The Wonderful Wizard Of Oz Pantomime
The Watson Players
Landau Forte College
February 19th 2025

There’s fun to be had at Landau Forte College this week as The Watson Players let rip with their pantomime version of The Wizard of Oz, and it’s everything a pantomime should be. Lovable characters, lots of humour, singing, dancing, audience participation, colour and sparkle; lots of sparkle. It’s a joy.

The marooned Dorothy and her three needy chums venture along the Yellow Brick Road to get help from the Wizard of Oz, accompanied by a wonderful Dame – Dorothy’s Aunt Em. Along the way they meet a couple of cheeky chappie Munchkins, two good witches and a really evil one, a thigh slapping Prince, a Porcelain Princess, a couple of monkeys and eventually, the Wizard himself. It’s a fast paced romp that is always engaging with lots of laugh out loud moments and many foot tapping, catchy tunes. Oh yes, it definitely is.

There is some great character acting in this production and it’s a testament to the skill of these performers that they have taken the well known character types and made them their own. Added to that there is a great supporting cast, who not only take cameo roles, but also sing, dance and provide background colour. Georgia Barkes and Mel Pugh as Flying Monkeys dance balletically and beautifully and all the cast do choreographer Sharon Stringer proud. Rather than large dance numbers there are smaller routines which are packed with variety and interest, taking us joyously along the Yellow Brick Road.

Mik Horvath is a splendid Aunt Em, totally at ease with the audience who immediately warm to the over-the-top Dame, her witty observations, her saucy innuendos and her gaudy flamboyance. Excellent delivery, perfect comic timing and some well placed ad-libbing make this character irresistibly funny. Several costume changes add to the fun, her outlandish, colourful and bizarrely accessorised outfits are a visual delight.

More fun to be had from the two mischievous Munchkins, Ugg and Lee, played by Lou Jenkins and Karen Jones. It’s not easy to keep a double act pacy and fluent, throw in some physical comedy, interact with the audience and land the comedy, but these two do it in style. It’s the confidence that comes from being well rehearsed and the warmth that comes from being committed to giving the audience a good time – something all of these performers exhibit.

There’s warmth a plenty from Dorothy’s travelling companions: Wayne Perry as the Scarecrow, Gary Rowley as the Tin Man and Jake Perry as Cowardly Lion. More of that nuanced character acting here and some lovely physical comedy from each of them. All three of these actors must have worked hard on the physicality of their character, as well as their distinctive delivery, something that must have become easier once they got their splendid costumes on!

It's hard to believe that the costumes for this production were all done in-house, designed by Patricia Church and made by members of the company or by the ‘Crafty Ladies’. They are of a wonderfully high standard, they add so much to each character and fill the stage with interest, colour and sparkle. Along with a colourful scenic design, some clever portable scenery and some excellent backdrops, the show looks simply gorgeous.

There has to be a baddie of course and she’s not so gorgeous, although the Wicked Witch of the West is a dastardly delight. Angela Swift has great vocal delivery and a sinister swagger; a physical menace that is in contrast to her lovely fellow witches, Patricia Church as the sensible Witch of the North and Rai Robinson as the gentle Witch of the South.

Every pantomime needs a Prince and Princess and this one has the splendid Jessica Baird-Swinburn, as a good old fashioned thigh slapping principal boy- Prince Smarmy. Lovely comic delivery as the Prince searches for a Princess to kiss, he’s not fussy which fairy tale she comes from and just a quick kiss will do. Abbi Pritchard is the delicate but determined Princess Porlain, who gets her Prince and celebrates with him in song. The wonderful ‘The Song That Goes Like This’ from Spamalot is beautifully performed, a real highlight of the show. Bravo.

Another lovely voice and polished acting skills (they really are a talented bunch), belong to Ciara Beighton, who plays Dorothy. This Dorothy is sweet, principled and characterful and Ciara plays her absolutely straight. Among the humour, farce and slapstick this is perfectly pitched, to corpse Dorothy would be wrong and lessen the overall impact. It’s a big part, particularly vocally; Ciara embraces all the challenges and triumphs.

Some more straight acting from Jack Woolley as the rather green Wizard of Oz; Jack does some lovely voice and puppetry work before the Wizard rather sheepishly reveals himself.

There are 11 songs in the show, so the Musical Director Joy Gravestock had her work cut out; judging by her smiles and obvious enthusiasm as she conducted the admirable Wizard Band, this must have been a pleasure. Incidental music and some sound effects are provided by the band too, with spot on timing. Lighting is important in this show and both full stage lighting and spot work are effective.

Many congratulations to Liz Woolley the director for the pacing, the staging, the use of entrances and exits, the character work and the audience inclusion in this production. It’s a long show – almost 2 hours 55 minutes last night, but the skill of the director and cast kept the material as tight as possible. Recommendation would be that it is suitable for children who can sustain interest for that long, but judging by the little ones who helped lead the Community singing at the end of the show, that can be a surprisingly young child!

This is a half term treat at which Everything is Awesome, put on those red shoes, click your heels and get there as soon as you can! Tickets available until Sunday from https://www.livetickets.org/.../the-wonderful-wizard-of-oz/Photos Ali Langton

 

Swan Lake

2024 Revival National Tour

Matthew Bourne – The Next Generation

Theatre Royal Nottingham

February 18th 2025

Matthew Bourne’s Swan Lake is a revolutionary reinterpretation of Tchaikovsky’s classic ballet. Premiering in 1995, it shattered conventions by replacing the traditional female swans with a powerful, all-male ensemble, creating a bold narrative that explores themes of identity, repression, and longing. This production has innovative choreography, stunning sets, and emotional depth.

Matthew Bourne reinterprets the original story, about a tormented Prince who struggles with his identity and the suffocating expectations of monarchy. The prince’s journey is one of self-discovery, culminating in his haunting relationship with the Swan, a feral, masculine figure who becomes both his salvation and his downfall. This modern twist on the tale resonates deeply, particularly in its exploration of repressed sexuality and the search for love in a world that often offers none.

The production’s most striking feature is its all-male swan ensemble. These swans are not the delicate, ethereal creatures of traditional ballet but instead are raw, animalistic, and menacing. Their choreography is a blend of grace and ferocity, with sharp, angular movements and synchronized hissing that create an electrifying presence on stage. The iconic pas de deux between the Prince and the Swan is brilliant, blending tenderness with raw intensity. It is just spellbinding.

This revival features a new generation of performers who bring fresh energy to the production. Harrison Dowzell’s portrayal of the Swan/Stranger is mesmerizing, capturing both the wild beauty of the Swan and the seductive menace of the Stranger. His chemistry with the fabulous James Lovell’s Prince is palpable, making their tragic relationship even more poignant.

Tonight was very special for me as Harrison was one of the Billy Elliot boys who I saw several times at the Victoria Palace in London. When I watched him then I knew that the 13-year-old playing Billy would one day be a superb ballet dancer. Tonight I was proved right! Yes, there were a few tears of pleasure in my eye. To add to this he is a local man from Radcliffe on Trent in Nottinghamshire.

Nicole Kabera’s Queen is wonderful with icy elegance, embodying the cold, unfeeling mother who is more concerned with appearances than her son’s well-being.

Bryony Wood as the Girlfriend provides comic relief with her bubbly personality but also adds a layer of pathos as she becomes a pawn in the prince’s emotional turmoil.

Benjamin Barlow Bazeley portrayal of the stuffy protocol obsessed Private Secretary is excellent.

The rest of the cast is as you would imagine quite superb playing many parts.

Lez Brotherston’s set and costume design are integral to the production’s success. The lavish, vintage-inspired court scenes contrast sharply with the dreamlike, moonlit lake, creating a visual dichotomy that mirrors the prince’s inner conflict. Paule Constable’s lighting design adds depth and mood, with shadows and projections that enhance the surreal atmosphere. The also very effective sound scape is by Ken Hampton.

Tchaikovsky’s timeless score, recorded by the Swan Lake orchestra conducted by Brett Morris, is a driving force behind the production’s emotional power. The music seamlessly intertwines with the choreography, heightening the drama and beauty of each scene.

Bourne’s Swan Lake is not just a ballet; it is a theatrical experience that transcends traditional boundaries. The production masterfully blends comedy, tragedy, and social commentary, creating a narrative that is both entertaining and thought-provoking. From the hilarious antics of the Girlfriend to the harrowing final act, where the swans turn on the prince in a nightmarish climax, the show certainly takes the audiences on an emotional rollercoaster.

This is a masterpiece of theatre that continues to redefine ballet for modern audiences. Its bold storytelling, innovative choreography, and stunning visuals make it a must-see production.

Whether you are a seasoned ballet enthusiast or a newcomer to the art form, this version of Swan Lake may leave you breathless and deeply moved. It certainly did me!

Tonight’s audience gave the company a standing ovation with cheering from many. There was incidentally some cheering during the performance as well showing how much many in the audience were enjoying it.

 

Joseph & The Amazing Technicolor Dreamcoat
Nottingham Theatre Roya
lFebruary 6th 2025

It might be over 50 years old but this sparkling musical never seems to age, the universal themes and catchy tunes are still irresistible. It’s always good to see an old favourite, but I’d forgotten just how joyous this retelling of Joseph’s story from the Book of Genesis is: big smiles, feet tapping and singing all the way home.

This production is packed full of freshly orchestrated musical treats and an array of exciting choreography. The talent, energy and sheer pizzaz of the performers, plus some changes that add even more entertainment, make the show an absolute delight.

Joseph is a bit of a pain, as he makes the most of his status as his father’s favourite son and shows off the very colourful coat the doting Jacob has given to him. His 11 brothers are none too pleased, especially as Joseph also has a very annoying line in the interpretation of dreams. Being told they will all eventually bow down to him like sheaves of corn in a field is the last er…straw, and they plot to dispose of him. Subsequently, along the way he gets into all sorts of bother, falls foul of the Captain of the King’s Guard & his wife, meets the Pharoah, interprets a few dreams then finally gets his own back on his brothers…

All this is told through song: the show has little spoken dialogue and it is mostly the narrator who keeps the audience up to speed. Christina Bianco is an absolute powerhouse of a performer, packing on the personality in a wide range of different song styles, dancing up a storm and taking on a couple of other characters at the same time. A fabulous performer - no surprise to read that she is critically acclaimed around the world.

Joseph might be a pain, but there’s nothing painful about Adam Filipe’s performance, another one packed with energy, fun and charm. His voice is lovely and the old favourites "Any Dream Will Do" and "Close Every Door" are beautifully interpreted. Plenty of contented sighs from the obvious fans around me.

Joe Mc Elderry doesn’t disappoint the fans either, his rock and roll turn as the hip Pharoah is a real crowd pleaser, set in a fabulously ornate palace.

It’s not just the big hits that hit the spot in this show, every song is catchy and entertaining. "Those Canaan Days" is a parody of French ballads; "Potiphar" is a 1920s Charleston style song; "One More Angel in Heaven" is a country & western song; there’s "Benjamin Calypso"; "Joseph's Dreams" is a jazz song and "Song of the King" is Elvis-themed rock and roll. There’s a spectacular bit of 60’s style dance at the end of the first act, when the cheerleader themed ensemble exhort “Go, Go, Go Joseph”. It’s great stuff.

This London Palladium production has a few changes from the others I’ve seen, the biggest being the inclusion of a children’s ensemble in the action. Instead of a static choir, these young performers (a touring cast of 30) sing, dance & act throughout the show in a most impressive way. The ten I saw were excellent, taking roles such as Joseph’s brothers, Potiphar, a baker, a butler, a goat and many more in the ensemble. All totally focused with great comic timing; a joy to watch.

There’s plenty to be learnt from watching the performances of the adult ensemble, who make this energetic and fast paced show look effortless. Some great singing and dancing from Joseph’s brothers and the female ensemble, stylishly covering disco, jazz, tap, Charleston, Can Can and rock & roll. They hardly ever stop moving.

The colourful backdrops and costumes, some impressive props and the sumptuous Egyptian Palace provide the setting for this sparkling spectacle. Ben Cracknells’ imaginative lighting design illuminates it all beautifully; watch out for those colours! Just a bit disappointed not to see Joseph’s coat triumphantly displayed at the end of the show; colourful streamers took its place. So much joy though, in the dazzling finale and the Megamix: a veritable wall of sound from the Orchestra which had the excited audience up on our feet, singing and dancing.

If you love the show this dream version will more than do, if you’ve never seen it before, well, you’ll just love it. Go, go, go!

Fame Jr
Erewash Musical Society
Duchess Theatre Long Eaton
February 6th

Absolutely loved the Erewash Musical Society Youth Group’s performance of Fame Jr. at the Duchess Theatre in Long Eaton tonight.

The energy and talent of these young performers was very impressive – they really gave it their all. The singing, dancing, and acting were spot on, and you could tell how much effort they’d put into it.

The costumes were brilliant too, really bringing the story to life. It’s not easy producing such an iconic show as this but they all absolutely smashed it. The simple set was just right and helped to keep the show moving at a good pace.

Talking to the cast after the show, the Deputy Mayor of Erewash Cn. Harry Atkinson said “ You were all fantastic and so talented. I enjoyed your performances immensely.”

The new vicar of Long Eaton Max Marsh also congratulated the cast on their excellent performances. Once again the Youth Group have produced a show which showed their many talents.

Well done to everyone involved including the production team led by Director Hayley Wood.

If you get the chance to see this show definitely go – you won’t be disappointed!

 

Coming to England
Theatre Royal Nottingham
National Tour
January 28^th 2025

*Coming to England* is a heartfelt and vibrant musical adaptation of Floella Benjamin’s book, which chronicles her journey from Trinidad to England as part of the Windrush generation. With a book by David Wood, this production brings to life the challenges, triumphs, and cultural richness of Benjamin’s story.  It offers a poignant reflection on identity, belonging, and resilience.

Floella Benjamin moved to the UK as a child during the Windrush era, facing challenges of racism and cultural adjustment. She became a successful children's TV presenter on shows like *Play School* and *Play Away* in the 1970s and 1980s, She is an accomplished author, writing children's books and memoirs, and a passionate advocate for diversity and education. In 2020, she was appointed to the House of Lords as a Baroness where she continues her work of championing social justice and children's rights.

The musical opens in the lush, sun-soaked landscapes of Trinidad, where young Floella’s idyllic childhood is filled with music, family, and joy. The transition to a cold, unwelcoming England is stark and effectively portrayed, highlighting the cultural shock and racial prejudice faced by Floella and her family. The production doesn’t shy away from addressing these difficult themes, but it balances them with moments of warmth, humour, and hope for the future.

The cast is excellent, with an outstanding performance from Julene Robinson as Floella, who brings a remarkable depth of emotion and charisma to the role. She has a great singing voice too. The portrayal of her mother by Maryla Abraham with her unwavering strength and determination, is particularly effective.

The supporting cast, including her family members and the ensemble, add layers of authenticity and heart to the story. They are Charles Angiama as Dardie, Shaquille Jack as Ellington, Solomon Gordon as Lester, Simone Robinson as Sandra, Alexander Bellinfantie as Roy and Kamarane Grant as Cynthia (at tonight’s performance.) Completing the ensemble and playing a number of parts are Jordan Stamatiadis, Joe Pieri and Christian James.

The score, is a delightful fusion of calypso, reggae, and traditional musical theatre, capturing the spirit of the Caribbean while reflecting the emotional journey of the characters. Great numbers like “Island in the Sun,” “Jump in Line,” “Smile,” “Family” and “Coming to England” are catchy and showcase the casts vocal talents and the energetic choreography.

The vibrant set design by Jasmine Swan effectively transports the audience from the Caribbean to 1960s England. The costumes are equally impressive, with bright, colourful outfits for the Trinidad scenes contrasting sharply with the drab, grey tones of England, visually underscoring the cultural divide. Set changes are fast and keep the story moving without delay.

Directed by Denzel Westley-Sanderson, the creative team features musical director and arranger Abdul Shyllon, and choreographer Kloe Dean, who also serves as movement director. Lighting design is handled by Rachel Luff and Will Hayman, while Beth Duke takes charge of sound design.

While the musical is deeply personal, it also serves as a powerful tribute to the Windrush generation and their contributions to British society. It’s a story of perseverance and the pursuit of dreams, resonating with anyone who has ever felt like an outsider or struggled to find their place in the world.

Coming to England is a triumph—a celebration of culture, family, and the enduring human spirit. It’s a timely and important story, beautifully told through music, dance, and stellar performances. Whether you’re familiar with Floella Benjamin’s story or encountering it for the first time, this musical is sure to leave you inspired and moved.

 

The Girl On The Train
Theatre Royal Nottingham
January 21st 2025

Not having read Paula Hawkins’ book or seen the film, I came to this with no preconceptions and no trepidation that a play of less than two hours would miss too much out. If it does, this adaptation by Rachel Wagstaff and Duncan Abel certainly remains a gripping psychological drama and thrilling mystery, one that benefits from inspired staging and the immediacy of live theatre.

The protagonist, Rachel Watson, is annoyingly self centred, drunk most of the time and obsessed with her former husband and his new wife and baby. Passing by where they live on her daily commute, she also becomes obsessed with their near neighbours, a seemingly devoted couple who appear to have the perfect life. When the train stops at signals she watches them and fantasises – until the woman goes missing and Rachel finds herself as a witness and even a suspect, in a dark and intriguing mystery.

Giovanna Fletcher pitches her delivery high, so Rachel is bordering on manic, but frantically trying to hide her drunkenness and make sense of fragments of memory. It’s only later, when we hear the sober Rachel that the contrast becomes clear and we understand quite how broken she was and why. Throughout Giovanna convincingly portrays Rachel’s struggle not only to remember, but to find a way through the mystery, to learn who she can trust and begin to understand herself.

This is a strong ensemble piece and the fragmented style of the drama means that each character gets a strong voice. It isn’t naturalistic, the story is told using flashback and often when a character is mentioned they appear on stage to relate what happened to them; we are taken backwards and forwards in time. It’s like dipping into the pages of the book, or watching a snippet from the film. Apart from the victim, each character is a suspect and we’re invited to listen to their story, evaluate their honesty and draw some conclusions – just what we want from a crime mystery!

Jason Merrells plays Tom, Rachels’ former husband, a reasonable chap who despairs of his ex wife’s behaviour and just wants to be left in peace with his new wife and baby. Plenty of room for character development here, and we get that in spades. Zena Carswell plays his new wife Anna, bit of a prickly sort, who is implicated by Rachel in the mystery disappearance. Other suspects are the seemingly charming therapist Dr Abdic, played by Daniel Burke, and Scott Hipwell, volatile husband of the missing woman, played by Samuel Collings. But is Rachel a reliable witness and are her recollections accurate? The wise DI Gaskill, played by Paul McEwan doesn’t think so, but until the explosive conclusion he is not sure who to believe and neither are we. Megan, the missing woman played by Natalie Dunne, gets to tell her tragic story in vivid flashback. Some lovely, nuanced character acting from all the cast.

An odd and dangerous decision by Rachel brings about the denouement which is fabulously dramatic and vividly portrayed, gasps all round. No laughter here – throughout the play there are some witticisms and a fair bit of swearing, which some in the audience found very funny. The ending silenced them.

The dramatic impact of the piece is immeasurably heightened by the staging and the stunning audio visual effects. A seemingly solid wall evaporates to reveal a space beyond, one in which a lighted box frames further scenes. The combination of vivid projections and overwhelming sound takes us on to Rachel’s train, stylised movement sees the jostle of her drunken commute. Back in in her bedsit we see the car park beyond through streaming rain, in Megan’s apartment we see her imposing art work; we barely register yet are affected by the sinister background sounds. During a crisis Rachel is seen literally in turmoil, inside the lighted box. A sensory experience that only theatre can offer.

The Girl On The Train, directed by Loveday Ingram,

 

Blood Brothers – National Tour 2024/25
Derby Theatre – 14th January 2025

Willy Russell’s much-loved musical Blood Brothers continues its highly acclaimed UK tour, this time taking centre stage at Derby Theatre. This production tells the heartbreaking story of Mickey and Eddie—twin brothers separated at birth and raised in vastly different worlds, only to have their lives tragically collide.

Set in Liverpool from the 1960s through to the 1980s, the story explores themes of class divide, fate, and superstition, painting a vivid picture of how society shapes individual lives. Mickey grows up in poverty, facing hardship at every turn, while Eddie’s privileged upbringing offers him a life of ease. Russell skilfully weaves humour with sharp social commentary, using the twins’ contrasting lives to examine the tension between nature and nurture. Decades after its debut, the story remains as relevant and impactful as ever, and this tour captures its timeless power beautifully.

The cast is outstanding, delivering heartfelt and deeply moving performances. Sean Jones as Mickey brilliantly portrays the character’s transformation from a cheeky, carefree boy to a broken and desperate man. His performance is, as always, brilliant. Joe Sleight brings charm and warmth to the role of Eddie, creating a poignant contrast to Mickey’s struggles. Together, they are compelling, driving home the tragedy at the heart of the story.

Vivienne Carlyle’s portrayal of Mrs Johnstone is the emotional core of the production. She exudes warmth, strength, and heartbreak, perfectly capturing the pain of a mother forced to make an impossible choice. Her singing is packed with passion and sincerity.

Sean Keany as the Narrator is a haunting presence throughout, embodying the story’s themes of fate and inevitability. His ominous delivery keeps the tension alive, leading the audience towards the play’s powerful and heart-stopping finale.

Gemma Brodrick shines as Linda, effortlessly moving between moments of humour and heartbreak. Her role in the brothers’ lives is pivotal, and she portrays it with skill and emotional depth, transitioning convincingly from a carefree schoolgirl to a wife and mother.

Sarah Jane Buckley and Tim Churchill, as Mrs Lyons and Mr Lyons, are long-time staples of this production, and their performances are as strong as ever. Sarah Jane brings passion and complexity to Mrs Lyons, making her a central figure in the unfolding drama, while Tim’s Mr Lyons is understated yet effective. Tim also serves as the show’s resident director.

Another highlight is how the ensemble cast seamlessly take on multiple roles, adding richness and versatility to the production. James Ledsham (Sammy), Alex Harland (Policeman), Chloe Pole (Donna Marie/Miss Jones), Graeme Kinniburgh (Postman/Bus Conductor), Cameron Patmore (Perkins), Dominic Gore (Neighbour), and Jess Smith (Brenda) all deliver standout performances that complete this exceptional cast.

Visually, the production opts for simplicity, and it works brilliantly. Andy Walmsley’s set design, combined with Nick Richings’ lighting and Dan Samson’s sound design, creates smooth transitions that evoke time and place, highlighting the stark contrast between the brothers’ lives. The staging ensures the focus remains on the powerful performances, while the live orchestra, under Matt Malone’s musical supervision, amplifies the emotional core of the story. Iconic songs like “Easy Terms”, “Marilyn Monroe”, and the heart-wrenching finale “Tell Me It’s Not True” are delivered with intensity and passion.

Bob Tomson’s direction is fast-paced and emotionally charged, keeping the audience fully engaged from start to finish.

This touring production of Blood Brothers is a testament to why the musical has become such a cornerstone of British theatre. With its timeless story, emotional depth, and exceptional performances, it leaves audiences deeply moved. Unsurprisingly, it earned a full theatre standing ovation, and it’s a response the production richly deserves.

Whether you’re experiencing this classic for the first time or revisiting it, Blood Brothers is a theatrical experience that stays with you long after it ends. It’s a masterclass in storytelling and theatre —raw, powerful, and unforgettable.