Only Fools and Horses – The Musical
National Tour
Royal Concert Hall, Nottingham
April 22, 2025

If you're a fan of the classic TV show, the touring production of Only Fools and Horses – The Musical is a real treat. The cast have clearly done their homework—especially the actors playing Del Boy and Rodney, who capture the voices, mannerisms, and schemes with uncanny precision, as if they’ve been doing it since the ’80s. It has been written by John Sullivan and Paul Whitehouse.

The story blends familiar moments from the sitcom with original musical numbers. It might sound like an odd mix, but it works surprisingly well. There’s a nice balance of silly jokes, heartwarming scenes, and classic slapstick comedy.

The songs, while not exactly showstoppers, are catchy and complement the story rather than distract from it. The set is cleverly designed, bringing to life iconic locations like the Nag's Head, Nelson Mandela House, and the market with a charming, low-key style that fits the show’s nostalgic tone.

Sam Lupton steps into Del Boy’s iconic sheepskin boots with energy and flair. He nails the wide-boy charisma and irrepressible optimism, clearly influenced by David Jason’s portrayal, yet still bringing his own spin—from the legendary bar fall to the dodgy French, all delivered with affection and skill.

Making his professional debut, Tom Major is a brilliant Rodney. Awkward, lanky, and full of well-meaning complaints, he captures the “you plonker!” dynamic with Del perfectly. His performance has real warmth.

Philip Childs is great as Grandad, delivering a performance that’s dry, gentle, and full of heart. Georgina Hagan reprises her West End role as Raquel with depth and soul. Her strong vocals and emotional connection with Del add a nice contrast to the chaos around them.

Nicola Munns impressively takes on both Marlene and Cassandra, showing off great comic timing as she switches between Marlene’s sass and Cassandra’s straight-laced charm.

Craig Berry is pitch-perfect as Boycie—his voice, his laugh, everything is spot on. He oozes smugness in every scene, and fans will appreciate how close he comes to the original.

Kieran Andrew, understudying Trigger at this performance, delivers a delightfully deadpan performance. Every entrance guarantees a laugh.

Bradley John brings warmth and likability to Denzil. He’s laid-back and authentic, making the most of every scene.

Darryl Paul juggles three roles (Mike, Tony, and Cripps) with ease, bringing something distinct to each one. Whether pulling pints or getting caught up in dodgy deals, he’s clearly enjoying himself.

Peter Watts transitions smoothly between roles, especially shining as Mickey Pearce with a fun touch of 1980s sleaze. Richard J Hunt doesn’t get much stage time, but his cameos are sharp and well delivered.

Gloria Acquaah-Harrison impresses with a powerful voice in her roles as Mrs. Obooko and the Wedding Fitter.

The hardworking ensemble keeps everything moving with energy, handling songs, dance numbers, and minor roles with finesse.

A few jokes feel a bit dated, and if you're not familiar with the characters, some references might go over your head. But for most, it's like stepping back into your nan’s living room on a Sunday night—warm, silly, and just a little sentimental.

Lovely jubbly with a bit of razzle dazzle – you'd be a plonker to miss it.

 

Shrek, The Musical
Gatepost Theatre Company
Trent College
April 15th 2025

Another hit for Gatepost Theatre as they replace the pink glow and pizazz of Legally Blonde with the green glow and gas of Shrek; fetid, but still fabulous!

A great family treat for the Easter holidays: this special production gives audiences the chance to enter a magical world where anything is possible (including talking donkeys, tap dancing rats and flying dragons), appearances don’t matter and love conquers all. There are also cleverly worded adult references, knockabout fun for the kids, wonderfully colourful characters and vibrant song and dance numbers that have a magic all of their own. It takes a talented cast, plus imaginative direction, technical prowess, musical excellence and skilful choreography to pull this off and Gatepost prove once again that they have it all.

The immersion begins when audiences enter the foyer – set designers Mark Green and Mark Russell have transformed Trent College into a magical kingdom that is entered through a castle wall. Tweedledum and Tweedledee give a cheery greeting before some not so cheery Palace guards act as escorts through a low lit passage to the seats. The transformation continues: the colourfully lit performance space is between parallel blocks of seats, Lord Farquaad's palace on one side and Princess Fiona’s tower and the rest of the Kingdom in the distance, on the main stage. Wow!

Director Chris Collington makes full use of the whole space and the pace of the action, the visual feast of the scenery and the fairytale characters; the sense of going on a quest and being invited to join in; the wonderful singing and dancing, all keep the audience fully immersed. It must have been a huge undertaking to stage the production in this way, but it’s fresh and fun and it works so well.

Shrek is a grumpy loner – exiled by his parents to live in his own smelly swamp. He’s happy enough though, until a bunch of displaced fairy tale folk arrive and put the wind up him by threatening to stay. Accompanied by a fast talking, wise cracking donkey, he sets off to challenge the banisher – the pint-sized, power-hungry Lord Farquaad. Determined to reclaim his swamp, Shrek strikes a deal: he’ll rescue the fiery and funny Princess Fiona from her dragon-guarded tower so Farquaad can marry her and become king.

Shrek is created by Tessa Raum’s brilliant make up and prosthetics and brought to life by Simon Owen, who captures him – and his wee accent - perfectly. The blunt, sarcastic grump who believes that people will always judge him by his appearance gradually expresses – with perfect comic timing - his warmth, his sense of humour, and his longing for connection. The song ‘Who I'd Be’, where Shrek reveals his hidden dreams and wishes is a powerful end to the first act and his solos, ‘Build a Wall’ and the poignant ‘When Words Fail’ are beautifully performed.

The delightfully upbeat Donkey, played by Chris Collington is an audience favourite, with his breakneck Deep South delivery, irritating energy, witty one-liners and knowing insights. Chris brings his relentless optimism and openness to life, milks the jokes and throws in some well timed ad libs as he involves the audience, pantomime style. A consummate physical comedian and entertaining perfomer who makes the most of his amusing solo numbers ‘Don’t Let me Go’ and ‘Make A Move’.

Poor Princess Fiona grows up bemoaning her fate stuck in a tower guarded by a dragon, for thousands of days, with only books for company. The wistful ‘I Know It’s Today’, sung alongside her younger selves is charming. Gratifyingly less charming is the bold, quirky and fiercely independent adult Fiona, played by Lottie Lodge. She knows her own mind and might want a fairy-tale ending, but isn’t prepared to be ladylike along the way. Some great comic moments, some vulnerability as her secret is revealed and a clever subversion of a gender stereotype; a great characterisation with some lovely vocals.

There can‘t be much Luke Grainger doesn’t know about characterisation, as his portrayal of Lord Farquaad, the tiny tyrant, is an absolute triumph. The character is despicably hilarious, holding the stage with his peevish pronouncements and devilish demands. It’s a physically demanding role and Luke gets right down to it, but it’s his facial expressions, his timing and his clarity that steal every scene he’s in.

The ensemble work so hard in this production, taking a variety of roles and performing not only cameos, but some big song and dance numbers. Choreographer Lottie Lodge (with Jordan Neary & Harrison Ince) puts them through their paces with various sparkling routines and Musical Director Josie Cunnington has obviously worked everyone hard to reach such a high level of vocal performance.

The crowd of fairy tale folk are impressively made up and costumed: they include the Three Little Pigs, The Three Bears, Humpty Dumpty, Peter Pan and Pinocchio - who is so engagingly played by Jessica Hin. Like other members of this cast she has great physical characterisation and sharp vocal delivery; it can’t be easy to maintain a puppety voice in an American accent, while operating a long nose! Phoebe Owen is the splendid Gingerbread Man, whose wit and bravery inspires the others to fight back.

There’s plenty of spectacle in this production and sometimes it's hard to know where to look, but when the huge fire breathing dragon enters all eyes are on her. It’s good to see the talented performer - Shannon Elmore – who voices her, up on the battlements and this in no way detracts from the power of the vocals and the impact of this brilliantly effective puppet.

Lighting - by Stephen Greatorex- is so important in this show, from the atmospheric hues of the swamp, to the setting of the sun and the kaleidoscope effects that accompany Shrek on his journey. This show is a huge team effort – many others are mentioned in the programme - and the joy and fun they must have had, alongside the hard work, is clear for everyone to see and to join in with.

 

& Juliet (UK and Ireland Tour)
Theatre Royal Nottingham
April 14th 2025
& Juliet is a vibrant and imaginative reimagining of Shakespeare’s Romeo & Juliet – with a clever twist. It asks: what if Juliet didn’t end her life after Romeo’s tragic demise? What if she had the chance to forge her own path, independent of the Montagues, the Capulets, and anyone else who ever tried to determine her fate? This well-crafted musical explores that very idea, placing Juliet at the centre of a fresh, contemporary narrative filled with wit, warmth, and unexpected emotional depth.

The show features a soundtrack of pop hits written by renowned songwriter Max Martin, including “...Baby One More Time”, “Since U Been Gone”, “Roar”, and “Can’t Stop the Feeling!”. Far from feeling contrived, the songs are woven into the story with surprising finesse, illuminating the characters’ journeys in a way that feels thoughtful and sincere.

David West Read’s book, penned by the Schitt’s Creek writer, is full of sharp dialogue and humour. It playfully satirises Shakespearean tropes while also celebrating the enduring relevance of his work. In an inventive move, Shakespeare and his wife Anne Hathaway appear as characters, engaging in a creative tug-of-war over how the story should unfold. It’s entertaining, but also adds layers of reflection on authorship and partnership.The cast are uniformly strong.

Gerardine Sacdalan brings warmth, emotion, and a great sense of humour to the role of Juliet. She captures both the strength and vulnerability of the character, making her journey feel honest and engaging. Her singing is excellent throughout, with powerful vocals that shine in standout numbers like “Stronger” and “Problem”. In these moments, she shows real presence and confidence.

Lara Denning in the role of Anne Hathaway is full of dry wit and quiet strength, and she adds a sense of purpose to the narrative that makes Anne far more than just a supporting character. Her vocals are expressive and assured, and she strikes a fine balance between humour and heart.

As Shakespeare, Jay McGuiness is engaging and relaxed, with strong comic instincts and an easy charm. His vocals are confident, and he dances with style and confidence, clearly enjoying every moment on stage.

Jordan Broatch delivers a tender and measured performance as May, portraying the character’s exploration of gender identity with grace and sensitivity. Their journey is portrayed with authenticity and care, offering some of the production’s most heartfelt moments.

Sandra Marvin is a powerhouse as Angelique, with commanding vocals and a magnetic stage presence. She brings both humour and warmth to the role, and her scenes with Lee Latchford-Evans as Lance are particularly enjoyable, full of chemistry and playful energy.

Lee delivers a charming and engaging performance, full of good humour and sincerity. His timing is spot on, and he brings genuine warmth to a role that could easily be played just for laughs.

I was delighted to see local performer Liam Morris shine as Romeo, bringing an exaggerated charm and youthful energy that earns plenty of laughs. His vocal delivery is strong, and it’s a pleasure to see how his talent has matured since performances with local groups such as The Young Performers and Erewash Musical Society in his younger days. Tonight he was the understudy for Romeo but his very confident performance showed no signs that this was so.

Kyle Cox gives a heartfelt portrayal of Francois. Beginning the show as shy and uncertain, he gradually blossoms, with strong vocals and a genuine warmth that makes his journey compelling.

The ensemble cast is excellent, with energetic performances and strong vocal work from Harriet Caplan-Dean (Eleanor), Alexander Kranz (Lennox), Joe Wolstenholme (Augustine), Andile Mabhena (Richard), Psalms-Nissi Myers-Reid (Lucy), Michael Nelson (Henry), Toni Paise (Violet), Katie Ramshaw (Nell / Lady C), Rosie Singha (Judith), Aaron Shales (Gregory), Nia Stephen (Imogen), and Samuel Wilson-Freeman (Fletcher). Samuel Wilson Freeman, Andile Mabhena, Aaron Shales (Dance Team).

Visually, the production is a delight. Soutra Gilmour’s sleek and adaptable set design blends Elizabethan motifs with a bold, modern scenic plan, enhanced by cutting-edge video work from Andrzej Goulding.

Howard Hudson’s lighting design is vibrant and dynamic, perfectly supporting the choreography and visual storytelling.

Jennifer Weber’s choreography is particularly effective – expressive, slick, and full of momentum. At times, the show feels like a live pop concert, yet it never loses sight of its story.

The band, under the direction of Marcus Carter-Adams, delivers Max Martin’s iconic hits with energy and polish. The sound mix – thanks to the sound design of Gareth Owen] strikes a perfect balance between vocals and instrumentation, ensuring clarity throughout.

Luke Sheppard’s direction carefully balances spectacle with emotional honesty, creating a production that is entertaining but also meaningful.

What sets & Juliet apart is that beneath the humour, glitter, and hit songs lies a message about autonomy, empowerment, and the freedom to write your own story. It’s about embracing life with all its complications and joys – and doing so on your own terms.

Whether you’re a fan of Shakespeare, pop music, or simply looking for an uplifting evening at the theatre, & Juliet delivers a funny, fresh, and deeply enjoyable experience.

It’s no surprise the performance received a standing ovation at the end – a fitting response to a show full of talent, energy, and genuine feeling at its core.

Made in Dagenham 
LEOs
Trent College
April 9th

Coming Soon
================

Chicago(2025 Tour)
Royal Concert Hall Nottingham
April 7th 2025

Tonight the Royal Concert Hall in Nottingham sizzled with the latest touring production of Chicago, the classic musical that’s as sharp and sexy as ever.

It is set in the 1920s and is about two women, Roxie Hart and Velma Kelly, who are both in jail for murder. They use their charm and a slick lawyer, Billy Flynn, to try and turn their crimes into fame and avoid conviction. It’s a sharp, jazzy story about fame, corruption, and showbiz. It was originally produced on Broadway in 1975 being directed and choreographed by the legendary Bob Fosse. The 1996 revival has become the longest running musical in the US and a worldwide sensation.

The cast is led by Janette Manrara (Strictly Come Dancing) as the scheming Roxie Hart, bringing her dance prowess, great singing voice and charm to the role. Opposite her, Djalenga Scott as Velma Kelly dominates the stage with killer vocals and incredibly high kicks—seriously, watch out for those. Together they make a formidable pair.

The smooth-talking lawyer, Billy Flynn, is played by Dan Burton (a West End regular), who nails the showman sleaze in numbers like the wonderful “Razzle Dazzle.” Meanwhile, Brenda Edwards (from Loose Women and The X Factor) gives a powerful performance as Matron Mama Morton and particularly belts out one of my favourite songs from the show, “When You’re Good to Mama.”

The sad song “Mr. Cellophane” falls to Joshua Lloyd as Amos Hart, while Jordan Lee Davies steals many scenes as the reporter Mary Sunshine who is certainly not quite what she seems!

The ensemble delivers Fosse’s signature slinky choreography with absolute precision, from the “Cell Block Tango” to the “razzle-dazzle finale.” The band, centre stage as always, is on fire under the musical direction of Neil Macdonald, especially during the jazzy Act II opening number.

Production-wise, the staging stays true to the minimalist 1920s vaudeville vibe: think ladders, chairs, and moody lighting.

Directed by Walter Bobbie with choreography in the style of Bob Fosse recreated by Gary Chryst, it’s all slick, smoky, and darkly funny—just as it should be.

This production makes for a great night at the theatre. All the principals without exception are great, the incredible ensemble’s energy is infectious, and the dancing is at times breathtaking.

Tonight’s show ended with a very well-deserved standing ovation.

So, if you’re after glitz, grit, and a bit of murderous fun this production of Chicago is the one not to miss.

 

Murder On The Orient Express
National Tour
Theatre Royal Nottingham
April 1st 2025

It’s Winter 1934 and wily old super sleuth Hercule Poirot (Michael Maloney) needs to get back to London fast. He is currently in Istanbul and, courtesy of his old friend the rail director Monsieur Bouc, he secures a compartment on the fastest and most luxurious train in the world – the Orient Express.

Unusually for the time of year, First Class is full of a disparate group of travellers: the elegant Hungarian Countess Elena Andrenyi (Mila Carter); an imperious Russian Princess Dragomiroff (Debbie Chazen) and her nervy companion Greta Ohlsson (Rebecca Charles); the louche and tetchy businessman Samuel Ratchett (Simon Cotton)with his cowed secretary Hector MacQueen (Paul Keating); mouthy American tourist Helen Hubbard (Christine Kavanagh);a pompous Indian Colonel (Rishi Rian) and his companion, the confident English lady Mary Debenham (Iniki Mariano). A band of mostly unlikeable and rather strange characters – typical of Agatha Christie’s ensembles. We’re not sure why they’ve been thrown together, but we certainly know that they - and we - are in for a rocky ride.

On the first night of the journey an avalanche traps The Orient Express, Helen Hubbard sees an intruder and the next day a grisly murder is discovered. Poirot investigates and is subsequently forced to examine his principles of justice and to make a most difficult decision...

Agatha Christie was inspired both by her own experience of being delayed on the Orient Express and by the kidnap of Charles Linburgh’s baby son in 1932: the play begins with a disturbing audio visual description of the kidnapping and murder of 5 year old Daisy Armstrong, some years before. The connection of this crime to the murder on the train becomes apparent during Poirot's investigations. Maybe here lies the first rub – the tragic murder of a small child, plus the gruesome murder on the train lie uncomfortably with the inclusion of some (admittedly, well received) jokey humour. But then Shakespeare did the same, so maybe I shouldn't be so sensitive.

It's visually beautiful anyway and the fast pace of the story, the colourful characterisations of these shady travellers and the sheer energy and ingenuity of Poirot’s thinking (the little grey cells excel themselves), keep us happily diverted. As usual, it doesn’t do to dwell too much on the plot, particularly as Ken Ludwig’s adaptation has necessarily cut out a lot of the exposition that is in the book, but Lucy Bailey’s inspired direction means that the questions come after, not during the play; it really is gripping enough to keep one absorbed and guessing.

Much of the impact is down to Mike Britton’s recreation of the train, what a wonderful depiction of elegance and glamour, so redolent of the 1930’s, with its rich wooden panelling, brass embellishments, soft lighting and crisp linen. We glimpse into the corridor through the windows, witness the interaction of the characters as they board, the interior of separate compartments, some potentially shady meetings during the night, and then see Poirot interrogate his suspects in the dining car. All achieved by the swivelling, dismantling and recreation of the train’s compartments, an almost cinematic effect if you just suspend your disbelief and ignore the stagehands: a satisfying workout for the imagination of anybody who loves theatre. Initially, the huge wheels on a backcloth of the station dwarf the characters, the rumbles of the train maybe echo the rumbles of a Europe on the brink of war; Poirot faces the breakdown of the old order as he wrestles with his conscience. It’s of its time.

Michael Maloney is a splendidly intense Poirot, who has an impressive rapid fire delivery; he’s a modern psychologist’s dream, but one rooted firmly in his time and never intended by Agatha Christie to be a figure of fun. Michael Maloney honours this and gives the character real gravitas, the humour of his peccadillos is mostly unintentional. The dilemma he faces at the end of the play is sensitively handled and may be shared by the audience, as modern concepts of justice, informed by a society free of the death penalty, differ from those prevalent at the time. It makes you think, but at the same time, it makes you uncomfortable.

The first half is slower in pace due to the necessary exposition, introducing the characters, but after the murder the pace increases and we have the satisfaction of the ‘whodunnit’ conundrum, at least if like me, you don’t know, or can’t remember. Probably, even if you do know, there's plenty here to keep you satisfied, the sumptuous staging and costumes; Poirot’s inspired analysis; the assembling of characters at the end and the flashbacks that illuminate their stories, that are beautifully done.

The Orient Express departs for its next destination on Saturday April 5th, so get your tickets now to experience the elegance and beauty of a bygone age, the skilled writing of one of our most accomplished writers, the freshness of a modern adaptor and director and the talents of this excellent cast.

 

Calamity Jane
Theatre Royal Nottingham
March 25th 2025

There’s a whole heap of rootin’ tootin’, gun slingin’ fun to be had in this sparkling production, a remount of the Watermill Theatre’s 2015 version of the 1961 film, which starred Doris Day. It positively zings along, the well known music performed brilliantly by the principals and a hugely talented ensemble of actor musicians, who play the entire score. It’s joyous, it’s funny, it’s foot tappin’ and it makes you smile. The gender definitions make you wince occasionally too, but hey, that’s history – and at least the pride in the oppression of an indigenous population has been quietly excised.

Calamity Jane is a wonderful proto-feminist who rides scout for the Deadwood stage, picking off any pesky bandits and regaling the dudes in the saloon with exaggerated tales of her derring-do. 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 vaudeville star, Adelaide Adams, to the hotel bar. 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.

Carrie Hope Fletcher brings the gun totin’ Calamity irresistibly to life, complete with spit and swagger, a warm heart and a glorious voice; one that does full justice to classics such as ‘Windy City’, ‘I Can Do Without You’ and the famous ballad ‘Secret Love’, showing her range. Calamity might have to scrub up, don a dress and find ‘A Woman’s Touch’ to get the attention she deserves, but it’s only when she stops ‘thinkin’ like a female’ that she gets her man. Go Calam, be yourself and prove ‘em wrong. There’s a whole heap of wonderful dancing on the stage – this company dance, sing and play up a storm – and Carrie is right there, yee-hawing with the best of them. It’s fabulous and makes your spirits soar.

It’s the all-singing, all-dancing actor musicians who light up the stage, filling the bar with characterful regulars such as Rattlesnake, Joe, Hank, Harry, Buck and Doc. It doesn’t seem strange that they’re playing instruments, just as it doesn’t seem strange that Matthew Wright’s evocative Wild West hotel bar becomes a theatre in Chicago, a dressing room or Calamity’s cabin in the hills. All done with a change of backdrop and a few bits of scenery – we're asked to use our imaginations and it’s easy to do. No stagecoach or horses here, just the old piano, a chair, a couple of wagon wheels, a pair of reins and everyone swaying about. Works a treat.

Wild Bill Hickok is a treat too, not the usual hard-bitten cowboy who has been round the old corral a few times, but much younger, in at the start of the Gold Rush and using his sharp shooting skills to stay on top. Vinny Coyle gets the stance and the strut, lowers his voice, dials up the sarcastic tone and nails not just the character, but some wonderful dance moves. Bill might prefer Calam in a frock, but he’s well aware of her true worth, even though both of them have their sights set on others. His sublime solo ‘Higher Than Hawk’ opens the second half wistfully and stylishly; a characteristic of this production is the placing of the songs for maximum effect, such as the crowd pleasing singalong of ‘Black Hills of Dakota’ that opens the show.

More crowd pleasing from the other principals – Seren Sandham-Davies is the sweet but feisty Katie Brown; Molly-Grace Cutler gives a lovely cameo as a characterful Adelaide Adams; Peter Peverley plays the wittering ‘Millie’; Samuel Holmes is most entertaining as Francis Fryer; Hollie Cassar is Susan, his lively new partner and Luke Wilson is the pleasant, easily smitten Danny Gilmartin.

Not much time to develop relationships in a musical, but these characters are so entertaining that if they turn on a dime and fall in love at the drop of a stetson, we don’t really mind.

Director Nikolai Foster, Co-Director and Choreographer Nick Winston and Orchestrator Catherine Jayes have kept everything so fast moving, funny, exciting, colourful and tuneful that disbelief (and a few reservations) are well and truly suspended. As Carrie Hope Fletcher says ...’it’s not one of those shows that is here to make people think about the world in a different way... it’s just about having a really good time’.

 

Everybody’s Talking about Jamie
Nottingham Arts Theatre Youth Group
Nottingham Arts Theatre
March 12th 2025

Everybody’s Talking About Jamie is a vibrant and uplifting musical that tells the inspiring story of Jamie New, a teenager with big dreams of becoming a drag queen. Set in Sheffield, the show follows Jamie’s journey of self-discovery as he navigates the challenges of adolescence while daring to defy expectations.

With unwavering support from his mother, Margaret, and his loyal best friend, Pritti, Jamie embarks on a path of self-acceptance and empowerment. Along the way, he faces prejudice, bullying, and self-doubt but remains determined to stay true to himself. Guided by the charismatic drag queen Hugo—better known on stage as Loco Chanelle—Jamie boldly pursues his dream of wearing a dress to his high school prom.

This production is an absolute triumph, brimming with infectious energy. The dynamic choreography and a cast that delivers electrifying performances, brings the story to life from start to finish.

Tom MacRae’s witty script, paired with Dan Gillespie Sells’ unforgettable score, creates a show that is both heartwarming and exhilarating. While this is the Teen Edition, the differences from the full adult version are barely noticeable.

There are two principal teams, and tonight it was Team Jamie. (See below)

Preston Nash shines as Jamie, demonstrating remarkable talent in acting, singing, and dance. His emotional renditions of “The Wall in My Head”, “Ugly in This Ugly World” and “You Don’t Even Know It are captivating.” He is very confident in his role which is very demanding especially for a young actor. In my view he was brilliant throughout and I am certain he will be seen in many more productions in the future.

George Young delivers a standout performance as both Hugo and Loco Chanelle, blending humour and warmth with great vocals. His transition between the two roles was very good.

As Jamie’s devoted mother, Mia Rathbone is outstanding, delivering powerhouse vocals that resonate deeply—particularly in the ballads “If I Met Myself Again” and “He’s My Boy.” Her performance was incredibly moving, especially for such a young actor. I was very impressed by the whole of her performance.

Adding a brilliant touch of comedy, Aether Ward is very entertaining as Ray, Jamie’s sharp-witted family friend, bringing charm and impeccable timing to the role.

Esha Gidday, as Pritti, Jamie’s best friend, delivers a brilliant performance, with her stunning rendition of “It Means Beautiful.” Her brilliantly timed outburst in the final scene was wonderful. Her acting is very natural and she is obviously very at home on stage.

Eliza Szejda is excellent as the formidable teacher, Miss Hedge, combining sharp humour with a commanding stage presence.A trio of drag queens—played by Lenny Brady, Jack Kent, and Zach Silcock bring both comic relief and genuine support to Jamie’s journey, further emphasising the show’s uplifting message. The Drag Coaching Role of Lu Anthony certainly shows in their great performances.

I was particularly impressed with Oliver Sheard as the bully, Dean. A strong actor, he brought an excellent level of characterisation to the role. His facial expressions were, at all times, very appropriate.

Jack Lamb, as Jamie’s father, struck just the right balance of disdain for both his ex-wife Margaret and Jamie—he delivers a powerful and convincing performance.

The energetic ensemble deserves high praise for their high-octane dance routines and seamless set transitions, ensuring the production flows at an exhilarating pace. With vibrant choreography and an outstanding live band every musical number bursts with life and excitement.

A huge congratulation to the supporting cast and dancers for their fabulous contributions throughout the show:

Eloise Rees (Dance Captain), Evelyn Johnson (Other woman), Sophie Benner, Connie Tegerdine, Leo Capaldi, Harry Merrick, Kayla Burgess, Samuel Bryan, Liberty Whitehouse, Jacob Jacques-Phillips, Hermione Cumbers, Lexie-Mae Hart, Evie Jones, Christianna Gregory, Megan Holder, Rosa Lymer, Lotty Dumelow, Emily Holder, and Darcey Adams.

Director Abby Wells and co-choreographers Lu Anthony and Jessica Royce have done a fantastic job with this show and its large cast. The show moves at a perfect pace.

Great work by the stage crew and cast members led by Stage Managers, Evie Webster and Nigel Newton.

The set, designed by Jessica Royce, is spot on, while Oliver Read’s lighting design, operated by George Wilson, enhances the production beautifully. The costumes co-ordinated by Eleanor Carty were excellent.

Special mention must go to Rob Kettridge for his excellent sound design—perfectly balanced with both the cast and the 8-piece band conducted by MD Jonah Williams.

At its heart, “Everybody’s Talking About Jamie” is a joyous celebration of individuality, self-expression, and acceptance. In a world that often pressures people to conform, this musical stands as a shining beacon of hope for anyone who has ever felt different.

This is an unmissable production that needs to be seen and appreciated for its outstanding cast and creative team. Don’t miss it!

It runs at the Nottingham Arts Theatre until Sunday.

Appearing on other nights in Principal roles (Team Mimi) are:Brogan Hayes as Jamie, Amy Flatman as Margaret, Kate Russell as Miss Hedge, Jamie Adlam as Hugo/Loco and Scarlett Coleman-Smith as Ray.

 

Picture You Dead

National Tour 2025

Theatre Royal Nottingham

Tuesday 11th March 2025

If you love a gripping crime drama, Picture You Dead is a must-see. Based on Peter James’ bestselling Roy Grace series, this stage adaptation is packed with suspense, dark humour, and plenty of unexpected twists that keep you on the edge of your seat.

At the heart of the story is an ordinary couple who find themselves tangled in a dangerous web of deception after they unknowingly buy a painting that might just be a lost masterpiece. Their discovery plunges them into a world of greed, obsession, and deadly ambition.

The cast delivers standout performances that keep the audience hooked from start to finish. Many of the actors are familiar faces from TV and film.

Peter Ash is excellent as Dave Hegarty, portraying his mix of vulnerability and determination as he’s drawn deeper into the murky world of art fraud and murder. It’s a far cry from his Coronation Street days.

Fiona Wade brings real depth to Freya Kipling, capturing both her strength and emotional turmoil with authenticity. Ben Cutler plays her husband, Harry, with warmth and charm, making his entry into this dangerous underworld even more compelling.

George Rainsford is a commanding presence as Inspector Roy Grace, nailing the character’s sharp intellect and relentless pursuit of justice.

Jodie Steele is mesmerising as Roberta Kilgore, seamlessly shifting between charm and menace—definitely not someone you’d want to cross!

Nicholas Maude (Stuart Piper) and Adam Morris (Oliver De Souza) add intrigue to the story, with Maude’s enigmatic art dealer leaving a lasting impression. Adam Morris gives Oliver an intense, brooding quality, and his cameo as an Antiques Roadshow expert is a nice touch.

Mark Oxtoby (Archie Goff) and Gemma Stroyan (Bella Moy) round out the cast brilliantly—Oxtoby’s Archie is menacing and unpredictable, while Stroyan’s Bella injects well-timed humour into the tension-filled plot.

Visually, the production is stunning. Adrian Linford’s sleek and dynamic set seamlessly shifts between locations, while Jason Taylor’s lighting and Max Pappenheim’s sound design (including his atmospheric incidental music) heighten the suspense. There are also some fascinating pieces of art by David Henty incorporated into the set.

Director Jonathan O’Boyle and stage adapter Shaun McKenna have crafted a fast-paced, unpredictable thriller that keeps you guessing. Unlike some crime dramas, this one is full of surprises, right up to its gripping conclusion. The tension is punctuated with moments of real grit, including some well-executed fight scenes.

Whether you’re a longtime fan of Peter James or discovering Roy Grace for the first time, Picture You Dead is an electrifying, edge-of-your-seat experience that will leave you wanting more.

 

The Wizard of Oz
Mansfield Operatic Society
The Palace Theatre Mansfield
March 6th 2025

The Mansfield Operatic Society’s production of The Wizard of Oz at the Mansfield Palace Theatre was an absolute delight from start to finish!

The story is well known, but for the record, it follows Dorothy, a young girl swept away from her home in Kansas by a tornado. She finds herself in the magical land of Oz and embarks on a journey along the Yellow Brick Road to the Emerald City, hoping the Wizard of Oz can help her get home. Along the way, she befriends the Scarecrow, Tin Man, and Cowardly Lion, each searching for something they believe they lack. Together, they face the Wicked Witch of the West and ultimately discover that courage, heart, and intelligence were within them all along. Dorothy, too, learns a valuable lesson—there really is no place like home.

Dorothy is played with warmth and charm by Macey Shaw. Her performance is captivating, and her rendition of Over the Rainbow beautifully captures both the character’s innocence and determination on stage. Macey has a lovely voice that is both sweet and powerful, and she plays Dorothy with confidence throughout. She is certainly a very talented actor. Her bond with Toto—a real dog named Max Brough-Savage — is a joy to watch, and his first appearance was greeted by claps and cheers from the audience.

Jamie Savage (Scarecrow/ Hunk), Oliver Ward (Tin Man/Hickory), and Wayne Shutt (Cowardly Lion/Zeke) are equally outstanding. They bring humour, heart, and impeccable timing to their roles, and their performances including 'We’re Off to See the Wizard' and their individual songs are perfect.

Carolyn Firth is deliciously menacing as the Wicked Witch of the West (Miss Amira Gulch), while Helen Savage as Glinda (Ada), the Good Witch, radiates grace, love and kindness. Both add depth and excitement to the story—and need a head for heights! (See the show to find out why!)

Matthew Bird plays the Wizard with a delightful mix of grandeur and vulnerability. He also takes on the role of the Professor at the start of the show. Ann Colgan (Aunt Em), Graham Berridge (Uncle Henry), and Gary Richardson (The Gate Keeper/Jo) complete the principal cast with equally strong performances.

It was nice to see and here the individual songs and tunes from "The Ozettes" who stood behind an iconic 1940's radio microphone. They are Grace Bowskill, Amy Shaw, Rebecca Wigman and Ashleigh Wilkinson.

The large ensemble is fantastic, bringing energy and precision to every scene. Whether playing Munchkins, Emerald City citizens, or the iconic flying monkeys, their enthusiasm and coordination add magic to the production. One of the best ensembles I’ve seen in a long time! Well done to the young performers who were part of a number of scenes and danced well with the adults.

Director and choreographer Cassie Brough-Savage has done an incredible job. The choreography is lively, inventive, and performed brilliantly—especially the two tap routines, which the cast deliver with suitable panache!. The Jitterbug scene was a particular highlight for me. The lighting design (Nick Elliot, Amanda Joyce, and Alan Betton) is spectacular, enhancing every scene beautifully.

The set design is vibrant and imaginative, seamlessly transitioning from Kansas to Oz, while the costumes are a visual delight, perfectly capturing the whimsy of the story. With the theatre’s ability to fly scenery and a brilliantly produced video storm sequence, the whole production feels slick and professional.

Musical Director Roger Holland ensures the backing track is perfectly operated, supporting the cast throughout.

This production is a testament to the talent and passion of the Mansfield Operatic Society. Cassie Brough-Savage has created a joyous, heartwarming, and truly enchanting show, packed with spectacular effects. The stage crew, led by Stage Manager Eddie Ratcliffe, deserve huge credit for the seamless scene changes.

I’ve seen many productions of The Wizard of Oz, but this one left me smiling from ear to ear. As I left the theatre, I heard countless audience members saying how much they loved it—and I couldn’t agree more!

Bravo to everyone involved—this is local musical theatre at its very best!

I can’t wait for their next production, Charlie and the Chocolate Factory, running from 3rd–7th March 2026.

 

The Shark is Broken
National Tour
Theatre Royal Nottingham
February 26th 2025

Three Men in a Boat – Plus a Malfunctioning Shark and a Load of Laughs

If you are looking for an evening of theatre that seamlessly blends humour, drama, and nostalgia, The Shark is Broken is an absolute one for you. This production is a theatrical gem, and it is easy to understand why it has captivated audiences and critics alike.

Taking audiences behind the scenes of the making of Jaws, the play focuses on the three lead actors and their struggles while stranded on a boat, awaiting the notoriously unreliable mechanical shark. What unfolds is a brilliantly crafted mix of comedy and drama, filled with laugh-out-loud moments alongside poignant insights into the pressures of fame, filmmaking, and artistic ambition.

The script by Ian Shaw and Joseph Nixon, is exceptionally well-written, brimming with sharp wit and clever references that Jaws fans will appreciate. There are deeply human moments that resonate beyond the film’s legacy. Notably, Ian Shaw—who also stars in the play—is the son of Jaws actor Robert Shaw, adding an extra layer of authenticity and emotional depth to the production.

The performances from the 3 actors are outstanding. Ian Shaw, Dan Fredenburgh, and Ashley Margolis are a remarkable trio, delivering performances infused with impeccable comedic timing, emotional nuance, and electric chemistry. Their portrayal of tension, camaraderie, and artistic frustration is so natural and compelling that you become entirely immersed in their world. It is a rare treat to witness such synergy on stage, where the actors make you forget they are performing—it feels entirely real. It’s not just comedy but also powerful and compelling drama.

Under the sharp direction of Guy Masterson (original director) and Martha Geelan (tour director), the production moves at a face pace, ensuring the audience remains engaged from start to finish. The technical elements further elevate the experience, with Jon Clarke’s evocative lighting design and Adam Cork’s expertly crafted sound and original music enhancing the play’s atmosphere. Duncan Henderson’s set and costume design, coupled with Nina Dunn’s outstanding video effects, perfectly capture the claustrophobic intensity of being together while waiting for the filming to conclude. This reinforces the characters’ growing frustration and unease.

At just 90 minutes with no interval, the play maintains a brisk momentum, allowing the story to unfold seamlessly without interruption. In this case, the absence of an interval works to the production’s advantage, preserving the tension and narrative flow. I really liked that.

What sets The Shark is Broken apart is its ability to balance humour with moments of genuine poignancy. More than just a behind-the-scenes glimpse at a blockbuster film, this is a play about ambition, friendship, and the complexities of creative collaboration. Whether you are a devoted Jaws fan or simply appreciate great storytelling, this production offers something for everyone.

With its sharp writing, super performances, and high production values, The Shark is Broken is an unmissable theatrical experience. If you have the chance to see it before the run ends on Saturday, do not hesitate—this is a production that is as thought-provoking as it is entertaining.

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.