David's Live Theatre
Jack and the Beanstalk
Derby Arena
December 11th
Jack and the Beanstalk was very enjoyable with good performances from the principles who were very well supported by a small but great ensemble.
The scenery and costumes were very bright and colourful with good special effects. Singing and dancing was of a very good standard.
The lighting was good as is the sound which is crisp and clear.
The script was excellent - very witty and funny. The Production was good and the scenes moved along quickly with very smooth changes.
The audience in the arena obviously enjoyed the performance. The script was engaging, witty and well written.
The popular songs went down well and there was a good level of audience participation.
Peter Pan
Theatre Royal Nottingham
Sunday December 9th
I enjoyed the panto which is very well produced and performed by the principals and the ensemble. The special effects and staging are very slick and Impressive. I was particularly taken by the flying sequencies which were excellent.
The traditional story of Peter Pan has been shortened to an extent in this production which helped keep the interest of the younger members of the audience in particular.
The set is suitably bright and engaging and the 3D sequence is spectacular and very appropriate to the show.
There are excellent performances from Joe Pasquale (Smee), John Challis (Captain Hook), Jack MacNeil (Peter Pan), Lucy Evans (Tinkerbell). There are also good performances from Paul Gabriel( Starkey), Rosie O'Hare (Wendy), Rory Furey-King (Tiger Lily), John (Samuel Brown/ Lucas Emerson)and Michael (Ben Philips/Kairo White). The Singing and Dancing Ensemble is at the top of its game and the Theatre Royal Babes are great.
At the end of the show there is the usual bringing young children onto the stage to talk and sing with Smee. This turned out to be one of the highlights for me and Joe Pasquale was brilliant with tonight's youngsters. They and he were very funny.
The band was good but the volume was rather too loud at times leading to some of the vocals being swamped.
There was an enthusiastic ovation from the audience at the end and I am sure this panto will be very successful. You have until Sunday January 13th to experience the exciting trip to Neverland.
Robin Hood and the Babes in the Wood
Ilkeston Theatre Company
St John Houghton School
December 6th 2018
I really enjoyed the pantomime produced by The Ilkeston Theatre Company tonight in the St. John Houghton School Theatre. The cast were enthusiastic in their performances and there was a great sense of enjoyment both on stage and in the audience.
The hard working cast was Ben Mills (Nursey), Alfie Wilson (Ricky), Penny Courtney (Bianca), Rachael Flewitt (Robin Hood), Becks Macey (Will), Marilyn Lucia Keates (Alan), Justine Haywood (Marion),Adrian Thornley (Tuck), Mandy Bull (John), Paul Ensor (King Richard), Angie Jacks (Sheriff of Nottingham), Lucy Tanner (Bo), Sharon Ensor (Arry), Steve Walton (Prince John), Elena Courtney (Maisie), Sue Arkley, Lauren Adams, Jennie Walker (Ermin), Tracey Dean (Trude).
There was good singing, dancing and comedy routines. This was a traditional panto with all the essential elements of the genre including local references.
The set and costumes were excellent (Rachael Flewitt and Michael Wallace) and the company used the facilities of this venue including flying some of the scenery to excellent effect (Adrian Fletcher). The set was changed quickly which enabled the show to move at a good pace. The back stage crew including Tracey Dean and Ryan Fletcher worked very well and scene changes were good.
The sound was good and I was impressed with the way in which the performers could be heard without the use of radio mics. The sound was thus natural. The sound effects were very good (Steve Flavill and Louis Beardsley).
The whole cast numbers were well performed.
The dances by the Kerry Ledger School of Dance were wonderful. Their routines were choreographed by Kerry and Evie Ledger, Sophie Lynam and Megan Lynam. The dancers were Caitlin Bell, Niamh Bull, Lily Curtis, Megan Eardley, Maisie Hartshorn, Georgina Gallagher, Mia Gidlow, Miranda Holt, Bethan Moore, Alex Reeves, Jessica Reeves, Lucie Reeves, Robyn Richards, Jasmine Rowland, Charlotte Sisson and Scarlett Stevenson.
The show was produced by Justine Haywood and Paul Ensor who I am sure are very proud of their cast who have worked so hard to produce this good show.
Well done to everyone involved in this production which continues until Saturday. Do go and see this production if you can by Ilkeston's own theatre company. Tickets are available on their website or on the door.
The company are donating profits from the show and the raffle to The Bens Den Charity.
Beauty and the Beast
Amanda Hall Matt Wesson and the Arts Theatre Production
Nottingham Arts Theatre
December 2nd 2018
Written and Directed by Amanda Hall and Matt Wesson, Beauty and the Beast is a traditional pantomime about a young prince who is turned into a hideous Beast by an enchantress, because of his arrogant ways. He is destined to stay like that until he learns to love and be loved in return. Later, a village girl, Belle, enters the Beast's castle after he imprisons her father. With the help of his servants, Belle begins to draw the cold-hearted Beast out of his isolation and things begin to change.
This version is written by Amanda Hall, assisted by Matt Wesson, and maintains the traditional elements of the story, but with a number of excellent additions. It is witty and very entertaining with a script which is suitable for all ages. The very clever wordplay and one liners are a delight – listen hard, as they come thick and fast and must not be missed - and there is also plenty of slapstick and silliness for those who enjoy physical comedy.
An excellent cast is led by Laura Ellis Patrick, who plays the part of Belle, and Patrick McChrystal as the Beast (and the Prince). Laura has a lovely voice and plays Belle with a cheerful innocence and steely sense of right that endears her to the audience. Patrick takes his role very seriously and shows just the right amount of angst driven hostility that is gradually redeemed by finding love and humility. Both act and sing very well indeed and make a lovely couple!
They are well supported by Mike Newbold, a jovial and thoroughly convincing Alderman, alongside his other daughters, Camille & Adrienne, played by Kimberley Allsopp and Danielle Hall. Both sisters are delightfully self centred and amusingly arrogant, but charm with their lovely voices.
Lizzie Fenner is a splendidly imposing Enchantress with a beautiful voice; Sean Goodwin plays Idle Jacques with a cheeky charm, pleasantly coaxing the audience into participation and showing lovely comic timing. Cassie Hall is the scheming but comically bumbling Phillipe Phlopp and Alex Huntley delights the audience with his posturing as a dastardly, but hilariously self aware, Gustave.
Mike Pearson triumphs as the very elegant but silly Madame Yvette Éclair: a wonderfully Gallic Dame whose accent never falters. Joseph Smith is Hugo, the Beast's gardener, a fine example of not over egging a part, in a lovely naturalistic performance.
Matthew Wesson is the gorgeously over the top and captivating Dame Mimi Macaron: beautiful diction and projection and a very clever balancing of warmth with sharp, cutting edge wit. Both Dames show their talent and comic timing in a lovely interlude with small audience members, beautifully conducted to make the most of the humour, but with sensitivity.
There is an excellent ensemble, which includes singers and dancers of all ages. The exciting and varied choreography by Amy Rogers-Gee, is executed very well by the whole cast. There are many highlights, but I particularly enjoyed the Finale of Act 1, which was fantastic.
The talented and well rehearsed adult ensemble is Mike Bulford, Lucie Conroy, Serena Eadon, Tano Gangemi, Nikki Jarvis, Elissa Reeve, Emily Ridge, Amy Rogers-Gee, Destiny Mills, Alison Sheppard, Zoe Turton and Emily Wilkins.
There are two youth and children’s ensembles and tonight it was the energetic and very enthusiastic Team Croissant, consisting of: Daisy Donoghue, Emma Gregory, Madelyn Pritchard, Olivia Twiss, Elsie Archer, Hattie Champion, Naomi Hills, Emily Holder, Freya Ireson, Lily Watson, Megan Worall, Imogen Yates, Caitlin Young and George Young.
Tom Mowat’s lighting is carefully planned to be both dynamic and complementary: it certainly enhances the production throughout. Nathan Penney is to be congratulated for operating the lighting system so well and also Rob & Bethan Kettridge, for the enchanting red rose!
The standard of singing is very high and the Musical Director, Ray McLeod must have worked very hard with the cast to achieve this. The sound, supervised by Rob Kettridge, is crisp and clear and very well balanced with the musical track. I particularly liked the incidental music that has been included in this production. Amanda has chosen some great songs, which are well known and a big hit with the audience.
The costumes by Jules Sheppard, so essential to the spirit of pantomime, are very appropriate and attractive, especially the amazing costumes worn by the “Dames.”
This is an excellent production of Beauty and the Beast and I defy anyone who saw tonight’s production not to be impressed and delighted by the whole experience. Once again Amanda Hall and her talented team have a hit on their hands. It is wonderful in all respects and I loved every minute of it.
Well done everyone and thank you for starting my Christmas off with such an enjoyable evening at the Arts Theatre. The show is brilliantly crafted by Amanda and Matt and performed with such professionalism by this very talented and enthusiastic cast.
If you can only see one pantomime this Christmas, make sure it’s this one.
Murder For Two
National Tour
Theatre Royal Nottingham
November 26th 2018
What a theatrical experience this show was. Two actors playing 14 characters and a piano. It was all about a murder and how an aspiring detective tried to find out who done it! Both the actors, Jeremy Legat and
Ed MacArthur had more than just "The Triple Threat."
They were excellent character actors, singers, dancers, piano players and physical comedians. Their incredible talents blew me away. I was gripped not so much by the plot, which was a bit lame at times, but rather by the skill of the actors.
The show moved very quickly and I was amazed when the first act finished.
I liked the songs, which were tuneful and often with witty lyrics and accompanied by one or other (sometimes both) of the actors. They were obviously both accomplished musicians. The composers were Joe Kinosian (Book and Music) and Kellen Blair(Book and Lyrics).
There were some excellent sound and lighting effects during the show, which gave it the feel of an old style Who Done It movie. The use of the piano for incidental music had the feel of the soundtrack to a silent film of the past. I liked that.
I really enjoyed this production and would suggest that any aspiring actors would benefit from seeing these professionals, who are obviously superb masters of their craft.
The show ended with an enthusiastic ovation from the audience.
Swan lake - Matthew Bourne
National Tour
Theatre Royal Nottingham
November 13th
This production and performance of the classic ballet was absolutely wonderful. I have lived every single second. Everything was perfect. The production is dynamic and totally absorbing.
The music is superb and the dancing is breathtaking. I have seen Matthew Bournes production before here at the Royal and it was excellent but this new reimagining is even better.
The power of the dancers is incredible and throughout the Act, I was totally absorbed as was the rest of the packed house.
The Male swans are unbelievable and the choreography is stunning. It is also clever and funny. But the way in which the men portray the swans is just so good to watch.
Matthew Bourne is the master of combining traditional ballet with very modern movement and dance. This is seamless and never clashes.
The dancers are also so expressive and there is the occasional use of noise from the performers. The production is so relaxing.
The Addams Family
Kristian Thomas Company
Duchess Theatre Long Eaton
November 3rd
Two comments I heard from members of the audience on the way out. "That is the best amateur show I have seen," and "Well you couldn't see anything better than that could you?" I agree with both of those statements. This production was superb and the enthusiastic standing ovation at the end of the show was testament to that.
This was a professional standard production which is amateur in name only. The Kristian Thomas company has again proved that they are one of the very best theatre groups in the area. The production was outstanding, the music was brilliant, the lighting (Stephen Greatorex) and sound (Harry Greatorex) were first rate and the result was yet another great KTC show. Well done to the production team of Tom Simpson (Director), Tom Bond (Musical Director) and Kristian Cunningham (Choreographer) for gathering together such a talented cast and ensuring there were so many fine performances.
There were incredibly strong performances from: Chris Grantham (Gomez), Sian Scattergood (Morticia), Emily Corner (Wednesday), Zain Sutherland (Fester), Harrison Ince (Pugsley), Laurie Trott (Grandma), Tom Halton (Lurch), Ross Lowe (Mal), Sara Evans-Bolger (Alice), Joe Millward (Lucas).
The ancestor chorus was first class and I particularly liked the way the Director gave them specific roles that stood out. They did not merge into the background as in some productions I have seen. They had an important role throughout. Their singing and dancing was a joy to listen to and watch.
Fantastic work from Alison Bond, Alistair Berry, Andrew Buxton, Beth Denham, Charlotte Bond, Charlotte Carridice, Emma Foley, Hattie Kemish, Jessica Bridge, Katie Lawson, Louise Curd, Lydia Thacker, Shannon O'Donnell and Sinead Parkin.
Now the show is over I can say that I thought the use of the trap doors in the stage on either side was great and proved very effective for the entry and exit of the ancestors. I also particularly liked the scene which involved picture frames and live pictures. That was very cleverly done.
There were many other very clever aspects to the show including the hysterically funny scene in which Uncle Fester sings of his love for the moon (The Moon and Me). Not sure how they did it but the clever use of lights and costume made this a wonderful rendition of the songs with legs flying every where! If that makes no sense you should have come and seen the show.
Stage management was very efficient and the creative use of lights made the scene changes almost invisible. The speed of changes ensured that the action moved very quickly infact the pace of the show throughout was excellent. Well done to Stage Manager Rob Corner and his team plus members of the cast.
This was a superb production of a very good musical. The songs are great and the script is very witty indeed.
Thanks to all involved with this production for giving me such an enjoyable night. I enjoyed every minute of it.
Joseph and the Amazing Technicolor Dreamcoat
Nottingham Operatic Society
Theatre Royal Nottingham
November 2nd, 2018
This was an amazing production at the Theatre Royal this afternoon. It was fast and exciting, and the cast of the Nottingham Operatic Society were obviously enjoying every minute of it as I was. Visually it was stunning with bright and colourful costumes of all styles. It did not conform to the traditional bible costumes but was never the less very suitable and fitted well with the story telling genre of the show. (Rita Prince).
There was a large cast representing a wide age group which worked very well. The lighting (Tom Mowat) was a very important part of this production and it brought the relatively simple dual staircase set to life. The large and multi-coloured pyramid shape at the back of the set was very impressive. Stage management was very good with incredibly quick changes of set and props (Amy Rogers-Gee). This meant that the production moved very quickly. The sound (Michael Donoghue) was excellent and all the singing was clearly heard in concert with the excellent orchestra conducted by Morwen Harrison.
The cast worked very hard throughout and produced a very high standard of singing and dancing. The Director, Dave Partridge and his assistant Julie Hayes had worked very hard with the cast to produce such quality along with the MD Morven Harrison and Musical Consultant Stephen Williams.
This show has its principal players, of course, but overall it is very much reliant on the ensemble. This ensemble, which included adults and a youth ensemble, was very dynamic, hardworking and professional throughout. I liked the way the director had combined informality with carefully choreographed movement and dance.
There was, I felt, a very positive feel to the show and the performers really enjoyed what was happening on stage and were totally engaged throughout.
There was a very strong principal cast led at this performance by Zak Charlesworth (Joseph) and Kate Williams (Narrator). Both were quite superb, sang beautifully and gave thoroughly professional performances. (At some other performances the roles were played by Mark Coffey-Bainbridge and Louise Grantham).
Joseph's brothers gave powerful singing and dancing performances. Well done to Paul Johnson, Shaun Hanrahan, Nick Smith, Ray Mcleod, James Ellison, Neil Ledward, Joe Spoors, Jarrod Makin, Antony Watson, Andrew Rushton and Conor Larkin. As an aside I am impressed that the company were able to assemble such a complete and talented group of men for these parts - it is not always possible these days.
The other main roles which were very well performed were played by Simon Theobald (Jacob), Dan Armstrong (Pharaoh), Ian Pottage (Potiphar), Joanne Lale (Mrs Potiphar), James Ellison (Butler) and Joe Butler (Baker).
The rest of the cast playing wives, ensemble roles and the youth ensemble are also to be commended for their professional performances. (I will try and mention everyone in later edits of these notes.)
This production was stunning in many ways and certainly deserved the standing ovation from many in the audience at the end.
This was the best production I have seen on the amateur stage and I applaud the Nottingham Operatic Society for producing such a professional looking show. It certainly deserves to be sold out for the rest of the run.
My Fair Lady
NOWMADS
Kimberley School
October 31st
What has been called "The Perfect Musical," My Fair lady has just finished at The Kimberley School Theatre. Well done to the Nowmads group for an excellenct production of the show.
There is a large and strong cast and Graham Lambert's fresh and lively production perfectly fits the not over large stage.Excellent perfomances from Laura Collins (Eliza), Martin Belcher (Henry), Danny De Martino (Alfred), Steve Clarke (Pickering), Carole De Martino (Mrs Higgins), Suzie Green (Mrs Pearce), Jaiden Ragozins (Freddy), Alison Reeves (Mrs Eynsford-Hill), Rob Waddington-Taylor (Zoltan). They were very well supported by Richard Harvey (Harry), Tom Bailey (Jamie), Siobhan Waddington-Taylor (Mrs Hopkins), Kathy Taylor (Queen of Transylvania) and the excellent ensemble.
The ensemble numbers are excellent and I am particularly impressed by the way in which the cast are brought on and off the stage with great precision in the big production numbers such as "I'm Getting Married in the morning" which was first class. This makes the most of the stage and keeps the show moving quickly.
The standard of singing and dancing is high and the costumes are fantastic throughout. The lighting is also good and the use of the curtain scenes is very effective and allowed for very quick scene changes. The stage crew are very efficient and given this was the first night never put a foot wrong.
The sound is particularly good and I could hear every word that was sung and the excellent orchestra conducted by the MD John Wilson supports the performers well throughout.
I really enjoyed the show and I was taken back to the 1970's when I had a line in the show, perhaps my only ever line "The Horses are in the paddock, Mrs Higgins." I got warm applause for that from some of my friends in the audience!!
This is a good production of this classic musical and I can certainly recommend going to see it before it ends on Saturday.
Review of Thoroughly Modern Millie
Beeston Musical Theatre Group
Duchess Theatre
October 23rd 2018
Set in New York City in 1922, Thoroughly Modern Millie tells the story of young Millie Dillmount from Kansas, who comes to New York in search of a new life for herself. Her grand plan is to find a job as a secretary for a wealthy man and then marry him. However, her plan goes completely awry and she becomes involved with the white slave trade. These themes seem might seem like a strange mix, but the show is thoroughly aware of its own silliness, which makes it absurdity light-hearted and great fun. It is certainly very tongue-in-cheek with its comedy and commentary of the 1920s Jazz Era, and the music celebrates the rhythm and style of the time.
There are some great songs in the show including "Not for the Life of Me" "Thoroughly Modern Millie" Ah! Sweet Mystery of Life/Falling in Love with Someone" "Forget About the Boy," Only in New York" and "Gimme Gimme" too name but a few.
The Director, Beth Yearsley and her production team have certainly gathered together a very talented and hardworking cast for this fast moving show. All are very professional, well-rehearsed and contribute to making this an excellent production. A great deal of thought obviously went into the logistics of staging a show with several scene changes, big song and dance numbers and some unusual dialogue. All of these challenges have been met and surpassed and the result is a hugely entertaining extravaganza that captures the fun and feeling of the time and lifts the spirits of the audience.
Leading the company is the enormously talented Lucy Castle in the role of Millie. From her first entry onto the stage it was obvious that we were going to be treated to a great all round performance. She certainly has the "triple threat" - acting, singing and dancing to a very high standard. She has some challenging songs, but sings them all beautifully, captivating the audience. Her first song, "Not for the Life of Me" is a brilliant starter for her characterisation of the determined Millie, leading to her tearing up her return ticket home, vowing to find her own way. For the rest of the show she certainly does: Lucy makes this huge role her own in a very entertaining way.
The leading man in this show is Jimmy Smith, played by the ever popular Rob Charles, who I have seen in many Beeston shows. Rob is well suited to this part, conveying confidence with a hint of arrogance and developing that into the warmer and more rounded character that ends the show. His solo "What do I need with love?", is sung with feeling. He is the perfect foil for Millie who at first treats him with disdain and then … well come and see what happens at the end.
Cat Tuckey plays the sweet but determined Miss Dorothy Brown, a new found friend of Millie, with much charm. She has a great voice and shows that off perfectly in the duet "Ah! Sweet Mystery of Life/ Falling in love with Someone sung with Chris Bryan as Trevor Graydon. He has a super voice too and gives a lovely humorous characterisation as the driven boss who is impervious to female charms, until a sudden change occurs, which Chris captures perfectly. His challenging solo, "The Speed Test," has the style of a Gilbert and Sullivan "patter Song." His rendition (often at great speed) was excellent and very entertaining.
I have seen Sandy Lane in a number of local shows and have always loved her performances, but this one stands out for me. She is excellent as the evil Mrs. Meers, the hotel proprietor who is certainly not the nice Chinese lady she pretends to be and is in fact, a white slave trader. Sandy dominates the stage and is very funny, making the most of her one liners and asides and nailing a mock Chinese accent. Her comedy timing is as ever, perfect.
Sandy is well supported by her two excellent Chinese servants, Ching Ho ( Andy Bulmer) and Bun Foo ( Mariko Jones ), who are an endearing double act, expressing so much through their actions and mannerisms. Also, I admired their delivery of a large amount of Mandarin: they sounded pretty authentic to me!
Muzzy van Hossmere is a great part for a jazz singer and Sascha Cornelius really nails the part. What a great voice and stage presence she has, thoroughly convincingly as the street wise but warm hearted star. Her renditions of both "Only in New York" and "Long as I'm here with you" were fantastic.
Miss Peg Flannery the sombre typing pool manager was well played by Cheryl Mills, expressing the prim and cantankerous nature of the character and her gradual softening.
The supporting cast works very well throughout the show and many have small parts too. Well done to you all as the dancing and singing was splendid. They were:
Rita (Lily Taylor Ward ), Ruth ( Claire Rybicki ), Ethel ( Laura Such ),
Gloria ( Jennifer Chatten ), Alice ( Jodie Cresdee ), Lucille ( Lottie Valks ), Cora (Charlotte Howard )
Pearl Lady (Hollie Smith), Kenneth (Matthew Charlton), Dexter (Rob Holsman), Rodney (John Hand), Daphne (Claire Farrand-Preston), Mathilde (Victoria Appleton), Dorothy Parker (Cheryl Camm).
Ensemble: Garreth Frank, Rachel Maddison, Ruth Maddison, Emma Weir, Cheryl Camm.
I love to see a large group of tap dancers on stage and tonight this company had them. As far as I could see they were perfect.
The Tap Troupe are: Jennifer Chatten, Jane Cottee, Jodie Cresdee, Charlotte Howard, Mina Machin, Laura Smith, Hollie Smith, Lily Taylor Ward, Lottie Valks, Christine Walton.
Incidentally, the dance routines throughout the show often involve the whole cast and are great - exciting, dynamic and fast moving. Maybe that was in part due to the fact there was not one choreographer but 5! They are to be commended for what they achieved with the cast:
Lucy Castle, Jennifer Chatten, Jody Cresdee, Mina Machin and Beth Yearsley.
With dancing and movement in mind I was impressed with Beth Yearsley's staging as this is a very large cast, perhaps the largest I have seen of late on this stage. She makes sure that it does not look overcrowded and the routines fit in well with the stage and set.
The set, which was built by a number of the cast and technical crew, was a masterpiece in good looking and functional staging. It was easily changed into various new scenes quickly and smoothly. This enabled the show to run with no delays. Add to that the excellent lighting, including spots, (Dave Martin and Matthew Cook) and the very effective projections (Brian Waters) and you have a very professional show. The sound was crisp, clear and well balanced with the orchestra, thanks to Tom Olding.
Being set in the 1920's there was ample opportunity for some great costumes and the show had them, plus some very authentic looking and well researched props. I would have liked to have seen some more colourful dresses in the ensemble, although the creams and beiges did provide a contrast to that worn by Millie after her transformation into a Modern girl.
Last but certainly not least, the Orchestra conducted by Morris Fisher is great and accompanies the performers well. The standard of the singing was first class which I am sure Morris worked hard with them on.
The show is full of laughs, great dance routines and lively music, with a feel-good story to match. The musical falls into the category of the escapist musical, meant to be a jokey bit of nostalgia about the "Roaring Twenties", and not an earnest reflection of reality. Beth, her creative team and the cast have created a wonderful show that is thoroughly entertaining and definitely worth coming to see before it ends on Saturday.
Well done BMTG for yet another highly professional production and I look forward to seeing their next two shows which are Urine Town in May 2019 and The Producers in October 2019.
Review of Seussical The Musical
Encore Performing Arts
The Space, Nottingham Girls High School
Dress Rehearsal
October 22nd 2018
Unfortunately, I was unable to be at the opening night of Encore's production of Seussical, but I was very pleased to be invited to the Dress Rehearsal. I did not want to miss this show, as it has a very important place in my musical theatre heart. It was the last show I produced and directed before retiring from Dovedale Primary School. Since then I have always loved this crazy show that features so many strange and colourful characters.
The show basically follows the story of Jojo, a tiny 'Who' - living on a planet the size of a speck of dust- and Horton the elephant, who finds this planet and vows to protect the Whos. Seussical is, in the main, taken from the Dr Seuss story "Horton the Elephant", but other characters and themes are also taken from other stories.
Overall this production is excellent in many ways, but I think I should start by commending the producers on gathering together such a talented and diverse cast. They are put in a wide variety of incredibly colourful costumes which effectively differentiates the large number of characters in the show. This makes the show visually stunning, so good to look at and great to listen to.
The standard of musicianship is very high. The dancing and movement is very well choreographed and is confidently performed by the whole cast. I particularly enjoyed the whole cast numbers such as "Oh, the Thinks You Can Think!" "Amazing Gertrude" "The Circus McGurkus" "The People Versus Horton the Elephant" and "Green Eggs and Ham." My particular favourite though, is "Solla Sollew", which is absolutely beautifully staged and performed. The lighting is a very important part of that song and it is stunning.
The production itself is marked by some particularly impressive individual performances.
The central character of JoJo is played by Noah Gent. He is supremely confident on stage and sings and dances with a professionalism beyond his years. He makes the part his own and I loved the way he creates and retains the innocent, unsure persona of the character.
Playing the Cat in the Hat is Jack Butler and what a fabulous performance he gives, dominating the stage whenever he appears. His comedy timing is very well honed and he works the audience very well. I am sure when the theatre is full at the performances he will be even more animated and even funnier, if that is indeed possible.
Popular local actor and producer of this show, Adam Guest, plays Horton with a care and sensitivity which I have rarely seen in other productions. He really brings out the character of the put upon elephant who is acutely aware of what is right and what needs to be done. He sings beautifully as well.
Aston Fisher is a fabulous Gertrude McFuzz, whose facial expressions as well as great movements with her tail are a joy to see. She works well with Jo Benfield who plays the fun loving, couldn't care less, good time Mayzie LaBird. The contrast between them is fun, clearly stated and effective.
Also making this production so good is Charlie Clarke (The Sour Kangaroo) - a powerful performance - , Andrew Bould (Mr Mayor), Kim Allsopp (Mrs Mayor) - loved their singing, movement and comedy - Jorge Diniz (General Genghis Kahn Schmitz) - strong performance as the soldier - , Milly Shawcross + David Hurt (The Wickersham Brothers) - very realistic monkey antics - Sophie Black, Vikki Taylor, Charlie Sladen (Bird Girls) - great singing group - Emma Gault (Vlad Vladikoff) - good characterisation - , Helen Whittle (Cindy Lou Who), Elijah Binnersley, Emmie Gent (Elephant Birds) - very charming - and Josh Robinson (The Grinch) - excellent acting and singing.
The Director/ Choreographer, Hannah Castledine, has produced a very pacey and fresh production of this show and brought out both the depth and many of the comedic moments, which are sometimes lost. The dance routines were appropriate to the scenes, were well performed and all the actors have been given lots to do in the ensemble numbers.
The Musical Director, Sam Griffiths, conducted and played in a superb 9 piece band that played beautifully throughout. The Musical Director, Sam Griffiths, has clearly worked very hard with both the musicians and the performers to produce such a high standard throughout.
In addition to the excellent costumes supervised by Hannah Castledine, there are some great props made by Sophie Gent.
I was impressed by the technical team assembled for this production. They make full use of the lighting capabilities of the theatre, experimenting playfully with colour to evoke the childlike atmosphere of the musical: innovative and very effective. The stage crew dealt very well with the changes of props and scenes. Despite this being a dress-rehearsal all went very smoothly.
The sound and lighting supervised by Tom Mowat is excellent with the sound effects being well engineered and I could hear all the dialogue and song lyrics very clearly. The balance with the orchestra was good.
I have no doubt having seen this dress rehearsal that the show is going to be a great success this week and deserves to be seen by as many people as possible. I loved it and congratulations to all who have been involved.
Spamalot
Swan Theatre in Worcester.
WODS
Saturday October 20th 2018
This production of one of my favourite shows was produced by the Worcester Operatic and Drama Society. I have never seen one of their shows before, but will certainly be coming back to see their next one - Oklahoma- next year.The performance was at the delightful Swan Theatre, which is very comfortable and has very good views from all seats.
I have seen a number of Spamalot productions, both professional and amateur, and I am delighted that this was of a very good standard.The principal performers were excellent and were very well supported by a medium sized ensemble.
There were some very talented singers and dancers in this cast and in particular I was very impressed with the male principals and ensemble members, whose standard of tap dancing was excellent.
The staging of the show was very good and the set and props were good and stayed, in the main, consistent with the West End Production of the show.The special effects, sound, lighting and stage management was very good. The costumes were very colourful and good to look at. The set was very well designed and worked well.
The band was first class and accompanied the performers sensitively and there was never a problem hearing sung or spoken words.There was an enthusiastic standing ovation at the end of the show.
Spamalot is a joyful show with fabulous songs, dynamic dancing, and a very funny script. It provides audiences with a show that lifts the spirit and generates wide smiles at the end. This company obviously understood that and gave strong performances that absolutely hit the entertaining spot!
My only slight disappointment was that the original "Jewish" version of 'You won't succeed on Broadway' was replaced by a more pc version. It was very well written and performed, but I still like the original version best.
Well done to the Director, Musical Director, Choreographer and Stage Manger who should be very proud of what this excellent cast produced last night.
Dracula
National Tour
Theatre Royal Nottingham
October 9th 2018
If you are a fan of Gothic Horror, the story of Dracula, or just being made to jump every now and again this is most certainly a production for you.
The story of the arch vampire who journeys to England, is shipwrecked off Whitby and then goes on a rampage of wanten blood sucking is I suppose pretty well known. However despite this version being closely related to the original story it had a fresh and exciting feel.
There was a strong cast featuring Philip Bretherton as Van Helsing, Cheryl Campbell as lady Reinfield, Glen Fox as Count Dracula, Jessica Webber as Lucy, Andrew Horton as Jonathan, Charlotte Gosling as Vixen, Evan Milton as Dr. Seward, Jen Holt as Fanny, and Olivia Swann as Mina. There was a supporting and understudy cast featuring Stuart Angell, Henry Maynard, Benedict Smith, Marina Stoimenova and Ellen Verenieks.
There were excellent special effects and illusions produced by Ben Hart with great lighting and sound by Paul Ewing.
I liked the very metallic set that was very well used and changed very smoothly and quickly. This kept the play moving very quickly.
The Director, Eduard Lewis, certainly brought this Gothic masterpiece alive on the stage and kept me on the edge of my seat for much of the performance.
It is hard to write a review on a show like this as it would be very easy to give away much of what happens on stage and that would be unfair. My advice would be to get along to the Theatre Royal and see it for your self. I am sure you will not be disappointed.
Made in Dagenham
The Erewash Musical Society
Duchess Theatre, Long Eaton
October 4th
I enjoyed Made in Dagenham tonight at the Duchess Theatre. Once again The Erewash Musical Society have produced a quality production.
There were many very good performances from a large cast who were obviously enjoying what they were doing on stage. They were very well appreciated by the capacity audience.
Well done to everyone involved in the production - cast, crew, musicians, production team, technincal team and front of house staff.
ou can get a flavour of how good this show was last night at the Duchess Theatre in Long Eaton by reading Kev Castle's excellent review below plus my general comments. As President of EMS I leave the main comments on the show to independent reviewers like Kev. However for the record I want to say well done to the large cast and production team. They all deserve a mention for their excellent performances.
Rebecca Charnley (Rita), Simon Parker (Eddie),
Maria Lawrence (Connie), Richard Comfort (Monty), Laurie Trott (Beryl), Richard Dawson (Sid),
Lydia Page (Sandra), Ross Lowe (Bill),
Emily Oakden (Clare), Martin Lewis (Barry +Civil Servant+Cortina Man), Clare Kay (Cass),
James Bowden (Mr. Hopkins),
Gary Lever (Mt Tooley +Mr Buckton),
Andy Honman (Ron +Civil Servant),
Alex Grosse (Gregory), Louise O'Boyle (Lisa),
Keith Butcher (Harold Wilson),
Fiona Wright (Barbara Castle),
Oli Hickling and James O'Boyle (Graham),
Katie Fitzpatrick and Lilly Dallard (Sharon),
Gary Fowkes (Chubby), Megan Asher,
Natalie Austen, Kay Buck, Maryanne Cameron,
Emma Collins, Anna fitzpatrick, Gary Fowkes,
Jane Freeman, Sue Hagan, Andrea Kemish,
Kathi Ludlow, Karen Robbins, Ellie Simmonds, Meg Tapp, Giselle Tavener, Harvey Tavener, Clare Tosker,
Louisa Ward.
The show was Directed by Chrissie Oakden, Choreographed by Alex Tavener and Musically Directed by Sam Griffiths and Dave Dallard.
The Stage Manager Mark Robbins who along with Bill Robbins also created the set. There was also a very hard working and efficient stage crew. The Sound, Lighting and Projections were by Dave Martin, Matthew Cook and Dave Dallard.
The Costumes and Props were cordinated by
Mina Machin, Helen Munns and Tyna Burnett.
The Front of House Manager was Rachel Bates.
Because of the above all went very smoothly and created yet another first class production from EMS.
Thanks also go to EMS members and friends who contributed in many ways.
There are very few tickets left for the remaining performances which is not suprising!
Abigail's Party and Abi
National Tour
Derby Theatre
October 3rd 2018
Really enjoyed Abigail's Party at Derby Theatre tonight and also the perofrmance of Abi that followed it. There were strong performances from Melanie Gutteridge as Beverley, Liam Bergin as Tony, Amy Downham as Angela, Christopher Staines as Laurence and Susie Emmett as Susan.
Despite being written in 1977 this is a suburban situation comedy of manners, and a satire on the aspirations and tastes of the new middle class that emerged in Britain in the 1970s. Well worth going to see.
It was followed by Abi a new play by Atiha Sen Gupta shed some insights into the Abigail we never see in Mike Leigh's play and explores the worls of teenagers today. There was brilliant acting from Safiyya Ingar. Again this is a good play to go and see.
Strictly Musicals at Trent College.
Long Eaton Operatic Society
Trent College
September 29th
I really enjoyed the evening and the choice of varied songs from a selection of great musicals was excellent.The Long Eaton Operatic Society has been producing shows for many years and now, of course, also has a youth group. It was wonderful tonight to see performers of all ages (11 to 82) working together and providing us all with quality entertainment. I liked very much the way young and older members were integrated into many numbers.
As this was a concert rather than a single musical production it was possible to give everyone the opportunity to perform. And perform they certainly did. It was obvious from the start that the cast were really enjoying themselves on stage as much as we were in the audience.
The choice of musicals included classics such as My Fair Lady, along with rock shows such as Rock of Ages and School of Rock (a great scene with the youth group and some older ones by the way) plus popular songs from Mamma Mia and the most popular show ever in the West End, Les Miserables. At this point I will say that Les Mis has never been one of my favourites but tonight I really enjoyed the way LEOs performed some of the best songs from the show brilliantly both with soloists and the whole company. The final song in the medley, One Day More, certainly brought shivers down my spine and that doesn’t happen very often.
I am deliberately not mentioning individual acts tonight as this was very much a whole society production which worked so well because there was a strong feeling of everybody being in it together. Therefore because they were all so good I must mention everyone.
Abi Barker, Kate Beer, Alison Brown, Sandra Cartwright, Jenny Carty, Rob Chilton, Grace Collishaw, Emily Corner, Grace Deakin, Phil Deakin, John Fox, Adam Guest, Sheridan Halton, Eleanor Harvey, Kheenan Jones, Kathi Ludlow, Lottie Ludlow, Emma Lowe, Jill Marriott, Matthew McAuley, Robert McAuley, Phoebe Mellor, Tony Newton, Hannah Pettit, Sammy Platkiw, Bella Ridgeway, Lilly Simons-Clark, Issy Smales, Billy Sweet, Lydia Thacker, Naomi Thomas, Angela Walters, Louise Watkins, Lilli White, Jack Woolley.
The production team of Tom Watkins (MD), Emma Collins, Katie MacDonald, Sian Scattergood, Kheenan Jones and Louise Watkins did a superb job of putting everything together and making sure everything ran smoothly. The lighting and sound was excellent throughout.
The band sounded very good and accompanied the performers well with the sound balance being good.
Well done to all who, in whatever way, made this a great evening in the May Hall. I think it is good every now and again for musical societies to show all the talents of their members in this way and at the end tonight the audience showed their appreciation by giving the cast a very prolonged and enthusiastic ovation with many standing, including me.
This was an excellent Concert.
Their next productions are Hairspray in February (Youth Group) and Fame (Adult) next April. Make sure you buy your tickets as soon as you can as The May Hall tonight was almost full. The Long Eaton Operatic Society is very popular and tonight they showed why.
The Comedy about a Bank Robbery
National Tour
September 26th
Theatre Royal Nottingham
This is a very fast moving and energetic show with a very talented cast of multi skilled actors. This is a fine example to young and aspiring actors of how they need to be able to offer a triple or quadruple plus threat in terms of what skills they have in their work.
Singing, dancing, acting, physical performance, great timing and stamina were all evidenced by this cast tonight.
Their were fine performances from Sean Carey, Liam Jeavons, David Coomber, George Hannigan, Ashley Tucker, Damian Lynch, Jon Trenchard, Julia Frith and Killian Macardle.
Really good to see Tom Hopcroft our local performer on stage giving it his all tonight in what is his first professional performance with Mischief Theatre. Well done Tom.
To complete the cast the understudies including Tom were, Charlotte Duffy, Ellie Morris, Eddy Westbury and Ross Virgo.
The staging was very good and Lighting and sound was good.
The show does contain slapstick but is also well written although some of the jokes are silly they still made me and many others laugh. There were also some clever one liners and as I said earlier I am sure the Two Ronnies would have enjoyed using them in some of their sketches. The physical jokes were very impressive but I can say no more about them.
High energy, fast moving and funny. A show that I am sure many will enjoy. Technically a difficult show I guess but the result was often impressive. A good night out at the theatre.
Macbeth
Bear Left Theatre Company
The Bonnington Theatre
September 22nd
The well known "Scottish Play" concerns Macbeth, a brave and loyal Thane to King Duncan, whose behaviour is changed when witches tell him that he will become king himself. Overcome by ambition and greed and with his wife's incitement, Macbeth kills King Duncan and takes the throne. He is then driven to further destruction and becomes wracked by fear, guilt and paranoia.
This version, produced by the Bear Left Theatre Company explored the psychological side of this well known tragedy, with no reliance on special effects or complicated staging. The Director, Sally Nix wrote on their website "I want to bring Macbeth to a new audience, and maybe give those familiar with it something new to think about. Set in a world where the medieval and modern mix, our bare staging relies on costumes and characters to set the scene."
From the start of this production we were drawn into an atmosphere of darkness and menace from which there was no relief. Cleverly, the initial sound effects of whispered and garbled mutterings lasted just long enough to be eerily uncomfortable, setting a dark and mystical tone. The stark, almost anatomical imagery of a hollow tree set the scene perfectly and very little other scenery was used or needed. From then on there was no let up: the pace was relentless as Macbeth and his Lady began their descent into mayhem and madness, driven by their ambition.
The passion between Macbeth and Lady Macbeth is a catalyst for the action and this was recognised and ably drawn by both the director and the actors: a convincing portrayal of a powerful but destructive alliance.
Robert Goll as Macbeth gave a wonderful performance: intense, reflective, tortured, ruthless and thoroughly engaging. A highlight was when Banquo’s ghost ‘appeared’ and he convincingly conveyed the horror of what he could see, with no help from props. His perfect grasp of the blank verse and immaculate diction made his performance completely accessible and a joy to listen to.
Emma Burbage as Lady Macbeth was a convincing mix of wily femininity and ‘masculine’ ambition, ably expressing the power of the character’s emotions. We are horrified by her willingness to despatch those standing in her way and satisfied that the same intensity drives her self destruction.
I particularly enjoyed the performance of Lizzie Norris as King Duncan, another actor who has complete understanding of how to deliver blank verse, plus the ability to infuse her character with both warmth and strength. Gender blind casting can be a challenge for an audience, but when the performance is as good as Lizzie’s we only see the character and become fully immersed in the delivery of the lines.
It was refreshing to see a new approach to the witches: all three being embodied in one entity, voiced beautifully by Fiona Shore. As this production relied on atmosphere and left the supernatural questions unanswered, it was ideal to be unspecific about the witches and emphasise the power of suggestion on the human mind.
There is no doubt that Sally gathered an excellent ensemble for this play and all must be congratulated for taking on the huge commitment of line learning and text analysis that such a production demands. Everything moved very swiftly with no lapses in action, which requires very tight direction and intense concentration from everyone involved.
Very well done to Kynan Wells (Malcolm), Arun Hayes (Fleance and Donalbain), Sally Nix (Banquo), Steve Mitchell (Macduff), Samantha Badman (Ross) and Gerard Hesketh (Various). Hatty Hollowell shared the role of Banquo with Sally but did not perform the evening I was there.
Many members of the cast played multiple parts and at times I was confused over which character they were playing. However, this kept me concentrating and was quickly resolved as each scene progressed. Costumes were a pleasing and well chosen mix of traditional and modern, reminding us that Shakespeare is the master of expressing the human condition, regardless of century. Passion, ambition, ruthlessness and the corrosive power of guilt never change.
I am not a great Shakespeare fan, but I did enjoy this production and found it really accessible. Bear Left Theatre are making quite a name for themselves locally and tonight they showed what they are capable of and an obvious desire to grow creatively.
The Merry Wives of Windsor
Royal Shakespeare Company
Royal Shakespeare Theatre, Stratford on Avon
September 13th 2018
The Merry Wives has just finished at the RSC here in Stratford. Act 2 was fabulous with a spectacular ending to the play. I really enjoyed it but hesitate to review it as Shakespeare is not my forte but..... from the point of view of a simple theatre goer I can just say I loved every minute of it.
The experience of watching some of the best actors in the country at one of the best venues is one that I recommend to everyone. Today has proved to me that Shakespeare can be made very accessible to everyone. I honestly did understand what was going on and was thrilled with the acting, the production, the set and the incidental music - it was excellent.
The production certainly brought out the comedy of the writing and of the action. I understand there are Cinema presentations live from here which will be well worth seeing but personally I don’t think you can beat the real experience of being here in person.
The RSC in Stratford is such a special place, and if you have not experienced the magic of the RSC and the theatre then you are certainly missing out and should come along at some time. This comedy of the bard is, I think, a very good one to see particularly if like me you have found Shakespeare difficult in the past.
This production certainly isn’t. It is fresh timeless very funny and so well produced and acted. A wonderful afternoon here in Stratford and one I will remember for a very long time.
Derby Arena
December 11th
Jack and the Beanstalk was very enjoyable with good performances from the principles who were very well supported by a small but great ensemble.
The scenery and costumes were very bright and colourful with good special effects. Singing and dancing was of a very good standard.
The lighting was good as is the sound which is crisp and clear.
The script was excellent - very witty and funny. The Production was good and the scenes moved along quickly with very smooth changes.
The audience in the arena obviously enjoyed the performance. The script was engaging, witty and well written.
The popular songs went down well and there was a good level of audience participation.
Peter Pan
Theatre Royal Nottingham
Sunday December 9th
I enjoyed the panto which is very well produced and performed by the principals and the ensemble. The special effects and staging are very slick and Impressive. I was particularly taken by the flying sequencies which were excellent.
The traditional story of Peter Pan has been shortened to an extent in this production which helped keep the interest of the younger members of the audience in particular.
The set is suitably bright and engaging and the 3D sequence is spectacular and very appropriate to the show.
There are excellent performances from Joe Pasquale (Smee), John Challis (Captain Hook), Jack MacNeil (Peter Pan), Lucy Evans (Tinkerbell). There are also good performances from Paul Gabriel( Starkey), Rosie O'Hare (Wendy), Rory Furey-King (Tiger Lily), John (Samuel Brown/ Lucas Emerson)and Michael (Ben Philips/Kairo White). The Singing and Dancing Ensemble is at the top of its game and the Theatre Royal Babes are great.
At the end of the show there is the usual bringing young children onto the stage to talk and sing with Smee. This turned out to be one of the highlights for me and Joe Pasquale was brilliant with tonight's youngsters. They and he were very funny.
The band was good but the volume was rather too loud at times leading to some of the vocals being swamped.
There was an enthusiastic ovation from the audience at the end and I am sure this panto will be very successful. You have until Sunday January 13th to experience the exciting trip to Neverland.
Robin Hood and the Babes in the Wood
Ilkeston Theatre Company
St John Houghton School
December 6th 2018
I really enjoyed the pantomime produced by The Ilkeston Theatre Company tonight in the St. John Houghton School Theatre. The cast were enthusiastic in their performances and there was a great sense of enjoyment both on stage and in the audience.
The hard working cast was Ben Mills (Nursey), Alfie Wilson (Ricky), Penny Courtney (Bianca), Rachael Flewitt (Robin Hood), Becks Macey (Will), Marilyn Lucia Keates (Alan), Justine Haywood (Marion),Adrian Thornley (Tuck), Mandy Bull (John), Paul Ensor (King Richard), Angie Jacks (Sheriff of Nottingham), Lucy Tanner (Bo), Sharon Ensor (Arry), Steve Walton (Prince John), Elena Courtney (Maisie), Sue Arkley, Lauren Adams, Jennie Walker (Ermin), Tracey Dean (Trude).
There was good singing, dancing and comedy routines. This was a traditional panto with all the essential elements of the genre including local references.
The set and costumes were excellent (Rachael Flewitt and Michael Wallace) and the company used the facilities of this venue including flying some of the scenery to excellent effect (Adrian Fletcher). The set was changed quickly which enabled the show to move at a good pace. The back stage crew including Tracey Dean and Ryan Fletcher worked very well and scene changes were good.
The sound was good and I was impressed with the way in which the performers could be heard without the use of radio mics. The sound was thus natural. The sound effects were very good (Steve Flavill and Louis Beardsley).
The whole cast numbers were well performed.
The dances by the Kerry Ledger School of Dance were wonderful. Their routines were choreographed by Kerry and Evie Ledger, Sophie Lynam and Megan Lynam. The dancers were Caitlin Bell, Niamh Bull, Lily Curtis, Megan Eardley, Maisie Hartshorn, Georgina Gallagher, Mia Gidlow, Miranda Holt, Bethan Moore, Alex Reeves, Jessica Reeves, Lucie Reeves, Robyn Richards, Jasmine Rowland, Charlotte Sisson and Scarlett Stevenson.
The show was produced by Justine Haywood and Paul Ensor who I am sure are very proud of their cast who have worked so hard to produce this good show.
Well done to everyone involved in this production which continues until Saturday. Do go and see this production if you can by Ilkeston's own theatre company. Tickets are available on their website or on the door.
The company are donating profits from the show and the raffle to The Bens Den Charity.
Beauty and the Beast
Amanda Hall Matt Wesson and the Arts Theatre Production
Nottingham Arts Theatre
December 2nd 2018
Written and Directed by Amanda Hall and Matt Wesson, Beauty and the Beast is a traditional pantomime about a young prince who is turned into a hideous Beast by an enchantress, because of his arrogant ways. He is destined to stay like that until he learns to love and be loved in return. Later, a village girl, Belle, enters the Beast's castle after he imprisons her father. With the help of his servants, Belle begins to draw the cold-hearted Beast out of his isolation and things begin to change.
This version is written by Amanda Hall, assisted by Matt Wesson, and maintains the traditional elements of the story, but with a number of excellent additions. It is witty and very entertaining with a script which is suitable for all ages. The very clever wordplay and one liners are a delight – listen hard, as they come thick and fast and must not be missed - and there is also plenty of slapstick and silliness for those who enjoy physical comedy.
An excellent cast is led by Laura Ellis Patrick, who plays the part of Belle, and Patrick McChrystal as the Beast (and the Prince). Laura has a lovely voice and plays Belle with a cheerful innocence and steely sense of right that endears her to the audience. Patrick takes his role very seriously and shows just the right amount of angst driven hostility that is gradually redeemed by finding love and humility. Both act and sing very well indeed and make a lovely couple!
They are well supported by Mike Newbold, a jovial and thoroughly convincing Alderman, alongside his other daughters, Camille & Adrienne, played by Kimberley Allsopp and Danielle Hall. Both sisters are delightfully self centred and amusingly arrogant, but charm with their lovely voices.
Lizzie Fenner is a splendidly imposing Enchantress with a beautiful voice; Sean Goodwin plays Idle Jacques with a cheeky charm, pleasantly coaxing the audience into participation and showing lovely comic timing. Cassie Hall is the scheming but comically bumbling Phillipe Phlopp and Alex Huntley delights the audience with his posturing as a dastardly, but hilariously self aware, Gustave.
Mike Pearson triumphs as the very elegant but silly Madame Yvette Éclair: a wonderfully Gallic Dame whose accent never falters. Joseph Smith is Hugo, the Beast's gardener, a fine example of not over egging a part, in a lovely naturalistic performance.
Matthew Wesson is the gorgeously over the top and captivating Dame Mimi Macaron: beautiful diction and projection and a very clever balancing of warmth with sharp, cutting edge wit. Both Dames show their talent and comic timing in a lovely interlude with small audience members, beautifully conducted to make the most of the humour, but with sensitivity.
There is an excellent ensemble, which includes singers and dancers of all ages. The exciting and varied choreography by Amy Rogers-Gee, is executed very well by the whole cast. There are many highlights, but I particularly enjoyed the Finale of Act 1, which was fantastic.
The talented and well rehearsed adult ensemble is Mike Bulford, Lucie Conroy, Serena Eadon, Tano Gangemi, Nikki Jarvis, Elissa Reeve, Emily Ridge, Amy Rogers-Gee, Destiny Mills, Alison Sheppard, Zoe Turton and Emily Wilkins.
There are two youth and children’s ensembles and tonight it was the energetic and very enthusiastic Team Croissant, consisting of: Daisy Donoghue, Emma Gregory, Madelyn Pritchard, Olivia Twiss, Elsie Archer, Hattie Champion, Naomi Hills, Emily Holder, Freya Ireson, Lily Watson, Megan Worall, Imogen Yates, Caitlin Young and George Young.
Tom Mowat’s lighting is carefully planned to be both dynamic and complementary: it certainly enhances the production throughout. Nathan Penney is to be congratulated for operating the lighting system so well and also Rob & Bethan Kettridge, for the enchanting red rose!
The standard of singing is very high and the Musical Director, Ray McLeod must have worked very hard with the cast to achieve this. The sound, supervised by Rob Kettridge, is crisp and clear and very well balanced with the musical track. I particularly liked the incidental music that has been included in this production. Amanda has chosen some great songs, which are well known and a big hit with the audience.
The costumes by Jules Sheppard, so essential to the spirit of pantomime, are very appropriate and attractive, especially the amazing costumes worn by the “Dames.”
This is an excellent production of Beauty and the Beast and I defy anyone who saw tonight’s production not to be impressed and delighted by the whole experience. Once again Amanda Hall and her talented team have a hit on their hands. It is wonderful in all respects and I loved every minute of it.
Well done everyone and thank you for starting my Christmas off with such an enjoyable evening at the Arts Theatre. The show is brilliantly crafted by Amanda and Matt and performed with such professionalism by this very talented and enthusiastic cast.
If you can only see one pantomime this Christmas, make sure it’s this one.
Murder For Two
National Tour
Theatre Royal Nottingham
November 26th 2018
What a theatrical experience this show was. Two actors playing 14 characters and a piano. It was all about a murder and how an aspiring detective tried to find out who done it! Both the actors, Jeremy Legat and
Ed MacArthur had more than just "The Triple Threat."
They were excellent character actors, singers, dancers, piano players and physical comedians. Their incredible talents blew me away. I was gripped not so much by the plot, which was a bit lame at times, but rather by the skill of the actors.
The show moved very quickly and I was amazed when the first act finished.
I liked the songs, which were tuneful and often with witty lyrics and accompanied by one or other (sometimes both) of the actors. They were obviously both accomplished musicians. The composers were Joe Kinosian (Book and Music) and Kellen Blair(Book and Lyrics).
There were some excellent sound and lighting effects during the show, which gave it the feel of an old style Who Done It movie. The use of the piano for incidental music had the feel of the soundtrack to a silent film of the past. I liked that.
I really enjoyed this production and would suggest that any aspiring actors would benefit from seeing these professionals, who are obviously superb masters of their craft.
The show ended with an enthusiastic ovation from the audience.
Swan lake - Matthew Bourne
National Tour
Theatre Royal Nottingham
November 13th
This production and performance of the classic ballet was absolutely wonderful. I have lived every single second. Everything was perfect. The production is dynamic and totally absorbing.
The music is superb and the dancing is breathtaking. I have seen Matthew Bournes production before here at the Royal and it was excellent but this new reimagining is even better.
The power of the dancers is incredible and throughout the Act, I was totally absorbed as was the rest of the packed house.
The Male swans are unbelievable and the choreography is stunning. It is also clever and funny. But the way in which the men portray the swans is just so good to watch.
Matthew Bourne is the master of combining traditional ballet with very modern movement and dance. This is seamless and never clashes.
The dancers are also so expressive and there is the occasional use of noise from the performers. The production is so relaxing.
The Addams Family
Kristian Thomas Company
Duchess Theatre Long Eaton
November 3rd
Two comments I heard from members of the audience on the way out. "That is the best amateur show I have seen," and "Well you couldn't see anything better than that could you?" I agree with both of those statements. This production was superb and the enthusiastic standing ovation at the end of the show was testament to that.
This was a professional standard production which is amateur in name only. The Kristian Thomas company has again proved that they are one of the very best theatre groups in the area. The production was outstanding, the music was brilliant, the lighting (Stephen Greatorex) and sound (Harry Greatorex) were first rate and the result was yet another great KTC show. Well done to the production team of Tom Simpson (Director), Tom Bond (Musical Director) and Kristian Cunningham (Choreographer) for gathering together such a talented cast and ensuring there were so many fine performances.
There were incredibly strong performances from: Chris Grantham (Gomez), Sian Scattergood (Morticia), Emily Corner (Wednesday), Zain Sutherland (Fester), Harrison Ince (Pugsley), Laurie Trott (Grandma), Tom Halton (Lurch), Ross Lowe (Mal), Sara Evans-Bolger (Alice), Joe Millward (Lucas).
The ancestor chorus was first class and I particularly liked the way the Director gave them specific roles that stood out. They did not merge into the background as in some productions I have seen. They had an important role throughout. Their singing and dancing was a joy to listen to and watch.
Fantastic work from Alison Bond, Alistair Berry, Andrew Buxton, Beth Denham, Charlotte Bond, Charlotte Carridice, Emma Foley, Hattie Kemish, Jessica Bridge, Katie Lawson, Louise Curd, Lydia Thacker, Shannon O'Donnell and Sinead Parkin.
Now the show is over I can say that I thought the use of the trap doors in the stage on either side was great and proved very effective for the entry and exit of the ancestors. I also particularly liked the scene which involved picture frames and live pictures. That was very cleverly done.
There were many other very clever aspects to the show including the hysterically funny scene in which Uncle Fester sings of his love for the moon (The Moon and Me). Not sure how they did it but the clever use of lights and costume made this a wonderful rendition of the songs with legs flying every where! If that makes no sense you should have come and seen the show.
Stage management was very efficient and the creative use of lights made the scene changes almost invisible. The speed of changes ensured that the action moved very quickly infact the pace of the show throughout was excellent. Well done to Stage Manager Rob Corner and his team plus members of the cast.
This was a superb production of a very good musical. The songs are great and the script is very witty indeed.
Thanks to all involved with this production for giving me such an enjoyable night. I enjoyed every minute of it.
Joseph and the Amazing Technicolor Dreamcoat
Nottingham Operatic Society
Theatre Royal Nottingham
November 2nd, 2018
This was an amazing production at the Theatre Royal this afternoon. It was fast and exciting, and the cast of the Nottingham Operatic Society were obviously enjoying every minute of it as I was. Visually it was stunning with bright and colourful costumes of all styles. It did not conform to the traditional bible costumes but was never the less very suitable and fitted well with the story telling genre of the show. (Rita Prince).
There was a large cast representing a wide age group which worked very well. The lighting (Tom Mowat) was a very important part of this production and it brought the relatively simple dual staircase set to life. The large and multi-coloured pyramid shape at the back of the set was very impressive. Stage management was very good with incredibly quick changes of set and props (Amy Rogers-Gee). This meant that the production moved very quickly. The sound (Michael Donoghue) was excellent and all the singing was clearly heard in concert with the excellent orchestra conducted by Morwen Harrison.
The cast worked very hard throughout and produced a very high standard of singing and dancing. The Director, Dave Partridge and his assistant Julie Hayes had worked very hard with the cast to produce such quality along with the MD Morven Harrison and Musical Consultant Stephen Williams.
This show has its principal players, of course, but overall it is very much reliant on the ensemble. This ensemble, which included adults and a youth ensemble, was very dynamic, hardworking and professional throughout. I liked the way the director had combined informality with carefully choreographed movement and dance.
There was, I felt, a very positive feel to the show and the performers really enjoyed what was happening on stage and were totally engaged throughout.
There was a very strong principal cast led at this performance by Zak Charlesworth (Joseph) and Kate Williams (Narrator). Both were quite superb, sang beautifully and gave thoroughly professional performances. (At some other performances the roles were played by Mark Coffey-Bainbridge and Louise Grantham).
Joseph's brothers gave powerful singing and dancing performances. Well done to Paul Johnson, Shaun Hanrahan, Nick Smith, Ray Mcleod, James Ellison, Neil Ledward, Joe Spoors, Jarrod Makin, Antony Watson, Andrew Rushton and Conor Larkin. As an aside I am impressed that the company were able to assemble such a complete and talented group of men for these parts - it is not always possible these days.
The other main roles which were very well performed were played by Simon Theobald (Jacob), Dan Armstrong (Pharaoh), Ian Pottage (Potiphar), Joanne Lale (Mrs Potiphar), James Ellison (Butler) and Joe Butler (Baker).
The rest of the cast playing wives, ensemble roles and the youth ensemble are also to be commended for their professional performances. (I will try and mention everyone in later edits of these notes.)
This production was stunning in many ways and certainly deserved the standing ovation from many in the audience at the end.
This was the best production I have seen on the amateur stage and I applaud the Nottingham Operatic Society for producing such a professional looking show. It certainly deserves to be sold out for the rest of the run.
My Fair Lady
NOWMADS
Kimberley School
October 31st
What has been called "The Perfect Musical," My Fair lady has just finished at The Kimberley School Theatre. Well done to the Nowmads group for an excellenct production of the show.
There is a large and strong cast and Graham Lambert's fresh and lively production perfectly fits the not over large stage.Excellent perfomances from Laura Collins (Eliza), Martin Belcher (Henry), Danny De Martino (Alfred), Steve Clarke (Pickering), Carole De Martino (Mrs Higgins), Suzie Green (Mrs Pearce), Jaiden Ragozins (Freddy), Alison Reeves (Mrs Eynsford-Hill), Rob Waddington-Taylor (Zoltan). They were very well supported by Richard Harvey (Harry), Tom Bailey (Jamie), Siobhan Waddington-Taylor (Mrs Hopkins), Kathy Taylor (Queen of Transylvania) and the excellent ensemble.
The ensemble numbers are excellent and I am particularly impressed by the way in which the cast are brought on and off the stage with great precision in the big production numbers such as "I'm Getting Married in the morning" which was first class. This makes the most of the stage and keeps the show moving quickly.
The standard of singing and dancing is high and the costumes are fantastic throughout. The lighting is also good and the use of the curtain scenes is very effective and allowed for very quick scene changes. The stage crew are very efficient and given this was the first night never put a foot wrong.
The sound is particularly good and I could hear every word that was sung and the excellent orchestra conducted by the MD John Wilson supports the performers well throughout.
I really enjoyed the show and I was taken back to the 1970's when I had a line in the show, perhaps my only ever line "The Horses are in the paddock, Mrs Higgins." I got warm applause for that from some of my friends in the audience!!
This is a good production of this classic musical and I can certainly recommend going to see it before it ends on Saturday.
Review of Thoroughly Modern Millie
Beeston Musical Theatre Group
Duchess Theatre
October 23rd 2018
Set in New York City in 1922, Thoroughly Modern Millie tells the story of young Millie Dillmount from Kansas, who comes to New York in search of a new life for herself. Her grand plan is to find a job as a secretary for a wealthy man and then marry him. However, her plan goes completely awry and she becomes involved with the white slave trade. These themes seem might seem like a strange mix, but the show is thoroughly aware of its own silliness, which makes it absurdity light-hearted and great fun. It is certainly very tongue-in-cheek with its comedy and commentary of the 1920s Jazz Era, and the music celebrates the rhythm and style of the time.
There are some great songs in the show including "Not for the Life of Me" "Thoroughly Modern Millie" Ah! Sweet Mystery of Life/Falling in Love with Someone" "Forget About the Boy," Only in New York" and "Gimme Gimme" too name but a few.
The Director, Beth Yearsley and her production team have certainly gathered together a very talented and hardworking cast for this fast moving show. All are very professional, well-rehearsed and contribute to making this an excellent production. A great deal of thought obviously went into the logistics of staging a show with several scene changes, big song and dance numbers and some unusual dialogue. All of these challenges have been met and surpassed and the result is a hugely entertaining extravaganza that captures the fun and feeling of the time and lifts the spirits of the audience.
Leading the company is the enormously talented Lucy Castle in the role of Millie. From her first entry onto the stage it was obvious that we were going to be treated to a great all round performance. She certainly has the "triple threat" - acting, singing and dancing to a very high standard. She has some challenging songs, but sings them all beautifully, captivating the audience. Her first song, "Not for the Life of Me" is a brilliant starter for her characterisation of the determined Millie, leading to her tearing up her return ticket home, vowing to find her own way. For the rest of the show she certainly does: Lucy makes this huge role her own in a very entertaining way.
The leading man in this show is Jimmy Smith, played by the ever popular Rob Charles, who I have seen in many Beeston shows. Rob is well suited to this part, conveying confidence with a hint of arrogance and developing that into the warmer and more rounded character that ends the show. His solo "What do I need with love?", is sung with feeling. He is the perfect foil for Millie who at first treats him with disdain and then … well come and see what happens at the end.
Cat Tuckey plays the sweet but determined Miss Dorothy Brown, a new found friend of Millie, with much charm. She has a great voice and shows that off perfectly in the duet "Ah! Sweet Mystery of Life/ Falling in love with Someone sung with Chris Bryan as Trevor Graydon. He has a super voice too and gives a lovely humorous characterisation as the driven boss who is impervious to female charms, until a sudden change occurs, which Chris captures perfectly. His challenging solo, "The Speed Test," has the style of a Gilbert and Sullivan "patter Song." His rendition (often at great speed) was excellent and very entertaining.
I have seen Sandy Lane in a number of local shows and have always loved her performances, but this one stands out for me. She is excellent as the evil Mrs. Meers, the hotel proprietor who is certainly not the nice Chinese lady she pretends to be and is in fact, a white slave trader. Sandy dominates the stage and is very funny, making the most of her one liners and asides and nailing a mock Chinese accent. Her comedy timing is as ever, perfect.
Sandy is well supported by her two excellent Chinese servants, Ching Ho ( Andy Bulmer) and Bun Foo ( Mariko Jones ), who are an endearing double act, expressing so much through their actions and mannerisms. Also, I admired their delivery of a large amount of Mandarin: they sounded pretty authentic to me!
Muzzy van Hossmere is a great part for a jazz singer and Sascha Cornelius really nails the part. What a great voice and stage presence she has, thoroughly convincingly as the street wise but warm hearted star. Her renditions of both "Only in New York" and "Long as I'm here with you" were fantastic.
Miss Peg Flannery the sombre typing pool manager was well played by Cheryl Mills, expressing the prim and cantankerous nature of the character and her gradual softening.
The supporting cast works very well throughout the show and many have small parts too. Well done to you all as the dancing and singing was splendid. They were:
Rita (Lily Taylor Ward ), Ruth ( Claire Rybicki ), Ethel ( Laura Such ),
Gloria ( Jennifer Chatten ), Alice ( Jodie Cresdee ), Lucille ( Lottie Valks ), Cora (Charlotte Howard )
Pearl Lady (Hollie Smith), Kenneth (Matthew Charlton), Dexter (Rob Holsman), Rodney (John Hand), Daphne (Claire Farrand-Preston), Mathilde (Victoria Appleton), Dorothy Parker (Cheryl Camm).
Ensemble: Garreth Frank, Rachel Maddison, Ruth Maddison, Emma Weir, Cheryl Camm.
I love to see a large group of tap dancers on stage and tonight this company had them. As far as I could see they were perfect.
The Tap Troupe are: Jennifer Chatten, Jane Cottee, Jodie Cresdee, Charlotte Howard, Mina Machin, Laura Smith, Hollie Smith, Lily Taylor Ward, Lottie Valks, Christine Walton.
Incidentally, the dance routines throughout the show often involve the whole cast and are great - exciting, dynamic and fast moving. Maybe that was in part due to the fact there was not one choreographer but 5! They are to be commended for what they achieved with the cast:
Lucy Castle, Jennifer Chatten, Jody Cresdee, Mina Machin and Beth Yearsley.
With dancing and movement in mind I was impressed with Beth Yearsley's staging as this is a very large cast, perhaps the largest I have seen of late on this stage. She makes sure that it does not look overcrowded and the routines fit in well with the stage and set.
The set, which was built by a number of the cast and technical crew, was a masterpiece in good looking and functional staging. It was easily changed into various new scenes quickly and smoothly. This enabled the show to run with no delays. Add to that the excellent lighting, including spots, (Dave Martin and Matthew Cook) and the very effective projections (Brian Waters) and you have a very professional show. The sound was crisp, clear and well balanced with the orchestra, thanks to Tom Olding.
Being set in the 1920's there was ample opportunity for some great costumes and the show had them, plus some very authentic looking and well researched props. I would have liked to have seen some more colourful dresses in the ensemble, although the creams and beiges did provide a contrast to that worn by Millie after her transformation into a Modern girl.
Last but certainly not least, the Orchestra conducted by Morris Fisher is great and accompanies the performers well. The standard of the singing was first class which I am sure Morris worked hard with them on.
The show is full of laughs, great dance routines and lively music, with a feel-good story to match. The musical falls into the category of the escapist musical, meant to be a jokey bit of nostalgia about the "Roaring Twenties", and not an earnest reflection of reality. Beth, her creative team and the cast have created a wonderful show that is thoroughly entertaining and definitely worth coming to see before it ends on Saturday.
Well done BMTG for yet another highly professional production and I look forward to seeing their next two shows which are Urine Town in May 2019 and The Producers in October 2019.
Review of Seussical The Musical
Encore Performing Arts
The Space, Nottingham Girls High School
Dress Rehearsal
October 22nd 2018
Unfortunately, I was unable to be at the opening night of Encore's production of Seussical, but I was very pleased to be invited to the Dress Rehearsal. I did not want to miss this show, as it has a very important place in my musical theatre heart. It was the last show I produced and directed before retiring from Dovedale Primary School. Since then I have always loved this crazy show that features so many strange and colourful characters.
The show basically follows the story of Jojo, a tiny 'Who' - living on a planet the size of a speck of dust- and Horton the elephant, who finds this planet and vows to protect the Whos. Seussical is, in the main, taken from the Dr Seuss story "Horton the Elephant", but other characters and themes are also taken from other stories.
Overall this production is excellent in many ways, but I think I should start by commending the producers on gathering together such a talented and diverse cast. They are put in a wide variety of incredibly colourful costumes which effectively differentiates the large number of characters in the show. This makes the show visually stunning, so good to look at and great to listen to.
The standard of musicianship is very high. The dancing and movement is very well choreographed and is confidently performed by the whole cast. I particularly enjoyed the whole cast numbers such as "Oh, the Thinks You Can Think!" "Amazing Gertrude" "The Circus McGurkus" "The People Versus Horton the Elephant" and "Green Eggs and Ham." My particular favourite though, is "Solla Sollew", which is absolutely beautifully staged and performed. The lighting is a very important part of that song and it is stunning.
The production itself is marked by some particularly impressive individual performances.
The central character of JoJo is played by Noah Gent. He is supremely confident on stage and sings and dances with a professionalism beyond his years. He makes the part his own and I loved the way he creates and retains the innocent, unsure persona of the character.
Playing the Cat in the Hat is Jack Butler and what a fabulous performance he gives, dominating the stage whenever he appears. His comedy timing is very well honed and he works the audience very well. I am sure when the theatre is full at the performances he will be even more animated and even funnier, if that is indeed possible.
Popular local actor and producer of this show, Adam Guest, plays Horton with a care and sensitivity which I have rarely seen in other productions. He really brings out the character of the put upon elephant who is acutely aware of what is right and what needs to be done. He sings beautifully as well.
Aston Fisher is a fabulous Gertrude McFuzz, whose facial expressions as well as great movements with her tail are a joy to see. She works well with Jo Benfield who plays the fun loving, couldn't care less, good time Mayzie LaBird. The contrast between them is fun, clearly stated and effective.
Also making this production so good is Charlie Clarke (The Sour Kangaroo) - a powerful performance - , Andrew Bould (Mr Mayor), Kim Allsopp (Mrs Mayor) - loved their singing, movement and comedy - Jorge Diniz (General Genghis Kahn Schmitz) - strong performance as the soldier - , Milly Shawcross + David Hurt (The Wickersham Brothers) - very realistic monkey antics - Sophie Black, Vikki Taylor, Charlie Sladen (Bird Girls) - great singing group - Emma Gault (Vlad Vladikoff) - good characterisation - , Helen Whittle (Cindy Lou Who), Elijah Binnersley, Emmie Gent (Elephant Birds) - very charming - and Josh Robinson (The Grinch) - excellent acting and singing.
The Director/ Choreographer, Hannah Castledine, has produced a very pacey and fresh production of this show and brought out both the depth and many of the comedic moments, which are sometimes lost. The dance routines were appropriate to the scenes, were well performed and all the actors have been given lots to do in the ensemble numbers.
The Musical Director, Sam Griffiths, conducted and played in a superb 9 piece band that played beautifully throughout. The Musical Director, Sam Griffiths, has clearly worked very hard with both the musicians and the performers to produce such a high standard throughout.
In addition to the excellent costumes supervised by Hannah Castledine, there are some great props made by Sophie Gent.
I was impressed by the technical team assembled for this production. They make full use of the lighting capabilities of the theatre, experimenting playfully with colour to evoke the childlike atmosphere of the musical: innovative and very effective. The stage crew dealt very well with the changes of props and scenes. Despite this being a dress-rehearsal all went very smoothly.
The sound and lighting supervised by Tom Mowat is excellent with the sound effects being well engineered and I could hear all the dialogue and song lyrics very clearly. The balance with the orchestra was good.
I have no doubt having seen this dress rehearsal that the show is going to be a great success this week and deserves to be seen by as many people as possible. I loved it and congratulations to all who have been involved.
Spamalot
Swan Theatre in Worcester.
WODS
Saturday October 20th 2018
This production of one of my favourite shows was produced by the Worcester Operatic and Drama Society. I have never seen one of their shows before, but will certainly be coming back to see their next one - Oklahoma- next year.The performance was at the delightful Swan Theatre, which is very comfortable and has very good views from all seats.
I have seen a number of Spamalot productions, both professional and amateur, and I am delighted that this was of a very good standard.The principal performers were excellent and were very well supported by a medium sized ensemble.
There were some very talented singers and dancers in this cast and in particular I was very impressed with the male principals and ensemble members, whose standard of tap dancing was excellent.
The staging of the show was very good and the set and props were good and stayed, in the main, consistent with the West End Production of the show.The special effects, sound, lighting and stage management was very good. The costumes were very colourful and good to look at. The set was very well designed and worked well.
The band was first class and accompanied the performers sensitively and there was never a problem hearing sung or spoken words.There was an enthusiastic standing ovation at the end of the show.
Spamalot is a joyful show with fabulous songs, dynamic dancing, and a very funny script. It provides audiences with a show that lifts the spirit and generates wide smiles at the end. This company obviously understood that and gave strong performances that absolutely hit the entertaining spot!
My only slight disappointment was that the original "Jewish" version of 'You won't succeed on Broadway' was replaced by a more pc version. It was very well written and performed, but I still like the original version best.
Well done to the Director, Musical Director, Choreographer and Stage Manger who should be very proud of what this excellent cast produced last night.
Dracula
National Tour
Theatre Royal Nottingham
October 9th 2018
If you are a fan of Gothic Horror, the story of Dracula, or just being made to jump every now and again this is most certainly a production for you.
The story of the arch vampire who journeys to England, is shipwrecked off Whitby and then goes on a rampage of wanten blood sucking is I suppose pretty well known. However despite this version being closely related to the original story it had a fresh and exciting feel.
There was a strong cast featuring Philip Bretherton as Van Helsing, Cheryl Campbell as lady Reinfield, Glen Fox as Count Dracula, Jessica Webber as Lucy, Andrew Horton as Jonathan, Charlotte Gosling as Vixen, Evan Milton as Dr. Seward, Jen Holt as Fanny, and Olivia Swann as Mina. There was a supporting and understudy cast featuring Stuart Angell, Henry Maynard, Benedict Smith, Marina Stoimenova and Ellen Verenieks.
There were excellent special effects and illusions produced by Ben Hart with great lighting and sound by Paul Ewing.
I liked the very metallic set that was very well used and changed very smoothly and quickly. This kept the play moving very quickly.
The Director, Eduard Lewis, certainly brought this Gothic masterpiece alive on the stage and kept me on the edge of my seat for much of the performance.
It is hard to write a review on a show like this as it would be very easy to give away much of what happens on stage and that would be unfair. My advice would be to get along to the Theatre Royal and see it for your self. I am sure you will not be disappointed.
Made in Dagenham
The Erewash Musical Society
Duchess Theatre, Long Eaton
October 4th
I enjoyed Made in Dagenham tonight at the Duchess Theatre. Once again The Erewash Musical Society have produced a quality production.
There were many very good performances from a large cast who were obviously enjoying what they were doing on stage. They were very well appreciated by the capacity audience.
Well done to everyone involved in the production - cast, crew, musicians, production team, technincal team and front of house staff.
ou can get a flavour of how good this show was last night at the Duchess Theatre in Long Eaton by reading Kev Castle's excellent review below plus my general comments. As President of EMS I leave the main comments on the show to independent reviewers like Kev. However for the record I want to say well done to the large cast and production team. They all deserve a mention for their excellent performances.
Rebecca Charnley (Rita), Simon Parker (Eddie),
Maria Lawrence (Connie), Richard Comfort (Monty), Laurie Trott (Beryl), Richard Dawson (Sid),
Lydia Page (Sandra), Ross Lowe (Bill),
Emily Oakden (Clare), Martin Lewis (Barry +Civil Servant+Cortina Man), Clare Kay (Cass),
James Bowden (Mr. Hopkins),
Gary Lever (Mt Tooley +Mr Buckton),
Andy Honman (Ron +Civil Servant),
Alex Grosse (Gregory), Louise O'Boyle (Lisa),
Keith Butcher (Harold Wilson),
Fiona Wright (Barbara Castle),
Oli Hickling and James O'Boyle (Graham),
Katie Fitzpatrick and Lilly Dallard (Sharon),
Gary Fowkes (Chubby), Megan Asher,
Natalie Austen, Kay Buck, Maryanne Cameron,
Emma Collins, Anna fitzpatrick, Gary Fowkes,
Jane Freeman, Sue Hagan, Andrea Kemish,
Kathi Ludlow, Karen Robbins, Ellie Simmonds, Meg Tapp, Giselle Tavener, Harvey Tavener, Clare Tosker,
Louisa Ward.
The show was Directed by Chrissie Oakden, Choreographed by Alex Tavener and Musically Directed by Sam Griffiths and Dave Dallard.
The Stage Manager Mark Robbins who along with Bill Robbins also created the set. There was also a very hard working and efficient stage crew. The Sound, Lighting and Projections were by Dave Martin, Matthew Cook and Dave Dallard.
The Costumes and Props were cordinated by
Mina Machin, Helen Munns and Tyna Burnett.
The Front of House Manager was Rachel Bates.
Because of the above all went very smoothly and created yet another first class production from EMS.
Thanks also go to EMS members and friends who contributed in many ways.
There are very few tickets left for the remaining performances which is not suprising!
Abigail's Party and Abi
National Tour
Derby Theatre
October 3rd 2018
Really enjoyed Abigail's Party at Derby Theatre tonight and also the perofrmance of Abi that followed it. There were strong performances from Melanie Gutteridge as Beverley, Liam Bergin as Tony, Amy Downham as Angela, Christopher Staines as Laurence and Susie Emmett as Susan.
Despite being written in 1977 this is a suburban situation comedy of manners, and a satire on the aspirations and tastes of the new middle class that emerged in Britain in the 1970s. Well worth going to see.
It was followed by Abi a new play by Atiha Sen Gupta shed some insights into the Abigail we never see in Mike Leigh's play and explores the worls of teenagers today. There was brilliant acting from Safiyya Ingar. Again this is a good play to go and see.
Strictly Musicals at Trent College.
Long Eaton Operatic Society
Trent College
September 29th
I really enjoyed the evening and the choice of varied songs from a selection of great musicals was excellent.The Long Eaton Operatic Society has been producing shows for many years and now, of course, also has a youth group. It was wonderful tonight to see performers of all ages (11 to 82) working together and providing us all with quality entertainment. I liked very much the way young and older members were integrated into many numbers.
As this was a concert rather than a single musical production it was possible to give everyone the opportunity to perform. And perform they certainly did. It was obvious from the start that the cast were really enjoying themselves on stage as much as we were in the audience.
The choice of musicals included classics such as My Fair Lady, along with rock shows such as Rock of Ages and School of Rock (a great scene with the youth group and some older ones by the way) plus popular songs from Mamma Mia and the most popular show ever in the West End, Les Miserables. At this point I will say that Les Mis has never been one of my favourites but tonight I really enjoyed the way LEOs performed some of the best songs from the show brilliantly both with soloists and the whole company. The final song in the medley, One Day More, certainly brought shivers down my spine and that doesn’t happen very often.
I am deliberately not mentioning individual acts tonight as this was very much a whole society production which worked so well because there was a strong feeling of everybody being in it together. Therefore because they were all so good I must mention everyone.
Abi Barker, Kate Beer, Alison Brown, Sandra Cartwright, Jenny Carty, Rob Chilton, Grace Collishaw, Emily Corner, Grace Deakin, Phil Deakin, John Fox, Adam Guest, Sheridan Halton, Eleanor Harvey, Kheenan Jones, Kathi Ludlow, Lottie Ludlow, Emma Lowe, Jill Marriott, Matthew McAuley, Robert McAuley, Phoebe Mellor, Tony Newton, Hannah Pettit, Sammy Platkiw, Bella Ridgeway, Lilly Simons-Clark, Issy Smales, Billy Sweet, Lydia Thacker, Naomi Thomas, Angela Walters, Louise Watkins, Lilli White, Jack Woolley.
The production team of Tom Watkins (MD), Emma Collins, Katie MacDonald, Sian Scattergood, Kheenan Jones and Louise Watkins did a superb job of putting everything together and making sure everything ran smoothly. The lighting and sound was excellent throughout.
The band sounded very good and accompanied the performers well with the sound balance being good.
Well done to all who, in whatever way, made this a great evening in the May Hall. I think it is good every now and again for musical societies to show all the talents of their members in this way and at the end tonight the audience showed their appreciation by giving the cast a very prolonged and enthusiastic ovation with many standing, including me.
This was an excellent Concert.
Their next productions are Hairspray in February (Youth Group) and Fame (Adult) next April. Make sure you buy your tickets as soon as you can as The May Hall tonight was almost full. The Long Eaton Operatic Society is very popular and tonight they showed why.
The Comedy about a Bank Robbery
National Tour
September 26th
Theatre Royal Nottingham
This is a very fast moving and energetic show with a very talented cast of multi skilled actors. This is a fine example to young and aspiring actors of how they need to be able to offer a triple or quadruple plus threat in terms of what skills they have in their work.
Singing, dancing, acting, physical performance, great timing and stamina were all evidenced by this cast tonight.
Their were fine performances from Sean Carey, Liam Jeavons, David Coomber, George Hannigan, Ashley Tucker, Damian Lynch, Jon Trenchard, Julia Frith and Killian Macardle.
Really good to see Tom Hopcroft our local performer on stage giving it his all tonight in what is his first professional performance with Mischief Theatre. Well done Tom.
To complete the cast the understudies including Tom were, Charlotte Duffy, Ellie Morris, Eddy Westbury and Ross Virgo.
The staging was very good and Lighting and sound was good.
The show does contain slapstick but is also well written although some of the jokes are silly they still made me and many others laugh. There were also some clever one liners and as I said earlier I am sure the Two Ronnies would have enjoyed using them in some of their sketches. The physical jokes were very impressive but I can say no more about them.
High energy, fast moving and funny. A show that I am sure many will enjoy. Technically a difficult show I guess but the result was often impressive. A good night out at the theatre.
Macbeth
Bear Left Theatre Company
The Bonnington Theatre
September 22nd
The well known "Scottish Play" concerns Macbeth, a brave and loyal Thane to King Duncan, whose behaviour is changed when witches tell him that he will become king himself. Overcome by ambition and greed and with his wife's incitement, Macbeth kills King Duncan and takes the throne. He is then driven to further destruction and becomes wracked by fear, guilt and paranoia.
This version, produced by the Bear Left Theatre Company explored the psychological side of this well known tragedy, with no reliance on special effects or complicated staging. The Director, Sally Nix wrote on their website "I want to bring Macbeth to a new audience, and maybe give those familiar with it something new to think about. Set in a world where the medieval and modern mix, our bare staging relies on costumes and characters to set the scene."
From the start of this production we were drawn into an atmosphere of darkness and menace from which there was no relief. Cleverly, the initial sound effects of whispered and garbled mutterings lasted just long enough to be eerily uncomfortable, setting a dark and mystical tone. The stark, almost anatomical imagery of a hollow tree set the scene perfectly and very little other scenery was used or needed. From then on there was no let up: the pace was relentless as Macbeth and his Lady began their descent into mayhem and madness, driven by their ambition.
The passion between Macbeth and Lady Macbeth is a catalyst for the action and this was recognised and ably drawn by both the director and the actors: a convincing portrayal of a powerful but destructive alliance.
Robert Goll as Macbeth gave a wonderful performance: intense, reflective, tortured, ruthless and thoroughly engaging. A highlight was when Banquo’s ghost ‘appeared’ and he convincingly conveyed the horror of what he could see, with no help from props. His perfect grasp of the blank verse and immaculate diction made his performance completely accessible and a joy to listen to.
Emma Burbage as Lady Macbeth was a convincing mix of wily femininity and ‘masculine’ ambition, ably expressing the power of the character’s emotions. We are horrified by her willingness to despatch those standing in her way and satisfied that the same intensity drives her self destruction.
I particularly enjoyed the performance of Lizzie Norris as King Duncan, another actor who has complete understanding of how to deliver blank verse, plus the ability to infuse her character with both warmth and strength. Gender blind casting can be a challenge for an audience, but when the performance is as good as Lizzie’s we only see the character and become fully immersed in the delivery of the lines.
It was refreshing to see a new approach to the witches: all three being embodied in one entity, voiced beautifully by Fiona Shore. As this production relied on atmosphere and left the supernatural questions unanswered, it was ideal to be unspecific about the witches and emphasise the power of suggestion on the human mind.
There is no doubt that Sally gathered an excellent ensemble for this play and all must be congratulated for taking on the huge commitment of line learning and text analysis that such a production demands. Everything moved very swiftly with no lapses in action, which requires very tight direction and intense concentration from everyone involved.
Very well done to Kynan Wells (Malcolm), Arun Hayes (Fleance and Donalbain), Sally Nix (Banquo), Steve Mitchell (Macduff), Samantha Badman (Ross) and Gerard Hesketh (Various). Hatty Hollowell shared the role of Banquo with Sally but did not perform the evening I was there.
Many members of the cast played multiple parts and at times I was confused over which character they were playing. However, this kept me concentrating and was quickly resolved as each scene progressed. Costumes were a pleasing and well chosen mix of traditional and modern, reminding us that Shakespeare is the master of expressing the human condition, regardless of century. Passion, ambition, ruthlessness and the corrosive power of guilt never change.
I am not a great Shakespeare fan, but I did enjoy this production and found it really accessible. Bear Left Theatre are making quite a name for themselves locally and tonight they showed what they are capable of and an obvious desire to grow creatively.
The Merry Wives of Windsor
Royal Shakespeare Company
Royal Shakespeare Theatre, Stratford on Avon
September 13th 2018
The Merry Wives has just finished at the RSC here in Stratford. Act 2 was fabulous with a spectacular ending to the play. I really enjoyed it but hesitate to review it as Shakespeare is not my forte but..... from the point of view of a simple theatre goer I can just say I loved every minute of it.
The experience of watching some of the best actors in the country at one of the best venues is one that I recommend to everyone. Today has proved to me that Shakespeare can be made very accessible to everyone. I honestly did understand what was going on and was thrilled with the acting, the production, the set and the incidental music - it was excellent.
The production certainly brought out the comedy of the writing and of the action. I understand there are Cinema presentations live from here which will be well worth seeing but personally I don’t think you can beat the real experience of being here in person.
The RSC in Stratford is such a special place, and if you have not experienced the magic of the RSC and the theatre then you are certainly missing out and should come along at some time. This comedy of the bard is, I think, a very good one to see particularly if like me you have found Shakespeare difficult in the past.
This production certainly isn’t. It is fresh timeless very funny and so well produced and acted. A wonderful afternoon here in Stratford and one I will remember for a very long time.
Shrek, The Musical
National Tour
Theatre Royal, Nottingham
September 12th 2018
Shrek is a very colourful and spectacular production which will appeal to all the family. It is a very funny show as well as being musically very good.
The costumes and make up is fantastic and the visual effects are brilliant. I won’t spoil it by saying what they are. The cast is brilliant with Steffan Harri as Shrek, the iconic Scottish ogre, Amelia Lily as a wonderful Princess Fiona, Marcus Ayton as the hilarious donkey and Samuel Holmes as a great Lord Farquaad. Love his characterisations.
Surrounding them is a wonderful ensemble who play all the other parts. It has been said that Shrek the Musical has some of the best ensemble musical numbers within musical theatre and certainly so far tonight I am thinking that this might just be so.
It was a fabulous show all round with great performances, fabulous costumes, excellent sound and lighting and outstanding stage management.
This is certainly one to go and see and would, I am certain be suitable for children of all ages up to 120. I really enjoyed it and the sustained ovation at the end was well deserved.
National Tour
Theatre Royal, Nottingham
September 12th 2018
Shrek is a very colourful and spectacular production which will appeal to all the family. It is a very funny show as well as being musically very good.
The costumes and make up is fantastic and the visual effects are brilliant. I won’t spoil it by saying what they are. The cast is brilliant with Steffan Harri as Shrek, the iconic Scottish ogre, Amelia Lily as a wonderful Princess Fiona, Marcus Ayton as the hilarious donkey and Samuel Holmes as a great Lord Farquaad. Love his characterisations.
Surrounding them is a wonderful ensemble who play all the other parts. It has been said that Shrek the Musical has some of the best ensemble musical numbers within musical theatre and certainly so far tonight I am thinking that this might just be so.
It was a fabulous show all round with great performances, fabulous costumes, excellent sound and lighting and outstanding stage management.
This is certainly one to go and see and would, I am certain be suitable for children of all ages up to 120. I really enjoyed it and the sustained ovation at the end was well deserved.
Spring Awakening
Regis Theatre Company
Duchess Theatre
September 8th 2018
This is not a musical that sends you out of the theatre singing with joy because it is, at times, very dark, powerful and disturbing. However, it does make you think and certainly explores the many facets of growing up that most of us go through to some degree.
Despite the darkness there are some wonderful songs and even moments of comedy. Songs like “Mama Who Bore Me” “And then there were none” “The Guilty Ones” “Totally Fucked” and “Those You’ve Know.”
Ollie Turner and Matt Powell have certainly gathered together a very talented group of local actors for this production and there were no weak performances. The choreography by Matt was modern, very exciting and often powerful.
Many of the parts in this production must be very difficult to play and might also be quite unnerving especially for young actors. However, Ollie has undoubtedly worked hard to encourage the actors to inhabit their roles with understanding, care and sensitivity. The intensity of the story is carried forward through the superb acting and singing abilities of everyone on stage. There is quite a lot of dialogue to add to the songs.
This is very much an ensemble piece within which there were many powerful performances. The cast were;
Ruth Kniveton (Wendla) and Paddy Stafford (Melchior), Oliver Wheddon, (Otto), Andrew Bould (Ernst), Hattie Kemmish (Martha), Kheenan Jones (Georg), Tammie Morgan (Ilse), Jack Readyhoof (Moritz), Anna McAuley (Anna), Molly Hewitt-Richards (Thea), Ruby Crawford (Greta), Sky Marsden (Melita), Matt Powell (Hanschen), Joe Morley (Bobbi), Adam Guest, Graham Buchanan, Milly Shawcross, Louise McGowan and Verna Bayliss.
The band was excellent and the Musical Director Tom Watkins is to be congratulated for gathering together such excellent musicians and then ensuring that they accompanied the performers with great sensitivity. The balance between the band and the performers was just right. The standard of musical performance was very high throughout. The final whole cast song “The Song of Purple Summer was so beautifully sung that it left the audience silent for a moment before breaking into enthusiastic applause and a standing ovation.
Lighting, sound and staging were very good and enhanced the production in so many ways. The scenery was effective as was the use of lighting effects between scenes.
I really enjoyed seeing Spring Awakening in London and was worried it would not be possible to produce it locally. I am very glad to sat that I need not have worried as I am in awe of how good Regis’ production was. This production was outstanding and I would say equalled the professional version I saw in the West End.
Well done to all involved. The Regis Theatre Company are certainly gaining quite a reputation for outstanding productions of which Spring Awakening is another shining example.
Regis Theatre Company
Duchess Theatre
September 8th 2018
This is not a musical that sends you out of the theatre singing with joy because it is, at times, very dark, powerful and disturbing. However, it does make you think and certainly explores the many facets of growing up that most of us go through to some degree.
Despite the darkness there are some wonderful songs and even moments of comedy. Songs like “Mama Who Bore Me” “And then there were none” “The Guilty Ones” “Totally Fucked” and “Those You’ve Know.”
Ollie Turner and Matt Powell have certainly gathered together a very talented group of local actors for this production and there were no weak performances. The choreography by Matt was modern, very exciting and often powerful.
Many of the parts in this production must be very difficult to play and might also be quite unnerving especially for young actors. However, Ollie has undoubtedly worked hard to encourage the actors to inhabit their roles with understanding, care and sensitivity. The intensity of the story is carried forward through the superb acting and singing abilities of everyone on stage. There is quite a lot of dialogue to add to the songs.
This is very much an ensemble piece within which there were many powerful performances. The cast were;
Ruth Kniveton (Wendla) and Paddy Stafford (Melchior), Oliver Wheddon, (Otto), Andrew Bould (Ernst), Hattie Kemmish (Martha), Kheenan Jones (Georg), Tammie Morgan (Ilse), Jack Readyhoof (Moritz), Anna McAuley (Anna), Molly Hewitt-Richards (Thea), Ruby Crawford (Greta), Sky Marsden (Melita), Matt Powell (Hanschen), Joe Morley (Bobbi), Adam Guest, Graham Buchanan, Milly Shawcross, Louise McGowan and Verna Bayliss.
The band was excellent and the Musical Director Tom Watkins is to be congratulated for gathering together such excellent musicians and then ensuring that they accompanied the performers with great sensitivity. The balance between the band and the performers was just right. The standard of musical performance was very high throughout. The final whole cast song “The Song of Purple Summer was so beautifully sung that it left the audience silent for a moment before breaking into enthusiastic applause and a standing ovation.
Lighting, sound and staging were very good and enhanced the production in so many ways. The scenery was effective as was the use of lighting effects between scenes.
I really enjoyed seeing Spring Awakening in London and was worried it would not be possible to produce it locally. I am very glad to sat that I need not have worried as I am in awe of how good Regis’ production was. This production was outstanding and I would say equalled the professional version I saw in the West End.
Well done to all involved. The Regis Theatre Company are certainly gaining quite a reputation for outstanding productions of which Spring Awakening is another shining example.
Legally Blonde
Derby Youth Theatre
Derby Theatre
September 7th 2018
As I suspected from previous productions by DYT this one was excellent in all respects. A very hard working and talented cast were on fire since the curtain rose. The production was exciting and full of energy. The work of the ensemble including a fabulous “Greek Chorus” was a joy to watch.
Megan Sadler was a wonderful Elle Woods and Ryan Wiggins a superb Emmett Forest. However, the other principals were very strong indeed.
There was such professionalism on this stage tonight with no weak performances. Supreme confidence was the order of the day.
Lindsey Greasley as Paulette sang the Irish song so well she was given a very loud and sustained round of applause.
Will Evans as Professor Callahan is very well cast and dominated the stage when he was performing. A very confident and professional performance.
I must emphasise that this is very much an ensemble show and the power of the production lies in the fact that they are so obviously well prepared. They are all completely absorbed in the story and what is happening on stage.
There was so much energy and commitment on stage from the whole cast who worked together very well. The principal actors were all very strong and the acting, singing and dancing was at an amazing standard. The staging was exciting and vibrant with great stage management and very efficient scene changes.Tonight Derby Youth Theatre once again showed that they can produce a show with so many mature and professional performances.
The standing ovation at the end of the show says it all as far as tonight’s audience is concerned and I was certainly on my feet with them all. There was very positive audience reactions throughout tonight’s performance.
This was an excellent production from a very talented company and the Director Holly Twells and her production team should be very pleased with their cast tonight. Well done to all who have been involved. This has been a great night at Derby Theatre.
Derby Youth Theatre
Derby Theatre
September 7th 2018
As I suspected from previous productions by DYT this one was excellent in all respects. A very hard working and talented cast were on fire since the curtain rose. The production was exciting and full of energy. The work of the ensemble including a fabulous “Greek Chorus” was a joy to watch.
Megan Sadler was a wonderful Elle Woods and Ryan Wiggins a superb Emmett Forest. However, the other principals were very strong indeed.
There was such professionalism on this stage tonight with no weak performances. Supreme confidence was the order of the day.
Lindsey Greasley as Paulette sang the Irish song so well she was given a very loud and sustained round of applause.
Will Evans as Professor Callahan is very well cast and dominated the stage when he was performing. A very confident and professional performance.
I must emphasise that this is very much an ensemble show and the power of the production lies in the fact that they are so obviously well prepared. They are all completely absorbed in the story and what is happening on stage.
There was so much energy and commitment on stage from the whole cast who worked together very well. The principal actors were all very strong and the acting, singing and dancing was at an amazing standard. The staging was exciting and vibrant with great stage management and very efficient scene changes.Tonight Derby Youth Theatre once again showed that they can produce a show with so many mature and professional performances.
The standing ovation at the end of the show says it all as far as tonight’s audience is concerned and I was certainly on my feet with them all. There was very positive audience reactions throughout tonight’s performance.
This was an excellent production from a very talented company and the Director Holly Twells and her production team should be very pleased with their cast tonight. Well done to all who have been involved. This has been a great night at Derby Theatre.
High Society
The Present Company
Derby Theatre
September 1st 2018
High Society is a musical comedy with a book by Arthur Kopit and music and lyrics by the great Cole Porter. Some updated or new lyrics were provided by Susan Birkenhead. It is based on Philip Barry's 1939 stage comedy, The Philadelphia Story and the subsequent 1956 musical film adaptation, which features Porter's songs.
The show includes most of the music featured in the movie, along with several songs selected from other Porter musicals.
Great songs include, "High Society," "Who Wants to Be a Millionaire?"
"I Love Paris," "True Love," "Just One of Those Things," "Well, Did You Evah!"
"You're Sensational," "It's All Right With Me," "Samantha" and more.
The plot centres on an uptight Oyster Bay socialite, who is planning to wed -for a second time- to an upright but pretentious executive, when her ex-husband arrives to disrupt the proceedings.
Although the musical adaptation dates from less than thirty years ago, it retains the style, charm and glamour of the film and the time in which it is set. This production by The Present Company had all three of those elements in spades; it looked and sounded wonderful.
As usual from this company there were some great and highly accomplished performances, from both the principals and ensemble.
Leading the cast with an excellent performance was Rachael-Louisa Bray, as the socialite Tracy. She is an accomplished actor, who ably portrayed the many aspects of this character, including a very entertaining depiction of being blind drunk. She has a captivating voice, which made all her songs a treat to listen to: her rendition of 'Once Upon a Time' was particularly lovely.
Her ex-husband Dexter was played by Jon Morris with just the right amount of smooth charm, pitching both the accent and dry humour of the character perfectly. He has a very good voice and I particularly enjoyed hearing him sing 'Samantha' and the beautiful duet "True Love," with Rachael.
Madison Naylor played Tracey's young sister, Dinah and really made the most of the mischief and fun in the character. She was a delight to watch as she observed and ridiculed the complicated relationships around her, balancing childish traits with a knowing insight. Her duet of 'I Love Paris' with Tracy was a highlight; I am sure we will see lots more of her talent in the future.
Craig Arme played the part that Bing Crosby played in the film, of Mike Connor. As usual his performance was polished and expressive, bringing depth, sensitivity and humour to the character. Many singing highlights included the wonderful 'You're Sensational' and the iconic duet with Dexter: "Well did you Ev'ah?'
I really enjoyed the performance of Alice Hands as Liz. She not only looked perfect for the part with her Thirties glamour but was a convincingly confident photographer who visibly softened as her story unfolded. Alice's acting, diction and lovely singing made her performance a pleasure throughout.
Also playing their parts well were Judith Hanson as a warm and lively Margaret; Lee Stephens as the amusingly befuddled and naughty Uncle Willy; Philip de Voil- who sang the touching 'I Worship You'- as the earnest and strait laced George and Gary Peake as a charmingly louche Seth.
The servants in this show play an important part both as a narration choir and as excellent scene shifters. They were very well directed, looked perfect and moved and sang well.
They were:
Joe Woffinden (Chester), Jack Warriner (Stanley), Warren Smith (Edmund), Toni King (Peggy), Janette de Voil (Polly), Kiah Smith (Pru), Stephie Dennett (Milly)
There was also an excellent ensemble that sounded really good. They were:
Ruth Astley, Freda Capple, Julie Fletcher, Margaret Freeman, Celia Grantham, Louisa Hatton, Ann Morley, Jayne Rawlinson, James Ash, Trevor Fry, Peter Gemmell and Richard Warriner.
The Artistic Director, Jean Gemmell, is to be congratulated for ensuring that the show looked wonderful- a perfect snapshot of High Society. She made sure that the various groups within the ensemble were positioned well on the stage, often forming a lovely tableau. She also choreographed the show with style and precision: 'Let's Misbehave' was a highlight and every other set piece was well executed.
The sumptuous set was pleasingly evocative of the time and setting, as were the costumes, supervised by Marion Fisher. They were very stylish and ranged from simple day wear to sophisticated evening dress.
The orchestra, conducted by the Musical Director Morris Fisher, was excellent and sounded lovely. There was no over dominance and that meant that the excellent singing could be heard clearly.
The lighting by David Marsden was appropriate and well designed and the sound by Simon Birchall was well balanced and clear. Stage Management by Michael Smith, Richard Warriner and Keith Drage was well organised, speedy and almost invisible.
Once again, the Present Company has produced musical theatre of a high standard. Well done to all concerned; I'm looking forward to their next production, which is a new musical 'A Sentimental Affair', at the Guildhall theatre next February.
The Present Company
Derby Theatre
September 1st 2018
High Society is a musical comedy with a book by Arthur Kopit and music and lyrics by the great Cole Porter. Some updated or new lyrics were provided by Susan Birkenhead. It is based on Philip Barry's 1939 stage comedy, The Philadelphia Story and the subsequent 1956 musical film adaptation, which features Porter's songs.
The show includes most of the music featured in the movie, along with several songs selected from other Porter musicals.
Great songs include, "High Society," "Who Wants to Be a Millionaire?"
"I Love Paris," "True Love," "Just One of Those Things," "Well, Did You Evah!"
"You're Sensational," "It's All Right With Me," "Samantha" and more.
The plot centres on an uptight Oyster Bay socialite, who is planning to wed -for a second time- to an upright but pretentious executive, when her ex-husband arrives to disrupt the proceedings.
Although the musical adaptation dates from less than thirty years ago, it retains the style, charm and glamour of the film and the time in which it is set. This production by The Present Company had all three of those elements in spades; it looked and sounded wonderful.
As usual from this company there were some great and highly accomplished performances, from both the principals and ensemble.
Leading the cast with an excellent performance was Rachael-Louisa Bray, as the socialite Tracy. She is an accomplished actor, who ably portrayed the many aspects of this character, including a very entertaining depiction of being blind drunk. She has a captivating voice, which made all her songs a treat to listen to: her rendition of 'Once Upon a Time' was particularly lovely.
Her ex-husband Dexter was played by Jon Morris with just the right amount of smooth charm, pitching both the accent and dry humour of the character perfectly. He has a very good voice and I particularly enjoyed hearing him sing 'Samantha' and the beautiful duet "True Love," with Rachael.
Madison Naylor played Tracey's young sister, Dinah and really made the most of the mischief and fun in the character. She was a delight to watch as she observed and ridiculed the complicated relationships around her, balancing childish traits with a knowing insight. Her duet of 'I Love Paris' with Tracy was a highlight; I am sure we will see lots more of her talent in the future.
Craig Arme played the part that Bing Crosby played in the film, of Mike Connor. As usual his performance was polished and expressive, bringing depth, sensitivity and humour to the character. Many singing highlights included the wonderful 'You're Sensational' and the iconic duet with Dexter: "Well did you Ev'ah?'
I really enjoyed the performance of Alice Hands as Liz. She not only looked perfect for the part with her Thirties glamour but was a convincingly confident photographer who visibly softened as her story unfolded. Alice's acting, diction and lovely singing made her performance a pleasure throughout.
Also playing their parts well were Judith Hanson as a warm and lively Margaret; Lee Stephens as the amusingly befuddled and naughty Uncle Willy; Philip de Voil- who sang the touching 'I Worship You'- as the earnest and strait laced George and Gary Peake as a charmingly louche Seth.
The servants in this show play an important part both as a narration choir and as excellent scene shifters. They were very well directed, looked perfect and moved and sang well.
They were:
Joe Woffinden (Chester), Jack Warriner (Stanley), Warren Smith (Edmund), Toni King (Peggy), Janette de Voil (Polly), Kiah Smith (Pru), Stephie Dennett (Milly)
There was also an excellent ensemble that sounded really good. They were:
Ruth Astley, Freda Capple, Julie Fletcher, Margaret Freeman, Celia Grantham, Louisa Hatton, Ann Morley, Jayne Rawlinson, James Ash, Trevor Fry, Peter Gemmell and Richard Warriner.
The Artistic Director, Jean Gemmell, is to be congratulated for ensuring that the show looked wonderful- a perfect snapshot of High Society. She made sure that the various groups within the ensemble were positioned well on the stage, often forming a lovely tableau. She also choreographed the show with style and precision: 'Let's Misbehave' was a highlight and every other set piece was well executed.
The sumptuous set was pleasingly evocative of the time and setting, as were the costumes, supervised by Marion Fisher. They were very stylish and ranged from simple day wear to sophisticated evening dress.
The orchestra, conducted by the Musical Director Morris Fisher, was excellent and sounded lovely. There was no over dominance and that meant that the excellent singing could be heard clearly.
The lighting by David Marsden was appropriate and well designed and the sound by Simon Birchall was well balanced and clear. Stage Management by Michael Smith, Richard Warriner and Keith Drage was well organised, speedy and almost invisible.
Once again, the Present Company has produced musical theatre of a high standard. Well done to all concerned; I'm looking forward to their next production, which is a new musical 'A Sentimental Affair', at the Guildhall theatre next February.
Grease
Kristian Thomas Company
Duchess Theatre
August 27th 2018
"Grease" might be the word but a better one to describe this production is "Fantastic."
I have come to expect very high standards from The Kristian Thomas Company and this production last night was up with the rest I have seen.
Grease is a very popular musical, which demands a lot of great singing and powerfully performed dancing, with a sense of youthful excitement. All this was present last night.
At the heart of Grease is a romance between Danny Zuko and the sweet new girl in town, Sandy Dumbrowski. They had a secret romance in summer, but now back at school peer-pressure and friendship groups make their love a bit more complicated. Danny at first wants to maintain his cool dude status while also making demure Sandy his girl. As this story line unfolds we are treated to hit songs including 'Greased Lightnin', 'We Go Together', and 'Mooning', recalling the music of Buddy Holly, Little Richard and Elvis Presley. There are many other great songs as well.
'Greased Lightnin' would be a good alternative title for this production, as it's gloriously fast and furious, with some spectacular set pieces and astonishingly quick and clever costume changes. It's a visual feast: at times one doesn't know where to look, as there's so much going on and none of it should be missed.
This production doesn't so much tell a story, as invite the audience to experience the atmosphere at Rydell High at the beginning of a new semester. The story is explained through the songs and glimpses into the students' interactions, but it's the joyous and exciting dancing that leaves the biggest impression. There is a little bit of angst, but it's mostly delight, both in the time - which is evocatively recreated - and in being young.
This is very much an ensemble piece and it would be wrong to single out performances, as they are all perfectly cast and beautifully performed. The two groups of the Pink Ladies and the T-Birds have strong and very entertaining identities: within them the different characters have been carefully created, both physically and vocally. Some lovely solos from the characters in each group are vocal highlights of the show. Likewise, there has been attention to detail in the supporting characters, who all get their moment to shine.
The teamwork is also evident in the production, it must have taken not just a lot of imagination, but a lot of hardwork, commitment and risk taking to achieve this standard of performance. A lot was expected of the cast, from the director, choreographer and musical director, who must all have had a strong vision of how they wanted the action, dancing and music to come together. They must be thrilled at the standard that has been achieved.
There were great performances from Samuel Holden (Danny), Chloe Hopcroft (Sandy), Jessica Bridge (Rizzo), Stephen lambert (Kenickie), Shannon O'Donnell (Frenchie), Abby Riddell (Jan), Jinny Gould (Marty), Tom Simpson (Doody), Joe Millward (Roger), Benito Preite (Sonny), Charlotte Bushell (Patty) and Thomas James Martin (Eugene).
Supporting very well were Deborah McPherson (Miss Lynch), Ross Lowe (Vince Fontaine), Phil Stanley (Teen Angel), Maison Kelley (Johnny Casino), Becky Wrench (Cha-Cha), and Helen Perry (Grease Soloist).
This very talented and hard working enemble is completed by Alex Linscer, Becky Wrench, Charlotte Carridice, Chelsea Hawkins, Danielle Stanley, Emily May Corner, Emma Foley, Erin Keogh, Helen Perry, Lucas Young, Lydia Thacker and Tayla Evans.
The standard of singing, both ensemble and solos, was very high and the Musical Director, Tom Bond, has obviously worked hard with the whole cast to achieve this. The small band sounded great throughout. Well done to Matt Henderson (Keys), Jeff Widdowson (Bass), Laurie Covell (Sax) and Tom Bond (Drums).
There were many scene and costume changes during the show and the combination of lighting effects and an efficient stage crew led by Stage Manager, Rob Corner, ensured they were fast and unobtrusive. It can't have been easy to manoeuvre some of the impressive props, but this was done very smoothly.
I do have a small criticism that at times some scenes were, in my opinion, too dark and it was not always possible to see who was speaking. The lighting plot was complex and, for me, sometimes needed to have been brighter and simpler. However, the use of the back lights, side LEDs and front of stage lights was very effective. Equally there were a few minor sound problems, but I am sure these will be easily sorted.
I understand that all the performances are now sold out which is not surprising given the popularity of this show and the reputation of the Kristian Thomas Company.
Grease certainly is the word at the Duchess Theatre in Long Eaton this week and this is a rip roaring first production for the new season.
Well done to all concerned.
Kristian Thomas Company
Duchess Theatre
August 27th 2018
"Grease" might be the word but a better one to describe this production is "Fantastic."
I have come to expect very high standards from The Kristian Thomas Company and this production last night was up with the rest I have seen.
Grease is a very popular musical, which demands a lot of great singing and powerfully performed dancing, with a sense of youthful excitement. All this was present last night.
At the heart of Grease is a romance between Danny Zuko and the sweet new girl in town, Sandy Dumbrowski. They had a secret romance in summer, but now back at school peer-pressure and friendship groups make their love a bit more complicated. Danny at first wants to maintain his cool dude status while also making demure Sandy his girl. As this story line unfolds we are treated to hit songs including 'Greased Lightnin', 'We Go Together', and 'Mooning', recalling the music of Buddy Holly, Little Richard and Elvis Presley. There are many other great songs as well.
'Greased Lightnin' would be a good alternative title for this production, as it's gloriously fast and furious, with some spectacular set pieces and astonishingly quick and clever costume changes. It's a visual feast: at times one doesn't know where to look, as there's so much going on and none of it should be missed.
This production doesn't so much tell a story, as invite the audience to experience the atmosphere at Rydell High at the beginning of a new semester. The story is explained through the songs and glimpses into the students' interactions, but it's the joyous and exciting dancing that leaves the biggest impression. There is a little bit of angst, but it's mostly delight, both in the time - which is evocatively recreated - and in being young.
This is very much an ensemble piece and it would be wrong to single out performances, as they are all perfectly cast and beautifully performed. The two groups of the Pink Ladies and the T-Birds have strong and very entertaining identities: within them the different characters have been carefully created, both physically and vocally. Some lovely solos from the characters in each group are vocal highlights of the show. Likewise, there has been attention to detail in the supporting characters, who all get their moment to shine.
The teamwork is also evident in the production, it must have taken not just a lot of imagination, but a lot of hardwork, commitment and risk taking to achieve this standard of performance. A lot was expected of the cast, from the director, choreographer and musical director, who must all have had a strong vision of how they wanted the action, dancing and music to come together. They must be thrilled at the standard that has been achieved.
There were great performances from Samuel Holden (Danny), Chloe Hopcroft (Sandy), Jessica Bridge (Rizzo), Stephen lambert (Kenickie), Shannon O'Donnell (Frenchie), Abby Riddell (Jan), Jinny Gould (Marty), Tom Simpson (Doody), Joe Millward (Roger), Benito Preite (Sonny), Charlotte Bushell (Patty) and Thomas James Martin (Eugene).
Supporting very well were Deborah McPherson (Miss Lynch), Ross Lowe (Vince Fontaine), Phil Stanley (Teen Angel), Maison Kelley (Johnny Casino), Becky Wrench (Cha-Cha), and Helen Perry (Grease Soloist).
This very talented and hard working enemble is completed by Alex Linscer, Becky Wrench, Charlotte Carridice, Chelsea Hawkins, Danielle Stanley, Emily May Corner, Emma Foley, Erin Keogh, Helen Perry, Lucas Young, Lydia Thacker and Tayla Evans.
The standard of singing, both ensemble and solos, was very high and the Musical Director, Tom Bond, has obviously worked hard with the whole cast to achieve this. The small band sounded great throughout. Well done to Matt Henderson (Keys), Jeff Widdowson (Bass), Laurie Covell (Sax) and Tom Bond (Drums).
There were many scene and costume changes during the show and the combination of lighting effects and an efficient stage crew led by Stage Manager, Rob Corner, ensured they were fast and unobtrusive. It can't have been easy to manoeuvre some of the impressive props, but this was done very smoothly.
I do have a small criticism that at times some scenes were, in my opinion, too dark and it was not always possible to see who was speaking. The lighting plot was complex and, for me, sometimes needed to have been brighter and simpler. However, the use of the back lights, side LEDs and front of stage lights was very effective. Equally there were a few minor sound problems, but I am sure these will be easily sorted.
I understand that all the performances are now sold out which is not surprising given the popularity of this show and the reputation of the Kristian Thomas Company.
Grease certainly is the word at the Duchess Theatre in Long Eaton this week and this is a rip roaring first production for the new season.
Well done to all concerned.
Review of Legally Blonde
Spotlight Theatre
Nottingham Playhouse
July 15th 2018
Legally Blonde the musical is based on the novel by Amanda Brown and the 2001 film of the same name. It tells the story of Elle Woods, a sorority girl who enrols at Harvard Law School to win back her ex-boyfriend Warner. She discovers how her knowledge of the law can help others, and successfully defends exercise queen Brooke Wyndham in a murder trial.
Throughout the show, no one has faith in Elle Woods, but she manages to surprise them when she defies expectations while staying true to herself. The show has some great songs in it and is a joy to watch and listen too. The songs include "Omigod You Guys," "The Harvard Variations," "Blood in the Water" "Chip On My Shoulder," "So Much Better," "Whipped into Shape," "Bend and Snap," "Legally Blonde" and "Find My Way".
Ella Greenwood was superb in the leading role of Elle Woods: beautiful voice, energetic dancing and skilful acting, with bucketfuls of charm. She was very well supported by Jacob Fowler as a smoothly arrogant Warner Huntingdon III, Robert Goll as a wonderfully sleazy Professor Callaghan - who delighted with his solo Blood in the Water - and Patrick McCrystal as a very earnest and endearingly played Emmett Forrest. Laura Thurman was perfect as the fun and good hearted Paulette Bonafonte.
There are a number of other important parts played enthusiastically by Georgia Hodgett-Young (Brooke Wyndham), Alex Huntley (the UPS guy), Charlotte Howarth (Vivienne Kensington).
Bethany Wear (Margot), Grace Hodgett-Young (Serena), Laura Ellis (Pilar), Cassie Hall (Enid), Holly Neil (Chutney Wyndham), Stan Cook (Aaron Shultz), Matty Collins (Sundeep Agrawal Padomadon plus others), Tano Gangemi (Nikos), Matt Wesson (Carlos), and Tano Gangemi (Nikos).
Everyone played their parts engagingly and with complete conviction, showing how much work must have gone into character creation, expression and projection.
There was also a fabulous ensemble who sang and danced with an incredible level of energy, giving polished performances. They were:
Jess Gale, Katie Inglis, Emma Gregory, Lily Proudlove, Madi Smith, Zoe Turton, Stephanie Holmes, Soleil Quarless, Lauren Hodkin, Alison Sheppard, Adam Collishaw, Claire Collishaw, Charlie Evans, Joseph Smith, Daisy Whittle, Sophia Hepburn, Lucie Conroy, Thianna Cordell, Chiara DeVivo, Sorcha Molyneux, Rachel Smith, Olivia Swiss, Louis Barnes-Cupit, Adam Rhodes, Jonah Williams, Elissa Reeve, Hannah Buckley, Serena Eadon.
As always the Director, Amanda Hall, has produced a fast moving, dynamic and cohesive show with well honed performances from all of her cast. The cast, although large, were so well managed and purposeful that the stage never looked crowded.
The Musical Director, Geoff Burnhill, ensured that the standard of singing was first class and his band sounded very good indeed.
Jessica Royce's choreography was sparkling, every set of movements beautifully designed to express and enhance the action in the scene. I particularly liked the Omigod You Guys routine, which was very cleverly organised and the amusing Irish dance, which is always a highlight. It was great to watch the cast tackling often very complicated routines with skill, enthusiasm and joy.
Lights by Tom Mowat and Sound by Rob Kettridge were excellent and The Stage Manager, Bronwen Webster, and her stage crew changed scenes with tremendous efficiency. There were no delays throughout the show.
The two canine stars in the show, Rufus and Bruiser, were fabulous and well appreciated by the audience whenever they appeared on stage.
My only criticism of this lovely production is that there should have been more performances to allow more people to enjoy the experience of watching such a great show!
Spotlight Theatre
Nottingham Playhouse
July 15th 2018
Legally Blonde the musical is based on the novel by Amanda Brown and the 2001 film of the same name. It tells the story of Elle Woods, a sorority girl who enrols at Harvard Law School to win back her ex-boyfriend Warner. She discovers how her knowledge of the law can help others, and successfully defends exercise queen Brooke Wyndham in a murder trial.
Throughout the show, no one has faith in Elle Woods, but she manages to surprise them when she defies expectations while staying true to herself. The show has some great songs in it and is a joy to watch and listen too. The songs include "Omigod You Guys," "The Harvard Variations," "Blood in the Water" "Chip On My Shoulder," "So Much Better," "Whipped into Shape," "Bend and Snap," "Legally Blonde" and "Find My Way".
Ella Greenwood was superb in the leading role of Elle Woods: beautiful voice, energetic dancing and skilful acting, with bucketfuls of charm. She was very well supported by Jacob Fowler as a smoothly arrogant Warner Huntingdon III, Robert Goll as a wonderfully sleazy Professor Callaghan - who delighted with his solo Blood in the Water - and Patrick McCrystal as a very earnest and endearingly played Emmett Forrest. Laura Thurman was perfect as the fun and good hearted Paulette Bonafonte.
There are a number of other important parts played enthusiastically by Georgia Hodgett-Young (Brooke Wyndham), Alex Huntley (the UPS guy), Charlotte Howarth (Vivienne Kensington).
Bethany Wear (Margot), Grace Hodgett-Young (Serena), Laura Ellis (Pilar), Cassie Hall (Enid), Holly Neil (Chutney Wyndham), Stan Cook (Aaron Shultz), Matty Collins (Sundeep Agrawal Padomadon plus others), Tano Gangemi (Nikos), Matt Wesson (Carlos), and Tano Gangemi (Nikos).
Everyone played their parts engagingly and with complete conviction, showing how much work must have gone into character creation, expression and projection.
There was also a fabulous ensemble who sang and danced with an incredible level of energy, giving polished performances. They were:
Jess Gale, Katie Inglis, Emma Gregory, Lily Proudlove, Madi Smith, Zoe Turton, Stephanie Holmes, Soleil Quarless, Lauren Hodkin, Alison Sheppard, Adam Collishaw, Claire Collishaw, Charlie Evans, Joseph Smith, Daisy Whittle, Sophia Hepburn, Lucie Conroy, Thianna Cordell, Chiara DeVivo, Sorcha Molyneux, Rachel Smith, Olivia Swiss, Louis Barnes-Cupit, Adam Rhodes, Jonah Williams, Elissa Reeve, Hannah Buckley, Serena Eadon.
As always the Director, Amanda Hall, has produced a fast moving, dynamic and cohesive show with well honed performances from all of her cast. The cast, although large, were so well managed and purposeful that the stage never looked crowded.
The Musical Director, Geoff Burnhill, ensured that the standard of singing was first class and his band sounded very good indeed.
Jessica Royce's choreography was sparkling, every set of movements beautifully designed to express and enhance the action in the scene. I particularly liked the Omigod You Guys routine, which was very cleverly organised and the amusing Irish dance, which is always a highlight. It was great to watch the cast tackling often very complicated routines with skill, enthusiasm and joy.
Lights by Tom Mowat and Sound by Rob Kettridge were excellent and The Stage Manager, Bronwen Webster, and her stage crew changed scenes with tremendous efficiency. There were no delays throughout the show.
The two canine stars in the show, Rufus and Bruiser, were fabulous and well appreciated by the audience whenever they appeared on stage.
My only criticism of this lovely production is that there should have been more performances to allow more people to enjoy the experience of watching such a great show!
An Officer and a Gentleman
National Tour
Theatre Royal
July 23rd 2018
The show has finished with a standing ovation. It wasexcellent and the story came together well. It was obvious from audience reaction that on the whole they were very absorbed in the action.
There many well known 80’s songs and they were brilliantly performed. The show has been described as a “Juke Box Musical” but I felt this had a very much stronger story than many others of the genre.
The whole cast were superb and the ensemble was as strong as the principal players.
The excellent cast was:
Emma Williams (Paula), Jonny Fines (Zack), Ray Shell ( Emil), Ian Macintosh (Sid), Jessica Daley (Lynette Pomeroy), Keisha Atwell (Casey Seeger), Andy Barke (Louis), Maisey Bawden (June), Darren Bennett (Byron), David Burrows (Simpson/Joe), James Darch (Troy), Vanessa Fisher (Sandra), Aimee Hodnetf (Sophia), George Ioannides (Eduardo Cortez), Nathanael Landskroner (Craig), Joe Maxwell (Fin), Kieran Mcgginn (Jacobson), Corinna Powlesland (Aunt Bunny), Rachel Stanley (Esther), Rhys Whitfield (Vernon) and Michael James Stewart ( Swing and Dance captain)
The set was very impressive using a mixture of solid scenery and exciting projections on 3 sides of the stage. Set movement was very impressive and mainly carried out by the cast.
The show moved very quickly and was full of exciting movement and dance. The Director was Nikolai Foster and the choreographer was Kate Prince.
The Band led by Musical Director was good and it was nice to see them in the pit.
The lighting was good but I still feel overall the sound was a little too loud for my liking. The sound during the dialogue was however crystal clear.
This was a very enjoyable show full of great songs that were performed well. The acting and characterisations were spot on. I suspect that many in the audience had enjoyed the film and were therefore fans of the story and its iconic ending. However I am sure it stands on its own as a musical and can be enjoyed even if you have not seen the film or read the book as I haven’t.
The theatre was very full tonight and is similar I believe throughout its run this week.
It continues at the Theatre Royal until Saturday. I suspect it may eventually open in London. We will see but going by audience reaction tonight I think it stands a good chance.
National Tour
Theatre Royal
July 23rd 2018
The show has finished with a standing ovation. It wasexcellent and the story came together well. It was obvious from audience reaction that on the whole they were very absorbed in the action.
There many well known 80’s songs and they were brilliantly performed. The show has been described as a “Juke Box Musical” but I felt this had a very much stronger story than many others of the genre.
The whole cast were superb and the ensemble was as strong as the principal players.
The excellent cast was:
Emma Williams (Paula), Jonny Fines (Zack), Ray Shell ( Emil), Ian Macintosh (Sid), Jessica Daley (Lynette Pomeroy), Keisha Atwell (Casey Seeger), Andy Barke (Louis), Maisey Bawden (June), Darren Bennett (Byron), David Burrows (Simpson/Joe), James Darch (Troy), Vanessa Fisher (Sandra), Aimee Hodnetf (Sophia), George Ioannides (Eduardo Cortez), Nathanael Landskroner (Craig), Joe Maxwell (Fin), Kieran Mcgginn (Jacobson), Corinna Powlesland (Aunt Bunny), Rachel Stanley (Esther), Rhys Whitfield (Vernon) and Michael James Stewart ( Swing and Dance captain)
The set was very impressive using a mixture of solid scenery and exciting projections on 3 sides of the stage. Set movement was very impressive and mainly carried out by the cast.
The show moved very quickly and was full of exciting movement and dance. The Director was Nikolai Foster and the choreographer was Kate Prince.
The Band led by Musical Director was good and it was nice to see them in the pit.
The lighting was good but I still feel overall the sound was a little too loud for my liking. The sound during the dialogue was however crystal clear.
This was a very enjoyable show full of great songs that were performed well. The acting and characterisations were spot on. I suspect that many in the audience had enjoyed the film and were therefore fans of the story and its iconic ending. However I am sure it stands on its own as a musical and can be enjoyed even if you have not seen the film or read the book as I haven’t.
The theatre was very full tonight and is similar I believe throughout its run this week.
It continues at the Theatre Royal until Saturday. I suspect it may eventually open in London. We will see but going by audience reaction tonight I think it stands a good chance.
Review of Oliver - Creatio Theatre Arts - Derby Theatre - July 6th
Oliver! is a musical adaptation of Charles Dickens's classic tale of the orphan who runs away from an orphanage, joins a group of boys and is then trained to be a pickpocket by an old Jew, Fagin. It is the first musical adaptation of Dicken's book to become a stage hit. It was written by Lionel Bart and was his most successful work.
One of the joys of this ever-popular musical is the large number of tuneful and well known songs which include "Food Glorious Food," "Where is Love," "I'd Do Anything," "Consider Yourself," "Be Back Soon," "As Long as he needs me," Oom Pah Pah," "It's a fine life." Who will buy" and "Reviewing the Situation."
From the start of the show it was obvious that this was going to be a very well produced and performed show. There was huge energy from the young cast as they entered the stage from all entrances including the back of the auditorium, while singing, "Food Glorious Food. This was an excellent start and the cast produced a wall of sound that was very impressive indeed.
Creatio Arts gathered together a very talented cast indeed for this production.
Taking the lead role as Oliver was Daniel Moore. What a performer, and at only 12 years old he showed huge confidence from the moment he stepped onto the stage. He sang and danced brilliantly and was always reacting to what was happening on the stage. A star in the making?
Oscar Hewitt - Richards played the Artful Dodger and what a charmer he is. He reminded me of Jack Wild in the film version of the show. He has a twinkle in his eye and inhabited the part with a maturity and engaging confidence that made him such a joy to watch.
Lucas Young was superb as Fagin. He made the part very much his own. I have seen him in a number of productions, but I think this was his best part so far. It was hard to recognise him, this was not just because of his makeup and costume, but also in his movement, voice and manner. He was thoroughly convincing and hugely entertaining as the scrofulous elder of the thieves' den. His rendition of Reviewing the Situation was sensational. The expression he put into it not only amused, but also brought a tear or two to my eyes. By the end he had the audience in the palm of his hand.
Nancy was played by Grace Orgill who was a revelation: she has a very powerful voice and a wide musical range. Her rendition of "As Long as he needs me" was beautiful and very emotional. On the other hand, the comic song "Oom Pah Pah" was great fun to listen to. Her acting is very natural and she managed to bring out the fun and vitality of the woman, along with the sadness and fear that characterises her relationship with Bill Sykes. She was as good a Nancy as I have seen.
Bill Sykes, played by Dom Gibbs, was scary in the extreme. He combined physical bullying with a looming, quiet menace. This brought a hush to the auditorium on a number of occasions.
Steve Powell as Mr Bumble was excellent, especially in his scenes with Molly Hewitt-Richards who played Widow Corney: a wonderful and very funny combination.
There were other excellent performances from:
Tommie Morgan (Bet), Reuben Gotts (Mr Sowerby,) Freya Primrose (Mrs Sowerby), Molly Haines (Charlotte),
Bailey West (Noah Claypole), Ebony Tinkler (Mrs Bedwin), Tom Judson (Dr Grimwig), Nadia Potter (Old Sally) and Kheenon Jones (Mr Brownlow).
There was a large supporting ensemble, who lit up the stage whenever they appeared. I was very impressed by the energy, involvement and commitment from them all. Some played the workhouse inhabitants and Fagin's gang, plus other minor parts. Their dancing choreographed by Charli Richardson-Astle was appropriate, very exciting and well performed.
They were:
Alice Patton, Ben Hewitt-Richards, Cameron Bruce,
Cerys Jones, Charlotte Crane, Dan Evans, Daniel Lane,
Dom Wood, Ella Foord, Emmy Jones, Evie Burke,
Freya Huddleston, Freya Tunnicliffe, Grace Backhouse, Holly Basckombe, Joey Greener, Kaira McConnell,
Katie Wendorf, Kloe Woodroffee, Lauren Smith, Lucy Hall, Maddy Else, Maddy Jones, Madison Barker, Marcus Bush, Max Wilde, Megan Greatorex, Natasha Neale, Rebecca Hall Rebekah Neale, Sky Marsden, Sophie Ross, Zawadi Odara, Aimee Patrick, Isabella Davis, Jeaelieh Evanna.
The musical standard of this show was stellar and the Musical Director, Tom Watkins, has obviously worked very hard with the whole cast. His orchestra sounded really good and accompanied the performers sympathetically and with no over dominance. The sound controlled by Simon Birchall was excellent, as was the lighting by Tom Mowat. I liked the way the lighting was precisely co-ordinated with scene changes. These were swift and almost invisible and the Stage Manager, Matt Powell and his stage crew were excellent.
The impressive composite set was complemented by flying some extra parts on to it; this is one of the advantages of using this excellent theatre.
The Director, Lisa Judson, has produced along with her talented cast, a stunning production of this very popular favourite. She and her production team of Rachel Morton-Riley (Producer), Tom Watkins (Musical Director) and Choreographer by Charli Richardson-Astle (Choreographer) are, I am sure, hugely proud of what they and the cast have achieved.
This was another outstanding production from Creatio Theatre Arts.
Oliver! is a musical adaptation of Charles Dickens's classic tale of the orphan who runs away from an orphanage, joins a group of boys and is then trained to be a pickpocket by an old Jew, Fagin. It is the first musical adaptation of Dicken's book to become a stage hit. It was written by Lionel Bart and was his most successful work.
One of the joys of this ever-popular musical is the large number of tuneful and well known songs which include "Food Glorious Food," "Where is Love," "I'd Do Anything," "Consider Yourself," "Be Back Soon," "As Long as he needs me," Oom Pah Pah," "It's a fine life." Who will buy" and "Reviewing the Situation."
From the start of the show it was obvious that this was going to be a very well produced and performed show. There was huge energy from the young cast as they entered the stage from all entrances including the back of the auditorium, while singing, "Food Glorious Food. This was an excellent start and the cast produced a wall of sound that was very impressive indeed.
Creatio Arts gathered together a very talented cast indeed for this production.
Taking the lead role as Oliver was Daniel Moore. What a performer, and at only 12 years old he showed huge confidence from the moment he stepped onto the stage. He sang and danced brilliantly and was always reacting to what was happening on the stage. A star in the making?
Oscar Hewitt - Richards played the Artful Dodger and what a charmer he is. He reminded me of Jack Wild in the film version of the show. He has a twinkle in his eye and inhabited the part with a maturity and engaging confidence that made him such a joy to watch.
Lucas Young was superb as Fagin. He made the part very much his own. I have seen him in a number of productions, but I think this was his best part so far. It was hard to recognise him, this was not just because of his makeup and costume, but also in his movement, voice and manner. He was thoroughly convincing and hugely entertaining as the scrofulous elder of the thieves' den. His rendition of Reviewing the Situation was sensational. The expression he put into it not only amused, but also brought a tear or two to my eyes. By the end he had the audience in the palm of his hand.
Nancy was played by Grace Orgill who was a revelation: she has a very powerful voice and a wide musical range. Her rendition of "As Long as he needs me" was beautiful and very emotional. On the other hand, the comic song "Oom Pah Pah" was great fun to listen to. Her acting is very natural and she managed to bring out the fun and vitality of the woman, along with the sadness and fear that characterises her relationship with Bill Sykes. She was as good a Nancy as I have seen.
Bill Sykes, played by Dom Gibbs, was scary in the extreme. He combined physical bullying with a looming, quiet menace. This brought a hush to the auditorium on a number of occasions.
Steve Powell as Mr Bumble was excellent, especially in his scenes with Molly Hewitt-Richards who played Widow Corney: a wonderful and very funny combination.
There were other excellent performances from:
Tommie Morgan (Bet), Reuben Gotts (Mr Sowerby,) Freya Primrose (Mrs Sowerby), Molly Haines (Charlotte),
Bailey West (Noah Claypole), Ebony Tinkler (Mrs Bedwin), Tom Judson (Dr Grimwig), Nadia Potter (Old Sally) and Kheenon Jones (Mr Brownlow).
There was a large supporting ensemble, who lit up the stage whenever they appeared. I was very impressed by the energy, involvement and commitment from them all. Some played the workhouse inhabitants and Fagin's gang, plus other minor parts. Their dancing choreographed by Charli Richardson-Astle was appropriate, very exciting and well performed.
They were:
Alice Patton, Ben Hewitt-Richards, Cameron Bruce,
Cerys Jones, Charlotte Crane, Dan Evans, Daniel Lane,
Dom Wood, Ella Foord, Emmy Jones, Evie Burke,
Freya Huddleston, Freya Tunnicliffe, Grace Backhouse, Holly Basckombe, Joey Greener, Kaira McConnell,
Katie Wendorf, Kloe Woodroffee, Lauren Smith, Lucy Hall, Maddy Else, Maddy Jones, Madison Barker, Marcus Bush, Max Wilde, Megan Greatorex, Natasha Neale, Rebecca Hall Rebekah Neale, Sky Marsden, Sophie Ross, Zawadi Odara, Aimee Patrick, Isabella Davis, Jeaelieh Evanna.
The musical standard of this show was stellar and the Musical Director, Tom Watkins, has obviously worked very hard with the whole cast. His orchestra sounded really good and accompanied the performers sympathetically and with no over dominance. The sound controlled by Simon Birchall was excellent, as was the lighting by Tom Mowat. I liked the way the lighting was precisely co-ordinated with scene changes. These were swift and almost invisible and the Stage Manager, Matt Powell and his stage crew were excellent.
The impressive composite set was complemented by flying some extra parts on to it; this is one of the advantages of using this excellent theatre.
The Director, Lisa Judson, has produced along with her talented cast, a stunning production of this very popular favourite. She and her production team of Rachel Morton-Riley (Producer), Tom Watkins (Musical Director) and Choreographer by Charli Richardson-Astle (Choreographer) are, I am sure, hugely proud of what they and the cast have achieved.
This was another outstanding production from Creatio Theatre Arts.
Review of Honk
Long Eaton Operatic Society Youth Group –
Duchess Theatre – July 5th
A story of ducks, swans, a cat, a bullfrog, assorted other animals and birds seems an unlikely vehicle for a super musical, but Honk is just such a show. It is actually a charming adaptation of the Ugly Duckling story by Hans Christian Anderson, adapted by one of my favourite musical theatre writing teams, George Stiles and Anthony Drewe (Betty Blue Eyes and many more).
Honk! tells the story of an odd-looking baby duck, Ugly, and his quest to find his mother. Soon after Ugly is born, he is seduced away by a wily cat who wants to eat Ugly for dinner. Eventually, Ugly manages to escape, but has no idea how to return home. He embarks on an adventure during which he meets other characters and eventually discovers who he really is.
The show has some lovely songs and dance routines and is simply delightful.
There is a very strong principal cast in this show who have been very well cast.
Jude Yellop, as Ugly the baby duck, shows just the right amount of vulnerability coupled with a determination to get on with everyone. He sings well and is particularly good in a scene with Robert McAuley, the cat, who wants to turn him into “duck al’orange.” Robert does comedy very well and along with Jude makes this scene very funny.
Hannah Pettit plays Ida, Ugly’s Mother. She has a lovely voice and makes it quite clear that she is the boss. Her husband, Drake, is played by Matthew McAuley, who is a very competent actor. He shows by his facial expressions and body movements, as well as his acting, that he is an under the thumb duck. He sings, acts and dances well.
Look out for Oscar Hungenholtz as a bullfrog with a talent for stand up and musical comedy. Very good and very funny.
The ducklings played by Tommy Stewart, Anna Green, Evie Barry and Billy Stewart performed very well. Oddly, they look very much like brothers and sisters, especially two of them!
Trinity Shelton as Maureen is a good singer and dancer and works very well with Hannah.
In addition to the above is a superb ensemble, some of whom play other roles. I was very impressed by the incredible standard of their singing and dancing. The production team of Karen Woodhead, Siobhan Parker and Jack Bratby have achieved something very special with this group of youngsters.
They are:
Issy Smales, Lilly Simons-Clark, Emma Abel, Billy Sweet, Sophie Youngs, Ella Charlesworth, Finlay McQuade, Grace Collishaw, Sammy Platkiw, Emma Lowe, Naomi Thomas, Jennifer Finlay, Chloe Brooks, Phoebe Mellor and Lottie Ludlow.
The set, which is built around super and realistic projections, is very good to look at, as are the colourful and imaginative costumes. Well done to the wardrobe team. Rob Corner, the Stage Manager and his crew and properties team are to be congratulated for efficient and almost invisible scene changes. The lighting was very effective under the control of Tom and Laura Olding and thanks to Dave Dallard the sound was crisp and clear.
Once again this Youth Theatre Group has produced a show of considerable quality and have further enhanced their reputation as a first class company. Come and see the show if you can which continues until Saturday.
Long Eaton Operatic Society Youth Group –
Duchess Theatre – July 5th
A story of ducks, swans, a cat, a bullfrog, assorted other animals and birds seems an unlikely vehicle for a super musical, but Honk is just such a show. It is actually a charming adaptation of the Ugly Duckling story by Hans Christian Anderson, adapted by one of my favourite musical theatre writing teams, George Stiles and Anthony Drewe (Betty Blue Eyes and many more).
Honk! tells the story of an odd-looking baby duck, Ugly, and his quest to find his mother. Soon after Ugly is born, he is seduced away by a wily cat who wants to eat Ugly for dinner. Eventually, Ugly manages to escape, but has no idea how to return home. He embarks on an adventure during which he meets other characters and eventually discovers who he really is.
The show has some lovely songs and dance routines and is simply delightful.
There is a very strong principal cast in this show who have been very well cast.
Jude Yellop, as Ugly the baby duck, shows just the right amount of vulnerability coupled with a determination to get on with everyone. He sings well and is particularly good in a scene with Robert McAuley, the cat, who wants to turn him into “duck al’orange.” Robert does comedy very well and along with Jude makes this scene very funny.
Hannah Pettit plays Ida, Ugly’s Mother. She has a lovely voice and makes it quite clear that she is the boss. Her husband, Drake, is played by Matthew McAuley, who is a very competent actor. He shows by his facial expressions and body movements, as well as his acting, that he is an under the thumb duck. He sings, acts and dances well.
Look out for Oscar Hungenholtz as a bullfrog with a talent for stand up and musical comedy. Very good and very funny.
The ducklings played by Tommy Stewart, Anna Green, Evie Barry and Billy Stewart performed very well. Oddly, they look very much like brothers and sisters, especially two of them!
Trinity Shelton as Maureen is a good singer and dancer and works very well with Hannah.
In addition to the above is a superb ensemble, some of whom play other roles. I was very impressed by the incredible standard of their singing and dancing. The production team of Karen Woodhead, Siobhan Parker and Jack Bratby have achieved something very special with this group of youngsters.
They are:
Issy Smales, Lilly Simons-Clark, Emma Abel, Billy Sweet, Sophie Youngs, Ella Charlesworth, Finlay McQuade, Grace Collishaw, Sammy Platkiw, Emma Lowe, Naomi Thomas, Jennifer Finlay, Chloe Brooks, Phoebe Mellor and Lottie Ludlow.
The set, which is built around super and realistic projections, is very good to look at, as are the colourful and imaginative costumes. Well done to the wardrobe team. Rob Corner, the Stage Manager and his crew and properties team are to be congratulated for efficient and almost invisible scene changes. The lighting was very effective under the control of Tom and Laura Olding and thanks to Dave Dallard the sound was crisp and clear.
Once again this Youth Theatre Group has produced a show of considerable quality and have further enhanced their reputation as a first class company. Come and see the show if you can which continues until Saturday.
Chess the Musical
The People’s Theatre Company
Nottingham Arts Theatre
July 4th 2018
There is little doubt that Chess is one of the great pieces of musical theatre. This is not surprising, as it is written by musical geniuses Benny Andersson and Bjorn Ulvaeus (Abba), plus brilliant lyricist Tim Rice. It is almost entirely sung through and brief pieces of dialogue are soon converted to song. The music is powerful and contains a number of well know songs, some of which have become standards. Songs such as “Heaven help my heart”, “One Night in Bangkok”, “You and I”, “I know him so well”, “Anthem”, “Pity the Child” and “Hymn to Chess.”
The story involves a romantic triangle between two players in a world chess championship, and a woman who manages one and falls in love with the other. It is more than just a love story as it allegorically reflects the Cold War tensions present in the 1980s. The musical has been referred to as a metaphor for the whole Cold War, with the insinuation being made that the Cold War is itself a manipulative game. The subject matter is now probably a little out of date, but given certain situations that have arisen recently between America, the UK and Russia, it still resonates with many of us.
There are some very powerful performances from the principal artists.
Kate Taylor (Florence), has a beautiful voice and plays this part brilliantly, showing the character’s strength, but with a compelling vulnerability, which ably expresses her role as a pawn in a game in which there are no winners.
Rob Goll (Antoly Sergievsky), is always captivating to watch on stage and this part was no exception. Although some of the tricky vocals were challenging for him, Rob gave a charismatic performance of the driven but disillusioned Russian, in contrast to the wonderfully brash performance of his opponent, Frederick Trumper (Sam Barson). Rob’s ability to live a part carried him through, as he is always thoroughly convincing and charismatic.
Sam Barson possesses a fantastically powerful voice and his performance of ‘Pity the Child’ was simply show stopping. The physicality he brings to the role: the careless amble and threatening posture, combined with the huge energy he brings to his vocals, make for a very engaging performance.
John Gill (The Arbiter) casts a wry eye over all the proceedings and John makes the most of this role, exuding confidence and conviction. His song ‘Arbiter’ establishes his authority over the proceedings and John sings this with just the right vocal style, giving it the strength it deserves. John is also to be congratulated for some lovely choreography, including some beautifully descriptive ballet moves, which echo the chess board action.
Christopher Collins (Alexander Molokov) has the most convincing Russian accent and he plays this part so well, with a rather chillingly controlled malevolence. I did not know that Chris can sing so well and thoroughly enjoyed the new experience of his vocals, which are rich and very good to listen to.
Curtis Taylor Tipton (Walter de Courcey) performs with energy and brings a new dimension to this role, which I believe is usually played by someone older. Curtis is dynamic and ably shows how driven his character is, revealing his unpleasantness very convincingly and treating us to some lovely vocals.
Zosia Kuczynska (Svetlana Sergievskaya), another pawn in the game, but one who ultimately has a win of sorts, delivers a beautifully heartfelt performance with quite exquisite vocals. The duet of ‘I know him so well’ with Kate Taylor, is simply sensational.
The hard working ensemble are excellent and when singing together make a wonderful sound; the standard of their singing is very high.
They are:
Clare Boxer, Joe Butler, Kelvin P. Coleman, Katrina Curnow, Eleanor Davies, Lauren Gill, David Gyles, Abby Henderson, Barry Hobbs, Joanne Hooper, Courtney Kelham-Giddy, Chris Mercer, Orla O’Reilly, Lindsey Parr, Jenny Pike, Rosanna Posl, Danielle Rogers, Andrew Rushton, Paige Shaw, Sarah Shields, Roy Smith, Jacky Tivers, Biba Tribbensee, Frea Waninge, Marcia Wood and Janet Wooton.
The Director of the play, Meng Khaw, is also the Musical Director. He is a renowned and experienced director and his love of this production shows in the pace and passion he has achieved. He has a large ensemble to accommodate through the show and this he does very well, using them to change the props on the set, keeping the action moving by always giving them things to do and places to be; there are no moments when something isn’t happening.
The set is simple, mainly consisting of a large projection screen on which appropriate pictures help keep the audience up with time and place and set the scene. Cubes reminiscent of the period appropriate Rubik’s Cube provide versatile and colourful staging. A lot of thought has obviously gone into the costumes, from very imaginative chess piece gowns through to drab Russian dress, well done to Emma Berry and Lucy Wakefield.
One slight gripe is that I would have preferred for the opening scene to have been revealed when the curtain opened. Owing to what seemed to be some audience latecomers there were a few moments of uncomfortable standing by the cast and that uncomfortableness started to spread to the audience. I recognise that transitional scene setting is popular and that the delay could not have been anticipated. I must say that I was certainly more engaged with this production than with others I have seen and was gripped throughout both Acts, but especially in the second.
I mentioned earlier that Meng was also the MD. His orchestra was wonderful, one of the best I have heard recently. Having the pit at the Arts Theatre makes a great difference and the result is that the deep and rich sound of the orchestra accompanies the singers beautifully; both are heard clearly. The lighting and overall sound from Chris Mercer, Harry Bridge and Rob Kettridge is excellent - congratulations on the quite mesmerising lighting of the chess board! Well done also to the Stage Manager Gareth Morris and his team.
The People’s Theatre Company have once again shown that they have a range of talented performers; this show is not an easy one to produce, which is why I guess it is a bit of a rarity for theatre companies these days.
For this company Chess was a good choice and I would certainly recommend you see it before it ends on Saturday.
The People’s Theatre Company
Nottingham Arts Theatre
July 4th 2018
There is little doubt that Chess is one of the great pieces of musical theatre. This is not surprising, as it is written by musical geniuses Benny Andersson and Bjorn Ulvaeus (Abba), plus brilliant lyricist Tim Rice. It is almost entirely sung through and brief pieces of dialogue are soon converted to song. The music is powerful and contains a number of well know songs, some of which have become standards. Songs such as “Heaven help my heart”, “One Night in Bangkok”, “You and I”, “I know him so well”, “Anthem”, “Pity the Child” and “Hymn to Chess.”
The story involves a romantic triangle between two players in a world chess championship, and a woman who manages one and falls in love with the other. It is more than just a love story as it allegorically reflects the Cold War tensions present in the 1980s. The musical has been referred to as a metaphor for the whole Cold War, with the insinuation being made that the Cold War is itself a manipulative game. The subject matter is now probably a little out of date, but given certain situations that have arisen recently between America, the UK and Russia, it still resonates with many of us.
There are some very powerful performances from the principal artists.
Kate Taylor (Florence), has a beautiful voice and plays this part brilliantly, showing the character’s strength, but with a compelling vulnerability, which ably expresses her role as a pawn in a game in which there are no winners.
Rob Goll (Antoly Sergievsky), is always captivating to watch on stage and this part was no exception. Although some of the tricky vocals were challenging for him, Rob gave a charismatic performance of the driven but disillusioned Russian, in contrast to the wonderfully brash performance of his opponent, Frederick Trumper (Sam Barson). Rob’s ability to live a part carried him through, as he is always thoroughly convincing and charismatic.
Sam Barson possesses a fantastically powerful voice and his performance of ‘Pity the Child’ was simply show stopping. The physicality he brings to the role: the careless amble and threatening posture, combined with the huge energy he brings to his vocals, make for a very engaging performance.
John Gill (The Arbiter) casts a wry eye over all the proceedings and John makes the most of this role, exuding confidence and conviction. His song ‘Arbiter’ establishes his authority over the proceedings and John sings this with just the right vocal style, giving it the strength it deserves. John is also to be congratulated for some lovely choreography, including some beautifully descriptive ballet moves, which echo the chess board action.
Christopher Collins (Alexander Molokov) has the most convincing Russian accent and he plays this part so well, with a rather chillingly controlled malevolence. I did not know that Chris can sing so well and thoroughly enjoyed the new experience of his vocals, which are rich and very good to listen to.
Curtis Taylor Tipton (Walter de Courcey) performs with energy and brings a new dimension to this role, which I believe is usually played by someone older. Curtis is dynamic and ably shows how driven his character is, revealing his unpleasantness very convincingly and treating us to some lovely vocals.
Zosia Kuczynska (Svetlana Sergievskaya), another pawn in the game, but one who ultimately has a win of sorts, delivers a beautifully heartfelt performance with quite exquisite vocals. The duet of ‘I know him so well’ with Kate Taylor, is simply sensational.
The hard working ensemble are excellent and when singing together make a wonderful sound; the standard of their singing is very high.
They are:
Clare Boxer, Joe Butler, Kelvin P. Coleman, Katrina Curnow, Eleanor Davies, Lauren Gill, David Gyles, Abby Henderson, Barry Hobbs, Joanne Hooper, Courtney Kelham-Giddy, Chris Mercer, Orla O’Reilly, Lindsey Parr, Jenny Pike, Rosanna Posl, Danielle Rogers, Andrew Rushton, Paige Shaw, Sarah Shields, Roy Smith, Jacky Tivers, Biba Tribbensee, Frea Waninge, Marcia Wood and Janet Wooton.
The Director of the play, Meng Khaw, is also the Musical Director. He is a renowned and experienced director and his love of this production shows in the pace and passion he has achieved. He has a large ensemble to accommodate through the show and this he does very well, using them to change the props on the set, keeping the action moving by always giving them things to do and places to be; there are no moments when something isn’t happening.
The set is simple, mainly consisting of a large projection screen on which appropriate pictures help keep the audience up with time and place and set the scene. Cubes reminiscent of the period appropriate Rubik’s Cube provide versatile and colourful staging. A lot of thought has obviously gone into the costumes, from very imaginative chess piece gowns through to drab Russian dress, well done to Emma Berry and Lucy Wakefield.
One slight gripe is that I would have preferred for the opening scene to have been revealed when the curtain opened. Owing to what seemed to be some audience latecomers there were a few moments of uncomfortable standing by the cast and that uncomfortableness started to spread to the audience. I recognise that transitional scene setting is popular and that the delay could not have been anticipated. I must say that I was certainly more engaged with this production than with others I have seen and was gripped throughout both Acts, but especially in the second.
I mentioned earlier that Meng was also the MD. His orchestra was wonderful, one of the best I have heard recently. Having the pit at the Arts Theatre makes a great difference and the result is that the deep and rich sound of the orchestra accompanies the singers beautifully; both are heard clearly. The lighting and overall sound from Chris Mercer, Harry Bridge and Rob Kettridge is excellent - congratulations on the quite mesmerising lighting of the chess board! Well done also to the Stage Manager Gareth Morris and his team.
The People’s Theatre Company have once again shown that they have a range of talented performers; this show is not an easy one to produce, which is why I guess it is a bit of a rarity for theatre companies these days.
For this company Chess was a good choice and I would certainly recommend you see it before it ends on Saturday.
A 5 Star Night To Remember
Titanic the Musical
Theatre Royal Nottingham
July 2nd 2018
Titanic the musical has finished at the Theatre Royal and received a well deserved standing ovation. This was a powerful and often emotional telling of the story of the “unsinkable” ship in 1912.
I was surprised that the show is almost totally sung through with minimal dialogue. There are some wonderful songs mainly in operatic style. The singing was superb both by soloists and the ensemble. The opening and closing chorus number “Godspeed Titanic” was magnificent and I think my favourite.
The story was very much the same that was featured in the Black and White film “A Night to remember.”
The staging was really imaginative and needs to be seen not described. I will say that it was all very well done.
Lighting and sound were great with some very dramatic moments. Be prepared to experience the chilling atmosphere increasing especially through Act 2. The action moved very quickly after the interval and was intense at times. Although I knew like most in the audience how the story ends I was still engrossed in it.
I wish I had heard the music before this evening as I am sure some of it needs to be heard more than once. I felt by the end of the show that I was liking most of it very much. It just takes a little while to get into it. I am definitely going to download the album. Other favourites so far are “What a remarkable age,” “Lady’s Maid,” “Autumn” and “We’ll Meet Tomorrow.” The music is often simply beautiful and when the whole company sing it made me tingle with emotion.
A fantastic cast made this a show to remember in many ways. Before tonight I really wasn’t sure if I was going to like this but I did very much.
Go and see it if you can. You will not be disappointed but don’t expect a traditional musical theatre production. This is much more operatic with many very high quality songs and some recitative.
The orchestra sounded very good and the balance with the performers was first class.
I am not mentioning any of the cast by name as they were all fantastic and this truly is an ensemble piece. All of the scene changes are done by the cast and the composite set is just right.
A really enjoyable, exciting, dramatic and moving evening at the Theatre Royal. There is a lot to think about at the end of the show not forgetting that only 705 people survived out of 2224 who were on board.
The show is not sentimental and does not shy away from the realities of that terrible night. It does explore some of the reasons why the ship sank and who might be responsible. This is well captured in the song “The Blame.” However, there is also humour and some lighter moments to be enjoyed as well.
I can now see why this musical received 5 Tony Award nominations in 1997 and won them all including Best Musical and Score. It is well written and tonight it was extremely well performed.
Titanic the Musical
Theatre Royal Nottingham
July 2nd 2018
Titanic the musical has finished at the Theatre Royal and received a well deserved standing ovation. This was a powerful and often emotional telling of the story of the “unsinkable” ship in 1912.
I was surprised that the show is almost totally sung through with minimal dialogue. There are some wonderful songs mainly in operatic style. The singing was superb both by soloists and the ensemble. The opening and closing chorus number “Godspeed Titanic” was magnificent and I think my favourite.
The story was very much the same that was featured in the Black and White film “A Night to remember.”
The staging was really imaginative and needs to be seen not described. I will say that it was all very well done.
Lighting and sound were great with some very dramatic moments. Be prepared to experience the chilling atmosphere increasing especially through Act 2. The action moved very quickly after the interval and was intense at times. Although I knew like most in the audience how the story ends I was still engrossed in it.
I wish I had heard the music before this evening as I am sure some of it needs to be heard more than once. I felt by the end of the show that I was liking most of it very much. It just takes a little while to get into it. I am definitely going to download the album. Other favourites so far are “What a remarkable age,” “Lady’s Maid,” “Autumn” and “We’ll Meet Tomorrow.” The music is often simply beautiful and when the whole company sing it made me tingle with emotion.
A fantastic cast made this a show to remember in many ways. Before tonight I really wasn’t sure if I was going to like this but I did very much.
Go and see it if you can. You will not be disappointed but don’t expect a traditional musical theatre production. This is much more operatic with many very high quality songs and some recitative.
The orchestra sounded very good and the balance with the performers was first class.
I am not mentioning any of the cast by name as they were all fantastic and this truly is an ensemble piece. All of the scene changes are done by the cast and the composite set is just right.
A really enjoyable, exciting, dramatic and moving evening at the Theatre Royal. There is a lot to think about at the end of the show not forgetting that only 705 people survived out of 2224 who were on board.
The show is not sentimental and does not shy away from the realities of that terrible night. It does explore some of the reasons why the ship sank and who might be responsible. This is well captured in the song “The Blame.” However, there is also humour and some lighter moments to be enjoyed as well.
I can now see why this musical received 5 Tony Award nominations in 1997 and won them all including Best Musical and Score. It is well written and tonight it was extremely well performed.
Review of The Wizard of Oz
Centre Stage Theatre Arts
Derby Theatre
June 22nd 2018
"Somewhere over the rainbow" is one of the most iconic songs of the movies and when Ruth Adshead, playing, Dorothy, began to sing it I knew we were in for a terrific show. Standing in front of a Black and White projection of clouds and surrounded by plainly clothed members of the cast she produced an excellent performance of the song giving it just the right amount of expression with a sweet voice. This first scene was in black and white in the film and the atmosphere created by the scene here was reminiscent of that.
When the storm comes, and Dorothy is whisked away from Kansas to the magical world of Oz things change and the stage is soon filled with brightly coloured performers of all ages who soon showed they could sing and dance very well indeed. This performance of the show was by the Chellaston Branch of this popular drama school and must be the largest cast I have seen on a local stage for a long time.
The Principal players were excellent performers and they played their parts with confidence and expertise. There were so many great performances but because of the weight of their roles I will first mention Ruth Adshead (Dorothy), Bailey West (Scarecrow), Luke Preston-Davies (Tin Man), Marcus Bush (Lion), Hannah Riley (Glinda), Emma Merret (The Wicked Witch) and Izaac Drew (Oz). All of these young actors have a very high level of performance and superb characterisations which they maintain throughout what is a rather lengthy show, particularly for youngsters.
There were also very good performances from Amber Lord (Aunt Em), Matthew Carrington (Uncle Henry) and Cassidy Muchangi (The Castle Guard).
They were very well supported by the rest of the Ensemble cast many of whom played small parts including physical drama involving props and scenery.
I was particularly impressed by the standard of the dancing throughout. This was very evident in the big set piece items such as The Munchkin Sequence, Poppies (which was beautiful as well), The Merry Old Land of Oz and the stunning Jitterbug. The Dance Troupe of Rebekah Neale, Katie Ringer, Alice Pounder, Holly Brownhill, Mariam Kanu, Maiya Bowles, Emmy Jones, Evie Mulcahy, Ciara Mulcahy and Amy Brownhill are to be congratulated for some excellent performances.
Anna Michelle's Choreography was very impressive and ideally suited for the cast and was of a very high standard. I particularly like the tap routine which is very well executed by those who were involved.
There were also some lovely junior dancers too namely, Kira West, Meghan O'Reilly, Ruby Stanley, Mia Rollerson, Alicia Bennett and Abbie Rai.
This show has a number of small but important cameo roles that are well performed by Holly Burchell (Crow), Erin Straw (Crow), Mariam Kanu (Crow), Alice Proudler (Tree), Emmy Jones (Tree), Rebekah Neale (Tree), Amy Brownhill (Niko), Jessica McNicol and Freya Jones (Head of Winkies), Aardash Jaganathan (The Munchkin Mayor), Alina Vegad (The Munchkin Barrister) and Ananya Jayaram (The Munchkin Coroner).
There was also some good puppetry from Holly Burchell who operated the very cute dog, Toto.
This is a fast moving and complex show with so many other parts needing to be played as well as the large ensemble pieces. One of the strengths of this performance is the way in which such a large cast used the large Derby Theatre stage. The Director, Bethany Bennett not only had to cope with this but also with a large cast of all ages. She did a brilliant job and I was very impressed with the staging which was dynamic and exciting throughout. All the performers were given plenty to do and they obviously knew exactly where to be and came onto the stage with no fuss or confusion. All the scenes were set up very quickly and the show as a consequence moved at a very good pace.
The ensemble was also very hard working and did very well. Well done to:
Maiya Bowles, Amy Brownhill, Holly Brownhill, Holly Burchell, Matthew Carrington, Megan Frisby, Bethan Hall, Jasmine Harrison, Emmy Jones, Freya Jones, Mariam Kanu, Daisy Mason, Jessica McNicol, Ria Mistry, Cassidy Muchangi, Ciara Mulcahy, Evie Mulcahy, Rebekah Neale, Alice Proudler, Katie Ringer, Jess Stephenson, Evie Rudd, James Spink, Erin Straw, Nathan Wilson, Alytheia Abraham, Lucas Andres, Alicia Bennett, Isaac Bennett, Poppy Bidder, Bella Brown, Abigail Clifton, Emma Clifton, Maddison Cocker, Lucy Cripps, Eisha Dhillon, Aadarsh Jagannathan, Anirudh Jagannathan, Anya Patel, Abbie Rai, Dillon Rai, Dinuli Rodrigo, Ananya Jayaram, Urvika Jayaram, MeghanO'Reilly, Mia Rollerson, Aria Sal, Lavanya Selvapandian, Elif Sever, Alfie Simpson, Ruby Stanley, Harry Thomas, Amy Tucker, Alina Vegad, Armaan Vegad, Emily Walker, Grace Walker, Kira West.
The Musical Director, Bethany Davis Taylor not only ensured that the singing throughout was of a good standard but conducted a band that sounded great. It accompanied the performers well and also had to play incidental music which I am sure was quite difficult at times although they made it sound easy.
This was indeed a mammoth production which must have been a challenge to the whole production team including the Producer and Principal of Central, Lucy Cadney. However, it all worked well, and I am sure she would be the first to say that the key to this is a superb back stage team. It was obvious what a good job they all do. The Costumes were fabulous, the scenery and props were changed speedily, the lighting was superb and the sound clear.
The show ended with a very well-designed Finale (very important are Finales) and this was greeted by a sustained ovation with many standing. There is no doubt in my mind that this show and all involved deserved the praise they got. Well done to you all - a night at Derby Theatre to remember.
I am sorry I was unable to see the other cast but, I am sure, given the great production this was, it will have been equally good.
Centre Stage Theatre Arts
Derby Theatre
June 22nd 2018
"Somewhere over the rainbow" is one of the most iconic songs of the movies and when Ruth Adshead, playing, Dorothy, began to sing it I knew we were in for a terrific show. Standing in front of a Black and White projection of clouds and surrounded by plainly clothed members of the cast she produced an excellent performance of the song giving it just the right amount of expression with a sweet voice. This first scene was in black and white in the film and the atmosphere created by the scene here was reminiscent of that.
When the storm comes, and Dorothy is whisked away from Kansas to the magical world of Oz things change and the stage is soon filled with brightly coloured performers of all ages who soon showed they could sing and dance very well indeed. This performance of the show was by the Chellaston Branch of this popular drama school and must be the largest cast I have seen on a local stage for a long time.
The Principal players were excellent performers and they played their parts with confidence and expertise. There were so many great performances but because of the weight of their roles I will first mention Ruth Adshead (Dorothy), Bailey West (Scarecrow), Luke Preston-Davies (Tin Man), Marcus Bush (Lion), Hannah Riley (Glinda), Emma Merret (The Wicked Witch) and Izaac Drew (Oz). All of these young actors have a very high level of performance and superb characterisations which they maintain throughout what is a rather lengthy show, particularly for youngsters.
There were also very good performances from Amber Lord (Aunt Em), Matthew Carrington (Uncle Henry) and Cassidy Muchangi (The Castle Guard).
They were very well supported by the rest of the Ensemble cast many of whom played small parts including physical drama involving props and scenery.
I was particularly impressed by the standard of the dancing throughout. This was very evident in the big set piece items such as The Munchkin Sequence, Poppies (which was beautiful as well), The Merry Old Land of Oz and the stunning Jitterbug. The Dance Troupe of Rebekah Neale, Katie Ringer, Alice Pounder, Holly Brownhill, Mariam Kanu, Maiya Bowles, Emmy Jones, Evie Mulcahy, Ciara Mulcahy and Amy Brownhill are to be congratulated for some excellent performances.
Anna Michelle's Choreography was very impressive and ideally suited for the cast and was of a very high standard. I particularly like the tap routine which is very well executed by those who were involved.
There were also some lovely junior dancers too namely, Kira West, Meghan O'Reilly, Ruby Stanley, Mia Rollerson, Alicia Bennett and Abbie Rai.
This show has a number of small but important cameo roles that are well performed by Holly Burchell (Crow), Erin Straw (Crow), Mariam Kanu (Crow), Alice Proudler (Tree), Emmy Jones (Tree), Rebekah Neale (Tree), Amy Brownhill (Niko), Jessica McNicol and Freya Jones (Head of Winkies), Aardash Jaganathan (The Munchkin Mayor), Alina Vegad (The Munchkin Barrister) and Ananya Jayaram (The Munchkin Coroner).
There was also some good puppetry from Holly Burchell who operated the very cute dog, Toto.
This is a fast moving and complex show with so many other parts needing to be played as well as the large ensemble pieces. One of the strengths of this performance is the way in which such a large cast used the large Derby Theatre stage. The Director, Bethany Bennett not only had to cope with this but also with a large cast of all ages. She did a brilliant job and I was very impressed with the staging which was dynamic and exciting throughout. All the performers were given plenty to do and they obviously knew exactly where to be and came onto the stage with no fuss or confusion. All the scenes were set up very quickly and the show as a consequence moved at a very good pace.
The ensemble was also very hard working and did very well. Well done to:
Maiya Bowles, Amy Brownhill, Holly Brownhill, Holly Burchell, Matthew Carrington, Megan Frisby, Bethan Hall, Jasmine Harrison, Emmy Jones, Freya Jones, Mariam Kanu, Daisy Mason, Jessica McNicol, Ria Mistry, Cassidy Muchangi, Ciara Mulcahy, Evie Mulcahy, Rebekah Neale, Alice Proudler, Katie Ringer, Jess Stephenson, Evie Rudd, James Spink, Erin Straw, Nathan Wilson, Alytheia Abraham, Lucas Andres, Alicia Bennett, Isaac Bennett, Poppy Bidder, Bella Brown, Abigail Clifton, Emma Clifton, Maddison Cocker, Lucy Cripps, Eisha Dhillon, Aadarsh Jagannathan, Anirudh Jagannathan, Anya Patel, Abbie Rai, Dillon Rai, Dinuli Rodrigo, Ananya Jayaram, Urvika Jayaram, MeghanO'Reilly, Mia Rollerson, Aria Sal, Lavanya Selvapandian, Elif Sever, Alfie Simpson, Ruby Stanley, Harry Thomas, Amy Tucker, Alina Vegad, Armaan Vegad, Emily Walker, Grace Walker, Kira West.
The Musical Director, Bethany Davis Taylor not only ensured that the singing throughout was of a good standard but conducted a band that sounded great. It accompanied the performers well and also had to play incidental music which I am sure was quite difficult at times although they made it sound easy.
This was indeed a mammoth production which must have been a challenge to the whole production team including the Producer and Principal of Central, Lucy Cadney. However, it all worked well, and I am sure she would be the first to say that the key to this is a superb back stage team. It was obvious what a good job they all do. The Costumes were fabulous, the scenery and props were changed speedily, the lighting was superb and the sound clear.
The show ended with a very well-designed Finale (very important are Finales) and this was greeted by a sustained ovation with many standing. There is no doubt in my mind that this show and all involved deserved the praise they got. Well done to you all - a night at Derby Theatre to remember.
I am sorry I was unable to see the other cast but, I am sure, given the great production this was, it will have been equally good.
A Bunch of Amateurs
Riverside Drama
Duchess Theatre, Long Eaton.
June 22nd 2018
The meaning of the word “amateur” is “for the love of” and “A Bunch of Amateurs,” was certainly in line with that definition, both in terms of the script and the excellent performances.
The Play, written by Ian Hislop and Nick Newman, is a comedy about an American actor, Jefferson Steel, who mistakes the village of Stratford in Suffolk for the Bard's birthplace; instead of performing alongside the likes of Judi Dench and Anthony Sher, he finds himself in a sleepy village working with “A Bunch of Amateurs.”
There are some very funny and clever one liners during the course of the play and it is enhanced by the use of some well known Shakespearian verse. Without giving away any of the plot, I can say that by the end of the play the real reason for “amateurs” performing in theatres is made quite clear.
The excellent cast work very hard and as a consequence have produced a quality production. There are very good characterisations from them and they make good use of the composite set designed by Rachel Bates. Scene changes are well managed by the cast and stage crew.
Rachel’s direction is tight and her attention to detail is evident throughout: real food, drink, a newspaper and even a fully operational iPad, add effective realism.
A play set almost entirely in old converted barn could feel claustrophobic, but it’s not at all. The director has given the audience ample opportunity to fill in the gaps – we can easily imagine the tired decoration of the rectory where Jefferson Steel has to board, the walk through the village to the barn and his drunken meltdown on the village green. This is achieved not just by the writing, but by the placing of minimal extra scenery and the clever use of entrances and exits. It’s satisfying to take part in the creation of the world in which a play is set: this one credits its audience with the ability to do that, adding to our enjoyment.
Lizzie O’Hara is thoroughly convincing as Dorothy and has wonderful diction and expression, an all-round brilliant performance. The character is arty and bookish, with a gentle wit that is expressed through her wry observations of those around her. She is also shown to have passion for more than just the arts as the play develops, and Lizzie shows all these character traits in a very engaging way; she is a joy to watch.
Mary is played by Samantha Badman, who states in the programme that she enjoyed developing the physicality of her character to express her personality. This is very evident in her characterisation and she has acquired the bearing and gait of someone much older than herself to add credibility. She makes the most of the lovely touches of humour that the writers have given her, with warmth and excellent comic timing.
A bravura performance from Dan Bates as Jefferson Steel: a role that although challenging, must have been tremendous fun to perfect. He certainly has perfected every aspect of this character: great accent, movie star swagger, infuriating self belief and hugely entertaining arrogance. Dan dominates the stage and he is never less than believable, as he reluctantly moves towards developing some humility and empathy.
Other principal performances show an equally high standard of acting ability in this ensemble production, everyone has obviously worked very hard with the director to understand their characters and fully inhabit their roles.
Martin Hilton as Nigel Dewsbury is spot on as the frustrated thespian who takes any chance to belittle the leading man; he has some lovely laconic one liners and, last night, inserted a jovial piece of adlibbing.
Denis Dobbin, played by Phil Whitaker, who has completely mastered the local accent, is an engaging and easy going character who becomes a one man ‘entourage’ to great comic effect, especially when driving a ‘limousine’.
Jessica, Jefferson’s daughter, played by Frances Pearson is a delightful character, who manages to put her father in his place, without appearing too unpleasant. She has some very funny yet acerbic one liners and makes the most of these; the chemistry between her and her father, although tainted by his past indiscretions, is apparent. The actors must have worked hard to achieve this.
Lauren Bell as Jenni Wright must also have worked very hard with Dan Bates to achieve a lovely set piece which involves some very ‘hands on’ action, needing careful choreography! Jenni is a gentle and, at the beginning, an underplayed character, but she comes into her own and finds a new focus in the world of amateur dramatics, which Lauren ably expresses.
The sound and lighting by Dave Martin is well managed and the use of split stage lighting during scene changes is effective. During many of these changes “The Fool” played by a wonderfully bemused Celia Billau, sings some songs adapted from the text of King Lear, by Liz Turner. These became more and more obscure as the play proceeded much to the delight of the audience. Amy Cannon, Mike Evans & Bob Baron provided ensemble support throughout.
The costumes are for the most part modern dress, in stark contrast to the very attractive costumes used for the performance of King Lear at the end. Well done to Mina Machin and other members of the company.
The audience gave the cast a well-deserved and enthusiastic ovation at the end.
I enjoyed the play and getting a glimpse into a sleepy Sussex village and its local dramatic society, plus the added bonus of some excerpts from Shakespeare. These were performed with an admirable clarity and may be a direction this group would like to take in the future!
Riverside Drama
Duchess Theatre, Long Eaton.
June 22nd 2018
The meaning of the word “amateur” is “for the love of” and “A Bunch of Amateurs,” was certainly in line with that definition, both in terms of the script and the excellent performances.
The Play, written by Ian Hislop and Nick Newman, is a comedy about an American actor, Jefferson Steel, who mistakes the village of Stratford in Suffolk for the Bard's birthplace; instead of performing alongside the likes of Judi Dench and Anthony Sher, he finds himself in a sleepy village working with “A Bunch of Amateurs.”
There are some very funny and clever one liners during the course of the play and it is enhanced by the use of some well known Shakespearian verse. Without giving away any of the plot, I can say that by the end of the play the real reason for “amateurs” performing in theatres is made quite clear.
The excellent cast work very hard and as a consequence have produced a quality production. There are very good characterisations from them and they make good use of the composite set designed by Rachel Bates. Scene changes are well managed by the cast and stage crew.
Rachel’s direction is tight and her attention to detail is evident throughout: real food, drink, a newspaper and even a fully operational iPad, add effective realism.
A play set almost entirely in old converted barn could feel claustrophobic, but it’s not at all. The director has given the audience ample opportunity to fill in the gaps – we can easily imagine the tired decoration of the rectory where Jefferson Steel has to board, the walk through the village to the barn and his drunken meltdown on the village green. This is achieved not just by the writing, but by the placing of minimal extra scenery and the clever use of entrances and exits. It’s satisfying to take part in the creation of the world in which a play is set: this one credits its audience with the ability to do that, adding to our enjoyment.
Lizzie O’Hara is thoroughly convincing as Dorothy and has wonderful diction and expression, an all-round brilliant performance. The character is arty and bookish, with a gentle wit that is expressed through her wry observations of those around her. She is also shown to have passion for more than just the arts as the play develops, and Lizzie shows all these character traits in a very engaging way; she is a joy to watch.
Mary is played by Samantha Badman, who states in the programme that she enjoyed developing the physicality of her character to express her personality. This is very evident in her characterisation and she has acquired the bearing and gait of someone much older than herself to add credibility. She makes the most of the lovely touches of humour that the writers have given her, with warmth and excellent comic timing.
A bravura performance from Dan Bates as Jefferson Steel: a role that although challenging, must have been tremendous fun to perfect. He certainly has perfected every aspect of this character: great accent, movie star swagger, infuriating self belief and hugely entertaining arrogance. Dan dominates the stage and he is never less than believable, as he reluctantly moves towards developing some humility and empathy.
Other principal performances show an equally high standard of acting ability in this ensemble production, everyone has obviously worked very hard with the director to understand their characters and fully inhabit their roles.
Martin Hilton as Nigel Dewsbury is spot on as the frustrated thespian who takes any chance to belittle the leading man; he has some lovely laconic one liners and, last night, inserted a jovial piece of adlibbing.
Denis Dobbin, played by Phil Whitaker, who has completely mastered the local accent, is an engaging and easy going character who becomes a one man ‘entourage’ to great comic effect, especially when driving a ‘limousine’.
Jessica, Jefferson’s daughter, played by Frances Pearson is a delightful character, who manages to put her father in his place, without appearing too unpleasant. She has some very funny yet acerbic one liners and makes the most of these; the chemistry between her and her father, although tainted by his past indiscretions, is apparent. The actors must have worked hard to achieve this.
Lauren Bell as Jenni Wright must also have worked very hard with Dan Bates to achieve a lovely set piece which involves some very ‘hands on’ action, needing careful choreography! Jenni is a gentle and, at the beginning, an underplayed character, but she comes into her own and finds a new focus in the world of amateur dramatics, which Lauren ably expresses.
The sound and lighting by Dave Martin is well managed and the use of split stage lighting during scene changes is effective. During many of these changes “The Fool” played by a wonderfully bemused Celia Billau, sings some songs adapted from the text of King Lear, by Liz Turner. These became more and more obscure as the play proceeded much to the delight of the audience. Amy Cannon, Mike Evans & Bob Baron provided ensemble support throughout.
The costumes are for the most part modern dress, in stark contrast to the very attractive costumes used for the performance of King Lear at the end. Well done to Mina Machin and other members of the company.
The audience gave the cast a well-deserved and enthusiastic ovation at the end.
I enjoyed the play and getting a glimpse into a sleepy Sussex village and its local dramatic society, plus the added bonus of some excerpts from Shakespeare. These were performed with an admirable clarity and may be a direction this group would like to take in the future!
Return to the Forbidden Planet
Kaleidoscope Players
June 14th
Guildhall Theatre
From a rock'n'roll robot and a mad scientist, to a green tentacled monster, this is Shakespeare as you've never seen it before and probably will never see again!
Loosely based on Shakespeare's The Tempest and the 1956 sci-fi classic film Forbidden Planet, Return to the Forbidden Planet finds a spaceship, steered by Captain Tempest, making an emergency landing on the uncharted planet D'Illyria. The only residents there are the mad scientist Doctor Prospero, his daughter Miranda, and their robot Ariel. They were banished into hyperspace when Miranda was just a baby, and she has known no other world than this.
That is, of course, just the start of the adventure that is this exciting musical romp with a rock'n'roll score to die for.
Tonight, we were treated to a great show, super production, high octane performances, a fine band and a spectacular set. Yes, the dialogue is pretty cheesy and some of the dancing is deliciously camp (deliberately of course), but it is great fun.
The Kaleidoscope Players have a versatile and talented cast who are very capable of making us all smile and getting us jigging along to classic songs such as Great Balls of Fire, The Monster Mash, Good Vibrations, Teenager in Love, Go Now, The Young Ones, Only The Lonely and many others.
There are very strong performances from Toby Bradford(Prospero), Aran Cadney (Bosun), Kiah Smith (Navigation Officer), Josephine Walker (Gloria), Emily Mughal (Miranda), Rob Simpson (Captain Tempest), Kyle Lamley (Cookie), Dominic Heskeith (Newsreader), Sam Billington (Ariel).
They are supported by a high energy ensemble cast who are busy and on the go all the way through the show. They are:
Hannah Thornton, Carol Leichssering, Lucy Gazzard, Amy Bradford, Ron Murfin.
(Albatross Damage Control Crew)
Julie Black, Michelle Bradford, Samantha Moss, Christine Martin, Kim Shaw, Zoe Shepherd, Rebekah Street. (Swinging Space Cats)
Izzy Holmes, Alice Woodward, Izzy Wright, Joey Greener, Joey Greener, Sydney Kinzett.
(Space Cat Cadets)
Alison Sharpe, Cookie Kyle Lamley, Andy Weetman, Simon Holmes, Penny Holmes. (The Band)
I was very impressed by the sound of the band, which sounded very good despite being small; it is at just the right volume, allowing the performers' singing and dialogue to come through clearly. Well done to the musical director, Alison Sharpe for this and for ensuring that the standard of singing during this show was so high.
The director, Debbie Wheetman, keeps the show moving at a fast pace and is careful to give the whole cast lots of specific things to do, often in the background. This is important as this is very much an ensemble piece. The exciting and dynamic lighting and sound also contribute well to this.
I liked the somewhat cheesy and camp dance routines that fitted in so well with the genre of the piece. There was a delightful feeling of a sci-fi "B" film about this production and the choreography reflected this. Well done to the choreography team and those who danced, for doing such a splendid job.
I really enjoyed this production: it is sharp, funny, well performed, full of great songs and has a cast that obviously enjoy every minute on stage.
There was a long and sustained ovation from the audience at the end and that was very well deserved.
If you want to have a great evening of fun, frolics, cheesy dancing and wonderful songs, get along to the Guildhall Theatre before the spaceship leaves Derby on Saturday. You will certainly have a great journey and one you probably weren't expecting.
Kaleidoscope Players
June 14th
Guildhall Theatre
From a rock'n'roll robot and a mad scientist, to a green tentacled monster, this is Shakespeare as you've never seen it before and probably will never see again!
Loosely based on Shakespeare's The Tempest and the 1956 sci-fi classic film Forbidden Planet, Return to the Forbidden Planet finds a spaceship, steered by Captain Tempest, making an emergency landing on the uncharted planet D'Illyria. The only residents there are the mad scientist Doctor Prospero, his daughter Miranda, and their robot Ariel. They were banished into hyperspace when Miranda was just a baby, and she has known no other world than this.
That is, of course, just the start of the adventure that is this exciting musical romp with a rock'n'roll score to die for.
Tonight, we were treated to a great show, super production, high octane performances, a fine band and a spectacular set. Yes, the dialogue is pretty cheesy and some of the dancing is deliciously camp (deliberately of course), but it is great fun.
The Kaleidoscope Players have a versatile and talented cast who are very capable of making us all smile and getting us jigging along to classic songs such as Great Balls of Fire, The Monster Mash, Good Vibrations, Teenager in Love, Go Now, The Young Ones, Only The Lonely and many others.
There are very strong performances from Toby Bradford(Prospero), Aran Cadney (Bosun), Kiah Smith (Navigation Officer), Josephine Walker (Gloria), Emily Mughal (Miranda), Rob Simpson (Captain Tempest), Kyle Lamley (Cookie), Dominic Heskeith (Newsreader), Sam Billington (Ariel).
They are supported by a high energy ensemble cast who are busy and on the go all the way through the show. They are:
Hannah Thornton, Carol Leichssering, Lucy Gazzard, Amy Bradford, Ron Murfin.
(Albatross Damage Control Crew)
Julie Black, Michelle Bradford, Samantha Moss, Christine Martin, Kim Shaw, Zoe Shepherd, Rebekah Street. (Swinging Space Cats)
Izzy Holmes, Alice Woodward, Izzy Wright, Joey Greener, Joey Greener, Sydney Kinzett.
(Space Cat Cadets)
Alison Sharpe, Cookie Kyle Lamley, Andy Weetman, Simon Holmes, Penny Holmes. (The Band)
I was very impressed by the sound of the band, which sounded very good despite being small; it is at just the right volume, allowing the performers' singing and dialogue to come through clearly. Well done to the musical director, Alison Sharpe for this and for ensuring that the standard of singing during this show was so high.
The director, Debbie Wheetman, keeps the show moving at a fast pace and is careful to give the whole cast lots of specific things to do, often in the background. This is important as this is very much an ensemble piece. The exciting and dynamic lighting and sound also contribute well to this.
I liked the somewhat cheesy and camp dance routines that fitted in so well with the genre of the piece. There was a delightful feeling of a sci-fi "B" film about this production and the choreography reflected this. Well done to the choreography team and those who danced, for doing such a splendid job.
I really enjoyed this production: it is sharp, funny, well performed, full of great songs and has a cast that obviously enjoy every minute on stage.
There was a long and sustained ovation from the audience at the end and that was very well deserved.
If you want to have a great evening of fun, frolics, cheesy dancing and wonderful songs, get along to the Guildhall Theatre before the spaceship leaves Derby on Saturday. You will certainly have a great journey and one you probably weren't expecting.
The Band
National Tour
Nottingham Theatre Royal
June 12th 2018
"The best show I have seen this year and indeed for quite a while"
I really enjoyed “The Band” which in many ways surprised me as I did not enjoy the TV show that selected the five band members. However, I concede that the BBC show "Let it shine" actually selected 5 exceptionally talented young performers to be in this stage show. They were fabulous!
It was a wonderful production in all respects. It was well written, very funny and the performances from the cast were excellent.
The concept worked well and Tim Firth’s script was clever and witty and the show is a bright and glorious celebration of people who love music and those who make it. Plus of course a great showcase for the music of Take That.
There was a very enthusiastic response from the audience throughout and especially at the end when there was a very well deserved Standing Ovation.
The Finale was captivating as indeed was the story itself. Unlike many Jukebox musicals this one had a strong and powerful story. I said it was very funny but there were also some moving and poignant moments.
The set was very effective and the use of excellent lighting and projections made it dynamic and quite spectacular at times.
What was so impressive though, apart from the excellent performances, was the concept of the show itself. The boys in the band worked so hard throughout as not only did they sing and dance brilliantly but they also played a large number of other ensemble and solo roles and had quick changes the like of which I haven't seen for a long time. Very impressive indeed. They also were responsible in the main for fast set and prop changes. However, you need to see them in action to appreciate fully what I mean.
Tonight was musical theatre at its best and I can certainly recommend you go and see it. I actually want to go and see it again before it finishes on Saturday June 23rd.
Do get tickets for this show if you can. You will not regret it!
The Cast and Creatives
The Older women:
Rachel Lumberg (Rachel) - Alison Fitzjohn (Claire)
Emily Joyce (Heather) - Jayne McKenna (Zoe)
The Boys:
A.J Bentley - Nick Carsberg - Curtis T Johns
Sario Soloman - Yazdan Qafouri
The Teenagers:
Sarah Kate Howarth (Young Claire) - Katy Clayton(Young Heather) - Faye Christal (Young Rachel)
Lauren Jacobs(Young Zoe) - Rachelle Dietrichs ( Young Debbie)
Martin Miller (Jeff) - Andy Williams (Every Dave)
Maddy Banks (Understudy) - Claudia Bradley (Undertsudy/Dance Captain) -Harry Brown (Understudy)
Jamie Corner (Understudy/Assistant Dance Captain)
Claire Eden (Understudy) -Michael Geary (Understudy)
Catherine Higgins (Understudy)
Writer: Tim Firth
Music: Take That
Choreographer: KIm Gavin
Directors: Kim Gavin/ Jack Ryder
Designer Jon Bausor
Orchestrations: Steve parry
Musical Director: John Donovan
National Tour
Nottingham Theatre Royal
June 12th 2018
"The best show I have seen this year and indeed for quite a while"
I really enjoyed “The Band” which in many ways surprised me as I did not enjoy the TV show that selected the five band members. However, I concede that the BBC show "Let it shine" actually selected 5 exceptionally talented young performers to be in this stage show. They were fabulous!
It was a wonderful production in all respects. It was well written, very funny and the performances from the cast were excellent.
The concept worked well and Tim Firth’s script was clever and witty and the show is a bright and glorious celebration of people who love music and those who make it. Plus of course a great showcase for the music of Take That.
There was a very enthusiastic response from the audience throughout and especially at the end when there was a very well deserved Standing Ovation.
The Finale was captivating as indeed was the story itself. Unlike many Jukebox musicals this one had a strong and powerful story. I said it was very funny but there were also some moving and poignant moments.
The set was very effective and the use of excellent lighting and projections made it dynamic and quite spectacular at times.
What was so impressive though, apart from the excellent performances, was the concept of the show itself. The boys in the band worked so hard throughout as not only did they sing and dance brilliantly but they also played a large number of other ensemble and solo roles and had quick changes the like of which I haven't seen for a long time. Very impressive indeed. They also were responsible in the main for fast set and prop changes. However, you need to see them in action to appreciate fully what I mean.
Tonight was musical theatre at its best and I can certainly recommend you go and see it. I actually want to go and see it again before it finishes on Saturday June 23rd.
Do get tickets for this show if you can. You will not regret it!
The Cast and Creatives
The Older women:
Rachel Lumberg (Rachel) - Alison Fitzjohn (Claire)
Emily Joyce (Heather) - Jayne McKenna (Zoe)
The Boys:
A.J Bentley - Nick Carsberg - Curtis T Johns
Sario Soloman - Yazdan Qafouri
The Teenagers:
Sarah Kate Howarth (Young Claire) - Katy Clayton(Young Heather) - Faye Christal (Young Rachel)
Lauren Jacobs(Young Zoe) - Rachelle Dietrichs ( Young Debbie)
Martin Miller (Jeff) - Andy Williams (Every Dave)
Maddy Banks (Understudy) - Claudia Bradley (Undertsudy/Dance Captain) -Harry Brown (Understudy)
Jamie Corner (Understudy/Assistant Dance Captain)
Claire Eden (Understudy) -Michael Geary (Understudy)
Catherine Higgins (Understudy)
Writer: Tim Firth
Music: Take That
Choreographer: KIm Gavin
Directors: Kim Gavin/ Jack Ryder
Designer Jon Bausor
Orchestrations: Steve parry
Musical Director: John Donovan
Top Hat
Carlton Operatic Society
Theatre Royal, Nottingham
May 29th 2018In this day and age "there may be trouble ahead", but at the Theatre Royal this week "there's music and moonlight and love and romance", so lets' just "face the music and dance" …
Once again Carlton Operatic Society has proved they are at the top of their game, by producing an excellent show.
Although Top Hat is a very old musical comedy, it has words and music by the wonderful Irving Berlin, so it is full of great well known songs including Cheek to Cheek, Top Hat, White Tie & Tails, Let's Face the Music & Dance and Puttin' on the Ritz.
Like many musicals of it time, the story is a little thin to say the least: it is about song and dance man Jerry Travers, who is in London to appear in a show, produced by his friend Horace Hardwick. He stays in Horace's suite the night before the show opens and becomes enamoured with the woman in the suite below, Dale Tremont. Due to a mix-up, Dale believes that Jerry is Horace. The only problem is that Horace is married to her friend Madge and Dale decides to teach him a lesson. After much singing and dancing, they eventually sort it all out, much to the delight of everyone.
It was of course, originally a smash movie hit for Fred Astaire and Ginger Rogers, and brings to life the colour, glamour and glitz of 1930s, with dazzling costumes and captivating tap dances. This has been transferred to the stage in this production, which was a box office success in the West End, starring Tom Chambers.
In this production there are excellent performances from the principals and the large ensemble cast.
Playing the part of Dale Tremont is the incredibly talented Abby Wells. From the moment she first appeared on stage it was obvious that her performance was going to be of a professional standard. She has a lovely powerful voice, is a fine actor and dances with flair and considerable expertise. She brings suitable glamour to the role, coupled with a lively delivery that brings the character to life.
She works well with the highly accomplished Jonathan Allen who played the part of Jerry Travers. It is not easy to compete with the original Jerry - Fred Astaire - but he has no difficulty stamping his own considerable talent on the role. The part is demanding: lots of singing, dancing and dialogue and Jonathan makes it all look easy.
Graham Ward is a splendid Horace Hardwick. He is a very competent comedy actor who has a wonderful singing voice and he brings a bumbling charm to the role. Pity that the part does not involve him in much singing until the Finale!
Sarah Walker-Smith (Madge Hardwick) is excellent as a singer and a very funny comic actor. She had some wonderful one liners and her delivery is perfect; Madge is a self assured grand dame with an unashamed eye to the main chance and Sarah plays her with a knowing and engaging twinkle.
Drew Dennis is the extravagant and colourful Italian dress designer, Alberto, and is to be congratulated both for his accent and delivery and the excellent, very amusing performance of "Latins Know How".
Well known actor and singer, Matt Wesson is delightful in the role of the butler, Bates. He makes the most of the part, showing how versatile he is, having to play several different characters and deliver some beautifully accented and amusing asides.
There are super costumes and well-choreographed dance routines by Rachael Rees. An enormous amount of work must have gone into not just creating the dances, but teaching them to the cast and getting them perfected. There are so many dance styles in the show and most of the cast are involved; I particularly liked the Piccolino routine. There was a lot of very precise tap dancing and the "tappers" certainly showed how good they were, along with Jonathan Allen in the final number of Act 1, the iconic, "Top Hat, White Tie and Tails."
The Orchestra, conducted by Christopher Rees sounded excellent throughout. The musical standard of both orchestra and performers is very high. Chris' experience and undoubted ability as a Musical Director was always apparent and as a consequence, ensemble and principal numbers were strong, tuneful and good to listen to.
The set is almost identical to the one I saw in the London Production and very evocative of the time in which the action takes place. The show itself requires a lot of fairly quick and sometimes short scenes which presents the backstage team with some considerable challenges. On the whole these were well overcome by Ian McCarthy and Dave Guy (Theatre Royal) and the Society's Stage Crew.
The lighting is appropriate and adds to the glamour and the sound is crystal clear. Really good to have the orchestra in the pit, providing a very supportive accompaniment for the cast on stage. No over dominance at all.
Carlton have once again shown what a wonderful society they are. The Director, Ross Lowe, has certainly brought to life a colourful and imaginative vision with this large cast. I particularly liked the way he used the ensemble to populate scenes in a vibrant and natural way.
There was a wonderful depth of talent on stage tonight and overall this was a very good production. There were great singing and dancing performances from the principals and the ensemble who certainly danced their socks off - sometimes "Cheek to Cheek".
Despite this show basically being "nostalgic nonsense", with dated stereotypes and some cringe inducing male/female banter, the music is glorious and the performances are terrific.
Do come and see it if you can - you will most certainly not regret it and you will definitely come out singing "Isn't this a lovely day."
Carlton Operatic Society
Theatre Royal, Nottingham
May 29th 2018In this day and age "there may be trouble ahead", but at the Theatre Royal this week "there's music and moonlight and love and romance", so lets' just "face the music and dance" …
Once again Carlton Operatic Society has proved they are at the top of their game, by producing an excellent show.
Although Top Hat is a very old musical comedy, it has words and music by the wonderful Irving Berlin, so it is full of great well known songs including Cheek to Cheek, Top Hat, White Tie & Tails, Let's Face the Music & Dance and Puttin' on the Ritz.
Like many musicals of it time, the story is a little thin to say the least: it is about song and dance man Jerry Travers, who is in London to appear in a show, produced by his friend Horace Hardwick. He stays in Horace's suite the night before the show opens and becomes enamoured with the woman in the suite below, Dale Tremont. Due to a mix-up, Dale believes that Jerry is Horace. The only problem is that Horace is married to her friend Madge and Dale decides to teach him a lesson. After much singing and dancing, they eventually sort it all out, much to the delight of everyone.
It was of course, originally a smash movie hit for Fred Astaire and Ginger Rogers, and brings to life the colour, glamour and glitz of 1930s, with dazzling costumes and captivating tap dances. This has been transferred to the stage in this production, which was a box office success in the West End, starring Tom Chambers.
In this production there are excellent performances from the principals and the large ensemble cast.
Playing the part of Dale Tremont is the incredibly talented Abby Wells. From the moment she first appeared on stage it was obvious that her performance was going to be of a professional standard. She has a lovely powerful voice, is a fine actor and dances with flair and considerable expertise. She brings suitable glamour to the role, coupled with a lively delivery that brings the character to life.
She works well with the highly accomplished Jonathan Allen who played the part of Jerry Travers. It is not easy to compete with the original Jerry - Fred Astaire - but he has no difficulty stamping his own considerable talent on the role. The part is demanding: lots of singing, dancing and dialogue and Jonathan makes it all look easy.
Graham Ward is a splendid Horace Hardwick. He is a very competent comedy actor who has a wonderful singing voice and he brings a bumbling charm to the role. Pity that the part does not involve him in much singing until the Finale!
Sarah Walker-Smith (Madge Hardwick) is excellent as a singer and a very funny comic actor. She had some wonderful one liners and her delivery is perfect; Madge is a self assured grand dame with an unashamed eye to the main chance and Sarah plays her with a knowing and engaging twinkle.
Drew Dennis is the extravagant and colourful Italian dress designer, Alberto, and is to be congratulated both for his accent and delivery and the excellent, very amusing performance of "Latins Know How".
Well known actor and singer, Matt Wesson is delightful in the role of the butler, Bates. He makes the most of the part, showing how versatile he is, having to play several different characters and deliver some beautifully accented and amusing asides.
There are super costumes and well-choreographed dance routines by Rachael Rees. An enormous amount of work must have gone into not just creating the dances, but teaching them to the cast and getting them perfected. There are so many dance styles in the show and most of the cast are involved; I particularly liked the Piccolino routine. There was a lot of very precise tap dancing and the "tappers" certainly showed how good they were, along with Jonathan Allen in the final number of Act 1, the iconic, "Top Hat, White Tie and Tails."
The Orchestra, conducted by Christopher Rees sounded excellent throughout. The musical standard of both orchestra and performers is very high. Chris' experience and undoubted ability as a Musical Director was always apparent and as a consequence, ensemble and principal numbers were strong, tuneful and good to listen to.
The set is almost identical to the one I saw in the London Production and very evocative of the time in which the action takes place. The show itself requires a lot of fairly quick and sometimes short scenes which presents the backstage team with some considerable challenges. On the whole these were well overcome by Ian McCarthy and Dave Guy (Theatre Royal) and the Society's Stage Crew.
The lighting is appropriate and adds to the glamour and the sound is crystal clear. Really good to have the orchestra in the pit, providing a very supportive accompaniment for the cast on stage. No over dominance at all.
Carlton have once again shown what a wonderful society they are. The Director, Ross Lowe, has certainly brought to life a colourful and imaginative vision with this large cast. I particularly liked the way he used the ensemble to populate scenes in a vibrant and natural way.
There was a wonderful depth of talent on stage tonight and overall this was a very good production. There were great singing and dancing performances from the principals and the ensemble who certainly danced their socks off - sometimes "Cheek to Cheek".
Despite this show basically being "nostalgic nonsense", with dated stereotypes and some cringe inducing male/female banter, the music is glorious and the performances are terrific.
Do come and see it if you can - you will most certainly not regret it and you will definitely come out singing "Isn't this a lovely day."
Jekyll and Hyde, the Musical
Beeston Musical Theatre Group
Duchess Theatre in Long Eaton.
Tuesday May 22nd
George Mercer’s performance as Jekyll and Hyde is a triumph!
Jekyll & Hyde is a musical horror-drama loosely based on the novella The Strange Case of Dr Jekyll and Mr Hyde by Robert Louis Stevenson. Originally conceived for the stage by Frank Wildhorn and Steve Cuden, it features music by Wildhorn, a book by Leslie Bricusse and lyrics by Wildhorn, Bricusse and Cuden.
In an attempt to cure his ailing father’s mental illness by separating “good” from “evil” in the human personality, talented physician Dr. Jekyll inadvertently creates an alternate personality of pure evil, dubbed Mr. Hyde, who wreaks murderous havoc on the city of London. As his fiancée Emma grows increasingly fearful for her betrothed, a prostitute, Lucy, finds herself dangerously involved with both the doctor and his alter ego. Struggling to control Hyde before he takes over for good, Jekyll must race to find a cure for the demon he has created in his own mind.
Beeston Musical Theatre Group have some extraordinary and well trained talent and they have made the most of this in the casting of the principals for this show.
George Mercer has the very demanding roles of both the respectable Dr Jekyll and the malevolent Mr Hyde: he plays them with skill, intensity and passion. His nimble Dr Jekyll is earnest and single minded, determined to reach his goal of eradicating evil from the human mind. His incarnation of that evil, the heavy footed Edward Hyde, is similarly single minded, but driven by hatred and the goal of revenge. George skilfully and effectively moves between the two by changing his voice, stiffening his limbs, fixing his expression and adjusting his posture; there is no recourse to make up or wigs, which is very impressive. His performance is a triumph - powerful, dynamic and thoroughly engaging. I am sure he will be exhausted by the end of the week! He has a wonderful voice which is great to listen to: both his singing and acting dominate the stage throughout his long performance.
Despite the darkness of this show, the music is often captivating, with many soaring tunes which were performed very well. I had forgotten that it is almost completely sung through with very little dialogue and many of the songs are operatic in style.
Lilly Taylor Ward is very well cast as the hapless Lucy, singing songs that are very suited to her beautiful soprano voice. She excels particularly while delivering full-throttle renditions of such numbers as “Bring on the Men’, “Someone Like You.” Her characterisation is thoughtful, showing both the vulnerability and wistfulness of the character, as well as her sassiness and strength.
Claire Rybicki playing the role of Jekyll’s fiancé Emma, sang beautifully and had some genuinely poignant moments in her performance, especially in the final scene. I particularly enjoyed her duet with George, “Take Me as I Am.” Claire ably portrays the character’s sweetness, alongside her quiet determination and a nice line in ripostes.
I also very much enjoyed the performance of Abby Riddell as Spider. She has a powerful singing voice and is very engaging in the role, bringing a sleazy confidence and unashamedly nasty swagger to the proprietor of The Red Rat.
There is a talented and supportive cast who perform well: Rob Charles (John), John Henson(Sir Danvers), Chris Bryan (Simon), David Hurt (Bishop), Andy Wallace (Lord Savage), John Hand (General), David Artiss (Sir Archibald), Cheryl Camm (Lady Beaconsfield), Mariko Jones (Nellie), Andy Bulmer (Poole), Gareth Frank (Priest).
The ensemble work hard to build up the atmosphere of the story and some took on the minor roles as well. They were:
Katie Bird, Lucy Castle, Carrie-Anne Corner, Jane Cottee, Claire Farrand-Preston, Sandy Lane, Mina Machin, Rachel Maddison, Cheryl Mills, Jackie Rawling, Hollie Smith, Laura Such.
The orchestra sounds good and The Musical Director, Sam Griffiths (along with Andrea Chapman) have done an excellent job with a very difficult and complex musical score. The singing of principals and the ensemble is of a very high standard, despite the complexity of the piece, which has many difficult harmonies and frequent counter-point.
Beth Yearsley’s Production is certainly different to other productions I have seen - it is serious and bold and makes good use of a large ensemble. Both the actors and the director are to be congratulated for avoiding the traps that this type of melodrama can open up. The sheer intensity of the production, the unrelenting pace and the complete absorption of all on the stage in their roles, is thoroughly convincing. Apart from a couple of unintentionally comic moments at the end, the audience were kept enthralled, engaged and somewhat horrified!
The set design is starkly simple, which is very appropriate to the mood, and much use is made of dynamic lighting to enhance different scenes and atmosphere. Dave Martin and Matthew Cook are to be praised for an outstanding lighting plot, which is complex and effective. The final scene is bathed in a sickly light which is extremely evocative and somewhat disturbing. The sound by Harry Greatorex was crisp and clear. I will not describe it, but the laboratory scene is very cleverly done in horror film style.
The choreography by Jodie Cresdee is varied and lively, ranging from saucy routines to gentle ballets, with some impressive set pieces. Much of the stage is taken up by a rigid box set and the routines fit in and around this, giving a pleasing visual spectacle. I particularly enjoyed “Facade,” and “Murder, Murder.”
The costumes are very effective and some have something of the Rocky Horror show about them, lovely gothic undertones and a mix of Victorian stiffness coupled with brothel chic. The clever use of make up and a veil over one eye adds to the overall impression of good versus evil. Mr Hyde’s fur strewn red coat is chillingly appropriate. The costumes were designed and coordinated by Mina Machin, with excellent props under the supervision of Katie Bird.
The scene changes are quick and smooth thanks to The Stage Manager, Lisa Smith, assisted by Rob Corner and a large stage crew.
There was a well deserved standing ovation at the end. The show itself is very dark and, although it has some powerful and exciting songs, the writing does lack some balance from lighter moments.
However, BMTG have produced a show of outstanding quality which packs a real punch and thoroughly entertains. It was greatly appreciated by tonight’s audience and will, I am sure, continue to be so through until Saturday.
Well done to all who were involved.
Beeston Musical Theatre Group
Duchess Theatre in Long Eaton.
Tuesday May 22nd
George Mercer’s performance as Jekyll and Hyde is a triumph!
Jekyll & Hyde is a musical horror-drama loosely based on the novella The Strange Case of Dr Jekyll and Mr Hyde by Robert Louis Stevenson. Originally conceived for the stage by Frank Wildhorn and Steve Cuden, it features music by Wildhorn, a book by Leslie Bricusse and lyrics by Wildhorn, Bricusse and Cuden.
In an attempt to cure his ailing father’s mental illness by separating “good” from “evil” in the human personality, talented physician Dr. Jekyll inadvertently creates an alternate personality of pure evil, dubbed Mr. Hyde, who wreaks murderous havoc on the city of London. As his fiancée Emma grows increasingly fearful for her betrothed, a prostitute, Lucy, finds herself dangerously involved with both the doctor and his alter ego. Struggling to control Hyde before he takes over for good, Jekyll must race to find a cure for the demon he has created in his own mind.
Beeston Musical Theatre Group have some extraordinary and well trained talent and they have made the most of this in the casting of the principals for this show.
George Mercer has the very demanding roles of both the respectable Dr Jekyll and the malevolent Mr Hyde: he plays them with skill, intensity and passion. His nimble Dr Jekyll is earnest and single minded, determined to reach his goal of eradicating evil from the human mind. His incarnation of that evil, the heavy footed Edward Hyde, is similarly single minded, but driven by hatred and the goal of revenge. George skilfully and effectively moves between the two by changing his voice, stiffening his limbs, fixing his expression and adjusting his posture; there is no recourse to make up or wigs, which is very impressive. His performance is a triumph - powerful, dynamic and thoroughly engaging. I am sure he will be exhausted by the end of the week! He has a wonderful voice which is great to listen to: both his singing and acting dominate the stage throughout his long performance.
Despite the darkness of this show, the music is often captivating, with many soaring tunes which were performed very well. I had forgotten that it is almost completely sung through with very little dialogue and many of the songs are operatic in style.
Lilly Taylor Ward is very well cast as the hapless Lucy, singing songs that are very suited to her beautiful soprano voice. She excels particularly while delivering full-throttle renditions of such numbers as “Bring on the Men’, “Someone Like You.” Her characterisation is thoughtful, showing both the vulnerability and wistfulness of the character, as well as her sassiness and strength.
Claire Rybicki playing the role of Jekyll’s fiancé Emma, sang beautifully and had some genuinely poignant moments in her performance, especially in the final scene. I particularly enjoyed her duet with George, “Take Me as I Am.” Claire ably portrays the character’s sweetness, alongside her quiet determination and a nice line in ripostes.
I also very much enjoyed the performance of Abby Riddell as Spider. She has a powerful singing voice and is very engaging in the role, bringing a sleazy confidence and unashamedly nasty swagger to the proprietor of The Red Rat.
There is a talented and supportive cast who perform well: Rob Charles (John), John Henson(Sir Danvers), Chris Bryan (Simon), David Hurt (Bishop), Andy Wallace (Lord Savage), John Hand (General), David Artiss (Sir Archibald), Cheryl Camm (Lady Beaconsfield), Mariko Jones (Nellie), Andy Bulmer (Poole), Gareth Frank (Priest).
The ensemble work hard to build up the atmosphere of the story and some took on the minor roles as well. They were:
Katie Bird, Lucy Castle, Carrie-Anne Corner, Jane Cottee, Claire Farrand-Preston, Sandy Lane, Mina Machin, Rachel Maddison, Cheryl Mills, Jackie Rawling, Hollie Smith, Laura Such.
The orchestra sounds good and The Musical Director, Sam Griffiths (along with Andrea Chapman) have done an excellent job with a very difficult and complex musical score. The singing of principals and the ensemble is of a very high standard, despite the complexity of the piece, which has many difficult harmonies and frequent counter-point.
Beth Yearsley’s Production is certainly different to other productions I have seen - it is serious and bold and makes good use of a large ensemble. Both the actors and the director are to be congratulated for avoiding the traps that this type of melodrama can open up. The sheer intensity of the production, the unrelenting pace and the complete absorption of all on the stage in their roles, is thoroughly convincing. Apart from a couple of unintentionally comic moments at the end, the audience were kept enthralled, engaged and somewhat horrified!
The set design is starkly simple, which is very appropriate to the mood, and much use is made of dynamic lighting to enhance different scenes and atmosphere. Dave Martin and Matthew Cook are to be praised for an outstanding lighting plot, which is complex and effective. The final scene is bathed in a sickly light which is extremely evocative and somewhat disturbing. The sound by Harry Greatorex was crisp and clear. I will not describe it, but the laboratory scene is very cleverly done in horror film style.
The choreography by Jodie Cresdee is varied and lively, ranging from saucy routines to gentle ballets, with some impressive set pieces. Much of the stage is taken up by a rigid box set and the routines fit in and around this, giving a pleasing visual spectacle. I particularly enjoyed “Facade,” and “Murder, Murder.”
The costumes are very effective and some have something of the Rocky Horror show about them, lovely gothic undertones and a mix of Victorian stiffness coupled with brothel chic. The clever use of make up and a veil over one eye adds to the overall impression of good versus evil. Mr Hyde’s fur strewn red coat is chillingly appropriate. The costumes were designed and coordinated by Mina Machin, with excellent props under the supervision of Katie Bird.
The scene changes are quick and smooth thanks to The Stage Manager, Lisa Smith, assisted by Rob Corner and a large stage crew.
There was a well deserved standing ovation at the end. The show itself is very dark and, although it has some powerful and exciting songs, the writing does lack some balance from lighter moments.
However, BMTG have produced a show of outstanding quality which packs a real punch and thoroughly entertains. It was greatly appreciated by tonight’s audience and will, I am sure, continue to be so through until Saturday.
Well done to all who were involved.
The Jersey Boys
National Tour
Theatre Royal
May 10th 2018
This is a great show and I loved the music and the superb performances of Dayle Hodge, Simon Bailey, Declan Egan and Lewis Griffiths. They were very well supported by an excellent ensemble, many of whom played a number of parts.
I must say that there was incredible chemistry between the four leads and despite them all being good as individuals together they were incredible.
I liked the fact that this is no light weight jukebox musical but has a gritty, powerful and exciting story that is based on reality. It is presented in a documentary style format that dramatises the ups and downs of the formation, success and eventual break-up of the The Four Seasons. It is structured as four "seasons", each told by a different member of the band who gives his own perspective on its history and music.
Musically this show was very enjoyable with hits including Big Girls Don’t Cry, Sherry, December 1963, Oh What a Night, My Eyes Adored You, Stay, Cant Take My Eyes Off You, Working My Way Back To You, Rag Doll and many others.
A two level split stage worked well along with a large video wall. This kept the action moving and allowed the cast to play multiple roles. There were some very quick changes that were well done.
The drama is engaging throughout, the music is uplifting, the staging is fantastic and the result is a stunning musical production. It is fresh, energetic and exhilarating. “Oh, what a night indeed.” The whole theatre standing ovation at the end showed how well received it was by a near capacity audience. There were many positive comments ringing around the concert hall as the audience left.
National Tour
Theatre Royal
May 10th 2018
This is a great show and I loved the music and the superb performances of Dayle Hodge, Simon Bailey, Declan Egan and Lewis Griffiths. They were very well supported by an excellent ensemble, many of whom played a number of parts.
I must say that there was incredible chemistry between the four leads and despite them all being good as individuals together they were incredible.
I liked the fact that this is no light weight jukebox musical but has a gritty, powerful and exciting story that is based on reality. It is presented in a documentary style format that dramatises the ups and downs of the formation, success and eventual break-up of the The Four Seasons. It is structured as four "seasons", each told by a different member of the band who gives his own perspective on its history and music.
Musically this show was very enjoyable with hits including Big Girls Don’t Cry, Sherry, December 1963, Oh What a Night, My Eyes Adored You, Stay, Cant Take My Eyes Off You, Working My Way Back To You, Rag Doll and many others.
A two level split stage worked well along with a large video wall. This kept the action moving and allowed the cast to play multiple roles. There were some very quick changes that were well done.
The drama is engaging throughout, the music is uplifting, the staging is fantastic and the result is a stunning musical production. It is fresh, energetic and exhilarating. “Oh, what a night indeed.” The whole theatre standing ovation at the end showed how well received it was by a near capacity audience. There were many positive comments ringing around the concert hall as the audience left.
Review of The Best Little Whorehouse in Texas
CTC Presents
Loughborough Town Hall
May 1st 2018
The Best Little Whorehouse in Texas was written by Larry L. King and Peter Masterson and has music and lyrics by Carol Hall. It is based on a story by King that was inspired by the real-life Chicken Ranch in La Grange, Texas.
The whorehouse ranch was known as 'the chicken ranch', because they often accepted chickens in lieu of payment. It was sort of accepted by the local community until 1973 when it was forced to close due to the actions of sensationalist journalist Marvin Zindler.
The show has a number of adult themes, but deals with them in a sensitive way, making them acceptable in the context of a comedy musical. There is some crude language, but this is in the context of the story.
The show is full of great one liners, is well written and full of energy and excitement. It was very successful on Broadway and was made into a film starring Dolly Parton & Burt Reynolds. It has some good musical numbers which I was unfamiliar with, but they are easy to listen to and very appropriate for the action. I particularly liked "Hard Candy Christmas" sung beautifully by the girls and the "Aggie Song" sung with considerable power by the football boys. The final song "The Bus from Amarillo" sung by Miss Mona is very poignant and the way Julie sang it was beautiful and moving.
Miss Mona manages the ranch and is played brilliantly by Julie Easter. She is an accomplished actor and singer and is totally believable in the part. She sang her songs in a way that is very entertaining and easy on the ear. Mona's right hand lady, Jewel, is played delightfully by Gemma Farnell; I particularly enjoyed her rendition of '24 hours of loving."
The two outsiders, Angel and Shy, were both well cast and played with great charm and confidence by Holly Easter and Sophie Draycott respectively. I thought that Sophie's transformation from the innocent ingenue to one of the working girls was particularly well done.
Jeremy Malpas as the Sheriff is outstanding, showing the depth and feeling of the character who was caught between his interest in keeping the whorehouse going and his duty to obey the State Governor.
David Perkin's excellent characterisation of the over -zealous investigative reporter Melvin P Thorpe was a joy to watch. He combined humour with an implied and subtly contained nastiness. He sings and moves wholly in character and his costumes are very appropriate.
Anita Benson plays Doatsey Mae Grimes, the seemingly quiet innocent waitress of the local diner, who gave an excellent rendition of her song of "Missed Opportunities."
The other principals, Duncan Gadsby (Governor), Carl Unwin (Bandleader) and Guy Benson (Senator Wingworth + others) were all well understood and delivered.
They were very well supported by a strong cast of minor characters and a very hardworking and talented ensemble.
Ian Lee-Bennett (C J Scuggs), Laurie Trott (Miss Wulla Jean), Hannah Osgood (Linda-Lou), Anja Palmer (Ginger), Vicky Mee (Dawn), Lucy Maden (Ruby Rae), Hannah Parker (Eloise), Bobbie Da'Bell (Beatrice), Hayley Farnell (Taddy Jo), Frankie Johnson (Durla), Lucy Banks, Ash Bright, Craig Butterworth, Jordan Cope, Helen Donnelly, Carl Edwards, Jeremiah Gaillard, Jack Hardy, Alex Hudson, Alix Johnston, Sarah Lorimer, Amy McMurray, Julie Robinson, Jayne Sanderson, Mel Swift, Harry Walford.
I thought that the costumes and wigs supplied by a number of organisations and individuals were first class, as was the set supplied by Scenic Projects.
The excellent lighting plot really helped with establishing scene locations and atmosphere. Well done to the lighting designer, Robert Bridges. The sound was just right for the production. I'm sure that the technical challenges of the show are considerable but, both the sound and lighting crews made it all look easy. The stage crew managed the scene changes quickly and invisibly. The Stage Manager Adrian Wray and his crew were very professional indeed and must have worked very hard.
The band sounded terrific, giving exactly the right support and volume for the show. There was a high level of musicality and some impressive harmonies. Well done Musical Director, Vicki Hing. She obviously has worked very hard with the cast enabling them to achieve the very high standards.
Director and choreographer Michael Gamble, assisted by Ashley Bright, delivered a really entertaining and high-quality show. They make good use of the stage and all the available entrances and exits. The performers all give of their all with their characterisations, accents and importantly, ensuring that the fast pace of the show is maintained throughout. The dance routines are lovely to watch and of a very good standard.
This is yet another excellent production from CTC presents which I enjoyed very much. Yes, at times the show is a little crude, but it is all done "in the best possible taste," to quote the late Kenny Everett. I can certainly recommend the show, but would suggest that it may not be suitable for the youngest theatre goers. The Company have in my view, correctly put an advisory age of 16+
CTC Presents
Loughborough Town Hall
May 1st 2018
The Best Little Whorehouse in Texas was written by Larry L. King and Peter Masterson and has music and lyrics by Carol Hall. It is based on a story by King that was inspired by the real-life Chicken Ranch in La Grange, Texas.
The whorehouse ranch was known as 'the chicken ranch', because they often accepted chickens in lieu of payment. It was sort of accepted by the local community until 1973 when it was forced to close due to the actions of sensationalist journalist Marvin Zindler.
The show has a number of adult themes, but deals with them in a sensitive way, making them acceptable in the context of a comedy musical. There is some crude language, but this is in the context of the story.
The show is full of great one liners, is well written and full of energy and excitement. It was very successful on Broadway and was made into a film starring Dolly Parton & Burt Reynolds. It has some good musical numbers which I was unfamiliar with, but they are easy to listen to and very appropriate for the action. I particularly liked "Hard Candy Christmas" sung beautifully by the girls and the "Aggie Song" sung with considerable power by the football boys. The final song "The Bus from Amarillo" sung by Miss Mona is very poignant and the way Julie sang it was beautiful and moving.
Miss Mona manages the ranch and is played brilliantly by Julie Easter. She is an accomplished actor and singer and is totally believable in the part. She sang her songs in a way that is very entertaining and easy on the ear. Mona's right hand lady, Jewel, is played delightfully by Gemma Farnell; I particularly enjoyed her rendition of '24 hours of loving."
The two outsiders, Angel and Shy, were both well cast and played with great charm and confidence by Holly Easter and Sophie Draycott respectively. I thought that Sophie's transformation from the innocent ingenue to one of the working girls was particularly well done.
Jeremy Malpas as the Sheriff is outstanding, showing the depth and feeling of the character who was caught between his interest in keeping the whorehouse going and his duty to obey the State Governor.
David Perkin's excellent characterisation of the over -zealous investigative reporter Melvin P Thorpe was a joy to watch. He combined humour with an implied and subtly contained nastiness. He sings and moves wholly in character and his costumes are very appropriate.
Anita Benson plays Doatsey Mae Grimes, the seemingly quiet innocent waitress of the local diner, who gave an excellent rendition of her song of "Missed Opportunities."
The other principals, Duncan Gadsby (Governor), Carl Unwin (Bandleader) and Guy Benson (Senator Wingworth + others) were all well understood and delivered.
They were very well supported by a strong cast of minor characters and a very hardworking and talented ensemble.
Ian Lee-Bennett (C J Scuggs), Laurie Trott (Miss Wulla Jean), Hannah Osgood (Linda-Lou), Anja Palmer (Ginger), Vicky Mee (Dawn), Lucy Maden (Ruby Rae), Hannah Parker (Eloise), Bobbie Da'Bell (Beatrice), Hayley Farnell (Taddy Jo), Frankie Johnson (Durla), Lucy Banks, Ash Bright, Craig Butterworth, Jordan Cope, Helen Donnelly, Carl Edwards, Jeremiah Gaillard, Jack Hardy, Alex Hudson, Alix Johnston, Sarah Lorimer, Amy McMurray, Julie Robinson, Jayne Sanderson, Mel Swift, Harry Walford.
I thought that the costumes and wigs supplied by a number of organisations and individuals were first class, as was the set supplied by Scenic Projects.
The excellent lighting plot really helped with establishing scene locations and atmosphere. Well done to the lighting designer, Robert Bridges. The sound was just right for the production. I'm sure that the technical challenges of the show are considerable but, both the sound and lighting crews made it all look easy. The stage crew managed the scene changes quickly and invisibly. The Stage Manager Adrian Wray and his crew were very professional indeed and must have worked very hard.
The band sounded terrific, giving exactly the right support and volume for the show. There was a high level of musicality and some impressive harmonies. Well done Musical Director, Vicki Hing. She obviously has worked very hard with the cast enabling them to achieve the very high standards.
Director and choreographer Michael Gamble, assisted by Ashley Bright, delivered a really entertaining and high-quality show. They make good use of the stage and all the available entrances and exits. The performers all give of their all with their characterisations, accents and importantly, ensuring that the fast pace of the show is maintained throughout. The dance routines are lovely to watch and of a very good standard.
This is yet another excellent production from CTC presents which I enjoyed very much. Yes, at times the show is a little crude, but it is all done "in the best possible taste," to quote the late Kenny Everett. I can certainly recommend the show, but would suggest that it may not be suitable for the youngest theatre goers. The Company have in my view, correctly put an advisory age of 16+
Boogie Nights
Heanor Musical Theatre Company
The Palace Theatre Mansfield
April 19th 2018
"Boogie Nights" is a "jukebox musical" and like many the story comes second to the music. That in itself isn't a bad thing when the musical soundtrack is as good as this.
The musical tells the story of Roddy, a Jack-the-lad, whose life of birds, booze and boogie is about to be turned upside down. He is busy dreaming of life as a rock star! Debs, his girlfriend, has her own thoughts... basically that Roddy's a selfish, arrogant, horrible, unfeeling, rude, heartless pig! But the truth is that Roddy is in love with Debs, and Debs is in love with Roddy, but Debs knows that her Roddy has more than a roving eye… Through all their tears and laughter - can they both find what they are truly searching for?
This story is then held together by the 18 or so well known songs of the 70s and 80s.
There are strong performances from Tom Lucking as Roddie and Katie Ward as Debs. None of the characters are particularly engaging, as they are written as caricatures - there to represent some of the crasser attitudes of the time, but Tom manages to engage the audience with his bad boy persona and amuse many. He sings well and this was particularly evident during the brilliant Sorry Seems to be the Hardest Word.
Katie is a good actress and she has a lovely voice; she does justice to all the songs. Particular highlights are her rendition of I Will Survive and a powerful duet with Lorraine (Adela Green). Lorraine is the only female character who is afforded any strength by the writing, she gives us a glimpse of female liberation and even coins a popular phrase of the time ‘male chauvinist pig’. They are well represented in this piece! Adela’s excellent vocals are a real strength, her voice is powerful and pure.
Gemma Blake is thoroughly convincing as the lively and sweet natured Trish; another vocal highlight is her very entertaining I Lost My Heart to a Starship Trooper.
Adam Carpenter is the rather dim but pleasant Terry – he has this character nailed and gives a polished performance. Paul Mills is the old rocker Spencer, some great vocals and a very convincing line in bully boy chauvinist, he had the audience booing at times!
Also in the principal line-up is Kheenan Jones as the sympathetic DJ Dean and Roger Bode as Eamon, who gave a strong and evocative performance of Always on My Mind.
The hard working ensemble is made up of Simon Ward - who also did a sterling job as warm up man - Jennifer Richardson, Suzy Meeson, Brett Waller, Lucy Stokes, Al Tandy, Lydia Fry, Annie Glansford-Wragg,
Sabine Bensley, Catherine Baker and
Reema Udeshi.
The live orchestra, under the direction of Lisa Mills sounded very good indeed and were used cleverly by the director as part of club action at points.
From the very first scene in the disco it was obvious that lighting was going to play a major part in creating the atmosphere for the show. The lighting plot by Paul Young was very well done. He was also the technical director of the show.
The costumes by Alana Moran and Katie Gaskin are bright and colourful and there is quite a variety, ranging from psychedelic minis to sparkly catsuits and flared trousers. A lot of research must have gone into making these look authentic. Those of us with memories of wearing the same are now shaking our heads in disbelief that we ever thought we looked good!
The choreography is well planned and appropriately lively – the scope for disco routines is well developed by Laura -Jane Jacobs – and the cast have worked hard on their boogie moves.
Although there is a story to Boogie Nights it is the oh so familiar music that keeps it moving. Songs such as "You Sexy Thing", "Celebration", "Disco Inferno", "YMCA", "Can You Feel It", "The Hustle", "Sugar Baby Love", "Lady Marmalade", "I Will Survive", "Don't Go Breaking My Heart", "Play that Funky Music" as well as some nice 70's ballads "Sorry Seems To be The Hardest Word", "If You Leave Me Now", "Yesterday Once More" and "Always On My Mind".
"Boogie Nights" requires a cast with some considerable energy to make it work, plus of course, some of the best music from the 70's and 80's. This relatively small cast managed to show boundless energy and great enthusiasm throughout the whole show.
The Director, Patricia Church and her assistant, Ben Sherwin are to be congratulated for ensuring that the production was energetic and delivered with unashamed delight in both the great music, the coarseness and the comedy. Some lack of pace in delivery and scene starts was evident at times, doubtless temporary, due to it being first night.
Tonight’s audience showed their appreciation with good responses throughout and a sustained ovation at the end; many were standing to join in with the excellent finale of hit tunes.
You can see this show at The Palace Theatre in Mansfield until Saturday and don't forget to take your dance shoes with you, because you could be dancing in the aisles by the end of the evening.
Heanor Musical Theatre Company
The Palace Theatre Mansfield
April 19th 2018
"Boogie Nights" is a "jukebox musical" and like many the story comes second to the music. That in itself isn't a bad thing when the musical soundtrack is as good as this.
The musical tells the story of Roddy, a Jack-the-lad, whose life of birds, booze and boogie is about to be turned upside down. He is busy dreaming of life as a rock star! Debs, his girlfriend, has her own thoughts... basically that Roddy's a selfish, arrogant, horrible, unfeeling, rude, heartless pig! But the truth is that Roddy is in love with Debs, and Debs is in love with Roddy, but Debs knows that her Roddy has more than a roving eye… Through all their tears and laughter - can they both find what they are truly searching for?
This story is then held together by the 18 or so well known songs of the 70s and 80s.
There are strong performances from Tom Lucking as Roddie and Katie Ward as Debs. None of the characters are particularly engaging, as they are written as caricatures - there to represent some of the crasser attitudes of the time, but Tom manages to engage the audience with his bad boy persona and amuse many. He sings well and this was particularly evident during the brilliant Sorry Seems to be the Hardest Word.
Katie is a good actress and she has a lovely voice; she does justice to all the songs. Particular highlights are her rendition of I Will Survive and a powerful duet with Lorraine (Adela Green). Lorraine is the only female character who is afforded any strength by the writing, she gives us a glimpse of female liberation and even coins a popular phrase of the time ‘male chauvinist pig’. They are well represented in this piece! Adela’s excellent vocals are a real strength, her voice is powerful and pure.
Gemma Blake is thoroughly convincing as the lively and sweet natured Trish; another vocal highlight is her very entertaining I Lost My Heart to a Starship Trooper.
Adam Carpenter is the rather dim but pleasant Terry – he has this character nailed and gives a polished performance. Paul Mills is the old rocker Spencer, some great vocals and a very convincing line in bully boy chauvinist, he had the audience booing at times!
Also in the principal line-up is Kheenan Jones as the sympathetic DJ Dean and Roger Bode as Eamon, who gave a strong and evocative performance of Always on My Mind.
The hard working ensemble is made up of Simon Ward - who also did a sterling job as warm up man - Jennifer Richardson, Suzy Meeson, Brett Waller, Lucy Stokes, Al Tandy, Lydia Fry, Annie Glansford-Wragg,
Sabine Bensley, Catherine Baker and
Reema Udeshi.
The live orchestra, under the direction of Lisa Mills sounded very good indeed and were used cleverly by the director as part of club action at points.
From the very first scene in the disco it was obvious that lighting was going to play a major part in creating the atmosphere for the show. The lighting plot by Paul Young was very well done. He was also the technical director of the show.
The costumes by Alana Moran and Katie Gaskin are bright and colourful and there is quite a variety, ranging from psychedelic minis to sparkly catsuits and flared trousers. A lot of research must have gone into making these look authentic. Those of us with memories of wearing the same are now shaking our heads in disbelief that we ever thought we looked good!
The choreography is well planned and appropriately lively – the scope for disco routines is well developed by Laura -Jane Jacobs – and the cast have worked hard on their boogie moves.
Although there is a story to Boogie Nights it is the oh so familiar music that keeps it moving. Songs such as "You Sexy Thing", "Celebration", "Disco Inferno", "YMCA", "Can You Feel It", "The Hustle", "Sugar Baby Love", "Lady Marmalade", "I Will Survive", "Don't Go Breaking My Heart", "Play that Funky Music" as well as some nice 70's ballads "Sorry Seems To be The Hardest Word", "If You Leave Me Now", "Yesterday Once More" and "Always On My Mind".
"Boogie Nights" requires a cast with some considerable energy to make it work, plus of course, some of the best music from the 70's and 80's. This relatively small cast managed to show boundless energy and great enthusiasm throughout the whole show.
The Director, Patricia Church and her assistant, Ben Sherwin are to be congratulated for ensuring that the production was energetic and delivered with unashamed delight in both the great music, the coarseness and the comedy. Some lack of pace in delivery and scene starts was evident at times, doubtless temporary, due to it being first night.
Tonight’s audience showed their appreciation with good responses throughout and a sustained ovation at the end; many were standing to join in with the excellent finale of hit tunes.
You can see this show at The Palace Theatre in Mansfield until Saturday and don't forget to take your dance shoes with you, because you could be dancing in the aisles by the end of the evening.
Spamalot
National Tour
Derby Theatre
April 17th 2018
I have seen this show many times and loved it from the first time I saw it many years ago, at the Palace Theatre in London; this production from Sellador is definitely fresh and new. The staging and script have been tweaked with some new routines and up to date references, adding even more fun and laughter for the audience. All the performances tonight were excellent, showing professionals at the top of their game, doing justice to a great piece of musical comedy.
At the start the smallish cast and rather simple set might have suggested that this was to be a cut down version of the show, but this soon proved to be far from the case.
For those who haven't seen this crazy show, it tells the tale of King Arthur and his Knights of the Round Table as they search for the Holy Grail, in a very silly, but extremely creative and entertaining way. It mocks musicals, has a bizarre story, includes fish dancers from Finland, horse riders with no visible horses, the Knights who Say 'Ni!', an ever-defiant Black Knight, a killer rabbit, a male heroine in a tower and much more. It has an entertaining script, well crafted songs and energetic dance routines.
All the great Eric Idle and John Du Prez songs are there, including Always Look On The Bright Side of Life, The Song That Goes Like This, The Knights of the Round Table and a cleverly rewritten version of 'You Won't Succeed In Showbiz'.
There were fine performances tonight from Bob Harms as King Arthur, Rhys Owen as his loyal servant Patsy, and Sarah Harlington as the Lady of The Lake, all who provide strong vocal performances, as well as very effective comic timing. They were brilliantly supported by the Knights played by Norton James as Sir Galahad, Johnathan Tweedie as Sir Lancelot, Marc Akinfolarin as Sir Bedevere, Stephen Arden as Sir Robin (Resident Director as well) plus Matthew Pennington as Prince Herbert, Shane McDaid as Head Minstrel/ Dance Captain.
The very hard-working ensemble was polished and performed with energy and enthusiasm: many of them also have small cameo roles. They are Shane McDaid, Grace Eccle, Gleanne Purcell Brown, Joel Benedict and Ryan Limb; their dancing is excellent. The choreography is impressive: choreographer Ashley Nottingham has done a brilliant job at both set piece dances and knockabout routines.
The versatile and appropriate set by Sara Perks adds to the comedy and is enhanced by clever lighting by David W Kidd; the sound by Chris Bogg is crystal clear, I could hear every word. The musical standard is high: the 4 piece band directed by Dean McDermott produces a sound which is much more powerful than you might expect. Both the set and the richly varied costumes are changed very quickly and efficiently.
The show's director, Daniel Buckroyd, has produced a fast moving, slick show which is very funny with great music and an up to date and fresh feel. I can recommend it to all lovers of good musical comedy - whether you are a Monty Python fan or not - it's a feel good, laugh out loud extravaganza which is not to be missed.
National Tour
Derby Theatre
April 17th 2018
I have seen this show many times and loved it from the first time I saw it many years ago, at the Palace Theatre in London; this production from Sellador is definitely fresh and new. The staging and script have been tweaked with some new routines and up to date references, adding even more fun and laughter for the audience. All the performances tonight were excellent, showing professionals at the top of their game, doing justice to a great piece of musical comedy.
At the start the smallish cast and rather simple set might have suggested that this was to be a cut down version of the show, but this soon proved to be far from the case.
For those who haven't seen this crazy show, it tells the tale of King Arthur and his Knights of the Round Table as they search for the Holy Grail, in a very silly, but extremely creative and entertaining way. It mocks musicals, has a bizarre story, includes fish dancers from Finland, horse riders with no visible horses, the Knights who Say 'Ni!', an ever-defiant Black Knight, a killer rabbit, a male heroine in a tower and much more. It has an entertaining script, well crafted songs and energetic dance routines.
All the great Eric Idle and John Du Prez songs are there, including Always Look On The Bright Side of Life, The Song That Goes Like This, The Knights of the Round Table and a cleverly rewritten version of 'You Won't Succeed In Showbiz'.
There were fine performances tonight from Bob Harms as King Arthur, Rhys Owen as his loyal servant Patsy, and Sarah Harlington as the Lady of The Lake, all who provide strong vocal performances, as well as very effective comic timing. They were brilliantly supported by the Knights played by Norton James as Sir Galahad, Johnathan Tweedie as Sir Lancelot, Marc Akinfolarin as Sir Bedevere, Stephen Arden as Sir Robin (Resident Director as well) plus Matthew Pennington as Prince Herbert, Shane McDaid as Head Minstrel/ Dance Captain.
The very hard-working ensemble was polished and performed with energy and enthusiasm: many of them also have small cameo roles. They are Shane McDaid, Grace Eccle, Gleanne Purcell Brown, Joel Benedict and Ryan Limb; their dancing is excellent. The choreography is impressive: choreographer Ashley Nottingham has done a brilliant job at both set piece dances and knockabout routines.
The versatile and appropriate set by Sara Perks adds to the comedy and is enhanced by clever lighting by David W Kidd; the sound by Chris Bogg is crystal clear, I could hear every word. The musical standard is high: the 4 piece band directed by Dean McDermott produces a sound which is much more powerful than you might expect. Both the set and the richly varied costumes are changed very quickly and efficiently.
The show's director, Daniel Buckroyd, has produced a fast moving, slick show which is very funny with great music and an up to date and fresh feel. I can recommend it to all lovers of good musical comedy - whether you are a Monty Python fan or not - it's a feel good, laugh out loud extravaganza which is not to be missed.
Review of Whistle Down The Wind
Long Eaton Operatic Society
Trent College
April 12th 2018
Before seeing Whistle Down the Wind I had read that it is a musical with only a couple of really memorable songs. While there are more than that, it is the fabulous performances of those taking part last night that impressed me the most and will stick in my memory.
This is a musical version of a book of the same name by Mary Hayley Bell. It is set in a small, deeply religious town in Louisiana in 1959. A poor farming family led by father, Boone, and his three children-Swallow, Brat, and Poor Baby-have recently lost their mother and they are still struggling with the grief.
As Christmas approaches and the family cannot afford any presents or luxuries, the three children are desperate to find something to hold on to and believe in. One day, they find a stranger injured and hiding in their run-down barn. Unknown to the children 'The Man' is an escaped convict, but Swallow assumes that he is Jesus; this rumour quickly spreads among the children of the town. The story is augmented by some sub plots.
The Long Eaton Operatic Society do real justice to this poignant story and that applies to the principals, the children and the adult ensemble, a wonderful team effort.
From the rousing opening ensemble number, it was obvious that Kathryn McCauley's production was going to be exciting, dynamic and a joy to watch. The show is almost operetta and packs a powerful emotional punch, delivered through Lloyd Webber's usual mix of haunting refrains and beautiful melodies. In this show, they are augmented by stirring hymns, rollicking barn dances and heavy rock: a panoply of musical genres.
Kathryn has wrung every ounce of drama and emotion out of this piece, moving the scenes along quickly, while racking up intensity and keeping the suspense taut. She cleverly balances the dark menace of the deeply superstitious and world-weary townsfolk with the simple and optimistic faith of the children. This reaches a pinnacle in a wonderful set piece, where both groups are present and the contrast is easy to see, as well as heard, in a wonderfully tuneful clash of melodies, including the hit song 'No Matter What'. Breathtaking stuff.
LEOs have gathered together a very strong principal line up for this show.
Martin Mould is well cast in the role of the sad patriarch Boone, showing how good his singing voice is. I really enjoyed his sensitive renditions of both It Just Doesn't Get Any Better and Whistle Down the Wind.
His two younger children, Jude Yellop as Poor Baby and Lilly Simons-Clark as Brat, do wonderfully well in their roles, with some very well acted naturalistic performances; they can also sing beautifully and show that they understand comic timing. Definitely two up and coming stars for the future!
Eleanor Carty is superb as Swallow. She manages to portray a naïve vulnerability along with a growing understanding of the adult world - her bearing, mannerisms and facial expressions, as well as her nuanced vocal delivery, all add to this - a perfect characterisation. She has a lovely singing voice and puts a lot of emotion into all her songs, especially her duet with The Man: If Only, a real highlight of the show.
I was amazed how challenging the part of The Man is. Andrew Lloyd Webber wrote some very difficult songs for the part, but Adam Daniels has clearly seized the opportunity to give this intense role his all. He sang the very big number, Soliloquy, with incredible power and emotion. He convincingly portrays a range of responses, including fear, anger and self-doubt. His acting subtly convinces us that this deeply flawed character is being slowly transformed by the love of an 'angel' and kindness he has probably never experienced before. A lovely three hander from him, Amos and Swallow: A Kiss is a Terrible Thing to Waste, is another powerful vocal highlight of the show. His scenes with Swallow are very sensitively played and the relationship between them, although bordering on ambiguous, remains touching and is ultimately pure and transformative.
Jack Draper as Amos and Katie MacDonald as Candy, provide a subplot as two disengaged young townsfolk, who plan to escape their dull lives, which are tainted by bigotry. Engaging performances from both, giving a well-played contrast to the main story and providing some rip-roaring vocals, especially in Tire Tracks and Broken Hearts.
In supporting roles are other very good performers; well done to
Rob Holsman (Edward), Louise Watkins (Snake Preacher), Earl (Jack Woolley) and John Paxton (Sheriff).
The children in the show are wonderful and the stage lights up when they are performing together. I absolutely loved their big song When Children Rule the World: I could have watched them perform that over and over again. Choreographer Laurie Trott has produced a super routine for them and throughout the show she gives us a wide variety of beautifully choreographed, apt dances.
The children, some of whom sang some lovely cameo solos, were:
Polly Barton, Martha Bertram, Holly Brownhill, Aiden Carson, Matthew McAuley, Robert McAuley, Phoebe Mellor, Alice Patton, Issy Smales, Billy Stewart and Dominic Wood.
The quality of singing in this show is high from the whole cast and I know that the Musical Director Tom Watkins has worked hard to achieve this. His orchestra sounds very good playing what is often a complicated, varied and very dramatic score.
The hard-working adult ensemble- all of whom thoroughly inhabit their roles- also are to be commended for singing so well in some of the not so easy chorus numbers, such as The Hunt, which contains some particularly complex harmonies and counterpoint.
They are:
Emma Collins, John East, Eleanor Harvey, Rob Holsman, Carol Newby, Kheenan Jones, Ali Langton, Lydia Thacker, Alison Prodger, Melissa Vickerstaff, Mandy Walker, Angela Walters and Lilli White.
Potentially, this is a technically difficult show, with lots of scenes which need to be changed quickly. However, the set is superb and consists of revolving pieces that change positions many times, as the scenes require. I am in awe of the Stage Manager, John Woolley and his superb stage crew who moved, turned, added to and took away various pieces with speed and efficiency and got it right every time. There are plenty of opportunities for disaster, but that never came near to happening and the clever device of having foreground singing nicely diverts the eye from the conversions.
The lighting (Tom Olding) and sound (Andrew James) are both very effective. Well done on burning the barn down, cleverly achieved!
There was sustained and enthusiastic applause at the end of the show, which was very well deserved. The cast certainly left the audience wanting more. Indeed, I for one, would have liked one more chorus of Whistle Down the Wind after the bows!!
In conclusion, Long Eaton Operatic Society have again produced a musical of great quality. Kathryn McAuley, her excellent cast and Production Team, Laurie Trott - Choreographer - Tom Watkins - MD, must be justly proud of what they have produced and satisfied that the potential in this less well-known musical was more than achieved.
Long Eaton Operatic Society
Trent College
April 12th 2018
Before seeing Whistle Down the Wind I had read that it is a musical with only a couple of really memorable songs. While there are more than that, it is the fabulous performances of those taking part last night that impressed me the most and will stick in my memory.
This is a musical version of a book of the same name by Mary Hayley Bell. It is set in a small, deeply religious town in Louisiana in 1959. A poor farming family led by father, Boone, and his three children-Swallow, Brat, and Poor Baby-have recently lost their mother and they are still struggling with the grief.
As Christmas approaches and the family cannot afford any presents or luxuries, the three children are desperate to find something to hold on to and believe in. One day, they find a stranger injured and hiding in their run-down barn. Unknown to the children 'The Man' is an escaped convict, but Swallow assumes that he is Jesus; this rumour quickly spreads among the children of the town. The story is augmented by some sub plots.
The Long Eaton Operatic Society do real justice to this poignant story and that applies to the principals, the children and the adult ensemble, a wonderful team effort.
From the rousing opening ensemble number, it was obvious that Kathryn McCauley's production was going to be exciting, dynamic and a joy to watch. The show is almost operetta and packs a powerful emotional punch, delivered through Lloyd Webber's usual mix of haunting refrains and beautiful melodies. In this show, they are augmented by stirring hymns, rollicking barn dances and heavy rock: a panoply of musical genres.
Kathryn has wrung every ounce of drama and emotion out of this piece, moving the scenes along quickly, while racking up intensity and keeping the suspense taut. She cleverly balances the dark menace of the deeply superstitious and world-weary townsfolk with the simple and optimistic faith of the children. This reaches a pinnacle in a wonderful set piece, where both groups are present and the contrast is easy to see, as well as heard, in a wonderfully tuneful clash of melodies, including the hit song 'No Matter What'. Breathtaking stuff.
LEOs have gathered together a very strong principal line up for this show.
Martin Mould is well cast in the role of the sad patriarch Boone, showing how good his singing voice is. I really enjoyed his sensitive renditions of both It Just Doesn't Get Any Better and Whistle Down the Wind.
His two younger children, Jude Yellop as Poor Baby and Lilly Simons-Clark as Brat, do wonderfully well in their roles, with some very well acted naturalistic performances; they can also sing beautifully and show that they understand comic timing. Definitely two up and coming stars for the future!
Eleanor Carty is superb as Swallow. She manages to portray a naïve vulnerability along with a growing understanding of the adult world - her bearing, mannerisms and facial expressions, as well as her nuanced vocal delivery, all add to this - a perfect characterisation. She has a lovely singing voice and puts a lot of emotion into all her songs, especially her duet with The Man: If Only, a real highlight of the show.
I was amazed how challenging the part of The Man is. Andrew Lloyd Webber wrote some very difficult songs for the part, but Adam Daniels has clearly seized the opportunity to give this intense role his all. He sang the very big number, Soliloquy, with incredible power and emotion. He convincingly portrays a range of responses, including fear, anger and self-doubt. His acting subtly convinces us that this deeply flawed character is being slowly transformed by the love of an 'angel' and kindness he has probably never experienced before. A lovely three hander from him, Amos and Swallow: A Kiss is a Terrible Thing to Waste, is another powerful vocal highlight of the show. His scenes with Swallow are very sensitively played and the relationship between them, although bordering on ambiguous, remains touching and is ultimately pure and transformative.
Jack Draper as Amos and Katie MacDonald as Candy, provide a subplot as two disengaged young townsfolk, who plan to escape their dull lives, which are tainted by bigotry. Engaging performances from both, giving a well-played contrast to the main story and providing some rip-roaring vocals, especially in Tire Tracks and Broken Hearts.
In supporting roles are other very good performers; well done to
Rob Holsman (Edward), Louise Watkins (Snake Preacher), Earl (Jack Woolley) and John Paxton (Sheriff).
The children in the show are wonderful and the stage lights up when they are performing together. I absolutely loved their big song When Children Rule the World: I could have watched them perform that over and over again. Choreographer Laurie Trott has produced a super routine for them and throughout the show she gives us a wide variety of beautifully choreographed, apt dances.
The children, some of whom sang some lovely cameo solos, were:
Polly Barton, Martha Bertram, Holly Brownhill, Aiden Carson, Matthew McAuley, Robert McAuley, Phoebe Mellor, Alice Patton, Issy Smales, Billy Stewart and Dominic Wood.
The quality of singing in this show is high from the whole cast and I know that the Musical Director Tom Watkins has worked hard to achieve this. His orchestra sounds very good playing what is often a complicated, varied and very dramatic score.
The hard-working adult ensemble- all of whom thoroughly inhabit their roles- also are to be commended for singing so well in some of the not so easy chorus numbers, such as The Hunt, which contains some particularly complex harmonies and counterpoint.
They are:
Emma Collins, John East, Eleanor Harvey, Rob Holsman, Carol Newby, Kheenan Jones, Ali Langton, Lydia Thacker, Alison Prodger, Melissa Vickerstaff, Mandy Walker, Angela Walters and Lilli White.
Potentially, this is a technically difficult show, with lots of scenes which need to be changed quickly. However, the set is superb and consists of revolving pieces that change positions many times, as the scenes require. I am in awe of the Stage Manager, John Woolley and his superb stage crew who moved, turned, added to and took away various pieces with speed and efficiency and got it right every time. There are plenty of opportunities for disaster, but that never came near to happening and the clever device of having foreground singing nicely diverts the eye from the conversions.
The lighting (Tom Olding) and sound (Andrew James) are both very effective. Well done on burning the barn down, cleverly achieved!
There was sustained and enthusiastic applause at the end of the show, which was very well deserved. The cast certainly left the audience wanting more. Indeed, I for one, would have liked one more chorus of Whistle Down the Wind after the bows!!
In conclusion, Long Eaton Operatic Society have again produced a musical of great quality. Kathryn McAuley, her excellent cast and Production Team, Laurie Trott - Choreographer - Tom Watkins - MD, must be justly proud of what they have produced and satisfied that the potential in this less well-known musical was more than achieved.
Review of Footloose
Kristian Thomas Company
Duchess Theatre
April 4th 2018
Footloose is a show I have seen a number of times, but this production by The Kristian Thomas Company was certainly the best. It is a fresh, dynamic and fast moving show with excellent direction by Alysha Gomes and stylish and exciting choreography by Kristian Cunningham.
The story is a simple one of a city boy, Ren, who moves to a country town where singing and dancing have been banned, following an accident in which a group of local teenagers were killed. He is determined to change things, especially after becoming involved with the local preacher's daughter, Ariel. One of the teenagers who was killed was the preacher's son and he is equally determined that the town should remain untouched by 'the endless chant of pornography'.
Alongside this main plot line there are others involving teenage romance, growing up, friendship and bullying.
There are some great songs in the show, including the theme song Footloose, Holding Out for a Hero, Let's Hear it for the Boy and Somebody's Eyes. There is something here for everyone musically: rousing foot tapping tunes and big chorus numbers, alongside melodious ballads.
The part of Ren is played superbly by Tom Simpson, a young actor with huge talent. He certainly has what is known in the business as 'The Triple Threat': he can act, sing and dance to a very high standard. From the very first scene he dominates the stage and really inhabits the role. His portrayal of Ren is nuanced: both amusingly laid back, yet also thoughtful and sensitive and at times, joyously rebellious.
Shannon O'Donnell is excellent as the pastor's daughter, Ariel. She has a lovely singing voice and her duet with Tom, "Almost Paradise" is a joy to listen to; she is also a talented actor and dancer. She shows the journey of a suppressed, but rebellious and offhand teenager who is desperate to escape, to one who is able face her demons and look forward to the future.
Both Shannon and Tom have invested an enormous amount into their roles and deliver captivating performances. The story they tell, alongside the rest of the cast, is thoroughly engaging: there is never a dull moment in this show.
Willard, the slow but lovable cowboy, is played to great effect by Joe Millward, who I last saw as Will Parker in Oklahoma. He is a great actor, whose comic timing is perfect and he is an expressive singer and versatile dancer. He particularly comes into his own in the second Act, where he gets the chance to really showcase his talents in the song and dance routine "Mama Said." Well done also, to the other guys in this fantastic routine - Tom Simpson, Lucas Young, Benito Preite and Alistair Berry - a brilliantly choreographed number that they must have worked so hard to perfect.
Jack Draper is very impressive as the bad boy Chuck Cranston. He has the swagger, the threat and the barely controlled menace of this delinquent character.
I really enjoyed the excellent performances of Ariel's friends, Rusty (Beth Denham), Urleen (Anna Cousins) and Wendy-Jo (Shona Manderson). All three have incredible voices - strong and confident - and very natural American accents. Each girl must have worked hard to establish their characters in both their vocal expression and their movement. Beth's solo number 'Let's hear it for the boy' was a triumph, not only sung fabulously well, but choreographed to be a thoroughly entertaining scene.
Phil Stanley's characterisation of Pastor Shaw Moore is deeply engaging: depicting a man who is a strong and highly regarded leader of the community, yet paralysed by grief and unable to maintain proper relationships within his family. From rousing church scenes to tortured family ones, resolving in a very moving scene of catharsis and the beautiful song "I Confess", Phil gives a riveting performance.
Deborah McPhearson plays Shaw's long suffering wife Vi: her quietly impassioned plea to her husband - followed by a lovely rendition of "Can You Find It In Your Heart"- was excellent.
As always, it is great to see Carrie-Anne Corner on stage, this time playing the part of Ren's Mum, Ethel. Another lovely and thoroughly convincing performance from this popular local actor.
There is also a very hard-working ensemble, although given their excellent individual performances, I am not sure that is the right word to use for these talented and very important cast members. They are:
Alison Bond, Alistair Berry, Andrew Buxton, Claire Collishaw, Danielle Stanley, Emily May Corner, Benito Preite, Laura Powell, Lucas Young, Lydia Thacker, Mia Slack and Sinead Parkin. A very well done to all.
The overall quality of dancing in this show is absolutely incredible throughout and of a very high standard from the whole cast. The routines that Kristian has devised are not always easy, but the cast have perfected them and make them appear effortless. For much of the time it was difficult to believe that this is, in the main, a young amateur cast: the power and energy of the routines is a joy to watch. Hours of rehearsal must have gone into what we saw tonight and the obvious professional expertise of Kristian and Tom, plus the imaginative vision of Alysha, has made it all very worthwhile.
The staging of the show and the simple set is enhanced by the often complicated but effective lighting by Stephen Greatorex and the efficient way in which props and scenery were changed. The Stage Manager Rob Corner and his team of Dominic Murray and Thomas James Martin are to be congratulated for this.
I really liked the sound from the three-piece band conducted by the Musical Director, Tom Bond. I thought this was just right both for the production and for the theatre. Large orchestras can sometimes be a problem at the Duchess as there is no pit, but this band accompanied the cast very well and sounded fantastic. The vocal standard of this cast is extremely high and Tom must have worked very hard with the cast to achieve this. The band was comprised of Matt Henderson (Keyboard), Jeff Widdowson (Bass Guitar) and Tom Bond (Drums).
The sound was excellent thanks to Harry Greatorex: I could hear every word both during the songs and the dialogue.
I know that this is a group who are hard on themselves and want nothing short of perfection: working so intensely may mean that they cannot appreciate the impact the show will have on those seeing it for the first time. Well, it's sensational. The production team should be bursting with pride at what they and their talented cast have achieved.
The prolonged and enthusiastic ovation at the end of the show said it all. We all had a great evening watching what must now be one of the premier theatre groups in the East Midlands. I am certainly looking forward to their future shows and if you can get a ticket for this one before it closes on Saturday night, do so - but tickets are likely to be in short supply.
Kristian Thomas Company
Duchess Theatre
April 4th 2018
Footloose is a show I have seen a number of times, but this production by The Kristian Thomas Company was certainly the best. It is a fresh, dynamic and fast moving show with excellent direction by Alysha Gomes and stylish and exciting choreography by Kristian Cunningham.
The story is a simple one of a city boy, Ren, who moves to a country town where singing and dancing have been banned, following an accident in which a group of local teenagers were killed. He is determined to change things, especially after becoming involved with the local preacher's daughter, Ariel. One of the teenagers who was killed was the preacher's son and he is equally determined that the town should remain untouched by 'the endless chant of pornography'.
Alongside this main plot line there are others involving teenage romance, growing up, friendship and bullying.
There are some great songs in the show, including the theme song Footloose, Holding Out for a Hero, Let's Hear it for the Boy and Somebody's Eyes. There is something here for everyone musically: rousing foot tapping tunes and big chorus numbers, alongside melodious ballads.
The part of Ren is played superbly by Tom Simpson, a young actor with huge talent. He certainly has what is known in the business as 'The Triple Threat': he can act, sing and dance to a very high standard. From the very first scene he dominates the stage and really inhabits the role. His portrayal of Ren is nuanced: both amusingly laid back, yet also thoughtful and sensitive and at times, joyously rebellious.
Shannon O'Donnell is excellent as the pastor's daughter, Ariel. She has a lovely singing voice and her duet with Tom, "Almost Paradise" is a joy to listen to; she is also a talented actor and dancer. She shows the journey of a suppressed, but rebellious and offhand teenager who is desperate to escape, to one who is able face her demons and look forward to the future.
Both Shannon and Tom have invested an enormous amount into their roles and deliver captivating performances. The story they tell, alongside the rest of the cast, is thoroughly engaging: there is never a dull moment in this show.
Willard, the slow but lovable cowboy, is played to great effect by Joe Millward, who I last saw as Will Parker in Oklahoma. He is a great actor, whose comic timing is perfect and he is an expressive singer and versatile dancer. He particularly comes into his own in the second Act, where he gets the chance to really showcase his talents in the song and dance routine "Mama Said." Well done also, to the other guys in this fantastic routine - Tom Simpson, Lucas Young, Benito Preite and Alistair Berry - a brilliantly choreographed number that they must have worked so hard to perfect.
Jack Draper is very impressive as the bad boy Chuck Cranston. He has the swagger, the threat and the barely controlled menace of this delinquent character.
I really enjoyed the excellent performances of Ariel's friends, Rusty (Beth Denham), Urleen (Anna Cousins) and Wendy-Jo (Shona Manderson). All three have incredible voices - strong and confident - and very natural American accents. Each girl must have worked hard to establish their characters in both their vocal expression and their movement. Beth's solo number 'Let's hear it for the boy' was a triumph, not only sung fabulously well, but choreographed to be a thoroughly entertaining scene.
Phil Stanley's characterisation of Pastor Shaw Moore is deeply engaging: depicting a man who is a strong and highly regarded leader of the community, yet paralysed by grief and unable to maintain proper relationships within his family. From rousing church scenes to tortured family ones, resolving in a very moving scene of catharsis and the beautiful song "I Confess", Phil gives a riveting performance.
Deborah McPhearson plays Shaw's long suffering wife Vi: her quietly impassioned plea to her husband - followed by a lovely rendition of "Can You Find It In Your Heart"- was excellent.
As always, it is great to see Carrie-Anne Corner on stage, this time playing the part of Ren's Mum, Ethel. Another lovely and thoroughly convincing performance from this popular local actor.
There is also a very hard-working ensemble, although given their excellent individual performances, I am not sure that is the right word to use for these talented and very important cast members. They are:
Alison Bond, Alistair Berry, Andrew Buxton, Claire Collishaw, Danielle Stanley, Emily May Corner, Benito Preite, Laura Powell, Lucas Young, Lydia Thacker, Mia Slack and Sinead Parkin. A very well done to all.
The overall quality of dancing in this show is absolutely incredible throughout and of a very high standard from the whole cast. The routines that Kristian has devised are not always easy, but the cast have perfected them and make them appear effortless. For much of the time it was difficult to believe that this is, in the main, a young amateur cast: the power and energy of the routines is a joy to watch. Hours of rehearsal must have gone into what we saw tonight and the obvious professional expertise of Kristian and Tom, plus the imaginative vision of Alysha, has made it all very worthwhile.
The staging of the show and the simple set is enhanced by the often complicated but effective lighting by Stephen Greatorex and the efficient way in which props and scenery were changed. The Stage Manager Rob Corner and his team of Dominic Murray and Thomas James Martin are to be congratulated for this.
I really liked the sound from the three-piece band conducted by the Musical Director, Tom Bond. I thought this was just right both for the production and for the theatre. Large orchestras can sometimes be a problem at the Duchess as there is no pit, but this band accompanied the cast very well and sounded fantastic. The vocal standard of this cast is extremely high and Tom must have worked very hard with the cast to achieve this. The band was comprised of Matt Henderson (Keyboard), Jeff Widdowson (Bass Guitar) and Tom Bond (Drums).
The sound was excellent thanks to Harry Greatorex: I could hear every word both during the songs and the dialogue.
I know that this is a group who are hard on themselves and want nothing short of perfection: working so intensely may mean that they cannot appreciate the impact the show will have on those seeing it for the first time. Well, it's sensational. The production team should be bursting with pride at what they and their talented cast have achieved.
The prolonged and enthusiastic ovation at the end of the show said it all. We all had a great evening watching what must now be one of the premier theatre groups in the East Midlands. I am certainly looking forward to their future shows and if you can get a ticket for this one before it closes on Saturday night, do so - but tickets are likely to be in short supply.
Cilla
National Tour
Theatre Royal
April 3rd 2018
It was quite simply a brilliant show which I really enjoyed.There were two whole theatre standing ovations at the end which the cast certainly deserved.
This was not Simply a “Juke Box” musical but had a strong story which charted Cilla’s rise to stardom and also her personal problems along the way.
The cast was very strong both in the singing and acting departments. Kara Lily Hayworth was outstanding in the role of Cilla. She has a fantastic singing voice and is also an excellent actor. There was a strong supporting cast including:
Andrew Lancel (Brian Epstein), Amy Bridges (Rose Willis), Gemma Brodrick-Bower (Pauline), Bill Caple (Ringo Starr), Tom Christian (Kenny Willis), Tom Dunlea (Hutch) Joshua Gannon (Paul McCartney), Billie Hardy (Pat) and Michael Hawkins (John Lennon).
There were also students from Expressions Performing Arts in Mansfield who appeared in the Cavern Club Scenes.
The set was excellent and was changed with speed and ease. The lighting and sound were both excellent.
It was great to hear many of Cilla’s greatest hits including:
Anyone Who Had a Heart, You’re My World, Alfie, Dancing In The Street, Liverpool Lullaby, Something Tells Me, It’s For You plus many other hits of the 60’s. Tunes from The Beatles, Big Three, Gerry and the Pacemakers, Mamas and Papas and John Lennon were also featured.
Tonight I was reminded of the music I grew up with and for that alone I am grateful.
It may be that at times some of the characterisations of some people were not absolutely accurate but that really didn’t matter for me. The story came through the excellent acting and musicianship on stage.
The finale was excellent and involved and valued all the cast members and their music.
The very large letters spelling out CILLA that descended from above the stage in the final scene (her first tv show for the BBC) said it all. It was all about the fantastic singer who was simply Cilla, a woman who knew what she wanted and went out to get it.
Go and see this excellent production that will certainly bring back many memories for those who lived through the 60’s and indeed beyond. Cilla is no longer with us but this show will certainly help to keep her memory alive.
National Tour
Theatre Royal
April 3rd 2018
It was quite simply a brilliant show which I really enjoyed.There were two whole theatre standing ovations at the end which the cast certainly deserved.
This was not Simply a “Juke Box” musical but had a strong story which charted Cilla’s rise to stardom and also her personal problems along the way.
The cast was very strong both in the singing and acting departments. Kara Lily Hayworth was outstanding in the role of Cilla. She has a fantastic singing voice and is also an excellent actor. There was a strong supporting cast including:
Andrew Lancel (Brian Epstein), Amy Bridges (Rose Willis), Gemma Brodrick-Bower (Pauline), Bill Caple (Ringo Starr), Tom Christian (Kenny Willis), Tom Dunlea (Hutch) Joshua Gannon (Paul McCartney), Billie Hardy (Pat) and Michael Hawkins (John Lennon).
There were also students from Expressions Performing Arts in Mansfield who appeared in the Cavern Club Scenes.
The set was excellent and was changed with speed and ease. The lighting and sound were both excellent.
It was great to hear many of Cilla’s greatest hits including:
Anyone Who Had a Heart, You’re My World, Alfie, Dancing In The Street, Liverpool Lullaby, Something Tells Me, It’s For You plus many other hits of the 60’s. Tunes from The Beatles, Big Three, Gerry and the Pacemakers, Mamas and Papas and John Lennon were also featured.
Tonight I was reminded of the music I grew up with and for that alone I am grateful.
It may be that at times some of the characterisations of some people were not absolutely accurate but that really didn’t matter for me. The story came through the excellent acting and musicianship on stage.
The finale was excellent and involved and valued all the cast members and their music.
The very large letters spelling out CILLA that descended from above the stage in the final scene (her first tv show for the BBC) said it all. It was all about the fantastic singer who was simply Cilla, a woman who knew what she wanted and went out to get it.
Go and see this excellent production that will certainly bring back many memories for those who lived through the 60’s and indeed beyond. Cilla is no longer with us but this show will certainly help to keep her memory alive.
The Importance of Being Earnest
People’s Theatre Company
Nottingham Arts Theatre
March 29th 2018
This “trivial comedy for serious people,” as Oscar Wilde put it, has been delighting audiences for well over 100 years and the reasons for its enduring popularity are plain for all to see in this excellent production by the People’s Theatre Company at the Nottingham Arts Theatre.
The Importance of Being Earnest is the most renowned of Oscar Wilde’s comedies. It’s the story of two bachelors, John ‘Jack’ Worthing and Algernon ‘Algy’ Moncrieff, who create alter egos named Ernest to escape their tiresome lives. They attempt to win the hearts of two women who, conveniently, claim to only love men called Ernest. The pair struggle to keep up with their own stories and become tangled in a tale of deception, disguise and misadventure. The elaborate plot ridicules Victorian sensibilities with some of the best loved, and most memorably witty, characters to be found on the stage.
In this cleverly directed production by Beth Hinchliffe there are excellent performances from the cast, led by Rob Goll in the part of Jack Worthing. He is a wonderful actor, who I last saw in the annual PTC Pantomime, in the role of a villain. In this part he again shows us how versatile he is. He brings a roguish charm to Jack, delivered with excellent comic timing, perfect diction and a wonderfully clear stage voice, making for a thoroughly engaging performance. This is well complemented by Steve Mitchell’s lovely performance as the mischievous Algernon, who shows not only how he can deliver perfectly pitched characterisation and clear vocals, but also how to eat large amounts of cucumber sandwiches and muffins - in a ‘non agitated manner’ - at the same time! Both actors make the most of Wilde’s beautifully written comic lines and must have worked very hard with the director to establish meaning and judge their delivery so well.
There are also very good performances from Lauren Hegarty as a feisty but charmingly dignified Gwendolen Fairfax and Courtney Kelham-Giddy as the comically fluffy, but not too naïve, Cecily. Both actors make the most of their parts and have clearly thought about the physicality and bearing of their characters, as well as their vocal delivery. They wring every bit of fun out of their parts, especially in their scenes together, which are a delight.
Gill Cook is a splendid Lady Augusta Bracknell, bringing just the right amount of hauteur and disdain to the role, cleverly coupled with an occasional lapse into the vernacular, to give us a hint of Augusta’s less than aristocratic origins. Her delivery of the iconic exclamation ‘a handbag???’ and other deliciously comic lines leave nothing to be desired and brought smiles to all.
Barbara Benner makes a delightfully prim and well measured Miss Prism, and Robert Suttle is an affable and splendidly delivered Canon Chasuble. Jayde Ann Crouch and John Gill, as the servants Lane and Merriman, bring skilful dry humour to their roles, fully acknowledging the potential for reactive fun that is implicit in their lines.
All the cast bring thoughtful characterisations to their roles: both they and the director must be congratulated for delving so thoroughly into the text, to bring it to life so vividly.
The set, costumes, props and furniture are appropriate and functional and the lighting and sound are well controlled. From Cecily’s demure white lace dress, Jack’s silver cigarette case and mock mourning attire, to real tea served in delicate china cups against a lush garden backdrop, everything has been carefully chosen to establish character and set the scenes. Well done to John Gill (Costumes, Hair and Makeup), Evie Hughes (Set Designer), Vernon Lloyd (Sound), Mary Lobley, Cat Day, Marie Rogers (Props and Furniture).
The director, Beth Hinchcliffe, has worked imaginatively with this talented ensemble to ensure that a play written in the 19th century comes alive and becomes accessible to today’s audience. There were a few young children in the theatre last night, whose attention appeared to have been maintained throughout the 3 Acts. That is praise indeed!
This is a very good, pacey and thoroughly entertaining production of a beautifully written play, which keeps the attention of the audience throughout. I would certainly recommend that you get a ticket to see it if you can, before it finishes on Saturday.
People’s Theatre Company
Nottingham Arts Theatre
March 29th 2018
This “trivial comedy for serious people,” as Oscar Wilde put it, has been delighting audiences for well over 100 years and the reasons for its enduring popularity are plain for all to see in this excellent production by the People’s Theatre Company at the Nottingham Arts Theatre.
The Importance of Being Earnest is the most renowned of Oscar Wilde’s comedies. It’s the story of two bachelors, John ‘Jack’ Worthing and Algernon ‘Algy’ Moncrieff, who create alter egos named Ernest to escape their tiresome lives. They attempt to win the hearts of two women who, conveniently, claim to only love men called Ernest. The pair struggle to keep up with their own stories and become tangled in a tale of deception, disguise and misadventure. The elaborate plot ridicules Victorian sensibilities with some of the best loved, and most memorably witty, characters to be found on the stage.
In this cleverly directed production by Beth Hinchliffe there are excellent performances from the cast, led by Rob Goll in the part of Jack Worthing. He is a wonderful actor, who I last saw in the annual PTC Pantomime, in the role of a villain. In this part he again shows us how versatile he is. He brings a roguish charm to Jack, delivered with excellent comic timing, perfect diction and a wonderfully clear stage voice, making for a thoroughly engaging performance. This is well complemented by Steve Mitchell’s lovely performance as the mischievous Algernon, who shows not only how he can deliver perfectly pitched characterisation and clear vocals, but also how to eat large amounts of cucumber sandwiches and muffins - in a ‘non agitated manner’ - at the same time! Both actors make the most of Wilde’s beautifully written comic lines and must have worked very hard with the director to establish meaning and judge their delivery so well.
There are also very good performances from Lauren Hegarty as a feisty but charmingly dignified Gwendolen Fairfax and Courtney Kelham-Giddy as the comically fluffy, but not too naïve, Cecily. Both actors make the most of their parts and have clearly thought about the physicality and bearing of their characters, as well as their vocal delivery. They wring every bit of fun out of their parts, especially in their scenes together, which are a delight.
Gill Cook is a splendid Lady Augusta Bracknell, bringing just the right amount of hauteur and disdain to the role, cleverly coupled with an occasional lapse into the vernacular, to give us a hint of Augusta’s less than aristocratic origins. Her delivery of the iconic exclamation ‘a handbag???’ and other deliciously comic lines leave nothing to be desired and brought smiles to all.
Barbara Benner makes a delightfully prim and well measured Miss Prism, and Robert Suttle is an affable and splendidly delivered Canon Chasuble. Jayde Ann Crouch and John Gill, as the servants Lane and Merriman, bring skilful dry humour to their roles, fully acknowledging the potential for reactive fun that is implicit in their lines.
All the cast bring thoughtful characterisations to their roles: both they and the director must be congratulated for delving so thoroughly into the text, to bring it to life so vividly.
The set, costumes, props and furniture are appropriate and functional and the lighting and sound are well controlled. From Cecily’s demure white lace dress, Jack’s silver cigarette case and mock mourning attire, to real tea served in delicate china cups against a lush garden backdrop, everything has been carefully chosen to establish character and set the scenes. Well done to John Gill (Costumes, Hair and Makeup), Evie Hughes (Set Designer), Vernon Lloyd (Sound), Mary Lobley, Cat Day, Marie Rogers (Props and Furniture).
The director, Beth Hinchcliffe, has worked imaginatively with this talented ensemble to ensure that a play written in the 19th century comes alive and becomes accessible to today’s audience. There were a few young children in the theatre last night, whose attention appeared to have been maintained throughout the 3 Acts. That is praise indeed!
This is a very good, pacey and thoroughly entertaining production of a beautifully written play, which keeps the attention of the audience throughout. I would certainly recommend that you get a ticket to see it if you can, before it finishes on Saturday.
Fat Friends
National Tour
Theatre Royal.
March 26th
As one would expect from a national tour the standard of performance was high. I have to be honest and say for me it lacked that magical musical theatre ingredient - strong and tuneful songs. Maybe I need to hear them again to appreciate them more. Sometimes that is the way it is with a new show.
The cast worked hard throughout and really did appear to have been enjoying what they were doing. Overall the audience also showed by their responses that they were also enjoying what they were watching.
The script in Act 2 continued to contain some very witty lines that were well delivered. However, I felt it slowed somewhat and was a little long for what remained of the story which was quite thin by the end.
The Principals led by Jodie Prenger, Natalie Anderson, Natasha Hamilton, Jonathan Halliwell, Kevin Kennedy and Andrew Flintoff were well supported by Sam Bailey, Rachael Wooding, Neil Hurst and Chloe Hart.
The Ensemble of Craig Anderson, Emma Crossley, Ellie Leah, Laura Mansell, Ryan Pidgen, Lizzie Bea and Paul Branagh were excellent.
The orchestra directed by Michael Bradley sounded good throughout and was not over loud.
The set was colourful, appropriate and changed swiftly, mainly by the cast.
Overall the show in my opinion was ok and reasonably enjoyable but needed more tuneful songs and a stronger story especially in Act 2. It also relied too much on some crude dialogue which although it did not offend me was probably not that necessary.
Perhaps though many of us could identify with Kelly’s view (Jodie) that “all diets are crap.”
Fans of the tv series on which this was based will no doubt love it as the show continues at the Royal until Saturday.
National Tour
Theatre Royal.
March 26th
As one would expect from a national tour the standard of performance was high. I have to be honest and say for me it lacked that magical musical theatre ingredient - strong and tuneful songs. Maybe I need to hear them again to appreciate them more. Sometimes that is the way it is with a new show.
The cast worked hard throughout and really did appear to have been enjoying what they were doing. Overall the audience also showed by their responses that they were also enjoying what they were watching.
The script in Act 2 continued to contain some very witty lines that were well delivered. However, I felt it slowed somewhat and was a little long for what remained of the story which was quite thin by the end.
The Principals led by Jodie Prenger, Natalie Anderson, Natasha Hamilton, Jonathan Halliwell, Kevin Kennedy and Andrew Flintoff were well supported by Sam Bailey, Rachael Wooding, Neil Hurst and Chloe Hart.
The Ensemble of Craig Anderson, Emma Crossley, Ellie Leah, Laura Mansell, Ryan Pidgen, Lizzie Bea and Paul Branagh were excellent.
The orchestra directed by Michael Bradley sounded good throughout and was not over loud.
The set was colourful, appropriate and changed swiftly, mainly by the cast.
Overall the show in my opinion was ok and reasonably enjoyable but needed more tuneful songs and a stronger story especially in Act 2. It also relied too much on some crude dialogue which although it did not offend me was probably not that necessary.
Perhaps though many of us could identify with Kelly’s view (Jodie) that “all diets are crap.”
Fans of the tv series on which this was based will no doubt love it as the show continues at the Royal until Saturday.
Dick Whittington
The Young Performers
The Duchess Theatre, Long Eaton
January 19th 2018
Dick Whittington is a traditional pantomime about a boy, who with his loveable cat, goes to London, where the Streets are paved with gold, to seek his fortune. Tonight, I saw many Young Performers on stage who I think may well, in the future, seek their fortunes in the world of Musical Theatre.
There was excellent singing, dancing and acting on the stage at the Duchess tonight. I have often said that pantomime is hard for adults, let alone youngsters, but tonight this cast made it look easy. The well written and witty script written by one of the Young Performers, Lauren Riley, was outstandingly good, full of original jokes and asides and suitable for all ages. Well done Lauren. You certainly made me laugh a lot.
This very talented cast was led by Millen Scrivener in the role of Dick. She gave a very confident performance and was well cast alongside Emma Jayne Peel as her cat Tommy. Millen has a good singing voice and acted her part well with lots of power and emotion. Emma’s movements around the stage were a joy to watch - she was very catlike and has good dancing and movement skills.
Megan Thomas as Dick’s love interest, Alice, showed herself to be an excellent actress in so many ways and she has a very nice singing voice. Her duet with Millen was very special and I was very pleased that it was reprised.
Molly Parkinson as the Good Fairy looked great in her all white costume and was very commanding and confident as she countered the badness of
Jake Truman whose excellent performance as King Rat was a classic example of a bad pantomime villain. His makeup was superb, so much so that I didn’t recognise him at first.
The ever popular, George Parkinson, played the pantomime Dame, Geraldine. I have seen George many times before and tonight he was well suited to this part. He worked the audience well and was a commanding presence whenever he was on the stage. I was impressed with the way he led the audience in the audience participation song.
Harvey Tavener as Geraldine’s son, Jammy, was superb. His acting ability at the age of 14 is amazing. He sang well, danced with great precision and he was completely at home on the stage throughout the show. His comic timing was spot on and the facial expressions he used were just right. His partnership with George for the audience participation song was great. A star in the making? I think so.
I was very impressed with Joe Downing as Alice’s Father, Mr Fitzwarren. He played the part in a very understated way that was perfect for the character.
Finally there was a well-cast partnership between Ryan Yates and
Finlay Dilkes as the Island Sultans. Individually they were good and together they were excellent. I loved the names given to them by Lauren but I won’t spoil the joke on here.
There was an excellent Ensemble providing some good cameo and group support. They were:
Eleanor Meakin, Henry Icke, Lenny Ante, Libby Hallacher, Phoebe Clarke, Ruby Garrison, Erin Byrne, Cassie Flowers, Drew Boswell, Skye Maguire, Emilia Buxton and Milly Weston.
There were also some excellent dancers - Siena McQuade, Harriet Slatcher, Brooke Marsden, Isla Dawes, Caitlin Oldham, Hayley Watson, Ava Haylock, Skye Maguire, Emilia Buxton and Milly Weston.
The production was very well directed by Zak Charlesworth in what was his first complete show. He ensured that the action moved quickly and that kept everyone’s interest. I was delighted to see that he placed his ensemble well around the stage and gave everyone plenty of things to do. He was assisted by Trisha Freer.
Being a pantomime it was essential that the big song numbers were well choreographed and Lauren Riley did a splendid job with both the dancers and the ensemble. There was plenty of energy and excitement from the cast throughout. There was real quality here.
The band under the direction of Leon Wade was excellent and accompanied the cast sympathetically and at the right level throughout. Incidentally, I was very impressed with the general sound quality during this performance, controlled by Dave Sims with design by Harvey Latter.
Pantomime should always be colourful and the Costumes by Victoria Garavan, the wonderful set by Roydon Charlesworth and the lighting by Dave Martin (designed by Harvey Latter) certainly ensured that this was the case. Also, scene changes and the appearance of props were swift and almost unnoticed.
I am sure that Zak and his production team will be very pleased with the performances tonight and it was obvious that on stage and off all worked very hard.
I really enjoyed the show and have to commend the many young members of the group who contributed to its success. This group relies on many adults to support the show, but also encourages its own members to be involved as well. This is what a good youth group should do.
I am sure that this production by Zak will be the first of many both for this company and I suspect others too.
The audience gave the cast a well deserved prolonged ovation at the end.
Well done to all concerned in this excellent youth group pantomime.
The Young Performers
The Duchess Theatre, Long Eaton
January 19th 2018
Dick Whittington is a traditional pantomime about a boy, who with his loveable cat, goes to London, where the Streets are paved with gold, to seek his fortune. Tonight, I saw many Young Performers on stage who I think may well, in the future, seek their fortunes in the world of Musical Theatre.
There was excellent singing, dancing and acting on the stage at the Duchess tonight. I have often said that pantomime is hard for adults, let alone youngsters, but tonight this cast made it look easy. The well written and witty script written by one of the Young Performers, Lauren Riley, was outstandingly good, full of original jokes and asides and suitable for all ages. Well done Lauren. You certainly made me laugh a lot.
This very talented cast was led by Millen Scrivener in the role of Dick. She gave a very confident performance and was well cast alongside Emma Jayne Peel as her cat Tommy. Millen has a good singing voice and acted her part well with lots of power and emotion. Emma’s movements around the stage were a joy to watch - she was very catlike and has good dancing and movement skills.
Megan Thomas as Dick’s love interest, Alice, showed herself to be an excellent actress in so many ways and she has a very nice singing voice. Her duet with Millen was very special and I was very pleased that it was reprised.
Molly Parkinson as the Good Fairy looked great in her all white costume and was very commanding and confident as she countered the badness of
Jake Truman whose excellent performance as King Rat was a classic example of a bad pantomime villain. His makeup was superb, so much so that I didn’t recognise him at first.
The ever popular, George Parkinson, played the pantomime Dame, Geraldine. I have seen George many times before and tonight he was well suited to this part. He worked the audience well and was a commanding presence whenever he was on the stage. I was impressed with the way he led the audience in the audience participation song.
Harvey Tavener as Geraldine’s son, Jammy, was superb. His acting ability at the age of 14 is amazing. He sang well, danced with great precision and he was completely at home on the stage throughout the show. His comic timing was spot on and the facial expressions he used were just right. His partnership with George for the audience participation song was great. A star in the making? I think so.
I was very impressed with Joe Downing as Alice’s Father, Mr Fitzwarren. He played the part in a very understated way that was perfect for the character.
Finally there was a well-cast partnership between Ryan Yates and
Finlay Dilkes as the Island Sultans. Individually they were good and together they were excellent. I loved the names given to them by Lauren but I won’t spoil the joke on here.
There was an excellent Ensemble providing some good cameo and group support. They were:
Eleanor Meakin, Henry Icke, Lenny Ante, Libby Hallacher, Phoebe Clarke, Ruby Garrison, Erin Byrne, Cassie Flowers, Drew Boswell, Skye Maguire, Emilia Buxton and Milly Weston.
There were also some excellent dancers - Siena McQuade, Harriet Slatcher, Brooke Marsden, Isla Dawes, Caitlin Oldham, Hayley Watson, Ava Haylock, Skye Maguire, Emilia Buxton and Milly Weston.
The production was very well directed by Zak Charlesworth in what was his first complete show. He ensured that the action moved quickly and that kept everyone’s interest. I was delighted to see that he placed his ensemble well around the stage and gave everyone plenty of things to do. He was assisted by Trisha Freer.
Being a pantomime it was essential that the big song numbers were well choreographed and Lauren Riley did a splendid job with both the dancers and the ensemble. There was plenty of energy and excitement from the cast throughout. There was real quality here.
The band under the direction of Leon Wade was excellent and accompanied the cast sympathetically and at the right level throughout. Incidentally, I was very impressed with the general sound quality during this performance, controlled by Dave Sims with design by Harvey Latter.
Pantomime should always be colourful and the Costumes by Victoria Garavan, the wonderful set by Roydon Charlesworth and the lighting by Dave Martin (designed by Harvey Latter) certainly ensured that this was the case. Also, scene changes and the appearance of props were swift and almost unnoticed.
I am sure that Zak and his production team will be very pleased with the performances tonight and it was obvious that on stage and off all worked very hard.
I really enjoyed the show and have to commend the many young members of the group who contributed to its success. This group relies on many adults to support the show, but also encourages its own members to be involved as well. This is what a good youth group should do.
I am sure that this production by Zak will be the first of many both for this company and I suspect others too.
The audience gave the cast a well deserved prolonged ovation at the end.
Well done to all concerned in this excellent youth group pantomime.