Cinderella
Spotlight Theatre
Nottingham Arts Theatre
December 12th 2024

This is so much more than a pantomime, it’s two hours of great entertainment which is packed with singing, dancing, comedy, a witty script and some great characterisations. Add to that the magic of pantomime: the characters we know and love, a transformation scene, audience interaction and a bit of slapstick - all brought to life by some very talented performers – and it’s smiles all round. In fact, my smile didn’t leave my face.

Holding it all together with enormous warmth and charm is Luca Smith as Buttons, who gets the audience nicely warmed up and continues to captivate throughout. It’s a great characterisation from a talented performer who can sing, dance, act and engage and is thoroughly invested in her character throughout.

Another charmer is Tilly Wishart as a very sweet Cinderella, who delights with some lovely vocals, especially with the aptly named Prince Charming. Played by Shantanu Bhumbra at the performance I saw, this Prince is thoroughly modern and needs his servant Dandini (Patrick McChrystal) to teach him how to sound posh. Two lovely characterisations: both these performers sing and dance well and have great comic timing.

Comic timing abounds in this production: Director Amanda Hall’s dazzling script provides not just the characterisations, but loads of witty one liners, pithy asides and local observations. Plus a bit of naughtiness for the adults, of course!

The naughtiest characters are the Ugly Sisters, who provide countless comic highlights. Resplendent in a range of garishly ghastly costumes, Michael Pearson as Wilma and J K Smith as Betty are hideously hilarious. Such good delivery that gets the most out of every line, as well as the ability to ad lib when making eyes at a couple of hapless audience members. A pairing that is reminiscent of Les Dawson’s Cissie and Ada, with the added bonus of fairytale fun.

In between the romance, the jeopardy and the fun, there are some great group numbers where the ensemble get to strut their stuff. With Patrick McChrystal’s musical direction and the choreography of Charlotte Barrington and Megan Leahy these are fabulous, foot tapping routines, which are set to well known songs or musical theatre numbers. They are performed with obvious commitment, not just from the adult ensemble, but from Spotlight Theatre’s group of young performers. Team Pumpkin at this performance- every one of them so well rehearsed and every one of them beaming; they are a joy to watch.

There is more joy from Laura Thurman as FG -there are many nods to the modern world in this production- but she is an old fashioned, kindly Fairy Godmother with a nice line in rhymes. What makes her shine is her delivery of the clever verse, it’s beautifully expressed and projected and her vocals are equally powerful.

No joy, but a huge amount of entertainment from the baddie of the piece, Joe Butler as Baroness Hardup, a real pantomime villain. Giving the audience a chance to boo, Joe really relishes the rottenness of this role.

There’s not just the opportunity to boo, but the usual chances for the audience to respond …Behind you, Oh yes you are…(it wasn’t just the kids yelling either) and also a community singing scene. This involves Fairy Godmother & Buttons ad libbing beautifully with some younger audience members, aided and abetted by Hemi Lewis as Mozerella, the modish mouse.

Two hours fly by, due in no small part to the slickness of this production and the management of the minimal scenery and set by the stage manager Laura Ellis and her crew. With the aid of some nifty neon, a pivoting pumpkin and some sleight of hand by Cinderella, the transformation scene works beautifully. Skilful lighting by Oliver Read and George Wilson adds to the magic throughout, as does the sound design and delivery by Rob Kettridge, which is flawless.

The magnificent closing scene gives another chance to see more beautiful costumes, glamour and glitter and to join in with a final, joyous celebration. It’s warm and inviting in the Arts theatre with comfy pink seats - a great haven on a wet Winter’s Day. And when the entertainment is as good, Christmassy and heartwarming as this, it’s not to be missed.

Peter Pan

Crossroads Pantomimes
Theatre Royal, Nottingham
December 8th 2024

The Theatre Royal always puts on a cracking pantomime and this one is a cracker – with the added charm of being based on one of the best loved children’s stories in literature. Although J M Barrie’s tale doesn’t have a Dame, this version does have a dashing principal boy, a sweet heroine, a flying fairy, a couple of cheeky chappies and an evil villain: all the characters you expect. Who needs a Dame anyway, when there’s a dazzling Magical Merman to spread a little glamour and cast a wry eye over proceedings.

The flight of fancy begins as we’re taken over the rooftops of London into the Nursery of Wendy, John and Michael Darling, who are visited by Peter Pan and whisked away to Neverland, where the adventure begins. Tinkerbell, Peter’s flighty sidekick, gets captured by the dastardly Captain Hook; Peter Pan and Pirates Smee and Starkey come to the rescue with a snap decision, a further plot is then foiled, Hook clocks his end… and they’re all home by bedtime. In between, the Lost Boys and the Pirates dance up a storm, there are sword fights, truly funny set pieces, and some lovely vocal highlights.

Wonderful costumes, especially in the closing scenes, and a special effect that, although not as big or impressive as in previous years, still delighted the children in the audience. It’s bright, it’s colourful, it’s full of energy and movement, catchy tunes and laugh out loud humour with audience interaction – in other words it’s thoroughly entertaining. Two hours speeds by and there’s not a dull moment.

Owing to Gok Wan’s illness, on Sunday night the part of The Magical Merman was played by Director and Choreographer Alan Burkitt, at very short notice. Clearly an experienced performer, Alan seemed to take this in his stylish stride and captured the glamour and cheeky wit of the character perfectly; even getting comic capital out of sometimes having to refer to the script. The audience were asked to be understanding, but they didn’t need any convincing: this assured performer, who was having a ball, absolutely delighted them.

More delight from another hugely accomplished performer: entertainer and ventriloquist Steve Hewlett as Smee. Along with his old mate Arthur Lager and a couple of other little friends, Steve captivated the audience with a stream of gags and the sort of cheeky asides that hopefully pass the kids by. A highlight of his performance is a skit that involves a member of the audience and a mask; great stuff.

The old pantomime favourites of refrain songs such as The Twelve Days of Christmas and If I Were Not Upon the Stage are not found here, but there’s compensation in a set piece featuring Goldilocks and Three Bears. This is managed beautifully by the comedy legend Paul Chuckle, who plays Starkey, with the sort of physical comedy and perfect timing that has been honed over years of performing. One of several set pieces, that also includes a classic piece of misdirection involving Smee, a microphone and a pair of braces. It’s worth the ticket price just to see these two performers and enjoy the rare pleasure of laughing out loud at comedy so well done.

Every panto needs a villain and Richard Winsor certainly doesn’t disappoint as the rather beautiful Captain Hook. With the look of a deranged Charles II he struts his evil stuff, using his mastery of movement (professional ballet dancer) with wonderful characterisation and a powerful voice. Wow! This old crock was sorry to see him thrown overboard.

Lovely to see local performer Aiden Carson as Peter Pan, showing off his considerable acting, singing and dancing skills, with a nifty line in flying, too. A charming performance, with loads of warmth and energy. We also get to hear the lovely voices of Molly Farmer as Wendy and Kate Stewart as Tink, bringing some magic, wonder and sparkle to the story.

Matthew Allen plays the top-hatted John Darling with such energy and expertise he must be a wonderful inspiration for the young performers who play Michael, the younger brother. It was a joy to watch Harley Butler in this role on Sunday, so fully engaged in the part, so proficient at using facial expression, vocal delivery and movement to bring life to the part. At other performances this role will be played by Zen Hall or Darragh Sweeney and I am sure that the Attic Theatre School must be very proud of all of them.

There was a lot of pride on the stage as the old adage ‘the show must go on’ was brought to life with such joy and commitment. The whole production team (20 of them) must be pleased and relieved that this season has got off to a great start despite the problems.

The clock is ticking – there are only 5 weeks of this show, it finishes on January 12th 2025. When it’s cold, windy and rainy outside, the glitter, glamour and good fun of a pantomime is what we all need.

Cinderella
Derby Arena Production
Derby Live and Little Wolf Productions
December 7th

The pantomime at Derby Arena is a visual treat, combining classic storytelling with lively performances and festive fun. This slightly updated version of the beloved fairy tale is perfect for audiences of all ages, with its magical sets, dazzling costumes, and upbeat music.

The production, written by Morgan Brind and directed by Mark Chatterton, features a fabulous cast who bring humour, charm, and energy to the stage. The interactions between Ella (Cinderella), her scheming stepmother, and her troublesome stepsisters are particularly entertaining and keep the audience engaged throughout.

• Mina Anwar (Fairy Godmother): Mina brings warmth and sparkle to her role, adding charm to the story with her lively interactions with both Ella and the audience.

• Morgan Brind & Roddy Peters (Ugly Sisters): As the Ugly Sisters, Morgan and Roddy bring laugh-out-loud antics and an exaggerated rivalry with Cinderella. Their hilariously unpleasant nature is well-crafted, and their interaction with the audience is spot-on. Morgan’s experience as a Dame really shines here.

• Kristian Cunningham (Buttons): Kristian is a standout as Buttons, delivering comedy, heartfelt loyalty to Cinderella, and impressive singing and dancing. His physical comedy and natural connection with the audience make him a firm favourite whenever he’s on stage.

• Nicola Martinus-Smith (Dandini): Nicola adds flair and energy as Dandini, complementing the royal storyline with her fun and lively performance.

• Lucy Munden (Ella/Cinderella): Lucy is captivating as Ella, embodying her elegance, determination, and charm. She draws the audience into her journey beautifully, making her story truly relatable.

• Marisa Harris (Helen): Marisa nails the comedic timing as the scheming stepmother, bringing just the right dose of villainy to the role.

• Charles Ruhrmund (Prince Charming): Charles exudes charm and confidence as the Prince. His excellent singing and dancing round off the romantic subplot perfectly.

The ensemble and young performers bring energy and enthusiasm to the stage, enhancing the festive atmosphere with their vibrant choreography and singing. Their passion adds depth and liveliness to the whole production. The choreography by Matthew Wesley is excellent. There are three groups of young performers but I do not know which one we saw on this occasion but they were all excellent.The ensemble members are Sophie Lowe, Ruby Harwood, Emily Rolfe, Stephen Lewis Johnston, Samuel Reed and Dominic Stevenson.

The scenery is stunning, as is typical of Derby Arena pantomimes. Everything glimmers and sparkles, creating a magical fairy-tale world. The special effects are excellent, with the transformation scene being a real standout thanks to its dazzling visuals. Scene changes are seamless, keeping the pace of the show brisk and engaging.

Musical Director Livs Needham and the small band deserve special recognition for their excellent accompaniment, which enhanced every moment of the performance.

David Cooper’s sound design and David Philips’ lighting design further add to the magic, creating a rich, immersive atmosphere.

This year’s Cinderella is a delightful mix of traditional panto fun and modern touches. With gorgeous visuals, a talented cast, and a heartfelt story, it’s a joyful way to celebrate the festive season with your family.

Don’t miss this magical production—it’s the perfect panto treat for the holidays!

 

Jack and the Beanstalk

Bingham Musical Theatre Company

Bingham Arena

December 5th 2024

Jack and the Beanstalk at Bingham Arena is the perfect show for all, offering something for everyone to enjoy. From the laughs to the colourful costumes and the energetic performances, it’s a wonderful example of why pantomime remains such a loved tradition.

The story follows Jack, a kind-hearted young lad, as he trades his family’s cow for magic beans, much to his mother’s dismay. But when those beans grow into a towering beanstalk leading to a magical kingdom, Jack’s bravery is put to the test. Facing the fearsome Giant, he works to save his family from ruin. Along the way, there’s plenty of chaos, silly antics, and catchy songs to keep the audience entertained.

The hardworking cast is led by Vicki Recklass as Jack, a fantastic traditional panto character. She delivers a great performance throughout, with excellent singing, acting, and movement.

Playing Jack’s girlfriend, Jill, is Eloise Lowe, whose beautiful singing voice really shines. Her performance is full of emotion, especially during the scenes where her character is captured by the villainous Fleshcreep. Her characterisation is outstanding.

Paul Green as Dame Trott is a delight, entertaining the audience with classic panto humour and confidently interacting with the audience.

Dozy Den, played by James Sikors, is great. His commitment to the role is clear, and he excels as a powerful actor and singer and has brilliant comic timing. He is obviously so at home on stage.

Mandy Simons charms as Fairy Wishheart, the delightful, good fairy whose magic counters the evil schemes of Fleshcreep, played with power and smarmy venom by Tex. Both impress with their singing and dancing, adding to their strong character portrayals.

Simon Hawkins (The King) and Emma Robinson (The Queen) make a fine comedic duo, while Belle Black (Daisy the Cow) impresses with her voice and acting skills.

Jake Looms and Dan Middleton as Grab and Snatchit, the bumbling debt collectors, work brilliantly together and provide plenty of laughs.

Emily Hudson (Bubble) and Emma Nicol (Squeak) give wonderful performances. Their clever kitchen routine is particularly memorable, showcasing their comedic timing and stage presence. These two are actors to look out for in the future.

The young dancing ensemble is a real joy to watch, bringing energy and enthusiasm to the show. Their varied dance styles and polished routines add vibrancy to every scene they are in. Choreographer Jen Recklass deserves high praise for her work with them. Special mention goes to Katie Lister, Macy Nugent, and the Team Bean dancers (Tegan, Harriet, Ella, Katelyn, Slyvie, Ellie and Emily), who were on stage for this performance.

The costumes (designed by Amanda Warriner and Shevawn Green) are bright, colourful, and full of character. From the Dame’s outrageous outfits to Jack’s heroic look and the Giant’s intimidating attire, they add so much to the production. The Giant itself is a spectacular larger-than-life puppet, voiced powerfully by local radio presenter Kev Castle – a talent I’d love to see again!

The standard of singing is high and the Musical Director Beccy Burgess has obviously worked hard with the cast. The musical track was well integrated into the story.

The lighting design is excellent, dynamically matching the mood of each scene. From the warm glow of the village to the dramatic flashes in the Giant’s lair, the lighting adds an extra layer of magic. Dom Mills’ sound design along with James Bennett is equally impressive, with clever effects and well-timed incidental music enhancing many scenes. Dom is also in charge of production and technical matters.

Despite the stage’s limitations, Nik Hudson’s set design is excellent. Scene changes are smooth and never disrupt the show’s flow.

The production moves at a good pace and is packed with jokes, songs, and surprises. There’s never a dull moment, and before you know it, the finale has everyone clapping enthusiastically. Director and co-writer Ben Bradley has done a fantastic job bringing this traditional story to life, with fresh touches and new twists that keep it engaging. Karen Richards also contributed to the direction. Emily Hudson is co-writer along with Ben, with additional material and lyrics by James Sikors.

This is a proper feel-good show with plenty of audience participation, clever twists, and a happy ending that leaves you smiling. If you’re after a cheerful, heartwarming, and thoroughly entertaining night out, this is the perfect choice for both children and adults alike.

Jack and the Beanstalk continues at the Bingham Arena until Sunday. Don’t miss it!

End Comment - A Brilliant Family Night Out

A Christmas Carol
Derby Theatre Christmas Production
Tuesday, November 26th, 2024

This year’s Christmas production at Derby Theatre is a brand-new adaptation of the classic A Christmas Carol by Charles Dickens, reimagined by Mike Kenny. The timeless tale introduces us to Ebenezer Scrooge, a miserly old man who despises Christmas and values money above all else. However, one life-changing Christmas Eve, he is visited by the ghost of his former business partner, Jacob Marley, along with three spirits who take him on a transformative journey through his past, present, and possible future.

As Scrooge confronts the impact of his actions on others and reflects on the man he’s become, he must decide whether to embrace kindness and the true spirit of Christmas before it’s too late. This powerful story remains a heartwarming reminder that it’s never too late to change and find hope.

Derby Theatre’s production beautifully captures the festive magic, combining talented actor-musicians and young performers. While I’ve seen A Christmas Carol at Derby Theatre before, it was immediately clear that this year’s production offered a fresh and vibrant take on the well-known story. Mike Kenny’s writing maintains the essence of Dickens’ original but gives it a faster, more engaging pace.

The experience is enchanting—vibrant, heartwarming, and brimming with energy. The cast are outstanding, with every actor bringing their roles to life in a heartfelt and convincing way. Gareth Williams, reprising his role as Scrooge (which I saw him play in 2019), delivers one of the most compelling portrayals of the character I’ve seen. I found his transformation from a cold-hearted miser to a man filled with generosity and joy is really moving.

This production shines as an ensemble piece, with each cast member taking on multiple roles seamlessly. There are fabulous performances from: Oliver Nazareth Aston (Fred / The Ghost of Christmas Future), John Holt-Roberts (Jacob Marley / Mr. Fezziwig), April Nerissa Hudson (Joan Cratchit / Madeleine), Sam Lightfoot-Loftus (Young Scrooge), Oliver Mawdsley (Bob Cratchit), Ali Mylon (The Ghost of Christmas Present / Mrs. Fezziwig) and Claire Lee Shenfield (Belle / Mathilda).

All the cast members showcase their musical talents, playing instruments and singing throughout the performance. The musical score, made up of traditional Christmas carols and festive tunes, is skilfully integrated, adding depth to the storytelling and creating a magical atmosphere. The Musical Directors, Sonum Batra (also arranger)

and Eliza Waters have done a great job with this score. The dancing and choreographed movement is designed well by Jon Beney.

The young actors are equally outstanding. There are three teams performing on rotation and tonight it was the Purple Team. Thomas Buckley stands out as The Ghost of Christmas Past, delivering a confident and memorable performance in a role not usually played by someone so young. This was very appropriate as his role is to take Scrouge back to his childhood. Other talented young actors are Evan Gore (Tiny Tim), Hannah Lake (Belinda), Takoda Liverman (Peter), Catherine-May Mugadza (Martha), and Isabelle Naylor (Sadie).

The set, designed by Jess Curtis (who also created the costumes), is both innovative and atmospheric. Using three revolving trucks to represent buildings, the design allows for seamless transitions between scenes. Clever lighting (Adam Foley), Sound (Ivan Stott) and props transports the audience to a cozy yet haunting Victorian world, complete with a magical touch of "real snow" in one scene. The special effects for the ghosts are just right—not overly frightening, but enough to send a shiver down your spine.

What stands out most for me is the heart of this production. It isn’t just a retelling of a familiar story—instead it feels fresh, meaningful, and bursting with joy. By the end of the evening, I was certainly filled with festive cheer, and the message of hope and redemption resonated deeply. “Bah Humbug” had gone!

The Director, Tom Bellerby, ensures that the fast pace of this production never slows. It keeps the attention of the audience throughout. As such this show is perfect for families, friends, or anyone eager to embrace the holiday spirit and enjoy great theatre.

Derby Theatre has once again delivered an excellent production in all respects that deserves to be seen by all. If you’re considering attending, don’t hesitate—you’ll leave smiling and inspired by the immense talent of the cast, both young and older and of course, the timelessness of this classic story. Although still set in Victorian times it has a message that resonates today.

Ruddigore
Opera North
Theatre Royal Nottingham
November 21st

Opera North's production of Gilbert and Sullivan's Ruddigore is an absolute delight that breathes fresh life into this comic opera. From the first notes of Sullivan's lively score, beautifully played by the excellent orchestra, to the sharp and perfectly timed delivery of Gilbert's witty words, the whole production is packed with charm, energy, and attention to detail.

This production is set in the 1920s and revolves around Robin Oakapple, a shy young farmer who is secretly Sir Ruthven Murgatroyd, the rightful Baronet of Ruddigore. The Murgatroyd family is cursed: each Baronet must commit a daily crime or face death. Robin hides his identity to avoid the curse but is exposed, forcing him to take up his title. The plot thickens with romantic entanglements, ghostly apparitions of his ancestors, and clever twists, culminating in the curse being broken on a technicality which is, of course, a favourite device used in many Gilbert and Sullivan operettas.

The direction strikes just the right balance between respecting the original material and bringing a playful, modern edge to it. The set design, a blend of gothic and more modern styles, along with the colourful costumes by Gabrielle Dalton, pulls you straight into the strange and wonderful world of Ruddigore, where curses, romance, and satire come together amid delightful chaos.

The details in the design are both clever and accessible, with lots of fun visual jokes throughout. The moment when the portraits of the ancestors come to life is especially brilliant, blending humour and spectacle perfectly. The set designer, Richard Hudson has done a great job on this which is enhanced by superb lighting from Anna Watson.

All the cast are fantastic with great performances from Steven Page as Roderic and Amy Freston as Rose whose beautiful soprano voice is a joy to hear.

Robin played skillfully by Dominic Sedgwick, is the kind but clueless baronet while Mad Margaret played by Helen Evora, lights up the stage with wild antics and powerful singing. l

Other members of the cast are Xavier Hetherington (Richard Dauntless), John Savournin (Sir Despard Murgatroyd), Henry Waddington (Old Adam), Claire Pascoe (Dame Hannah) and Gillene Butterfield (Zorah).

The choral numbers are rich, superbly sung and full of energy thanks to the brilliant Opera North chorus. They dance well too.

The comedy is handled brilliantly tapping into the absurdity of Gilbert and Sullivan's satire so well that it still feels fresh and sharp today. At the same time, the darker themes of duty, deceit, and family legacy are handled lightly but with care, keeping the show enjoyable and engaging on every level.

The Direction by Jo Davies and the Revival Director James Hurley have kept this production moving at a frenetic pace which makes it very exciting to watch. This is enhanced by the clever and powerful choreography of Kay Shepherd.

This production of Ruddigore is joyful, funny, and visually stunning and captures everything that makes Gilbert and Sullivan's work so timeless, while adding its own unique flair.

Whether you're a lifelong fan or discovering their operettas for the first time, this is Gilbert and Sullivan produced for the 21st Century. Unfortunately this excellent production is only at the Theatre Royal tonight. Tomorrow and Saturday it is Then Magic Flute which I am sure will be equally as good.
******
Wind in the Willows
Blind Eye Productions
Duchess Theatre, Long Eaton
November 20th 2024

What a wonderful surprise this production was: wonderful because it’s packed with lovable characters, humour, great songs and sparkling performances, and surprising because I wasn’t expecting a musical! Kenneth Grahame’s 1908 novel, so beloved of generations of children and adapted in many forms over the years, is here rewritten faithfully by Julian Fellowes, with music and lyrics by Stiles and Drewe – for a show that first opened in 2016.

Theatre Online have a lot of admiration for Stiles & Drewe with ‘Betty Blue Eyes’ being a favourite and so much of what makes that musical so appealing is here, too. Really catchy tunes that get the feet tapping, along with very clever lyrics that tell the story in such an engaging way – think Gilbert & Sullivan! And who can fail to smile at rhymes such as ‘prickles’ and ‘ve-hic-les’…

It's hard not to smile throughout this production as Directors Zak McCormack and Kirsty Smith recreate the riverbank and the woodland from the moment the audience enter the theatre. The atmospheric green hue of the lights and the trill of birdsong hint at the magic to come: the magic of woodland creatures come to life and cleverly characterised, the magic and fun of their adventure and the talent and enthusiasm of the performers. There’s a sense that we’re stepping into the pages of the book and there’s plenty of detail and action to keep the sensation - and that lovely feeling of nostalgia - going.

The costumes are an imaginative extension of the characters, so cleverly designed to tell us something about them – Toad the Toff, Ratty the Boatman, Mole the nerdy Recluse, the Beach Belle Otters, the Flight Crew Swallows, the Scouting Hedgehogs, the Sleazy Weasels, the Wassailing Mice and the Military Man Badger, who has a hint of the Gestapo about him! Yes, this production is full of colourful characters; throw in Grahame’s wry humour – which Fellowes has faithfully included - plus the tunes, some lovely performances and some inspired choreography and it’s a sure fire winner. It’s just delightful.

But it wouldn’t be so delightful without those lovely performances and an assured hand on the tiller…

Ratty invites Mole to join him on the river and J J Mc Cormack brings him to life splendidly. He’s a knowing, gentle old thing, but he’s cynical, he’s a bit inclined to rush things and he doesn’t always make the best decisions: JJ captures all this through his nuanced vocal delivery. It’s a great characterisation and it’s so hard for me to believe that this is the same actor who played Stanley Kowalski in Blind Eye’s last production of A Streetcar Named Desire; amazing versatility.

Mole is equally well drawn by Max Willmott as the befuddled but analytical creature who emerges blinking into the light to find a whole new world of adventure on the Riverbank. Mole is an innocent abroad, but he knows the value of friendship and he knows a thing or two about outfoxing weasels and stoats. Max gives Mole a gentle warmth and his comic timing is spot on; a lovely performance with the highlight of a beautifully sung solo: ‘A Place to Come Back to’.

Toad the Tooting Toff races on to the stage – he’s speed obsessed and throughout the course of the story upgrades from a horse drawn caravan to a sports car with dire consequences. Bertie Black is perfect, as he has one of those gloriously sonorous voices that resonate throughout a theatre, great timing and a big stage presence. Toad is vain, over privileged and highly opinionated yet simultaneously charming and amusing; shades of Boris Johnson here…

Badger, the voice of wisdom in the Woodland is strongly played with calm gravitas and humour by Kevin Jones. Along with Ratty and Mole, he knows that ‘A Friend is Still a Friend’, even when the friend is behaving in an appallingly reckless way. A great foot tapping song with a moral that is at the heart of the piece: being kind and working together.

Working together is happening in spades in this production, as the ensemble provide the colour, action and background to the main story. Some delightful cameos, such as the Footmen Rabbits; the Swallows; the Hedgehogs, the Wild Wooders; Wassailing Mice; the Horse and the Washer Woman, all have their chance to shine with some captivating set pieces.

Choreographer Ashleigh Wilkinson has been most imaginative in the range of movement she has given the characters and the ensemble, none more so than the fabulously sleazy dancing of the dastardly Weasels and Stoats. The performances and dancing of the younger members (some very young) of the ensemble are excellent too: they are Evan Thomason-Vardy; Lexie Rodgers; Caitlin Rodgers; Emily Ratcliffe; Lily O’Toole and Olivia Thomason-Vardy. Good training and hard work has certainly paid off.

A side story with the promise of a less than happy ending is that of Portia, the greedy little otter, who strays far enough from her mother’s side to be taken by the weasels, to be fattened up for the pot, in their new home of Toad Hall. Gabriella Tilley gives a charming performance – even when she’s eating worms – and Andrea Caulfield Smith shines with a lovely characterisation and great vocals as Mrs Otter.

There have to be villains and even though we might secretly cheer when the Weasels take over Toad Hall, we know they must get their comeuppance and be put back in their place. Alex (presumably Alexandra Sjoberg-Weekes) played Chief Weasel, but so brilliantly and convincingly it was hard to believe she was a substitution on the night. Aided and abetted by Emme Gunn as Sheryl Stoat and a devilishly devious cast of other rodents, they plan to topple the Toff and eat the Otter. Boo!

It's hard to sing to a backing track, so the Directors and Musical Director Rowan Nix must have worked hard with the cast to learn 22 musical numbers and stage them so imaginatively.

Swift scene changes and the use of a versatile set plus projections enable us to see the river, Ratty’s boat, Toad’s caravan and car, Badger’s and Mole’s houses, a prison cell, a courtroom and underground at Toad Hall. All lovingly created with clever props and our willing imaginations - and helped so much by the Sound (Nick Elliott and Dom Mills) and Lighting (Alan Bretton and Ben Bradley), which take us through all the seasons of the year.

It's well worth a trip to the Riverbank, aka the Duchess Theatre, to see this sparkling production. It’s a particularly apt choice for the season, being full of laughter, friendship and fun - and a reminder that Spring always follows Winter.

******

Hairspray
National Tour
Theatre Royal Nottingham
November 4th 2024

Tonight, at the Theatre Royal the touring production of Hairspray arrived in Nottingham in spectacular style. Having only seen the film, I was excited to see the stage production. Hairspray is set in Baltimore in 1962, Maryland, where plump teenage Tracy Turnblad has one dream: to dance on The Corny Collins Show. When she gets put in detention with the African-American students in the school, they teach her some of their dance moves, and her new found groove wins her a spot on Corny’s show. Overnight, Tracy transforms from a nobody into a star and uses her sudden influence to advocate for racial integration on the television show.

Tracy faces scrutiny and bullying from the network producer, Velma, and her popular, but vicious, daughter, Amber. With the help of the teenage heartthrob Link, host Corny Collins, and Motormouth Maybelle (the host of ‘Negro Day’), Tracy overcomes the odds and succeeds in her mission to integrate The Corny Collins Show. The show is full of 1960s-style dance music and "downtown” rhythm and blues.

There were very strong performances from the principal performers and the ensemble cast. A large proportion of the cast was made up of understudies tonight, but the quality and the talent was exceptional throughout.

Playing the lead role of Tracy was Alexandra Emmerson-Kirby. From the moment she took to the stage in the first number, “Good Morning Baltimore” it was obvious we were in for a treat. She is a great acting talent with a strong singing voice, who inhabits the role completely.

Neil Hurst playing the part of Edna is fantastic. He brings warmth, humour and sass to the role of Tracy’s mother and his comedy timing is first class. He acted, sang and danced perfectly in the role. He and the excellent Stuart Hickey, who plays a well characterized Wilbur, brought the house down with their very funny routine “You’re Timeless to Me.” This was brilliantly performed and received much laughter and enthusiastic applause from the audience.

Olly Manley as Link Larkin looked every inch the TV star: he is a confident and expressive actor who sang his solo beautifully.

Nina Bell gives a beautifully nuanced performance as Penny Pingleton, Tracey’s loyal and fun but rather dim friend. A highlight was when she and her mother, Tracey and her mother, along with Velma and Amber performed “Mama, I’m a Big Girl Now”. A fabulous song and a great routine.

Jaiden Lodge, as Seaweed brought warmth and conviction to the role. He sang and danced well throughout.

Kirsty Sparks was superb as the strong minded TV producer, Velma, and Issie Wilman as her very nasty daughter, Amber, both are very accomplished performers. Eleanor gives Velma a cool sophistication and disdain for others, which she makes the most of in “Velma’s Revenge”. Both maintain their brilliant characterisations right to the end of the show, using facial expression and haughty stances, even in the finale.

Declan Egan in his role of Corny Collins is great and he really makes the most of the part. He is very confident, sings well and has a real twinkle in his eye.It was a treat to hear the powerful songs “Big, Blonde and Beautiful” and “I Know Where I’ve Been” sung so well by Michelle Ndegwa, who is a very impressive Motormouth Maybelle.

The dancers and ensemble members really do need to be mentioned, as they play a huge part throughout the show. There are not many times when they not on the stage and they have so many steps and songs to learn. They never faltered and were excellent.

The final number of the show was a great hit with the audience resulting a very well deserved standing ovation.

For a fun evening at the theatre, I recommend you go and see this fabulous show which continues at the Theatre Royal until Saturday.

Eloise

Calamity Jane

LEOS Musical Theatre Company

May Hall, Trent College, Long Eaton

October 22nd 2024

Well, there ain’t no calamity here and certainly no dead wood, just a whole heap of rootin’ tootin’ fun, as Long Eaton Operatic and Calamity Jane ride into town on the Deadwood Stage. Woke it’s not (although it features a strong proto-feminist) but you’ll be wide awake, tappin’ your feet and yee-hawing along with the best of them. And the best of them is what you get here.

Calamity Jane rides the Deadwood stage to pick off any pesky Injuns with her sharp shooter (try not to wince, that’s history), but she’s most at home in the Golden Garter saloon, where she can regale the posse with her tall stories. Wild Bill Hickock, the Doc, Rattlesnake and the others take it all with a pinch of baccy, including her wild claim that she can bring their adored singing star Adelaide Adams to the saloon. The proprietor, Henry Miller is mighty relieved, as he’s made a gaffe by inviting the hapless Francis Fryer to perform, thinking he was a woman. Calamity sets off to Chicago to right a wrong; she gets the wrong woman, who turns out to be the right woman for a certain Lieutenant Gilmartin - who Calamity thinks is the right man for herself - but she’s wrong. It’s a right good yarn, anyway.

Calamity is Aimee Chilton, I won’t say ‘played by’, as Aimee really does become Calamity Jane; she is totally immersed in this character, right up to and including in the finale. It’s a wonderful performance of a character that dominates the stage – a huge role that Aimee truly makes her own. She swaggers, she shoots, she shouts, she smirks, she wipes her nose on her hand (even when she’s singing!) and, along with this spot on body language, acts and sings her li’l old heart out. Big numbers such as ‘Windy City’ (absolutely gorgeous), fun numbers like ‘I Can Do Without You’ and the famous ballad ‘Secret Love’, show Aimee’s range and performance skills. Thank goodness, this Calamity doesn’t lose her sass when she dons the gingham; she might ‘think like a woman’, but she’s one strong person. Wild Bill Hickock better look sharp.

Adam Worton is Wild Bill, who is wryly amused by Calamity’s tootin’ tall tales and, shallow old thing that he is, only realises her true worth when she scrubs up and wears a dress. Adam has the presence, the swagger and the comic timing and gets to show off his voice in the wistful ‘Higher than a Hawk’ and the shared, beautifully perfomed ‘Secret Love’.

There are some lovely characterisations in this production: the director and cast have really got their teeth into them, to bring the characters to life. Simon Parker makes the unfortunate Henry Miller an amusing dodderer, who can’t make his mind up about anything; Simon slows everything down to emphasise this. Jack Woolley has a ball playing poor old Francis Fryer, who gamely dresses and performs hilariously as a woman, which doesn’t fool the baying crowd, but impresses Susan, Henry’s niece. Rachelle Bragg is charming in this role, showing the sweet determination she needs to get her man. Other lovely cameos from Dan Bates (Rattlesnake) and Graham Buchanan (Doc), who along with other ensemble members get to show off their voices as well as their acting skills.

The importance of the ensemble is huge in this production, they provide the background, the atmosphere and above all, some lovely set piece vocal performances and dance sequences. The splendid Can-Can dancers (Charlotte Buchanan, Lauren Riley, Molly Parkinson, Nicola Adcock, Josie Coleman and Victoria Palmer) bring colour and realism to the Golden Garter and the rest of the ensemble perform a variety of dance styles; talented choreographer Molly Parkinson keeps them on their toes! So much to look at and so much to listen to; not just that wonderful ‘Windy City’, but the opening number that really has us believin’ that Calamity is riding into town on ‘The Deadwood Stage’ (clever use of gauze screen) and the sublime chorus of ‘The Black Hills of Dakota’. Just wow.

It's Katie Brown, not Adelaide Adams, who arrives from the Windy City and Becky Morley keeps her cheerfully upbeat and endearingly open. It’s her who puts Calam on the ‘right’ path, but her honesty then leads her to make a wrong decision; thankfully she gets the right man in the end. Her duet with Lieutenant Gilmartin (played with the right amount of arrogant charm by Jack David), is performed by both with emotion and expression. Another lovely vocal performance from Lisa Stone, as Adelaide Adams in Chicago, singing about the Harry she’s planning to Marry, plus some well delivered put downs for her maid back in the dressing room.

George Parkinson, the Musical Director leads the 10 piece band and must have worked hard, alongside Assistant Musical Director Oliver Milton, to reach this level of performance (complete with American accents and phrasing) from all of the cast. Lighting, as usual, adds immeasurably to the visual experience and atmosphere; David Price creates the saloon, the theatre, moonlit nights and distant mountains. Matt Haslam’s sound was adjusted during the show to increase the volume a little and became crisp and clear. Pace slowed at times due to slight gaps in some delivery, but no prompt was needed; this is typical of first night nerves and timing will doubtless pick up from now on.

Sound effects seemed to be lacking, as gunshots were little more than pops, but on reflection, as no warnings of gunshots were given, this seems to be a deliberate decision. LEOS are committed to inclusivity in their performances and have an impressive range of initiatives, such as other accessibility measures, BSL interpreter performances, a Touch Tour and an Audio Described performance. Great work.

Director Elle Bates and her Assistant Rhodri Denton can be proud of this show, it’s not an easy one to stage, but Elle’s versatile set design and imaginative use of the space keep it moving and interesting. Clever casting, especially such a strong and charismatic lead, plus what must have been a detailed and rigorous rehearsal schedule, guarantee a sure fire winner.

 

Pride & Prejudice* (*sort of)

National Tour
Theatre Royal Nottingham
October 21st, 2024

"Pride and Prejudice* (*sort of)" is a refreshingly innovative adaptation of Jane Austen's classic novel, reimagined as a modern comedy with music. This production bursts with energy and creativity, offering a unique perspective on Austen's story.

Set within a framework where the original plot is delivered through the eyes of five narrators—household servants who witness the unfolding drama—this retelling maintains the essence of Austen's narrative while infusing it with humour, music, and contemporary references. The cast often break the fourth wall, making witty comments to the audience.

Musically, the show blends various styles, featuring both classic and modern tunes that are catchy and cleverly integrated into the storyline. The witty script by Isobel McArthur (who also directs), paired with fantastic movement and choreography by Emily Jane Boyle, and a lively score, breathes new life into characters such as Elizabeth Bennet and Mr. Darcy. The cast bring their antics and romances to life, making them feel fresh and exciting, while the direction ensures that the show maintains a fast pace.

The show features a series of pop classics, including Young Hearts Run Free, Will You Love Me Tomorrow, and You’re So Vain, to name just a few. Some of these are complete while others are relevant segments.

The cast deliver standout performances, superbly balancing the comedic elements with the emotional depth of Austen’s work. Their ability to seamlessly switch between roles adds to the humour and dynamism of the production. Jos Houben's excellent work on comedy staging elevates these performances.

The five main cast members are Susie Barrett, Emma Rose Creaner, Rhianna McGreevy, Naomi Preston-Low, and Christine Steel. Though listed in the programme Isobel Donken, Georgia May Firth, and Grace Liston did not appear tonight.

The immense talent of this all-female cast is undeniable. Each actress shines, not only in delivering their lines but also in their excellent physical comedy, singing, dancing, and playing multiple characters. The quick costume changes are breathtaking, and their transitions from one character to another are seamless.

Visually and technically, "Pride and Prejudice* (*sort of)" impresses with its creative use of a simple set that maximizes audience engagement and delivers a great theatrical experience. Colin Grenfell's lighting design is appropriate and well-controlled, while the sound, managed by Michael John McCarthy and Dylan Saberton, is crisp and clear. The cast handle the scenery and props throughout, moving them on and off with no disruption to the action. However, a small criticism: the glasses and bottles were always empty, and even a little liquid in them could have added some important realism.

Despite the humour and music, this production is a delightful homage to Jane Austen’s novel, offering both fans and newcomers a thoroughly entertaining and thought-provoking experience. It most certainly shows how classic literature can be reimagined in surprising and exciting ways.

The show received a well-deserved standing ovation at the end.

 

Art

National Tour

Theatre Royal Nottingham

October 8th 2024

"Art," written by Yasmina Reza and translated by Christopher Hampton, has been described as one of the most successful comedies ever. It centres on three friends and one white painting. The play has toured previously and was at this theatre in 2018; this production stars Sean Walsh, Chris Harper and Aden Gillett.

The play explores questions about art and friendship, focusing on Serge, Marc, and Yvan—three long-time friends. Serge, a fan of modern art, buys an expensive, completely white painting, which horrifies Marc and causes a strain in their friendship. Yvan, stuck in the middle, tries to keep the peace between them.

What follows is a three-way verbal sparring match that threatens to ruin their 25-year friendship. A disagreement about the painting escalates into criticism of their lifestyles, homes, relationships, and world views. The arguments turn physical before the play ends. Though translated from French, the dialogue feels very natural. The play runs for 85 minutes without an interval, which works well, as a break would disrupt the smooth flow of the story.

The three cast members are outstanding actors, true masters of their craft: Serg played by Chris Harper, Marc, played by Aden Gillett and Yvan, played by Sean Walsh. Their performances are captivating, they deliver the story with fast pace, whether in duologues, monologues, or asides to the audience. It’s not just about art; it delves into how life is viewed, relationships, and whether friendships can survive differing opinions.

With minimal action and a focus on dialogue, the play relies on skilled actors to pull it off. Tonight, the cast delivered a masterclass in acting, which was a joy to watch. There is also some good physical comedy too and a very short period of violence that is well directed.

Reza's writing is sharp and witty, even in translation, and has the audience laughing throughout. The actors’ comic timing is impeccable, which is essential for the success of this play. Listening to the dialogue and watching their facial expressions, which change constantly, and often tell a story of their own, is very entertaining.

The minimalist contemporary set designed by Ciaran Bagnall is very interesting. It revolves and changes according to place and mood. It has neutral tones with simple, clean lines reflecting the themes of contemporary art. This sparse setting allows the performances and the dialogue to take centre stage, while the lighting design adds mood and depth to the evolving disagreements among the friends.

Finally I must mention the incidental music which was in my opinion just right and fitted so well with the action and the themes of the play.

Art has won major theatre awards, including an Olivier, a Tony, and a Molière. Having watched it tonight I am not surprised.

The play is directed by Iqbal Khan, with set and lighting design by Ciaran Bagnall, composer and sound design by Max Pappenheim and fight direction by Claire Llewellyn (of Rc-Annie Ltd.)

Join the Art lovers and don’t miss this brilliant production

 

Educating Rita
Magpie Drama
Duchess Theatre
October 7th 2024

Amazing that a play first performed over forty years ago and dealing with, among other themes, class division and social mobility, can still seem so relevant today. But some things have hardly changed and it’s those other themes that really resonate: the concept of individual freedom, the value of education, the desire to self improve and the negotiation of personal relationships. Willy Russell wraps all this up in a wonderful comedy drama, skilfully blending sensitive character development within an engaging plot full of humour and wry social observations.

Susan is a working class hairdresser (in this production from Nottingham) who is fed up with the routine of her life and the expectations of her husband that she will settle down and start a family. Susan wants more, she’s not sure what, but she knows that there’s a world out there that she can’t quite see or hear properly yet; she wants to appreciate the culture of a different class. She’s made a start by changing her name to Rita, that of her favourite author, and she’s hoping that an Open University course in English Literature will open her eyes and ears and give her more opportunities. Frank is a middle-aged, alcoholic lecturer who has taken on the extra work as her tutor to pay for his drink; the action of the play, over one year, takes place entirely in his office.

It's a huge ask of two actors to deliver this wordy two-hander over more than two hours, while pacing the humour, conveying the inner lives of their characters and expressing the development of their relationship. Dan Bates as Frank and Laura Davey as Rita rise magnificently to the challenge, and for those who only have memories of these characters as played by Michael Caine and Julie Walters in the film, create versions that are new and interesting.

Laura, in her shiny turquoise leggings gives Rita plenty of brashness and brittleness with some snappy one liners as she first encounters Frank, impressing him with her passion and immediacy. There are so many nuances written into this character and Laura appreciates them all: Rita’s dogged determination to escape the expectations of her class, her gradually emerging confidence, her understanding of Frank and her final realisation that education doesn’t provide all the answers. Her description of her life, especially of her husband’s disdain and mother’s depression are movingly delivered. As Rita begins to enjoy academic life her clothes become smarter and Laura softens her delivery; the passion is still there, but to Frank’s dismay it’s more conventionally expressed.

Dan’s Frank is softly spoken and articulate, a jaded academic, who only once clearly shows the effects of his drinking in some subtly delivered slurred speech. Otherwise, Dan keeps Frank restrained but obviously captivated by Rita, by her fresh approach and her spontaneous reactions to both life and literature. There’s something of Pygmalion here, of Frank teaching Rita how to break out of the confines of her class and become a different person. However, it isn’t for nothing that he says if he changed his name it would be to Mary Shelley: the creator of a monster. As Susan becomes confident enough to assume her real name and a new identity she is no longer dependent on him. Dan expresses Frank’s anguish beautifully as her positive response to his archived poetry is delivered in the cliches of literary criticism, no longer fresh and original.

Director Rachel Bates has a tough job to do, keeping the pace and the visual interest up in a piece that takes place entirely amongst the books and bottles of Frank’s study. Thanks to the descriptive writing we can use our imaginations to see what is out of the window and we’re given plenty of details about events that occur during the year. But it’s the lively interplay between the characters as their stories unfold that keep us hooked and Rachel brightens this with pacy stage direction. There’s plenty of movement and some lovely use of props to illustrate points, plus some appropriate background music.

For lovers of modern drama, especially those who appreciate the wit and warmth of Willy Russell’s writing, this production is a delight, a very entertaining night at the theatre.

 

Hot Mikado
Erewash Musical Society
Duchess Theatre, Long Eaton

October 2nd 2024

I thoroughly enjoyed tonight’s performance of Hot Mikado by the Erewash Musical Society at the Duchess Theatre. As the President of EMS, I must admit that I may be slightly biased, but I cannot help but say how proud I am of the entire company. This was a fabulous production. Well done to you all.

It was outstanding, and the dedication of the cast members was evident throughout the show. They brought this modern retelling of the Gilbert and Sullivan classic to life with great talent and enthusiasm.

It featured excellent principal performances and was supported by a strong male and female ensemble. The singing and dancing were of a high quality, and the energetic choreography added to the enjoyment.

Visually, the performance was a delight, with bright and colourful costumes complementing the well-designed set. The presence of the excellent-sounding band on stage added to the overall look of the production, under the direction of MD Martin Lewis. The staging by James Bowden and Ann Colgen, along with the lighting by Steve Greatorex and sound by Dave Dallard, were all first class.

The audience's enthusiastic response at the end was a testament to the success of the show, Among the audience members tonight was the Deputy Mayor of Erewash, Cllr Harry Atkinson, who was delighted by what he had seen on stage.

After the show, Cllr Atkinson went on stage and congratulated everyone and expressed his desire to attend more EMS shows in the future. With his role as Mayor of Erewash next year, he will have an opportunity to continue supporting EMS.

This updated musical version of the Gilbert and Sullivan’s original operetta is a joy to watch and I am sure that the cast had as much fun performing it as we did watching it.

I can highly recommend this as it is in my opinion a must-see show.

Come From Away
National Tour
Theatre Royal Nottingham
October 1st 2024

It’s easy to see why this sparkling musical has attracted so much praise and been nominated for so many awards. Plaudits such as ‘slick, creative, fast-paced and utterly entertaining’, ‘profoundly moving and profoundly uplifting’, ‘sensational ensemble show’ and ‘one of the best theatre soundtracks in years’ abound online and they’re not wrong. It's a riveting story beautifully told through song and through the words of those who were there when almost 7,000 air passengers were grounded in Canada during the wake of 9/11.

The small Newfoundland community of Gander invited these ‘come from aways’ into their lives with generosity and kindness. We hear the stories of the bewildered passengers who have come from all over the world and meet the hosts who worked tirelessly to provide them with hospitality and friendship. There are 84 characters in all, played by 12 actors who effortlessly segue from one to another; we’re taken with them, caught up and totally engrossed in their stories and the non stop action. It’s a joyous medley of songs, narration and movement, but above all it’s a heartwarming story of human spirit and unity at a time of division and overwhelming tragedy.

Songs range from catchy tunes that tell the story to poignantly expressed emotion and longing, plus the rousing ‘Screech In’, when the stranded passengers are invited to partake of local whisky, kiss a fish and become honorary Newfoundlanders. In contrast, an emotional and moving highlight is ‘Prayer’, when those of different religions meet together to pray. The modern version of the prayer of St Francis (Make me a Channel of Your Peace) morphs into Jewish, Hindu and Islamic prayers for peace. A live band on stage provides the accompaniment and the sound is just fabulous; the Irish heritage of the area is clear.

There are engaging contrasts throughout: we can laugh at the jokes and the humorous interplay between the two Kevins and many other characters, be rooting for Bonnie who is caring for the stranded animals and hoping that Nick & Diane get it together, but at the same time feel the fear of Ali, a Muslim, and the sadness of Hannah, unable to contact her firefighter son in New York. So much of human life is here: these are representations of real people, or amalgams of people and it’s their words we hear. Among the powerful stories is that of Beverley Bass, the first female American Airlines captain, portrayed brilliantly by Sara Poyser, especially in her delivery of the soaring ‘Me And The Sky’.

We also meet Claude the mayor, Oz the police constable, Beulah the teacher and Janice the news reporter, colourful local characters who bring the town alive for us with their warmth and local humour, all expressed in the cheerful Newfoundland accent – think Irish!

The cast have mastered a whole range of accents, as well as all those little nuances and quirks of delivery that establish character, thus bringing so many characters and their stories alive for us. This is a true ensemble piece and it’s a thrill seeing this cast of varying ages work so well together, creating something so immediate and vivid with very little scenery or props. The set has a few Canadian Maples and a backdrop that doubles as a fuselage, but it’s a set of chairs that offer the most versatility for the cast, as they use them to transform the scenes, along with a few costume changes and some excellent lighting. It’s a wonderfully creative piece that is a celebration of the best of human nature at a time when hope for humanity seemed almost lost.

The final scenes offer hope for the future, affirmed by a joyous final jig and solos from the band, giving the audience a chance to dance, clap and cheer. A wonderful end to 100 minutes (there is no interval) of great musical theatre. There is a clothing and money collection for Emmanuel House in the foyer, plus the opportunity to kiss that fish!

 

School of Rock, the Musical

Nottingham Arts Theatre Production

Nottingham Arts Theatre

September 25th 2024

Andrew Lloyd Webber's Rock of Ages, follows the story of Dewey Finn, a rock singer and guitarist who poses as a substitute teacher at an esteemed prep school. Upon discovering the musical talents of his students, Dewey forms a band of fifth graders to compete in the upcoming Battle of the Bands contest.

The stage adaptation, based on the film of the same name, features 14 additional songs written by Webber himself. They range from rock tunes to typical musical theatre songs, ballads, dance numbers, and even some touches of opera. This is Andrew Lloyd Webber at his best, but not necessarily as you might expect.

Tonight’s production of “School of Rock” at The Nottingham Arts Theatre, was wonderful. The cast delivered outstanding performances, showcasing excellent acting, singing, dancing and musicianship.

The storyline, based on the film, is both heartwarming and humorous. It beautifully captures the themes of friendship, creativity, and the importance of following one’s dreams. The clever script has the audience engaged throughout while the catchy music is a joy to listen to.

Shining in the role of Dewey Finn is Nik Hudson. His singing, dancing, and comic timing are genuinely impressive, but he also brings out the character's softer, more emotional side. His physical acting is superb, as he throws himself around the stage.

Playing the part of the school principal Rosalie Mullins is Beccy Burgess. She has a big voice and a great personality to match. She has a very wide vocal range which enables her to sing musical theatre ballads and operatic arias. She plays her role well and shows both her characters hard and soft sides effectively.

Ned Schneebly is played by Luc Chignall, partnered with his girlfriend Patty, played by Keira Dormer-Hazell; they are a very entertaining pair. Kiera is wonderfully strident and expressive in Patti’s distaste for Dewey while Luc counters this with some calmness and understanding.

Supporting the principals is an ensemble of parents and teachers who are very talented and hardworking members of the cast. They are Curtis Salmon, Alex Nickson, Jack Kent, Chris Surridge, Stacey Ireson, Jonathan Jaycock, Sean Briggs, Gavin Owen, Chloe Crofts, Helena Cave, Eleanor Carty, Michael Coles, Mark Russell, Brogan Haynes, Alison Russell and Samantha Whitworth.

I must also mention the No Vacancy Band that starts off the show and performs during The Battle of the Band. They sound great and get the show off to a zinging start.

Having said all the above, what really elevates this show to something quite special are the young actors playing the school pupils. Their performances are outstanding and left a strong impression on me. They demonstrate impressive skills in acting, singing and dancing. The collective energy they bring to the stage and their enthusiasm are infectious.

There are two youth teams and tonight it was “Team Gibson” featuring Hermione Cumbers, Sophie Benner, Arlo Perrons, Kayla Burgess, Seth Burgess, Ayanna Mzungu, Ruby Hall, Martha Kemp, Esmie Smith-Cockayne, Megan Holder and Soloman Palmer. Well done all of you. You are brilliant. Well done also to the choreographer, Jessica Royce for such dynamic movement and choreography, that allowed them all to excel.

In addition to these are the incredible young musicians who play for real in the school band. They are such talented performers and they sound great. No tracks in this production. All play their instruments to a high standard. They are Giles Briggs on drums, Austin Owen on guitar, Connie Tegerdine on bass guitar and Orla Donohoe on keyboard.

The overall standard of music is high and the live band conducted by the Musical Director, AJ Hill (assisted by Jonah Williams) sounds wonderful.

The staging is enhanced by effective back projections (Chris Margett). The seamless transitions between scenes plus great lighting (Oliver Reed) and sound (Rob Kettridge) contribute to an immersive experience throughout. The Director Lindsay Jaycock has produced a show that moves with great speed, is exciting and involves the whole cast in the action. This also involves a very hardworking stage crew under the direction of Matt Alcock. As far as I could see all the scene changes were perfectly executed.

“School of Rock” at The Nottingham Arts Theatre is a must-see! It’s a perfect blend of fun, laughter, and rock ‘n’ roll spirit, making it an unforgettable night out for audiences of all ages. I left the theatre with a smile on my face eager to share this fantastic experience with others. Highly recommended!

Now That's What I Call a Musical
National Tour
Theatre Royal Nottingham
September 24th 2024

"Now That’s What I Call a Musical" is a vibrant stage production that brings together a medley of popular songs along with a narrative that effectively connects them. The show is a celebration of various musical genres, seamlessly intertwining classic hits with contemporary favourites. The storyline follows a group of friends navigating life's challenges, using music as a backdrop for their emotional journeys. The writing (Pippa Evans) strikes a good balance between humour and more serious moments, making it both relatable and enjoyable.

It’s Birmingham, 1989. Two school friends, Gemma and April, are busy with very important business - planning their lives based on Number One Magazine quizzes and dreaming of snogging Rick Astley. Cut to Birmingham 2009 and it’s the most dreaded event of their lives– the school reunion. Drama, old flames and receding hairlines come together as friends reunite and everything from the past gains a new relevance.

From the moment the curtain rises, the energy on stage is high. The choreography is strong and well-executed and is typical of Craig Revel Horwood (Director and Choreographer). There is a talented ensemble who not only sing well but also dance with power and precision. Each number is a highlight, showcasing the performers' versatility and the clever arrangements breathe new life into familiar tunes. Featured songs include hits from Whitney Houston, Wham! Blondie, Tears for Fears, Spandau Ballet and many more.

The production stars the award-winning comedy actress and EastEnders star Nina Wadia as Gemma and Melissa Jacques as April joined by special guest, the pop icon, Sinitta. They are all super and their performances were well appreciated by the audience.

They are very well supported by Kieran Cooper as Younger Tim, Christopher Glover as Dad, Chris Grahamson as older Tim, Maia Hawkins as Younger April, Lauren Hendricks as Ms Dorian, Shakil Hussain as Frank, Nikita Johal as Younger Gemma, Luke Latchman as Younger Frank, Matthew Mori (professional debut) as Younger Steve, Phil Sealey as Steve, Callum Tempest as Barney and Poppy Tierney as Mum.  The cast is completed by Emily Barnett-Salter, Molly Cheesley, Lizzy Ives (professional debut), Stefanos Petri (professional debut), Martha Pothen as Ms Pothen and Blake Tuke.

The set that is colourful and imaginative, and the lighting enhances the mood of each scene, often turning the stage into a kaleidoscope of colour. The costumes are very suitable, reflecting the eras and styles of the songs performed.

However, some scene transitions feel a bit abrupt, and a deeper exploration of character development might have added more depth to the narrative. There is a lot of set movement which, although done well, does sometimes seem rather clunky and somewhat distracting.  I also felt that at times the volume of the band was too high, making some of the lyrics difficult to hear. It just needs turning down a tad.

However, “Now That’s What I Call a Musical" is a celebration of all kinds of popular music; it's a must-see for musical lovers and a fantastic introduction for those new to musical theatre.  There was an enthusiastic standing ovation at the end of the show. The mega mix finale was in fabulous and many in the audience joined in. Nice that we were also encouraged to take photos during it.

Overall, I enjoyed the show and whether you're there for the nostalgia or sheer entertainment, this production hits all the right notes

 

Dracula
National Tour
Derby Theatre
September 19th 2024

Dracula, the timeless tale of love, fear, and the supernatural, is brought to life by Blackeyed Theatre in a mesmerizing production that often left me on the edge of my seat.

The actors certainly brought their characters to life. There is more than one actor involved in most of the roles, as this is a dynamic ensemble production, which is typical of Blackeyed Theatre. The actors not only have more than one main part but also narrate, talk for specific characters, play minor roles and even change the set. This is done slickly and at speed.

The excellent cast is Maya-Nika Bewley as Mina Harker/ Dr Hennessey, David Chafer as Abraham Van Helsing/ Count Dracula, Richard Keightley as Dr. John Seward/ Count Dracula, Pele Kelland-Beau as Jonathan Harker/ Quincey Morris, Marie Osman as Lucy Westenra/ Renfield, and Harry Rundle as Arthur Holmwood/ Count Dracula.

The sharing of roles makes for a very interesting and different kind of production, which challenges the audience in a creative way. Once I got used to this I really liked it.

The composite set (Victoria Spearing) is hauntingly beautiful, capturing the eerie atmosphere of all the locations perfectly.

The lighting (Oliver Welsh) and sound effects (Tristan Parkes) effectively add to the sense of unease, keeping us in suspense throughout the performance. I was never quite sure what was going to happen next and was always fully engaged. This was all added to by the excellent, mood enhancing incidental music.

The creative team led by Director Nick Lane has certainly breathed new life into this classic tale. Tonight’s performance was a spine-tingling experience, with an eerie soundscape, compelling performances, and imaginative staging. It promised to deliver an unforgettable theatrical experience and it certainly did just that.

I especially enjoyed 4 songs composed or arranged by Tristan Parkes, which added richness to the overall story.

This imaginative adaptation of Bram Stoker’s classic story is a thrilling and chilling experience that leaves a strong impression; it’s a fascinating piece. The play ended with an enthusiastic ovation from the audience.

 Go see it, if you dare although you might just believe at the end that “there is such a being as a vampire.”

Sister Act – A Divine Musical
National Tour 2024
The Theatre Royal Nottingham

September 16th 2024

Two words perfectly sum up tonight’s performance of Sister Act – "Fabulous Baby!"

That’s the title of song sung by the central character, Deloris Van Cartier, a nightclub singer who is forced to seek refuge in a convent after witnessing a mob murder. Consequently, she needs police protection. While in the convent, she miraculously transforms the tone-deaf nuns' choir into a fabulous gospel singing group, while also changing her own life in the process. She helps the police arrest the mob boss, saves the church from closure, and leaves behind the shady world of nightclubs. All of this happens in just over two hours – well that’s the magic of stage musicals!

There are, of course, twists and turns, accompanied by some great musical numbers and dance routines that keep the energy high and the toes tapping. Songs like Take Me To Heaven, Sunday Morning Fever, Raise Your Voice, Bless Our Show, and Spread the Love Around are upbeat, joyful numbers that lift the roof and put smiles on faces.

Landi Oshinowo takes the lead as Deloris Van Cartier, and it's safe to say she is outstanding. Her singing, dancing, and acting are all fantastic. From the very first notes of Fabulous Baby, it’s clear she has the voice, charisma, and stage presence to truly shine in this role.

Wendi Peters (ex of Coronation Street and Doctors) plays the Mother Superior, who, until nearly the end, disapproves of Deloris's influence on the convent’s music. She performs with great confidence and expression, showcasing her considerable acting ability, powerful voice, and comedy talent.

The show is largely an ensemble piece, with the nuns' choir taking centre stage. It is on stage for much of the show, delivering energetic, big routines that bring the house down. The nun’s enthusiasm is infectious and spreads to the audience, a testament to the skilful choreography of Alistair David.

Ian Gareth-Jones as the gangster boss Curtis Jackson is great in the part. Along with his sidekicks – Elliot Gooch (TJ), Michalis Antoniou (Pablo), and Callum Martin (Joey) provide a perfect balance of menace and slapstick humour. Their performance of “I could be that guy” was very entertaining.

Alfie Parker, playing Officer Eddie Souther, gives a splendid performance with many witty touches and quickly becomes an audience favourite.

Philip Arran plays Monsignor O’Hare, the sympathetic parish priest. He brings warmth and gentle humour to the role.

Much credit for the show’s success goes to the production team, led by Director Bill Buckhurst, who clearly understands what makes a great stage musical. The result is a polished production in all respects.

The Musical Director Tom Slade, who incidentally becomes the Pope at the end of the show, leads a fantastic sounding band, and the standard of singing throughout is excellent. I am pleased to say that the balance between band and performers is perfect.

The show moves along at a fast pace, and the scene changes are impressively slick. Both the lighting and sound are excellent.

This is an outstanding production that I really enjoyed. Yes, the plot may be predictable, but the energy, excitement, and joy brought by the entire cast make it an absolute pleasure to watch.

The finale is pure joy, with most in the audience, including me, standing and clapping with gusto.

This is a must-see show – a divine musical that is, quite simply, "Fabulous Baby!"

Legally Blonde
Gatepost Theatre Company
Duchess Theatre
September 10th 2024

It’s lovely to leave the theatre with a warm glow and when that glow is positively pink it’s even better. This sparkling production of Legally Blonde from Gatepost Theatre is full of catchy tunes (Omigod, you’ll sing all the way home), loads of fabulous dancing and lots of tongue in cheek humour, all delivered at a cracking pace by a talented cast. OK, it’s not PC – while it challenges a stereotype it celebrates a few others - but the way these are handled ridicules them at the same time. There’s more than one knowing nod to the audience.

Starting off as one big blonde stereotype is the squealing Elle Woods, sorority queen of the Delta Nus, clad from head to foot in signature pink and desperate to marry her College beau, Warner. When he makes it clear that he needs a ‘Jackie’, not a ‘Marilyn’, someone serious enough to be the wife of a would be senator, Elle is heartbroken. Heartbroken but not deterred, as she decides to follow him to Havard… not an easy task, as a collection of Vogue magazines and a degree in fashion merchandising doesn’t quite hack it. Let’s break down that stereotype!

Hollie Smith is a magnificent Elle, she looks and sounds great and takes Elle on her journey of self discovery with charm and determination. This is a really engaging character and Hollie makes the absolute most of her ditziness, her warmth, her emerging strength and every one of her funny lines. She has a lovely voice, dances well and has stage charisma, a perfect fit for this character who is infuriatingly vacuous to start with, but soon has us cheering for her.

Gary Heap also has a lovely voice; he piles on the arrogance as the self centred Warner, yet manages to show some regret - when he realises what he is missing - as Elle proves she is anything but a Marilyn. Emmett, Elle’s good natured mentor at Havard, is played with humour and warmth by Chris Collington, another strong voice. This is a challenging show vocally, as so much of the story is told through singing, as well as being dance heavy, so this cast have had to work their socks off to get everything right. Clear, expressive singing is a must and that’s exactly what we get.

Chris Collington is the director and MD, as well as playing Emmett, so his socks must have completely disappeared. The show is fast paced, as scenes melt into each other due to the speedy placing of trucks by both the stage crew and the cast, plus the device of keeping the action going at the front while changes happen behind. It whizzes by and when the ensemble fill the stage with one of their many dance routines it’s fast and fabulous, but never crowded.

Choreographer Lottie Lodge has packed the show with a dazzling variety of dance styles, there are hands and feet flying everywhere, in pieces that include Irish dance and the slickest of skipping routines. This must be one fit cast, as they are often required to sing and dance up a storm at the same time, literally breathtaking!

The multi talented Lottie also plays Serena, one of the Delta Nu sorority who support Elle in her quest to join Warner at Havard. Later they become the imagined Greek Chorus, dispensing ongoing advice: the other two are played brilliantly by Claire Webb as Pilar and Laura Stone as Margot. It’s hard to imagine how these silly characters ever got bachelor degrees, but they are endlessly entertaining - they’re warm, funny and played by great singers and dancers; all three performers seem to be having a ball. They are often on stage alongside members of the company and their highlights include the squealing but joyous ‘Omigod You Guys’ (such a great opening number) and the cringy but fun ‘Bend and Snap’.

Among the challenges Elle faces at Harvard are the prejudices of her fellow students, none less than that shown by posh ‘preppie’ Vivienne, Warner’s new girlfriend. Tilly Bedford’s well judged characterisation gives her a coolly cruel arrogance and a steely determination that is channelled in the right direction by the end. Jordan Neary brings a lot of fun to the strident feminist and activist Enid, who suffers her own discrimination, particularly by the pernicious Professor Callahan. Gavin Owen gets the slick and self satisfied creep spot on, setting out his agenda so expressively in the grimly entertaining ‘Blood in the Water’.

One of Elle’s greatest supporters is the lovely Paulette, a hairdresser who Elle is able to help, using her newly acquired knowledge of the law. A wonderfully comic characterisation, Jude Cliffman has perfect timing that makes the most of some cracking lines and a couple of great songs. Her expression of her love for Ireland, plus a growing infatuation with Kyle the delivery guy, are comic highlights. Kyle was played at the performance I saw by Josh Neville, with some great physical comedy and exaggerated comic delivery.

Elle is also able to help Brooke, a fitness instructor who has been accused of murder, during some delightfully farcical courtroom scenes. Shannon Elmore’s lively and fun characterisation shows boundless energy, particularly in the demanding skipping/singing routine of ‘Whipped into Shape’, which is gloriously performed with members of the company.

Members of the excellent company also step up to play convincing cameo roles, such as Elle’s parents, the Judge and Nikos and Carlos, two key witnesses at Brooke’s trial. There’s a lot of fun in the slightly dodgy ‘There! Right There! (Gay or European), which this production simply makes knowingly, joyously camp. The ensemble also includes two adorable dogs, Woody, who plays Elle’s lapdog Bruiser and Don, who is Paulette’s dog, Rufus.

Lighting by Stephen Greatorex is as gorgeous as Elle, the sorority building windows are individually brightly lit, then cleverly toned down during other scenes; colourful spotlights add to the glamour. Costumes are equally fabulous, with a clear contrast between Elle’s world and that of Harvard.

There are some topical insertions by the director which add to the fun and show that, although some of themes may be dated, the message of not judging by appearances and remaining true to oneself is always relevant. When Elle discovers she can be herself and still be successful in a world that seemed so hostile, it’s a joyous moment.

It’s cold and damp at the moment, but that positive pink glow is waiting to warm more audiences up at the Duchess Theatre until Saturday, September 11th.

The History Boys
National Tour
Theatre Royal Nottingham
September 10th

I have seen amateur versions of Alan Bennet’s “The History Boys” and enjoyed them. However, this new touring version brings this much-loved play to life in a fresh, engaging, and thoroughly entertaining way. Alan Bennett’s wonderfully crafted writing is a joy to listen to throughout.

The play is set in a 1980s Yorkshire grammar school and follows a group of bright sixth-form boys preparing for their university entrance exams. The story centres around three teachers with very different approaches: Hector, the eccentric and unorthodox English teacher who believes in learning for the joy of it; Irwin, a young, ambitious history teacher hired to help the boys pass their exams with a more strategic approach; and Mrs Lintott, the straightforward history teacher who gives a no-nonsense view of the world.

As the boys juggle their academic pressure and the challenges of growing up, the play explores themes of education, sexuality, ambition, and the clash between different teaching styles. Through a mix of humour and poignancy, The History Boys shows how learning and life are much more complicated than just passing exams.

This is very much an ensemble piece in which all the boys bring their unique personalities to the forefront, perfectly capturing the sharp wit, youthful exuberance, and poignant moments of vulnerability that make Bennett's characters so memorable.

The boys are Archie Christoph-Allen as Dakin, Lewis Cornay as Posner, Teddy Hinde as Timms, Yazdan Qafouri as Scripps, Ned Costello as Rudge, Mahesh Parmar as Akthar, Tashinga Bepete as Crowther, Curtis Kemlo as Lockwood. The chemistry between them all is just right, making the classroom scenes burst with life and energy.

They are supported by the ensemble of Zrey Sholapurkar, Morgan Phillips, Jolyon Young, Elliot Parchment-Morrison, Rowena Bentley and Rob Astillo.

They are not just good actors but they sing dance and move with skill and vigour. I must mention Lewis Cornay who has a superb singing voice and who often leads the songs. The play now contains songs such as poignant renditions of ‘Bewitched, Bothered and Bewildered’, ‘Wish Me Luck as You Wave Me Goodbye’ and ‘Bye Bye Blackbird’, which appear quite naturally from the action.

The interplay between the students and the eccentric Hector, played with warmth by Simon Rouse is a particular highlight. His portrayal was sometimes very humorous while at others filled with deep emotion and concern for the boys and his beliefs. Equally good performances come from Irwin played by Bill Milner, Mrs Lintott played by Gillian Bevan, and the somewhat crazy Headmaster played by Milo Twomey.

There is a fabulous soundtrack which is often used during scene changes including‘Tainted Love’ (1981 hit for Soft Cell), ‘West End Girls’ (1983 hit for the Pet Shop Boys), and ‘Everybody Wants to Rule the World’ (Tears for Fears’ 1985 hit) as well as a host of other delightful musical styles. These are designed to set the mood and certainly do that well. The Musical Director is Eamonn O’Dwyer.

Seán Linnen’s direction breathes new life into this classic play. The pace is crisp, and the transitions between moments of comedy and drama are very smooth. The staging feels fresh and the use of lighting (Ryan Day) and sound (Russell Ditchfield) helped to create an immersive experience that draws the audience into the heart of the classroom and beyond. The scene changes, of which there are many, are performed incredibly quickly by the cast. These are all precisely choreographed and I was memorised by many of them. The set designed by Grace Smart, based on two revolving trucks, was excellent and versatile.

The themes of education, ambition, and the pressure on young people to succeed are timeless, and the cast and production team manage to make these feel as relevant today as in the 1980’s. As an ex Headteacher myself I find this very important to think about.

This production of The History Boys is a must see whether you're a long-time fan of the play like me or discovering it for the first time. It is guaranteed to make you laugh, think, and reflect.

The History Boys is, in my view, a theatrical triumph of a modern classic which tonight resulted in an enthusiastic whole theatre standing ovation at the end. It also reminds us, as Dakin announced to the whole class, “History is just one f**king thing after another.”

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West Side Story
Zak Scott Productions
Duchess Theatre, Long Eaton
September 6th 2024
It’s astonishing that a group of young performers can produce a mammoth musical like West Side Story (and not even the teen version!) following a two week Summer School. It’s even more astonishing that it’s so spectacular, so well performed, so polished and so moving. It’s an absolute humdinger.

Zak Scott and his production team really know how to get the best out of their talented performers and how to stage a show for thrilling, maximum impact. The story of teen lovers - based on Shakespeare’s Romeo and Juliet - who are thwarted by gang rivalry and race hatred, is powerfully told through beautiful singing, expressive acting and exciting dance.

One of the most engaging features of this production is the youth of the cast, just right for the ages of the characters they portray, giving credence to their feelings and the dilemmas they face. The rival gangs, the American Jets and Puerto Rican Sharks, seethe with animosity towards each other; Ellie Simmonds’ detailed and imaginative choreography gives them the strut and swagger to express this. The opening prologue is dynamic and exciting, as the gangs jostle and threaten in a glorious mixture of jazzy, balletic movements and stylised fighting. It sets the scene, sets the tone and begins the narrative in a most compelling way.

Throughout the production the dancing is exceptional, both in concept and execution. It’s not just fiery dynamics – there’s Mambo, Cha Cha, a touch of flamenco, lyrical dance and a fabulous dream ballet sequence, designed by Associate Choreographer, Alex Tavener. The group numbers are full of interest: there’s no standing around, everyone is engaged, in character and moving with meaning. It’s difficult to imagine how much preparation and work must have gone into achieving this variety and standard of dance in such a short time. Bravo!

Then there is the singing, of which all the performers and Musical Director Ben Ward with Associate MD Emily Knight, should be very proud. Sound design by Olivia Michaud is spot on, with a perfect balance between the performers and the accompaniment: such a pleasure to be able to hear the singing so clearly!

Like the dancing, there’s so much variety here, from the big belters like ‘America’, to the whimsy of ‘I Feel Pretty’, the soaring hope of ‘Tonight’ and the heart rending poignancy of ‘Somewhere’. Bernstein’s music and Sondheim’s lyrics are a magical combination and the young voices of these performers add a magic all of their own. It’s difficult stuff, but the Musical Director has made adjustments to suit the voices, such as in the five parts and multiple harmonies of ‘Tonight’, ensuring it sounds great. The finale, which is an original arrangement of ‘Somewhere’ and features the whole cast, is stunning. You need a tissue.

Harriet Campion is everything Maria should be, sweet but with spirit, and hitting all those notes with her beautiful soprano voice. She convincingly takes the character from the naïve sweetness of first love to the passion and heartbreak of the tragic conclusion. Harriet is clearly at home on the stage and surely destined to shine in many more productions in the future.

Another shining star is Harvey Tavener as her star-crossed lover, Tony. A brilliantly acted performance with some fabulous dancing, Harvey also knows how to express mood and feeling through singing. His interpretations of his solos, especially ‘Maria’ - with some impressive falsetto - are moving and charismatic.

Tony has tried to leave the Jets behind him, but Riff, played so powerfully by Joel Dawson, has other ideas. A natural leader, Riff relies on bravado and threat to assert his authority and Joel captures this perfectly through his acting, singing and dancing. It’s no surprise to read in the programme that he is about to start a Musical Theatre degree, where his threat will definitely be triple!

More great dancing and lovely characterisation from Miles Potter as Action, the bad tempered tough guy who loves a rumble. Miles gets to show off his musical comedy skills in the splendid ‘Gee Officer Krupke’, a moment of light relief following the horrific street violence. This clever song is so well staged in a way I have never seen it done before: Miles and the Jets (Finn Boswell as A-Rab, Fin Tomlinson as Baby John, Dillan Brookes as Snowboy, Isobel Pickering as Big Deal and Lucy Coulson-Jones as Diesel) absolutely nail it. It’s a real highlight.

Heidi Parsons is the street wise Anybody’s, the tom boy who wants to be a Jet; Heidi captures this tough, scrappy, but vulnerable character so convincingly. Will Mellor does a great job of ageing up to play Schrank, the bent and bigoted Lieutenant, who has all but given up on controlling the gang warfare.

This is a piece is about conflict based on prejudice, racial tension and blind hatred. The immigrant Puerto Ricans experienced this as soon as they arrived and the Sharks, led by Bernardo, are fighting back. Brogan Haynes gives the character a brooding, menacing presence coupled with some great dancing. In contrast Drew Boswell sensitively plays the softer Chino, led into violence by the need for revenge and to maintain a misplaced honour.

Olivia Bonham is another performer who has to age up as the confident and world weary Anita, Bernardo’s sister and Maria’s friend. This is a strong, sassy character who gets some very amusing lines alongside some emotionally powerful dramatic scenes; Olivia really does her justice. She has the bearing just right and the voice to make the most of her songs. ‘America’ is dynamic and exciting (performed so well with the Shark girls) and ‘A Boy Like That’ sung with Maria is poignant and beautifully phrased.

There are 16 more young performers in the ensemble and the enthusiasm and standard of both singing and dancing from all of them is admirable.

The Director Zak Charlesworth and the team have had the highest expectations of this cast and the production values, including some wonderful costumes, are no less than those found in shows that have been rehearsed and produced over many months. Not only that, this production has taken the time to be environmentally friendly, by using the blueprint created by the Theatre Green Book – an initiative that champions sustainable practices. The splendid set was provided by Rocket Studios, who reuse and repurpose professional scenery; attention was also paid to minimising environmental impact, energy consumption and waste management. So many great lessons and examples of good practice have been learnt and demonstrated by this young cast.

Clever lighting of the set by Dave Martin, including a stark blood red, creates mood and tension as well as spotlighting points in the action. The sad American flag that is draped over the back of the set in front of the New York skyline, is a symbol of broken promises and the distortion of the American dream. However, it is imaginatively used at the end of the piece to suggest the redemptive power of love; how that dream can be revived if hearts and minds are willing.

This is a sold out run, but there may be returns available from Ticketsource, or by directly contacting the box office at the Duchess Theatre. If not, be sure to catch the next production by Zak Scott Productions, which will be in July 2025 at Nottingham Playhouse.

Pretty Woman: The Musical

Theatre  Royal Nottingham

2nd September 2024

Once upon a time in the late ’80s, Vivian met Edward and her life changed forever. Pretty Woman: The Musical is a stage adaptation of the 1990 romantic comedy film, Pretty Woman. Depicting the iconic love story between Vivian and Edward, the musical promises to lift your spirits and light up your heart and it certainly does not disappoint.

Staying true to the plot of the film, the musical adeptly tells the story of Vivian Ward, a street smart sex worker who finds herself in a whirlwind and unexpected romance with billionaire business man Edward Lewis. For fans of the original film, the musical is a nostalgic trip down memory lane, filled with familiar moments and iconic lines. For newcomers, the musical is just as enjoyable; you really don’t need to have seen the film to enjoy this production.

The musical's score, composed by Bryan Adams and Jim Vallance, is catchy and energetic. There are even some impressive operatic arias included. Of course, the iconic Roy Orbison song Pretty Woman is included and was enthusiastically received by the audience.

The entire cast delivered solid performances throughout and were all hugely talented. However, Strictly winner Ore Oduba who plays Happy Man and Mr Thompson was the stand out performer for me. His singing, acting and comedic timing was incredible, showing what a multi talented performer he really is. Amber Davies and Oliver Savile played the lead roles of Vivian and Edward and worked well together, capturing the chemistry between the two lovers. Natalie Paris played Vivian’s sex worker side kick, Kit; her singing voice was excellent. Noah Harrison played the clown-like figure of the bellboy, Giulio. He also had great comedic timing, giving many laugh out loud moments and was a delight to watch. At the end of the production, the cast received a very well deserved standing ovation, a testament to their skilled and talented performances.

 

Beauty & The Beast

Spotlight Theatre

Squire Performing Arts Centre

August 30th 2024

What a lovely way to end the school summer holidays, being entertained by this joyous and heartwarming production from Spotlight Theatre. It’s not just children and Disney fans who will be entranced, the talented cast bring the fairy tale characters alive in a dazzling song and dance spectacle that can’t fail to bring a smile. Packed with irresistible tunes, a strong moral message, and the most romantic of happy endings, it has everything that makes Disney a sneaky pleasure for so many of us.

Belle is a bookish Beauty who yearns for a bit more adventure in her life. She gets her wish when she rescues her father from the clutches of a Beast in a forbidding castle, by taking his place as a prisoner. Turns out the Beast is a prisoner too – of a curse by an Enchantress who decided to teach him a lesson about not judging on appearances. Only true love can save him and his servants, who are still gamely performing their domestic duties while being slowly transformed into household objects. Can Belle be the one to break the spell, or will she be thwarted by the dastardly hunter Gaston, who is in hot pursuit of her, along with the angry townspeople, and determined to kill the Beast?

Samantha Hedley is the sweet but feisty Belle who sorts the Beast out while learning a few lessons of her own. Belle is on stage for most of the action and Samantha’s sensitive portrayal, never less than fully in the moment, takes the audience with her. Samantha also has a beautiful voice and really knows how to use it to express emotion; her solos Home and A Change In Me are magnificent.

Like the audience, Belle takes great delight in the warmth and fun generated by the household staff, led by Cogsworth, who is slowly turning into a clock. Played with relish by Joe Butler, this stickler for the rules obviously has a warm heart and time for everyone. Laura’s Thurman’s deliciously warm Mrs Potts brings common sense, wise words and comfort to both Belle and The Beast. Emily Holder plays her son Chip, who is literally everyone’s cup of tea: forced by the spell to perch on a tea trolley. Some lovely voice work from Emily, who could have a career in radio drama playing small boys!

Another brilliant piece of character acting from David Page as the flamboyant maître’d, Lumiere, who is condemned to life as a slowly burning candelabra. Nothing much gets on his wick though, as his free spirited nature and disregard for the rules keeps him exaggeratedly cheerful. A comic portrayal, complete with a wonderful French accent, that is an absolute delight.

More excellent character acting from Laura Ellis as Madame De La Grande Bouche, a lady in waiting who is now a dressing table, and Stephanie Beara as Babette, a fetching feather duster, who used to be a maid. The impact of all the household characters in their colourful and ingenious costumes, brought to life so engagingly, is huge. The spectacular number Be Our Guest, which is glorious, gives them a chance, alongside the supporting cast, to show they can dance and sing, too.

The supporting cast of 20 young performers don’t just add to the colour and spectacle: they are tasked with some demanding voice and movement work and they have really risen to the challenge. Choreographer Kristian Cunningham has piled on the razzle dazzle with detailed hand and footwork - including tap - that is exciting and beautiful to watch. Wow!

Musical Director Vicky Moroziuk has kept everyone on their toes too, both the solos and the group numbers are beautifully performed and perfectly balanced with the accompaniment. These songs aren’t easy and all of them require not just technical expertise, but the ability to perform them in character and with emotion; Vicky must have worked very hard with the cast to achieve this.

There are many comic highlights in this, a lot of them provided by the ghastly Gaston and his snide sidekick, LaFou. Oliver Smith is a fabulously over the top baddie, who gets every ounce of comic potential out of the character. His vain swagger, the exaggerated delivery of unashamed villainy and his knowing looks to the audience are hilarious. Patrick McChrystal gets lots of laughs too, the put upon and knocked about bumbler is aways loyal to his bullying friend and has some good ideas, but sadly – and to great comic effect - they never work. Two lovely performances.

Even the Beast gets some humorous lines, which in between the bellowing, shouting and complaining, are made full use of by Sam Barson. His powerful delivery of the Beast’s anger and anguish are nicely punctuated by hints of vulnerability and growing self awareness. Sam’s vocals are fabulous, the tortuous How Long Must This Go On? and the desperate If I Can’t Love Her are beautifully sung.

Supporting roles are played well by Adam Collishaw as Maurice, Belle’s eccentric inventor father; the spoilt young Prince is Abraham Collishaw; the mysterious old beggar woman is Sophie Petruccio-Hall; Monsieur D'Arque is played by Shantanu Bhumbra and the rich voice of the narrator belongs to Liam Petruccio-Hall. There is some delightful fan girl twittering from Charlotte Barrington, Megan Leahy & Emily-Hope Wilkins as Les Filles La Ville, who adore Gaston.

The set by designer Joanne Furner is an impressive Gothic structure that hints at the magical forest beyond and is beautifully lit with a stained glass window effect. Its versatility means it has height that takes us up to the west wing of the castle, yet it can also be adjusted to create other spaces lower down. This means a lot of work for the stage crew, especially the ‘Gargoyles’ who do some sterling work as unobtrusively as possible; a good decision to make them part of the action.

The technical team of Nigel Newton, Bronwen Webster, Rob Kettridge, Oliver Reed & Abby Catto make an immeasurable difference to this production, as the effective lighting, clear sound and efficient stage management are essential to its success.

It’s Amanda Hall as Director who pulls all this together with her usual flair, bringing us a creative, colourful and fast paced spectacle, one that is enormous fun and thoroughly entertaining. The cast and the audience last night had a ball!

 

Grease the Musical

Nottingham Theatre Royal

National Tour

August 28^th 2024

Having seen and enjoyed Grease a few times both by professionals and amateurs I am delighted to be able to write that this new touring version delights me as much as previous ones. Overall, this is a fine production full of particularly good vocals and exciting dance routines, choreographed by the renowned Arlene Philips, of ex Strictly fame.

This vibrant and nostalgic production took us back to the 1950’s American High School scene. However, Nikolai Foster’s direction leans more towards the grittier side of teenage life and there are some changes from the original stage versions. Some I noticed and others I didn’t! For example, the T Birds are now called the Burger Palace Boys!

It is set at Rydell High School in 1959 and follows the story of Danny Zuko and Sandy Dumbrowski, two teenagers who have a summer fling. When Sandy unexpectedly transfers to Danny's school, they find themselves facing the pressures of teenage life, peer groups, and the contrasting stories they tell their friends. The show features iconic songs like "Summer Nights" and "Greased Lightnin'," and explores themes of love, identity, and social expectations, all with a brilliant pop and rock soundtrack.

There are good performances from the main characters especially Hope Dawe in her first professional role as Sandy and Marley Fenton as Danny. They gel well together throughout and their duet of Sandy at the start was lovely. They were well supported by a large, talented and enthusiastic cast.

I think it is fair to say that for me it is the dance and ensemble scenes that star in this production.  Songs such as “Grease is the Word,” “Sandra Dee,” We Go Together,” The Hand Jive,” Beauty School Drop Out”, You’re the one that I want,’ and “We Go Together” were fabulously sung and danced.

There are also great solos such as “How Big I’m Going to be” and “Sandy” sung by Danny and a blistering performance of “Hopelessly Devoted to You” by Sandy. That was certainly one of the best performances of that song I have seen. I loved it!

The set design by Colin Richmond (he also designed the superb costumes) transports the audience to Rydell High, using clever staging and a range of props to easily shift between locations. All is changed with speed and almost total invisibility.

Lighting by Ben Cracknell enhances the high-energy dance numbers and creates emotional depth during more intimate scenes. Highlights include pyrotechnics during "Greased Lightning," adding to the overall excitement of the show.

I was a little disappointed by the sound in the production. While the band sounded great the balance between it and the performers even in some of the large ensemble numbers was not quite right. Hearing the singers was not always easy because of the sound balance. In addition to this I did find it difficult hearing some of the dialogue. Not sure though if this was the sound quality or the Chicago accents that were the problem.

However, I really enjoyed this new version of the well-loved show and there is no doubt in my mind that in 2024 Grease is still “the word.”

 

The Mysterious Mr Love

The Colin McIntyre Thriller Season

Theatre Royal, Nottingham

August 27th 2024

Romance fraud might seem to be a fairly recent phenomenon, but as Karoline’s Leach’s play so vividly highlights, people have been conned out of their money by love rats for a very long time. It’s London in 1914 and this particular rat is the ironically named George Love. He loves nothing better – and nothing other - than befriending lonely women, ‘marrying’ them, then making off with their savings. His latest victim is Adelaide, a lonely hat maker who has dreams of a less repressed life, of sharing her carefully saved legacy and travelling to beautiful places…

It's hard to sustain a two hander – the soaps only do it for half an hour, when there’s an emotional climax or dramatic denouement to explore; this play is more than three times longer and keeps the audience hooked throughout. It’s down to good storytelling and clever variations in the way the story is told that keep us listening, interested and fascinated to know what will happen next. Will Adelaide be a straightforward victim, treated to one of George’s ‘proper Wedding Nights’ (he’s decent like that), then abandoned, or will her reactions and revelations cause him to think again? Where does the power really lie?

There are monologues to move the narrative along and give each character a chance to explain themselves, but these melt into live action scenes, during which the characters may still comment on what happened to them. During the times that the story becomes deeper and darker it’s told purely through action. It’s lively and engaging and above all it trusts the audience to use our imaginations, to wonder if the characters are telling us the truth, to move through time with them and to fill in the scenery around them. One set takes us to a hat shop, a restaurant, a train, a promenade, a dingy boarding house; they’re all there because we fill in the details and become part of the creative process. Really satisfying!

It's not just the clever writing devices, the story and the intrigue that keeps us so engaged, it’s the skill of the actors. John Goodrum and Sarah Wynne Kordas do a splendid job in lifting the charming but thoroughly reprehensible George and the sadly victimised but cheerful Adelaide, off the page. There’s plenty of humour to be had - George is a nasty misogynist, but he tells some entertainingly tall tales and makes some wry observations. When we discover the shocking reason for the misogyny his true nature is laid bare; he may have a heart after all, or at least a change of one. It’s left tantalisingly to the very end of the play for us to discover whether that heart is irredeemably dark or not. A huge range for John Goodrum to eloquently express.

Adelaide also has a range of emotions, beautifully nuanced by Sarah Wynne Kordas, as her character develops and gains agency. From a timid spinster who has endured the nastiest of repressions, she gains enough confidence to not only escape, but to dream that her life could be radically changed. She rises to the challenge of realising that not everything was as she thought and we all hope that the power has shifted enough for her to succeed…

Sarah also designed the intriguing set, where spectre like shapes rise up behind the hatstands; maybe they are observers of this sadly timeless story from another time - or are they the distant mountains of which Adelaide dreams? Kept me guessing. A varied lighting design by John Goodrum helps transport us to different places or narrow our view, literally lightening or darkening the mood. All this is tightly drawn together by director Karen Henson, who keeps the pace going, even when, in my opinion, the writing loses some focus in the second act. Thought processes became unclear, but that may be intentional, to confuse, disorientate and then knock us for six.

It's that ending that gives this slow burn, intriguing and evocative piece the title ‘thriller’; a classic denouement with a timelessness that really resonates, leaving a chilling impression.

 

Veronica’s Room

The Colin McIntyre Classic Thriller Season

Theatre Royal Nottingham

August 20th 2024

Ooh, it’s a creepy one this. If you like a psychological thriller with a nightmare scenario, some genuinely chilling moments and a few really nasty bits (there are trigger warnings), then this is definitely for you. From the pen of master storyteller Ira Levin (Rosemary’s Baby, The Stepford Wives, The Boys from Brazil), the play unfolds like a tightly plotted novel, a gripping page turner that you don’t want to put down, as you just have to find out what’s going to happen next…

Susan, a college student, is persuaded by the Mackeys, housekeepers of a house in Boston, to pretend to be the dead Veronica, to comfort her sister, their terminally ill and senile employer. Once dressed in Veronica’s clothes in her room, Susan finds herself in a horrifyingly bizarre situation that challenges her grasp on reality. The audience are challenged too, wondering who to believe and realising that reality is subjective and can be different for each of us.

There’s an apparent time shift, changes of identity, chilling confessions, psychological manipulation, cruelty, perversions and a truly shocking conclusion. Not content with that, Ira Levin adds another little twist at the end that ups the creep factor even more. Phew!

Hannah Blaikie is The Girl (but which one?) and gives a brilliant performance, making the most of the huge character development by vividly expressing sweetness, naivety, humour…horror, fear, desperation and defiance. Her date on the fateful night, The Young Man (but which one?), is played by David Osmond, whose initial quiet restraint develops to become more intense and more telling as the play progresses. Some shudders here!

The Man and The Woman are played by Jeremy Lloyd Thomas and Susan Earnshaw and these actors bring a lot of amount of skill to these complex characters, using voice work and physical acting to great effect. Director Karen Henson gives the actors plenty of room and time to make the most impact: there are pauses and some scary lulls in the pace that cleverly increase the tension.

John Goodrum’s set is suitably bleak and rich with period detail; the positioning of a locked door, a bathroom door and a billowing curtain at a barred window adds another chill factor. The evocative costumes have sinister significance and are essential to the development – and dismantling of characters. Lighting fades enhance the action and so does the sound from an old gramophone, taking us back to another time…or are we already there?

It’s wonderful to see a play where one is gripped from start to finish, simultaneously intrigued and horrified by the story, captivated by the multi faceted characters and satisfied with the ghastly ending. It’s a treat.

 

Fatal Encounter
The Colin McIntyre Classic Thriller Season
Theatre Royal Nottingham
August 13th 2024

Francis Durbridge was a prolific dramatist and novelist, probably best remembered for the Paul Temple BBC radio serial, which ran from 1938 to 1968. Fatal Encounter, which was his last play, draws on the same themes of criminology, suspense, shady dealings and clever sleuthing. Set entirely in the drawing room of a Holland Park mansion, the action is punctuated by snatches of urgent music, an insistent doorbell and frequently ringing telephone. Auditory cues so reminiscent of an old radio serial, they delighted the audience, who were clearly enjoying the nostalgia of a good old fashioned detective drama.

The mansion is owned by Howard Mansfield, a successful publisher who is worried about his distracted and anxious wife, Joanna. Events take a shocking turn when Joanna accidently shoots an old acquaintance, Perry Kingsley, and is forced to confess all to Howard. Along with Chief Inspector Coldwell, plus helpful art dealer Mark Adler, reformed mugger Rex Winter and colleagues Grace Kingsley and Hilary Van Zale, Howard begins to unravel some dastardly dealings…

Throughout it’s not clear who can be trusted and there are so many red herrings it’s impossible to assemble a chain of clues to reach a conclusion. It’s not a murder mystery, but a collection of mysterious events that have us guessing who is responsible and wondering if everyone is who they appear to be. Director Karen Henson sets a pace that keeps up with that incidental music and the scenes in each of the two acts are cleverly concluded by light fades; the action only leaves the room once in flashback, effectively achieved with light and sound.

The actors from Tabs Productions have the skill to lift the characters off the page and make them real, then to project clearly and effectively.

John Goodrum is the seemingly affable and good natured Howard, who tries to protect his impulsive and rather brittle wife Joanna, played by Hannah Blaikie. Her friend and Howard’s colleague Grace is played by Kia Pope; she successfully makes us wonder if her ongoing relationship with her devious ex husband Perry (Pav Maru) can help explain things. Secretary Hilary, played by Susan Earnshaw brings more intrigue when she reveals some scandal and Rex Winter (David Osmond) provides clues when he confesses his part in Joanna’s misfortune. Mark Adler, played by Jeremy Lloyd Thomas, is a seemingly innocent passer by, with no previous connection to the others. It takes Chief Inspector Chris Coldwell to pull everyone together to investigate the events that precede and follow the shooting; Sarah Wynne Kordas brings gravitas and the required calm reasoning to the part. Perhaps unusual to have a woman in this role in the 1960s - which was accidently highlighted by the use of wrong pronouns a couple of times!

The Sixties setting is evoked by Conal Walsh’s design, by Geff Gilder’s splendidly appropriate costumes and by the spot-on hair styling. The period music before and after and during the interval of the play, had several audience members happily trying to recognise the songs and name the performers.

The denouement didn’t quite have us shouting ‘By Timothy’ but explained a lot - and led to an enjoyable analysis on the way home, trying to spot the clues in retrospect.

 

Murdered to Death by Peter Gordon

Classic Thriller Season

Tabs Productions

Theatre Royal Nottingham

August 6th 2024

I am delighted to have been at the Theatre Royal tonight for the first play in their summer season of Classic Thrillers. Unlike the rest of the season, tonight’s offering, "Murdered to Death" by Peter Gordon, is a parody of the classic murder mystery.

Set in a British country house, the play is filled with stereotypical characters, absurd situations, and plenty of laughs.The story revolves around a group of guests who gather at the country home of Mildred, a wealthy and slightly eccentric old lady. When Mildred is found dead, an inept and bumbling policeman, Inspector Pratt arrives to investigate. As the play progresses, more murders occur, and it becomes increasingly clear that nothing is as it seems.

If you like farce, slapstick, and a keen sense of dramatic timing, as I do, you will enjoy this play. The humour comes from exaggerated characters, witty dialogue, and improbable situations. What is clever about this play is that it both celebrates and lampoons the genre of murder mysteries, making it both a loving tribute and a clever parody. A good start to the season, I think.

You only need to see the list of characters to get an idea of the play.

They are: Mildred (Susan Earnshaw) the wealthy host whose mysterious death sets off the chain of events. Inspector Pratt (Nicholas Briggs) The incompetent detective. Miss Maple (Karen Henson): A shrewd and nosy spinster, reminiscent of Agatha Christie's Miss Marple. Colonel Charles Craddock (Jeremy Lloyd Thomas): A retired military man with a penchant for pompous speeches. Margaret Craddock (Sarah Wynne Kordas): The Colonel's long-suffering wife. Pierre Marceau (David Osmond), a shady French art dealer. Elizabeth Hartley-Trumpington (Hannah Blaikie)- Mildred’s sophisticated niece, Dorothy: (Juliette Stobel) Mildred’s loyal but rather dim-witted housekeeper, Bunting: (David Gilbrook) who knows more than he lets on. Constable Tompkins (Pavan Maru) a policeman. Who knows more than his boss.

The set, a typical drawing room in a country house, serves as a perfect backdrop for the chaotic events that take place. Props, costumes, and lighting create the right atmosphere. The director, John Goodrum and his production team are to be congratulated for putting this together in a short time as we were told at the end ot the performance by Nicholas Briggs.

This is an entertaining play with clever writing and excellent performances that offers a fresh take on the murder mystery genre. With its colourful characters, hilarious situations, and sharp dialogue, Peter Gordon’s work is a testament to his ability to blend a respect for the genre with comedy. It’s a perfect choice for those looking for a fun and entertaining evening at the theatre.

I think it is a good start to what I am sure will be another successful Thriller season at the Theatre Royal.

An Officer and a Gentleman
National Tour
Nottingham Theatre Royal
July 29th 2024

Just back from the Theatre Royal after enjoying an excellent production of An Officer and a Gentleman. I last saw this show here at the Theatre Royal in 2018 when it first emerged from the production hub that is the Curve Theatre, Leicester. I enjoyed it then but I think I enjoyed it even more tonight. This is a slightly revamped version, also from the curve, which as far as I can remember has been changed a little but retains the basic structure of the original.

The stage version is based on the very popular 1982 film that starred Richard Gere, Debra Winger, and Louis Gossett Jr. This may explain why the audience tonight enjoyed the show so much. Another possible reason is that it does not have its own original songs but uses many popular anthems from the 1980s. I loved many of them including “Hearts on Fire, working for the Weekend, Girls Just want to have fun, Livin’ on a Prayer, Kids in America, Heart of Glass, The Final Countdown and Up Where we belong.” Incidentally there are many more besides.

The story follows Zack Mayo, a young man with a troubled past, who enrols in the U.S. Navy's Officer Candidate School. Under the rigorous training of Drill Sergeant Foley, Zack struggles to fit in. Then he meets Paula, a local factory worker, and their developing romance helps him discover the true meaning of friendship, honour, and love.

The cast is excellent in all respects and there is very powerful dancing, singing and acting. I was very impressed with the standard of the whole cast and I think it is fair to say that despite the principal actors being outstanding this is very much an ensemble piece. From the opening number, “In the Navy Now” it is obvious that this is going to be a musical and dance spectacular as well as a drama.

The cast is led by Luke Baker as Zack Mayo, Georgia Lennon as Paula Pokrifki, Jamal Kane Crawford as Gunnery Sergeant, Paul French as Sid and Sinead Long as Lynette Pomeroy. All are excellent in their respective rolls. The rest of the cast is brilliant too many playing smaller roles.

This production, unlike the 2018 production did not use projections and this I think was great. In my view they are being overused in many recent productions.

The set is simple but effective and much of it can be moved around the stage with ease. There are different levels that can be used throughout often for the sometimes athletic choreography. I think some of the cast would not be out of place at the Paris Olympics the way they jumped, slid and catapulted themselves around the set! Incidentally I really liked all the choreography.

There is a fabulous lighting plot which really helps the set look great and enhances the story telling.

I have to say that the I felt the story is weak in parts and not always easy to follow but this is easy to forgive as everything else is so strong.

It is very good to see that the band of only 5 players was in the pit at the front of the stage which is where I personally think they should be. They sound great and the balance between them and the performers is for the most part perfect.

The production moves at a very fast pace and the scene changes, usually done by the cast, are perfectly executed. I was amazed how quickly the interval came as I was totally absorbed in the show.

Not surprisingly there was a whole theatre standing ovation at the end. There is no doubt in my mind that, like me, they all enjoyed very much what they saw tonight.

I really enjoyed this this production and highly recommend it.

 

Madagascar the Musical
National Tour
Theatre Royal, Nottingham
July 24th 2024

Based on the smash DreamWorks animated motion picture, Madagascar – The Musical brings to the stage the tale of a group of zoo animals on an epic adventure following an escape from their home, New York’s Central Park Zoo. Alex the lion, Marty the zebra, Melman the giraffe and Gloria the hippo have spent their whole lives in blissful captivity before an admiring public and with regular meals provided for them. However, bored with this life, Marty lets his curiosity get the better of him and hatches an escape plan which his best friends unwittingly find themselves a part of.

Led by a group of plotting penguins, Marty and the gang find themselves stranded on the island of Madagascar where they become embroiled in the vibrant and exuberant world of the great lemur himself, King Julian. However, faced with the realities of living in the wild, Marty soon realises that life in New York’s Central Park Zoo isn’t that bad after all.

As fans of the original movie, we were unsure what to expect from the stage version. However, we were very pleased to find it did not disappoint. The production follows the original story of the film closely which made it enjoyable and easy to follow. The set is bright and colourful and does a wonderful job of recreating the different places the animals visit on their journey. The cast have striking costumes and combined with the clever use of puppetry, the animated animals of the film are expertly bought to life on stage.

A fun and catchy soundtrack runs throughout the production; the highlight being at the start of the second half with the iconic ‘I like to move it move it’ led by King Julian. A repeat of this at the end of the show was a winner and had the whole audience up on their feet, clapping, dancing and singing along!

The actors and puppeteers did an incredible job of characterising the different personalities of each of the animals. The cast was made up of Joseph Hewlett as Alex, Francisco Gomes as Marty, Jarneia Richard-Noel as Gloria, Joshua Oakes-Rogers as Melman, Karim Zeroual as King Julien, Connor Keetley as Skipper/Maurice, Brogan McFarlane as Private/Mort, Laura Marie Benson as Kowalski and Ella Howlett as Rico. The ensemble and swing included Aidan Harkins, James Hilton and Gabriel Hinchcliffe. All were absolutely fantastic.

The production is directed by award winning Kirk Jameson with choreography from Fabian Aloise, musical supervision from Mark Crossland, puppet design by Max Humphries and puppet direction from Emma Brunton.

 

My Sons a Queer (But What Can You Do)
National Tour
Derby Theatre
July 22nd 2024

My Sons a Queer (But What Can You Do) has just finished at Derby Theatre and it was absolutely brilliant. One of the best shows i have seen for a very long time.

We have laughed and cried throughout and it is very difficult to describe but often very emotional.

It was the story of Rob Madge particularly as a young stage struck boy. There were fantastic original videos to accompany the solo descriptions from Rob. They are superb and made us laugh and cry in equal measure.

The cosy set and the large background video wall were just right and used to great effect. The costumes were brillant.

What i didn’t expect were the fabulous songs sung so well. Brilliant and often very funny lyrics. There were also some very poignant ones too.

The production directed by Luke Sheppard was fast and furious with no delays.

This is a fantastic experience, one that was most certainly different from anything i have seen before.

The show is on until Wednesday and needs to be seen. Please come and see it and i think you will not regret it.

It is a testament to what life should be all about - being yourself despite what others might say.

There were two standing ovations which says it all.

Come to Derby theatre tomorrow or Wednesday and experience the magic for yourself.

Chicago, Teen Edition

Centre Stage Theatre Arts

Landau Forte College

July 20th, 2024

Razzle Dazzle ‘em sings Billy Flynn and we were certainly razzled dazzled last night by this red hot teen edition of Chicago, performed by Central Stage Theatre Arts. This version might have a few bits removed, but there’s nothing lacking in impact: this 60 strong group look and sound amazing and have produced a wonderfully entertaining show. The production values, the staging, the costumes, the quality of both individual and ensemble performances are first class and belie the ages of the performers. An obviously expert production team have given these young people a taste of professional theatre and in turn they have all risen to the challenge of singing, acting and dancing up a storm. It’s fabulous.

Written by Bob Fosse and Fred Ebb, Chicago is viewed as an exemplar of Fosse's signature dance style and choreographer Josephine Walker has fully embraced this. Elements such as turned-in knees and feet, shoulder rolls, splayed ‘jazz hands’ and finger snaps characterise the dances; the opening number ‘And All That Jazz’ skilfully demonstrates all of these. So much to look at, not just the snazzy dance routine, but the interpretations of individuals, who give the spectacle so much character. A great start, an intro into the steamy and sleazy world of Chicago (spelt out in a fabulous lights) in 1924; we feel the heat, are dazzled by the lights and prepared for the satirised story of corruption and the fickle nature of fame that follows.

Roxie Hart, who has dreams of Vaudeville stardom, has shot dead her lover Fred Casey for trying to leave; her faithful and naive husband Amos stands by her, ignoring her cold heart and self serving machinations. In prison Roxie meets Velma Kelly, a Vaudeville star who murdered her sister and husband after catching them in bed together. Both ‘celebrity criminals’ desperately need the help of prison warden ‘Mama’ Morton and flamboyant defence lawyer Billy Flynn to get them off the charges and save them from the gallows, particularly when a fellow female prisoner is unexpectedly hung. Things look bad, but Billy’s talent for stage managing the influential media circus will surely save the day…

Bella Kiddle nails the brittleness of Roxie’s character, with flashes of her child like vulnerability nicely balanced against her obsession with self interest and fame. Bella has a lovely, expressive voice and gets to show off her dance moves and comic timing, too. The wonderful ‘We Both reached For The Gun’, which sees Roxie as literally a dummy for Billy’s ventriloquism is a comedy highlight. Numbers such as ‘Funny Honey’, ‘Roxie’ and ‘Me And My Baby’ are beautifully performed; Bella should be so proud that she has done this iconic character and huge part justice.

All the principals hold the stage (honestly, you forget these are teens!) and none more so than Nathaniel Dale, who plays the suave and highly manipulative Billy Flynn. Nathaniel captures the swagger and self assurance of the character and he doesn’t just use his strong voice to sing, he really performs a song. The duet with Roxie, the highly satirical ‘All I care About Is Love’ and the glorious ‘Razzle Dazzle’ are all brilliantly done. Sitting next to his very proud Mum (the audience must have been full of very proud families), I was amazed to learn that he is only 15 and this is his first production with CSTA. There will surely be many more!

Another student who must be going on to further success is Amy Loweth, who gives a mature and highly accomplished performance as Velma Kelly. Amy has a range of theatre skills, but her lovely voice is particularly captivating. Again, hard to believe that the strong voice that opened the show and went on to perform the touching ‘I Can’t Do It Alone’ and ‘I Know A Girl’, plus many others, could belong to a teenager. A polished performance that was thoroughly entertaining.

Another entertaining performance from Mylie Randle as Mama Morton, who completely captures the physicality of the character and her swaggering self belief. ‘When You’re Good To Mama’ is always a highlight and Mylie’s strong voice and phrasing made it a triumph, nothing lost there!

A performer who really impressed me was Adam Patten as Amos Hart, Roxie’s downtrodden husband. Some excellent characterisation and acting here (great projection) and the pathetic but very amusing ‘Mr Cellophane’ was sensitively performed.

Other roles are played Johnny Grant as the hapless Fred Casey and Grace Simpson as the chirpy reporter Mary Sunshine, plus Lucy Cripps (Liz), Laura Barnfield (Annie), Jude Grant (Mona), Hannah Keane (Fogarty), Rose-Lynn Macrae (Kitty), Francesca Mayne (Hunyak), Thomas Murfin (Harry) and Molly Wileman (June).

The Cell Block Tango, so well performed by the inmates of Cook Jail, is another favourite; the modified dance in no way detracted from the grit or the humour.

The ensemble are as important as the principals in this show as they provide excellent backing as well as some lovely vocals and set piece dancing. Directors Lucy Cadney and Louise White must have had a strong vision of how they would use so many performers and give them a chance to shine, while keeping up the pace of a fast moving spectacle. They’ve certainly achieved that, aided by a simple but effective set - which is colourfully and imaginatively lit – plus a few well chosen props and some slick entrances and exits. No cabaret style here, just some lively narration from members of the ensemble and the pleasure of a good story vividly told. Careful placing from the choreographer means the ensemble pieces are busy and interesting, but never overcrowded; the overall look of the production is simply lush.

The Musical Director Paul Matthews - assisted by Sam Griffiths and Gabryl Oleshko – has created a lovely, vibrant sound and obviously worked very hard with both the principals and ensemble. It’s hard to sing and dance at the same time and it’s hard to sing well and in character, so it’s only good direction and tons of hard work that will produce performances of this quality.

It was hot in the theatre last night – there were a few fans being used - but it was even hotter on the stage, as these young performers lit it up with their talent, skill and passion.

The Wizard Of Oz

RMTC The MOB

Majestic Theatre Retford

July 14th 2024

What a treat it was on Sunday afternoon to be whisked magically to the Land of Oz by 57 young performers in the Majestic Theatre at Retford. No need for Sunday dinner, this was a majestic feast that left the audience full – full of admiration and joy. Yes, 57 in the cast, and yes, it was magical – a wonderful spectacular that showcased not just the talents of these enthusiastic and hardworking young performers, but those who teach and direct them, too. The magic from the performers was enhanced by puppetry, aerial flying, splendid lighting and sound effects, and some wonderfully effective projections. Wow! Add to those an inspired directorial decision to fill the auditorium with bubbles at some points and the awe and wonder is obvious. The small boy next to me remained enthralled and vocally excited for over two hours of performance time; praise indeed.

Many of us are familiar with the story from Sunday afternoons in front of the tele watching Judy Garland in the 1939 film version, but also from the newer incarnations: the Andrew Lloyd Webber version and the recent touring one with The Vivienne.

Dorothy is swept away from Kansas during a tornado and finds herself among some helpful Munchkins in the Land of Oz. After advice from the Good Witch Glinda, she sets out along the Yellow Brick Road in some snazzy red slippers, to find the Wizard of Oz. The all powerful wizard can not only get Dorothy back to Kansas, but grant the wishes of some new friends she meets along the way, too. If the Wicked Witch of the West doesn’t scupper their plans…

The magic begins with the tornado, the drab and rather oppressive Kansas landscape is thrillingly replaced with the colourful Land of Oz and the absolutely spectacular first ensemble number, featuring the Munchkins. So much to see here, a stage packed with performers, but so well choreographed that it’s never less than a visual delight and the singing is glorious. Many performers took the eye here and every one was putting their heart and soul into their part and creating their own little character. Congratulations to the Musical Director Pete Lack, who conducted the 11 piece band and who must have worked very hard with the cast to produce not just ensemble pieces of such high quality, but some wonderful solos too, such as the iconic Over The Rainbow. Other great songs which really get the feet tapping and put smiles on faces are Ding-Dong! The Witch Is Dead, The Lullaby League / The Lollipop Guild, Follow The Yellow Brick Road, We're Off To See The Wizard and There's No Place Like Home. Great stuff.

Choreography by Becca White shines throughout, there are not just crowd scenes to manage, but some set piece movement sequences and varied dances including some lovely tap and ballet style numbers. Rehearsals must have been fun, but very hard work!

The ensemble have so many opportunities to shine and cameo roles, such as the charming Munchkin officials; Fraser Duffy as the Winkie General, Louisa Merrion, Chloe Veitch and Jasper Whitworth as the crows; Bethany Bailey, Elisha Lucas and Adwyn Roberts as the very cool apple trees and the flying monkeys led by Katrina Fenton, are confidently performed. The Jitterbug scene, which shows off the dancing talents of Isla Merrills and Mya Hill is a joy to watch and the Poppies are enchanting. Each one is wearing a striking Poppy headdress; a mention here to Carolyn White and her sewing assistants and to the make up team of Grace Baron and Trinity Searles. Both costumes and make up were perfect throughout the show and made a huge impact to the production as a whole.

Nine performers get the chance to star as principals and they certainly make the most of it. It’s not surprising to read in the programme (one of the best I’ve seen), that many of these young performers go on to professional training after their thorough grounding in theatre skills with The Mob. It was lovely to read the dedications of their justifiably proud families.

I saw Cast Wiz and was treated to Daisy Brammall’s lovely voice as Dorothy, a Dorothy she understands, making her heart rendingly vulnerable and quietly serious. Over the Rainbow was beautifully and wistfully performed. Dorothy needs light relief and she finds it when she meets up with the Scarecrow, the Tin Man and the Lion. Toby Cupit’s Scarecrow is a joy, not just the nuance in his delivery, but the physical acting that brings the character literally to life. Hermione Hunt is a talented actor who makes every one of her Tin Man’s lines count and Charlie Buxton has the comic timing and sense of slapstick that makes the Lion so endearing. The four of them create something magical together. And they can all dance and sing, too!

Some real magic comes from Glinda, the Good Witch, who flies into Oz to help Dorothy and does her best to put things right. Well done to Naomi Earl, who also plays Aunt Em, for flying so high and lighting up the stage. Aunt Em’s lovely husband Uncle Henry is played convincingly by Jack Hilditch. For contrast, the Wicked Witch of the West (and the formidable Miss Gulch) are played with delicious malevolence by Scarlett Parkin. Fine acting, characterisation and projection from Scarlett make these characters truly horrible! More accomplished character acting that really impressed me from Victoria Needham as Professor Marvel and the Wizard of Oz. Acting of the non verbal kind from Theodore Smith, who along with Ava Softly-Robins, trained with Bryony McCombie-Smith to operate her custom made Toto puppet. Theodore became Toto and there was never a moment when Toto didn’t react to events like a real dog; so skilfully brought to life and much appreciated by the audience.

The director Keri Duffy and her assistant Sarah Mitchell have definitely created something magical: insisting on such high production values and using the talents of Vinnie Hemmings on Lighting, Adam Bright on the very atmospheric Sound, Flying First Class and Cinematic Theatre Productions, has really paid off. Little touches like the bubbles, the peeping Munchkins and the clear direction to the cast to not only be in the right place, but to always react to events convincingly (while singing and dancing up a storm!), have given this production professional polish. The complicated but seamless scene changes of Proscenium’s wonderful set added to this immeasurably: Stage Manager Richard Concannon and his team of seven nailed it. A huge effort and a huge success.

I look forward to The Mob’s next production which is Charlie and the Chocolate Factory at the Majestic Theatre Retford, from 10th -12th July 2025.

 

Here You Come Again

Theatre Royal Nottingham

July 9th 2024

It’s 2020 and would be comedian Kevin is living in a loft bedroom in his parents’ house in Halifax – trapped during lockdown and alone with his despair. Frustrated at his inability to both kickstart his career and face up to the reality of his failing relationship, Kevin’s only succour comes from the music of his idol, Dolly Parton. What follows from this introduction – set in the most beautifully styled and detailed loft - is a fantasy, where Dolly bursts through a poster to entertain, support and encourage Kevin to make the decisions that will change his life. A fantasy, but one grounded in the reality of Dolly’s glorious music and the grit of her no-nonsense advice.

This is a rollicking couple of hours packed with wit, humour, flawlessly performed songs and some great character acting; it’s warmly funny and ultimately joyous, yet often sensitive and sometimes heart rending.

What gives the story emotional depth is not just the skilled writing of Bruce Vilanch and Gabriel Barre (who also directs) and Tricia Pauluccio (who also stars), but a brilliant character portrayal by Steven Webb. His Kevin is immediately likeable, self deprecating, full of wit - which is delivered with impeccable timing - and completely open about his fears and failings. We root for him immediately, marvel at his ability to perform a song (his “Jolene” is show stopping) and become fully engaged in his claustrophobic, yet animated, life in the loft and his dealings with Dolly. Much of the humour comes from the additional material by Jonathan Harvey (Gimme Gimme Gimme) who gives Kevin the dry, British wit and familiar references we all know and love.

Dolly is captured with sequined, sparking precision by Tricia Pauluccio (she’s already taken this show across the US) and her performance of Dolly’s songs is absolutely wonderful. The big ones are here: “9 to 5”, “Two Doors Down”, “I Will Always Love You”, “Islands in the Stream” and “Jolene” – alongside the gentler “Little Sparrow”, “Love is Like a Butterfly” and a couple of less familiar ones. Dolly’s Tennessee twang, along with her intonation and ability to infuse even barbed comments with warmth, are all perfectly captured. Like many who seek solace in her music, Kevin takes onboard the message of hope, never giving up and finding the beauty in life.

The designer, Paul Wills is responsible for not just the wonderful set, but for Dolly’s fabulous costumes and wigs, both of which create a vivid, beautifully lit picture that perfectly complements the drama. The realistic detail of the loft - the old toys, the skeleton and the Christmas decorations- is offset by the background of chimneys and the top floor, where backing vocalists (Aidan Cutler & Charlotte Elisabeth Yorke) add not just harmony, but character voices. The on stage band rock up a storm and it matters not a jot that they have appeared in Kevin’s loft – after all what’s Dolly doing there, anyway?

What does matter – to me anyway - is the constant breaking of the fourth wall. I want to enter this imagined world, be in this beautifully detailed loft, admire Dolly’s costumes, enjoy the fabulous performances and be taken into the world of fantasy drama. When Dolly enters and says ‘Hello Nottingham’, when both she and Kevin speak directly to the audience, even inviting us to switch on our phone lights, I lose the pleasure of suspending my disbelief, of being transported into a magical place where amazing things happen (and there are some great illusions in this). I land with a thud back in the Theatre Royal, looking at a very clever set, with some very talented performers on the stage, but no longer in that very special place that theatre can create. Just a personal bugbear.

The audience last night absolutely loved this production, there was a standing ovation, a joyous finale and smiles on the faces of all those who had been not just entertained, but lifted up.

 

 

Unfortunate: The Musical
Theatre Royal Nottingham
June 25th 2024

Fresh from complete sell out runs at the Edinburgh Fringe and around the UK comes this critically acclaimed smash hit parody musical 'Unfortunate: The Musical’. Promising a tell-all tale of sex, sorcery and suckers this show does not disappoint!

A witty and irreverent retelling of the classic Disney tale, focusing on Ursula, the sea witch from "The Little Mermaid.", this musical dives deep into Ursula's backstory, offering a fresh perspective on her motivations and character. It is packed with humour, catchy songs and a lot of sass, making it a delightful experience.

The set design and costumes are visually stunning, capturing the underwater world in a whimsical and imaginative way. The use of clever puppetry is a joy and very funny to watch. The music is also a highlight, with original songs that are both memorable and fitting for the story's tone.

The cast are incredibly talented and all deliver very strong performances. Some of the cast play several different characters and move seamlessly from one to another. Shawna Hamic plays Ursula and brings a perfect blend of charisma, menace, and humour to the role. The supporting cast of River Medway (Ariel), Thomas Lowe (Triton), Allie Dart (Sebastian), Jamie Mawson (Eric), Julian Capolei (Grimsby), Corrina Buchan (Ensemble), Jack Gray (Ensemble), Jamie McKillop (Ensemble) also shine brightly and give a vibrant and energetic atmosphere to the production.

This is an entertaining and clever show that offers a new take on a beloved villain. It's a must-see for anyone who enjoys musical theatre and a great laugh. It runs until Saturday 29th June and I would urge you to join Ursula if you can, to see what really happened all those years ago under the sea.......

Eloise

Awful Auntie
Theatre Royal Nottingham
20th June 2024

How awful can an Auntie really be? Well, the protagonist of tonight’s story, Stella, was about to find out!

A stage adaptation of one of David Walliams’ best selling books, Awful Auntie, this play tells the story of Stella Saxby. The play begins with Stella waking up from a three month coma to find herself unable to move, completely wrapped in bandages. Only her Aunt Alberta can tell Stella what has happened and Stella is given the devastating news that both her parents have died in a car crash and she has broken every bone in her body.

However, Stella begins to become suspicious of Aunt Alberta and realising she’s not actually injured, just bound by the bandages, Stella attempts to escape. Unfortunately, she is caught by Auntie and her terrifying pet owl Wagner and soon she finds herself locked in the cellar. Stella realises she is now in for the fight of her life against her very own Awful Auntie! In despair, and not knowing what to do next, Stella begins to cry until friendly ghost ‘Soot’ appears. They form a friendship and together they plot to defeat Aunt Alberta and find out what really happened to her parents.
This is very funny play and although primarily aimed at children, there is humour throughout that appeals to all ages. Comically exaggerated performances led to big laughs and in typical Walliams’ style, there was plenty of toilet humour and slapstick comedy. This was particularly well received by the younger members of the audience. The play also features the use of puppetry. A very clever addition, with mini versions of Stella, Auntie, Soot and Wagner used in scenes based outside which gave the illusion of space and a was a joy to watch.

A hugely talented cast bring the book to life on the stage; Annie Cordoni (Stella Saxby), Matthew Allen (Soot), Neal Foster (Aunt Alberta), Emily Essery (Wagner), Zain Abrahams (Gibbon), Elan Retsof (Detective Straus).

Awful Auntie runs until Sunday 23rd June and I would urge you to go and see it if you can. You won’t be disappointed.

Eloise

The Little Mermaid

The Young Performers

Duchess Theatre Long Eaton

June 12th 2024

The Young Performers' production of Disney's "The Little Mermaid" is a delightful production which brings this underwater story to life with youthful energy and genuine passion. Transforming the classic animated film for the stage is no easy task, but this talented group of young actors and the production team have done it brilliantly.

Ella Charlesworth in the role of Ariel, is excellent. Her portrayal of the curious and determined mermaid is engaging and her beautiful singing charmingly captures Ariel's perseverance and determination. Her performance of "Part of Your World" is accomplished and powerful, earning a well-deserved round of enthusiastic applause.

Prince Eric is played by Finlay Boswell with depth and sincerity. His relationship with Ariel feels genuine and the expression of their budding romance is engaging. Finlay performed Her Voice and One Step Closer with strength and considerable feeling.

Theo Brewer excels as Sebastian the crab (love his accent), and the outstanding Summer McNorton plays the villainous Ursula, adding humour and menace to the show. What a voice she has, too! Her puppet helpers, Jetsam and Flotsam are energetically played by the talented pair, Neve Johnson and Izzy Pickering. Sebastian's lively version of "Under the Sea" has the audience tapping their feet, while Ursula's "Poor Unfortunate Souls" showcases Summer’s impressive vocal range and ability to sell a song.

Elijah Green as Flounder soon became a firm favourite with the audience, due in part to his frequent cheeky smiles and ability to glide across the stage. Like many others in the underwater world he was wearing shoes with wheels on. They make the characters glide around the stage seemingly effortlessly. Very effective staging.

The Director, Zak Charlesworth, has produced a show in which he clearly balances the whimsical elements of the story with moments of real emotion. The staging is creative, making excellent use of the space to create an immersive underwater world. The transitions between scenes are smooth, keeping the story's momentum going and as a consequence the audience are engaged throughout. Well done to Paul Wheedon and Kevin McDowall for their very speedy movements of set.

Other parts are played well by Will Mellor (Grimsby), Jess Henshaw (Scuttle the seagull), Lewis McDowell (King Triton), Fin Tomlinson (extremely funny Chef Louis), Will Hamilton (the Pilot), Millie Weston (Windward) and Emily Wilkins (Leeward).

I was very impressed with the group of Ariel’s Sisters who feature in several musical numbers. They are Isabella Frampton, (Adrina), Lucy Coulson-Jones (Aquata), Hattie McEwan (Arista), Amelia Forecast (Atina), Liv McEwan (Adella) and Lottie Ellis (Allana).

There is also a very hardworking ensemble. Dillan Brookes, Carly Gaunt, Kelly Rickerby, Violet Graney, A J Chamberlain, Olivia Monk, Lexi-Mae Hart, Lucie Artis, Sophie Longcroft, Emily-Mae Taylor, Sophie Dexter, Emmie Simmons, Clarissa Armitage, Molly Price, Alex Povey and Livvy Read.

The choreography, by Ellie Simmonds is energetic, exciting and well-executed. The dance numbers, especially "Under the Sea" and "Kiss the Girl," are vibrant and visually stunning. Regular readers know that I love a good finale and this production certainly has one. I really enjoyed that and I think the cast did too!

The set design by Roydon Charlesworth is imaginative and effortlessly transports the audience from the depths of the ocean to Prince Eric's castle. The video projections are excellent and very well synced to the music. Some of the best I have seen in this theatre. They also made the space on the stage impressively large for the whole cast numbers.

The use of the extended stage walkway is brilliant, enabling various characters to get very close to the audience and provide an entry and exit to the underwater scenes. Along with the lighting effects (Dave Martin) a magical atmosphere is created. The underwater scenes are particularly well done, with flowing fabrics and bubble effects adding to the illusion of being beneath the sea. Must mention here the Young Performers Techies who helped with sound and lighting. Well done.

The costumes are lovely, capturing the essence of each character while allowing the performers to move freely. Ariel's iconic mermaid costume and Ursula's evil looking tentacles are fabulous. The costumes are provided by Spotlight Theatre.

The musical accompaniment was a high-quality track which was well balanced with the performers' vocals. The musical director, Ben Ward has obviously worked hard with the cast to produce such good quality singing. The great Sound design by Harvey Tavener complemented this well.

This production of Disney's "The Little Mermaid" is a heartwarming and entertaining experience that showcases the talent and hard work of its young cast. It is a production filled with joy, creativity, and the timeless magic of Disney. Whether you are a long-time fan of the animated film or new to the story, this adaptation is sure to leave you with a smile on your face and a song in your heart.

Highly recommended for audiences of all ages,

 

The Syndicate

Nottingham Theatre Royal

June 4th 2024

The Syndicate is a comedy drama based on the first series of Kay Mellor’s hit BBC show, telling the story of five supermarket workers who scoop the lottery jackpot and find their lives changed forever. With Kay Mellor’s customary flair for story telling, for creating ordinary but interesting characters and for engaging dialogue, it’s a thoroughly entertaining play.

Beginning in the supermarket, which has been imaginatively created by designer Bretta Gerecke, the action follows the everyday lives of the workers, including brothers Stuart and Jamie, who are both desperate for money.

Kay Mellor writes ensemble pieces with due regard for all her characters, but there is always one who becomes the pivot of the action, who drives the story forward. A character who gives the play heart, who has us wondering what we would do in the same situation. In this piece that character is Stuart, played so sensitively by Benedict Shaw, ably showing desperation, indecision and ultimately remorse as he struggles with the consequences of his own and his brother’s actions.

Oliver Anthony creates the flawed but powerful character of Jamie with absolute conviction; both his spoken and physical delivery are spot on. He’s an irredeemably immoral character, tainted by his upbringing, driven by self regard and willing to commit a shocking crime to get what he wants. Who knew they would win the lottery the very next day?...

Samantha Giles, unrecognisable from her well known part in Emmerdale, is the dowdy, gossipy, but warm hearted Denise, making the most of the character’s unintentionally humorous lines. Rosa Coduri-Fulford plays the gentle but elusive Leanne, who has a secret past, and the genial manager Bob, is played by William Ilkley, a wonderful example of experienced character acting. Jerome Ngonadi is the Police Inspector who cheerfully bides his time as he waits for forensics and human nature to take their course. Gaynor Faye is Kay, the Lottery rep, who not only flits around the supermarket workers, keenly exploiting their commercial potential, but unexpectedly opens the play in a way that makes the audience sit up and take notice.

The supermarket set is flanked by the manager’s office on one side and the staffroom on the other; lighting successfully takes us into these, while the action continues silently in the darkened central set, a directorial decision that works well. What didn’t work so well for me was the quick change of the staffroom into a hospital ward; too much disbelief to suspend there. Other demands on the imagination of the audience work effectively: some little surreal touches are humorous and a final fantasy scene to explain Jamie’s fate is powerful.

It's in the hospital we first encounter Amy, Stuart’s gloriously demanding girlfriend, brought vividly and glamorously to life by Brooke Vincent, late of Coronation Street. She comes even more awfully into her own in the second act, where the set and costumes richly reflect the characters’ new found wealth. It’s amongst the opulence of his mansion that Stuart finally confronts his demons, Leanne comes to terms with her previous life, Denise discovers her worth and Bob gets the potentially happy ending that he deserves. Amy is left wallowing in the glory of her yearned for wealth, but not necessarily any richer.

It was Kay Mellor’s ear for the wit and warmth of Northern dialogue and her talent for creating stories about ordinary people in extraordinary circumstances that made her so successful. This, her final stage play, follows her other highly regarded adaptations of Fat Friends The Musical and Band of Gold and is directed in her honour by her daughter, Gaynor Faye.

 

Kipps - The New Half A Sixpence

Carlton Operatic Society

Nottingham Theatre Roya

lMay 28th 2024

‘What a triumph’ sing the cast in the Flash Bang Wallop finale of this breathtakingly good production. They’re not wrong. It’s a wonderfully entertaining show, showcasing excellent local talent and living up to the rave reviews this revamped production received when it premiered at the Chichester Festival in 2016. Such rich story telling – first from the pen of the visionary H G Wells in 1905, then retold as a vehicle for Tommy Steele in the 1963 ‘Half A Sixpence’ and finally reimagined through the wit and warmth of Julian Fellowes, in collaboration with Stiles and Drewe. No better songwriters to add their own touch with vibrantly entertaining and witty songs that constantly bring a smile to the face and get the feet tapping.

None of this means a jot though, unless the production brings talent, energy, emotion, colour and fun to the material and this is just what Carlton Operatic, through the visionary direction and choreography of Rachael Rees and some exceptional performers, has done. Time flies when you’re having fun and this show just races by; from the balmy esplanade of Folkestone to the stiff collars of Shalford’s Drapers, to the even stiffer High Society venues and back to the soggy beermats in the Hope and Anchor pub, we travel with Kipps, as he discovers that money isn’t everything. The excellent set with it’s nifty blue and filigreed flats, that serve to divide the space and the action, richly evokes the Edwardian period; we’re taken inside the authentic draper’s shop, to lady Punnet’s elegant drawing room and back to the pier, complete with a hall of mirrors and a fortune teller. Much credit should go to Vicky Johnson, Nigel Newton and Matthew Allcock for their unobtrusive and slick management of this richly detailed and complicated set, that is such a joy to see against the sympathetic background of our magnificent Theatre Royal.

So to the performers – this show was a vehicle for Tommy Steele orginally and Lu Anthony assumes that mantle with ease, energy and an enormous amount of talent. I first saw Lu in 2016 in Singin in The Rain and wrote then that I’d just seen a genuine ‘trip-le threat’, one of those rare amateur performers who can act, sing and dance equally well. It’s even more true now, as Lu gives us a warmly engaging Kipps, who is taken in by those he perceives are better than him, yet never bowed; this is a chipper, cheeky chappie. The accent is impeccably Cockney – I don’t know if a vocal coach was employed or Lu just listened to Rylan a lot, but it’s spot on. Songs such as Half A Sixpence, She’s Too Far Above Me and the joyous Flash Bang Wallop are beautifully sung; Kipps is on the stage almost constantly and a lot of that time he’s dancing, too. Lu excels at this, always a joy to watch, with some wonderful moves that complete a captivating characterisation.

Kipps is lucky enough to have two love interests, the down to earth Ann, a sweetheart from childhood to whom he gives the half sixpence, and Helen, the sweet toff, who is a reluctant pawn in her family’s scheming. Sarah Thompson and Lizzie Fenner both nail their respective accents, mangling and honing vowels to great effect. Lizzie brings real warmth to the trapped Helen, who reminds me of Princess Louise, Queen Victoria’s daughter, desperate to give free reign to her artistic talents, but trapped by status and the demands of an overbearing mother. Lizzie keeps her beautifully contained yet warm and gets to show off her lovely pure voice, particularly in the wistful yet powerful Believe in Yourself.

Sarah develops her character from the naïve teenage to the humble but insightful parlour maid who sadly witnesses the change in her beau, due to his unexpected windfall. Sarah has a lovely, emotionally resonant voice and this is showcased in several songs; I particularly enjoyed her duet with Flo - the window dresser at Shalford’s Drapers - Just a Little Touch of Happiness. Both have great voices and Alison Watkins (Flo) is a wonderfully entertaining performer; this was a highlight among many during the show.

Kipps’ other friends in the drapers are Pornick, Pierce and Buggins, brought to life so engagingly by Jonathan Jaycock, James Sikora and George Young. H G Wells wrote about his own life as a draper’s assistant, he wrote social realism with the warmth and insight that comes from personal experience and with the type of engaging detail that the writers of soaps aspire to today. It’s great fun watching these characters interact and making the most of their 13 hour days serving the rich, while keeping their own dreams alive.

The other side of the sixpence, as it were, comes from the rich, or would be rich, as Helen’s family are somewhat reduced and looking for a way out and up. Mrs Walsingham is played by Lindsay Jaycock, ably portraying the rather sad social climber who is desperate to restore her wealth and buy a property that reflects her standing. Her equally desperate son James is played by James Ellison with a delightful mix of arrogance and oiliness, as he persuades Kipps to invest in his portfolio. A cleverly choreographed lunch (A Simple Lunch) highlights both the awkwardness of Kipps, the unease of Helen and the sheer awfulness of Mrs Walsingham and James. A hard scene to manage, but this director and these actors pull it off brilliantly.

Another toff, this time with the riches to prove it, is the beautifully mannered, aloof but gossipy Lady Punnet. With the looks and cut glass vowels of Joanna Lumley, she is played elegantly by Helen Tunnicliff.

A catalyst for plot development is Chitterlow, a would be theatre impresario who literally bumps into Kipps while out on his bike and proves to be a useful friend: one who puts Kipps resolutely on the path to riches. Dan Armstrong’s superb delivery of this flamboyant character reminded me of Tom Baker; he’s confident, over the top, warm and engaging with some great vocals. Yet another highlight.

Darren Ward plays the stiff as a starched collar draper, Mr Shalford and Claire Collishaw and Adam Collishaw play the Kipps’ warmly supportive Aunt and Uncle. There are numerous cameos, all important as they create such realism, whether it be as characters in the pub, visitors to a musical soiree, or passers by on the pier.

There are some huge numbers that the ensemble give their all to, they dance and sing up a storm, particularly in the wonderfully choreographed Pick Out A Simple Tune and that humdinger of a finale. The younger members of the ensemble – we saw Team Romney – are delightful and it’s clear all have worked very hard to bring their characters to life and be thoroughly convincing on stage.

I was pleased that the sound by Rob Kettridge was so good at this production and that every word of dialogue and song lyrics could be heard, as they are really worth listening to; loved the atmospherics too – I was at the seaside! Lighting (Jamie Vella & Tom Mowat) is excellent, particularly in the grand finale, but throughout there is unobtrusive highlighting and almost flawless spotting. Production values all round are top notch, wonderful costumes give this already stylish piece the period detail that it deserves and make it richly descriptive of the time.

Rachael Rees must have put her heart and soul into this production and been delighted with the level of performance that’s been achieved, none less than by Musical Director Chris Rees and his 14 piece orchestra, working with these talented performers. It must have been such hard work for everyone involved, but it’s paid off and this show, costing less than a quarter of West End productions to see, is of the absolute highest quality.

Back to that finale, which simply rocks and goes on for a satisfyingly long time; it follows the wonderful Flash Bang Wallop with a reprise of other great tunes, some fabulous banjo playing and some breathtaking dancing. Phew!

This show deserves packed audiences, who will be as delighted as those standing at the end of last night’s performance were;

 

Good Night Mister Tom

Bingham Musical Theatre Society

Bingham Arena

May 24th 2024

Michelle Magorian’s novel, Goodnight Mister Tom, is renowned as one of the most heart warming tales ever written. Itis brought to the stage by David Wood, who has been described as the UK’s ‘National Children’s Dramatist’ by The Times newspaper.

Set against the ominous backdrop leading up to the Second World War, Good Night Mister Tom tells the poignant story of young William Beech who when evacuated to the English countryside forms a deep and touching bond with the elderly and solitary Tom Oakley. Their idyllic life is abruptly disrupted when William receives a heart breaking summons from his mother, calling him back to London.

I have to admit that I have not seen the film or tv versions of this story, so I came to it with no preconceptions. This production by the Bingham Musical Society has a very talented cast who quite obviously have put a lot of time and effort into it.

Leading the cast as Tom Oakley is Graham Buchanan, an actor I have seen a number of times before. This for me was his finest performance to date. His characterisation of the grumpy old loner is perfection. He is on stage for most of the show and never falters either with his lines or his interpretation of the character. He is ably supported by the young actor William Curtis who plays William Beech, the boy who was at first forced upon him due to the war, but who lately called him Dad.

William reminded me of Mark Lester in the film Oliver. His ability as actor is clear; his personality developed through the play, which is not easy for a young actor to manage. Talking of Oliver, another fine young actor, Charlie Hourd, an aspiring actor and friend of William, reminded me of the Artful Dodger and together with William make a fine acting pair. I am certain both of these boys will be seen in many productions in the future.

Other children in the production played their parts well. They were Belle Black (Carrie), Holly Loran (Ginnie) and Seb Ferrar (George). There was also a hard working children’s ensemble featuring Ebony Bright, Scarlet Bright, Mia Davies, Jake Looms and Olivia Lowe. Well done all, especially in some of the incidental musical numbers.

Ellen Loran as William’s deranged mother, Mrs Beech is a very powerful actor. She certainly made me jump several times!

The dog, Sammy, was a puppet operated very well by Katie Lister. Not only did she move the dog, but her face showed her to be right into the action and responding to what Mister Tom was saying to Sammy. The lovely puppet is by Phillipa Buchannan.

There is a large and hard working supporting cast whose costumes are evocatively authentic thanks to Amanda Warriner. Playing the other roles are Anthony Alldread (Charlie Ruddles), Becky Morley (Mrs Fletcher), Simon Hawkins (Doctor Little), Eloise Lowe (Annie Hartridge), Sam Middleton (David Hartridge / Mr Stelton), Fran Bonner (Miss Thorne), Paul Green (Mr Miller), Ben Bradley (The Vicar), Vicki Goodwin (Miss Miller and others), Caroline Morley (Arp Warden), Gill Cook (Glad), Emma Robinson (Police Woman)/Billeting Officer), Anjali Pancholi (Nurse), Mandy Simons (Sister) and Jenny Branson (Londoner).

The Director, Emily Hudson and her production team of Alison Blackmore (ass. Director), Jen Reckless (choreographer), Emma Robinson (Musical Director), Katie Brougham (Stage Manager), Karen Richards (props) did a wonderful job bringing this often dark and emotional story to life. Scene changes were on the whole swift and unnoticed, which given the limitations of the stage is excellent.

The set by Nik Hudson, the lighting by Nick Elliot, the sound by Ben Bradley are very appropriate for the story.

I like the use of appropriate incidental music, some of which is original and others sung by members of the cast. While this is not a full on musical which would be inappropriate, this does enhance the story telling. There is some well choreographed and performed dancing too.

Overall, I really enjoyed this production, but I have to say that this was a little affected by the limitations of the seating in the venue. I was unable to see everything happening due to people in front of me. This excellent venue is in my opinion crying out for tiered seating, which is a must these days for all theatrical spaces of this kind.

Having said that, it was obvious that all involved have worked very hard to bring this touching story to life and I say well done to all.

 

Cluedo 2 – The Next Chapter

National Tour

Theatre Royal Nottingham

May 21st 2024

Cluedo 2 continues the thrilling, comic mystery from the original Cluedo play. Set in a grand mansion, the play revolves around a group of colourful characters who are invited to a dinner party that quickly turns into a whodunit as a murder occurs.

As the night progresses, the guests must work together, despite their distrust of one another, to solve the crime and uncover the identity of the murderer among them. Clues are discovered, alibis are tested, and red herrings abound, all while the characters navigate a series of twists and turns. Staying close to the boardgame we also need to discover “who, where and with what” as the action proceeds. With sharp dialogue, witty repartee, and a fast-paced plot, Cluedo 2 keeps us guessing until the final and unexpected conclusion. I can say no more about that!

The play blends elements of classic murder mysteries with farce, madness and mayhem, creating an engaging and entertaining experience that pays great respect to the beloved board game while offering new surprises and many laughs.

I enjoyed Cluedo 1 when it was here in February 2022 and I enjoyed this one just as much. Not surprising really as it was written by the award winning writers Laurence Marks and Maurice Gran famous for such tv hits as Birds of a Feather, Goodnight Sweetheart and the musical, Dreamboats and Petticoats, among many other well loved productions.

The cast is great with Ellie Leach as Miss Scarlet, Jason Durr as Col. Mustard, Jack Bennett as Wadsworth, Hannah Boyce as Mrs Peacock, Dawn Buckland as Mrs White, Liam Horrigan as Mr Black and others, Edward Howells as Professor Plum, Gabriel Paul as The Reverend Green and Tiwai Muza as PC Silver. The cast is completed by Kara Alberts-Turner, Audrey Anderson and Henry Lawes. It is important to mention the fact that this is very much an ensemble piece in which all the performers are equally important.

The set and costume design by David Farley captures the grandeur of the mansion, albeit in a simple but very effective way. It also includes a giant cluedo board at the back of the stage. The Lighting by Jason Taylor and the Sound by Jon Fiber is excellent and the movement, directed by Anna Healey, is outstanding. Most of the individual and group action is choreographed and this includes set changes. These are all part of the action and very much in the hands of the cast. They all do it perfectly!

The Director, Mark Bell, ensures that the play moves at a good pace. In fact there’s never a dull moment as the characters find clues and weave through a web of deceit and misleading events.

What’s really impressive is how the play kept me and I suspect most of the audience guessing until the very end. Just when you think you’ve figured out who did it, another twist changes your mind. The clever dialogue and interactive bits also get the audience involved.

Overall, Cluedo 2, The Next Chapter is a big hit, offering just the right mix of suspense and laughter. It’s a must-see for fans of the original play, lovers of murder mysteries, the board game and anyone looking for a fun and engaging night at the theatre.

 

Bonnie and Clyde
The Musical
National Tour
Theatre Royal Nottingham
May 14th, 2024

Bonnie & Clyde The Musical tells the tale of two small-town kids from the middle of nowhere who rose to become the most celebrated folk heroes in America. They hungered for adventure - and each other. Fearless, shameless, and captivating, it's the electrifying story of love, adventure, and crime that gripped an entire nation.

From the start we're whisked away on a thrilling journey through the American South, as this toe-tapping production brings to life the legendary saga of the infamous outlaw duo.

Katie Tonkinson, Alex James-Hatton, Daisy Wood Davis and Sam Ferriday shine as the four main characters, Bonnie, Clyde, Blanche and Buck. Each gives a dynamic portrayal of these engaging characters, delivering wonderful vocals and exciting choreography, effortlessly transporting us back to the era of jazz, prohibition and Tommy guns.

AJ Lewis's performance as Preacher emphasises his moral compass amidst the chaos of Bonnie and Clyde's world. Daniel Reid Walters excels as the police officer Ted Hinton, vividly portraying his conflicted emotions between affection for Bonnie and his duty as a law enforcement officer.

But it's not just the performances that shine in this production. The music by Frank Wildhorn is a delightful blend of blues, rock, and country that will have you tapping your feet and humming along in no time. Each song serves to deepen the emotional resonance of the story. The arrangements by John McDaniel and lyrics by Don Black are perfectly suited to the narrative. In terms of the ensemble, the song "Made in America" is performed exceptionally well, accompanied by superb choreography, making for a fantastic start to Act 2.

Ivan Menchell, who wrote the book for the show, has sanitised the horror and replaced it with an lively exploration of the highs and lows of love, loyalty, and the pursuit of the American Dream..

The costume and set design by Philip Witcomb evoke the essence of the 1930s era, transporting viewers back in time. The combination of projection with traditional set design is breath-taking at times. Lighting and sound are flawless, with the orchestra sounding great and well-balanced with the cast.

The Production Team, led by Director/Choreographer Nick Winston, has done an exceptional job of producing such a fast-paced show that keeps audiences on the edge of their seats throughout.

All in all, Bonnie and Clyde The Musical is a triumph of storytelling, filled with heart, humour, great tunes, and plenty of excitement.

 

Festival of New Short Plays

Palang Productions

Duchess Theatre

May 13th 2024

It’s always lovely to see local talent and last night at the Duchess we were treated not just to local actors, but to the work of East Midlands playwrights, too. This Festival of new short plays has been put on by Palang productions to showcase three pieces: ‘Belief’ by Hugh Jones, ‘Reaching Out’ by JF Sheehan and ‘I Want a Divorce’ by Richard Layton.

The first play ‘Belief’ is a thought provoking piece that challenges prejudice, distorted ‘truths’ and assumptions based on appearance. Mrs Barber, played by Elaine Sellors is cleaning the church in her English village when she is shocked and alarmed by Yasue, a visitor from Iran, who cheerfully engages her in conversation. Ramy Al-Rufaie beautifully captures the character’s warmth and generosity, as he gently explains why Mrs Barber and her treasured English way of life is under no threat from him. With interesting historical detail and sensitive challenging of entrenched prejudices, this engaging piece asks us to look for similarities rather than differences, to disregard negative stereotypes and to value individuals.

The second play “Reaching Out’ is based on a memoir and has the feel of a radio play, as four family members read out letters from 1977. Abandoned son Luke, played by Johnny Sheehan, has found the letters and hears the voices of his mother and his sisters Cara and Moira, as he rereads them and revisits his past. A vivid picture emerges of a dysfunctional family in which there is angst and hardship, but also love and humour. Cleverly written little details help to bring the emerging story alive, as we hear why Johnny wants answers, how Cara escaped and why Moira is trapped. All brought to life by Angie Pollard (Mother), Louise Leybourne (Cara) and Donna Briscoe-Greene (Moira).

The final play ‘I Want A Divorce’ contains a lot of humorous dialogue and joyous elements of farce, as an unhappily married couple look for a way to end their marriage, with each of them hoping to benefit from it. Richard Whitehorn read the part of Walter last night (splendidly) and Donna Briscoe-Greene plays the much put upon and over emotional Davina. As divorce becomes inevitable Walter cooks up a plan with his latest beau Natasha (played very convincingly by Jane Russell) to avoid alimony, while Davina seeks the help of smooth lawyer Lloyd (Ramy Al-Rufaie). The denouement is not quite what anybody expects!

Each play has a simple but effective set and benefits from a projected backdrop to set the scenes, with skilled lighting and sound enhancement from Dave Martin. No personal mics are used and there was a need for more projection at times, but this was noted and acted upon by the performers.

It’s always exciting to see new plays, especially by local writers and gratifying to know that we have the talent and dedication in the area to bring them to the stage. Well done Palang Productions, keep up the good work and we look forward to your next project.

 

A Streetcar Named Desire

Blind Eye Productions

The Duchess Theatre

May 10th 2024

As this play is one of the most critically acclaimed of the 20th century, I was thrilled to see it produced locally and even more thrilled to discover that Blind Eye Productions have more than done it justice.

Tennessee Williams’ masterpiece from 1947 charts the fall of Blanche DuBois, a faded Southern Belle, who arrives at her sister Stella’s home in New Orleans for an extended stay, ostensibly to rest from her teaching job in Mississippi. Stella’s husband, Stanley Kowalski, resents Blanche’s presence and has his suspicions about her motives and her past. Tensions rise, prejudices surface, addictions grip and relationships are severely tested. With these strong themes, plus undercurrents of misogyny and domestic abuse, the play absolutely sears, the dialogue is tight, wonderfully descriptive and thoroughly engaging. With some shocking revelations and brilliantly taut exchanges alongside everyday, amusing conversations, the writing always draws the audience in and keeps the story going; this is a long play at 2 hours 40 minutes, but I was gripped throughout.

The impact of this production is not just in the wonderful writing of course, it is in the astonishing skill of the actors, who must have worked their socks off to get to the standard they have achieved. I don’t know if there was a prompt, but if there was they had nothing to do; all the actors are so polished and fluent, even when maintaining an authentic accent and finding deeply felt meaning in what they are saying, at times in explosive, physically and emotionally challenging scenes. Your performances were much appreciated by me and the rest of the rapt audience. Bravo.

Monica Dakin plays Blanche DuBois, what a gift of a part for a talented actor, who brilliantly captures Blanche’s fragility alongside her brazen, flirty confidence, her frustrating yet understandable reliance on men and her sad decline into mental illness. It’s a huge part with a huge amount of dialogue - an almost constant presence on stage - and Monica has absolutely nailed it. With the sass of Scarlett O’Hara and the desperation of Norma Desmond, Monica gives us a Blanche who is hidebound by class, by the expectations of her Southern upbringing and a pathetic need for protection. Yet through the haze of addiction and the prejudices of the time, Blanche recognises misogyny and abuse and, although she ultimately becomes a victim of it, bravely attempts to fight against it. A tragic heroine of 20th century drama, and yes, she has been done justice by this wonderfully nuanced performance.

Beth Duffy plays Stella, Blanche’s sister who escaped the confines of the family estate, Belle Reve, before everything collapsed into financial ruin. Stella found her salvation in Stanley Kowalski and the deep animalistic attraction between them is unshakeable. Even when the kindly, nurturing Stella realises that Stanley’s treatment of her and Blanche is not acceptable, she is unable to resist, as she has too much to lose. Beth gives us all the angst and conflict that Stella feels, not just in her beautifully judged delivery (every pause counts), but in her facial expressions and physical acting. Poor weak Stella betrays her sister, but she’s trapped and anyway, he loves her so much…

Stanley Kowalski is an absolute brute of a man, who has a terrifying stage presence, which JJ McCormack totally embraces, giving a magnetic performance that is captivating. Another wonderfully fluent performance with a flawless accent, but what makes it so compelling is the physicality, the swagger, the threat of his closeness and the constant tapping of his leg, as his anger is getting out of control. Such well observed characterisation. When the outbursts come they are terrifyingly authentic and the audience feel hatred for this man, the lower class ‘Polack’, who was born in America, served America in the war and is loyal to his friends, yet knows he is despised by Blanche and her like. His resentment and misogyny are tangible and, to a modern audience, despicable. Marlon Brando (film 1951), hated the character and couldn’t understand his appeal to many; it’s obvious that JJ McCormack has thrown his heart and soul into the character, regardless of how he feels about him.

The director Paul Duffy has also thrown his heart and soul into this production and given it a freshness through the inclusion of modern music between scene changes, underlining that these themes are still relevant after nearly 80 years. The pace is relentless (so tightly rehearsed), scene changes are smooth and the clever placing of characters on the effective set keep our attention in just the right place. The rather claustrophobic shabby rooms in which Stella and Stanley live is expanded by entrances and exits using the whole auditorium. The set is gloriously 1940’s, down to the furniture, the kitchen items, the decoration on the stairs, the cigarettes - and is wonderfully augmented by the appropriate costumes; a detailed evocation which adds so much to atmosphere. The only prop that hit the wrong note for me was the baby, a small doll that perhaps needed to be bigger and more swaddled to look realistic. It’s distracting during a piece that is grimly realistic and at a point in the story that is deeply emotionally affecting, to have such an obvious fake.

Lighting and sound (Paul Duffy, Nick Elliott and Alan Betton) also add immeasurably to the atmosphere, at certain points there is an abrupt change of lighting that is so effective as it takes the audience to a different place and puts us on alert – listen, this is going to be important. The heat of New Orleans and of dysfunctional relationships is captured not just by Blanche’s and Stella’s fans, but by intense red light. Plenty to make you sweat here!

A character who does plenty of sweating is Mitch – Blanche’s potential beau – who beats a hasty and undignified retreat when he discovers more about her. Paul Duffy finds the decency in the character, a lovely gentle portrayal which shocks all the more when his moral judgements cause him to behave very badly. Another actor who can use pauses to great effect and, like the three leading actors, seems to live and breathe the character and is entirely convincing.

Lovely supporting roles from Jackie Cooper as the amusing and feisty upstairs landlady Eunice Hubbel and Saurav Modak as her argumentative husband and Stanley’s poker partner, Steve. Eunice is the voice of reason, reason according to the mores of the 1940’s anyway, and as much as she shouts at her husband she knows her place and the place of other women.

Max Willmott plays Pablo, another poker player as well as a young collector who becomes a victim of Blanche’s need to know that she is alluring; Lindsey Hemingway (who also gets to show off her voice as a Mexican woman) and Steve Webb play the nurse and doctor who Blanche eventually realises will provide the ‘kindness of strangers’ that she has long relied upon.

Desire was a streetcar that ran in New Orleans at the time, Tennesee Williams was inspired by it, and also by the plight of his mentally ill sister; fragments of ideas that he used to create this deeply affecting and gripping play that is his most popular work. It’s an icon of 20th century drama and is well worth seeing, all the more so when it’s done with as much passion and commitment as this production.

 

2.22 A Ghost Story

National Tour 2024

Theatre Royal Nottingham

May 7th 2024

This is going to be a review that is a little sparse on detail and the reason is simple: you must experience this show without knowing much about what is to come or anything about the ending…

The plot however, is straightforward. Jenny believes her new home is haunted, but her husband Sam isn't having any of it. They argue with their first dinner guests - old friend Lauren and new partner Ben - when Jenny reveals she hears footsteps and crying in their daughter’s bedroom each morning at exactly 2:22am.

Soap star Fiona Wade takes on the lead role of Jenny, a pivotal character whose portrayal adds intrigue to the unfolding mystery while mining the emotional depth of the story. Through her nuanced performance, she brings Jenny to life with a blend of maternal strength, vulnerability, and increasing fear.

George Rainsford, as Sam, delivers a gripping performance, adding depth and tension to the story. He adeptly captures Sam's complex personality, making him both enigmatic yet relatable, infuriating yet likeable and providing many of the play's comedic elements.

As Jenny's friend Lauren, Vera Chock authentically nails her increasing drunkenness and conflicted feelings. Alongside Jay McGuiness, who confidently characterises her breezy geezer partner Ben, they create a strong chemistry alongside the other two characters. All four have perfect comic timing which brings some smiles to the increasingly creepy atmosphere.

Completing the cast are company members Aaron Dart and Rachel Morris.

The clever set design by Anna Fleischle, complemented by Lucy Carter's lighting, sets the perfect tone, while Ian Dickinson's sound design creates a haunting and emotionally wrought atmosphere that immerses and surprises throughout the story.

The unexpected twists and turns, masterfully woven by writer Danny Robins, keep the audience on the edge of their seats, with a particularly surprising twist at the end. I will say that I was not expecting the ending and it was only afterwards that I began to see the various clues that led to it.

The direction by Matthew Dunster and Isabel Marr is imaginative and makes sure every moment counts towards both the storytelling and the tension. For aficionados of mystery theatre, "2.22 A Ghost Story" is an unmissable production, offering a truly memorable experience in every aspect.

 

Drop the Dead Donkey
Theatre Royal Nottingham
23rd April 2024

Having only vague memories of the smash hit 90’s TV series Drop the Dead Donkey, I was unsure what to expect from tonight’s performance and had reservations that this may affect my enjoyment of the show. However, it very quickly became apparent that a knowledge of the series was not needed and that the show could just be enjoyed as a standalone production.

Drop the Dead Donkey tells the story of the Globelink News Team and now, 30 years later, the old staff are back together to launch a brand new show ‘Truth News’. The audience is given an insight into the chaotic launch of Truth News led by the original Chief Executive of Globlink News, Gus.
The ensemble cast is made up primarily of the same actors from the original show. There was a warm appreciation from the audience when the familiar faces appeared on stage. The original cast members include Susannah Doyle as Joy, Robert Duncan as Gus, Ingrid Lacey as Helen, Neil Pearson as Dave, Jeff Rawle as George, Stephen Tompkinson as Damien and Victoria Wicks as Sally Smedley. New to the cast are Julia Hills as Mairead and Kerena Jagpal as Rita.

The pace of the show is just right, delivering laughs consistently throughout. Written by Andy Hamilton and Guy Jenkin the script is witty and topical, containing many up to date references to current news stories. There are some particularly great one liners in there!

The staging cleverly depicts a bustling TV newsroom, with a giant screen back drop used to display social media interactions, indicative of today’s world and public reactions to news stories.

The show promises razor-sharp wit and classic British humour and does not fail to deliver. Even if you have never seen the TV series, I would suggest you go and see this stage production. You will not be 

Eloise

Life of Pi
Theatre Royal Nottingham
(Nottingham Puppet Festival)
April 16th 2024

Pi’s full name is Piscine – French for swimming pool – abbreviated to lessen the ridicule and pay homage to the mathematical constant. We meet her (in this performance Pi was female) in India in the 1970s, living with her sister and her mother and father, who own a zoo. Full of reckless fun, but with lots of unanswered questions about life, the teenage Pi joins three religions at the same time, searching for the nature of God and the meaning of reality, to the despair of her family.

When the political situation worsens the family feel they have no alternative but to emigrate to Canada, so crate up the animals and escape on a Japanese cargo ship, to a new life. During the journey disaster befalls them and Pi is left floating in the Pacific Ocean for over 200 days, with only a zebra, a hyena, an orangutan and a Bengal tiger for company. What happens during her time at sea is told in a series of flashbacks from her hospital bed in Mexico, where she is being questioned by Government officials.

Both the creation of atmosphere and the evocation of place in this production are stunning – we watch as Pi’s stark hospital room dissolves into a bustling street in India, the colourful sights and shrill sounds of the Zoo appear and later, the oppressive expanse of the ocean threatens to engulf us, too. Huge creative effort from a big team, the director, video, light and sound designers, plus puppet designers and masters have combined to produce a dazzling, sometimes visceral effect that is a real assault on the senses.

For many the animals are the stars of this show, as skilled puppeteers create large, dynamic and carefully observed creatures. For me this did not work as well as it does for most, as although I can appreciate the skill and artistry of such powerful creations, I cannot see past the puppeteers who people the stage, so the impact for me is greatly lessened. My lack of engagement with the puppetry is not generally shared, as the animals have been variously described as ‘jaw dropping’, ‘brilliant’, ‘masterful’ and ‘enchanting’ and the production has universally excellent reviews.

The star of the show for me was Adwitha Arumugum, who plays Pi with a cheerful insouciance, even when threatened with death and languishing at sea with no water, she retains her charm and sass. It’s a demanding physical role that this actor makes look effortless and she is never less than fully engaging. Strong supporting roles from her family and in particular the Government officials keep the narrative flowing; there’s a powerful story here beyond Pi’s time at sea, but Lolita Chakrabati, who adapted it for the stage, can only convey a fraction of the complexity of Yann Martel’s prize winning novel.

Life for Pi is hard and there are no details spared as she tells two versions of her story and invites the Officials to choose the one they like best. As she says, all life is a story, so we are never sure how close we are to the truth, or even reality. The reality of life at sea with wild animals includes death, which is vividly portrayed: not one for the squeamish this, as we see and hear innards being eaten, bones being broken and endure the horrible killing of a sea turtle. The domination of a wild animal can also make for uncomfortable viewing, but the evolution of a relationship between a human and an animal, and the eventual outcome are satisfying to witness.

We’re not left with clear answers at the end of this production, it’s up to us to decide which story we prefer. The version with animals is clearly the one that those who heard Pi’s story prefer and Pi herself believes that God feels the same; she has found her own truth.

Recommended for those who enjoy puppetry and a story vividly well told, but with an advisory of 8+ (personally I would make that 10+) The Life of Pi continues at the Theatre Royal until Saturday, April 20th.

========

The Wizard of Oz

National Tour

Nottingham Theatre Royal

10th April 2024

I must start this review by saying that this production of the well-known story and musical was nothing short of brilliant.  Indeed, it is undoubtedly one of the best musical productions I’ve seen in recent years.

Naturally, the actors are very talented, but the production is also a theatrical

marvel, seamlessly blending back and front projections with solid props and scenery. From the very start we were whisked away to the enchanting kingdom of Oz, thrilled by great performances and visuals that left me for one, breathless – the only description I can use.

While remaining faithful to this beloved classic, this production fills it with fresh energy and creativity, casting aside any preconceived notions from past adaptations. From the iconic yellow brick road to the captivating Emerald City, each scene is brought to life with striking sets and costumes and wonderful colourful characters.

 

Based on L. Frank Baum's timeless children's novel, the narrative follows Dorothy Gale, a young girl whisked away from her Kansas home by a tornado to the mystical land of Oz. There, she befriends a Scarecrow in search of a brain, a Tin Man longing for a heart, and a Cowardly Lion in need of courage. Together, they confront various challenges, including the vengeful Wicked Witch of the West, mourning her sister's death.

 

The portrayal of the Wicked Witch of the West by The Vivienne is nothing short of stunning. Her meticulous attention to costume and makeup is a refreshing and dynamic interpretation of the role, while her commanding stage presence and theatricality captivates the audience. Throughout the show, she effortlessly navigates between evil and good, earning a resounding ovation at the end.

 

Equally impressive are Aviva Tulley as Dorothy, Benjamin Yates as The Scarecrow, Fdemi Akinfolarin as the Tin Man, and Nic Greenshields as the Cowardly Lion. Their impeccable characterisations add depth and authenticity to their parts and they have a touching rapport. Alex Bourne adeptly portrays the Wizard and Professor Marvel, while Emily Bull enchants audiences with her delightful singing voice and effervescent personality as Glinda, the Good Witch.

 

In this production, the role of Toto the dog is ingeniously portrayed using a puppet skillfully operated by Abigail Matthews, whose barking is impeccably timed and executed. The remaining cast members deliver great performances, skilfully embodying the essence of each beloved character.

 

The technological prowess of this production is flawless. Nikolai Foster's inspired direction, complemented by Colin Richmond's impeccable set design and Douglas O’Connell's breath-taking projections, provide many of the ‘Wow’ features of this show. Ben Cracknell's superb lighting design and Adam Fisher's crystal-clear sound further enhance the experience, while the orchestra sounds very good and is perfectly balanced with the performers.

 

With its unforgettable melodies and timeless story this production first seen at the London Palladium in 2023, is an unparalleled theatrical journey suitable for audiences of all ages.

 

Catch it before it continues its journey along the Yellow Brick Road from Nottingham this Saturday.

 

Mack and Mabel

Long Eaton Musical Theatre Company

May Hall, Trent College,

Long Eaton

April 9th 2024

Mack and Mabel, produced by The Long Eaton Musical Theatre Company at the May Hall, Trent College, showcased the society's sparkling talents once more. Bringing to life the grandeur of a big musical like Mack and Mabel demands accomplished acting, singing, and dancing, alongside technical finesse and a clear vision of a bygone era - all of which were abundantly evident in tonight's performance.

The show delves into the real-life love story between the iconic filmmaker Mack Sennett and his vibrant muse, Mabel Normand.

Dan Bates delivers a great portrayal of the irascible yet brilliant Mack Sennett. I have always enjoyed Dan’s performances but I think this was one of his best. His renditions of “Movies were Movies”, the beautifully nuanced “I Won’t Send you Roses” and “I Promise You a Happy Ending” were perfectly sung.

He is complemented perfectly by Rachel Merrill’s wonderful performance as the immensely gifted Mabel Normand. She has a powerful voice that she uses with great effect in songs like “Wherever He Ain’t” and “Time Heals Everything.” She is a very confident actor and dancer too which makes her overall performance outstanding and such a jo to watch.

Molly Parkinson is splendid as Lottie Ames. She has a great voice, dances well and displays a powerful personality throughout. A very confident and competent performer who brings a smile to many faces.

Other notable and characterful performances came from Harvey Latter as Frank, Milly Clover as Fatty, Gavin Owen and William Desmond Taylor, Jack Woolley as Mr Kessel and Stuart Bull as Mr Baumann.

The fabulous ensemble brims with energy, commitment, great dancing and fabulous singing. They are Alice Summerton (The Writer), Caitlin Sloan (Andy), Emma Collins (Principal Dancer), Josie Coleman (Principal Dancer), Lauren Riley (Principal dancer), Nicola Adcock (Principal Dancer), Rachel Spence (Principal Dancer), Sian Hooton (Principal Dancer), Victoria Palmer (Principal Dancer/ Watchman), Laura Davey (Ella), Lisa Stone (Iris), Amy Parker, Becky Morley, Eleanor Harvey, Emily McDowell, Liz Woolley, Louise McGowan, Mariko Jones and Tracy Hooton.

The whole cast work very well together with many principals also taking part in the big production numbers. Choreographer Rachel Spence deserves commendation for her great routines, such as Hundreds of Girls, Tap Your Troubles Away and the incredible Keystone Cops scene. All add spectacle dynamism and fun to the production.

The Director Amy Glover’s vision maintains a strong narrative while incorporating inventive elements such as the impeccably executed custard pie scene.

The orchestra, led by Charlotte Daniels, sounds good and is well balanced with the performers, while Sam Lenord’s crisp sound design and David Price’s evocative lighting create the evocative atmosphere of the production.

The scene changes, managed by the cast and Stage Manager Katie Bird and her crew, ensure a seamless flow in the action.

The Long Eaton Musical Theatre Company once again deliver a production of quality, earning a well-deserved ovation from an enthusiastic audience at the end.

Don't miss the opportunity to experience the magic of "Mack & Mabel," playing at Trent College until Saturday.