Out There 

The Young Performers 

Duchess Theatre

January 16th 2020

Out There is a musical about families, love & loss, hope, learning to be a child, learning to be a parent and never, ever, giving up on your dreams.

It is about a world famous astronaut, Newman Carter, who mysteriously disappeared in 1969. Forty years later, a troubled young man turns up on his doorstep with a letter, which changes everything, for everyone. It is set in the crumbling Southern American town of Hope.

Tonight, the Young Performers brought this modern musical, written by Elliot Davis & James Bourne, to the Duchess Theatre once again, as it was performed here a few years ago by The Erewash Musical Society. This production, directed by Zak Charlesworth and produced Vicky Byrne was pacey and innovative, providing lots for both principals and ensemble to do.

There were strong performances from Harvey Tavener as the teenage rebel Logan Carter and Hayley Watson as his friend, the lively Jamie. They are well cast and work very well together. Both are excellent actors and show empathy with the characters they play, bringing them to life for the audience. Harvey sings well and copes with some very high notes, delivered in a clear falsetto. Both can dance well, as beautifully exhibited in the song “Learn to Dance.”

Playing an old man when you are very young is not easy, but James Pedrick does a commendable job, particularly with his physical movements. The trio of Charlotte Rowland as the Hope town Sheriff and her rather dumb sidekicks Ryan Yates (Stan) and Henry Icke (Billy) were great and very engaging. The two boys provide some good comedy moments. Ricky Hill as Logan’s father, David, is well cast and works hard to make the age difference between him and his son look believable. Eleanor Meakin as the TV reporter and her camera man Stuart played by Finlay Dilks, complement the principal line up with two nice characterisations.

They are well supported by the hard working ensemble of Lewis McDowall, Ruby Garrison, Marcy Truman, Ava Haycock, Emilia Buxton, Finlay Boswell, Ella Charlesworth, Drew Boswell, Emma Jane Peel, Millie Weston, Ava Jonson, Astrid Gell, Lily Stobo, Maisie Pitchford, Phoebe Clarke, Neve Saxton, Megan Thomas.

Zak uses the ensemble to great effect. They have lots to do and I particularly enjoyed the songs and the cleverly arranged routines for “Out There”, “Step by Step” and “Hope has Faded Fast.” These are very good to watch and are well delivered. There are a number of occasions when members of the cast are used as props; an interesting device.

The choreography by Alex Tavenener is excellent and the young performers are at times given some quite fast steps, in true southern American style. They cope well with the complexities of these.

The set is excellent. Designed and built by Zak and Stage Manager Roydon Charlesworth, it is good to look at and provides the opportunity to show off the excellent lighting of Dave Martin. It is also very versatile and combined with a number of moveable trucks, is quickly and smoothly changed. This helps to keep the show moving at a fast pace and provides some visual spectacles. I congratulate the stage crew who cope with a large number of scene changes, which often only last for a few moments. The use of a large number of fairy lights in the auditorium is a nice touch.

The show’s Musical Director and his excellent band accompany the cast well and the sound design by Dave Dallard is very effective; the balance between the band and the performers tonight, was perfect.

Overall, I enjoyed this show although the score is not particularly memorable, with a number of repetitious themes, particularly in the second act. I commend everyone involved for their obvious hard word since rehearsals began last September, which certainly showed in tonight’s performance. They also seemed to be really enjoying what they were doing on stage.

The enthusiastic audience gave the cast and production team a well-deserved ovation at the end.

 

Fame Jr - KTc Youth
January 23rd 2020
Duchess Theatre, Long Eaton

Set during the last years of New York City's celebrated High School for the Performing Arts on 46th Street, FAME JR. is the bittersweet, but ultimately inspiring story of a diverse group of students as they commit to four years of artistic and academic work. With candour, humour and insight, the show explores the issues that confront many young people today.

With its topical subject matter and high-energy, contemporary pop score which includes the hit title song, this is an ideal musical for young performers. Tonight at the Duchess Theatre the cast of KTc’s production of the show proved beyond doubt that this is the case.

There were very strong and accomplished performances from Olivia Weaver as Carmen, Millen Scrivener as Mabel, Lenny Antwi as Tyrone, Isabelle Smales as Miss Sherman, Emily Bridges as Ms Bell, Bailey West as Schlomo, Daniel Lane as Nick, Hannah Riley as Serena, Darcy Cole as Iris, Aiden Carson as Mr Myers, Oliver Davidson as Mr Sheinkopf, Isaac Brooks as Joe, Isabelle Marsden as Lambchops and Grace Collishaw as Goody.

The fabulous ensemble was Aiden Carson, Alice Gilding, Amy Brownill, Anna Gray, Charlotte Buchanan, Caitlin Such, Grace Collishaw, Harmoni Shaw, Imogen Watson, Libby Stevens, Lottie Ludlow, Luiseach McAleese, Nadia Potter, Oliver Davidson, Orlagh McAleese, Paige Sisson, Skye Priest and Sophie Ross. I was impressed to see that many of the principals also contributed in the ensemble.

The dance routines were fantastic, with choreographer, Katy Maclaughlin’s routines being full of energy and excitement and very well performed.

The lighting, designed by Stephen Greatorex (operated by Tom Bathurst) was brilliant, while Dave Dallard worked his magic on the sound. The balance between music and performers was perfect.

The Director, Shannon O’Donnell managed the large cast well, giving them plenty of things to do and ensuring that the stage never looked overcrowded. The Stage Manager, Tom Bond, along with his crew, ensured that all scene changes were swift and invisible. Tom was also the Musical Director and the singing standard of the cast was very high.

Director/ Producer Shannon O’Donnell and Producer Kristian Cunningham certainly used the many talents of the cast to great effect and have produced a high energy, fast moving and very enjoyable show.

This is another excellent production to add to the other previous ones from this highly professional youth group.

 

 

Mack and Mabel

CTC Presents

Loughborough Town Hall -

January 28th 2020

Mack and Mabel was written by Michael Stewart and has music and lyrics by Jerry Herman. The plot involves a romantic relationship between Hollywood director Mack Sennett and Mabel Normand, who became one of his biggest stars. In a series of flashbacks, Sennett relates the glory days of Keystone Studios from 1911, when he discovered Normand and cast her in dozens of his early "two-reelers", through his creation of Sennett's Bathing Beauties and the Keystone Cops, to Mabel's death from tuberculosis in 1930.

This can be described as a “big musical” with spectacular singing and dance routines, sparkling costumes, a good story with strong character parts. Tonight, CTc showed all this off, in style.

There are very strong performances from Gareth Wynne as Mack Sennett, the obsessed silent film maker and his discovery Mabel Normand, played superbly by Holly Easter. Together they portray a formidable pair and both inhabit their respective roles with empathy and conviction. Opening the show with one of the big numbers of the show “Movies were Movies” Gareth showed off his great expressive voice. Then when the large ensemble joined it was one of those opening songs that gets one’s toes tapping, a real spectacle. Holly is equally brilliant in the singing department (lovely dancing too) and portrays Mabel with great sass, but also sensitivity. I loved her performances of “Look What Happened to Mabel” and “Mabel’s Roses”

The rest of the principal cast support really well, showing that this company has a range of talented performers. They were; Ollie Lewin (Frank) who gave a solid performance as the film writer, Jack Hardy (Mr Baumann - the backer), Jordan Cope ( the second backer), Jarrodd Makin (William Desmond Taylor), Carl Unwin (Fatty Arbuckle), Craig Butterworth (Andy), Anita Benson (Ella), Vicky Mee (Iris), Amy McMurray (Phyllis Foster) and Guy Benson (The Watchman)

In addition to the above there is a superb ensemble who sing well and are involved in some very energetic dance numbers. I will not give too much away, but just have to say that the routine in the second act involving The Keystone Cops is one of the best amateur dance and gymnastic routines I have ever seen. There is also an excellent tap routine “Tap your troubles away.” It is outstanding. The choreography by Michael Gamble is, as usual, very apt and exciting and very well danced by all the cast.

The Ensemble is: Bobbie Da”Bell, Rowan Dixon, Neil Ledward, Laura Moore, Aaron Murray, Hannah Osgood, David Perkins, Julie Robinson, Jayne Sanderson, Alison Darlow-Carter, Louise Smith, Mel Swift and Laura Tindle.

The production team have certainly once again brought a cast of CTc to a very high standard of performance. They are Julie Easter (Director), Vicki Hing (Musical Director), Michael Gamble (choreographer) and Frankie Johnson (Tap Choreographer).

The 19-piece orchestra is superb and despite its size never dominates the performers. It really is exceptional and great to listen to. This show is in the old style with a good lengthy overture, which I liked very much. This is enhanced by great sound design and production by Rob Temperton (assisted by Harry Bridge) - I could hear every word that was spoken or sung. The Lighting is also an important part of the show and Robert Bridges does a very good job with it.

The set is very appropriate, and the costumes are charmingly accurate for the early 1900 - 1930 period. The girls’ costumes in the tap routine are striking. Scene changes are swift thanks to good stage management by Adrian Wray, Lynne Leeming and their team, assisted often by cast members. That, I think, always helps to keep a show moving.

There are some great songs in this show, some of which did remind me of another Herman classic “Hello Dolly.” That was particularly the case with the opening number of Act 2 “When Mabel Comes in the Room.” Think of the arrival of Dolly to the Harmonia Gardens! I really enjoyed that routine, which was a highlight of many for me in this production.

This is an excellent production of a show that can sometimes be little slow in parts. However, CTc kept it moving well and deserved an enthusiastic ovation at the end of the evening with some standing.

I certainly can recommend going to see Mack and Mabel and I think it will “Tap your Troubles Away”, as it did for me - even though the ending of this true story is poignant and sad.

 

An Inspector Calls

Theatre Royal Nottingham

February 11th 2020

I really enjoyed this classic play by J B Priestley. I have never seen it before and did not know the story. However, there were a large number of school students in the audience who I presume did, as it is a set text for examinations. For most of the play they were engrossed but also enjoyed some humorous parts of the play. Interestingly, what they considered humorous was not always the same as the rest of the audience.

The play concerns Inspector Goole, who arrives unexpectedly at the prosperous Birling family home, shattering their peaceful dinner party. He is carrying out investigations into the death of a young woman. His startling revelations shake the very foundations of their lives and challenge all on stage and indeed in the audience.

In this production there is some breaking of the fourth wall which I found quite refreshing in a play of this age.

It was sheer joy for me to watch such a brilliantly written play performed by excellent actors, most of whom I recognised from TV. They were Liam Brennan as Inspector Goole, Christine Kavanagh as Sybil Birling, Jeffrey Harmer as Arthur Birling, Alasdair Buchan as Gerald Croft, Chloe Orrock as Sheila Birling, Ryan Saunders as Eric Birling and Emma Carter as Edna. They were all superb - a joy to watch and listen to.

There were three children in the play who played purely visual parts very well and an interesting silent and mainly stationary ensemble, or as they are described interestingly in the programme, Supernumeraries.

The play has a number of unexpected twists and turns, especially towards the end and I was totally absorbed in the plot.

The set and the way the director Stephen Daldry used it was very interesting and gave many opportunities for the unexpected. I cannot say too much about the central set, but it did have an important part to play throughout and especially towards the end.

The atmosphere for the play and the ramping up of tension was supported by the use of real water for rain, smoke, great lighting, dramatic music and sound effects. All were well integrated into the action of the play.

The play has no interval and runs for approximately 1hr 45 minutes, which I think works really well.

This is a great production of an old play but it certainly moved with pace and style and seemed to me very fresh and exciting.

Made in Dagenham
West Bridgford Operatic Society
The Space
February 19th 2020

Made in Dagenham is the story of how ordinary people can do extraordinary things when they stand together. It tells the story of the Ford sewing machinists strike of 1968 that aimed for equal pay for women. It is a roller coaster of a production which is at times funny, but also highly emotional and charged with political, family and social concerns.

This very enjoyable production by WBOS is slickly produced, moving at a fast pace and telling an engaging story with energy and polish.

There is a very strong performance from Cat Tuckey playing the strike leader, Rita O’Grady. She is a powerful singer and actor and inhabits the role completely. She brings out the growing strength of this ordinary woman who, because of circumstances, found herself doing things she never thought she could.

Rob Holsman is just right in the role of her husband, Eddie. He convincingly shows how much he values Rita, despite much struggling with her new found passion for the cause of equal pay. The affecting “Nearly Had it All”, sung with Cat showcases his voice.

The other principals who are very well cast are Jacky Tivers (Connie), Martin Thomas (Monty), Jo Hooper (Beryl) who handled some rather coarse language very well, Natalie Hemmington (Sandra), Courtney Kelham-Giddy (Cass), Sean Collins (Sid), David Gyles (Bill), Sarah Shields (Clare),Bill Cooper (Ron), Gareth Morris (Hopkins), Chris Heeley (Barry) and Chris Hollins (Gregory Hubble). There were other small parts played by members of the company.

Ian Pottage, who I have seen in a number of WBOS shows, is excellent as the American Ford Executive, Mr Tooley. I particularly enjoyed his performance in the opening of Act 2 routine - “This is America.” This is a great ensemble number which, like the rest of them in the show, is very well choreographed by Sarah Shields.

Completing the main cast are Diana Ives (Lisa Hopkins), Richard Ives, as a slightly manic but very amusing Harold Wilson, and Sarah Walker Smith, who is wonderful as Barbara Castle.

One of the very impressive features of this production is the very large ensemble, which when combined with the rest of cast, fill the stage and sound very impressive. The quality of the singing is high, due in part I am sure to the Musical Director, Sam Griffiths: his 9-piece band is excellent and accompanies the cast very well.

The sound by Rob Kerridge is, as usual, crisp and clear while the lighting design by Nick Gale is excellent.

Stage Management is in the very safe hands of Amy Rogers-Gee, assisted by Nigel Newton and Robert Keighery. The movement of set and props is very smooth; congratulations to the stage crew and many of the cast for this.

The Director, Tom Parry, has produced a show which never sags for a moment and is full of powerful performances. He also ensures that his very large cast are all placed on the stage purposefully and without any overcrowding.

The show is well worth going to see, not only for the quality of the performances, but also for the engaging telling of an important historical event, one which contributed to a change in attitudes and practices in the workplace, for both woman and men.

Another vibrant production from West Bridgford Operatic Society.

 

Legally Blonde
Nowmads
Kimberley School Theatre
February 20th 2020

Legally Blonde was first a film in 2001 and then a stage musical in 2007. It tells the story of Elle Woods, a fun and fashion loving sorority girl, who attempts to win back her aspirational ex-boyfriend by following him to Harvard and getting a law degree.

It’s probably impossible to come out of this musical without a catchy tune or two in your head and a big smile on your face. This was certainly true for me and I’m sure many others in the audience last night, following this joyful, funny show that was performed with so much love and enthusiasm by the cast.

Laura Collins is a sparkling Elle, giving her character a ditzy warmth, yet also nailing the pithy comments and wry observations that make her so engaging. Laura has a beautiful and powerful voice which hardly needed the microphone. Some lovely dancing and perfect comic timing complete this portrayal, which is a huge success.

Two other wonderful character portrayals are Vivienne by Suzie Green and Paulette by Hannah Chamberlain. These seem to be great parts to play and they are made the most of by these talented performers. Vivienne has a very well observed frosty hauteur which resolves into grudging admiration for Elle; Suzie pitches this perfectly. Hannah has nailed both the richly comic accent and timing of Paulette; she simply holds the stage whenever she is on, especially during the lovely ‘Ireland’.

Equally Tom Bailey is a warm and engaging Emmet, a lovely performance of ‘Chip on my Shoulder’ shows off his voice. Danny De Martino plays the rather caddish but very entertaining Warner with his usual aplomb, and Richard Harvey serves the sleaze, notably during the wonderful ‘Blood in the Water’

The lively opening to the show ‘Omigod You Guys’ is a belter of a number and it was done splendidly well. Special mention also to the Greek Chorus, Margot, Serena and Pilar, who are so energetic and such fun; they had their chance to shine during ‘So Much Better’ and they certainly did.

The lively supporting and ensemble cast are Siobhan Waddington Taylor, Kelly Henderson, Isobel Kendall, Emma Heydon, Nicole Horsley, Lizzy Downs, Olly Goodman, Haydn Taylor, Clare Hawksworth, Jack Kendall, Suzanne Heydon, Zack Seals, Tracey Kendall, Lucy Hardy, Alison Reeves, Rob Waddington-Taylor, Mick Windmill-Jones, Carole De Martino, Kathy Taylor, Lis Hipkiss, Julie Castledine, Jess Hawksworth, Jorja Keeton, Jane Clarke, Evelyn Skellett, Elaine Oldham, Robert Livermore, Rae Scudder, plus Toby and Willow (the lovely dogs!).

The choreography, which was shared by Rae Scudder, Jane Clarke, Emma Heydon, Julie Castledine was appropriate, exciting and well performed. I was very impressed by the skipping routines from the girls and boys at the start of Act 2. The skipping was faultless - no easy task- so it’s a big well done to all involved. I also enjoyed “Gay or European” which was sharply performed and very funny - one of my favourite songs and routines.

The show is certainly fast paced and the Director Emma Heydon – who also plays a cracking Brooke Wyndham- makes sure that there are no delays between scenes. This is effected by the Stage Manager, Steve Clarke and his very efficient stage crew. There are many scenes some of which are very short, but the direction makes sure that these are changed naturally and without delay. Tight direction also keeps the stage interesting at all times, as individuals and groups change and focus the attention.

The set is simple but has been designed and constructed in ways that are workable on this stage. The cast used the props well and I was impressed by the carefully directed moves that enable the cast to help change without problems.

The lighting is effective. I did feel at times that the sound volume from the performers was a little too loud at the performance I saw, leading to some distortion during ensemble and loud solo performances, especially the “Omigod” song at the beginning.

The band, led by Musical Director Gareth Wynne, sounds great and accompanies the performers sympathetically. In a hall of this kind there can be a tendency for a large band to drown out the singers, but this does not happen here. The MD is a great help to the performers in managing the very challenging score, bringing them in and keeping the timing sharp: much planning and rehearsal must have gone into perfecting this.

I congratulate The Director and the Production team for the way in which all members of this company were gainfully used, whatever their age and ability. There was a real feeling that they were all loving what they were doing on stage and were confident in all they had to do. They were having as much fun on stage as we were in the audience and that certainly makes for a good night out and a good show. I really enjoyed it.

Well done to all involved, great stuff.

 

Snow White and the Seven Dwarfs

The Watson PlayersLandau Forte Theatre

February 27th 2020

Snow White is a traditional pantomime story of good and evil. It is about a wicked Queen who is very much annoyed that she is not the fairest of them all, so getting rid of the beautiful Snow White is a priority. However, the Queen has not counted on Snow White’s friends, the Seven Dwarfs!

What a great production this is, full of fun and thoroughly engaging, due to some inspired direction and hugely talented performers.

Great performances from the principal cast members, led by Ciara Beighton as a spirited but charming Snow White. She looks the part, entirely convinces and sings beautifully. The Song Speechless is particularly good.

Regina Repton is a delightfully evil Queen Grimelza, who can also put on a persuasive charm when needed. Yvonne Baird as her evil servant Black Wing is superb: her physical comedy is excellent.

Gary Rowley as Danny Dumpling and Ellie Mallinson as Dolly Dumpling, are very funny; their enthusiasm and keen sense of comic timing shines through, especially when involving the audience. The traditional Sing a long was well managed and much enjoyed.

Marie Madej as Prince Frederick has a lovely voice, an impressive swagger and she can wield a mighty sword, too!

The two unwilling and bumbling assassins, Stinkwort and Bogwort are played very well with lots of lovely silliness, by Karen Jones and Wayne Perry.

I really like Jessica Baird as Fairy Goodheart, the sweetly anxious trainee fairy and Patricia Church as her kindly mentor Wonderwings, who keep appearing during the show, keeping the story moving with engaging short scenes.

Graham Swift as Speak True is the commanding voice of the magic mirror.

It was very obvious from the audiences reactions that everyone enjoyed the Seven Dwarfs. They all have very distinctive characters and are played with warmth, comedy and lots of entertainment value by: Liz Woolley (CD), Trevor Chambers (Grouchy), Margaret Icely (Snoozy), Lynne Chambers (Snotty), Sally Tickner-Mellor (Jolly), Isabelle Fitzpatrick (Doz-Ee) and Tabitha Hartshorn (Disney).

It was a master stroke to introduce Am Dram, who is on work experience from Derby Theatre. Jake Perry camped his way around, deliberately overacting and holding the stage. He is very funny and the audience loved him.

The varied dancing in the show, which included the ensemble, was of a very high standard and lovely to watch.

The dancers are Sabine Bensley, Emma Sage, Becky Waller, Hannah Fox, Rachel Robinson, Emily Coxhead and Rebecca Jones.

The ensemble are Jack Woolley, Liberty Mellor, Carly Peake, Aaron Burge, James Ash, Emily Aldrich, and Lauren-Victoria Wells.

This is a production that certainly shows off this great company and is a credit to their 50th Anniversary.

The Production Team of Angela Swift (Director), Graham Swift (Assistant to Director), Jordan Baird (Musical Director), Helen Perry (Choreographer), John Woolley(Stage Manager), John Hartshorn (Lighting) and the Landau Forte Tech Staff have done a very professional job with this one.

The finale is wonderful with stunning costumes, a very impressive set and a rousing final song from the whole cast. This is the way to do a finale, it is an absolute triumph.

I cannot recommend this show highly enough. There is a performance on Sunday, so go and see it if you can!

I am looking forward to the next show in July. Well done all for your hard work and dedication: 50 great years over, but many more to come, I am sure.