spamalot’: from what I have seen tonight their talent for energetic high comedy will ensure that we are in for another treat.

I have no doubt that you too will be genuinely “All Shook Up” if you go and see this excellent production, but you need to get your tickets quickly as it is “Now or Never” – well certainly after Saturday evening!

Dirty Rotten Scoundrels
Loughborough Town Hall
Greasepaint Productions
May 16h 2017

It was good to be back at the Town Hall Theatre in Loughborough to see a local theatre company - one I had not seen before - producing a musical that was also unknown to me. This was a Regional Premiere of the musical that was performed in the West End in 2004, so I was looking forward to seeing it. I have to say I had a great evening and was most impressed by both the show and Greasepaint Productions.

Dirty Rotten Scoundrels the Musical is based on the classic comedy film starring Sir Michael Caine and Steve Martin. We are transported to the French Riviera and its decadent underworld, as two seasoned swindlers attempt to hoodwink a millionaire heiress. As the pair compete in the true art of the con, they discover there is only room for one of them. I will say no more about the plot, so as not to spoil it. The script has been updated for current personalities and events, which gives it added humour and freshness.

The standard of performance of both Principals and ensemble was very high indeed. The Principal roles are very demanding, but the challenge was met and then exceeded by all of them. Nearly the whole cast were involved in some high energy dance routines throughout the show and they were excellent. A satisfying and very funny story, complete with touches of the absurd and wry nods to the audience, kept us thoroughly engaged and entertained.

Lyndon Perry was excellent in the role of Lawrence Jameson: he is an accomplished actor, singer and dancer who oozes charm. His characterisation of the suave, sophisticated and charismatic scoundrel was spot on. Audiences adore a loveable rogue and Lyndon got us on side immediately, ignoring the dubious nature of his activities and rooting for his success!

James Nelson just excelled as the other loveable rogue, Freddy Benson. He was thoroughly convincing as the small time con artist with big ambitions; his diction, delivery and comic timing were brilliant. He is also a great singer and dancer and a master of physical comedy: his loose limbed cavorting was a joy to watch.

The relationship between Freddy and Lawrence was beautifully portrayed, owing to skilled direction and the charisma of- and chemistry between - the actors.

Erica Makin played the alleged soap heiress Christine Colgate. She has a great voice and perfectly portrayed the innocent and clumsy small town girl who is hiding a secret. Another great all-rounder who understands comic timing and projection, her performance was thoroughly engaging.

Also playing principal roles with great skill were Sean Hicking (Andre Thibault), Jodie Blowfield (Muriel Eubanks) and Jenny Nelson (Jolene Oakes). All gave us wonderful comic moments, such as the developing relationship between Andre & Muriel and Jolene’s attempts to lure Lawrence to Oklahoma.

The excellent ensemble were in a number of dance routines, some complicated, and they all performed them very well. A number of them played small cameo roles as well. The choreography by Jeanette Patrick-Cooper and Shane Perry was beautifully paced, energetic and attractive - and evocative of the Riviera film genre from which the story originates.

The ensemble was: Alan Clark, Aux Larter, Bryony Lovett, Gazz Lander, Gareth Wynne, Gemma Landers, Gillian Leeson, Ian Dean, Jade Waltham, James Courtney, Jessica Ruth, Jonny Painting, Judith Coles, Keith Reynolds, Linda Moulton, Natalie Hallam, Paul Hopkin, Paul Leeming, Rachael Gunn, Sarah Hender, Scott Tomkins, Shane Perry, Tania Smith and Valerie Schmitt-Li.

The orchestra was very good and accompanied the performers sympathetically. There was clever incidental music played underneath and between certain moments, which complemented the action effectively. The Musical Director, James Stevens, did a very good job ensuring that the standards of music and singing were as high as the standard of acting.

There were a lot of scene changes in the show, which were effectively dealt with by the Stage Manager, Lynsey Bloomfield and an excellent stage crew. The set was cleverly constructed and versatile and effectively conveyed the sunlit, luxurious atmosphere of the Riviera. The same applies to the costumes: both set and costumes were effective in transporting us to the South of France.

The show ended with a well deserved and prolonged ovation; the Finale was first class and ended post curtain calls with the cast informally dancing off stage. Great stuff.

This production was hugely entertaining, sharp and fresh and contained some of the best comic moments I have seen. The Director, Shane Perry and his production team are to be congratulated for bringing a less well known musical to the stage and making a huge success of the Regional Premiere.

The sound directed by Dave Cooper and Jack Harper was crisp and clear and overall so was the lighting designed by Kevin Cutts.

I am now looking forward to seeing more productions from this high quality local theatre company.

Punk Rock by Simon Stephens
Creatio Arts
Guildhall Theatre
May 26th 2017

Punk Rock is the story of tensions at a grammar school amongst seven high-achieving teenagers. They are holed up in the Upper School library, tucked away from supervision, revising — or not, as the case may be — for their mock A-Levels. It explores themes easily recognisable in a school context: bullying, anxiety and confusion, with each character’s pain and uncertainty explored. As exam pressure builds and relationships alter, a raw undercurrent of extraordinary hostility is revealed, leading to dire consequences for them all.

It is not an easy play for a young cast to perform, but they did it well, with all of the actors showing confidence while on stage and performing their roles thoughtfully and with good characterisation. However, some of the witty and humorous lines embedded in the script were not always delivered slowly or clearly enough and they were then occasionally lost on the audience.

The cast all gave strong performances. They were Morgan Radcliffe (William), Lucy Judson (Lilly), Keenan Jones (Bennett), Lewis Haycock (Nicholas), Emily Cox (Cissy), Lowry Spear (Tanya) and Jack Ready hoof (Chadwick). They are all to be congratulated for the way in which they brought life to their respective characters. Both physical and vocal mannerisms had been explored to add depth and a naturalistic style enabled us to believe in all the characters. The writing is derivative –we’ve met similar scenarios in other plays before- and the characters could be mere stereotypes, but clever direction and attention to detail by the actors overcame this.

There was a huge amount of text to analyse, practise and commit to memory, as well as some complicated physical stuff, so I am full of admiration for the work that must have gone in to get it all right. I enjoyed watching all of the cast, particularly those I have seen grow and mature as actors over the past few years.

The set was good and used well throughout; lighting and a cacophony of sound was effective and well managed to create a sense of growing menace.

Congratulations to Matt Powell (assisted by Lisa Judson, who also played the part of Dr. Rachael Harvey), for taking on the challenge of this play and for working so dynamically with the cast to bring it to life. They were well supported by Producers, Andrea Peacock and Katie Wendorff, who were also the Stage Managers. The audience appreciated all their work tonight with sustained applause at the end, which was well deserved.

There was no curtain call, which I really missed, as I like to applaud actors for the entertainment they have provided. However, I was able to express my appreciation personally with some of the cast afterwards.

The themes in the play are thought provoking and sadly relevant today: this in itself made it worth going to see. It doesn’t provide any answers, but rather leads us to ask more questions and ponder how, as a society, we should address and try to prevent disaffection.

Well done to all who were involved in the production, which again showed us the strength, depth and range of this young but talented company.

Review of West Side Story
Carlton Operatic Society
Nottingham Theatre Royal
May 30th 2017

I have seen this show many times over the years and have grown to love it, but tonight I saw a production that rocked me to my very core. The Carlton Operatic Society once more proved themselves to be one of the finest amateur groups in the Midlands. But this was no amateur production – it was professional in all the elements that make this musical one of the finest of the 20th century.

West Side Story is a musical with a book by Arthur Laurents, music by Leonard Bernstein, lyrics by Stephen Sondheim and conception and choreography by Jerome Robbins. It was inspired by William Shakespeare's play Romeo and Juliet.The musical is about the rivalry between the Jets and the Sharks, two teenage street gangs of different ethnic backgrounds. Tony, a former member of the Jets and best friend of the gang leader, Riff, falls in love with Maria, the sister of Bernardo, the leader of the Sharks. The dark theme, sophisticated music, extended dance scenes, and focus on social problems marked a turning point in American musical theatre.

There is so much fine music in Bernstein's blistering score including "Something's Coming", "Maria", "America", "Somewhere", "Tonight", "Jet Song", "I Feel Pretty", "A Boy Like That", "One Hand, One Heart", "Gee, Officer Krupke", and "Cool". Dance is at the heart of the show and there is also some very fine instrumental to accompany it.

By the interval I was totally overcome by the standard of this production from the wonderful set piece dance routines to the superbly performed vocals of both principals and ensemble.

The principal line up was incredibly strong: Matt Wesson plays Tony, who falls in love with Maria, a young girl from Puerto Rico, played by Ella Greenwood. Both of these actors have incredible voices and their solos and duets were sublime. Matt has an extraordinary voice, with a wide vocal range; he never once strained to hit the top notes, while maintaining a smooth and very calm tone. Ella sang beautifully, with a sweetness and power that was captivating; her duet with Matt, “One Hand One Heart” was quite frankly, sublime. Both of them are also very skilled actors whose characterisations of the star crossed lovers were spot on.

A vocal highlight for me, among many, was the beautiful quintet and chorus work in ‘Tonight’ at the end of Act One. Hats off to the Musical Director and all the performers who must have worked so hard to perfect this.

Another superb actress and singer is Judie Matthews, who played Maria’s friend, Anita. She was able to show the character’s toughness and sassiness alongside her vulnerability and empathy for others. Her voice is so powerful and her renditions of ‘America’- also a wonderful ensemble piece for the Shark girls - and ‘A Boy Like That’ with Maria, were as good as you will ever hear.

Playing the role of the leader of the Jets, Riff, was Patrick McChrystal: an engaging and powerful characterisation, delivered with passion and intense physicality. Paice Lees, as his rival from the Sharks, Bernado measured up to him with a controlled and simmering resentment which made a lovely contrast- great play from both of them.

I cannot mention in detail all the rest of the cast, as there are too many and in many respects this is an ensemble piece; all are important and many have small cameo roles. They must be mentioned though, as this was one of the best ensemble casts I have seen.

The Jets were: Patrick McChrystal (Riff), Liam Hall (Action), James Murray (A-Rab), Matty Collins (Baby John), Alex Tilley (Showboy), Sam Ward (Big Deal), Joseph Smith (Diesel), Rosie Cotter (Anybodys) – Their Girls: Amy Rogers Gee (Graziella), Sophie Petruccio (Velma), Charlotte Barrington (Minnie), Celine McKeown (Clarice), Abby Wells (Joanne), Katherine McNamara(Pauline), Sarah Millington (Marilyn), Eva Shappard (Diana), Laura Thurman (Delores), Beth Wear (Julia).

The Sharks were: Paice Lees (Bernado), Alex Huntley (Chino), Ray Mcleod (Pepe), Khalil Derrache- Thompson) (Indio), Callum Hall (Juano), Andrew Dennis (Nibbles). The Shark Girls were: Helen Tunnicliff (Rosalia), Charleigh Hurst (Francisca), Jess Royce (Consuelo), Laura Ellis (Conchita), Sarah Hill (Josephina), Georgia Hodgett-Young (Isabel), Ellie Monterosso (Carmen), Soliel Quarless (Catalina), Bekki Wilson (Teresa).The Adults were: Mike Newbold (Officer Krupke), Graham Ward (Lieutenant Shrank) and Adam Collishaw (Doc).

The choreography was stunning throughout and its execution by the whole cast would take some beating, even by professional performers. The routines were challenging and there were no compromises made: the choreographer had a vision and the cast realised it. The dancing was often accompanied by difficult gymnastic movements and within the set piece dance scenes there was considerable individual choreography – I believe some added by the performers themselves - which was very effective. The choreographer, Rachel Rees did a wonderful job.

Although I enjoyed all of the scenes, I want to particularly mention how good the ‘Gee, Officer Krupke’ number was. I think it was probably the most enjoyable I have ever seen, both in its choreography and performance. Also, the dream sequence – which can seem dated- was beautifully choreographed and danced, so thoroughly engaging.

The power of the performances certainly matched the power of Bernstein's amazing score and with that in mind I cannot praise enough the 28 piece orchestra conducted by Chris Rees. It was quite simply one of the best I have heard for some time. It was behind the set and I could hear every word that was said or sung; despite the power of the score they never overpowered the singers.

Another very impressive element was the lighting plot by Tom Mowat. It was carefully planned and delivered and established the atmosphere and focal points of the scenes most effectively.The scene changes were very quick and very smooth under the control of the Stage Manager, Vicky Johnson and her excellent crew. I must also mention the beautiful costumes which, particularly in the dazzling ‘Dance at the Gym’ scene, not only reminded us of the time in which the action is set, but underlined the differences between the two groups.

Much praise must go to the production team of Amanda Hall (Director), Chris Rees (Musical Director), Rachael Rees(Choreographer) and Ross Lowe (Assistant Director) for creating a production of such high quality in all departments.

Amanda Hall has produced many outstandingly good shows in a number of local theatres, but this must rate as one of her finest to date. Her incredible directorial ability shone through the whole show. She was, of course, very well supported by her team of Chris Rees (Musical Director), Rachael Rees(Choreographer) and Ross Lowe (Assistant Director). Together they have most certainly created a production of high quality that will be talked about for a long time to come.

In my opinion this is a production that all fans of musical theatre need to see.

The Phantom Of The Opera
Creatio Arts
Derby Theatre.
July 14th 2017

The show ended with a full house standing ovation which was prolonged and enthusiastic.The Direction by Matt Powell and Aine O'Neil Mason was tight, exciting and fast paced.

The 26 piece orchestra was good and provided a rich sound throughout. Musical Directors, Tom Watkins and Morris Fisher have obviously worked very hard to produce musicality of such a high standard from orchestra, principals and ensemble alike.Choreography by Charli Richardson-Astle was good to look at and the ballet girls in particular were excellent.

All the talented principals were first class led by Paddy Stafford as The Phantom, Emily Cox as Christine and Ryan Wiggins as Raoul. They were very well supported by Oliver Wheddon as Monsieur Firmin, Adam Griffiths-Vernon as Monsieur Andre, Hope Redfern as Carlotta, Aaron Titterton as Piangi, Grace Orgill as Madame Giry), Tammie Morgan as Meg Giry, Bradley Mclean as Monsieur Reyer, Joe Morley as Buquet, Jack Readyhoof as the Auctioneer/Fop, Kheenan Jones as Don Attilo.

In addition to the above there was a large and well directed ensemble, too numerous to name individually, but who played their part well in making this an outstanding production.

It certainly had the "wow" factor and there was obvious commitment and passion from all on stage.

Matt and his production team certainly have yet another hit on their hands to put along side previous Creatio productions. Well done to them all.

This is indeed a beast of a show that is by no means easy to produce or perform. Musically it is very difficult especially in the duets and quartets. However this cast made it look easy and they were very at home on this large stage. They were not fazed by anything - everything seemed to go like clockwork with no unnecessary pauses.

Phantom has never really been one of my favourite shows but tonight I was transported by the music back in time and reminded of some lovely melodies. Story wise it is never going to wow me but tonight I loved what I saw and was delighted that this cast made sweet music together.

Thank you Matt, your wonderful cast and the large production Team for giving us a night to remember here in Derby.

"The Boy Who Fell Into A Book"
The People’s Theatre Company
Nottingham Arts Theatre.
September 28th 2017

This play by Alan Ayckbourn is about a boy, Kevin, who finds himself teamed up with a fictional detective, Rockfist Slim, from one of his favourite books. They embark on a journey through the books on Kevin’s shelves, being chased by a rather nasty female gangster.

The cast was led by Sophie Owen who played the part of the 10 year old boy of the title, Kevin. She is a very talented actor who was totally absorbed in the role: she really made me believe in the character. Her performance reminded me of the consummate skills of those who voice well known young male characters, such as Horrid Henry and Rupert the Bear. However, playing a character like this on stage takes not only an understanding of that particular pitch and delivery, but also an ability to adopt suitable movements and mannerisms. Sophie did just this: her characterisation was very much that of an imaginative, adventurous, bright little boy. Her comedy timing and facial expressions were excellent and she completely inhabited the character. A very confident, engaging and fresh performance.

Rob Suttle, played the part of the detective, Rockfist. I have seen him a number of times before and he is an excellent serious actor, but in this part he showed he also has a talent for comedy. He brought the character of the hard bitten, but gentle, New Yorker with a dry sense of humour, to life. He worked very well with Sophie as they romped their way through the books, making the most of Ayckbourn’s witty asides that keep adults as engaged as the younger target audience. Both Rob and Sophie had a huge amount of text to memorise, but were word perfect and this gave them the confidence to have a ball with their roles.

As a contrast, Kayleigh Luton’s performance as the evil female gangster was suitably menacing, performed with a delightfully manic laugh and a lovely marching strut that almost drew boos from the audience.

Adding some great comedy moments as the Woobly family were Christine Boothe (Mummy) Roy Smith (Daddy) and Paul Duffy (baby). I really enjoyed their performances, as did all those around me, judging by the appreciative laughter. Playing large round characters wearing red & white stripes, dancing, eating jelly and saying nothing but ‘Woobly,’ must be a challenge, but these three made the most of the silliness and triumphed. Christine also played the wolf and I was impressed by the way she used her voice and bearing to change from being a nice granny to a very nasty wolf.

There were also good performances from Adam Chapman (narrator for the Wooblys), Glenn Murphy (Monk and Gareth), Richard Fife (The Red Knight), Charlie Evans (Red Riding Hood), Leilani Papworth (White Queen), Charlie Evans, Molly Fitches and Barbara Benner (White Pawns), Mike Pearson, (The voice of Kevin's dad) and Paul Duffy (The Red Bishop). Everyone on the stage seemed to really be enjoying themselves and had obviously worked very hard and with energy, to create their characters.

The set was designed by Chris Mercer and built by Bob Wood and was very suitable for the play. It also allowed the characters to move smoothly from one book to the next, with the back projection setting each scene effectively. The interesting lighting design by Chris Mercer added to the different effects that were needed. The stage crew changed the scenes quickly and without fuss throughout. Well done to Stage Manager Rob Goll, assisted by Peter Hodgkinson, and their team.

The sound design by Melissa Marriott was very good and suitably enhanced the story and the action.

The costumes and make up were excellent and provided by Blind Eye Productions; I particularly liked the costume and amazing make-up of the White Queen

This play by Alan Ayckbourn is suitable for all the family. I enjoyed it very much; it was most entertaining and, as I have come to expect from PTC, very well performed. It has been given the sparkle the writing deserves by the Director Chris Mercer, assisted by Mike Pearson, his hardworking cast, production team and stage crew.

I can certainly recommend you go and see it with all the family. It is an enjoyable piece of theatre which is not just enormous fun, but also explores deeper themes, such as the power of the imagination and our ability to confront and diminish our fears.

Well done once again to PTC for producing a good quality drama on the stage of The Arts Theatre.

Beautiful
The Carole King Musical -
Nottingham Theatre Royal
Tuesday October 17th 2017

“Beautiful” is a must-see show if you're a Carole King fan, or if you're fascinated by the music business of the past- or if you like musical theatre of the highest quality.

It is a sympathetic and realistic biography led by a super performance from Leigh Lothian as Carole and is slickly staged, genuinely touching and very enjoyable. What a great singer and performer Leigh is.

For a “juke box musical” it is unusually coherent, character-driven and sincere. And The songs are, of course, irresistible and timeless, plus the script and characterisations are well produced and realistic. Beautiful features a smart, well-crafted, and often funny book (by Douglas McGrath) that cleverly threads together a memorable catalogue of early rock hits such as 'Some Kind of Wonderful' and 'Take Good Care of My Baby.' In addition to the excellent performances from Leigh Lothian and Kane Oliver Parry as her husband Gerry Goffin, there is superb support from the friendly song writing rivals Cynthia Weil and Barry Mann, played with scene-stealing enthusiasm by Emma Lucia and Matthew Gonsalves.

There is an excellent all singing, all dancing ensemble that keeps this show moving at quite a pace. The set is well designed by Derek McLane and includes pianos, settees, tables etc that glide on and off the stage, often by themselves. Lighting and sound enhance the action.

The cast are accompanied by an excellent 7 piece band led by Musical Director, Patrick Hurley.

This is an excellent production superbly crafted by the Director, Marc Bruni and choreographer Josh Prince and will, I am sure, be enjoyed by many this week. Last night’s performance ended with a very well deserved standing ovation!

Beautifully written, beautifully produced, beautifully performed and beautifully staged. That is “Beautiful The Carole King Musical.”

And Then There Were None
Encore Performing Arts
The Space Nottingham
October 18th 2017

Staging one of the best-known crime stories in modern fiction is by no means an easy thing to do, especially as “And Then There Were None” is one of the greatest works from the pen of Agatha Christie, the undoubted Queen of suspense. However, the cast on stage - in the excellent new venue of the Space at Nottingham High School - succeeded in doing a very good job of bringing this splendid story to life.

Although I have seen the play before, I have to admit to not remembering much of it and certainly not the identity of the murderer, so I was very surprised when I found out at the very end!

In the play ten people are gathered together on an island at the invitation of a mysterious and absent host. It soon turns out that the only common connection between them is being accused of murder. Suddenly, someone starts to hunt them one by one, while there is no escape from the island.

The atmosphere created in the theatre by the excellent direction of Adam Guest (who also played a small cameo part as usual) was intense, captivating and mysterious. It was almost impossible in my view to work out who the murderer was because of the twists and turns of the story and the excellent acting of the cast.

Adam and his assistant, Sam Griffiths achieved much of the success of this production by assembling an excellent cast of talented local actors. Many have been seen in Encore productions before, but there were also some new faces.

This is an ensemble production, that relies on the creation of atmosphere, period and character. Adam and his team achieved this in spades- we were transported back to the Thirties and thoroughly engaged, not just by the clever writing and the intrigue, but by the personalities of these diverse characters.

A lot of work from both the director and the actors must have gone into creating this production: it was obvious that every actor knew their character extremely well. Glancing around the stage in every scene one could see each character behaving just as they should: the wry expression, the clack of the knitting needles, the drag on the cigarette. Incidental music took us back to the period, the crash of waves and whistle of the wind presaged not just the drama that was about to unfold, but also, somehow, the oppressive atmosphere of a country that less than a month later, would be plunged into a World War. Clever stuff.

This attention to atmosphere was present throughout, the mannered staging suggested the stiff formality of the Thirties and gave pleasing tableaux in scenes that so easily could have been untidy, with so many characters on stage. This was facilitated by Richard Heappey’s wonderful set: two levels, two entrances, an offset balcony, beautifully constructed and detailed, deliciously redolent of the period. It’s not easy to tell this story on one set- the television version had the luxury of several sets and outside scenes- but Adam and his team rose to this challenge and succeeded. We were kept fully aware of what was happening off stage, enhanced by clever scene shifts and a mixture of subtle and dramatic lighting changes.

Another strong contributory factor to the feel of this production was the styling: lovely costumes…the cloche hat, the wrap dress, the pin stripe suit etc… appropriate hairstyles and a range of well chosen props. Congratulations to Mina Machin and Katie Bird.

I won’t single out individual actors, as I was so impressed by the skill of all of them. It is a delight to attend a production where you feel at ease with every actor - no worrying that someone has forgotten a line, no wishing that projection was just a bit better, no discontent with a missed opportunity to get the most out of the writing. Congratulations to all of them and especially to the last two standing, who have to negotiate a particularly grisly end for one of them, very well executed!

The stellar cast are: Chris Mundy (Roger), Milly Shawcross (Mrs Rogers), Adam Guest (Fred Naracott), Aston Fisher (Vera Claythorne), Mik Horvath (Philip Lombard), George Johnson (Anthony Marston), Duncan Leech (William Blore), Terry Stevenson (General Mackenzie), Kathryn McAuley), Steve Dunning (Sir Lawrence Wargrave), Graham Buchanan (Dr. Armstrong).

Thanks to Encore for producing a good old fashioned three act play that, done so skilfully, can still grip and thrill a modern audience. It keeps you thinking throughout and the uncompromising ending does not disappoint.

An excellently managed finale continued with the spot-on staging: a haunting tableau that makes a perfect ending. This is a great piece of theatre produced by people who clearly love what they do and want to take us along with the thrill.

Oh, before I finish I can reveal that the murderer is @£$%^&…

Ilkeston Theatre Company
The Seven Oaks Marquee Theatre, Stanton by Dale, Ilkeston
December 2nd 2017

Well done to Ilkeston Theatre Company for a very entertaining evening at the Seven Oaks Theatre. I really enjoyed, what was a very funny and refreshing version of the Dicken’s story “A Christmas Carol.”

This pantomime version was written by Tina and Rob Burbidge and was described as “a retelling of 'A Christmas Carol', panto-fashion, with well-known songs merrily re-worded to suit the script.” This turned out to be exactly what it was and I have to say that the choice of songs to accompany the story was excellent and very fitting. The script itself was indeed very witty and had the audience and me laughing for much of the time.

Ebenezer Scrooge is still a miserly old businessman who believes Christmas is all 'humbug' and the ghost of his long deceased partner, and three Christmas spirits, visit him to teach him the error of his ways. But outside of that there were some alterations and panto additions to the story that made this an excellent piece of pantomime theatre.

Leading the cast was Paul Ensor playing the central role of Ebenezer Scrooge. This he did with aplomb and very successfully transformed the miserable old miser at the start of the show into a kind and caring man by the end. His performance was very powerful and believable. He was supported by a great cast of assorted characters.

Ben Mills played Belle, which in this production equated to the traditional pantomime Dame. He has played this kind of role before and was skilful in natural interactions with the audience and had good comedy timing.

The comedy duo of Codgit and Beggit played by Jacqueline Dixon and Marilyn Lucia Keates were also very good at working the audience. They were very well liked by the audience especially the children. They handled the traditional sing a long at the end well.

There were polished performances from Steve Walton (The Ghost of Jacob Marley), Justine Haywood (The Ghost of Christmas Past), Becks Macey (The Ghost of Christmas Present) and Tracey Dean (The Ghost of Christmas Future). They were all excellent and their contrasting personalities were well defined.

The Cratchit family played by Ryan Feltcher (Bob Cratchit), Jenni Walker (Mrs Cratchit), Laura Webster (Jim Cratchit), Lucy Tanner(Kim Cratchit) and Penny Courtney (Tiny Time) were well cast and performed the lovely song “With A Thankful heart” superbly and with considerable emotion.

Penny Courtney’s characterisation of the usually simpering tiny Tim was very refreshing and was played with great gusto and boyish humour.

Complementing the story well were Adrian Thornley as Mr Fezziwig, Angie Jacks as Mrs Fezziwig, Mandy Bull as the Policemen and Any Fletcher as the Pianist.

Adding to what was quite a large and hard working ensemble cast were Sue Arkley, Jenny Reynolds, Brandon Arkley-Marshall, Elena Courtney.

I did particularly like the whole cast ensemble numbers which were well choreographed and performed. These included “It Feels Like Christmas,” “The Most Wonderful Time of the Year.” “Thank you very much,” and an outstandingly well done version of "Bohemian Rhapsody.” Well done to everyone for what was a highly complex and I guess difficult song.

There were also some excellent performances from young dancers from The Tamz Dance Studios. They actually opened the show with great energy and enthusiasm giving a good start to the show.

The pantomime was well produced by Rachael Flewitt and Ryan Pound with choreography the same, plus Tammy Mason and Sharon Ensor. I am sure they will have been very pleased with the performances of their cast tonight. They have obviously worked hard on all aspects of this production.

I was very impressed by the scenery and technical production of the show and have to say that each time I come here the standards have been raised. The scenery was the best I have seen at this theatre so far. Some of the sets were just magical to look at and must have taken quite a time to create. There were some special effects used to enhance the sets which were very effective.

The scene changes were well executed by the Stage Manager, Adrian Fletcher and his crew who were Adam White, Rachael Flewitt and Sharon Ensor plus the Technical Manager, Louis Beardsley.

The costumes were excellent and very appropriate for the production, so well done to Rachael Flewitt and Angie Jacks. Also, I thought the make up by Lexie Walters was very good too, especially that for Scrooge and Belle.

There were some very atmospheric moments throughout the show produced by Steve Flavill’s lighting and Chloe Hatton’s sound.

This was one of the best productions I have seen from The Ilkeston Theatre Company and they deserve sell out audiences this weekend and next. The whole cast have obviously worked very hard to produce this very entertaining version of the well known Christmas story. The cast very obviously enjoyed what they were doing on stage tonight and that is an essential element of Pantomime. They involved us, the audience, as well in a very bright and happy way throughout the show

The Christmas Season has now started for me and this production was an excellent start to the festivities.

Jack and The Beanstalk
People’s Theatre Company
Nottingham Arts Theatre
December 3rd 2017

Once again Amanda Hall and The People’s Theatre Company have produced a high quality pantomime which has a brilliant script, very talented principals and a hard-working and well directed ensemble.

The script by Amanda was, as always, superbly crafted, very clever, witty and enormously entertaining. It was based on the traditional pantomime story, but had that extra special magic that she always injects into her shows. While the broad strokes will appeal to the younger members of the audience, the fine touches of some lovely puns and topical references will delight the adults. To appreciate what I mean you need to see the show!

There was a very strong principal cast featuring a number of well-known and respected members of this award winning theatre group. They all contributed to the success of this production, putting a great deal of energy and fun into their performances.

They were Matt Wesson as the splendidly effusive Vegetable Fairy, Patrick McChrystal as the show’s lively and likeable hero Jack Trott, Michael Pearson as the delightfully vulgar Dame Mary Trott, Danielle Hall as a cheeky and endearing Simple Simon, and Rob Goll as the wonderfully malevolent Fleshcreep.

Also in the talented principal line up were Charlie Evans and Jessica Gale as Pat the Cow, Cassie Hall as Prince Bill, Joseph Smith as Prince Ben, Soleil Quarless as Princess Jill, Laura Ellis as Princess Daisy, Mike Newbold as King Bumble, Cliff Hart as the Giant Blunderbore, Alison Sheppard as his wife Mrs Blunderbore, Serena Eadon as the Magic Harp and an entertaining cameo performance from Marie Rogers as the Giant’s Hen.

There was an excellent ensemble of dancers, singers and children who sang and danced with obvious enthusiasm and commitment:Anna King - Lucie Conroy - Kimberley Allsopp - Stephanie Holmes Emily Townsend - Emily Wilkins - Nikki Jarvis - Tano Gangera - Orla Beaven Jonah Williams - Emma Gregory - Tanya Stobbs

Maddie Keown - George Young - Caitlin Young - Lily ProudloveEmily Holder - Esther Mole - Isobel Mason - Hattie Campion

I was very impressed by the choreography of Amy Rogers-Gee, that was well executed by the whole cast. The big routines were very well performed with high energy singing and dancing.

The costumes were superb throughout, but looked particularly outstanding during the wedding finale.

I was very impressed by the use of all kinds of incidental music and sound effects throughout the show. This really did enhance the action. As far as I could tell it was always on cue and just right in terms of volume and effect. The performers were also very well aware of where it was coming in and how to respond to it. Very impressive all round.

The songs used in this production were well chosen and performed. I particularly liked the performance of the wonderful song “This is the moment” sung by Jack and the whole company at the end of Act 1 The standard of singing was very high throughout and I am sure the musical direction of Ray McLeod had a great deal to do with that.

Throughout, the lighting and sound were great - I could hear every word from the stage and the music was always at the right level.Amanda Hall (Director and writer), Amy Rogers-Gee (choreographer), Mike Pearson (Producer), Ray Mcleod (Music), David Price (Stage Manager), Tom Mowat (lighting design and sound), Rob Kettridge (Sound No.1) and the large PTC team are to be congratulated for once again bringing a show of such high quality to the Arts Theatre.

I can certainly recommend this pantomime for all ages as the script is suitable for all.

If you can only go to one panto this year (and there are many good ones around) I would suggest you consider making it this one. I simply loved it.