David's Live Theatre
Grandpa’s Great Escape
Motorpoint Arena Nottingham
January 30th 2020
This was an excellent production in a venue I was not familiar with until now.
The production based on the story by David Walliams was very good and moved with great pace. This was made possible by the use of excellent projections which were often animated.
The ensemble cast led by Nigel Planer was great and the lad who played Grandpa’s Grandson was very good. Sorry I do not know his name.
The special effects were first class as was the lighting and sound. There were large screens in place either side of the large stage which made up for being quite a distance from the action.
The story is both funny and poignant being about an older man with dementia but this was sensitively told.
I enjoyed the production although I am more comfortable in theatres than arenas which are often so big. However, I thought the organisation at the Motorpoint was first class and getting in and out was no problem despite the large number of people. The catering was ok but rather expensive especially the drinks.
Motorpoint Arena Nottingham
January 30th 2020
This was an excellent production in a venue I was not familiar with until now.
The production based on the story by David Walliams was very good and moved with great pace. This was made possible by the use of excellent projections which were often animated.
The ensemble cast led by Nigel Planer was great and the lad who played Grandpa’s Grandson was very good. Sorry I do not know his name.
The special effects were first class as was the lighting and sound. There were large screens in place either side of the large stage which made up for being quite a distance from the action.
The story is both funny and poignant being about an older man with dementia but this was sensitively told.
I enjoyed the production although I am more comfortable in theatres than arenas which are often so big. However, I thought the organisation at the Motorpoint was first class and getting in and out was no problem despite the large number of people. The catering was ok but rather expensive especially the drinks.
The Boy in a Dress
RSC Theatre, Stratford upon Avon
December 19th 2019
That was the best show I have seen this year. Absolutely fabulous and will have to be seen again before it finishes next March.
This is a Theatre online 5 Star show. It is a must for all lovers of musical theatre. It is a family show but with a real punch. It has Fantastic performances from the adult and youth cast. The scenery and it’s use was fantastic as was the lighting, sound and the fabulous live orchestra.
A very well written book with good songs and dance routines. Once again I will point to the two football matches - brilliantly staged. The opening of Act 2 was very impressive.
I was just so impressed that words fail me. For me it’s another Billy Elliot and those who know me know how many times I saw that!!
This was an extraordinary production of an ordinary story and to understand the true significance of that you need to see the show. It continues here at the RSC in Stratford until March 2020. Book now for a treat - I predict you will not be disappointed.
For the record the cast is:
DAD RUFUS HOUND - MUM CHARLOTTE WAKEFIELD -DARVESH’S MUM NATASHA
LEWIS ODDBOD BEN THOMPSON - MISS BRESSLAW CHRISTINA MODESTOU
GARETH ALEXANDER MONEYPENNY- BIG MAC MAX GILL - RORY RYAN HEENAN
ST KENNETH’S CAPTAIN JAMIE TYLER - RAJ IRVINE IQBAL
MR HAWTREY FORBES MASSON -MISS WINDSOR CHARLOTTE WAKEFIELD
LOUISE GRACE WYLDE - LORNA CHARLOTTE JACONELLI - MAUDLIN STREET CAPTAIN DAVID BIRCH
ENSEMBLE: HANNAH FAIRCLOUGH, AHMED HAMAD, ALIM JAYDA, CLANCY RYAN, CILLA SILVIA, SWINGS JACK ANTHONY SMART, GEORGIE WESTALL
ALL OTHER PARTS PLAYED BY MEMBERS OF THE COMPANY
Dennis - Oliver Crouch, Jackson Laing, Tom Lomas, Toby Mocrei
Darvesh - Ethan Dattani, Shivain Kara-Patel, Kassian Shae Akhtar, Arjun Singh Khakh
Lisa James - Asha Banks, Tabitha Knowles, Miriam Nyarko
John - Alfie Jukes, Zachary Loonie
Creatives:
Novel DAVID WALLIAMS
Book MARK RAVENHILL
Music & lyrics ROBBIE WILLIAMS and GUY CHAMBERS
RSC Theatre, Stratford upon Avon
December 19th 2019
That was the best show I have seen this year. Absolutely fabulous and will have to be seen again before it finishes next March.
This is a Theatre online 5 Star show. It is a must for all lovers of musical theatre. It is a family show but with a real punch. It has Fantastic performances from the adult and youth cast. The scenery and it’s use was fantastic as was the lighting, sound and the fabulous live orchestra.
A very well written book with good songs and dance routines. Once again I will point to the two football matches - brilliantly staged. The opening of Act 2 was very impressive.
I was just so impressed that words fail me. For me it’s another Billy Elliot and those who know me know how many times I saw that!!
This was an extraordinary production of an ordinary story and to understand the true significance of that you need to see the show. It continues here at the RSC in Stratford until March 2020. Book now for a treat - I predict you will not be disappointed.
For the record the cast is:
DAD RUFUS HOUND - MUM CHARLOTTE WAKEFIELD -DARVESH’S MUM NATASHA
LEWIS ODDBOD BEN THOMPSON - MISS BRESSLAW CHRISTINA MODESTOU
GARETH ALEXANDER MONEYPENNY- BIG MAC MAX GILL - RORY RYAN HEENAN
ST KENNETH’S CAPTAIN JAMIE TYLER - RAJ IRVINE IQBAL
MR HAWTREY FORBES MASSON -MISS WINDSOR CHARLOTTE WAKEFIELD
LOUISE GRACE WYLDE - LORNA CHARLOTTE JACONELLI - MAUDLIN STREET CAPTAIN DAVID BIRCH
ENSEMBLE: HANNAH FAIRCLOUGH, AHMED HAMAD, ALIM JAYDA, CLANCY RYAN, CILLA SILVIA, SWINGS JACK ANTHONY SMART, GEORGIE WESTALL
ALL OTHER PARTS PLAYED BY MEMBERS OF THE COMPANY
Dennis - Oliver Crouch, Jackson Laing, Tom Lomas, Toby Mocrei
Darvesh - Ethan Dattani, Shivain Kara-Patel, Kassian Shae Akhtar, Arjun Singh Khakh
Lisa James - Asha Banks, Tabitha Knowles, Miriam Nyarko
John - Alfie Jukes, Zachary Loonie
Creatives:
Novel DAVID WALLIAMS
Book MARK RAVENHILL
Music & lyrics ROBBIE WILLIAMS and GUY CHAMBERS
"Aladdin"
Nottingham Arts Theatre and Amanda Hall Productions
December 11th 2019
Once again the Arts Theatre and Amanda Hall have produced a great Pantomime. This year it was Aladdin and for the first time I have sat in the theatre’s new, comfy seats. Very nice they are too! They made being transported into the colourful world of old Peking even more enjoyable.
I really enjoyed seeing a very traditional version of my favourite Panto written by Amanda Hall, assisted by Matt Wesson - the king and queen of so many local stage productions.
There were great performances from Matthew Wesson as the delightfully fulsome Widow Twankey; Danielle Hall as a thigh slapping Aladdin (she also choreographed some fantastic dance routines); Patrick McChrystal as an engaging Wishee Washee; Cliff Hart as the deliciously evil Abanazar; Mike Pearson as a compelling Genie Of The Lamp (what a great accent!); Mike Newbold as the genial Emperor Mei; Stacey Ireson as the playful So Shi; Lauren Stephenson as a charming but spirited Princess Jasmine and Lizzie Fenner as a lively Spirit Of The Ring. Well rehearsed, word perfect delivery and great characterisations.
Playing the comedy roles of Chinese policemen Ying and Yang very well were Joseph Smith and Laura Ellis (Kimberley Allsopp also played the role of Yang in some performances).
As expected the standard of singing was very high from the whole cast under the expert baton of Sam Griffiths.
The youth ensemble were charming and the adult ensemble terrific, both dancing up a storm, full of enthusiasm and fun, which is lovely to see.
The Sound Design by Rob Kettridge and the Lighting Design by Oliver Read were perfect. I particularly liked the sound effects and the fact I could hear everything that was spoken or sung.
Amanda Hall directed the show with her usual flair, ensuring that everything moved with pace and that there was plenty of action for the younger ones and plenty of clever word play for the adults. This was complemented by swift scene changes and creative use of the lighting.
There was an impressive end of the First Act (no spoilers here) and I particularly liked the ensemble opening of Act 2. In fact, when Amanda had the large cast performing together it was quite wonderful and the stage did not look crowded, despite the numbers.
The script was well written, telling the story with a large dose of the usual dubious, but fun panto jokes and the references we have come to expect and love so much. There were many new ones as well, keeping it fresh and relevant.
The Production Team of Amanda Hall (Director, Writer and set co designer), Matt Wesson co-writer, Chris Brawn (co-set designer) and producer Mike Pearson should all be very proud of the result, which was much appreciated by the audience.
I have always enjoyed Amanda’s pantos at the Arts Theatre and this one has been no exception. Next year will soon come round and I believe it is Snow White: roll on next Christmas.
Nottingham Arts Theatre and Amanda Hall Productions
December 11th 2019
Once again the Arts Theatre and Amanda Hall have produced a great Pantomime. This year it was Aladdin and for the first time I have sat in the theatre’s new, comfy seats. Very nice they are too! They made being transported into the colourful world of old Peking even more enjoyable.
I really enjoyed seeing a very traditional version of my favourite Panto written by Amanda Hall, assisted by Matt Wesson - the king and queen of so many local stage productions.
There were great performances from Matthew Wesson as the delightfully fulsome Widow Twankey; Danielle Hall as a thigh slapping Aladdin (she also choreographed some fantastic dance routines); Patrick McChrystal as an engaging Wishee Washee; Cliff Hart as the deliciously evil Abanazar; Mike Pearson as a compelling Genie Of The Lamp (what a great accent!); Mike Newbold as the genial Emperor Mei; Stacey Ireson as the playful So Shi; Lauren Stephenson as a charming but spirited Princess Jasmine and Lizzie Fenner as a lively Spirit Of The Ring. Well rehearsed, word perfect delivery and great characterisations.
Playing the comedy roles of Chinese policemen Ying and Yang very well were Joseph Smith and Laura Ellis (Kimberley Allsopp also played the role of Yang in some performances).
As expected the standard of singing was very high from the whole cast under the expert baton of Sam Griffiths.
The youth ensemble were charming and the adult ensemble terrific, both dancing up a storm, full of enthusiasm and fun, which is lovely to see.
The Sound Design by Rob Kettridge and the Lighting Design by Oliver Read were perfect. I particularly liked the sound effects and the fact I could hear everything that was spoken or sung.
Amanda Hall directed the show with her usual flair, ensuring that everything moved with pace and that there was plenty of action for the younger ones and plenty of clever word play for the adults. This was complemented by swift scene changes and creative use of the lighting.
There was an impressive end of the First Act (no spoilers here) and I particularly liked the ensemble opening of Act 2. In fact, when Amanda had the large cast performing together it was quite wonderful and the stage did not look crowded, despite the numbers.
The script was well written, telling the story with a large dose of the usual dubious, but fun panto jokes and the references we have come to expect and love so much. There were many new ones as well, keeping it fresh and relevant.
The Production Team of Amanda Hall (Director, Writer and set co designer), Matt Wesson co-writer, Chris Brawn (co-set designer) and producer Mike Pearson should all be very proud of the result, which was much appreciated by the audience.
I have always enjoyed Amanda’s pantos at the Arts Theatre and this one has been no exception. Next year will soon come round and I believe it is Snow White: roll on next Christmas.
Peter Pan
Derby Arena.
December 10th
There is no doubt that the audience here tonight have had a great time. The cheers and applause at the end said it all.
This was a very well written and performed pantomime and for the third year running a great success for Derby LIVE & Little Wolf Entertainment.
I really enjoyed it. It was suitable for all ages with lots of colourful costumes and scenery, good quality performances, exciting dance routines and lots of well known songs.
The special effects were excellent and there was some excellent flying. You will need to come and see the show and the effects for yourself to appreciate them.
Listening to people as they made their way out of the Arena there were lots of very positive comments about the show. Can certainly recommend it as an excellent family show that is suitable for young and old. There is definitely something for everyone.
More about the show in due course but I suggest you get your tickets soon so as to avoid disappointment. I am sure when the word spreads there will be a big demand for them.
Derby Arena.
December 10th
There is no doubt that the audience here tonight have had a great time. The cheers and applause at the end said it all.
This was a very well written and performed pantomime and for the third year running a great success for Derby LIVE & Little Wolf Entertainment.
I really enjoyed it. It was suitable for all ages with lots of colourful costumes and scenery, good quality performances, exciting dance routines and lots of well known songs.
The special effects were excellent and there was some excellent flying. You will need to come and see the show and the effects for yourself to appreciate them.
Listening to people as they made their way out of the Arena there were lots of very positive comments about the show. Can certainly recommend it as an excellent family show that is suitable for young and old. There is definitely something for everyone.
More about the show in due course but I suggest you get your tickets soon so as to avoid disappointment. I am sure when the word spreads there will be a big demand for them.
Richard II
Derby Shakespeare Theatre Company
Shakespeare House, Derby.
December 5th 2019
“This royal throne of kings, this sceptered isle… This blessed plot, this earth, this realm, this England.” Richard II Act 2 Scene 1
The Derby Shakespeare Theatre Company is one of the oldest ones in the country having been formed in 1908. They have a reputation as an amateur group with professional standards. I am delighted to say that tonight’s production of Richard II proved that is most certainly the case.
Shakespeare is believed to have written the play in approximately 1595. It is based on the life of the King who ruled from 1377 to 1399 and is the first part of four plays followed by three plays concerning Richard's successors: Henry IV parts 1 and 2 and Henry V. Although the Folio edition (1623) of Shakespeare's works lists the play as a history play, the earlier edition of 1597 calls it The tragedie of King Richard the second. The play spans only the last two years of Richard's life, from 1398 to 1400.
Congratulations to all involved in this thoroughly engrossing and beautifully performed production. The play is a study of kingship and an examination of the turbulent times that led to the Wars of the Roses; it is intense, atmospheric, moving and lyrical. Derby Shakespeare Theatre Company bring all this out in spades and above all, they make it completely accessible to the audience. Delivery of lines is so clear and meaningfully expressed and characterisation so compelling, that it is always easy to follow. It is obvious that the director and actors have studied the text in depth and extracted every last bit of meaning out of it, which they convey with huge conviction throughout their performances.
The intimate theatre space at Shakespeare House is perfect for this play, which the group have chosen to set wholly in a garden, recognising the motif of England as ‘a blessed plot’. Richard’s monarchy is expressed as the seasons, which are beautifully created by leaf prints in four colour hues on the floor, echoed in the lovely flower beds and complemented by hanging garlands. Birdsong, other varied musical effects and the clever flooding of light occasionally, complete the atmosphere of intensity. The audience are visitors to the garden, drawn in close, intrigued bystanders to the action.
James Dean is a thoughtful and intense Richard, a King so self-possessed and convinced of his divine right that he dismisses advice and makes bad decisions. His growing reflectiveness and awareness of the demands of kingship are sensitively portrayed, especially when he is stripped of his crown. James delivers the poetry of Richard’s lines perfectly, always maintaining a steely regal quality, yet equally showing passion, anger and humour. His final soliloquy, one of many beautifully written and finely delivered speeches, is very moving.
Richard Davy is the more pragmatic Bolingbroke, driven by a desire to serve and only provoked to rebellion by the death of his father and the urging of his peers. Richard captures this character completely and is another actor who is totally at home with Shakespeare’s verse. His clear diction and expression are a pleasure to listen to.
Gender blind casting can be a challenge for an audience, as we are asked to shift our perception and perhaps change our expectations. No problem here with the excellent performances of John of Gaunt (Jenny Earl), the Duke of York (Niki Caister) and Aumerle (Brogan Piggot). All nailed their characterisations and were completely convincing: we saw and heard the character, so gender became irrelevant. The well known and affecting soliloquy that refers to ‘This royal throne of kings, this sceptre’d isle’ was beautifully delivered by Jenny; a tribute to the glorious writing.
Other parts were played by Abbie Evans, Christine Smith, Mo Pickering-Symes, Christine Smith, Craig Campbell, Will Gough, David Dunford, Martin Weston, Alex Wrampling, Edward Pickering-Symes, Danny Duder, Irene Button & James Brereton. Some special moments from many of these actors.
Well done to all the cast and the production team, who must have worked extremely hard and with passion to produce a play of this quality. It was not just the acting and overall production values that impressed, but the little directorial touches, such as the vocal response of the court to events and the excellent handling of the humour in the piece, which is often overlooked.
Thank you to the Company for a brilliant evening.
Derby Shakespeare Theatre Company
Shakespeare House, Derby.
December 5th 2019
“This royal throne of kings, this sceptered isle… This blessed plot, this earth, this realm, this England.” Richard II Act 2 Scene 1
The Derby Shakespeare Theatre Company is one of the oldest ones in the country having been formed in 1908. They have a reputation as an amateur group with professional standards. I am delighted to say that tonight’s production of Richard II proved that is most certainly the case.
Shakespeare is believed to have written the play in approximately 1595. It is based on the life of the King who ruled from 1377 to 1399 and is the first part of four plays followed by three plays concerning Richard's successors: Henry IV parts 1 and 2 and Henry V. Although the Folio edition (1623) of Shakespeare's works lists the play as a history play, the earlier edition of 1597 calls it The tragedie of King Richard the second. The play spans only the last two years of Richard's life, from 1398 to 1400.
Congratulations to all involved in this thoroughly engrossing and beautifully performed production. The play is a study of kingship and an examination of the turbulent times that led to the Wars of the Roses; it is intense, atmospheric, moving and lyrical. Derby Shakespeare Theatre Company bring all this out in spades and above all, they make it completely accessible to the audience. Delivery of lines is so clear and meaningfully expressed and characterisation so compelling, that it is always easy to follow. It is obvious that the director and actors have studied the text in depth and extracted every last bit of meaning out of it, which they convey with huge conviction throughout their performances.
The intimate theatre space at Shakespeare House is perfect for this play, which the group have chosen to set wholly in a garden, recognising the motif of England as ‘a blessed plot’. Richard’s monarchy is expressed as the seasons, which are beautifully created by leaf prints in four colour hues on the floor, echoed in the lovely flower beds and complemented by hanging garlands. Birdsong, other varied musical effects and the clever flooding of light occasionally, complete the atmosphere of intensity. The audience are visitors to the garden, drawn in close, intrigued bystanders to the action.
James Dean is a thoughtful and intense Richard, a King so self-possessed and convinced of his divine right that he dismisses advice and makes bad decisions. His growing reflectiveness and awareness of the demands of kingship are sensitively portrayed, especially when he is stripped of his crown. James delivers the poetry of Richard’s lines perfectly, always maintaining a steely regal quality, yet equally showing passion, anger and humour. His final soliloquy, one of many beautifully written and finely delivered speeches, is very moving.
Richard Davy is the more pragmatic Bolingbroke, driven by a desire to serve and only provoked to rebellion by the death of his father and the urging of his peers. Richard captures this character completely and is another actor who is totally at home with Shakespeare’s verse. His clear diction and expression are a pleasure to listen to.
Gender blind casting can be a challenge for an audience, as we are asked to shift our perception and perhaps change our expectations. No problem here with the excellent performances of John of Gaunt (Jenny Earl), the Duke of York (Niki Caister) and Aumerle (Brogan Piggot). All nailed their characterisations and were completely convincing: we saw and heard the character, so gender became irrelevant. The well known and affecting soliloquy that refers to ‘This royal throne of kings, this sceptre’d isle’ was beautifully delivered by Jenny; a tribute to the glorious writing.
Other parts were played by Abbie Evans, Christine Smith, Mo Pickering-Symes, Christine Smith, Craig Campbell, Will Gough, David Dunford, Martin Weston, Alex Wrampling, Edward Pickering-Symes, Danny Duder, Irene Button & James Brereton. Some special moments from many of these actors.
Well done to all the cast and the production team, who must have worked extremely hard and with passion to produce a play of this quality. It was not just the acting and overall production values that impressed, but the little directorial touches, such as the vocal response of the court to events and the excellent handling of the humour in the piece, which is often overlooked.
Thank you to the Company for a brilliant evening.
A Christmas Carol
Derby Theatre
December 3rd 2020
Once again this theatre's Christmas Production has been fantastic. This production based on the original story by Charles Dickens was excellent in all respects. My comments on Act 1 also apply to Act 2 as you would probably expect.
The show moved very quickly and was the right length for an audience of adults and children. For younger children the story is not particularly easy to understand but the visual elements of this production did make it more accessible to all ages.
The standard of acting and musicianship was very high and everything was very slick. All the performers (except the children's ensemble) played instruments at some stage and it sounded great.
There were very strong performances from Gareth Williams who was an excellent Scrooge, Oliver Ashworth as Bob Cratchit, Charlotte Workman as Mrs Cratchit, James Mclean as a very powerful Jacob Marley, Benidict Salter as Fred,
Liz Jadaw as Mrs Fizziwig, Sophia Hatfield as Ghost 1 and Aimee Kwan as Belle. It must also be said that all these performers played other parts and appeared in the ensemble.
The children were excellent too. There are three teams of them and I think tonight it was the blue team. (Sorry if I am wrong).
The staging of the story was incredibly well managed and the use of the Theatre's revolving stage kept things moving quickly and often added pace to scene changes and content.
It was clear throughout that the attention of the audience including younger members was kept throughout the performance. This was certainly due to the pace of the production, the outstanding acting and the well written script by Neil Duffield.
Although this is very much an ensemble piece I must say that for me Gareth Williams was outstanding as Scrooge. The transformation of the character throughout the show was very well done. His change from cold and uncaring to warm and loving was very compelling.
I like the fact that most of the musical items were either Christmas Carols or songs. The ones chosen were very appropriate and fitted the story well.
The production team of Oliver O'Shea (Director), Jack Quarton (composer and MD), Neil Irish (Set and Costume Designer), Emma Jones (Lighting Design), Ivan Stott (Sound Design) and Natasha Harrison (Movement Director) are to be congratulated for producing a stylish and captivating show of such high quality.
This is another triumph for Sarah Brigham (Artistic Director of Derby Theatre) and her very hard working team at Derby Theatre and is a not to be missed Christmas 2019 production.
Derby Theatre
December 3rd 2020
Once again this theatre's Christmas Production has been fantastic. This production based on the original story by Charles Dickens was excellent in all respects. My comments on Act 1 also apply to Act 2 as you would probably expect.
The show moved very quickly and was the right length for an audience of adults and children. For younger children the story is not particularly easy to understand but the visual elements of this production did make it more accessible to all ages.
The standard of acting and musicianship was very high and everything was very slick. All the performers (except the children's ensemble) played instruments at some stage and it sounded great.
There were very strong performances from Gareth Williams who was an excellent Scrooge, Oliver Ashworth as Bob Cratchit, Charlotte Workman as Mrs Cratchit, James Mclean as a very powerful Jacob Marley, Benidict Salter as Fred,
Liz Jadaw as Mrs Fizziwig, Sophia Hatfield as Ghost 1 and Aimee Kwan as Belle. It must also be said that all these performers played other parts and appeared in the ensemble.
The children were excellent too. There are three teams of them and I think tonight it was the blue team. (Sorry if I am wrong).
The staging of the story was incredibly well managed and the use of the Theatre's revolving stage kept things moving quickly and often added pace to scene changes and content.
It was clear throughout that the attention of the audience including younger members was kept throughout the performance. This was certainly due to the pace of the production, the outstanding acting and the well written script by Neil Duffield.
Although this is very much an ensemble piece I must say that for me Gareth Williams was outstanding as Scrooge. The transformation of the character throughout the show was very well done. His change from cold and uncaring to warm and loving was very compelling.
I like the fact that most of the musical items were either Christmas Carols or songs. The ones chosen were very appropriate and fitted the story well.
The production team of Oliver O'Shea (Director), Jack Quarton (composer and MD), Neil Irish (Set and Costume Designer), Emma Jones (Lighting Design), Ivan Stott (Sound Design) and Natasha Harrison (Movement Director) are to be congratulated for producing a stylish and captivating show of such high quality.
This is another triumph for Sarah Brigham (Artistic Director of Derby Theatre) and her very hard working team at Derby Theatre and is a not to be missed Christmas 2019 production.
Cinderella
Theatre Royal
December 1st
This production has been excellent. I think this one is certainly up with the best I have seen here. There is the usual fun and audience participation plus some very impressive magic and special effects. You will need to come and see the show to find out more. I will just say that the end of Act 1 involving the transformation of Cinderella and her journey to the ball is spectacular. Good work from all the principal and a lively ensemble. We are all enjoying the return to this stage of Sooty. His minder Richard Cadell as buttons is excellent - full of life and energy.
Les Dennis and Connor McIntyre as the Ugly sisters are good and Hannah Grace Lawson is a charming Cinderella with a lovely voice.
In addition to those I mentioned earlier it was good to see Gareth Gates on stage and both his singing and acting was good. He worked well with Jack McNeill who last year was here playing Peter Pan. He is a lively performer with a good singing voice and dynamic stage presence. Last but certainly not least Kimberley Blake was very appealing as the Fairy Godmother and had a great singing voice. There was also a fine ensemble of 8 singers and dancers plus the Theatre Royal Babes (local children).
As you would expect the sets were bright and colourful and greatly enhanced the production.
Looking back over the whole show I would now definitely say this is one of the best Royal Pantos I have seen and is certainly to be recommended.
For the record the Show is directed by Guy Unsworth who is a very experienced director with a number of Pantos in his credits. It is written by Alan McHugh who has also written extensively for TV and Radio. Choreographed by Fabian Aloise who has been a resident choreographer for Matilda in the West End among many other productions.
Theatre Royal
December 1st
This production has been excellent. I think this one is certainly up with the best I have seen here. There is the usual fun and audience participation plus some very impressive magic and special effects. You will need to come and see the show to find out more. I will just say that the end of Act 1 involving the transformation of Cinderella and her journey to the ball is spectacular. Good work from all the principal and a lively ensemble. We are all enjoying the return to this stage of Sooty. His minder Richard Cadell as buttons is excellent - full of life and energy.
Les Dennis and Connor McIntyre as the Ugly sisters are good and Hannah Grace Lawson is a charming Cinderella with a lovely voice.
In addition to those I mentioned earlier it was good to see Gareth Gates on stage and both his singing and acting was good. He worked well with Jack McNeill who last year was here playing Peter Pan. He is a lively performer with a good singing voice and dynamic stage presence. Last but certainly not least Kimberley Blake was very appealing as the Fairy Godmother and had a great singing voice. There was also a fine ensemble of 8 singers and dancers plus the Theatre Royal Babes (local children).
As you would expect the sets were bright and colourful and greatly enhanced the production.
Looking back over the whole show I would now definitely say this is one of the best Royal Pantos I have seen and is certainly to be recommended.
For the record the Show is directed by Guy Unsworth who is a very experienced director with a number of Pantos in his credits. It is written by Alan McHugh who has also written extensively for TV and Radio. Choreographed by Fabian Aloise who has been a resident choreographer for Matilda in the West End among many other productions.
Beauty and the Beast
The Ilkeston Theatre Company
Matinee Saturday November 30th
This production was one of the best I have seen from this community theatre company.
There were good performances from the cast who worked very well together. When you look at the programme you soon realise what a team effort this was. Many in the group contributed in more than one way.
I really enjoyed the very hardworking trio of Rachael Flewitt as Doe, Sarah Grainger as Rae and Justine Haywood as Mee. They worked very well together and were very funny. They interacted very well and reacted confidently when there were interjections from the audience. Their performances were also often very physical much to our delight!
Another trio, but this time of baddies, also worked very well with each other. They were Penny Courtney as Morfina (the very evil and scary sorceress), Mandy Preston and Paula Richmond as Teal and Tribble (her sisters). They certainly got the audience including me booing right from the start. There were confident performances from them all.
Steve Walton (better known as Gardener Steve on Erewash Sound) was very funny as the dame, Roxy, whose costumes were magnificent and he could sing as well. I enjoyed the song Roxy, from Chicago, which he and the company sang very well. I suspect we will be seeing Steve in dresses again in the future!
Elena Courtney was charming as Beauty combining a nice voice with good acting. Her duets with Ben Mills, the Beast, were great to listen too. He was quite fierce at times but also showed great tenderness towards Beauty.
There were also strong performances from Zion Sears as Maurice Dubois, Lucy Tanner as Bobbi Lauren Adams as Berni, his lazy daughters, Adrian Thornley as Egon, Jaqueline Dixon as Tax Man, Alfie Wilson as Prince Adam, Sharon Ensor and Paul Ensor.
Mustn’t forget to mention Marilyn Lucia Keates as the slowest postie in the world. She gave a very amusing performance.
The Kerry Ledger School of Dance provided excellent dancers and in particular their routine that opened Act 2 was excellent.
As I said earlier this was a whole company production under the excellent direction of Sue Golds assisted by Mandy Bull. There was also Choreography and Musical direction from Ben Mills and the Company, backstage organisation from Tracey Dean, Ryan Fletcher and Jessica Badder with good Lighting from Louis Beardsley, good sound including great effects from Steve Flavill and wonderful Costumes by Rachael Flewitt and Tracey Dean who also designed the lovely Programme. The Scenery was excellent and built by the company.
I really enjoyed this production. Well done to all involved
The Ilkeston Theatre Company
Matinee Saturday November 30th
This production was one of the best I have seen from this community theatre company.
There were good performances from the cast who worked very well together. When you look at the programme you soon realise what a team effort this was. Many in the group contributed in more than one way.
I really enjoyed the very hardworking trio of Rachael Flewitt as Doe, Sarah Grainger as Rae and Justine Haywood as Mee. They worked very well together and were very funny. They interacted very well and reacted confidently when there were interjections from the audience. Their performances were also often very physical much to our delight!
Another trio, but this time of baddies, also worked very well with each other. They were Penny Courtney as Morfina (the very evil and scary sorceress), Mandy Preston and Paula Richmond as Teal and Tribble (her sisters). They certainly got the audience including me booing right from the start. There were confident performances from them all.
Steve Walton (better known as Gardener Steve on Erewash Sound) was very funny as the dame, Roxy, whose costumes were magnificent and he could sing as well. I enjoyed the song Roxy, from Chicago, which he and the company sang very well. I suspect we will be seeing Steve in dresses again in the future!
Elena Courtney was charming as Beauty combining a nice voice with good acting. Her duets with Ben Mills, the Beast, were great to listen too. He was quite fierce at times but also showed great tenderness towards Beauty.
There were also strong performances from Zion Sears as Maurice Dubois, Lucy Tanner as Bobbi Lauren Adams as Berni, his lazy daughters, Adrian Thornley as Egon, Jaqueline Dixon as Tax Man, Alfie Wilson as Prince Adam, Sharon Ensor and Paul Ensor.
Mustn’t forget to mention Marilyn Lucia Keates as the slowest postie in the world. She gave a very amusing performance.
The Kerry Ledger School of Dance provided excellent dancers and in particular their routine that opened Act 2 was excellent.
As I said earlier this was a whole company production under the excellent direction of Sue Golds assisted by Mandy Bull. There was also Choreography and Musical direction from Ben Mills and the Company, backstage organisation from Tracey Dean, Ryan Fletcher and Jessica Badder with good Lighting from Louis Beardsley, good sound including great effects from Steve Flavill and wonderful Costumes by Rachael Flewitt and Tracey Dean who also designed the lovely Programme. The Scenery was excellent and built by the company.
I really enjoyed this production. Well done to all involved
West Side Story
The Minster School Music Department
November 27th, 2019
This production of West Side Story at the Minster School in Southwell last night was simply fantastic and one of the best amateur or youth productions I have seen. The whole cast showed great commitment and tremendous talent.
There was wonderful singing with powerful and well executed dancing. Numbers like America, Dance at the Gym, The Jet Song and the Rumble were awesome, a word I don’t use often. Part of the magic of this production for me was that it was teenagers playing the parts of teenagers, which gave it a realistic feel and a very moving emotional depth. Although set in the 1950's, the themes of racism, displacement and gang warfare are sadly still relevant today, something which must have resonated with all involved. The story is loosely based on Romeo and Juliet, the star-crossed lovers, and the beauty and sadness of love transcending hate was intensely and sensitively portrayed.
The whole cast was impressive and very committed to telling this powerful story in music and dance. I particularly liked the ballet/dream scene which can seem dated and too stylised: this one was beautifully choreographed and performed with such energy and grace; it was very moving. The whole cast rendition of "Tonight" was thrilling, exciting and again, wonderfully choreographed.
The direction of the whole performance was tight, hitting the audience so hard with glorious tunes, dynamic dancing, fast paced action and a very moving love story. Wow, did they do this musical justice!
The main parts were played extremely well tonight by Zakarie Stokes: a fine portrayal of an earnest and compelling Tony; Ella Morelle as a sweet but determined Maria, a beautifully sung and very well acted performance; Betsey Bircumshaw as an entirely convincing Anita, a really impressive all round performance; Isaac Osbon as the menacing Riff, a very powerful characterisation, and Louis Dobson as a finely tuned Bernado, tough but some hints of vulnerability: perfect.
I was sitting on the front row and was totally and emotionally involved throughout. I certainly felt the energy and aggression from the two gangs:
the intensity of their performances was almost frightening. Off stage I am sure they are very nice people! There were also many poignant moments between Tony and Maria and I was impressed at the professionalism of the two young actors, completely committed to portraying the intensity of the relationship. Their duets were excellent; tears in their eyes - and in mine- at times.
The Jet boys and girls and the Sharks boys and girls (from Team Mambo tonight) were superb and they had all obviously worked very hard on their characterisations and voice projection. I could see the little mannerisms each had adopted to become the character and was impressed by how completely they sustained those characterisations. The freezing of a gaze between partners, which was required in one scene, is hard to maintain and they did it perfectly.
The girls made the most of the well known and well loved America, which they performed beautifully and the boys were a great hit with the very cleverly choreographed and amusing Gee, Officer Krupke.
The orchestra, which was comprised of students and outside musicians, was excellent and the sound balance between performers and the band was perfect. The Musical Director, Marie-Helene Bilodeau and Mrs Smith must have worked very hard with the cast and the band to produce such high-quality musical performances.
The lighting was atmospheric and effectively used to highlight the action and the sound was spot on. I heard every word that was sung or spoken and even heard parts of dialogue I have never heard before!
The simple and appropriately stark two level set was ideal for the show and allowed the cast plenty of room to move and dance with freedom. Scene changes were very fast and almost always invisible.
The production team comprising of Andrea Chapman, Marie-Helene Bilodeau, Dan Brown, Mrs Donovan, Mrs Wallis-Windle and Miss Fell have produced a professional looking show which has brought out the very best of the young performers. I would also like to commend the technical and stage team for a very polished production. I agree with what it says in the programme where it says "Mr Gibson has pushed the staging, and lighting limits of our theatre to its max!" He certainly did and it all paid off.
I am sure many of those I saw or heard tonight will have a future in performance, be it professionally or on the thriving amateur scene we have in the East Midlands; they will be a huge asset.
I loved the whole show and am in awe of what was achieved by this young cast and the staff of The Minster School Music Department and in just 8
weeks! The School Motto is "Succeeding Together - Wisdom, Optimism, Resilience, Kindness and Service." Well, there was all that in abundance on stage last night.
The show continues until Saturday at the Minster School in Southwell.
The Minster School Music Department
November 27th, 2019
This production of West Side Story at the Minster School in Southwell last night was simply fantastic and one of the best amateur or youth productions I have seen. The whole cast showed great commitment and tremendous talent.
There was wonderful singing with powerful and well executed dancing. Numbers like America, Dance at the Gym, The Jet Song and the Rumble were awesome, a word I don’t use often. Part of the magic of this production for me was that it was teenagers playing the parts of teenagers, which gave it a realistic feel and a very moving emotional depth. Although set in the 1950's, the themes of racism, displacement and gang warfare are sadly still relevant today, something which must have resonated with all involved. The story is loosely based on Romeo and Juliet, the star-crossed lovers, and the beauty and sadness of love transcending hate was intensely and sensitively portrayed.
The whole cast was impressive and very committed to telling this powerful story in music and dance. I particularly liked the ballet/dream scene which can seem dated and too stylised: this one was beautifully choreographed and performed with such energy and grace; it was very moving. The whole cast rendition of "Tonight" was thrilling, exciting and again, wonderfully choreographed.
The direction of the whole performance was tight, hitting the audience so hard with glorious tunes, dynamic dancing, fast paced action and a very moving love story. Wow, did they do this musical justice!
The main parts were played extremely well tonight by Zakarie Stokes: a fine portrayal of an earnest and compelling Tony; Ella Morelle as a sweet but determined Maria, a beautifully sung and very well acted performance; Betsey Bircumshaw as an entirely convincing Anita, a really impressive all round performance; Isaac Osbon as the menacing Riff, a very powerful characterisation, and Louis Dobson as a finely tuned Bernado, tough but some hints of vulnerability: perfect.
I was sitting on the front row and was totally and emotionally involved throughout. I certainly felt the energy and aggression from the two gangs:
the intensity of their performances was almost frightening. Off stage I am sure they are very nice people! There were also many poignant moments between Tony and Maria and I was impressed at the professionalism of the two young actors, completely committed to portraying the intensity of the relationship. Their duets were excellent; tears in their eyes - and in mine- at times.
The Jet boys and girls and the Sharks boys and girls (from Team Mambo tonight) were superb and they had all obviously worked very hard on their characterisations and voice projection. I could see the little mannerisms each had adopted to become the character and was impressed by how completely they sustained those characterisations. The freezing of a gaze between partners, which was required in one scene, is hard to maintain and they did it perfectly.
The girls made the most of the well known and well loved America, which they performed beautifully and the boys were a great hit with the very cleverly choreographed and amusing Gee, Officer Krupke.
The orchestra, which was comprised of students and outside musicians, was excellent and the sound balance between performers and the band was perfect. The Musical Director, Marie-Helene Bilodeau and Mrs Smith must have worked very hard with the cast and the band to produce such high-quality musical performances.
The lighting was atmospheric and effectively used to highlight the action and the sound was spot on. I heard every word that was sung or spoken and even heard parts of dialogue I have never heard before!
The simple and appropriately stark two level set was ideal for the show and allowed the cast plenty of room to move and dance with freedom. Scene changes were very fast and almost always invisible.
The production team comprising of Andrea Chapman, Marie-Helene Bilodeau, Dan Brown, Mrs Donovan, Mrs Wallis-Windle and Miss Fell have produced a professional looking show which has brought out the very best of the young performers. I would also like to commend the technical and stage team for a very polished production. I agree with what it says in the programme where it says "Mr Gibson has pushed the staging, and lighting limits of our theatre to its max!" He certainly did and it all paid off.
I am sure many of those I saw or heard tonight will have a future in performance, be it professionally or on the thriving amateur scene we have in the East Midlands; they will be a huge asset.
I loved the whole show and am in awe of what was achieved by this young cast and the staff of The Minster School Music Department and in just 8
weeks! The School Motto is "Succeeding Together - Wisdom, Optimism, Resilience, Kindness and Service." Well, there was all that in abundance on stage last night.
The show continues until Saturday at the Minster School in Southwell.
We Will Rock You
Theatre Royal
November 25th 2019
We Will Rock You has just ended with a standing ovation and a superb performance of Bohemian Rhapsody.
I really enjoyed the show and can certainly recommend it. However, I understand that most performances this week are pretty fully booked.
It was an overwhelmingly stunning production which may have been a little over loud at times but certainly had the spirit of a Queen Concert.
Great performances and an incredible use of screens across the whole stage. That in itself made this an unforgettable experience for me.
This is a sensational show in all respects.
As reported earlier the performance was halted after about 15 minutes due to a technical problem but I am delighted to say that was sorted after about 10 minutes.
There have been powerful and dynamic routines throughout. It is very loud as you might expect but i am ok with it so far.
It has spectacular lighting effects and these are adding to the excitement felt throughout Act 1.
Superb performances from principals:
Ian McIntosh(Galileo),
Elena Skye(Scaramouche)
Jenny O’Leary (Killer Queen)
Adam Strong (Khashoggi)
Michael McKell (Buddy)
David Michael Johnson (Brit)
Amy Di Bartolommeo (Oz)
There was a great ensemble too. The dance routines were powerful and very well performed.
The fabulous set is mainly generated on LCD screens or the like. I have never seen such a fantastic use of electronic panels. This is projection on an stellar scale. It is quite brilliant and simply stunning.
The costumes are pretty spectacular too.
Theatre Royal
November 25th 2019
We Will Rock You has just ended with a standing ovation and a superb performance of Bohemian Rhapsody.
I really enjoyed the show and can certainly recommend it. However, I understand that most performances this week are pretty fully booked.
It was an overwhelmingly stunning production which may have been a little over loud at times but certainly had the spirit of a Queen Concert.
Great performances and an incredible use of screens across the whole stage. That in itself made this an unforgettable experience for me.
This is a sensational show in all respects.
As reported earlier the performance was halted after about 15 minutes due to a technical problem but I am delighted to say that was sorted after about 10 minutes.
There have been powerful and dynamic routines throughout. It is very loud as you might expect but i am ok with it so far.
It has spectacular lighting effects and these are adding to the excitement felt throughout Act 1.
Superb performances from principals:
Ian McIntosh(Galileo),
Elena Skye(Scaramouche)
Jenny O’Leary (Killer Queen)
Adam Strong (Khashoggi)
Michael McKell (Buddy)
David Michael Johnson (Brit)
Amy Di Bartolommeo (Oz)
There was a great ensemble too. The dance routines were powerful and very well performed.
The fabulous set is mainly generated on LCD screens or the like. I have never seen such a fantastic use of electronic panels. This is projection on an stellar scale. It is quite brilliant and simply stunning.
The costumes are pretty spectacular too.
Example
PTC
Nottingham Arts Theatre Studio
Example - A Play devised by the Belgrade Theatre in Education Company, based on the case and execution of Derek William Bentley. Bentley was an English man who was wrongfully convicted and hanged for the murder of a policeman, whose death occurred in the course of a burglary attempt.
The play considers the controversial court case of Bentley, whose famous line, 'Let him have it Chris,' landed him the death sentence on the 28th January, 1953.
In May 1999, Derek Bentley's only surviving relatives were suddenly awarded compensation for his miscarriage of justice, sadly a year after the death of his sister, Iris, who fought for his reprieve right up until her death.
This is a moving production which is making us all think. The studio here at the Arts Theatre is small but is allowing me to feel very much part of the action. The stage at one end of the room is used but so is the space in the centre of the room.
The standard of acting is high and I am particularly impressed by Deepak Auija as Derek Bentley, Daniel Ison as Norman Parsley and Hayden Bradley as Chris Craig. He is particularly menacing while both Deepak and Daniel are showing their vulnerable nervous side.
The actual murder of PC Miles was very well directed by Chris Teasdale and the room was electric while this happened. The use of the whole room is very effective and helped to create quite an atmosphere throughout.
I, like the whole audience I think, was moved by the story of Derek Bentley but it raised not only questions about that case but by the way the law in this country sometimes works today. I need to think about that and do some research too. It seems that our so called wonderful legal system may not be as wonderful all the time.
PTC have been very brave to tell this story and are to be congratulated for what they have achieved. There was a question and answer session after the performance involving Bentleys niece and two other mothers whose sons are currently serving life sentences for crimes they did not commit but were associated with.
That raised many questions in my mind. However, from a drama point of view I was most impressed with this production. I have mentioned the three leading characters but also say that there were great performances from Barbara Bennet (Mrs Bentley), Robert Suttle, Graham Lambert and Harry IIyk. They were supported by Chloe Wilson, Alice Cox, Jenny Pike, Roy Smith.
The Director, Chris Teasdale and his assistant Harry IIyk plus Charlotte Bellamy (lights/ Sound) and Barbara Benner/ Mary Lobley (props and costumes) completed the production.
PTC
Nottingham Arts Theatre Studio
Example - A Play devised by the Belgrade Theatre in Education Company, based on the case and execution of Derek William Bentley. Bentley was an English man who was wrongfully convicted and hanged for the murder of a policeman, whose death occurred in the course of a burglary attempt.
The play considers the controversial court case of Bentley, whose famous line, 'Let him have it Chris,' landed him the death sentence on the 28th January, 1953.
In May 1999, Derek Bentley's only surviving relatives were suddenly awarded compensation for his miscarriage of justice, sadly a year after the death of his sister, Iris, who fought for his reprieve right up until her death.
This is a moving production which is making us all think. The studio here at the Arts Theatre is small but is allowing me to feel very much part of the action. The stage at one end of the room is used but so is the space in the centre of the room.
The standard of acting is high and I am particularly impressed by Deepak Auija as Derek Bentley, Daniel Ison as Norman Parsley and Hayden Bradley as Chris Craig. He is particularly menacing while both Deepak and Daniel are showing their vulnerable nervous side.
The actual murder of PC Miles was very well directed by Chris Teasdale and the room was electric while this happened. The use of the whole room is very effective and helped to create quite an atmosphere throughout.
I, like the whole audience I think, was moved by the story of Derek Bentley but it raised not only questions about that case but by the way the law in this country sometimes works today. I need to think about that and do some research too. It seems that our so called wonderful legal system may not be as wonderful all the time.
PTC have been very brave to tell this story and are to be congratulated for what they have achieved. There was a question and answer session after the performance involving Bentleys niece and two other mothers whose sons are currently serving life sentences for crimes they did not commit but were associated with.
That raised many questions in my mind. However, from a drama point of view I was most impressed with this production. I have mentioned the three leading characters but also say that there were great performances from Barbara Bennet (Mrs Bentley), Robert Suttle, Graham Lambert and Harry IIyk. They were supported by Chloe Wilson, Alice Cox, Jenny Pike, Roy Smith.
The Director, Chris Teasdale and his assistant Harry IIyk plus Charlotte Bellamy (lights/ Sound) and Barbara Benner/ Mary Lobley (props and costumes) completed the production.
Murder, Margaret and Me
Derby Theatre
November 15th
This is a story of friendship, identity and the achievement of women in the long-lost world of the silver screen.
As Agatha and Margaret play tug of war with Miss Marple, the Queen of Crime (being a woman who wasn't without a secret or two herself) finally unearths the shocking truth buried in Margaret's past.
Tonight we will learn about the real reason why the acting legend and “the funniest woman alive” didn’t want to take on the role that made her celebrated across the world. Margaret and Agatha form an unlikely friendship filled with high tea, brandy snaps and gossip. Meanwhile Agatha turns detective herself and she’s on a mission. She’s determined to unearth Rutherford’s tragic and shocking secret.
The play, written by Philip Meeks has been critically acclaimed and s directed by Damian Cruden (Artistic Director, Shakespeare's Rose Theatre).
Excellent performances from the three actors in the play which is about Agatha Christie and Margaret Rutherford. A witty and well written script enhanced by very good staging. It is wonderful to watch professional actors who are obviously totally immersed in the characters they are playing.
Derby Theatre
November 15th
This is a story of friendship, identity and the achievement of women in the long-lost world of the silver screen.
As Agatha and Margaret play tug of war with Miss Marple, the Queen of Crime (being a woman who wasn't without a secret or two herself) finally unearths the shocking truth buried in Margaret's past.
Tonight we will learn about the real reason why the acting legend and “the funniest woman alive” didn’t want to take on the role that made her celebrated across the world. Margaret and Agatha form an unlikely friendship filled with high tea, brandy snaps and gossip. Meanwhile Agatha turns detective herself and she’s on a mission. She’s determined to unearth Rutherford’s tragic and shocking secret.
The play, written by Philip Meeks has been critically acclaimed and s directed by Damian Cruden (Artistic Director, Shakespeare's Rose Theatre).
Excellent performances from the three actors in the play which is about Agatha Christie and Margaret Rutherford. A witty and well written script enhanced by very good staging. It is wonderful to watch professional actors who are obviously totally immersed in the characters they are playing.
Oh What a Lovely War
Ilkeston Studio Players
Kirk Hallam Community Academy
November 3rd 2019
Oh What a Lovely War is a musical developed by Joan Littlewood at the Theatre Workshop in 1963. It is a satire on World War I, and by extension on war in general. The title is derived from the satirical Music Hall song "Oh! It's a Lovely War!", which is one of the major numbers in the production.
This was the first time I have seen this local Theatre Group, which is actually 73 years old this month. I have to say that I was very impressed.
Congratulations to the large and mostly young cast, who provided a very entertaining and thought provoking evening. At the beginning they invited the audience to become part of the proceedings: it’s brave to address an audience at the very start of a play, lights up, no place to hide, telling us that our reaction to ‘songs, a few battles and some jokes’ is required. But it made us sit up and take notice and become fully immersed in what followed, even joining in enthusiastically with responses and songs. It reminded us that this is our story too and that we could all identify with what was happening in the drama.
The striking red and white striped costumes worn by all the cast were evocative of long summer days of Edwardian boating, a romanticised image that was to be quickly shattered by the horrors of the war that started on a hot day in August, 1914. The red became that of bloodshed, as the stark and shocking military statistics projected on a screen reminded us: 300,000 killed in one month, 850,000 killed by the end of 1914, an overall total of 10 million dead.
This production wasn’t just about the appalling facts though, it was about everyday life, thoughts and feelings, all so well portrayed by the cast, through a series of sketches and the catchy musical hall songs of the time. Very much an ensemble piece, they gave us groups of ordinary people, politicians and soldiers who were initially optimistic about the war and fully confident of victory. Some lovely set pieces told the story and these were perfectly performed: not a word wrong or a step out of place, they looked and sounded great. Clever direction sometimes split the action between home and away, which was very powerful.
Individuals were given a chance to shine: there were some lovely characterisations of foreign leaders (great accents!), bluff army commanders, bemused factory workers and embattled soldiers, as well as beautifully performed solo recitations and songs. The MC did a splendid job in both involving the audience and narrating some of the action. It was particularly touching to see young people so immersed in the history, telling it so well and with such feeling. A finely played scene between the Tommies and the Jerries in the trenches at Christmas, was both amusing and poignant.
The jaunty optimism and innocence of the songs becomes less as the reality of the war becomes clearer and the losses even more incomprehensible. It was noticeable that applause after these later, more wistful pieces, dropped away: simply because it no longer felt appropriate. The show’s programme reminds us of local losses during 1914-18 and that, although the piece satirically highlights the tragedy of war, it doesn’t diminish the bravery and sacrifice of individuals.
A huge well done to all involved in this production, I was truly moved and very impressed with the quality of the performances. The music was first class and a joy to listen to, even in such a sobering context. The lighting really enhanced the action, changed the mood when required and added to the overall impact. A lot of research and rehearsal must have gone into both directing and performing - the result was certainly worth it. Many thanks; I look forward to your next production.
The cast was: Courtney Bowles, Victoria Langord, Julia Tilley, Sophie Tilley, Christopher Dunford, Tom Hopkins, Matt Hindes, Emily Pritchett, Tori Parsons, Elise Hughes, Harriet Lee, Cerys Martin, Maisie Batley, Callie Baines, Kalma Stevenson-Harris, Carliah Stevenson-Harris, Liam Harkin, Joanne Garlinge, Joanne Raven, Evie Smith, Katie Hoft, Kirsty Gregory, Rosie Harris, Chris Blundell, Jack Bailie, Jesper Alm, Dave Brown.
Ilkeston Studio Players
Kirk Hallam Community Academy
November 3rd 2019
Oh What a Lovely War is a musical developed by Joan Littlewood at the Theatre Workshop in 1963. It is a satire on World War I, and by extension on war in general. The title is derived from the satirical Music Hall song "Oh! It's a Lovely War!", which is one of the major numbers in the production.
This was the first time I have seen this local Theatre Group, which is actually 73 years old this month. I have to say that I was very impressed.
Congratulations to the large and mostly young cast, who provided a very entertaining and thought provoking evening. At the beginning they invited the audience to become part of the proceedings: it’s brave to address an audience at the very start of a play, lights up, no place to hide, telling us that our reaction to ‘songs, a few battles and some jokes’ is required. But it made us sit up and take notice and become fully immersed in what followed, even joining in enthusiastically with responses and songs. It reminded us that this is our story too and that we could all identify with what was happening in the drama.
The striking red and white striped costumes worn by all the cast were evocative of long summer days of Edwardian boating, a romanticised image that was to be quickly shattered by the horrors of the war that started on a hot day in August, 1914. The red became that of bloodshed, as the stark and shocking military statistics projected on a screen reminded us: 300,000 killed in one month, 850,000 killed by the end of 1914, an overall total of 10 million dead.
This production wasn’t just about the appalling facts though, it was about everyday life, thoughts and feelings, all so well portrayed by the cast, through a series of sketches and the catchy musical hall songs of the time. Very much an ensemble piece, they gave us groups of ordinary people, politicians and soldiers who were initially optimistic about the war and fully confident of victory. Some lovely set pieces told the story and these were perfectly performed: not a word wrong or a step out of place, they looked and sounded great. Clever direction sometimes split the action between home and away, which was very powerful.
Individuals were given a chance to shine: there were some lovely characterisations of foreign leaders (great accents!), bluff army commanders, bemused factory workers and embattled soldiers, as well as beautifully performed solo recitations and songs. The MC did a splendid job in both involving the audience and narrating some of the action. It was particularly touching to see young people so immersed in the history, telling it so well and with such feeling. A finely played scene between the Tommies and the Jerries in the trenches at Christmas, was both amusing and poignant.
The jaunty optimism and innocence of the songs becomes less as the reality of the war becomes clearer and the losses even more incomprehensible. It was noticeable that applause after these later, more wistful pieces, dropped away: simply because it no longer felt appropriate. The show’s programme reminds us of local losses during 1914-18 and that, although the piece satirically highlights the tragedy of war, it doesn’t diminish the bravery and sacrifice of individuals.
A huge well done to all involved in this production, I was truly moved and very impressed with the quality of the performances. The music was first class and a joy to listen to, even in such a sobering context. The lighting really enhanced the action, changed the mood when required and added to the overall impact. A lot of research and rehearsal must have gone into both directing and performing - the result was certainly worth it. Many thanks; I look forward to your next production.
The cast was: Courtney Bowles, Victoria Langord, Julia Tilley, Sophie Tilley, Christopher Dunford, Tom Hopkins, Matt Hindes, Emily Pritchett, Tori Parsons, Elise Hughes, Harriet Lee, Cerys Martin, Maisie Batley, Callie Baines, Kalma Stevenson-Harris, Carliah Stevenson-Harris, Liam Harkin, Joanne Garlinge, Joanne Raven, Evie Smith, Katie Hoft, Kirsty Gregory, Rosie Harris, Chris Blundell, Jack Bailie, Jesper Alm, Dave Brown.
“The Producers”
Beeston Musical Theatre Group
Duchess Theatre, Long Eaton
November 1st
The Producers is a musical adapted by Mel Brooks and Thomas Meehan from Brooks' 1967 film. As in the film, the story concerns two theatrical producers who scheme to get rich by overselling interests in a Broadway flop. Complications arise when the show unexpectedly turns out to be successful. The humour of the show draws on ridiculous accents, caricatures of homosexuals and Nazis and many show business in-jokes.
I have been fortunate enough to see several first class amateur shows lately, so there’s a danger I might run out of superlatives to describe this one. However, I need to find more than a few, as this is a wonderful production: hilarious, engaging, thoroughly entertaining, brilliantly directed and performed. It’s a long show, but it never drags, as it moves at a cracking pace with great dialogue, fabulous music and lovely set piece dances.
The two principals do a fine job with spot on characterisations of their contrasting roles, both with such confidence, skill and synergy that they simply command the stage.
Adam Guest as Max Bialystock is full of energy and swagger, deftly delivering the character’s egocentric panic and razor sharp wit. It’s a wonderfully written comic role and Adam more than does it justice: perfect diction and timing- we don’t miss a word or a nuance- well judged slapstick moments and some great singing and dancing. His rendition of Betrayed is a vocal highlight.
The endearingly timid and neurotic Leo Bloom is captured perfectly by Jarrod Makin, who not only pitches his delivery at just the right level – again we don’t miss a softly spoken word – but conveys so much through his facial expressions, movement and timing. Jarrod fully understands this character and inhabits him so well the audience are always rooting for him, while laughing at his misfortune. One of his singing triumphs is the excellent I Wanna be a Producer.
Equally strong performances from the other principal actors and the talented ensemble complete the impact of this show and make it such a success.
Kevin Chatten is a huge hit as the completely mad Franz Liebkind, as he wrings every last bit of humour out of the role and has a ball on the stage. Some very clever props add to the fun, but it’s mostly Kevin’s facial expressions and vocal delivery that make the character so compellingly awful and hugely entertaining. His hilarious performance of In Old Bavaria was much appreciated by the audience.
Another compelling awful character is Roger de Bris, played delightfully by John Hand, who captures the camp flamboyance of the drama queen perfectly. Roger’s production team introduce themselves in the splendidly outrageous Keep it Gay, which is a highlight of Act One.
Jorge Diniz plays Carmen Ghia, another gay caricature who brightens up all his scenes with theatrical style and impressive flounces.
Charlotte Howarth certainly looks the part of the tall, blonde, Swedish Ulla and gives the character real charm. Hard to maintain a Swedish accent with such lightness of touch and comic timing, but Charlotte makes it look easy. Her When You’ve Got It Flaunt It was beautifully performed and reminiscent of Marilyn Monroe.
A shout out to the creaky but feisty ‘old ladies’ who keep Max supplied with money, but expect a lot from him in return. Caricatures again, but enormous fun, which the ensemble appear to really enjoy performing, especially with Max in the showstopper, Along Came Bialy. Congratulations to props and wardrobe for the zimmers, bloomers, cardigans and pearls that make the old dears so convincing!
The show was directed with style and vision by George Lamb and Lucy Castle, who also choreographed and created some fabulous dance routines. The orchestra which sounded great and was very well balanced with the performers was directed by the Musical Director, Chris Toon. The combined, considerable efforts of these three and their cast have certainly paid off in this production.
The impressive costumes are managed by Mina Holton; the excellent and enhancing lighting is designed and engineered by Dave Martin and Laura Olding and the sound design is by Tom Olding. Stage management was deft, with very quick scene changes, which just flowed along with the action. Well done to the Stage Manager, Lisa Smith, and her team.
Now I have run out of superlatives, but this joyous production deserved every one of them. It can probably be summed up in one phrase though: not to be missed.
“The Producers” is at the Duchess Theatre, Long Eaton until Saturday 2 November
Beeston Musical Theatre Group
Duchess Theatre, Long Eaton
November 1st
The Producers is a musical adapted by Mel Brooks and Thomas Meehan from Brooks' 1967 film. As in the film, the story concerns two theatrical producers who scheme to get rich by overselling interests in a Broadway flop. Complications arise when the show unexpectedly turns out to be successful. The humour of the show draws on ridiculous accents, caricatures of homosexuals and Nazis and many show business in-jokes.
I have been fortunate enough to see several first class amateur shows lately, so there’s a danger I might run out of superlatives to describe this one. However, I need to find more than a few, as this is a wonderful production: hilarious, engaging, thoroughly entertaining, brilliantly directed and performed. It’s a long show, but it never drags, as it moves at a cracking pace with great dialogue, fabulous music and lovely set piece dances.
The two principals do a fine job with spot on characterisations of their contrasting roles, both with such confidence, skill and synergy that they simply command the stage.
Adam Guest as Max Bialystock is full of energy and swagger, deftly delivering the character’s egocentric panic and razor sharp wit. It’s a wonderfully written comic role and Adam more than does it justice: perfect diction and timing- we don’t miss a word or a nuance- well judged slapstick moments and some great singing and dancing. His rendition of Betrayed is a vocal highlight.
The endearingly timid and neurotic Leo Bloom is captured perfectly by Jarrod Makin, who not only pitches his delivery at just the right level – again we don’t miss a softly spoken word – but conveys so much through his facial expressions, movement and timing. Jarrod fully understands this character and inhabits him so well the audience are always rooting for him, while laughing at his misfortune. One of his singing triumphs is the excellent I Wanna be a Producer.
Equally strong performances from the other principal actors and the talented ensemble complete the impact of this show and make it such a success.
Kevin Chatten is a huge hit as the completely mad Franz Liebkind, as he wrings every last bit of humour out of the role and has a ball on the stage. Some very clever props add to the fun, but it’s mostly Kevin’s facial expressions and vocal delivery that make the character so compellingly awful and hugely entertaining. His hilarious performance of In Old Bavaria was much appreciated by the audience.
Another compelling awful character is Roger de Bris, played delightfully by John Hand, who captures the camp flamboyance of the drama queen perfectly. Roger’s production team introduce themselves in the splendidly outrageous Keep it Gay, which is a highlight of Act One.
Jorge Diniz plays Carmen Ghia, another gay caricature who brightens up all his scenes with theatrical style and impressive flounces.
Charlotte Howarth certainly looks the part of the tall, blonde, Swedish Ulla and gives the character real charm. Hard to maintain a Swedish accent with such lightness of touch and comic timing, but Charlotte makes it look easy. Her When You’ve Got It Flaunt It was beautifully performed and reminiscent of Marilyn Monroe.
A shout out to the creaky but feisty ‘old ladies’ who keep Max supplied with money, but expect a lot from him in return. Caricatures again, but enormous fun, which the ensemble appear to really enjoy performing, especially with Max in the showstopper, Along Came Bialy. Congratulations to props and wardrobe for the zimmers, bloomers, cardigans and pearls that make the old dears so convincing!
The show was directed with style and vision by George Lamb and Lucy Castle, who also choreographed and created some fabulous dance routines. The orchestra which sounded great and was very well balanced with the performers was directed by the Musical Director, Chris Toon. The combined, considerable efforts of these three and their cast have certainly paid off in this production.
The impressive costumes are managed by Mina Holton; the excellent and enhancing lighting is designed and engineered by Dave Martin and Laura Olding and the sound design is by Tom Olding. Stage management was deft, with very quick scene changes, which just flowed along with the action. Well done to the Stage Manager, Lisa Smith, and her team.
Now I have run out of superlatives, but this joyous production deserved every one of them. It can probably be summed up in one phrase though: not to be missed.
“The Producers” is at the Duchess Theatre, Long Eaton until Saturday 2 November
The Sound of Music
Nottingham Operatic Society
Nottingham Theatre Royal
October 30th 2019
Enjoyable evening at the Theatre Royal. Well done to the cast and crew of the Nottingham Operatic Society and their production of The Sound of Music.
Good performances throughout with a great sounding orchestra which was well balanced with the performers. Not sure about it being on stage as I felt, at times, it gave the production a slightly concert feel. Just a personal view though which may not be the view of others.
There was good audience reaction at the end of the show with some standing.
Nottingham Operatic Society
Nottingham Theatre Royal
October 30th 2019
Enjoyable evening at the Theatre Royal. Well done to the cast and crew of the Nottingham Operatic Society and their production of The Sound of Music.
Good performances throughout with a great sounding orchestra which was well balanced with the performers. Not sure about it being on stage as I felt, at times, it gave the production a slightly concert feel. Just a personal view though which may not be the view of others.
There was good audience reaction at the end of the show with some standing.
“My Fair Lady”
LEOS Musical Theatre Company
May Hall, Trent College, Long Eaton
October 24th 2019
My Fair Lady is based on George Bernard Shaw's Pygmalion, and has a book and lyrics by Alan J Lerner, with music by Frederick Lowe. The story is about Eliza Doolittle, a Cockney flower girl who takes speech lessons from professor Henry Higgins, a phoneticist , so that she may pass as a lady. The original Broadway and London shows starred Rex Harrison and Julie Andrews.
It’s an old fashioned musical that is a bit wordy, but has such timeless charm and so many great songs that it never fails to entertain. This production is beautiful to look at, especially in the big set dance pieces, such as ‘With a Little Bit of Luck’, ‘Ascot Gavotte’ and the wonderful ‘I’m Getting Married in the Morning’. Great choreography from Laurie Trott, not just in these spectacular numbers, but in the smaller dances, which are bursting with characterful movement. None of this is easy to accomplish, Laurie and the performers must have put in hours of work to get to this standard and make it look effortless.
Lots of lovely comic moments keep the action lively and are well performed: one of my favourites is the Ascot scene, where Eliza expounds on the death of her Aunt and ‘them that done her in’. I would have liked to have heard the thunder of hooves during the climax of the scene, when Eliza urges her horse, Dover, to move more quickly…
Emma Collins triumphs with her portrayal of Eliza: a lovely transformation from coarseness to gentility, nailing the cockney accent and then the RP, but never losing Eliza’s honesty and spirit. Emma has a beautiful voice and easily manages the many vocal challenges of this part, including the splendid ‘I Could Have Danced All Night’, which has a lovely counterpoint from Mrs Pearce (Angela Walters) and the maids. Other vocal highlights are the comic and beautifully phrased ‘Just You wait’ and the passionate ‘Show Me’.
Simon Parker perfectly captures the arrogance and misogyny of Professor Higgins, yet has a light and amusing touch, which is so engaging it allows a modern audience to grin and bear the sexism - for most of the time! Simon makes the most of his great songs, especially the very amusing and very non PC ‘Hymn to Him’ and the poignant ‘I’ve Grown Accustomed To Her Face’.
Colonel Pickering is played by Dave O’Neal, who is younger than expected for a retired British Army colonel, but Dave gives him a bumbling old school charm that is endearing and always convincing. The trio of main actors work so well together: ‘The Rain in Spain’, when Eliza perfects her vowels, is an uplifting event where all three are a joy to watch.
Wonderful performance from Dan Bates as the old scoundrel Alfred Doolittle, very ably supported by his sidekicks Harry & Jamie, played by Jack Woolley & Harvey Latter. Dan is a nimble and lively Doolittle with a hugely expressive cockney growl: an all round accomplished characterisation, with splendid song and dance routines. ‘With a Little Bit of Luck’ is a show highlight, lovely chorus work and very appropriate nifty movements from Dan, Jack & Harvey.
Rod Chilton is a sweet and earnest Freddie and gets the chance to make the most of the well loved ‘On The Street Where you Live’, which was much appreciated by the audience.
I said this production is lovely to look at and it certainly sounds lovely, too. The scenes where the ensemble form a chorus, such as at Ascot, in ‘The Servants Chorus’, and ‘Get Me To The Church On Time’, have some lovely harmonies and are a pleasure to listen to. Well done to MD James Bowden, who has taken these well known songs, kept them pacy and fresh and above all, beautifully performed.
Other supporting performances are from Liz Woolley as a dignified but knowing Mrs Higgins and Phil Deakin as both the King in the splendid ‘Just You Wait’, and the snooty Zoltan Karpathy.
Others in the cast are:
Kathryn McAuley (Mrs Eynsford Hill), John Paxton (Bartender), Ali Brown, Haley Wood, Emily Hall, Melissa Vickerstaff, Amy Parker, Jonny Cox, James Saleh, Ali Langton, Lisa McLoughlin, Matthew McAuley, Natalie Brown, Ellie Simmonds, Clare Kay, Jenny Ashworth, Molly Parkinson, Rachel Spence, Alex Tavener, John East and Josh Robinson.
The balance of sound between the orchestra and the performers was spot on and much credit for this must go to Sam Lenord (Sound); a new sound system was needed here and it’s working a treat. The lighting by Stephen Greatorex was good, enhanced the set and was effectively used to enable efficient and speedy set changes. Stage Manager John Woolley and his crew had a challenging job with rapid scene changes; they were excellent and mostly invisible.
The show’s director, Nigel Taylor and his team, have produced an excellent version of this popular show, which is engaging, entertaining and relevant, despite its age.
LEOS Musical Theatre Company
May Hall, Trent College, Long Eaton
October 24th 2019
My Fair Lady is based on George Bernard Shaw's Pygmalion, and has a book and lyrics by Alan J Lerner, with music by Frederick Lowe. The story is about Eliza Doolittle, a Cockney flower girl who takes speech lessons from professor Henry Higgins, a phoneticist , so that she may pass as a lady. The original Broadway and London shows starred Rex Harrison and Julie Andrews.
It’s an old fashioned musical that is a bit wordy, but has such timeless charm and so many great songs that it never fails to entertain. This production is beautiful to look at, especially in the big set dance pieces, such as ‘With a Little Bit of Luck’, ‘Ascot Gavotte’ and the wonderful ‘I’m Getting Married in the Morning’. Great choreography from Laurie Trott, not just in these spectacular numbers, but in the smaller dances, which are bursting with characterful movement. None of this is easy to accomplish, Laurie and the performers must have put in hours of work to get to this standard and make it look effortless.
Lots of lovely comic moments keep the action lively and are well performed: one of my favourites is the Ascot scene, where Eliza expounds on the death of her Aunt and ‘them that done her in’. I would have liked to have heard the thunder of hooves during the climax of the scene, when Eliza urges her horse, Dover, to move more quickly…
Emma Collins triumphs with her portrayal of Eliza: a lovely transformation from coarseness to gentility, nailing the cockney accent and then the RP, but never losing Eliza’s honesty and spirit. Emma has a beautiful voice and easily manages the many vocal challenges of this part, including the splendid ‘I Could Have Danced All Night’, which has a lovely counterpoint from Mrs Pearce (Angela Walters) and the maids. Other vocal highlights are the comic and beautifully phrased ‘Just You wait’ and the passionate ‘Show Me’.
Simon Parker perfectly captures the arrogance and misogyny of Professor Higgins, yet has a light and amusing touch, which is so engaging it allows a modern audience to grin and bear the sexism - for most of the time! Simon makes the most of his great songs, especially the very amusing and very non PC ‘Hymn to Him’ and the poignant ‘I’ve Grown Accustomed To Her Face’.
Colonel Pickering is played by Dave O’Neal, who is younger than expected for a retired British Army colonel, but Dave gives him a bumbling old school charm that is endearing and always convincing. The trio of main actors work so well together: ‘The Rain in Spain’, when Eliza perfects her vowels, is an uplifting event where all three are a joy to watch.
Wonderful performance from Dan Bates as the old scoundrel Alfred Doolittle, very ably supported by his sidekicks Harry & Jamie, played by Jack Woolley & Harvey Latter. Dan is a nimble and lively Doolittle with a hugely expressive cockney growl: an all round accomplished characterisation, with splendid song and dance routines. ‘With a Little Bit of Luck’ is a show highlight, lovely chorus work and very appropriate nifty movements from Dan, Jack & Harvey.
Rod Chilton is a sweet and earnest Freddie and gets the chance to make the most of the well loved ‘On The Street Where you Live’, which was much appreciated by the audience.
I said this production is lovely to look at and it certainly sounds lovely, too. The scenes where the ensemble form a chorus, such as at Ascot, in ‘The Servants Chorus’, and ‘Get Me To The Church On Time’, have some lovely harmonies and are a pleasure to listen to. Well done to MD James Bowden, who has taken these well known songs, kept them pacy and fresh and above all, beautifully performed.
Other supporting performances are from Liz Woolley as a dignified but knowing Mrs Higgins and Phil Deakin as both the King in the splendid ‘Just You Wait’, and the snooty Zoltan Karpathy.
Others in the cast are:
Kathryn McAuley (Mrs Eynsford Hill), John Paxton (Bartender), Ali Brown, Haley Wood, Emily Hall, Melissa Vickerstaff, Amy Parker, Jonny Cox, James Saleh, Ali Langton, Lisa McLoughlin, Matthew McAuley, Natalie Brown, Ellie Simmonds, Clare Kay, Jenny Ashworth, Molly Parkinson, Rachel Spence, Alex Tavener, John East and Josh Robinson.
The balance of sound between the orchestra and the performers was spot on and much credit for this must go to Sam Lenord (Sound); a new sound system was needed here and it’s working a treat. The lighting by Stephen Greatorex was good, enhanced the set and was effectively used to enable efficient and speedy set changes. Stage Manager John Woolley and his crew had a challenging job with rapid scene changes; they were excellent and mostly invisible.
The show’s director, Nigel Taylor and his team, have produced an excellent version of this popular show, which is engaging, entertaining and relevant, despite its age.
Two Trains Running
Derby Theatre
October 22nd 2019
A powerful and interesting production of Two Trains Running here at Derby Theatre. The performances from the 7 actors were brilliant. This is a long play but very much appreciated at the end by the audience a number of whom were standing.
The characterisations were excellent and the play was both serious and funny.
The production was very detailed and moved quickly. It was necessary to keep an eye on all the actors throughout as all were involved who ever was taking centre stage.
Although long the play is well worth seeing and is at times very atmospheric and I was particularly impressed with the subtle but effective sound effects throughout.
You do need to listen carefully to the dialogue as the actors very accurately captured the American accents and at times spoke very quickly.
Derby Theatre
October 22nd 2019
A powerful and interesting production of Two Trains Running here at Derby Theatre. The performances from the 7 actors were brilliant. This is a long play but very much appreciated at the end by the audience a number of whom were standing.
The characterisations were excellent and the play was both serious and funny.
The production was very detailed and moved quickly. It was necessary to keep an eye on all the actors throughout as all were involved who ever was taking centre stage.
Although long the play is well worth seeing and is at times very atmospheric and I was particularly impressed with the subtle but effective sound effects throughout.
You do need to listen carefully to the dialogue as the actors very accurately captured the American accents and at times spoke very quickly.
A View from the Bridge
Four Blokes Theatre Company
Repton School Theatre
October 16th, 2019
A View from the Bridge by American playwright Arthur Miller opened in this version in the New Watergate theatre club in London's West End on October 11, 1956.
It is set in 1950s America, in an Italian American neighbourhood near the Brooklyn Bridge in New York and uses a narrator in the character of Alfieri, a New York Lawyer. It tells the story of Eddie, a tragic character who has an obsession with the life of Catherine, his wife Beatrice's orphaned niece, When they take in two Italian illegal immigrants he does not approve of her growing love for one of them, Rodolpho, who is also Beatrice’s cousin. As the drama proceeds towards an inevitable disaster for the family the relationships in the house break down and a number of feelings are unleashed.
The Fourblokes Company is a multi-Eagle Award winning theatre company in the East Midlands, putting on cutting edge drama, of which this play is a very good example. It’s a gripping and tightly written play that was so well performed last night it was always engrossing and fully engaging. I wasn’t in a theatre watching actors, I was witnessing the lives of the characters unfolding as they headed inexorably towards tragedy.
The dialogue is fast paced and events move quickly, but weighty pauses, potent background music and eventually, oppressive drumbeats, slow the action on stage down, almost unbearably. The atmosphere in the simple set, which has one central entry point, is claustrophobic: the parallel girders of the Bridge containing the action, the menace of the overhead Red Hook and the swirling mists of the dock, set a disturbing tone.
Feet are bare, maybe to show how the characters need to tread carefully, either within their relationships or in their community, and certainly adding to their vulnerability.
Excellent performances from all the cast, who simply lived their parts - hence my complete suspension of disbelief - plus great projection and clear diction, despite the strong native accents required.
Eddie Carbone (Toby Bradford) is the central protagonist, opinionated, prejudiced and obsessive, who is unable to stop himself pursuing a course of action that will lead to his downfall. My companion confessed to wanting to hit him, which is a tribute to Toby’s intense and visceral portrayal. The character has no redeeming features, but Toby’s interpretation of his inability to articulate or even understand his own motivations, is simply captivating.
Beatrice (Sandy Lane), Eddie’s wife, is careworn, faded and feeling unloved and this shows in her appearance: hair pulled back, drab olive and black clothes. Sandy’s excellent depiction also brilliantly captures Bea’s spirit and shrewd understanding of what drives Eddie, even though she is unable to change him.
Catherine (Lisa Ambalavanar), Eddie & Beatrice’s niece, is vibrant and carefree, although as the action progresses and she is forced to face up to what is happening, she becomes literally less colourful, careful and more distant. Lisa plays it perfectly, from the innocence of the unwittingly sexually charged exchanges with Eddie to the more mature and self aware scenes with both him and Rodolpho.
Marco (Adam Guest) and Rodolpho (Joshua C Sly) are the catalysts for the tragic action of the play and the contrast between the two is well drawn. Adam’s Marco is solid and dependable, shown in his measured delivery and deliberate movements. This makes his steely show of strength, followed by a fiery defence of his family’s honour, even more shocking.
Rodolpho is a somewhat underwritten and ambiguous character, leaving the actor to make choices about his motivations. Joshua plays him as endearingly enthusiastic, warm and friendly, with a youthful inability to commit properly to anything but staying in America. He provides light relief, not just for his fellow dock workers, but for the audience: Joshua’s portrayal adds some light to the shade of the tragedy.
The ‘fourth wall’ is frequently broken in this play, by Alfieri (Mik Horvath), a lawyer who acts as a narrator, introducing each scene and attempting to explain, with anguish, why things are happening. It’s a testament to both the playwright and the talent of Mik that this adds to the realism rather than detracting from it. Mik has an impressive Brooklyn accent and keeps the audience gripped by both his expositions of Italian mores and his occasional barefoot appearances in the action on stage, attempting to stall Eddie’s destruction.
Other parts are played by Jason Parker as the lively and observant longshoreman Louis and Lou Jenkins as a steely and uncompromising Immigration Officer.
This was a brilliant production of a professional standard that I thoroughly enjoyed and appreciated. Great praise goes to the vision of the director, Barry Taylor, especially for the riveting denouement, Jamie Vella for his atmospheric sound and clever lighting, Joe Bancroft for the most effective set, and to the rest of the creative team.
Try to get to this play, or you will have missed a first class theatrical experience.
Four Blokes Theatre Company
Repton School Theatre
October 16th, 2019
A View from the Bridge by American playwright Arthur Miller opened in this version in the New Watergate theatre club in London's West End on October 11, 1956.
It is set in 1950s America, in an Italian American neighbourhood near the Brooklyn Bridge in New York and uses a narrator in the character of Alfieri, a New York Lawyer. It tells the story of Eddie, a tragic character who has an obsession with the life of Catherine, his wife Beatrice's orphaned niece, When they take in two Italian illegal immigrants he does not approve of her growing love for one of them, Rodolpho, who is also Beatrice’s cousin. As the drama proceeds towards an inevitable disaster for the family the relationships in the house break down and a number of feelings are unleashed.
The Fourblokes Company is a multi-Eagle Award winning theatre company in the East Midlands, putting on cutting edge drama, of which this play is a very good example. It’s a gripping and tightly written play that was so well performed last night it was always engrossing and fully engaging. I wasn’t in a theatre watching actors, I was witnessing the lives of the characters unfolding as they headed inexorably towards tragedy.
The dialogue is fast paced and events move quickly, but weighty pauses, potent background music and eventually, oppressive drumbeats, slow the action on stage down, almost unbearably. The atmosphere in the simple set, which has one central entry point, is claustrophobic: the parallel girders of the Bridge containing the action, the menace of the overhead Red Hook and the swirling mists of the dock, set a disturbing tone.
Feet are bare, maybe to show how the characters need to tread carefully, either within their relationships or in their community, and certainly adding to their vulnerability.
Excellent performances from all the cast, who simply lived their parts - hence my complete suspension of disbelief - plus great projection and clear diction, despite the strong native accents required.
Eddie Carbone (Toby Bradford) is the central protagonist, opinionated, prejudiced and obsessive, who is unable to stop himself pursuing a course of action that will lead to his downfall. My companion confessed to wanting to hit him, which is a tribute to Toby’s intense and visceral portrayal. The character has no redeeming features, but Toby’s interpretation of his inability to articulate or even understand his own motivations, is simply captivating.
Beatrice (Sandy Lane), Eddie’s wife, is careworn, faded and feeling unloved and this shows in her appearance: hair pulled back, drab olive and black clothes. Sandy’s excellent depiction also brilliantly captures Bea’s spirit and shrewd understanding of what drives Eddie, even though she is unable to change him.
Catherine (Lisa Ambalavanar), Eddie & Beatrice’s niece, is vibrant and carefree, although as the action progresses and she is forced to face up to what is happening, she becomes literally less colourful, careful and more distant. Lisa plays it perfectly, from the innocence of the unwittingly sexually charged exchanges with Eddie to the more mature and self aware scenes with both him and Rodolpho.
Marco (Adam Guest) and Rodolpho (Joshua C Sly) are the catalysts for the tragic action of the play and the contrast between the two is well drawn. Adam’s Marco is solid and dependable, shown in his measured delivery and deliberate movements. This makes his steely show of strength, followed by a fiery defence of his family’s honour, even more shocking.
Rodolpho is a somewhat underwritten and ambiguous character, leaving the actor to make choices about his motivations. Joshua plays him as endearingly enthusiastic, warm and friendly, with a youthful inability to commit properly to anything but staying in America. He provides light relief, not just for his fellow dock workers, but for the audience: Joshua’s portrayal adds some light to the shade of the tragedy.
The ‘fourth wall’ is frequently broken in this play, by Alfieri (Mik Horvath), a lawyer who acts as a narrator, introducing each scene and attempting to explain, with anguish, why things are happening. It’s a testament to both the playwright and the talent of Mik that this adds to the realism rather than detracting from it. Mik has an impressive Brooklyn accent and keeps the audience gripped by both his expositions of Italian mores and his occasional barefoot appearances in the action on stage, attempting to stall Eddie’s destruction.
Other parts are played by Jason Parker as the lively and observant longshoreman Louis and Lou Jenkins as a steely and uncompromising Immigration Officer.
This was a brilliant production of a professional standard that I thoroughly enjoyed and appreciated. Great praise goes to the vision of the director, Barry Taylor, especially for the riveting denouement, Jamie Vella for his atmospheric sound and clever lighting, Joe Bancroft for the most effective set, and to the rest of the creative team.
Try to get to this play, or you will have missed a first class theatrical experience.
Joseph and the Amazing Technicolor Dreamcoat
National Tour
Theatre Royal, Nottingham
October
A very good production which has hadsome rewriting of the musical arrangements which gives it a fresh feel.
The brothers are excellent and have great choreography to show their talent.
Lighting, sound costumes etc are very good and the orchestra likewise.
I do like this show and the songs of many genres.
There was a standing ovation at the end which led into the famous Joseph Mega Mix which was very well performed and much appreciated by the audience.
Joseph is a very popular show and sells well wherever it is performed. Sales here at the Royal are good but you may be able to pick up a ticket.
You will, I believe, enjoy the show which has good performances from Jaymi Hensley (Joseph), Alexandra Doar (Narrator), James Head (Jacob) and Andrew Geater (Pharoah). The bothers and hand maidens are excellent. Quality singing and dancing throughout.
I should also say that the children’s choir from The Attic Theatre School sounded lovely.
The set was very attractive and the lights and sound are great.
Overall it was a very enjoyable tonight.
National Tour
Theatre Royal, Nottingham
October
A very good production which has hadsome rewriting of the musical arrangements which gives it a fresh feel.
The brothers are excellent and have great choreography to show their talent.
Lighting, sound costumes etc are very good and the orchestra likewise.
I do like this show and the songs of many genres.
There was a standing ovation at the end which led into the famous Joseph Mega Mix which was very well performed and much appreciated by the audience.
Joseph is a very popular show and sells well wherever it is performed. Sales here at the Royal are good but you may be able to pick up a ticket.
You will, I believe, enjoy the show which has good performances from Jaymi Hensley (Joseph), Alexandra Doar (Narrator), James Head (Jacob) and Andrew Geater (Pharoah). The bothers and hand maidens are excellent. Quality singing and dancing throughout.
I should also say that the children’s choir from The Attic Theatre School sounded lovely.
The set was very attractive and the lights and sound are great.
Overall it was a very enjoyable tonight.
A Chorus of Disapproval
The Heanor Musical Theatre Company
The Woodlands School Theatre
October 10th, 2019
Alan Ayckbourn wrote this comedy for the 1984 summer season at his Stephen Joseph Theatre, Scarborough, where it opened on 2nd May. It was later given a National Theatre outing in 1985 starring Michael Gambon, then revived in the West End in 2012, starring Rob Brydon.
This is a cleverly plotted piece which combines an amateur performance of The Beggars Opera with the backstage shenanigans of the performers. Paul Mills played the main protagonist Guy Jones - who joins the Pendon Amateur Light Operatic Society to ease his loneliness - with just the right amount of bemused diffidence and a pleasantly cheerful willingness to please everyone he meets. He is unwittingly advanced through various roles in the Opera until he becomes the leading man, while somewhat accidentally conducting affairs with both the producer’s wife Hannah, and Fay, the village swinger. They were played delightfully and with contrast by Adela Green and Suzy Meeson.
Adela gave an intense and thoughtful performance with some pathos, but also lovely comedic touches; she has a beautiful voice, too. Suzy was a confident and sophisticated Fay, who made the absolute most of her comic highlights, especially when her offer of sex is mistaken by Guy as an offer of food. Both these female parts are written in a rather stereotyped way, especially viewed from a modern standpoint more than 30 years later, but Adela and Suzy worked hard to make them three dimensional and convincing.
Kyle Fearn’s performance as Daffyd Ap Llewellyn, the director, was a tour de force, an impressive Welsh accent combined with excellent comic timing and the sort of confident delivery and crisp diction that commands the stage. It’s a huge part and Kyle more than rose to the challenge, giving us an amusingly bombastic egotist who has a stream of caustic one liners, yet also a rather sad portrayal of an emotionally empty life.
All this group should be congratulated on their apparently word perfect delivery and clear diction, which coupled with some imaginative direction, made the production immersive and engaging. Using the whole theatre as the group’s rehearsal space made us feel we were there with them, yet changes of scene that took us to other locations were convincingly achieved, with clever set conversions and some very realistic sounds and props.
Ayckbourn loves his characters and gives them interesting personalities with marked foibles that must make them a delight to play. There was a splendidly judged performance from Alana Moran as the leery and intimidating Stage Manager Bridget, who delights in causing trouble, particularly with her nemesis Linda, played with studied angst by Katy Gaskin.
Other great characters are the surly but long suffering Ian Hubbard (Kheenan Jones) the tough two timer Crispin Usher (Jack Readyhoof), the bluff Northerner Jarvis Huntley Pike, his scheming wife Rebecca (Alan Lowe & Julia Harris) and the beleaguered Washbrooks, Linda’s parents (Roger Bode & Trish Church). All these parts include some lovely comic set pieces and were beautifully played and brought to life by the actors. Other parts were played by Dorothy Platts, Brett Waller, Lucy Stokes and Charlotte Swindells.
The incidental music from The Beggars Opera was very enjoyable and skilfully done, with a great performance on the piano from Musical Director Lisa Mills, in her cameo role as Mrs Ames. The final performance of the Opera gives the opportunity to draw parallels with the lives of the actors and was played straight, which was an admirable decision.
Although I found the play a little dated, I really enjoyed this production, which is a credit to HMTC, the director Ben Sherwin and the stage team of Chris Grantham (lighting), Lucy Young and Tom Lucking. The huge amount of work they must have put into perfecting the piece paid off; the audience laughter during the play and the appreciative comments afterwards, were well deserved.
The Heanor Musical Theatre Company
The Woodlands School Theatre
October 10th, 2019
Alan Ayckbourn wrote this comedy for the 1984 summer season at his Stephen Joseph Theatre, Scarborough, where it opened on 2nd May. It was later given a National Theatre outing in 1985 starring Michael Gambon, then revived in the West End in 2012, starring Rob Brydon.
This is a cleverly plotted piece which combines an amateur performance of The Beggars Opera with the backstage shenanigans of the performers. Paul Mills played the main protagonist Guy Jones - who joins the Pendon Amateur Light Operatic Society to ease his loneliness - with just the right amount of bemused diffidence and a pleasantly cheerful willingness to please everyone he meets. He is unwittingly advanced through various roles in the Opera until he becomes the leading man, while somewhat accidentally conducting affairs with both the producer’s wife Hannah, and Fay, the village swinger. They were played delightfully and with contrast by Adela Green and Suzy Meeson.
Adela gave an intense and thoughtful performance with some pathos, but also lovely comedic touches; she has a beautiful voice, too. Suzy was a confident and sophisticated Fay, who made the absolute most of her comic highlights, especially when her offer of sex is mistaken by Guy as an offer of food. Both these female parts are written in a rather stereotyped way, especially viewed from a modern standpoint more than 30 years later, but Adela and Suzy worked hard to make them three dimensional and convincing.
Kyle Fearn’s performance as Daffyd Ap Llewellyn, the director, was a tour de force, an impressive Welsh accent combined with excellent comic timing and the sort of confident delivery and crisp diction that commands the stage. It’s a huge part and Kyle more than rose to the challenge, giving us an amusingly bombastic egotist who has a stream of caustic one liners, yet also a rather sad portrayal of an emotionally empty life.
All this group should be congratulated on their apparently word perfect delivery and clear diction, which coupled with some imaginative direction, made the production immersive and engaging. Using the whole theatre as the group’s rehearsal space made us feel we were there with them, yet changes of scene that took us to other locations were convincingly achieved, with clever set conversions and some very realistic sounds and props.
Ayckbourn loves his characters and gives them interesting personalities with marked foibles that must make them a delight to play. There was a splendidly judged performance from Alana Moran as the leery and intimidating Stage Manager Bridget, who delights in causing trouble, particularly with her nemesis Linda, played with studied angst by Katy Gaskin.
Other great characters are the surly but long suffering Ian Hubbard (Kheenan Jones) the tough two timer Crispin Usher (Jack Readyhoof), the bluff Northerner Jarvis Huntley Pike, his scheming wife Rebecca (Alan Lowe & Julia Harris) and the beleaguered Washbrooks, Linda’s parents (Roger Bode & Trish Church). All these parts include some lovely comic set pieces and were beautifully played and brought to life by the actors. Other parts were played by Dorothy Platts, Brett Waller, Lucy Stokes and Charlotte Swindells.
The incidental music from The Beggars Opera was very enjoyable and skilfully done, with a great performance on the piano from Musical Director Lisa Mills, in her cameo role as Mrs Ames. The final performance of the Opera gives the opportunity to draw parallels with the lives of the actors and was played straight, which was an admirable decision.
Although I found the play a little dated, I really enjoyed this production, which is a credit to HMTC, the director Ben Sherwin and the stage team of Chris Grantham (lighting), Lucy Young and Tom Lucking. The huge amount of work they must have put into perfecting the piece paid off; the audience laughter during the play and the appreciative comments afterwards, were well deserved.
Mame
Hope Mill Theatre
Manchester
October 8th 2019
Mame has ended here at the Hope Mill Theatre in Manchester and was quite simply wonderful. I enjoyed every minute of it as did the rest of the audience which gave the cast a very well deserved standing ovation at the end.
The best show I have seen for a very long time.
Tonight they proved that a small theatre and a very talented cast can achieve a stunning result worthy of any theatre in the country.
Best show I have seen for ages. Stunning performances from all on stage plus a fantastic band. The lighting and sound is first class. This big beast of a show is being presented on a small fringe stage with a small but fabulous cast.
Tracie Bennet is incredible as Mame and is bringing the character alive as Lucille Ball did many years ago. Her performance is without doubt one of the best I have seen in this role. Harriet Thorpe as Vera is also brilliant as is Tim Flavin as Beauregard. However saying all that the rest of the cast is fabulous too.
The show is touring in 2020 and will be in Northampton and Salisbury. I will most certainly be at one of them.
I cannot praise this production enough and would advise any fan of musical theatre to come and see it. Also this is such a good show that it should be performed more often. Come on Notts and Derbys groups put it on soon. This was a professional production here in Manchester but this show is worthy of Amateur productions too. I was on one in the 70’s with the Nottingham Operatic Society.
The theatre is also worth visiting. It is a great venue with a great atmosphere and good views. I will certainly becoming back. It is easy to get to on the Manchester Metro system which is very cheap to use.
A great evening at a lovely theatre watching a stunning performance of a fabulous musical.
Hope Mill Theatre
Manchester
October 8th 2019
Mame has ended here at the Hope Mill Theatre in Manchester and was quite simply wonderful. I enjoyed every minute of it as did the rest of the audience which gave the cast a very well deserved standing ovation at the end.
The best show I have seen for a very long time.
Tonight they proved that a small theatre and a very talented cast can achieve a stunning result worthy of any theatre in the country.
Best show I have seen for ages. Stunning performances from all on stage plus a fantastic band. The lighting and sound is first class. This big beast of a show is being presented on a small fringe stage with a small but fabulous cast.
Tracie Bennet is incredible as Mame and is bringing the character alive as Lucille Ball did many years ago. Her performance is without doubt one of the best I have seen in this role. Harriet Thorpe as Vera is also brilliant as is Tim Flavin as Beauregard. However saying all that the rest of the cast is fabulous too.
The show is touring in 2020 and will be in Northampton and Salisbury. I will most certainly be at one of them.
I cannot praise this production enough and would advise any fan of musical theatre to come and see it. Also this is such a good show that it should be performed more often. Come on Notts and Derbys groups put it on soon. This was a professional production here in Manchester but this show is worthy of Amateur productions too. I was on one in the 70’s with the Nottingham Operatic Society.
The theatre is also worth visiting. It is a great venue with a great atmosphere and good views. I will certainly becoming back. It is easy to get to on the Manchester Metro system which is very cheap to use.
A great evening at a lovely theatre watching a stunning performance of a fabulous musical.
The Lady Vanishes
Derby Theatre
October 8th
This was a very well produced and performed stage version of the well known Hitchcock Film, which was based on the book, The Wheel Spins by Ethel Lina White (1936).
The production by Bill Kenwright is directed by Roy Marsden who is well known for playing the role of Inspector Adam Dalgiesh on TV. Under his direction the action moved relatively quickly, despite the earlier part of the play being rather wordy.
The second act in particular was well developed and the audience was engrossed in trying to work out the reason for the lady’s disappearance. There are some good action scenes with well choreographed fights.
The cast is a strong one with excellent performances. Leading the cast is Gwen Taylor whose mysterious character was a joy to watch along with Andrew Lancel (ex Corrie), Scarlett Archer, Nicholas Audsley, Denis Lill, Ben Nealon, Mark Wynter, Rosie Thomson and Joe Reisig.
The set is excellent and the train scenes are very well produced. The lighting and sound effects enhance the set very well.
I particularly liked the use of evocative and atmospheric music throughout, which gave the play a bit of a film quality.
The costumes and hair styles are accurate to the period, the late 1930’s.
The play had many short scenes which keeps the action moving, but does mean that scene changes were frequent - mainly props and tables. However, this was done very well and with no delays.
Overall I enjoyed the play and cannot tell you anymore about it without spoiling the plot. I will just say that I did not know why the lady had vanished until the end. You need to go and see it at Derby Theatre to find out for yourself.
Derby Theatre
October 8th
This was a very well produced and performed stage version of the well known Hitchcock Film, which was based on the book, The Wheel Spins by Ethel Lina White (1936).
The production by Bill Kenwright is directed by Roy Marsden who is well known for playing the role of Inspector Adam Dalgiesh on TV. Under his direction the action moved relatively quickly, despite the earlier part of the play being rather wordy.
The second act in particular was well developed and the audience was engrossed in trying to work out the reason for the lady’s disappearance. There are some good action scenes with well choreographed fights.
The cast is a strong one with excellent performances. Leading the cast is Gwen Taylor whose mysterious character was a joy to watch along with Andrew Lancel (ex Corrie), Scarlett Archer, Nicholas Audsley, Denis Lill, Ben Nealon, Mark Wynter, Rosie Thomson and Joe Reisig.
The set is excellent and the train scenes are very well produced. The lighting and sound effects enhance the set very well.
I particularly liked the use of evocative and atmospheric music throughout, which gave the play a bit of a film quality.
The costumes and hair styles are accurate to the period, the late 1930’s.
The play had many short scenes which keeps the action moving, but does mean that scene changes were frequent - mainly props and tables. However, this was done very well and with no delays.
Overall I enjoyed the play and cannot tell you anymore about it without spoiling the plot. I will just say that I did not know why the lady had vanished until the end. You need to go and see it at Derby Theatre to find out for yourself.
Romeo and Juliet
Matthew Bourne's New Directions
Theatre Royal, Nottingham.
October 2nd 2019
This re-telling of the well known story of frustrated young love from Matthew Bourne is, not surprisingly, very different. As a non ballet person I can quite honestly say this was a stunning version of a story that I have often found frustrating and boring. At no time this evening was I bored or frustrated. Instead I was thrilled by what was happening on stage.
To start with we were presented with a scintillating scene of white tiles and dancers also dressed in white. The cast were predominately youthful and there were powerful and athletic dancing in abundance. Often the the movements were rigid and staccato, fitting very well with the stirring music of Prokofiev.
I was mesmerised by the talented dancers on stage. There was never a moment when they were not choreographed.
I was not always quite sure what was happening in terms of the story, but nevertheless I was totally immersed in it. This is a very common thing with Bourne’s productions. He certainly pushed the artistic boundaries with this one. There were some erotic moments, but these were all done to quote Kenny Everett, “In the best possible taste.”
The Principal dancers were superb, as was the ensemble, both New Directions and local young dancers. Standing out for me were Paris Fitzpatrick as Romeo, Cordelia Braithwaite as Juliet, Dan Wright as The Guard and Harrison Dowzell as Benvolio (at some performances he takes the role of Romeo.) I was a great fan of Harrison's years ago, when he played Billy Elliot in London. He is also from Nottinghamshire and only joined New Directions this year.
Paris and Cordelia danced beautifully together and their duets were very emotional and full of love between the characters. Dan Wright was very menacing in his role as the Guard and even got some panto style boos during the bows at the end- which were accompanied by a standing ovation from many in in the packed theatre. Worthy of note as well were Danny Collins as Mercutio, Jackson Fisch as Balthasar and Daisy May Kemp who was superb as the visiting vicar, The Rev Bernadette Laurence. She was very excitable, manic and funny.
The live orchestra was superb conducted by Dan Jackson. Great to hear such a large and powerful orchestra.
The composite set was stunning and used frequently to enable the dancers to climb, leap and dance all over it. There are a number of entrances at stage level and higher. It was amazing how the cast sped around it, often at break neck speed. Honestly, the movement was breathtaking at times.
The production has a very short act 2, with what many may see as a rather unexpected ending (no spoiler here though).
The production also features a young cast taken from the local area. It was impossible to identify them from the New Directions cast as they were so good.
Tonight in Nottingham they were Megan Ferguson, Alistair Ferniew, Seirian Griffiths, Victoria Keal, Jaime Tank and Sea Tsubokura-Aguiriano.
The piece was beautifully danced, with vigour and youthful passion. It was full of insight and invention: a thrilling reworking of this tale of disappointment and sadness.
Matthew Bourne's New Directions
Theatre Royal, Nottingham.
October 2nd 2019
This re-telling of the well known story of frustrated young love from Matthew Bourne is, not surprisingly, very different. As a non ballet person I can quite honestly say this was a stunning version of a story that I have often found frustrating and boring. At no time this evening was I bored or frustrated. Instead I was thrilled by what was happening on stage.
To start with we were presented with a scintillating scene of white tiles and dancers also dressed in white. The cast were predominately youthful and there were powerful and athletic dancing in abundance. Often the the movements were rigid and staccato, fitting very well with the stirring music of Prokofiev.
I was mesmerised by the talented dancers on stage. There was never a moment when they were not choreographed.
I was not always quite sure what was happening in terms of the story, but nevertheless I was totally immersed in it. This is a very common thing with Bourne’s productions. He certainly pushed the artistic boundaries with this one. There were some erotic moments, but these were all done to quote Kenny Everett, “In the best possible taste.”
The Principal dancers were superb, as was the ensemble, both New Directions and local young dancers. Standing out for me were Paris Fitzpatrick as Romeo, Cordelia Braithwaite as Juliet, Dan Wright as The Guard and Harrison Dowzell as Benvolio (at some performances he takes the role of Romeo.) I was a great fan of Harrison's years ago, when he played Billy Elliot in London. He is also from Nottinghamshire and only joined New Directions this year.
Paris and Cordelia danced beautifully together and their duets were very emotional and full of love between the characters. Dan Wright was very menacing in his role as the Guard and even got some panto style boos during the bows at the end- which were accompanied by a standing ovation from many in in the packed theatre. Worthy of note as well were Danny Collins as Mercutio, Jackson Fisch as Balthasar and Daisy May Kemp who was superb as the visiting vicar, The Rev Bernadette Laurence. She was very excitable, manic and funny.
The live orchestra was superb conducted by Dan Jackson. Great to hear such a large and powerful orchestra.
The composite set was stunning and used frequently to enable the dancers to climb, leap and dance all over it. There are a number of entrances at stage level and higher. It was amazing how the cast sped around it, often at break neck speed. Honestly, the movement was breathtaking at times.
The production has a very short act 2, with what many may see as a rather unexpected ending (no spoiler here though).
The production also features a young cast taken from the local area. It was impossible to identify them from the New Directions cast as they were so good.
Tonight in Nottingham they were Megan Ferguson, Alistair Ferniew, Seirian Griffiths, Victoria Keal, Jaime Tank and Sea Tsubokura-Aguiriano.
The piece was beautifully danced, with vigour and youthful passion. It was full of insight and invention: a thrilling reworking of this tale of disappointment and sadness.
"Shakers."
The Derby Shakespeare Company
Duchess Theatre, Long Eaton
September 26th 2019
Shakers Cocktail Bar is the place to be! A place to meet blokes, to pick up the girls, to drink to celebrate or drown your sorrows, for birthdays and parties and romance and sin. This is the place to be seen.
In 'Shakers' there are four waitresses, who reveal the lives of its staff and customers and offer an insight into their hopes, dreams and disappointments. There is some sparkling writing in this play which builds on the success of Godber’s earlier 'Bouncers' and creates a richly absorbing and quirky comedy. The play contains sequences of quick-fire humour, interspersed with monologues, giving glimpses of the lives of the four long-suffering waitresses and many others. The script is often very funny, but there are some serious moments too.
Each main character has a story to tell and the actors show impressive skill in portraying the four different women. As the play unfolds, they take turns to further illuminate their character to the audience with wonderfully delivered and often poignant monologues.
As well as nailing their main characters, the actresses seamlessly adopt a series of wildly different personas, including delightfully vacant shopgirls on a night out, pretentious male yuppies and hard lads ‘on the pull’, plus some shorter vignettes. All are colourfully drawn, often hilarious and captivating to watch. With very few props and no costume changes, the actors simply become the different characters: the combination of their skill with the sharp writing means the audience can immediately imagine and recognise the characters.
The transitions between the characters and settings are very slick; it is no mean feat to remember such a huge amount of lines, positioning on stage – some of which involves swift scenery and prop adjustments- along with several different characterisations. Bravo to all of the actors.
They are Clare Snape as Carol, Heidi Hargreaves as Adele, Emily Horobin as Nikki and Alex Wrampling as Mel. Along with the director, Neil Scott, they must have worked very hard at understanding and developing each of the many characters they play, deciding not just on vocal delivery, but on all those other things that bring a character alive: physical bearing, facial expressions and timing. There is also a lot of mime involved in this play and I was very impressed at how well this is done; I could see the cocktail shakers and trays of food, even though they weren’t actually there!
This is an excellent production by Neil Scott who has told a great story in a very polished way, with amazing pace. He has enabled the audience to enter into the world of Shakers and use our own imaginations to see the different characters and feel something of their lives. The glamorous composite set is very appropriate and small adjustments to the scenery are cleverly used to take the action to many other places. The lighting plot by Stephen Greatorix adds to the evocation of place and time and is skilfully employed to draw or divert attention.
The Derby Shakespeare Company
Duchess Theatre, Long Eaton
September 26th 2019
Shakers Cocktail Bar is the place to be! A place to meet blokes, to pick up the girls, to drink to celebrate or drown your sorrows, for birthdays and parties and romance and sin. This is the place to be seen.
In 'Shakers' there are four waitresses, who reveal the lives of its staff and customers and offer an insight into their hopes, dreams and disappointments. There is some sparkling writing in this play which builds on the success of Godber’s earlier 'Bouncers' and creates a richly absorbing and quirky comedy. The play contains sequences of quick-fire humour, interspersed with monologues, giving glimpses of the lives of the four long-suffering waitresses and many others. The script is often very funny, but there are some serious moments too.
Each main character has a story to tell and the actors show impressive skill in portraying the four different women. As the play unfolds, they take turns to further illuminate their character to the audience with wonderfully delivered and often poignant monologues.
As well as nailing their main characters, the actresses seamlessly adopt a series of wildly different personas, including delightfully vacant shopgirls on a night out, pretentious male yuppies and hard lads ‘on the pull’, plus some shorter vignettes. All are colourfully drawn, often hilarious and captivating to watch. With very few props and no costume changes, the actors simply become the different characters: the combination of their skill with the sharp writing means the audience can immediately imagine and recognise the characters.
The transitions between the characters and settings are very slick; it is no mean feat to remember such a huge amount of lines, positioning on stage – some of which involves swift scenery and prop adjustments- along with several different characterisations. Bravo to all of the actors.
They are Clare Snape as Carol, Heidi Hargreaves as Adele, Emily Horobin as Nikki and Alex Wrampling as Mel. Along with the director, Neil Scott, they must have worked very hard at understanding and developing each of the many characters they play, deciding not just on vocal delivery, but on all those other things that bring a character alive: physical bearing, facial expressions and timing. There is also a lot of mime involved in this play and I was very impressed at how well this is done; I could see the cocktail shakers and trays of food, even though they weren’t actually there!
This is an excellent production by Neil Scott who has told a great story in a very polished way, with amazing pace. He has enabled the audience to enter into the world of Shakers and use our own imaginations to see the different characters and feel something of their lives. The glamorous composite set is very appropriate and small adjustments to the scenery are cleverly used to take the action to many other places. The lighting plot by Stephen Greatorix adds to the evocation of place and time and is skilfully employed to draw or divert attention.
On Your Feet
Theatre Royal Nottingham
September 16th
I can’t put my finger on it but, sometimes you know a show is going to be good the minute the curtain rises. I had that feeling tonight here at the Royal.
Fantastic dancing to those Latin American rhythms which have thrilled throughout. Great singing as well with great performances from the principals and ensemble alike.
There is also a strong story to go along with the songs of Gloria Estefan. The lighting, sound and band are excellent and the projections being used are fabulous. Indeed the word “fabulous” describes much of what we have seen so far.That’s it from the Theatre Royal and On Your Feet. Act 2 was dramatically better than Act 1 with some more emotional scenes. The high quality dancing and singing continued as did the acting.
I have to say that I really enjoyed the show throughout and the performances of Philippa Stefani as Gloria, George Ioannides as Emilio and Madalena Alberto as Gloria Fajardo were excellent. Also Hollie Cassar as Consuela was very much appreciated by the audience.
The choreography was excellent and so well danced by the whole cast.
The production was good and was enhanced by the lighting, set, projections and great sound. The band, which was at the back of the stage, was never over dominant and sounded great. There was an enthusiastic ovation at the end from the audience.
There were a few moments when the action slowed a little but this was outweighed by the fast paced musical numbers. On the whole I liked the set and the use of sliding flats often with projections on them.
Theatre Royal Nottingham
September 16th
I can’t put my finger on it but, sometimes you know a show is going to be good the minute the curtain rises. I had that feeling tonight here at the Royal.
Fantastic dancing to those Latin American rhythms which have thrilled throughout. Great singing as well with great performances from the principals and ensemble alike.
There is also a strong story to go along with the songs of Gloria Estefan. The lighting, sound and band are excellent and the projections being used are fabulous. Indeed the word “fabulous” describes much of what we have seen so far.That’s it from the Theatre Royal and On Your Feet. Act 2 was dramatically better than Act 1 with some more emotional scenes. The high quality dancing and singing continued as did the acting.
I have to say that I really enjoyed the show throughout and the performances of Philippa Stefani as Gloria, George Ioannides as Emilio and Madalena Alberto as Gloria Fajardo were excellent. Also Hollie Cassar as Consuela was very much appreciated by the audience.
The choreography was excellent and so well danced by the whole cast.
The production was good and was enhanced by the lighting, set, projections and great sound. The band, which was at the back of the stage, was never over dominant and sounded great. There was an enthusiastic ovation at the end from the audience.
There were a few moments when the action slowed a little but this was outweighed by the fast paced musical numbers. On the whole I liked the set and the use of sliding flats often with projections on them.
Cabaret
National Tour
Theatre Royal, Nottingham
September 10th
Directed by National Theatre Artistic Director Rufus Norris, the production has enjoyed two smash hit West End runs at The Lyric and The Savoy theatres. Cabaret features show-stopping choreography, dazzling costumes and iconic songs Money Makes The World Go Round, Maybe This Time, Cabaret and more.
Starring as the enigmatic Emcee is John Partridge, winner of Celebrity MasterChef in 2018, well known to TV audiences as EastEnders’ Christian Clarke, and one of West End theatre’s most prolific leading men (A Chorus Line, Chicago, and
La Cage Aux Folles).
Joining the cast in the role of Sally Bowles is Kara Lily Hayworth who recently won rave reviews across the country for her portrayal of Cilla Black in Cilla the Musical, after she was discovered by Bill Kenwright during the show’s nationwide TV auditions. I saw her in Cilla and she was excellent.
Singer and screen icon Anita Harris plays the role of Fraulein Schneider, Anita first rose to fame as a singer in the 1960s, beginning a lifelong career as a performer and actress. She has appeared both on screen (Follow That Camel and Carry on Doctor) and on stage, most notably as Grizabella in the West End’s Cats.
Since its Broadway premiere and the movie version with Liza Minnelli and Joel Grey, Cabaret has won numerous stage and screen awards including 8 Oscars, 7 BAFTAs and 13 Tonys.
Set in 1931 Berlin as the Nazis are rising to power, it focuses on the nightlife at the seedy Kit Kat Klub, and revolves around American writer Cliff Bradshaw and his relationship with English cabaret performer Sally Bowles. ... Overseeing the action is the Master of Ceremonies at the Kit Kat Klub.
Tonight’s performance of Cabaret ended with a whole theatre standing ovation. It is a gritty, powerful and sexy production with exciting and stunning dance routines and great singing. The show is quite dark in places and this production was particularly so. It has a very moving and thought provoking ending.
There are excellent performances from John Partridge as Emcee, Kara Lily Hayworth as Sally Bowles, Anita Harris as Fraulein Schneider, Charles Hagerty as Cliff, James Paterson as Herr Schultz, Nick Tizzard as Ernst and Basienka Blake as Frauline Kost.
The staging is good with a multifunctional metallic set much of which is mobile and moved about to great effect mainly by the cast. The action is never interrupted by scene changes and moves with great pace.
The seven piece band is placed high up at the back of the set and sounds great. Never over dominant it accompanies the cast sympathetically.
The lighting and sound is excellent and greatly enhances the production.
National Tour
Theatre Royal, Nottingham
September 10th
Directed by National Theatre Artistic Director Rufus Norris, the production has enjoyed two smash hit West End runs at The Lyric and The Savoy theatres. Cabaret features show-stopping choreography, dazzling costumes and iconic songs Money Makes The World Go Round, Maybe This Time, Cabaret and more.
Starring as the enigmatic Emcee is John Partridge, winner of Celebrity MasterChef in 2018, well known to TV audiences as EastEnders’ Christian Clarke, and one of West End theatre’s most prolific leading men (A Chorus Line, Chicago, and
La Cage Aux Folles).
Joining the cast in the role of Sally Bowles is Kara Lily Hayworth who recently won rave reviews across the country for her portrayal of Cilla Black in Cilla the Musical, after she was discovered by Bill Kenwright during the show’s nationwide TV auditions. I saw her in Cilla and she was excellent.
Singer and screen icon Anita Harris plays the role of Fraulein Schneider, Anita first rose to fame as a singer in the 1960s, beginning a lifelong career as a performer and actress. She has appeared both on screen (Follow That Camel and Carry on Doctor) and on stage, most notably as Grizabella in the West End’s Cats.
Since its Broadway premiere and the movie version with Liza Minnelli and Joel Grey, Cabaret has won numerous stage and screen awards including 8 Oscars, 7 BAFTAs and 13 Tonys.
Set in 1931 Berlin as the Nazis are rising to power, it focuses on the nightlife at the seedy Kit Kat Klub, and revolves around American writer Cliff Bradshaw and his relationship with English cabaret performer Sally Bowles. ... Overseeing the action is the Master of Ceremonies at the Kit Kat Klub.
Tonight’s performance of Cabaret ended with a whole theatre standing ovation. It is a gritty, powerful and sexy production with exciting and stunning dance routines and great singing. The show is quite dark in places and this production was particularly so. It has a very moving and thought provoking ending.
There are excellent performances from John Partridge as Emcee, Kara Lily Hayworth as Sally Bowles, Anita Harris as Fraulein Schneider, Charles Hagerty as Cliff, James Paterson as Herr Schultz, Nick Tizzard as Ernst and Basienka Blake as Frauline Kost.
The staging is good with a multifunctional metallic set much of which is mobile and moved about to great effect mainly by the cast. The action is never interrupted by scene changes and moves with great pace.
The seven piece band is placed high up at the back of the set and sounds great. Never over dominant it accompanies the cast sympathetically.
The lighting and sound is excellent and greatly enhances the production.
Carrie the Musical
Regis Theatre
Duchess Theatre
September 5th 2019
This production is a revamped contemporary version of the famous (and infamous) 1988 production, Carrie: The Musical. It follows a young woman with telekinetic powers who is an outcast at school, where she is bullied viciously for her differences, she is also lost at home, with a fervently religious mother whose love entraps and stifles her. When PE teacher Miss Gardner, kind classmate Sue Snell, and boyfriend Tommy Ross reach out to try and help Carrie, it seems that for once, Carrie might have a shot at being accepted. But Chris Hargensen, the class’s most vicious bully, has other ideas. Pushed to the brink, Carrie’s powers threaten to overwhelm her, and devour everyone around her in flames.
It sounds very heavy and dark, but in fact as a musical it works on a number of levels. Yes, it is spooky and mysterious at times but it is also has some very good songs which lift the mood as well as emotional ballads that add to the reflective atmosphere of the show. Thankfully, the story is less about the supernatural and more about the bullying and the religious fanaticism that leads to the horrific ending. The music and dancing smoothes out the rough edges a bit, making the subject matter more acceptable.
There are some excellent performances from the principal cast, particularly Anna McAuley(Carrie White) and Kathryn McAuley (Margaret White) who are outstanding. Anna has a lovely voice and effectively portrays Carrie as a lost soul throughout the show. Her duet with her mother ‘Eve was weak’ was amazing as was her solo ‘Carrie.’ Kathryn’s rendition of ‘When there’s no one’ was particularly moving. The relationship between the two of them is gripping and compelling.
There are also strong and convincing performances from Ruth Kniveton(Sue Snell), Andrew Bould (Tommy Ross), Lucy Castle(Chris Hargensen), Keenan Jones(Billy Nolan), Emma Collins (Miss Gardner), Adam Guest (Mr. Stephens).
In addition to the above there is a very hard working and dynamic ensemble (some with minor roles), who have a very important part in the story telling. They are Evie Burke, Sky Marsden, Emily Rebecca Owen, Jack Readyhoof, Matt McAuley, Rob McAuley, Rob Charles, Joe Loverock, Joe Morley. Their energy and involvement on stage is very impressive.
The choreography and movement by Matt Powell is excellent, with carefully plotted group and individual moves. The full cast dance numbers featuring the high school students provide some dazzling dancing of very high quality. The full ensemble scenes are filled with intensity and the confrontational bullying scenes are superb: they had the audience on the edge of their seats.
Lighting effects coordinated by Maureen Tierney are very effective and the use of colours such as shades of red added to the terror in some of the creepy scenes. The sound coordinated by Sean Renshaw was good throughout but the timing (twice) of the non existent door bell needs attention!!
The band conducted by the Musical Director, Charlotte Daniels sounds great and is just the right size and composition for the show and is very well balanced with the performers.
This is a very interesting and thought provoking piece of contemporary musical theatre which I really enjoyed. It is certainly not an easy piece of to produce and at times, to watch. It deals with bullying, the inability to accept people who are different, equality and love and concern; as such it is very relevant to today.
The Director/ Producer Ollie Turner has assembled a very talented cast and has succeeded in making what was once described as the worst musical ever on Broadway in to a very interesting, thought provoking and enjoyable production. It was no doubt a challenge for him and the cast but one they have taken on with commitment and enthusiasm, which is why I think it succeeds where it could have so easily failed.
For a frightening and fantastic evening of high emotion and chilling musical sequences, don’t miss Carrie
Regis Theatre
Duchess Theatre
September 5th 2019
This production is a revamped contemporary version of the famous (and infamous) 1988 production, Carrie: The Musical. It follows a young woman with telekinetic powers who is an outcast at school, where she is bullied viciously for her differences, she is also lost at home, with a fervently religious mother whose love entraps and stifles her. When PE teacher Miss Gardner, kind classmate Sue Snell, and boyfriend Tommy Ross reach out to try and help Carrie, it seems that for once, Carrie might have a shot at being accepted. But Chris Hargensen, the class’s most vicious bully, has other ideas. Pushed to the brink, Carrie’s powers threaten to overwhelm her, and devour everyone around her in flames.
It sounds very heavy and dark, but in fact as a musical it works on a number of levels. Yes, it is spooky and mysterious at times but it is also has some very good songs which lift the mood as well as emotional ballads that add to the reflective atmosphere of the show. Thankfully, the story is less about the supernatural and more about the bullying and the religious fanaticism that leads to the horrific ending. The music and dancing smoothes out the rough edges a bit, making the subject matter more acceptable.
There are some excellent performances from the principal cast, particularly Anna McAuley(Carrie White) and Kathryn McAuley (Margaret White) who are outstanding. Anna has a lovely voice and effectively portrays Carrie as a lost soul throughout the show. Her duet with her mother ‘Eve was weak’ was amazing as was her solo ‘Carrie.’ Kathryn’s rendition of ‘When there’s no one’ was particularly moving. The relationship between the two of them is gripping and compelling.
There are also strong and convincing performances from Ruth Kniveton(Sue Snell), Andrew Bould (Tommy Ross), Lucy Castle(Chris Hargensen), Keenan Jones(Billy Nolan), Emma Collins (Miss Gardner), Adam Guest (Mr. Stephens).
In addition to the above there is a very hard working and dynamic ensemble (some with minor roles), who have a very important part in the story telling. They are Evie Burke, Sky Marsden, Emily Rebecca Owen, Jack Readyhoof, Matt McAuley, Rob McAuley, Rob Charles, Joe Loverock, Joe Morley. Their energy and involvement on stage is very impressive.
The choreography and movement by Matt Powell is excellent, with carefully plotted group and individual moves. The full cast dance numbers featuring the high school students provide some dazzling dancing of very high quality. The full ensemble scenes are filled with intensity and the confrontational bullying scenes are superb: they had the audience on the edge of their seats.
Lighting effects coordinated by Maureen Tierney are very effective and the use of colours such as shades of red added to the terror in some of the creepy scenes. The sound coordinated by Sean Renshaw was good throughout but the timing (twice) of the non existent door bell needs attention!!
The band conducted by the Musical Director, Charlotte Daniels sounds great and is just the right size and composition for the show and is very well balanced with the performers.
This is a very interesting and thought provoking piece of contemporary musical theatre which I really enjoyed. It is certainly not an easy piece of to produce and at times, to watch. It deals with bullying, the inability to accept people who are different, equality and love and concern; as such it is very relevant to today.
The Director/ Producer Ollie Turner has assembled a very talented cast and has succeeded in making what was once described as the worst musical ever on Broadway in to a very interesting, thought provoking and enjoyable production. It was no doubt a challenge for him and the cast but one they have taken on with commitment and enthusiasm, which is why I think it succeeds where it could have so easily failed.
For a frightening and fantastic evening of high emotion and chilling musical sequences, don’t miss Carrie
Saturday Night Fever
National Tour
Theatre Royal
September 3rd 2019
Based on the film of the same name this show is based in Brooklyn, New York in 1976. It concerns Tony Manero, a young man with a dead-end job and an extraordinary ability to dance, has only one ambition in life - to become the disco king. When he meets Stephanie, who also dreams of a world beyond Brooklyn, and they decide to train together for a dance competition, their lives begin to change forever.
Richard Winsor (StreetDance 3D, Casualty, Principle Dancer with Matthew Bourne) is leading the cast as the iconic Tony Manero.
Marking 40 years since its famous UK cinema release, Saturday Night Fever is spectacularly reimagined in a big new music and dance extravaganza. Whilst paying homage to the 1977 John Travolta classic, this new stage version promises more drama, more music and hot new choreography, which is sure to have you dancing in the aisles!
The movie soundtrack remains one of the bestselling of all time, featuring the Bee Gees greatest hits including Stayin’ Alive, How Deep Is Your Love, Night Fever, Tragedy and More Than a Woman as well as 70’s favourites Boogie Shoes, Disco Inferno and many more.
This national tour exploded onto the stage of the Royal with great music, lighting, sound and a very powerful cast. The show is based on the 1997 film, which starred John Travolta, but is a newly conceived production, directed by Bill Kenwright.
It is about a 19 year old who wants to dance in the discos of the 1970’s, and has a great soundtrack of Bee Gee hits. This was very well delivered by the cast and a trio of talented singers who sang as Barry, Maurice and Robin Gibb, perched high on the metallic set. Their singing was excellent and sounded authentic.
I enjoyed listening to the many Bee Gee hits such as Stayin’Alive, Night Fever, Words, You Should Be Dancing, Jive Talkin’, More than a Woman, How Deep is Your Love and You Should be Dancing, to name just a few.
The show does suffer a little from a rather disjointed story, which was not very well developed. I understand that much of the back story in the film has not transferred to this stage version, so some detail is missing. However, this was compensated for by great singing, excellent dancing, fabulous Bee Gee songs and a great sounding band.
There were powerful performances from Richard Winsor as the dancing boy Tony, Olivia Fines as his love interest Stephanie and Natasha Firth as her rival, Annette.
The rest of the cast are also highly skilled and considering some tightness of space in the centre of the set, dance with exuberance. Although the story is set in the disco world of the 1970’s, there are a number of dance styles by choreographer Bill Deamer, including some balletic moves. This makes for a very exciting and enjoyable series of ensemble and whole cast dance numbers.
The composite set, along with some flying flats is very well used and scenes were changed quickly, enabling the show to keep a fast pace. The lighting is cleverly used to create a sense of place and mood and enhances the action.
The audience was very enthusiastic throughout the show and there was a standing (and dancing!) ovation that led into a megamix of songs at the end.
Fans of the Bee Gees will love this show, as will fans of great tunes, excellent singing and exciting dancing.
National Tour
Theatre Royal
September 3rd 2019
Based on the film of the same name this show is based in Brooklyn, New York in 1976. It concerns Tony Manero, a young man with a dead-end job and an extraordinary ability to dance, has only one ambition in life - to become the disco king. When he meets Stephanie, who also dreams of a world beyond Brooklyn, and they decide to train together for a dance competition, their lives begin to change forever.
Richard Winsor (StreetDance 3D, Casualty, Principle Dancer with Matthew Bourne) is leading the cast as the iconic Tony Manero.
Marking 40 years since its famous UK cinema release, Saturday Night Fever is spectacularly reimagined in a big new music and dance extravaganza. Whilst paying homage to the 1977 John Travolta classic, this new stage version promises more drama, more music and hot new choreography, which is sure to have you dancing in the aisles!
The movie soundtrack remains one of the bestselling of all time, featuring the Bee Gees greatest hits including Stayin’ Alive, How Deep Is Your Love, Night Fever, Tragedy and More Than a Woman as well as 70’s favourites Boogie Shoes, Disco Inferno and many more.
This national tour exploded onto the stage of the Royal with great music, lighting, sound and a very powerful cast. The show is based on the 1997 film, which starred John Travolta, but is a newly conceived production, directed by Bill Kenwright.
It is about a 19 year old who wants to dance in the discos of the 1970’s, and has a great soundtrack of Bee Gee hits. This was very well delivered by the cast and a trio of talented singers who sang as Barry, Maurice and Robin Gibb, perched high on the metallic set. Their singing was excellent and sounded authentic.
I enjoyed listening to the many Bee Gee hits such as Stayin’Alive, Night Fever, Words, You Should Be Dancing, Jive Talkin’, More than a Woman, How Deep is Your Love and You Should be Dancing, to name just a few.
The show does suffer a little from a rather disjointed story, which was not very well developed. I understand that much of the back story in the film has not transferred to this stage version, so some detail is missing. However, this was compensated for by great singing, excellent dancing, fabulous Bee Gee songs and a great sounding band.
There were powerful performances from Richard Winsor as the dancing boy Tony, Olivia Fines as his love interest Stephanie and Natasha Firth as her rival, Annette.
The rest of the cast are also highly skilled and considering some tightness of space in the centre of the set, dance with exuberance. Although the story is set in the disco world of the 1970’s, there are a number of dance styles by choreographer Bill Deamer, including some balletic moves. This makes for a very exciting and enjoyable series of ensemble and whole cast dance numbers.
The composite set, along with some flying flats is very well used and scenes were changed quickly, enabling the show to keep a fast pace. The lighting is cleverly used to create a sense of place and mood and enhances the action.
The audience was very enthusiastic throughout the show and there was a standing (and dancing!) ovation that led into a megamix of songs at the end.
Fans of the Bee Gees will love this show, as will fans of great tunes, excellent singing and exciting dancing.
Legally Blonde
Kristian Thomas Company
Duchess Theatre Long Eaton
August 27th 2019
Legally Blonde has music and lyrics by Laurence O'Keefe and Nell Benjamin and book by Heather Hach. The story is based on the novel Legally Blonde by Amanda Brown and the 2001 film of the same name.
It tells the story of Elle Woods, a sorority girl who enrolls 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 a number of great songs including Omigod You Guys, Blood in the Water, Bend and Snap, Legally Blonde, Scene of the Crime and Find My Way.
I really enjoyed the show tonight and every one associated with the Kristian Thomas Company is to be congratulated for putting on such an excellent production. I am used now to such high standards from this company but I think this was one of the best so far.
What an excellent cast has been assembled for this show. The standards of singing and dancing were very high throughout. I cannot mention everyone in these notes but taking the leads superbly were Emily Radlaff (Elle), Joe Millward (Emmett), Louise Gratham (Paulete), Phil Stanley (Callahan), Ella Greenwood (Vivienne) and Jacob Fowler (Warner).
I was also very impressed with Tammie Morgan (Serena), Betsymae Kirkland-Ball (Margot), Shannon O'Donnell (Pilar) and Becky Wrench (Brooke).
All of the hugely talented ensemble and those with minor parts were excellent - there were no weak links.
Highlights for me were the dancing choreographed by Kristian Cunningham and in particular the Irish Dancing Scene and the Gay or European song and routine. These were brilliantly performed by the cast and there were many other examples.
The production by Alysha Gomes was fast and exciting and the scene changes were very impressive. There were no delays and they fitted in with the action almost without being noticed. I liked the way most of this was done by the cast under the supervision of The Stage Managers, Bob Rushton and Lauren Johnson.
Sound (Hannah Griffiths) and Lighting (Stephen Greatorex / Matthew Cook) were good.
The band conducted by Tom Bond sounded great but was on a few occasions a little loud for the performers.
Of course I must mention the two actual stars of the show, the dogs - they were great.
This show was of a professional standard and amazingly put together in just 5 weeks (for about 20 hours a week). That has to be a fantastic testament to all concerned.
Kristian Thomas Company
Duchess Theatre Long Eaton
August 27th 2019
Legally Blonde has music and lyrics by Laurence O'Keefe and Nell Benjamin and book by Heather Hach. The story is based on the novel Legally Blonde by Amanda Brown and the 2001 film of the same name.
It tells the story of Elle Woods, a sorority girl who enrolls 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 a number of great songs including Omigod You Guys, Blood in the Water, Bend and Snap, Legally Blonde, Scene of the Crime and Find My Way.
I really enjoyed the show tonight and every one associated with the Kristian Thomas Company is to be congratulated for putting on such an excellent production. I am used now to such high standards from this company but I think this was one of the best so far.
What an excellent cast has been assembled for this show. The standards of singing and dancing were very high throughout. I cannot mention everyone in these notes but taking the leads superbly were Emily Radlaff (Elle), Joe Millward (Emmett), Louise Gratham (Paulete), Phil Stanley (Callahan), Ella Greenwood (Vivienne) and Jacob Fowler (Warner).
I was also very impressed with Tammie Morgan (Serena), Betsymae Kirkland-Ball (Margot), Shannon O'Donnell (Pilar) and Becky Wrench (Brooke).
All of the hugely talented ensemble and those with minor parts were excellent - there were no weak links.
Highlights for me were the dancing choreographed by Kristian Cunningham and in particular the Irish Dancing Scene and the Gay or European song and routine. These were brilliantly performed by the cast and there were many other examples.
The production by Alysha Gomes was fast and exciting and the scene changes were very impressive. There were no delays and they fitted in with the action almost without being noticed. I liked the way most of this was done by the cast under the supervision of The Stage Managers, Bob Rushton and Lauren Johnson.
Sound (Hannah Griffiths) and Lighting (Stephen Greatorex / Matthew Cook) were good.
The band conducted by Tom Bond sounded great but was on a few occasions a little loud for the performers.
Of course I must mention the two actual stars of the show, the dogs - they were great.
This show was of a professional standard and amazingly put together in just 5 weeks (for about 20 hours a week). That has to be a fantastic testament to all concerned.
Much Ado About Nothing
Beat Left Theatre Company
Bonnington Theatre, Arnold
July 19th
Good Evening and welcome to the Bonnington Theatre in Arnold.
I am here tonight for William Shakespeare’s Much Ado About Nothing. This is being produced by Bear Left Theatre Company and this time they are including professional actors.
This version is set on the cornish riviera, where Don Pedro and friends have just come back from the war. Now they have the time to fall in love!
This is a timeless comedy with romance, drama, fights, and an evil villain which makes it a perfect start to summer!
Just back from an excellent evening at the Bonnington Theatre in Arnold watching Bear Left Theatre's production of Much Ado. Regular readers will know that Shakespeare is not really my thing but I have to say that I really enjoyed tonight's production which was really accessible, and that is for me, very important. I thank the Director, Sally Nix for that.
It was full of excitement, action, romance, intrigue, betrayal plus some good comedy moments. I guess it had everything.
The cast was excellent and the direction was very interesting and kept the play moving at a very fast pace. Sally has a close eye for detail. There was a lot of movement and action in the play including some fighting and a very funny scene in Act 2 with Dogberry and his Watch.
This play deserves to be seen by as many people as possible as it was a very good production. If, like me Shakespeare is not one of your particular likes I would recommend you see this. If you are a Shakespeare Fan I think you will enjoy it. Well done to Sally and her excellent cast.
This was another excellent production from this Theatre Company led by Sally Nix, who also directed the play, assisted by Richard Teasdale.
She had assembled an excellent professional and amateur cast who amazingly put this production together in only 6 days.
Ian Archdeacon was a lively and appealing Benedick who ably showed the transition from dedicated bachelor to ardent suitor in a most expressive and amusing performance. Rosanne Priest was a wonderful Beatrice, a beautiful delivery of lines in such a fluent and natural way that the character was completely engaging. The verbal sparring between the two was splendid and the physical comedy when they were hiding in the arbour was very well done.
Other excellent performances from Rachel Barry (Margaret/ Conrad), Charlie Clarke (Ursula/ Dogberry/ Francis), Philip Deakin (Borachio/Soldier), Garvin Gordon (Claudio/ Sexton), Adam Hodgson (Don Pedro/Watchman), Emma Palett (Hero/Watchman), Allan Rafferty (Don John/Watchman), Tom Silverton (Balthasar/Verges) and Richard Teasdale (Leonato/Watchman). The doubling up of parts was so well managed that it was never confusing, with some lovely changes of accent and delivery and effective costume tweaks.
The lighting was well designed and the use of sound effects and delightful background music was appropriate. The set was simple, but in combination with props was well used, especially when Beatrice and Benedick were hiding. The use of different entrances added interest and everything worked together to create far more in the audience’s mind than they could actually see; the magic of good theatre.
I particularly liked the good pace that this production moved at and there were no pauses between the scenes. Imaginative use of props added interest and personality – such as Benedick sporting a gaily coloured lollipop and Don John expressing his frustration via a cigarette that stubbornly refused to light.
The clever idea of a chaotic hen night to convey the confusion when the deception involving Hero takes place, worked well, as did including the audience in the wedding with an Order of Service. The comic relief of Dogberry and his watch was a highlight of the play; a beautifully observed group, who made the most of Shakespeare’s character comedy.
The fight routines (Action Combat) were also well arranged and performed. There were some very realistic punches and reactions to them: not as easy as it looked to make it convincing.
I think it’s worth repeating here that a great strength of this production was that it was very accessible for people like me, who often find Shakespeare difficult. I actually understood and enjoyed what was going on during those few days in a Cornish summer. The actors delivered their lines in a naturalistic way that makes sense to modern ears, and I believe some judicious pruning may have also aided clarity. The physicality of their performances helped enormously too, as the action was often explanatory and always engaging.
Bear Left Theatre has produced another memorable production and I look forward to their next one.
Beat Left Theatre Company
Bonnington Theatre, Arnold
July 19th
Good Evening and welcome to the Bonnington Theatre in Arnold.
I am here tonight for William Shakespeare’s Much Ado About Nothing. This is being produced by Bear Left Theatre Company and this time they are including professional actors.
This version is set on the cornish riviera, where Don Pedro and friends have just come back from the war. Now they have the time to fall in love!
This is a timeless comedy with romance, drama, fights, and an evil villain which makes it a perfect start to summer!
Just back from an excellent evening at the Bonnington Theatre in Arnold watching Bear Left Theatre's production of Much Ado. Regular readers will know that Shakespeare is not really my thing but I have to say that I really enjoyed tonight's production which was really accessible, and that is for me, very important. I thank the Director, Sally Nix for that.
It was full of excitement, action, romance, intrigue, betrayal plus some good comedy moments. I guess it had everything.
The cast was excellent and the direction was very interesting and kept the play moving at a very fast pace. Sally has a close eye for detail. There was a lot of movement and action in the play including some fighting and a very funny scene in Act 2 with Dogberry and his Watch.
This play deserves to be seen by as many people as possible as it was a very good production. If, like me Shakespeare is not one of your particular likes I would recommend you see this. If you are a Shakespeare Fan I think you will enjoy it. Well done to Sally and her excellent cast.
This was another excellent production from this Theatre Company led by Sally Nix, who also directed the play, assisted by Richard Teasdale.
She had assembled an excellent professional and amateur cast who amazingly put this production together in only 6 days.
Ian Archdeacon was a lively and appealing Benedick who ably showed the transition from dedicated bachelor to ardent suitor in a most expressive and amusing performance. Rosanne Priest was a wonderful Beatrice, a beautiful delivery of lines in such a fluent and natural way that the character was completely engaging. The verbal sparring between the two was splendid and the physical comedy when they were hiding in the arbour was very well done.
Other excellent performances from Rachel Barry (Margaret/ Conrad), Charlie Clarke (Ursula/ Dogberry/ Francis), Philip Deakin (Borachio/Soldier), Garvin Gordon (Claudio/ Sexton), Adam Hodgson (Don Pedro/Watchman), Emma Palett (Hero/Watchman), Allan Rafferty (Don John/Watchman), Tom Silverton (Balthasar/Verges) and Richard Teasdale (Leonato/Watchman). The doubling up of parts was so well managed that it was never confusing, with some lovely changes of accent and delivery and effective costume tweaks.
The lighting was well designed and the use of sound effects and delightful background music was appropriate. The set was simple, but in combination with props was well used, especially when Beatrice and Benedick were hiding. The use of different entrances added interest and everything worked together to create far more in the audience’s mind than they could actually see; the magic of good theatre.
I particularly liked the good pace that this production moved at and there were no pauses between the scenes. Imaginative use of props added interest and personality – such as Benedick sporting a gaily coloured lollipop and Don John expressing his frustration via a cigarette that stubbornly refused to light.
The clever idea of a chaotic hen night to convey the confusion when the deception involving Hero takes place, worked well, as did including the audience in the wedding with an Order of Service. The comic relief of Dogberry and his watch was a highlight of the play; a beautifully observed group, who made the most of Shakespeare’s character comedy.
The fight routines (Action Combat) were also well arranged and performed. There were some very realistic punches and reactions to them: not as easy as it looked to make it convincing.
I think it’s worth repeating here that a great strength of this production was that it was very accessible for people like me, who often find Shakespeare difficult. I actually understood and enjoyed what was going on during those few days in a Cornish summer. The actors delivered their lines in a naturalistic way that makes sense to modern ears, and I believe some judicious pruning may have also aided clarity. The physicality of their performances helped enormously too, as the action was often explanatory and always engaging.
Bear Left Theatre has produced another memorable production and I look forward to their next one.
Memphis the Musical
The Kristian Thomas Company
Duchess Theatre, Long Eaton.
July 18th
Memphis the Musical is being produced by The Kristian Thomas Company. Research tells me that is a musical by David Bryan (music and lyrics) and Joe DiPietro (lyrics and book). It is loosely based on Memphis disc jockey Dewey Phillips, one of the first white DJs to play black music in the 1950s. It played on Broadway from October 19, 2009 to August 5, 2012. This production won four 2010 Tony Awards, including Best Musical.
The show is set in the places where rock and roll was born in the 1950s: the seedy nightclubs, radio stations and recording studios of the musically-rich Tennessee city.
With an original score, it tells the fictional story of DJ Huey Calhoun, a good ole’ local boy with a passion for R&B music and Felicia Farrell, an up-and-coming black singer that he meets one fateful night on Beale Street.
Despite the objections of their loved ones (Huey’s close-minded mama and Felicia’s cautious brother, a club owner), they embark on a dangerous affair. As their careers rise, the relationship is challenged by personal ambition and the pressures of an outside world unable to accept their love.
Certainly this is one of the best shows I have seen from this youth group. It was stunning throughout and the cast and production team are to be congratulated for making this such a professional production in so many ways.
My comments on Act 1 remain the same for Act 2. In addition I will add that this is a show that should be seen by everyone. I can quite see why the show itself won a Tony Award. It is well written and combines the right amount of comedy with serious and relevant themes of social history.
Once again I am in awe of the many excellent performances and I will recognise that later by mentioning the whole cast by name. They all deserve a mention as they all contributed to the huge success that this show deserves.
The finale by the way was so good it is worth coming just for that (of course there are many other reasons to come and see it)
There was a large number of the audience standing at the end including me. Personally I think everyone should have been on their feet - yes it was that good.
My only criticism is that I think the curtain could have been opened and shut at the end more times to encourage even more applause - I think the audience were certainly up for it. Milk them, I say!!!!
If you can get a tickets for performances up to Saturday do not hesitate. A really excellent 5 star production with 5 star performances. Yes I have gone on about it but it was wonderful. Thanks to all who made my evening such a great one.
The Kristian Thomas Company
Duchess Theatre, Long Eaton.
July 18th
Memphis the Musical is being produced by The Kristian Thomas Company. Research tells me that is a musical by David Bryan (music and lyrics) and Joe DiPietro (lyrics and book). It is loosely based on Memphis disc jockey Dewey Phillips, one of the first white DJs to play black music in the 1950s. It played on Broadway from October 19, 2009 to August 5, 2012. This production won four 2010 Tony Awards, including Best Musical.
The show is set in the places where rock and roll was born in the 1950s: the seedy nightclubs, radio stations and recording studios of the musically-rich Tennessee city.
With an original score, it tells the fictional story of DJ Huey Calhoun, a good ole’ local boy with a passion for R&B music and Felicia Farrell, an up-and-coming black singer that he meets one fateful night on Beale Street.
Despite the objections of their loved ones (Huey’s close-minded mama and Felicia’s cautious brother, a club owner), they embark on a dangerous affair. As their careers rise, the relationship is challenged by personal ambition and the pressures of an outside world unable to accept their love.
Certainly this is one of the best shows I have seen from this youth group. It was stunning throughout and the cast and production team are to be congratulated for making this such a professional production in so many ways.
My comments on Act 1 remain the same for Act 2. In addition I will add that this is a show that should be seen by everyone. I can quite see why the show itself won a Tony Award. It is well written and combines the right amount of comedy with serious and relevant themes of social history.
Once again I am in awe of the many excellent performances and I will recognise that later by mentioning the whole cast by name. They all deserve a mention as they all contributed to the huge success that this show deserves.
The finale by the way was so good it is worth coming just for that (of course there are many other reasons to come and see it)
There was a large number of the audience standing at the end including me. Personally I think everyone should have been on their feet - yes it was that good.
My only criticism is that I think the curtain could have been opened and shut at the end more times to encourage even more applause - I think the audience were certainly up for it. Milk them, I say!!!!
If you can get a tickets for performances up to Saturday do not hesitate. A really excellent 5 star production with 5 star performances. Yes I have gone on about it but it was wonderful. Thanks to all who made my evening such a great one.
Sister Act
Spotlight Theatre Company
Nottingham Playhouse
July 12th 2019
Based on the film starring Whoopi Goldberg and Maggie Smith, Sister Act is a zany, joyful musical comedy in which two very different worlds collide!
When nightclub diva Deloris Van Cartier witnesses a crime, the cops hide her in the last place anyone would think to look – a convent! Renamed ‘Sister Mary Clarence’, Deloris faces the fearsome Mother Superior – and the excruciating nuns’ choir. But she inspires her fellow sisters to find their voices - with a lot of sparkle and pizazz!
Tonight at Nottingham Playhouse, Spotlight theatre had sparkle and pizazz in abundance and delighted a full theatre with excellent singing, dancing, and comedy, plus a heartwarming story, well told. Directed by accomplished local actor Matt Wesson, in his first directorial role, this production was high spirited, fast moving and thoroughly entertaining. A huge success.
There was an excellent principal cast led by Grace Hodgett-Young as Deloris. She is the whole package: she has an incredible voice and is a gifted actor. Her accent, diction and comic timing were spot on and the warmth and personality of her Deloris lit up the stage. This super, sassy and wholly engaging performance wowed the audience from the start. She was also the perfect foil to Lizzie Fenner, who played the Mother Superior.
I last saw Lizzie a week before as a very impressive Roxie in ‘Chicago’. Quite hard to believe that this was the same person, from one wonderful characterisation to another, completely different one! Chanelling the prim sternness and stiffness of a young Margaret Thatcher, plus some beautifully observed pithy comments and lovely singing, Lizzie nailed the part.
They were very well supported by Holly Neil as Sister Mary Robert, the enthusiastic but naive postulant- who has a moment of self revelation in the wonderful ‘The Life I Never Led’- and wow, what a voice Holly has.
Two other great performers were Laura Thurman as the warm and highly amusing Sister Mary Patrick and Kimberley Allsopp as the deadpan but lively Sister Mary Lazarus. Both sparkled on stage in their respective roles.
Mike Pearson was engaging as the often manic Priest, Monsignor O'Hara. Another beautifully delivered part with the perfect timing and diction that ensures absolutely nothing is lost.
Adam Collishaw as the nightclub boss Curtis, acted the part with just the right amount of nasty swagger and gave a heartfelt rendition of ‘When I Find my Baby’.
Ray Samuel McLeod as TJ, Liam Petruccio-Hall as Joey and Patrick McChrystal as Pablo, provided one of the highlights of the night for me when they explained their various methods of seduction in the hilarious song “Lady in the Long Black Dress.” Three lovely and very well delivered character roles, that must have been as much fun to play as they were to watch.
Stan Cook, as Eddie the policeman, quickly became a favourite of the audience with his earnest quest to acquire both the courage to wield a gun and to woo Deloris. A nice character portrayal and lovely delivery of the song ‘I Could Be That Guy’.
The supporting ensemble comprised of, in the main, a wonderful group of young nuns, whose infectious antics are impossible to resist throughout. They become joyous- after Deloris teaches them how to sing gospel- and they sounded magnificent. Well done to the director and choreographer for careful placement of this large ensemble that ensured an attractive tableau.
They were Harriet Hopkins (Sister Mary Martin of Tours), Laura Ellis (Sister Mary Teresa),Ellie Monterosso (Michelle), Beth Wear (Tina), Daisy Donoghue, Charlie Evans, Lucy Greig, Emma Gregory, Erin Hanby, Maddie Keown, Madelyn Pritchard, Lily Proudlove, Rachel Smith, Kemi Stewart, Zoe Turton, Tilly Wishart, plus Louis Barnes-Cupit, Jonah Williams, and Joseph Smith.
The dancing was very well choreographed by Sophie Petruccio-Hall. It was both exciting and precise and perfectly complemented some of comic set pieces, such as in the rhythmic routines with Curtis and his henchmen.
The band sounded very good under the baton of Musical Director Geoff Burnhill. Such a great range of styles to practice and perfect, from the rousing gospel of ‘Raise Your Voice’ to the plaintive solo of ‘I Haven’t Got a Prayer’. A great musical achievement.
The Lighting Design by Tom Mowat was effective, with good use of overhead spots. Sound by Rob Kettridge was excellent: every word could be heard and the orchestra was very well balanced with the performers.
The set was impressively ecclesiastical and, considering the large number of slightly cumbersome scene changes, was well managed by the back stage crew.
I have been fortunate lately to see more than one amateur show where I have had no option but to give the most fulsome praise. This was one such: the liveliest and most beguiling production of this show I have seen. The whole theatre standing ovation confirmed that Matt and his team achieved something that was, well… simply Fabulous, Baby!
Spotlight Theatre Company
Nottingham Playhouse
July 12th 2019
Based on the film starring Whoopi Goldberg and Maggie Smith, Sister Act is a zany, joyful musical comedy in which two very different worlds collide!
When nightclub diva Deloris Van Cartier witnesses a crime, the cops hide her in the last place anyone would think to look – a convent! Renamed ‘Sister Mary Clarence’, Deloris faces the fearsome Mother Superior – and the excruciating nuns’ choir. But she inspires her fellow sisters to find their voices - with a lot of sparkle and pizazz!
Tonight at Nottingham Playhouse, Spotlight theatre had sparkle and pizazz in abundance and delighted a full theatre with excellent singing, dancing, and comedy, plus a heartwarming story, well told. Directed by accomplished local actor Matt Wesson, in his first directorial role, this production was high spirited, fast moving and thoroughly entertaining. A huge success.
There was an excellent principal cast led by Grace Hodgett-Young as Deloris. She is the whole package: she has an incredible voice and is a gifted actor. Her accent, diction and comic timing were spot on and the warmth and personality of her Deloris lit up the stage. This super, sassy and wholly engaging performance wowed the audience from the start. She was also the perfect foil to Lizzie Fenner, who played the Mother Superior.
I last saw Lizzie a week before as a very impressive Roxie in ‘Chicago’. Quite hard to believe that this was the same person, from one wonderful characterisation to another, completely different one! Chanelling the prim sternness and stiffness of a young Margaret Thatcher, plus some beautifully observed pithy comments and lovely singing, Lizzie nailed the part.
They were very well supported by Holly Neil as Sister Mary Robert, the enthusiastic but naive postulant- who has a moment of self revelation in the wonderful ‘The Life I Never Led’- and wow, what a voice Holly has.
Two other great performers were Laura Thurman as the warm and highly amusing Sister Mary Patrick and Kimberley Allsopp as the deadpan but lively Sister Mary Lazarus. Both sparkled on stage in their respective roles.
Mike Pearson was engaging as the often manic Priest, Monsignor O'Hara. Another beautifully delivered part with the perfect timing and diction that ensures absolutely nothing is lost.
Adam Collishaw as the nightclub boss Curtis, acted the part with just the right amount of nasty swagger and gave a heartfelt rendition of ‘When I Find my Baby’.
Ray Samuel McLeod as TJ, Liam Petruccio-Hall as Joey and Patrick McChrystal as Pablo, provided one of the highlights of the night for me when they explained their various methods of seduction in the hilarious song “Lady in the Long Black Dress.” Three lovely and very well delivered character roles, that must have been as much fun to play as they were to watch.
Stan Cook, as Eddie the policeman, quickly became a favourite of the audience with his earnest quest to acquire both the courage to wield a gun and to woo Deloris. A nice character portrayal and lovely delivery of the song ‘I Could Be That Guy’.
The supporting ensemble comprised of, in the main, a wonderful group of young nuns, whose infectious antics are impossible to resist throughout. They become joyous- after Deloris teaches them how to sing gospel- and they sounded magnificent. Well done to the director and choreographer for careful placement of this large ensemble that ensured an attractive tableau.
They were Harriet Hopkins (Sister Mary Martin of Tours), Laura Ellis (Sister Mary Teresa),Ellie Monterosso (Michelle), Beth Wear (Tina), Daisy Donoghue, Charlie Evans, Lucy Greig, Emma Gregory, Erin Hanby, Maddie Keown, Madelyn Pritchard, Lily Proudlove, Rachel Smith, Kemi Stewart, Zoe Turton, Tilly Wishart, plus Louis Barnes-Cupit, Jonah Williams, and Joseph Smith.
The dancing was very well choreographed by Sophie Petruccio-Hall. It was both exciting and precise and perfectly complemented some of comic set pieces, such as in the rhythmic routines with Curtis and his henchmen.
The band sounded very good under the baton of Musical Director Geoff Burnhill. Such a great range of styles to practice and perfect, from the rousing gospel of ‘Raise Your Voice’ to the plaintive solo of ‘I Haven’t Got a Prayer’. A great musical achievement.
The Lighting Design by Tom Mowat was effective, with good use of overhead spots. Sound by Rob Kettridge was excellent: every word could be heard and the orchestra was very well balanced with the performers.
The set was impressively ecclesiastical and, considering the large number of slightly cumbersome scene changes, was well managed by the back stage crew.
I have been fortunate lately to see more than one amateur show where I have had no option but to give the most fulsome praise. This was one such: the liveliest and most beguiling production of this show I have seen. The whole theatre standing ovation confirmed that Matt and his team achieved something that was, well… simply Fabulous, Baby!
Avenue Q
National Tour
Theatre Royal Nottingham
July 15th 2019
Avenue Q is a musical comedy featuring puppets and human actors with music and lyrics by Robert Lopez and Jeff Marx and book by Jeff Whitty. The show won Best Musical, Book, and Score at the 2004 Tony Awards and was directed by Jason Moore with puppets designed and built by original cast member Rick Lyon.
In this manic show fantasies come true and we can catch up with all our favourite (and unforgettable) characters on a downtown New York street trying to make sense of life's burning issues – like what do you do with a BA in English? How do you find your purpose? And is the internet really just for….well, never mind!
This has been a very enjoyable evening at the Royal. The show is very funny while also being emotional and thoughtful. The cast is very strong and the songs are well sung. The songs flow well together and very naturally support the story and move things on.
All the actor/puppeteers portrayed their fuzzy counterparts with great skill and there was also some well timed human comedy too.
Lawrence Smith was superb as Princeton. I also enjoyed the performances of Megan Armstrong as Mrs T, Tom Steedon as Nicky and Cecily Redman as Kate Monster. Shs sang ‘There’s A Fine, Fine Line’ brilliantly much to the delight of the audience. Also giving brilliant performances were Saori Oda, Oliver Stanley and Nicholas McLean. There were also ensemble members who contributed well to the whole effect.
What I really like about this show is the way the puppeteers perform as if they are the characters. It is dazzling to watch. They are all very talented performers.
The band is good and the sound balance with the performers is generally fine.
The set is interesting and cleverly defines the scenes. Changes, where necessary, are swift and unobtrusive. The lighting and sound was very good.
There was an enthusiastic ovation at the end which was well deserved. I am sure that was directed towards the puppets but the humans very much deserved the ovation.
If you like this kind of irreverent comedy you should certainly not miss Avenue Q while it is at the Royal which is until Saturday. I would recommend it. I really enjoyed it.
National Tour
Theatre Royal Nottingham
July 15th 2019
Avenue Q is a musical comedy featuring puppets and human actors with music and lyrics by Robert Lopez and Jeff Marx and book by Jeff Whitty. The show won Best Musical, Book, and Score at the 2004 Tony Awards and was directed by Jason Moore with puppets designed and built by original cast member Rick Lyon.
In this manic show fantasies come true and we can catch up with all our favourite (and unforgettable) characters on a downtown New York street trying to make sense of life's burning issues – like what do you do with a BA in English? How do you find your purpose? And is the internet really just for….well, never mind!
This has been a very enjoyable evening at the Royal. The show is very funny while also being emotional and thoughtful. The cast is very strong and the songs are well sung. The songs flow well together and very naturally support the story and move things on.
All the actor/puppeteers portrayed their fuzzy counterparts with great skill and there was also some well timed human comedy too.
Lawrence Smith was superb as Princeton. I also enjoyed the performances of Megan Armstrong as Mrs T, Tom Steedon as Nicky and Cecily Redman as Kate Monster. Shs sang ‘There’s A Fine, Fine Line’ brilliantly much to the delight of the audience. Also giving brilliant performances were Saori Oda, Oliver Stanley and Nicholas McLean. There were also ensemble members who contributed well to the whole effect.
What I really like about this show is the way the puppeteers perform as if they are the characters. It is dazzling to watch. They are all very talented performers.
The band is good and the sound balance with the performers is generally fine.
The set is interesting and cleverly defines the scenes. Changes, where necessary, are swift and unobtrusive. The lighting and sound was very good.
There was an enthusiastic ovation at the end which was well deserved. I am sure that was directed towards the puppets but the humans very much deserved the ovation.
If you like this kind of irreverent comedy you should certainly not miss Avenue Q while it is at the Royal which is until Saturday. I would recommend it. I really enjoyed it.
CATS
LEOs Youth Group
July 11th 2019
Duchess Theatre
Cats, based on T.S. Eliot’s “Old Possum’s Book of Practical Cats” is one of Andrew Lloyd Webber’s longest running musicals. It has no plot to speak of, is sung-through (so no dialogue either), has some incredibly difficult lyrics and music for the cast to master. It also needs great costumes, great lighting and clear sound. Consequently, it can be a challenge for adult performers let along youngsters. However, tonight, LEOs Youth showed how good they are and they smashed it, emerging triumphant in so many ways.
The whole cast pulled out all the stops for creating huge energy production which was evident from the opening “Jellicle Songs for Jellicle Cats” and never let up throughout.
The direction and choreography by Karen Woodhead and Siobhan Parker was outstanding with the entire cast all involved in most of the dance numbers. To sum it up I can only use the word stunning.
There were some truly excellent solo performances, yet the hard work and gusto of the ensemble numbers also shone, engaging the audience and bringing a smile or a tear and lots of applause.
It would be impossible to comment on all the characters, apart from saying there were many superb performances. Also, everyone on stage had their own interpretations of the “Cats”. All were very individual and this came over strongly throughout the performance. They were all totally involved in their roles and had clearly developed their own individual cat like features.
They actors moved on, around and off the stage so naturally and with great confidence and they were a joy to watch. The multi-level set was very well used and the tight and creative direction was well suited to it.
I will simply mention them all by name and in no particular order.
Hannah Glossop (Victor), Megan Trindell (Etcetera), Amy Young (Bailey), Darcy Boyd (Tantomile),
Sophie Youngs (Quaxo), Findlay Parker (Alonzo),
Anna Green (Coricopat), Ella Charlesworth (Electra),
Evie Midgley (Carbuckety), Lucy Coulson-Jones (George), Roisin Parker (Bill), Bella Syson (Admetus),
Emilia Pettit (Bustopher Jones}, Lilly Simons-Clark (Gus), Rob McAuley (Rum Tum Tugger),
Matt McAuley (Skimbleshanks), Issy Smales (Grizabella), Oliver Ridgway (Deuteronomy).
Max Fuller (Mr Mistoffeless), Phoebe Mellor (Victoria), Martha Bertram (Jemima), Chloe Brooks (Jennyanydots), Emma Lowe (Macavity), Hayley Watson (Jellylorum),
Grace Collishaw (Demeter), Hannah Pettit (Bombalurina), Jude Yellop (Mungojerrie), Emma Abel (Rumpleteazer), Lottie Ludlow (Griddlebone), Oscar Hugenholtz (Growltiger) and Naomi Thomas (Siamese).
All these young people showed great confidence and talent throughout, many of them performing beyond their years.
In addition to the excellent performances there was fantastic lighting (Laura and Tom Olding), illuminating every movement, which enhances the superb costumes and make-up. It also contributes to the atmosphere, which is sometimes mysterious, sometimes happy and sometimes threatening.
The quality of the sound was excellent - crisp and clear throughout. (Dave Dallard)
Lloyd Webber’s songs are not easy to sing; he is a master of his art and expects his performers to be the masters of theirs. Tonight, this young cast did extraordinarily well. It was amazingly good.
I was very impressed by the tremendous energy, vitality and enthusiasm of the cast that just flowed from the stage to the audience, who responded with a fantastic ovation at the end of this most impressive production.
The production team led by Directors Karen Woodhead and Siobhan Parker really brought the show to life, kept it moving quickly and enabled these young performers to excel. Stage management was great led by Rob Corner and the wonderful set was designed and built by Roydon Charlesworth.
I think listening to audience members afterwards that all will take something of special home, be it a particular song or the beauty and grace of the dancing, the fabulous costumes, the set that supported the action so well or the enthusiasm and dedication to detail by each cast member. I am sure that Leos Youth’s production of CATS will stay in many memories for a very long time. It certainly will in mine.
This was not one of my favourite shows before tonight, but LEOs Youth did such a good job that I really enjoyed it and have changed my opinion of it. Thank you everyone!
Tonight, at the Duchess Theatre we saw a catalogue of talent, no catastrophes, but rather a feline festival of fantastical performances. Well done to all concerned. It was a feline phenomenon of the highest order.
LEOs Youth Group
July 11th 2019
Duchess Theatre
Cats, based on T.S. Eliot’s “Old Possum’s Book of Practical Cats” is one of Andrew Lloyd Webber’s longest running musicals. It has no plot to speak of, is sung-through (so no dialogue either), has some incredibly difficult lyrics and music for the cast to master. It also needs great costumes, great lighting and clear sound. Consequently, it can be a challenge for adult performers let along youngsters. However, tonight, LEOs Youth showed how good they are and they smashed it, emerging triumphant in so many ways.
The whole cast pulled out all the stops for creating huge energy production which was evident from the opening “Jellicle Songs for Jellicle Cats” and never let up throughout.
The direction and choreography by Karen Woodhead and Siobhan Parker was outstanding with the entire cast all involved in most of the dance numbers. To sum it up I can only use the word stunning.
There were some truly excellent solo performances, yet the hard work and gusto of the ensemble numbers also shone, engaging the audience and bringing a smile or a tear and lots of applause.
It would be impossible to comment on all the characters, apart from saying there were many superb performances. Also, everyone on stage had their own interpretations of the “Cats”. All were very individual and this came over strongly throughout the performance. They were all totally involved in their roles and had clearly developed their own individual cat like features.
They actors moved on, around and off the stage so naturally and with great confidence and they were a joy to watch. The multi-level set was very well used and the tight and creative direction was well suited to it.
I will simply mention them all by name and in no particular order.
Hannah Glossop (Victor), Megan Trindell (Etcetera), Amy Young (Bailey), Darcy Boyd (Tantomile),
Sophie Youngs (Quaxo), Findlay Parker (Alonzo),
Anna Green (Coricopat), Ella Charlesworth (Electra),
Evie Midgley (Carbuckety), Lucy Coulson-Jones (George), Roisin Parker (Bill), Bella Syson (Admetus),
Emilia Pettit (Bustopher Jones}, Lilly Simons-Clark (Gus), Rob McAuley (Rum Tum Tugger),
Matt McAuley (Skimbleshanks), Issy Smales (Grizabella), Oliver Ridgway (Deuteronomy).
Max Fuller (Mr Mistoffeless), Phoebe Mellor (Victoria), Martha Bertram (Jemima), Chloe Brooks (Jennyanydots), Emma Lowe (Macavity), Hayley Watson (Jellylorum),
Grace Collishaw (Demeter), Hannah Pettit (Bombalurina), Jude Yellop (Mungojerrie), Emma Abel (Rumpleteazer), Lottie Ludlow (Griddlebone), Oscar Hugenholtz (Growltiger) and Naomi Thomas (Siamese).
All these young people showed great confidence and talent throughout, many of them performing beyond their years.
In addition to the excellent performances there was fantastic lighting (Laura and Tom Olding), illuminating every movement, which enhances the superb costumes and make-up. It also contributes to the atmosphere, which is sometimes mysterious, sometimes happy and sometimes threatening.
The quality of the sound was excellent - crisp and clear throughout. (Dave Dallard)
Lloyd Webber’s songs are not easy to sing; he is a master of his art and expects his performers to be the masters of theirs. Tonight, this young cast did extraordinarily well. It was amazingly good.
I was very impressed by the tremendous energy, vitality and enthusiasm of the cast that just flowed from the stage to the audience, who responded with a fantastic ovation at the end of this most impressive production.
The production team led by Directors Karen Woodhead and Siobhan Parker really brought the show to life, kept it moving quickly and enabled these young performers to excel. Stage management was great led by Rob Corner and the wonderful set was designed and built by Roydon Charlesworth.
I think listening to audience members afterwards that all will take something of special home, be it a particular song or the beauty and grace of the dancing, the fabulous costumes, the set that supported the action so well or the enthusiasm and dedication to detail by each cast member. I am sure that Leos Youth’s production of CATS will stay in many memories for a very long time. It certainly will in mine.
This was not one of my favourite shows before tonight, but LEOs Youth did such a good job that I really enjoyed it and have changed my opinion of it. Thank you everyone!
Tonight, at the Duchess Theatre we saw a catalogue of talent, no catastrophes, but rather a feline festival of fantastical performances. Well done to all concerned. It was a feline phenomenon of the highest order.
Club Tropicana
National Tour
Theatre Royal Nottingham
July 8th 2019
The show ended with a standing finale which the mainly enthusiastic audience took part in.
Technically this was a good show with excellent singing, dancing and some good comedy. However, not really my sort of show which had little story and was really reliant on the quality of the 80’s songs. A jukebox musical I suppose.
There were some good performances and Joe showed what a good singer he is. He certainly worked hard and was well appreciated by many in the audience. Just a little to over the top for me.
Kate Robbins continued to be excellent in the second Act and made the show for me. I also enjoyed the performances of Amelie Berrabah as Serena, Cellen Chugg Jones as Ollie, Karina Hind as Lorraine, Emily Tierney as Christine, Neil Mcdermott as Robert and Rebecca Mendoza as Tracey, Tara Verloop as Andrea and Kane Verrall as Blaine.
The dancing was dynamic and energetic and very well performed. The ensemble was excellent.
The staging was very good and the cast changed scenes and props very well.
The band was good and for the most part was not too loud.
Going by the audience reaction at the end this show will be a success at the Royal this week. Fans of the 80’s and it’s music will certainly enjoy it.
For me though there was not enough substance in it and some of the acting was too manic. However, that’s just my opinion and I suspect most in the audience tonight loved it.
National Tour
Theatre Royal Nottingham
July 8th 2019
The show ended with a standing finale which the mainly enthusiastic audience took part in.
Technically this was a good show with excellent singing, dancing and some good comedy. However, not really my sort of show which had little story and was really reliant on the quality of the 80’s songs. A jukebox musical I suppose.
There were some good performances and Joe showed what a good singer he is. He certainly worked hard and was well appreciated by many in the audience. Just a little to over the top for me.
Kate Robbins continued to be excellent in the second Act and made the show for me. I also enjoyed the performances of Amelie Berrabah as Serena, Cellen Chugg Jones as Ollie, Karina Hind as Lorraine, Emily Tierney as Christine, Neil Mcdermott as Robert and Rebecca Mendoza as Tracey, Tara Verloop as Andrea and Kane Verrall as Blaine.
The dancing was dynamic and energetic and very well performed. The ensemble was excellent.
The staging was very good and the cast changed scenes and props very well.
The band was good and for the most part was not too loud.
Going by the audience reaction at the end this show will be a success at the Royal this week. Fans of the 80’s and it’s music will certainly enjoy it.
For me though there was not enough substance in it and some of the acting was too manic. However, that’s just my opinion and I suspect most in the audience tonight loved it.
Chicago
Nottingham Lakeside Arts
Encore Performing Arts
July 6th 2019
“Welcome. Ladies and Gentlemen. You are about to see a story of murder, greed, corruption, violence, exploitation, adultery and treachery—all those things we all hold near and dear to our hearts.” And so, began tonight’s performance of Chicago which is set during the roaring 20's. It tells the story of two rival vaudevillian murderesses locked up in the Cook County Jail. Nightclub star Velma Kelly is serving time for killing her husband and sister after finding the two in bed together. Chorus girl, Roxie Hart, is sent to jail for murdering her lover.
Despite the dark nature of the show it contains a glorious selection of memorable songs and sparkling dance routines, many of which have become standard performances pieces: Cell Block Tango, Razzle Dazzle, Mr. Cellophane, When you’re Good to Mama, Me and My baby, My One Best Friend and the very popular opening number, All That Jazz.
Playing the part of Roxie was Lizzie Fenner, who can certainly belt out a song as well as dance and act, a great all rounder. She fully inhabited the role of the cold-blooded murderer who can’t understand why it matters if she is guilty: cool and calculating, yet delightfully empty headed and flirty. An accomplished performance that was always wonderfully engaging.
Another fabulous all rounder is Shona Stewart, who played Velma, the old stager who always maintains her standards. As well as a good dancer, Shona has a lovely voice and her powerful rendition of All That Jazz was a sizzling start to the show. Her duet with Roxie ‘My One Best Friend’ was a real highlight, showing how these two great roles, played by two great performers, really complement each other and thoroughly entertain.
Playing the silver tongued defence lawyer for both the women, Billy Flynn, was David Partridge. He has a great voice and physical presence on stage and simply became the part: suave, calculating, self opinionated and amusingly unemotional. I enjoyed his sparkling routine with the girls “All I care about” and the wonderful ‘ventriloquist’ act with Roxie and the reporters “We Both Reached for the Gun”, was a showstopper.
This show needs a number of powerful singers and no more so than the role of Matron ‘Mama’ Morton, played by Laura Jones. Her rendition of the iconic “When You’re Good to Mama” and the lovely duet with Velma “Class” were very well performed.
I thought James Dean acted Roxy’s down trodden and ineffectual husband, Amos, extremely well: he immediately had the audience on his side and elicited several sighs of support. His rendition of Mr. Cellophane was both funny and moving; his comedy timing was excellent
Jorge Diniz as Mary Sunshine, the ambiguous celebrity reporter, gave an amusing and finely balanced performance that was never overstated. A lovely mix of fey femininity and a ruthless desire for gossip, maintained by an impressive falsetto voice. He sang “A little Bit of Good” beautifully and hit the high operatic notes with no problem.
The ever-popular Cell Block Tango was performed with slick confidence by Laura Such, Lottie Valks, Sarah Towle, Keli Wain, Jodie Cresdee. It sounded very good and each woman’s ‘story’ was told in an amusing way with the addition of complementary dance duets. Personally, I would have preferred the traditional use of chairs rather than standing in front of cell doors; if you are familiar with the musical you will know what I mean.
Other members of a great ensemble were Sascha Cornelius, Rachel-Louise Bray, Cibele Ponces Alvarenga, Eloise Warriner, Jess Royce, Lucy Castle, Chris Mundy, Joshua Robinson, Tom Stanley, Matthew Charlton and Joe Green. A very talented ensemble who worked their socks off every time they were on stage and also doubled up for some of the minor roles.
Encore and the Director, Adam Guest, assembled this great cast, a fabulous band, and an accomplished creative team and certainly put everyone through their paces to get this polished version of the show: a lovely mix of self aware cabaret, burlesque and musical story telling.
I am sure that it is not an easy one to produce as it relies on very powerful singers, convincing actors and skillful, versatile dancers. This production had lots of all three. The choreography by Lucy Castle was exciting, varied and vibrant; the whole cast routines such as “All that Jazz” and “We Both Reached for the Gun,” were very well conceived.
Likewise, the singing was excellent and the fabulous orchestra, conducted by MD Morris Fisher really supported them well. The sound balance between the orchestra and the performers was spot on, despite there being 13 musicians.
The lighting was designed by Richard Warriner, who was also responsible for the costumes and set design. I liked the mainly monochrome colour scheme and Richard had created some daring and visually pleasing designs within that, which made for viewing interest.
Staging was good and very smooth thanks to Stage Manager Katie Bird, who was also responsible for the minimal, but appropriate props.
Tonight’s performance ended with an enthusiastic standing ovation. My congratulations to all involved with this show: another great success for Encore. I look forward to their next production which is The Vicar of Dibley, later this year.
Encore have a charity collection at the end of their shows and this year it was for the mental health charity, MIND.
Final comment - I thought the programme, designed by Marie Stone, was attractive and very informative.
Nottingham Lakeside Arts
Encore Performing Arts
July 6th 2019
“Welcome. Ladies and Gentlemen. You are about to see a story of murder, greed, corruption, violence, exploitation, adultery and treachery—all those things we all hold near and dear to our hearts.” And so, began tonight’s performance of Chicago which is set during the roaring 20's. It tells the story of two rival vaudevillian murderesses locked up in the Cook County Jail. Nightclub star Velma Kelly is serving time for killing her husband and sister after finding the two in bed together. Chorus girl, Roxie Hart, is sent to jail for murdering her lover.
Despite the dark nature of the show it contains a glorious selection of memorable songs and sparkling dance routines, many of which have become standard performances pieces: Cell Block Tango, Razzle Dazzle, Mr. Cellophane, When you’re Good to Mama, Me and My baby, My One Best Friend and the very popular opening number, All That Jazz.
Playing the part of Roxie was Lizzie Fenner, who can certainly belt out a song as well as dance and act, a great all rounder. She fully inhabited the role of the cold-blooded murderer who can’t understand why it matters if she is guilty: cool and calculating, yet delightfully empty headed and flirty. An accomplished performance that was always wonderfully engaging.
Another fabulous all rounder is Shona Stewart, who played Velma, the old stager who always maintains her standards. As well as a good dancer, Shona has a lovely voice and her powerful rendition of All That Jazz was a sizzling start to the show. Her duet with Roxie ‘My One Best Friend’ was a real highlight, showing how these two great roles, played by two great performers, really complement each other and thoroughly entertain.
Playing the silver tongued defence lawyer for both the women, Billy Flynn, was David Partridge. He has a great voice and physical presence on stage and simply became the part: suave, calculating, self opinionated and amusingly unemotional. I enjoyed his sparkling routine with the girls “All I care about” and the wonderful ‘ventriloquist’ act with Roxie and the reporters “We Both Reached for the Gun”, was a showstopper.
This show needs a number of powerful singers and no more so than the role of Matron ‘Mama’ Morton, played by Laura Jones. Her rendition of the iconic “When You’re Good to Mama” and the lovely duet with Velma “Class” were very well performed.
I thought James Dean acted Roxy’s down trodden and ineffectual husband, Amos, extremely well: he immediately had the audience on his side and elicited several sighs of support. His rendition of Mr. Cellophane was both funny and moving; his comedy timing was excellent
Jorge Diniz as Mary Sunshine, the ambiguous celebrity reporter, gave an amusing and finely balanced performance that was never overstated. A lovely mix of fey femininity and a ruthless desire for gossip, maintained by an impressive falsetto voice. He sang “A little Bit of Good” beautifully and hit the high operatic notes with no problem.
The ever-popular Cell Block Tango was performed with slick confidence by Laura Such, Lottie Valks, Sarah Towle, Keli Wain, Jodie Cresdee. It sounded very good and each woman’s ‘story’ was told in an amusing way with the addition of complementary dance duets. Personally, I would have preferred the traditional use of chairs rather than standing in front of cell doors; if you are familiar with the musical you will know what I mean.
Other members of a great ensemble were Sascha Cornelius, Rachel-Louise Bray, Cibele Ponces Alvarenga, Eloise Warriner, Jess Royce, Lucy Castle, Chris Mundy, Joshua Robinson, Tom Stanley, Matthew Charlton and Joe Green. A very talented ensemble who worked their socks off every time they were on stage and also doubled up for some of the minor roles.
Encore and the Director, Adam Guest, assembled this great cast, a fabulous band, and an accomplished creative team and certainly put everyone through their paces to get this polished version of the show: a lovely mix of self aware cabaret, burlesque and musical story telling.
I am sure that it is not an easy one to produce as it relies on very powerful singers, convincing actors and skillful, versatile dancers. This production had lots of all three. The choreography by Lucy Castle was exciting, varied and vibrant; the whole cast routines such as “All that Jazz” and “We Both Reached for the Gun,” were very well conceived.
Likewise, the singing was excellent and the fabulous orchestra, conducted by MD Morris Fisher really supported them well. The sound balance between the orchestra and the performers was spot on, despite there being 13 musicians.
The lighting was designed by Richard Warriner, who was also responsible for the costumes and set design. I liked the mainly monochrome colour scheme and Richard had created some daring and visually pleasing designs within that, which made for viewing interest.
Staging was good and very smooth thanks to Stage Manager Katie Bird, who was also responsible for the minimal, but appropriate props.
Tonight’s performance ended with an enthusiastic standing ovation. My congratulations to all involved with this show: another great success for Encore. I look forward to their next production which is The Vicar of Dibley, later this year.
Encore have a charity collection at the end of their shows and this year it was for the mental health charity, MIND.
Final comment - I thought the programme, designed by Marie Stone, was attractive and very informative.
The Wizard of Oz
Erewash Musical Society Youth Group
Duchess Theatre Long Eaton
July 5th 2019
This production was simply stunning!
I was blown away by the talent on the stage of the Duchess Theatre tonight. From the moment the curtain opened it was obvious this was going to be a great show.
The leading characters were amazing. Alice Renshaw (Dorothy), James O'Boyle (Scarecrow), Gabryl Oleshko (Tin Man), Ethan Fletcher (Lion), Bethan Moore (Glinda), Maddie Stevens (Wicked Witch), James Christian (Wizard), Evan Hagan (The Oz Guard), Emma Foster (Aunt Em) and Oli Hickling (Uncle Henry.)
Alongside them was the ensemble some of whom played small cameo roles. The ensemble dancing was superb - the choreographer, Carol Lawson has brought them to a very high standard of performance. I was often transfixed by them. The Jitterbug routine was stunning and my favourite.
Well done to Lauren Austen, Tom Baddiley, Paige Ball, Lilly Dallard, Amy Dawson, Joel Dawson, Grace Edwards, Sophie Glew, Olivia Grant, Elin Haycock, Dylan Hoole, Ewan Hoole, Carys Moore, Robyn Oleshko, Isabelle Spray and Sky Tacey.
The use of projections and very good ones at that, worked very well. They are some of the best I have seen at the Duchess and really supported the scenes well.
The storm scene at the beginning was an excellent combination of projections and stage constructions - very impressive.
The quality of singing was very high and the orchestra conducted by MD Matthew Cook was first class. There was never any question of the 10 piece orchestra being too loud, it supported the performers very well. There was a lot of incidental music in the show which was very effectively played. Matthew has obviously worked hard with the cast to achieve such a high standard.
The sound by Dave Dallard was crisp and clear and i could hear every word said and sung. The lighting by Dave Martin was very evocative and effective. There were also a number of special effects that worked very well. Come and see what they are!!
Scene changes were slick and fast - Mark Robbins and his team saw to that.
The Producer and Director, Chris Renshaw ensured that this production of the show was dynamic, exciting, full of movement and gave all the cast an opportunity to do their best and enjoy doing it. The transformation from the black and white start to colour mirrored the film and was very good.
The costumes were very good indeed.
Having said all that the real star of the show has to be Alfie the dog who played Toto. What a professional! Britain's Got Talent 2020 maybe?
I don't normally write about Emus, given my connection to the Society, but tonight I make an exception as this production was just so good.
Erewash Musical Society Youth Group
Duchess Theatre Long Eaton
July 5th 2019
This production was simply stunning!
I was blown away by the talent on the stage of the Duchess Theatre tonight. From the moment the curtain opened it was obvious this was going to be a great show.
The leading characters were amazing. Alice Renshaw (Dorothy), James O'Boyle (Scarecrow), Gabryl Oleshko (Tin Man), Ethan Fletcher (Lion), Bethan Moore (Glinda), Maddie Stevens (Wicked Witch), James Christian (Wizard), Evan Hagan (The Oz Guard), Emma Foster (Aunt Em) and Oli Hickling (Uncle Henry.)
Alongside them was the ensemble some of whom played small cameo roles. The ensemble dancing was superb - the choreographer, Carol Lawson has brought them to a very high standard of performance. I was often transfixed by them. The Jitterbug routine was stunning and my favourite.
Well done to Lauren Austen, Tom Baddiley, Paige Ball, Lilly Dallard, Amy Dawson, Joel Dawson, Grace Edwards, Sophie Glew, Olivia Grant, Elin Haycock, Dylan Hoole, Ewan Hoole, Carys Moore, Robyn Oleshko, Isabelle Spray and Sky Tacey.
The use of projections and very good ones at that, worked very well. They are some of the best I have seen at the Duchess and really supported the scenes well.
The storm scene at the beginning was an excellent combination of projections and stage constructions - very impressive.
The quality of singing was very high and the orchestra conducted by MD Matthew Cook was first class. There was never any question of the 10 piece orchestra being too loud, it supported the performers very well. There was a lot of incidental music in the show which was very effectively played. Matthew has obviously worked hard with the cast to achieve such a high standard.
The sound by Dave Dallard was crisp and clear and i could hear every word said and sung. The lighting by Dave Martin was very evocative and effective. There were also a number of special effects that worked very well. Come and see what they are!!
Scene changes were slick and fast - Mark Robbins and his team saw to that.
The Producer and Director, Chris Renshaw ensured that this production of the show was dynamic, exciting, full of movement and gave all the cast an opportunity to do their best and enjoy doing it. The transformation from the black and white start to colour mirrored the film and was very good.
The costumes were very good indeed.
Having said all that the real star of the show has to be Alfie the dog who played Toto. What a professional! Britain's Got Talent 2020 maybe?
I don't normally write about Emus, given my connection to the Society, but tonight I make an exception as this production was just so good.
9 to 5
The Ripley and Alfreton Musical Theatre Company -
Mansfield Palace Theatre
Wednesday July 3rd 2019
Think 9 to 5 and you think Dolly Parton – the two go hand in hand, so it is great to hear the country music icon introducing the musical at Mansfield’s Palace Theatre tonight.
This production from RAMTC, a dynamic version of the popular musical - which began as a film starring Dolly Parton - was much enjoyed by the enthusiastic audience tonight.
Pushed to boiling point, three female coworkers concoct a plan to get even with the ‘sexist, egotistical, lying, hypocritical bigot’ they call their boss. In a hilarious turn of events, Violet, Judy and Doralee live out their wildest fantasy – giving their boss the boot! While Hart remains "otherwise engaged," the women give their workplace a dream makeover, taking control of the company that has always kept them down.
There were some excellent, hugely entertaining performances from the principals, supported by a lively ensemble, many of whom had lovely cameo roles.
Georgie Bond is Doralee, the part played by Dolly in the 1980 film, and powers out her vocals, really standing out on stage. She has obviously worked very hard, not just on an authentic Tennessee drawl, but on a bubbly delivery. She ably projects the sheer fun and sassy physicality of the character.
Helen Perry plays Judy, the office newbee, with just the right amount of troubled vulnerability; a really impressive characterisation, which is superbly acted. She has a lovely voice and gave a fantastic performance of the cathartic “Get Out and Stay Out”, which brought the house down.
Amy Wicks, who leads the office in the role of Violet, gave an excellent all round performance, encapsulating the warm motherliness of the character, coupled with her astuteness and strength. She excels in the dance number “One of the Boys.”
I enjoyed Adela Green’s very amusing portrayal of the lovesick Roz and her racy dance number “Heart to Hart “, was quite something, fantastic!
There is a nicely observed performance from Sinead Parkin as the tottering office lush, Margaret. There were also confident performances from Charlie Torry (Joe), Reema Udeshi (Maria), Jess Kenton (Kathy), Gary Rowley (Dwayne), Lucas Young (Josh), Gary Heap (Dick), Ross Trail (Bob), Marie Madej (Miss Hart) and Steve Dunning (Russell).
This musical is mainly about the women, but Cameron Trail has an important part to play as the lazy, lying boss, Franklin Hart. Cameron manages to express all of the character’s negative traits in an entertaining way, brash and sleazy, but ultimately very weak!
The musicianship from the band and cast was high and the dancing and movement was well planned and beautifully executed, showcasing skill and excellent timing. Staging was very professionally done with bright and colourful scenery and beautiful costumes. The first scene in the office, when Judy arrives in her blue suit, set against the monochrome of her co workers, is stunning.
Scene changes were in the main swift and efficiently done and the use of the fly tower at this theatre helped very much to keep the show moving. There was, unfortunately, a brief pause in the show when there was nothing happening on the stage and voices from backstage could be heard. Once this was sorted everything continued slickly.
However, I was concerned about the sound which was somewhat distorted at times: the balance between the band and the performers was sometimes compromised, so it was difficult to hear the vocals. Sadly, some of the dialogue and lyrics were then missed too, either because of problems with the mics or excessive music volume. Also, there were some moments when the lights were not illuminating some performers properly. I am sure that these problems will be quickly sorted, so that the impact of these great performances can be fully appreciated.
The Production team of Kristian Cunningham (Director and Choreographer), June Oates (Assistant Producer), Charlotte Bond (Assistant choreographer) and Tom Bond(Musical Director), have done a great job, setting a fast pace and pulling every bit of humour out of the characters and story. Enthusiasm and joy of performing was very evident on stage tonight.
Overall, the production was very accomplished, leaving aside the technical problems, and it was nice to see a big, bright and colourful musical at the Palace Theatre. There was no doubting the skill and commitment of the cast and the audience response to it, which led to a sustained ovation (with some standing), at the end. I am a great believer that finales and bows are as important as any part of a show. Tonight both of these were excellent, well produced and performed.
9 to 5 The Musical continues at the Mansfield Palace until Saturday. Go and see it and enjoy this high-energy show with a mostly female cast, a jubilant score and an amusing and uplifting story.
The Ripley and Alfreton Musical Theatre Company -
Mansfield Palace Theatre
Wednesday July 3rd 2019
Think 9 to 5 and you think Dolly Parton – the two go hand in hand, so it is great to hear the country music icon introducing the musical at Mansfield’s Palace Theatre tonight.
This production from RAMTC, a dynamic version of the popular musical - which began as a film starring Dolly Parton - was much enjoyed by the enthusiastic audience tonight.
Pushed to boiling point, three female coworkers concoct a plan to get even with the ‘sexist, egotistical, lying, hypocritical bigot’ they call their boss. In a hilarious turn of events, Violet, Judy and Doralee live out their wildest fantasy – giving their boss the boot! While Hart remains "otherwise engaged," the women give their workplace a dream makeover, taking control of the company that has always kept them down.
There were some excellent, hugely entertaining performances from the principals, supported by a lively ensemble, many of whom had lovely cameo roles.
Georgie Bond is Doralee, the part played by Dolly in the 1980 film, and powers out her vocals, really standing out on stage. She has obviously worked very hard, not just on an authentic Tennessee drawl, but on a bubbly delivery. She ably projects the sheer fun and sassy physicality of the character.
Helen Perry plays Judy, the office newbee, with just the right amount of troubled vulnerability; a really impressive characterisation, which is superbly acted. She has a lovely voice and gave a fantastic performance of the cathartic “Get Out and Stay Out”, which brought the house down.
Amy Wicks, who leads the office in the role of Violet, gave an excellent all round performance, encapsulating the warm motherliness of the character, coupled with her astuteness and strength. She excels in the dance number “One of the Boys.”
I enjoyed Adela Green’s very amusing portrayal of the lovesick Roz and her racy dance number “Heart to Hart “, was quite something, fantastic!
There is a nicely observed performance from Sinead Parkin as the tottering office lush, Margaret. There were also confident performances from Charlie Torry (Joe), Reema Udeshi (Maria), Jess Kenton (Kathy), Gary Rowley (Dwayne), Lucas Young (Josh), Gary Heap (Dick), Ross Trail (Bob), Marie Madej (Miss Hart) and Steve Dunning (Russell).
This musical is mainly about the women, but Cameron Trail has an important part to play as the lazy, lying boss, Franklin Hart. Cameron manages to express all of the character’s negative traits in an entertaining way, brash and sleazy, but ultimately very weak!
The musicianship from the band and cast was high and the dancing and movement was well planned and beautifully executed, showcasing skill and excellent timing. Staging was very professionally done with bright and colourful scenery and beautiful costumes. The first scene in the office, when Judy arrives in her blue suit, set against the monochrome of her co workers, is stunning.
Scene changes were in the main swift and efficiently done and the use of the fly tower at this theatre helped very much to keep the show moving. There was, unfortunately, a brief pause in the show when there was nothing happening on the stage and voices from backstage could be heard. Once this was sorted everything continued slickly.
However, I was concerned about the sound which was somewhat distorted at times: the balance between the band and the performers was sometimes compromised, so it was difficult to hear the vocals. Sadly, some of the dialogue and lyrics were then missed too, either because of problems with the mics or excessive music volume. Also, there were some moments when the lights were not illuminating some performers properly. I am sure that these problems will be quickly sorted, so that the impact of these great performances can be fully appreciated.
The Production team of Kristian Cunningham (Director and Choreographer), June Oates (Assistant Producer), Charlotte Bond (Assistant choreographer) and Tom Bond(Musical Director), have done a great job, setting a fast pace and pulling every bit of humour out of the characters and story. Enthusiasm and joy of performing was very evident on stage tonight.
Overall, the production was very accomplished, leaving aside the technical problems, and it was nice to see a big, bright and colourful musical at the Palace Theatre. There was no doubting the skill and commitment of the cast and the audience response to it, which led to a sustained ovation (with some standing), at the end. I am a great believer that finales and bows are as important as any part of a show. Tonight both of these were excellent, well produced and performed.
9 to 5 The Musical continues at the Mansfield Palace until Saturday. Go and see it and enjoy this high-energy show with a mostly female cast, a jubilant score and an amusing and uplifting story.
Calendar Girls, the Musical
National Tour
Theatre Royal, Nottingham
June 25th 2019
The show is based on the 2003 film Calendar Girls, which is in turn based on a true story. The musical received its world premiere at the Grand Theatre, Leeds in 2015, before transferring to The Lowry, Salford in January 2016. It went on to open in London's West End at the Phoenix Theatre in February 2017.
The calendar girls story is about a group of ordinary ladies who achieved something extraordinary and features Lesley Joseph, Rebecca Storm, Sarah Jane Buckley, Sue Devaney, Liz Harker, Julia Hills, Lisa Maxwell, Tracey Donovan and Samantha Nixon plus a supporting cast.
Calendar Girls the musical which has ended with an enthusiastic and very long standing ovation from this very full theatre. Many of us were in our feet from the very start of the curtain calls. The whole cast deserved this warm ovation.
I really enjoyed the show and I can now see why it continues to inspire and keep audiences coming back, because it features ordinary women doing something quite extraordinary. It also tackles the most serious of subjects in an inspiringly humorous and positive way. The songs are good to listen to, the script is very well written and funny, the production is fast and furious and the performances of the whole cast are excellent.
The photo session with large buns and assorted props was really well done and had us all laughing throughout.
The staging is good and the effective set is just right for the show.
I can most certainly recommend this show as it provides a heart warming and enjoyable evening at the theatre, but one that also makes you think.
National Tour
Theatre Royal, Nottingham
June 25th 2019
The show is based on the 2003 film Calendar Girls, which is in turn based on a true story. The musical received its world premiere at the Grand Theatre, Leeds in 2015, before transferring to The Lowry, Salford in January 2016. It went on to open in London's West End at the Phoenix Theatre in February 2017.
The calendar girls story is about a group of ordinary ladies who achieved something extraordinary and features Lesley Joseph, Rebecca Storm, Sarah Jane Buckley, Sue Devaney, Liz Harker, Julia Hills, Lisa Maxwell, Tracey Donovan and Samantha Nixon plus a supporting cast.
Calendar Girls the musical which has ended with an enthusiastic and very long standing ovation from this very full theatre. Many of us were in our feet from the very start of the curtain calls. The whole cast deserved this warm ovation.
I really enjoyed the show and I can now see why it continues to inspire and keep audiences coming back, because it features ordinary women doing something quite extraordinary. It also tackles the most serious of subjects in an inspiringly humorous and positive way. The songs are good to listen to, the script is very well written and funny, the production is fast and furious and the performances of the whole cast are excellent.
The photo session with large buns and assorted props was really well done and had us all laughing throughout.
The staging is good and the effective set is just right for the show.
I can most certainly recommend this show as it provides a heart warming and enjoyable evening at the theatre, but one that also makes you think.
West End to West Gate
The Young Performers
Duchess Theatre, Long Eaton
June 20th 2019
This is the latest production from The Young Performers and is a show featuring songs from West End Shows such as Matilda, Everyone’s Talking About Jamie, we will rock you, Annie, Dear Evan Hansen, Parade, Billy Elliot and lots more. I am told there are whole cast, group and individual performances.
This group has in the past performed some great shows including their last which was Peter Pan in January.
Act I of tonight’s show was excellent. They have sung a number of songs I really enjoy and some new ones which were good too. There is tremendous energy on the stage and the Young Performers are obviously having a great time.
There have been some great solos as well as some pretty complex dance routines that were very well performed.
There was a very good tap routine to one of my favourite Dolly Parton Songs, 9 to 5 - very well done to the girls who performed that one. It was good to hear two songs from the current West End Hit, “Everyone’s Talking about Jamie” and also some more familiar ones like “It’s a Hard knock Life” from Annie and a hilarious performance by three boys of “Always Look on the bright side of life.” A very high spot for me was the song “It’s Hard to be the Bard” which is a great song very well performed.”
There was a great ending to the Act with a splendid routine of the fabulous song “You can’t stop the beat.” It was very well choreographed and superbly performed.
The Act 2 opened with 3 songs from Hamilton which are extremely well performed. Not easy music to learn or perform but this cast seemed to have no problems with it. One of the girl soloists was fantastic. How she learnt the song I do not know (so many words) and she performs it with phenomenal power and expression.
The rest of the Act is very varied and includes a song from Heathers, a show I don’t know but the song, “Fight for Me” was very nicely sung. There are also songs and routines from “We will rock you,” “Parade,” “Dear Evan Hansen,”School of Rock, “Amelia” and Shrek.
This show impresses me by the engagement, power, enthusiasm and quality of the performers. They are all totally involved in what is happening on stage all the time. They are obviously enjoying it. This rubs off on the audience.
There are indeed some very talented youngsters in this group. However, like in many groups, there are rather more girls than boys but I have to say that tonight the sound coming from the boys was impressive. The girls were fabulous indeed but I could also hear very strong Male harmonies coming through as well. The singing quality is very good from both girls and boys.
The Musical Director, George Parkinson, leads a great sounding band and has obviously worked hard with this cast to produce such high quality sounds.
As mentioned in my Act 1 report the choreography is excellent and this continues in Act 2. The two choreographers, Vicky Byrne and Lauren Riley have done a great job. The dances look great and are often complicated. They have pushed the performers hard for this show and the results speak for themselves.
The Director, Zak Charlesworth certainly does a good job linking all the various acts together. His use of two “theatre goers” to act as kind of comperes was fresh and a useful device to link things together and keep things moving.
The set is well used and flexible and enables the cast to work on different levels throughout the show. Well done to Roydon Charlesworth for that and for excellent Stage Managing of the show.
The lighting by Dave Martin and Sound by Dave Sims is good as always and, combined with very appropriate and attractive costumes, enhances the audio and visual impact of the show.
The cast are all very busy throughout and I liked the way in which Zak often integrated soloists, small groups and the whole cast in many numbers. Many of the cast are on stage for much of the time.
I think overall the variety of songs from different shows made for a very entertaining evening. It is not always easy to select songs that all in the audience will like or that go together, but I think Zak does succeed in making pretty good choices. As a consequence tonight I have heard songs from some shows I now want to see in the future, such as “Heathers” and “Something Rotten” for example.
This has been yet another excellent production from this highly regarded local youth group. There was a well deserved and prolonged ovation at the end. I do think that there could have been a couple of curtain calls more that would have allowed us in the audience to show our appreciation of what was achieved on stage tonight.
I have not been able to mention individual performers tonight as the programme did not identify them. However, in some ways that is a good thing as this really was all about all of the group working together as a large ensemble. All were important and all were excellent.
The excellent and hard working cast of the show were:
Ava Haylock - Jake Truman - Ben Goodlass - James Pedrick
Caitlin Oldham - Lenny Antwi - Charlotte Rowland
Lewis Mcdowell - Drew Boswell - Libby Gallacher
Eleanor Meakin - Marcy Truman - Elen Oldershawe
Megan Thomas - Ella Charlesworth - Millen Scrivener
Emilia Buxton - Millie Relf - Emma-Jayne Peel
Millie Weston - Fin Boswell - Molly Parkinson
Finlay Dilkes - Neve Saxton - Harriet Slatcher
Phoebe Clarke - Harvey Tavener - Ricky Hill
Hayley Watson - Ruby Garrison - Henry Icke - Ryan Yates
The Young Performers
Duchess Theatre, Long Eaton
June 20th 2019
This is the latest production from The Young Performers and is a show featuring songs from West End Shows such as Matilda, Everyone’s Talking About Jamie, we will rock you, Annie, Dear Evan Hansen, Parade, Billy Elliot and lots more. I am told there are whole cast, group and individual performances.
This group has in the past performed some great shows including their last which was Peter Pan in January.
Act I of tonight’s show was excellent. They have sung a number of songs I really enjoy and some new ones which were good too. There is tremendous energy on the stage and the Young Performers are obviously having a great time.
There have been some great solos as well as some pretty complex dance routines that were very well performed.
There was a very good tap routine to one of my favourite Dolly Parton Songs, 9 to 5 - very well done to the girls who performed that one. It was good to hear two songs from the current West End Hit, “Everyone’s Talking about Jamie” and also some more familiar ones like “It’s a Hard knock Life” from Annie and a hilarious performance by three boys of “Always Look on the bright side of life.” A very high spot for me was the song “It’s Hard to be the Bard” which is a great song very well performed.”
There was a great ending to the Act with a splendid routine of the fabulous song “You can’t stop the beat.” It was very well choreographed and superbly performed.
The Act 2 opened with 3 songs from Hamilton which are extremely well performed. Not easy music to learn or perform but this cast seemed to have no problems with it. One of the girl soloists was fantastic. How she learnt the song I do not know (so many words) and she performs it with phenomenal power and expression.
The rest of the Act is very varied and includes a song from Heathers, a show I don’t know but the song, “Fight for Me” was very nicely sung. There are also songs and routines from “We will rock you,” “Parade,” “Dear Evan Hansen,”School of Rock, “Amelia” and Shrek.
This show impresses me by the engagement, power, enthusiasm and quality of the performers. They are all totally involved in what is happening on stage all the time. They are obviously enjoying it. This rubs off on the audience.
There are indeed some very talented youngsters in this group. However, like in many groups, there are rather more girls than boys but I have to say that tonight the sound coming from the boys was impressive. The girls were fabulous indeed but I could also hear very strong Male harmonies coming through as well. The singing quality is very good from both girls and boys.
The Musical Director, George Parkinson, leads a great sounding band and has obviously worked hard with this cast to produce such high quality sounds.
As mentioned in my Act 1 report the choreography is excellent and this continues in Act 2. The two choreographers, Vicky Byrne and Lauren Riley have done a great job. The dances look great and are often complicated. They have pushed the performers hard for this show and the results speak for themselves.
The Director, Zak Charlesworth certainly does a good job linking all the various acts together. His use of two “theatre goers” to act as kind of comperes was fresh and a useful device to link things together and keep things moving.
The set is well used and flexible and enables the cast to work on different levels throughout the show. Well done to Roydon Charlesworth for that and for excellent Stage Managing of the show.
The lighting by Dave Martin and Sound by Dave Sims is good as always and, combined with very appropriate and attractive costumes, enhances the audio and visual impact of the show.
The cast are all very busy throughout and I liked the way in which Zak often integrated soloists, small groups and the whole cast in many numbers. Many of the cast are on stage for much of the time.
I think overall the variety of songs from different shows made for a very entertaining evening. It is not always easy to select songs that all in the audience will like or that go together, but I think Zak does succeed in making pretty good choices. As a consequence tonight I have heard songs from some shows I now want to see in the future, such as “Heathers” and “Something Rotten” for example.
This has been yet another excellent production from this highly regarded local youth group. There was a well deserved and prolonged ovation at the end. I do think that there could have been a couple of curtain calls more that would have allowed us in the audience to show our appreciation of what was achieved on stage tonight.
I have not been able to mention individual performers tonight as the programme did not identify them. However, in some ways that is a good thing as this really was all about all of the group working together as a large ensemble. All were important and all were excellent.
The excellent and hard working cast of the show were:
Ava Haylock - Jake Truman - Ben Goodlass - James Pedrick
Caitlin Oldham - Lenny Antwi - Charlotte Rowland
Lewis Mcdowell - Drew Boswell - Libby Gallacher
Eleanor Meakin - Marcy Truman - Elen Oldershawe
Megan Thomas - Ella Charlesworth - Millen Scrivener
Emilia Buxton - Millie Relf - Emma-Jayne Peel
Millie Weston - Fin Boswell - Molly Parkinson
Finlay Dilkes - Neve Saxton - Harriet Slatcher
Phoebe Clarke - Harvey Tavener - Ricky Hill
Hayley Watson - Ruby Garrison - Henry Icke - Ryan Yates
The Bodyguard
National Tour
Theatre Royal, Nottingham
June 12th 2019
This is the National Tour starring Alexandra Burke. She is not playing at all performances on this tour and when that is the case the role will be played by Jennlee Shallow.
The show is about former Secret Service agent turned bodyguard, Frank Farmer, is hired to protect superstar Rachel Marron from an unknown stalker. Each expects to be in charge – what they don’t expect is to fall in love.
The show features a whole host of irresistible classics including Queen of the Night, So Emotional, One Moment in Time, Saving All My Love, Run to You, I Have Nothing, Greatest Love Of All, Million Dollar Bill, I Wanna Dance With Somebody and one of the greatest hit songs of all time – I Will Always Love You.
The show ended with a standing ovation and I am sure fans of Alexandra Burke will really enjoy her performance. She belts out the songs as you would expect and, I thought, acted the part well.
Another great performance came from Micha Richardson who has a fabulous voice.
There was a strong principal line up featuring Benoit Marechall (Frank), Peter landi (Bill), Craig Berry (Tony Scibelli), Phil Atkinson (Stalker), Gary Turner (Sy), Simon Cotton (Ray).
The Son of Rachel Marron (Alexandra Burke) is played by a number of young boys and the one we saw tonight I think was Noah Burnett who was excellent. (Sorry if I got the wrong one.)
There were some high energy dance routines throughout and the dancers were excellent.
The main performers and the ensemble were very good as was the lighting and special effects.
The sound however continued to concern me with the band often being far too loud and dominant. The opening number in Act 1 was extremely loud and for me, very uncomfortable. I could not hear the vocals in some of the very loud songs. At times there was some distortion both from the band and solo singers. This did get better through the show, especially with the quieter ballads.
The show itself is really a vehicle for the songs and Alexandra Burke's character. The story is not that well developed. It is part Musical, part concert and part thriller. Not sure all three always fitted well together.
There is no doubt that tonight’s audience on the whole enjoyed themselves. It was unfortunate though, that some in the audience decided to laugh, talk, eat, cheer, use mobile phones and generally lack attention during the show and at the most inappropriate times. I am afraid that there seems to be an increasing number of theatre goers who have little understanding of “theatre etiquette” these days. This, I know, spoilt the show for some.
The reaction of most in the audience at the end showed that this show is well liked by so very many. After all, it was very successful in the West End and on tour. For me, however, it seemed rather flat and did not particularly engage me, although I enjoyed hearing some of the songs. That is probably more about me than the show and as I always say, go and see it as you may well love it.
National Tour
Theatre Royal, Nottingham
June 12th 2019
This is the National Tour starring Alexandra Burke. She is not playing at all performances on this tour and when that is the case the role will be played by Jennlee Shallow.
The show is about former Secret Service agent turned bodyguard, Frank Farmer, is hired to protect superstar Rachel Marron from an unknown stalker. Each expects to be in charge – what they don’t expect is to fall in love.
The show features a whole host of irresistible classics including Queen of the Night, So Emotional, One Moment in Time, Saving All My Love, Run to You, I Have Nothing, Greatest Love Of All, Million Dollar Bill, I Wanna Dance With Somebody and one of the greatest hit songs of all time – I Will Always Love You.
The show ended with a standing ovation and I am sure fans of Alexandra Burke will really enjoy her performance. She belts out the songs as you would expect and, I thought, acted the part well.
Another great performance came from Micha Richardson who has a fabulous voice.
There was a strong principal line up featuring Benoit Marechall (Frank), Peter landi (Bill), Craig Berry (Tony Scibelli), Phil Atkinson (Stalker), Gary Turner (Sy), Simon Cotton (Ray).
The Son of Rachel Marron (Alexandra Burke) is played by a number of young boys and the one we saw tonight I think was Noah Burnett who was excellent. (Sorry if I got the wrong one.)
There were some high energy dance routines throughout and the dancers were excellent.
The main performers and the ensemble were very good as was the lighting and special effects.
The sound however continued to concern me with the band often being far too loud and dominant. The opening number in Act 1 was extremely loud and for me, very uncomfortable. I could not hear the vocals in some of the very loud songs. At times there was some distortion both from the band and solo singers. This did get better through the show, especially with the quieter ballads.
The show itself is really a vehicle for the songs and Alexandra Burke's character. The story is not that well developed. It is part Musical, part concert and part thriller. Not sure all three always fitted well together.
There is no doubt that tonight’s audience on the whole enjoyed themselves. It was unfortunate though, that some in the audience decided to laugh, talk, eat, cheer, use mobile phones and generally lack attention during the show and at the most inappropriate times. I am afraid that there seems to be an increasing number of theatre goers who have little understanding of “theatre etiquette” these days. This, I know, spoilt the show for some.
The reaction of most in the audience at the end showed that this show is well liked by so very many. After all, it was very successful in the West End and on tour. For me, however, it seemed rather flat and did not particularly engage me, although I enjoyed hearing some of the songs. That is probably more about me than the show and as I always say, go and see it as you may well love it.
Footloose
Centre Stage Theatre Arts
Derby Theatre - June 27th 2019
Footloose is a 1998 musical based on the 1984 film of the same name and concerns the traditional western US town of Bomont where dancing has been banned by the Town Council. This followed an accident in which some local youngsters were killed following a trip to a dance. Enter the new kid from Chicago, who is horrified that dancing is not allowed and plans to change this by convincing the Council and the local pastor that dancing is not a crime.
The classic feel-good film is brought to life onstage and features hit songs such as “Let’s Hear It For The Boy”, “The Girl Gets Around”, “Somebody’s Eyes”, “Almost Paradise”, “Holding Out For A Hero” and of course the title track “Footloose”.
There were some really great performances tonight in this hugely enjoyable production, from both the principals and the impressive, large ensemble.
Marcus King as the lively and immediately likeable new boy Ren, gave a powerful performance, managing to show the gentle, principled side of the character, as well as the cheeky, restless rebel. In addition to the clarity and projection of his acting, he has a good voice and can dance up a storm. A highlight for me was his super rendition of “I can’t stand still.”
Natasha Neale was excellent as Ariel: her huge smile in the upbeat numbers shows just how much she enjoys performing. She nailed the characterisation of this complex character and effectively balanced the brash risk taker with the hurt and sensitive teenager. She is a great dancer and has a lovely singing voice, performing her songs with commitment and passion.
What a fantastic actor Isaac Levitt is, in the not easy role of the troubled Pastor Shaw. For a young actor of 15 his performance was incredible, using both his voice and mannerisms to suggest both the age and gravitas of the character; an impressive feat. He can sing well too, giving an emotional and moving performance of “I confess.”
Nicole Lamont as Vi, Ariel's mother and Shaw Moore's wife, was a joy to listen to and in particular, I thought she sang “Can You Find it in Your Heart,” brilliantly.
Ben Hale played the cowboy Willard in a way that completely charmed the audience, with his jaunty liveliness and beautifully delivered lines. He led a very well directed and performed version of “Mama says” along with Marcus King and those who played the parts of Bickle, Garvin and Jeter; another highlight.
Ariel's best friends, Rusty, Urleen and Wendy-Jo were played by Hannah Riley, Holly Burchell and Harriet Blackwell. What a great singing trio they were. All have very powerful voices and I loved their performances, particularly in the song, “Somebody’s eyes.” Hannah showed off her talent for characterisation as a lovelorn Rusty and her great voice during ‘Let’s hear it for the boy’
Supporting well were Dan Evans as a swaggering and menacing Chuck, Ella Slater as a most convincing Coach Dunbar and Charlotte Crane – another lovely voice- as the gentle but careworn Ethel.
Alongside the principals was a large all singing and all dancing ensemble, but tight direction by Kyle Lamley ensured that the stage never looked too crowded. Everyone knew exactly what they were doing and the power and energy on stage was impressive. The performers certainly threw themselves into every routine and were obviously enjoying every minute of it, as was the audience. Well done to both Lucy Cadney and Kyle Lamley for realising their vision in such an energetic and entertaining way.
The Musical Directors, Nigel Taylor and James Bowden are also to be congratulated for their voice direction as well as leading a great sounding band. There was exciting and sometimes complex choreography by Natalie Bethel and Sophie Shapcott, which was precisely performed. The big whole cast routines, featuring a range of dancing styles, were very impressive indeed.
The sound by Dave Dallard was excellent and the balance with the band was just right. Similarly, the lighting by Chris Grantham was excellent. Of course, one of the advantages of Derby Theatre is the ability to fly scenery and this production used this feature well. However, I was particularly impressed by the very efficient way the sets were changed along with many props: done in a choreographed way, usually by members of the cast. There were many scene changes and all were quick and did not slow down the action. The costumes were very appropriate and realistic and filled the stage with colour.
I, along with a very full Derby Theatre, really enjoyed the show; the standing ovation and rapturous applause at the end was richly deserved.
I am sure there were some young performers on that stage who have a long future in the world of theatre. Centre Stage have again produced a hugely entertaining show and shown off the talents of their members in a wonderful way.
I look forward to seeing their next one.
Centre Stage Theatre Arts
Derby Theatre - June 27th 2019
Footloose is a 1998 musical based on the 1984 film of the same name and concerns the traditional western US town of Bomont where dancing has been banned by the Town Council. This followed an accident in which some local youngsters were killed following a trip to a dance. Enter the new kid from Chicago, who is horrified that dancing is not allowed and plans to change this by convincing the Council and the local pastor that dancing is not a crime.
The classic feel-good film is brought to life onstage and features hit songs such as “Let’s Hear It For The Boy”, “The Girl Gets Around”, “Somebody’s Eyes”, “Almost Paradise”, “Holding Out For A Hero” and of course the title track “Footloose”.
There were some really great performances tonight in this hugely enjoyable production, from both the principals and the impressive, large ensemble.
Marcus King as the lively and immediately likeable new boy Ren, gave a powerful performance, managing to show the gentle, principled side of the character, as well as the cheeky, restless rebel. In addition to the clarity and projection of his acting, he has a good voice and can dance up a storm. A highlight for me was his super rendition of “I can’t stand still.”
Natasha Neale was excellent as Ariel: her huge smile in the upbeat numbers shows just how much she enjoys performing. She nailed the characterisation of this complex character and effectively balanced the brash risk taker with the hurt and sensitive teenager. She is a great dancer and has a lovely singing voice, performing her songs with commitment and passion.
What a fantastic actor Isaac Levitt is, in the not easy role of the troubled Pastor Shaw. For a young actor of 15 his performance was incredible, using both his voice and mannerisms to suggest both the age and gravitas of the character; an impressive feat. He can sing well too, giving an emotional and moving performance of “I confess.”
Nicole Lamont as Vi, Ariel's mother and Shaw Moore's wife, was a joy to listen to and in particular, I thought she sang “Can You Find it in Your Heart,” brilliantly.
Ben Hale played the cowboy Willard in a way that completely charmed the audience, with his jaunty liveliness and beautifully delivered lines. He led a very well directed and performed version of “Mama says” along with Marcus King and those who played the parts of Bickle, Garvin and Jeter; another highlight.
Ariel's best friends, Rusty, Urleen and Wendy-Jo were played by Hannah Riley, Holly Burchell and Harriet Blackwell. What a great singing trio they were. All have very powerful voices and I loved their performances, particularly in the song, “Somebody’s eyes.” Hannah showed off her talent for characterisation as a lovelorn Rusty and her great voice during ‘Let’s hear it for the boy’
Supporting well were Dan Evans as a swaggering and menacing Chuck, Ella Slater as a most convincing Coach Dunbar and Charlotte Crane – another lovely voice- as the gentle but careworn Ethel.
Alongside the principals was a large all singing and all dancing ensemble, but tight direction by Kyle Lamley ensured that the stage never looked too crowded. Everyone knew exactly what they were doing and the power and energy on stage was impressive. The performers certainly threw themselves into every routine and were obviously enjoying every minute of it, as was the audience. Well done to both Lucy Cadney and Kyle Lamley for realising their vision in such an energetic and entertaining way.
The Musical Directors, Nigel Taylor and James Bowden are also to be congratulated for their voice direction as well as leading a great sounding band. There was exciting and sometimes complex choreography by Natalie Bethel and Sophie Shapcott, which was precisely performed. The big whole cast routines, featuring a range of dancing styles, were very impressive indeed.
The sound by Dave Dallard was excellent and the balance with the band was just right. Similarly, the lighting by Chris Grantham was excellent. Of course, one of the advantages of Derby Theatre is the ability to fly scenery and this production used this feature well. However, I was particularly impressed by the very efficient way the sets were changed along with many props: done in a choreographed way, usually by members of the cast. There were many scene changes and all were quick and did not slow down the action. The costumes were very appropriate and realistic and filled the stage with colour.
I, along with a very full Derby Theatre, really enjoyed the show; the standing ovation and rapturous applause at the end was richly deserved.
I am sure there were some young performers on that stage who have a long future in the world of theatre. Centre Stage have again produced a hugely entertaining show and shown off the talents of their members in a wonderful way.
I look forward to seeing their next one.
Hair
Cast
Duchess Theatre Long Eaton
This is the famous American Tribal Love-Rock Musical which was a product of the hippie counterculture and sexual revolution of the late 1960s. Several of its songs became anthems of the anti-Vietnam War peace movement. The musical's profanity, its depiction of the use of illegal drugs, its treatment of sexuality, its irreverence for the American flag, and its nude scene caused much comment and controversy.
The musical broke new ground in musical theatre and has become a classic.
It is difficult to pick out individuals in this show because it is so much a whole cast production. However, tonight it is easy as they were all sparklingly good with not a weak link anywhere. There were very strong performances from them Ann So it’s congratulations to Andrew Buxton, Daniel Collington, Cat Tucker, George Lamb, KatieMacdonald, Sascha Cornelius, Emily May Corner, Candice Shevaun Curnow, Rob Chilton, Matthew Charlton, Cheryl Camn, Claire Farrand-Preston, Gemma Ryan, Michelle Bruce, Rachelle Bragg and Stephanie Wright.
The direction of the show by Beath Yearsley was as I said earlier dynamic and very fast moving. Her use of excellent lighting, sound effects and projections was excellent. The dancing was quite outstanding and the choreographer, Sian Scattergood, produced some really excellent whole cast routines which were just so well performed and great to watch.
There were great costumes as you would expect for the period which were in the hands of Mina Machin with pops by Katie Bird. Lisa Smith the Stage Manager and her team kept everything moving like clockwork.
The Music in this show has to be right and James Bowden the MD ensured that his band accompanied the performers very well. The standard of singing was very high indeed. The cast sang with such power and energy throughout.
Back to the staging and I watched with amazement at the many lighting cues and once again Dave Martin is to be commended for his excellent work adding to the dynamism of the show. Dave Dallard did a cracking job with the sound. I think tonight was one of the best for sound at the Duchess I have experienced. Crystal clear sound for both speech and songs.
As a rock musical you have to expect loud music and singing. The key to the success of this show was it was loud but comfortable.
This was a great production of an old show now that some may find somewhat set in a time that no longer exists. However the message of peace and love is one we probably need to explore again in our own time and in our own ways.
The show does not hold back on using some very adult language and is probably not suitable for young children although there were some in the audience tonight.
However, it is all done in the context of the story and the age in which it is set.
Interestingly there quite a lot of older people like myself in tonight’s audience who were, of course, teenagers or young adults at the time this show was around. Nostalgia yes but there are some songs such as Age of Aquarius, I Got Life, Hair, Easy to be Hard, Where Do I Go, What a piece of work is man and Good Morning Sunshine that have certainly passed the test of time.
This was a very professional show in all respects and deserves good audiences for the rest of the week. Get your tickets now and I am sure you, like me, will marvel at the talent to be seen on stage this week. It continues until Saturday.
Another brilliant production from The Cast.
Cast
Duchess Theatre Long Eaton
This is the famous American Tribal Love-Rock Musical which was a product of the hippie counterculture and sexual revolution of the late 1960s. Several of its songs became anthems of the anti-Vietnam War peace movement. The musical's profanity, its depiction of the use of illegal drugs, its treatment of sexuality, its irreverence for the American flag, and its nude scene caused much comment and controversy.
The musical broke new ground in musical theatre and has become a classic.
It is difficult to pick out individuals in this show because it is so much a whole cast production. However, tonight it is easy as they were all sparklingly good with not a weak link anywhere. There were very strong performances from them Ann So it’s congratulations to Andrew Buxton, Daniel Collington, Cat Tucker, George Lamb, KatieMacdonald, Sascha Cornelius, Emily May Corner, Candice Shevaun Curnow, Rob Chilton, Matthew Charlton, Cheryl Camn, Claire Farrand-Preston, Gemma Ryan, Michelle Bruce, Rachelle Bragg and Stephanie Wright.
The direction of the show by Beath Yearsley was as I said earlier dynamic and very fast moving. Her use of excellent lighting, sound effects and projections was excellent. The dancing was quite outstanding and the choreographer, Sian Scattergood, produced some really excellent whole cast routines which were just so well performed and great to watch.
There were great costumes as you would expect for the period which were in the hands of Mina Machin with pops by Katie Bird. Lisa Smith the Stage Manager and her team kept everything moving like clockwork.
The Music in this show has to be right and James Bowden the MD ensured that his band accompanied the performers very well. The standard of singing was very high indeed. The cast sang with such power and energy throughout.
Back to the staging and I watched with amazement at the many lighting cues and once again Dave Martin is to be commended for his excellent work adding to the dynamism of the show. Dave Dallard did a cracking job with the sound. I think tonight was one of the best for sound at the Duchess I have experienced. Crystal clear sound for both speech and songs.
As a rock musical you have to expect loud music and singing. The key to the success of this show was it was loud but comfortable.
This was a great production of an old show now that some may find somewhat set in a time that no longer exists. However the message of peace and love is one we probably need to explore again in our own time and in our own ways.
The show does not hold back on using some very adult language and is probably not suitable for young children although there were some in the audience tonight.
However, it is all done in the context of the story and the age in which it is set.
Interestingly there quite a lot of older people like myself in tonight’s audience who were, of course, teenagers or young adults at the time this show was around. Nostalgia yes but there are some songs such as Age of Aquarius, I Got Life, Hair, Easy to be Hard, Where Do I Go, What a piece of work is man and Good Morning Sunshine that have certainly passed the test of time.
This was a very professional show in all respects and deserves good audiences for the rest of the week. Get your tickets now and I am sure you, like me, will marvel at the talent to be seen on stage this week. It continues until Saturday.
Another brilliant production from The Cast.
Urinetown
Beeston Musical Theatre Group
Duchess Theatre, Long Eaton
May 29th 2019
Not a very appealing title maybe but I am told this is a fun musical with some fabulous songs.
This is billed as "A sidesplitting sendup of greed, love, revolution (and musicals!), in a time when water is worth its weight in gold."
The story is set In a Gotham-like city, where there is a terrible water shortage, caused by a 20-year drought. This has led to a government-enforced ban on private toilets. The people must use public amenities, regulated by a single malevolent company that profits by charging admission for one of humanity’s most basic needs. Amid the people, a hero decides that he’s had enough and plans a revolution to lead them all to freedom!
Having spoken to members of the cast on Erewash Sound I understand that one of the joys of this show is the way it sends up all kinds of musicals and contains some very catchy songs. It might have a less than appealing title but it is about far more than passing water.
he First Act of this very quirky show was full of great songs, very funny gags and very energetic performances from the whole cast. So far it’s well done to a brave BMTG for bringing this fairly unknown and odd musical to the Duchess.
I cannot tell you much about it because one of its strengths is the unexpected. You really don’t know what is going to happen next. The story maybe a bit thin and there are a number of unexplained occurrences but this is outweighed by the fantastic acting and in particular the comedy moments.
There have been some excellent dance routines with choreography suitable for the type and genre of the scene. This is because as a whole the show is a pastiche of all your favourite musicals and musical styles. This is well constructed and if you are a musical theatre fan you will know what I mean.
The lighting and sound is contributing greatly to the enjoyment of the show.
There is a 5 piece band that is sounding great and in my opinion just the right size for this theatre. It doesn’t need a huge orchestra. The band for this production is back in front of the stage. Nice to see them.
The composite set is good and enables quick and almost invisible scene changes.
I am really enjoying the show and have laughed quite a few times at the very witty and well delivered lines. As I said earlier I won’t say too much about what is happening on stage except to say there are very hardworking and enthusiastic “pee-people” entertaining us.
This is very a very cleverly written and directed piece of unusual musical theatre.
The second Act was very good indeed with a brilliant opening - think “Fiddler on the Roof” and a very funny and technically perfect gospel song.
Once again the ending of the show was not what you might expect but to know what I mean you need to buy a ticket.
Throughout there were Incredible performances and this has been a very entertaining evening.
Do come and see it if you can - expect the unexpected though and you will not be disappointed. The dancing and movement in particular was phenomenal. The cast apart from being very talented have also obviously worked very hard indeed.
Beeston Musical Theatre Group
Duchess Theatre, Long Eaton
May 29th 2019
Not a very appealing title maybe but I am told this is a fun musical with some fabulous songs.
This is billed as "A sidesplitting sendup of greed, love, revolution (and musicals!), in a time when water is worth its weight in gold."
The story is set In a Gotham-like city, where there is a terrible water shortage, caused by a 20-year drought. This has led to a government-enforced ban on private toilets. The people must use public amenities, regulated by a single malevolent company that profits by charging admission for one of humanity’s most basic needs. Amid the people, a hero decides that he’s had enough and plans a revolution to lead them all to freedom!
Having spoken to members of the cast on Erewash Sound I understand that one of the joys of this show is the way it sends up all kinds of musicals and contains some very catchy songs. It might have a less than appealing title but it is about far more than passing water.
he First Act of this very quirky show was full of great songs, very funny gags and very energetic performances from the whole cast. So far it’s well done to a brave BMTG for bringing this fairly unknown and odd musical to the Duchess.
I cannot tell you much about it because one of its strengths is the unexpected. You really don’t know what is going to happen next. The story maybe a bit thin and there are a number of unexplained occurrences but this is outweighed by the fantastic acting and in particular the comedy moments.
There have been some excellent dance routines with choreography suitable for the type and genre of the scene. This is because as a whole the show is a pastiche of all your favourite musicals and musical styles. This is well constructed and if you are a musical theatre fan you will know what I mean.
The lighting and sound is contributing greatly to the enjoyment of the show.
There is a 5 piece band that is sounding great and in my opinion just the right size for this theatre. It doesn’t need a huge orchestra. The band for this production is back in front of the stage. Nice to see them.
The composite set is good and enables quick and almost invisible scene changes.
I am really enjoying the show and have laughed quite a few times at the very witty and well delivered lines. As I said earlier I won’t say too much about what is happening on stage except to say there are very hardworking and enthusiastic “pee-people” entertaining us.
This is very a very cleverly written and directed piece of unusual musical theatre.
The second Act was very good indeed with a brilliant opening - think “Fiddler on the Roof” and a very funny and technically perfect gospel song.
Once again the ending of the show was not what you might expect but to know what I mean you need to buy a ticket.
Throughout there were Incredible performances and this has been a very entertaining evening.
Do come and see it if you can - expect the unexpected though and you will not be disappointed. The dancing and movement in particular was phenomenal. The cast apart from being very talented have also obviously worked very hard indeed.
Kinky Boots
National Tour
Theatre Royal
May 28th
The show was greeted with a very well deserved whole theatre standing ovation at the end.
This was an excellent production of a very good show. I have never seen it before and did wonder if it would be for me but it certainly was. I enjoyed every minute of it. It is now a new favourite of mine!
There were excellent performances from Joel Harper Jackson as Charlie Price. He is an actor who displayed the "triple threat" in abundance. Great singing, acting and dancing.
Kayi Ushe was a wonderful Lola, the Drag Queen whose characterisation and comedy timing was first class as was his dancing and singing.
Great supporting performances came from Paula Lane as Lauren, Demitri Lampra as Don, Helen Ternet as Niclola and Adam Price as George. The rest of the cast were excellent as well.
I particularly enjoyed "The Angels," Lola's Drag Dancers. The choreography by Jerry Mitchell, who also Directed the show, was dazzling which included gymnastics and great use of the set including conveyor belts which moved around the stage.
The set was dynamic and included a centre "box" which was moved around the stage and was changed in shape many times.
There are some great songs in the show that all but one were new to me. I really enjoyed "Sex is in the heel," "Everybody Say Yeah," "What a woman wants," "Hold me in your heart," and the Finale. The duet "Not my father's Son" sung by Charlie and Lola which was so well sung and brought tears to my eyes.
This is a very high energy show that was obviously enjoyed by the full theatre (as far as I could see). It is certainly a feel good show based on a real story that made me laugh and cry but also left me feeling uplifted at the end.
This is a show that I can certainly recommend you go and see
National Tour
Theatre Royal
May 28th
The show was greeted with a very well deserved whole theatre standing ovation at the end.
This was an excellent production of a very good show. I have never seen it before and did wonder if it would be for me but it certainly was. I enjoyed every minute of it. It is now a new favourite of mine!
There were excellent performances from Joel Harper Jackson as Charlie Price. He is an actor who displayed the "triple threat" in abundance. Great singing, acting and dancing.
Kayi Ushe was a wonderful Lola, the Drag Queen whose characterisation and comedy timing was first class as was his dancing and singing.
Great supporting performances came from Paula Lane as Lauren, Demitri Lampra as Don, Helen Ternet as Niclola and Adam Price as George. The rest of the cast were excellent as well.
I particularly enjoyed "The Angels," Lola's Drag Dancers. The choreography by Jerry Mitchell, who also Directed the show, was dazzling which included gymnastics and great use of the set including conveyor belts which moved around the stage.
The set was dynamic and included a centre "box" which was moved around the stage and was changed in shape many times.
There are some great songs in the show that all but one were new to me. I really enjoyed "Sex is in the heel," "Everybody Say Yeah," "What a woman wants," "Hold me in your heart," and the Finale. The duet "Not my father's Son" sung by Charlie and Lola which was so well sung and brought tears to my eyes.
This is a very high energy show that was obviously enjoyed by the full theatre (as far as I could see). It is certainly a feel good show based on a real story that made me laugh and cry but also left me feeling uplifted at the end.
This is a show that I can certainly recommend you go and see
Our House
PTC
The Arts Theatre Nottingham
May 23rd
One of my favourite musicals, Our House is often know as the "Madness Musical." It is the latest production from the popular People's Theatre Company, the resident company of this theatre. Altough its is often called the Madness Musical it is not about the group.
It actually follows Camden lad Joe Casey who, on the night of his 16th birthday, makes a decision that will change his life forever.
Our House follows the two paths that Joe’s life could take after that fateful night. Over a period of seven years and two alternative lives Joe deals with the consequences of his actions.
Our House includes hit songs such as; 'Baggy Trousers', 'Driving in My Car', 'Wings of A Dove' and 'It Must Be Love' and many other Madness songs. It is not a Jukebox musical rather the songs are an integral part of the story.
Act one moved very quickly with some very energetic and powerful whole cast performances. “Baggy Trousers” was an excellent routine involving principals and a largish ensemble. It was very well choreographed and performed. The style is powerful an often geometric which fits very well with the Madness music. “Driving in my car” was another excellent routine which involved the 6 central characters.
The final song in the act, “Tomorrow’s Just another day” was fantastic with most of the cast in black and white. This was very impressive.
Playing the lead role is Harry Illyk Who is coping with what is a very large and demanding role very well indeed. His performance is full of power and excitement. He sings and dances well and is defining the two separate sides of Joe perfectly. He has some very quick changes which are very impressive indeed.
Lucie Conroy as his girlfriend has a lovely voice and I am enjoying her performance.
The four friends of Joe and Sarah are being well played by Joseph Smith, John Gill, Paige Shaw and Emma Gunn.
There are good performances from the other principals and the ensemble. All are putting considerable energy into their performances.
I need to mention Kerri Taylor, Mike Bulford, Bertie Black, Cliff Hart and Alex Huntley who are supporting well.
The choreography by Amy Rogers-Gee and production by Chris Teasdale is fast and furious and very good to watch. Scene changes are very slick.
The band sounds good under the control of David Hails and Sam Griffiths. The balance with the performers is good.
Sound and lighting is excellent (Rob Kerridge and Oliver Read).
Tonight’s performance of Our House was very enjoyable. Well done to all concerned. Go and see it and enjoy the songs of madness and the incredible enthusiasm of tonight’s cast.
PTC
The Arts Theatre Nottingham
May 23rd
One of my favourite musicals, Our House is often know as the "Madness Musical." It is the latest production from the popular People's Theatre Company, the resident company of this theatre. Altough its is often called the Madness Musical it is not about the group.
It actually follows Camden lad Joe Casey who, on the night of his 16th birthday, makes a decision that will change his life forever.
Our House follows the two paths that Joe’s life could take after that fateful night. Over a period of seven years and two alternative lives Joe deals with the consequences of his actions.
Our House includes hit songs such as; 'Baggy Trousers', 'Driving in My Car', 'Wings of A Dove' and 'It Must Be Love' and many other Madness songs. It is not a Jukebox musical rather the songs are an integral part of the story.
Act one moved very quickly with some very energetic and powerful whole cast performances. “Baggy Trousers” was an excellent routine involving principals and a largish ensemble. It was very well choreographed and performed. The style is powerful an often geometric which fits very well with the Madness music. “Driving in my car” was another excellent routine which involved the 6 central characters.
The final song in the act, “Tomorrow’s Just another day” was fantastic with most of the cast in black and white. This was very impressive.
Playing the lead role is Harry Illyk Who is coping with what is a very large and demanding role very well indeed. His performance is full of power and excitement. He sings and dances well and is defining the two separate sides of Joe perfectly. He has some very quick changes which are very impressive indeed.
Lucie Conroy as his girlfriend has a lovely voice and I am enjoying her performance.
The four friends of Joe and Sarah are being well played by Joseph Smith, John Gill, Paige Shaw and Emma Gunn.
There are good performances from the other principals and the ensemble. All are putting considerable energy into their performances.
I need to mention Kerri Taylor, Mike Bulford, Bertie Black, Cliff Hart and Alex Huntley who are supporting well.
The choreography by Amy Rogers-Gee and production by Chris Teasdale is fast and furious and very good to watch. Scene changes are very slick.
The band sounds good under the control of David Hails and Sam Griffiths. The balance with the performers is good.
Sound and lighting is excellent (Rob Kerridge and Oliver Read).
Tonight’s performance of Our House was very enjoyable. Well done to all concerned. Go and see it and enjoy the songs of madness and the incredible enthusiasm of tonight’s cast.
1984
Derby University Drama Students
Derby Theatre
May 24th 2019
The 2nd Year Students of Contemporary Theatre & Performance at Derby University and the play’s directors Sarah Brigham and Amanda Wallace, are to be congratulated for producing this gripping and thought provoking stage version of George Orwell’s novel.
It is very well imagined and realised, using all kinds of creative media; all involved have obviously worked very hard to develop character and tell a powerful story.
In many ways this is very much an ensemble piece, but I should mention in particular the focused and expressive work of Ewan McConnachie (Winston), Robert Boyle (O’Brien), Chelsea Forde (Julia), Simon Clarke (Chartington/ Parsons, Dylan Bull (Goldstein).
Others in the cast play Narrators and support parts with equal depth: they are Bethan Ratcliffe, Danielle Cope, Kaylee Jardine, Ana Turcu, Shania Waterston, Millie Parker, Chantelle Ruston, Destiny Rhule, Ruth Sutton and Kyle Taylor. All were fully immersed in character and paying a lot of attention to their physical acting, as well as their voice work. Very smooth scene changes are achieved by imaginative directing and the full involvement of the ensemble.
There is a palpable build up in this play, from a grumbling sense of discontent in the first act, to shocking scenes of torture and breakdown in the second. This is not only well handled by the actors, but brilliantly supported by the staging, lighting and sound. The starkness of the set and lighting, plus an intrusive tv monitor, combined with the horror of the ‘Hate Song’ and the chill of the ‘National Anthem’, is very powerful. The audience were drawn in and kept fully engrossed. I suspect the subject matter has led to much discussion about politics, too!
Derby University Drama Students
Derby Theatre
May 24th 2019
The 2nd Year Students of Contemporary Theatre & Performance at Derby University and the play’s directors Sarah Brigham and Amanda Wallace, are to be congratulated for producing this gripping and thought provoking stage version of George Orwell’s novel.
It is very well imagined and realised, using all kinds of creative media; all involved have obviously worked very hard to develop character and tell a powerful story.
In many ways this is very much an ensemble piece, but I should mention in particular the focused and expressive work of Ewan McConnachie (Winston), Robert Boyle (O’Brien), Chelsea Forde (Julia), Simon Clarke (Chartington/ Parsons, Dylan Bull (Goldstein).
Others in the cast play Narrators and support parts with equal depth: they are Bethan Ratcliffe, Danielle Cope, Kaylee Jardine, Ana Turcu, Shania Waterston, Millie Parker, Chantelle Ruston, Destiny Rhule, Ruth Sutton and Kyle Taylor. All were fully immersed in character and paying a lot of attention to their physical acting, as well as their voice work. Very smooth scene changes are achieved by imaginative directing and the full involvement of the ensemble.
There is a palpable build up in this play, from a grumbling sense of discontent in the first act, to shocking scenes of torture and breakdown in the second. This is not only well handled by the actors, but brilliantly supported by the staging, lighting and sound. The starkness of the set and lighting, plus an intrusive tv monitor, combined with the horror of the ‘Hate Song’ and the chill of the ‘National Anthem’, is very powerful. The audience were drawn in and kept fully engrossed. I suspect the subject matter has led to much discussion about politics, too!
Our House
People's Theatre Company
Nottingham Arts Theatre
May 23rd 2019
Act one moved very quickly with some very energetic and powerful whole cast performances. “Baggy Trousers” was an excellent routine involving principals and a largish ensemble. It was very well choreographed and performed. The style is powerful an often geometric which fits very well with the Madness music. “Driving in my car” was another excellent routine which involved the 6 central characters.
The final song in the act, “Tomorrow’s Just another day” was fantastic with most of the cast in black and white. This was very impressive.
Playing the lead role is Harry Illyk Who is coping with what is a very large and demanding role very well indeed. His performance is full of power and excitement. He sings and dances well and is defining the two separate sides of Joe perfectly. He has some very quick changes which are very impressive indeed.
Lucie Conroy as his girlfriend has a lovely voice and I am enjoying her performance.
The four friends of Joe and Sarah are being well played by Joseph Smith, John Gill, Paige Shaw and Emma Gunn.
There are good performances from the other principals and the ensemble. All are putting considerable energy into their performances.
I need to mention Kerri Taylor, Mike Bulford, Bertie Black, Cliff Hart and Alex Huntley who are supporting well.
The choreography by Amy Rogers-Gee and production by Chris Teasdale is fast and furious and very good to watch. Scene changes are very slick.
The band sounds good under the control of David Hails and Sam Griffiths. The balance with the performers is good.
Sound and lighting is excellent (Rob Kerridge and Oliver Read).
Tonight’s performance of Our House was very enjoyable. Well done to all concerned. Go and see it and enjoy the songs of madness and the incredible enthusiasm of tonight’s cast.
People's Theatre Company
Nottingham Arts Theatre
May 23rd 2019
Act one moved very quickly with some very energetic and powerful whole cast performances. “Baggy Trousers” was an excellent routine involving principals and a largish ensemble. It was very well choreographed and performed. The style is powerful an often geometric which fits very well with the Madness music. “Driving in my car” was another excellent routine which involved the 6 central characters.
The final song in the act, “Tomorrow’s Just another day” was fantastic with most of the cast in black and white. This was very impressive.
Playing the lead role is Harry Illyk Who is coping with what is a very large and demanding role very well indeed. His performance is full of power and excitement. He sings and dances well and is defining the two separate sides of Joe perfectly. He has some very quick changes which are very impressive indeed.
Lucie Conroy as his girlfriend has a lovely voice and I am enjoying her performance.
The four friends of Joe and Sarah are being well played by Joseph Smith, John Gill, Paige Shaw and Emma Gunn.
There are good performances from the other principals and the ensemble. All are putting considerable energy into their performances.
I need to mention Kerri Taylor, Mike Bulford, Bertie Black, Cliff Hart and Alex Huntley who are supporting well.
The choreography by Amy Rogers-Gee and production by Chris Teasdale is fast and furious and very good to watch. Scene changes are very slick.
The band sounds good under the control of David Hails and Sam Griffiths. The balance with the performers is good.
Sound and lighting is excellent (Rob Kerridge and Oliver Read).
Tonight’s performance of Our House was very enjoyable. Well done to all concerned. Go and see it and enjoy the songs of madness and the incredible enthusiasm of tonight’s cast.
Annie
National Tour
Royal Concert Hall, Nottingham
May 20th 2019
I loved the show which was very well produced and Craig Revell Horword’s performance was fabulous. The staging and choreography was stunning as was the lighting and sound. There was a great band that accompanied the cast very well. The balance was right throughout.
There was a hard working supporting cast and ensemble. There was huge amounts of energy on the stage tonight. The whole cast certainly gave their all. This is very much a foot tapping and sing a long type of show.
There was a very good response from the audience throughout and particularly at the end.
I certainly enjoyed it and it was certainly the best production of this show I have seen. Actually I think this is the best show I have seen this year and I now have Annie as one of my favourite shows. A Truly outstanding production.
National Tour
Royal Concert Hall, Nottingham
May 20th 2019
I loved the show which was very well produced and Craig Revell Horword’s performance was fabulous. The staging and choreography was stunning as was the lighting and sound. There was a great band that accompanied the cast very well. The balance was right throughout.
There was a hard working supporting cast and ensemble. There was huge amounts of energy on the stage tonight. The whole cast certainly gave their all. This is very much a foot tapping and sing a long type of show.
There was a very good response from the audience throughout and particularly at the end.
I certainly enjoyed it and it was certainly the best production of this show I have seen. Actually I think this is the best show I have seen this year and I now have Annie as one of my favourite shows. A Truly outstanding production.
Mack and Mabel
Carlton Operatic Society
Theatre Royal
May 9th 2019
I loved the show which was very well produced and Craig R H’s performance was fabulous. The staging and choreography was stunning as was the lighting and sound. There was a great band that accompanied the cast very well. The balance was right throughout.
There was a hard working supporting cast and ensemble. There was huge amounts of energy on the stage tonight. The whole cast certainly gave their all. This is very much a foot tapping and sing a long type of show.
There was a very good response from the audience throughout and particularly at the end.
I certainly enjoyed it and it was certainly the best production of this show I have seen. Actually I think this is the best show I have seen this year and I now have Annie as one of my favourite shows. A Truly outstanding production.
Carlton Operatic Society
Theatre Royal
May 9th 2019
I loved the show which was very well produced and Craig R H’s performance was fabulous. The staging and choreography was stunning as was the lighting and sound. There was a great band that accompanied the cast very well. The balance was right throughout.
There was a hard working supporting cast and ensemble. There was huge amounts of energy on the stage tonight. The whole cast certainly gave their all. This is very much a foot tapping and sing a long type of show.
There was a very good response from the audience throughout and particularly at the end.
I certainly enjoyed it and it was certainly the best production of this show I have seen. Actually I think this is the best show I have seen this year and I now have Annie as one of my favourite shows. A Truly outstanding production.
Rent
CTC
Loughborough Town Hall
May 1st 2019
Rent is a rock musical with music, lyrics, and book by Jonathan Larson and is very loosely based on Puccini's opera La Bohème. It tells the story of a group of impoverished young artists struggling to survive and create a life in Lower Manhattan's East Village in the thriving days of Bohemian Alphabet City, under the shadow of HIV/AIDS.
The musical was first seen in a workshop production at New York Theatre Workshop in 1993. Following the sudden death of Jonanthan Larson it moved onto Broadway where it gained critical acclaim and won several awards. The Broadway production closed on September 7, 2008, after a 12-year run of 5,123 performances.
The success of the show led to numerous world wide productions and In 2005, it was adapted into a movie featuring most of the original cast members.
This will be the 4th time I have seen it and have gradually warmed to it although I still find it hard to follow. However, the last time I saw it at Nottingham Playhouse (National Tour featuring Layton Williams) I enjoyed it more. I am hoping that this very talented company will help me to appreciate it even more. Their previous productions including Grease, Priscilla and others have been excellent so I guess I am expecting great things again tonight.
There are superb performances from Tom Pinny as Mark, Ash Bright as Roger, Michael Gamble as Tom (standing in for Craig Butterworth), Kristian Cunningham as Angel, Lucy Brown as Mimi, Holly Easter as Maureen, Eve Taylor as Joanne and Aaron Murray as Benny.
They are very well supported by a large energetic and powerful ensemble. The vocal performances are of a very high standard and songs like “Rent” “Seasons Of Love” “I Should Tell You”, “One Song Glory”, “Cover You”, “Without You”, “Maureen’s Tango” and “Take Me Or Leave Me” were great to listen to. The five piece band conducted by the MD Vicki Hing (assisted by Abi Parker) made a great sound and was very well balanced with the performers. The singing of Seasons of Love was beautifully performed by the whole cast.
The Lighting Design by Robert Bridges is excellent as is the sound by Rob Temperton, Harry Bridge and Rob Ketteridge.
The set is simple and used well by the cast and two moveable staircases are brilliant. The stage itself looks startling with painted designs which fit well with the period of the show.
The Stage Manager, Adrian Wray and his stage team kept everything moving smoothly and at a good pace.
As usual Director and choreographer Michael Gamble certainly made sure that everyone had plenty to do and the dancing was exciting and dynamic. He has obviously worked hard with the cast to ensure they were all heavily immersed in the action. In tonight’s performance he also played Tom proving he can direct and perform. A great asset to the company.
The show ended with a whole theatre standing ovation which was very well deserved.
To be honest I have to say that Rent has not been one of my favourite shows but each time I see it I seem enjoy it a little more. CTC’s production has given me more of an understanding of what it is about and tonight I really enjoyed it. I feel now I can happily see it again! I Loved the music too. Thank you CTC - could I be turning into a “Rent-head?” Who knows?
Once again CTC have produced a show of immense quality.
CTC
Loughborough Town Hall
May 1st 2019
Rent is a rock musical with music, lyrics, and book by Jonathan Larson and is very loosely based on Puccini's opera La Bohème. It tells the story of a group of impoverished young artists struggling to survive and create a life in Lower Manhattan's East Village in the thriving days of Bohemian Alphabet City, under the shadow of HIV/AIDS.
The musical was first seen in a workshop production at New York Theatre Workshop in 1993. Following the sudden death of Jonanthan Larson it moved onto Broadway where it gained critical acclaim and won several awards. The Broadway production closed on September 7, 2008, after a 12-year run of 5,123 performances.
The success of the show led to numerous world wide productions and In 2005, it was adapted into a movie featuring most of the original cast members.
This will be the 4th time I have seen it and have gradually warmed to it although I still find it hard to follow. However, the last time I saw it at Nottingham Playhouse (National Tour featuring Layton Williams) I enjoyed it more. I am hoping that this very talented company will help me to appreciate it even more. Their previous productions including Grease, Priscilla and others have been excellent so I guess I am expecting great things again tonight.
There are superb performances from Tom Pinny as Mark, Ash Bright as Roger, Michael Gamble as Tom (standing in for Craig Butterworth), Kristian Cunningham as Angel, Lucy Brown as Mimi, Holly Easter as Maureen, Eve Taylor as Joanne and Aaron Murray as Benny.
They are very well supported by a large energetic and powerful ensemble. The vocal performances are of a very high standard and songs like “Rent” “Seasons Of Love” “I Should Tell You”, “One Song Glory”, “Cover You”, “Without You”, “Maureen’s Tango” and “Take Me Or Leave Me” were great to listen to. The five piece band conducted by the MD Vicki Hing (assisted by Abi Parker) made a great sound and was very well balanced with the performers. The singing of Seasons of Love was beautifully performed by the whole cast.
The Lighting Design by Robert Bridges is excellent as is the sound by Rob Temperton, Harry Bridge and Rob Ketteridge.
The set is simple and used well by the cast and two moveable staircases are brilliant. The stage itself looks startling with painted designs which fit well with the period of the show.
The Stage Manager, Adrian Wray and his stage team kept everything moving smoothly and at a good pace.
As usual Director and choreographer Michael Gamble certainly made sure that everyone had plenty to do and the dancing was exciting and dynamic. He has obviously worked hard with the cast to ensure they were all heavily immersed in the action. In tonight’s performance he also played Tom proving he can direct and perform. A great asset to the company.
The show ended with a whole theatre standing ovation which was very well deserved.
To be honest I have to say that Rent has not been one of my favourite shows but each time I see it I seem enjoy it a little more. CTC’s production has given me more of an understanding of what it is about and tonight I really enjoyed it. I feel now I can happily see it again! I Loved the music too. Thank you CTC - could I be turning into a “Rent-head?” Who knows?
Once again CTC have produced a show of immense quality.
Jesus Christ Superstar
HMTC
Mansfield Palace Theatre
April 25th 2019
The Heanor Musical Theatre Company have a triumph on their hands.
This is a brilliant production of the show that has been brought right up to date. The whole cast are to be congratulated for the brilliance of their performances and the Director, Paul Young for his vision.
I have seen this show a number of times and this is stunning in all aspects. The principal performers are incredibly good singers and actors. This powerful show needs powerful voices and HMTC have found I guess some of the best in the area.
Playing the central role of Jesus is the quite outstanding Tom Lucking. He filled the theatre with his voice which was totally suited to the rock score. He also showed the agony that Jesus was destined to go through well. He has the looks and the hair of the traditional Jesus which contrasted well with the very modern looks of every one else. The song. “Gethsemane”’was perfect.
Andy Quinn as Judas also has an incredibly powerful voice. His performance was outstanding and spell binding. I loved the emotion in his voice and his fantastic ability to hit the top notes in the score.
I really liked the way in which Alana Moran plays Mary. There is an innocence and realism in her performance which is very good to see considering her traditional “bad reputation”. “I don’t know how to love him” was sung beautifully.
Matt Powell is a very camp and over the top King Herod who for this production becomes more of a tv chat show host than a king. He brought the house down with his song.
There are other excellent performances from Paul Mills as Pilate, Andrew Buxtonas Simon, Ben Sherwin as Peter, Kneenan Jones as Caiaphas, Adele Green as Annas, Kyle Fearn and Katy Gaskin as Priest - Reporter)
This fantastic production directed by Paul Young is fresh and dynamic and includes some of the best projections I have ever seen. Not just for the way they look but the way they enhance the story telling on stage. There are also some very exciting scenes that used live on and off stage video. This gives the production a feel of todays modern media. I have never seen that before and I liked it.
I will not describe them any further as they need to be seen to appreciate their considerable impact.
The choreography by Cat Howourth looked very good and the ensemble did not put a foot wrong throughout.
The quality of the singing is high and the Musical Director, Charlotte Daniel is to be commended for this and the great sound of the band. The lighting design is excellent and the sound balance between the band and the performers is good - not always easy in a rock opera.
The show ended with a very well deserved standing ovation.
Jesus Christ Superstar is not to everyone’s taste given the modern approach to this story but tonight I think it worked well. This was the best version of the show I have seen. The cast are superb and have given their all tonight to bring the story to life.
This production of JCS deserves full houses and standing ovations.
HMTC
Mansfield Palace Theatre
April 25th 2019
The Heanor Musical Theatre Company have a triumph on their hands.
This is a brilliant production of the show that has been brought right up to date. The whole cast are to be congratulated for the brilliance of their performances and the Director, Paul Young for his vision.
I have seen this show a number of times and this is stunning in all aspects. The principal performers are incredibly good singers and actors. This powerful show needs powerful voices and HMTC have found I guess some of the best in the area.
Playing the central role of Jesus is the quite outstanding Tom Lucking. He filled the theatre with his voice which was totally suited to the rock score. He also showed the agony that Jesus was destined to go through well. He has the looks and the hair of the traditional Jesus which contrasted well with the very modern looks of every one else. The song. “Gethsemane”’was perfect.
Andy Quinn as Judas also has an incredibly powerful voice. His performance was outstanding and spell binding. I loved the emotion in his voice and his fantastic ability to hit the top notes in the score.
I really liked the way in which Alana Moran plays Mary. There is an innocence and realism in her performance which is very good to see considering her traditional “bad reputation”. “I don’t know how to love him” was sung beautifully.
Matt Powell is a very camp and over the top King Herod who for this production becomes more of a tv chat show host than a king. He brought the house down with his song.
There are other excellent performances from Paul Mills as Pilate, Andrew Buxtonas Simon, Ben Sherwin as Peter, Kneenan Jones as Caiaphas, Adele Green as Annas, Kyle Fearn and Katy Gaskin as Priest - Reporter)
This fantastic production directed by Paul Young is fresh and dynamic and includes some of the best projections I have ever seen. Not just for the way they look but the way they enhance the story telling on stage. There are also some very exciting scenes that used live on and off stage video. This gives the production a feel of todays modern media. I have never seen that before and I liked it.
I will not describe them any further as they need to be seen to appreciate their considerable impact.
The choreography by Cat Howourth looked very good and the ensemble did not put a foot wrong throughout.
The quality of the singing is high and the Musical Director, Charlotte Daniel is to be commended for this and the great sound of the band. The lighting design is excellent and the sound balance between the band and the performers is good - not always easy in a rock opera.
The show ended with a very well deserved standing ovation.
Jesus Christ Superstar is not to everyone’s taste given the modern approach to this story but tonight I think it worked well. This was the best version of the show I have seen. The cast are superb and have given their all tonight to bring the story to life.
This production of JCS deserves full houses and standing ovations.
Evita
Kristian Thomas Company
Duchess Theatre Long Eaton
April 23rd 2019
Good evening and welcome once again to the Duchess Theatre in Long Eaton for the opening performance of Evita from the KT Company.
Evita is based on the historical story of María Eva Duarte de Perón, a poor Argentinian girl who grows up to be the wife of the president of Argentina, worshipped by her people.
As a young woman who longs for an acting career, fame, and fortune, Eva quickly learns that her feminine wiles hold power among a culture, and a political system, run by men. Once she makes it to Buenos Aires, Evita finds fame and power in her powers of seduction, eventually seducing the rising political figure, Juan Perón, who becomes the President of Argentina. As First Lady of Argentina, she aligns herself with the poor, winning herself, and Perón, popularity among Argentinians. Evita becomes a hero to the poor and the working class—and an enemy to the rich.
A young and unknown revolutionary, Ché, narrates the rise and fall of the beloved matriarch of the Argentinian people.
This blockbuster musical, made even more famous as a 1996 Hollywood film starring Madonna and Antonio Banderas, shows both the righteous determination, and the ruthless power, of Argentina’s 20th century matriarch.
Evita has music by Andrew Lloyd Webber and lyrics and book by Tim Rice and was first performed in 1978 following its first appearance as a rock opera concept album released in 1976. Its success led to productions in London's West End winning the Laurence Olivier Award for Best Musical, and on Broadway a year later, where it was the first British musical to receive the Tony Award for Best Musical.
Evita at the Duchess Theatre has finished with a very well deserved standing ovation.
The principal actors are very strong in their roles - Helen Perry (Eva Peron), Tom Simpson (Che), Chris Grantham (Peron), Richard Comfort (Magaldi) and Beth Denham (Mistress).
I was particularly impressed by the very talented and hardworking ensemble. They have a lot of dancing and movement to do courtesy of the choreographer, Kristian Cunningham. Exciting stuff too.
The Director, Alysha Gomes, is to be congratulated for making this a fast moving and exciting production and her use of the ensemble was excellent. There are an incredible number of quick changes for both principals and ensemble which are very smoothly executed.
The costumes are excellent, and I think very true to the period.
The lighting (Stephen Greatorex) is excellent and is used to good effect throughout the show.
The vocals are very well performed and the Musical Director, Tom Bond, has once again brought out the best in the cast.
I have to say though that the sound level from the band was too high making it sometimes difficult to hear some of the vocals. It was slightly better in Act 2 but still needs some attention. In such a powerful show as this the balance between the score and the performers is critical.
It was a shame that some excellent vocal performances were tonight not heard as well as they should be. I am sure that the necessary corrections will be made. However, the overall sound design (Hannah Griffiths) was good. The Band also sounded very good. Tonight's performance was conducted by Dave Adey.
This was a super production which once again shows what an excellent company of local talented performers this is. Congratulations to everyone concerned.
I don't often mention the Programme at shows but this one was first class with some super pictures in it taken, I would guess during the dress rehearsal.
Kristian Thomas Company
Duchess Theatre Long Eaton
April 23rd 2019
Good evening and welcome once again to the Duchess Theatre in Long Eaton for the opening performance of Evita from the KT Company.
Evita is based on the historical story of María Eva Duarte de Perón, a poor Argentinian girl who grows up to be the wife of the president of Argentina, worshipped by her people.
As a young woman who longs for an acting career, fame, and fortune, Eva quickly learns that her feminine wiles hold power among a culture, and a political system, run by men. Once she makes it to Buenos Aires, Evita finds fame and power in her powers of seduction, eventually seducing the rising political figure, Juan Perón, who becomes the President of Argentina. As First Lady of Argentina, she aligns herself with the poor, winning herself, and Perón, popularity among Argentinians. Evita becomes a hero to the poor and the working class—and an enemy to the rich.
A young and unknown revolutionary, Ché, narrates the rise and fall of the beloved matriarch of the Argentinian people.
This blockbuster musical, made even more famous as a 1996 Hollywood film starring Madonna and Antonio Banderas, shows both the righteous determination, and the ruthless power, of Argentina’s 20th century matriarch.
Evita has music by Andrew Lloyd Webber and lyrics and book by Tim Rice and was first performed in 1978 following its first appearance as a rock opera concept album released in 1976. Its success led to productions in London's West End winning the Laurence Olivier Award for Best Musical, and on Broadway a year later, where it was the first British musical to receive the Tony Award for Best Musical.
Evita at the Duchess Theatre has finished with a very well deserved standing ovation.
The principal actors are very strong in their roles - Helen Perry (Eva Peron), Tom Simpson (Che), Chris Grantham (Peron), Richard Comfort (Magaldi) and Beth Denham (Mistress).
I was particularly impressed by the very talented and hardworking ensemble. They have a lot of dancing and movement to do courtesy of the choreographer, Kristian Cunningham. Exciting stuff too.
The Director, Alysha Gomes, is to be congratulated for making this a fast moving and exciting production and her use of the ensemble was excellent. There are an incredible number of quick changes for both principals and ensemble which are very smoothly executed.
The costumes are excellent, and I think very true to the period.
The lighting (Stephen Greatorex) is excellent and is used to good effect throughout the show.
The vocals are very well performed and the Musical Director, Tom Bond, has once again brought out the best in the cast.
I have to say though that the sound level from the band was too high making it sometimes difficult to hear some of the vocals. It was slightly better in Act 2 but still needs some attention. In such a powerful show as this the balance between the score and the performers is critical.
It was a shame that some excellent vocal performances were tonight not heard as well as they should be. I am sure that the necessary corrections will be made. However, the overall sound design (Hannah Griffiths) was good. The Band also sounded very good. Tonight's performance was conducted by Dave Adey.
This was a super production which once again shows what an excellent company of local talented performers this is. Congratulations to everyone concerned.
I don't often mention the Programme at shows but this one was first class with some super pictures in it taken, I would guess during the dress rehearsal.
Rough Crossing
National Tour
Theatre Royal Nottingham
April 15th 2019
This national tour of the play is produced by Bill Kenwright and stars John Partridge, winner of this year’s Celebrity Masterchef and well known to TV audiences as EastEnders’ charismatic Christian Clarke. He is also one of West End theatre’s most prolific leading men (A Chorus Line, Chicago, and La Cage Aux Folles).
John is joined by Olivier-award nominee Charlie Stemp, fresh from his Palladium and Broadway triumphs (Hello, Dolly!, Half a Sixpence). They are joined by West-End star Issy van Randwyck (Fascinating Aïda), comedy TV favourite Matthew Cottle (Game On, The Windsors), Holby City’s Rob Ostlere (Arthur Digby) and Simon Dutton, TV’s Simon Templar (The Saint).
The play is about two famous playwrights, one jealous composer, an unorthodox waiter, and a mistimed lifeboat drill… let the sharp Atlantic winds turn to gales of hysterical laughter as our colourful characters become tantalisingly tangled in a Stoppardian string of absurd events, as they feverishly try to rehearse a show whilst en route to New York.
This is not a musical as such but does feature some songs and music by Andre Previn.
I enjoyed the play particularly for the excellent performances from the cast. All are accomplished actors who were great to watch and listen to. It is very wordy and you need to listen carefully throughout to keep up with the fast paced plot.
The two level set was impressive and was authentic of the 1930’s, as were the costumes. Both were designed by Colin Richmond.
This is not a musical but there are songs with lyrics by Tom Stoppard and music by Andre Previn. I liked them very much. They were catchy and appropriate to the period.
At the end one of the songs is performed by all 6 actors, which included a tap routine by John Partridge and Charlie Stemp. This was great!
While the play itself is relatively short (under two hours including the interval), it is entertaining and well directed by Rachel Kavanaugh, with choreography by Alistair David and Musical Direction by Louisa Green.
National Tour
Theatre Royal Nottingham
April 15th 2019
This national tour of the play is produced by Bill Kenwright and stars John Partridge, winner of this year’s Celebrity Masterchef and well known to TV audiences as EastEnders’ charismatic Christian Clarke. He is also one of West End theatre’s most prolific leading men (A Chorus Line, Chicago, and La Cage Aux Folles).
John is joined by Olivier-award nominee Charlie Stemp, fresh from his Palladium and Broadway triumphs (Hello, Dolly!, Half a Sixpence). They are joined by West-End star Issy van Randwyck (Fascinating Aïda), comedy TV favourite Matthew Cottle (Game On, The Windsors), Holby City’s Rob Ostlere (Arthur Digby) and Simon Dutton, TV’s Simon Templar (The Saint).
The play is about two famous playwrights, one jealous composer, an unorthodox waiter, and a mistimed lifeboat drill… let the sharp Atlantic winds turn to gales of hysterical laughter as our colourful characters become tantalisingly tangled in a Stoppardian string of absurd events, as they feverishly try to rehearse a show whilst en route to New York.
This is not a musical as such but does feature some songs and music by Andre Previn.
I enjoyed the play particularly for the excellent performances from the cast. All are accomplished actors who were great to watch and listen to. It is very wordy and you need to listen carefully throughout to keep up with the fast paced plot.
The two level set was impressive and was authentic of the 1930’s, as were the costumes. Both were designed by Colin Richmond.
This is not a musical but there are songs with lyrics by Tom Stoppard and music by Andre Previn. I liked them very much. They were catchy and appropriate to the period.
At the end one of the songs is performed by all 6 actors, which included a tap routine by John Partridge and Charlie Stemp. This was great!
While the play itself is relatively short (under two hours including the interval), it is entertaining and well directed by Rachel Kavanaugh, with choreography by Alistair David and Musical Direction by Louisa Green.
Fame
LEOs Musical Theatre Company
May Hall Theatre, Trent College, Long Eaton
April 13th
This is a stage musical based on the 1980 musical film of the same name.
The Musical conceived and developed by David De Silva,has a book by José Fernandez, music by Steve Margoshes and lyrics by Jacques Levy. It was first premiered in 1988 in Miami, Florida.
De Silva had produced the 1980 film about students at New York City's High School of Performing Arts. The critically and commercially successful film was followed by a six-season television series and the musical. The musical is significantly rewritten from the previous adaptations, with an almost entirely new score. The film is referred to several times in the script and in two songs.
It tells the story of several students who attend the High School of Performing Arts, among them fame-obsessed Carmen, ambitious actress Serena, wisecracking comedian/bad boy Joe, quiet violinist Schlomo, "talented but dyslexic" dancer Tyrone, determined actor Nick, overweight dancer Mabel, and serious dancer, Iris, from a poor family.
Since the first production of the show Fame it has had hundreds of professional and amateur productions in every major language. I have seen it many times and really enjoy the exciting songs and dance routines.
onight’s final performance from The Long Eaton Operatic Society received a good ovation at the end. The mainly young cast have produced a good show and performed it with power and enthusiasm.
There were some strong principal performers and a very supportive singing and dancing ensemble.
The Director, and Choreographer injected some excellent movement and dancing into the production and all the cast were often given interesting individual things to do. The composite set on two levels was well used.
Stage Management was good and scene changes were quick and often invisible.
There was an excellent band accompanying the cast but I did feel that occasionally the balance between it and the performers was not quite right.
What was obvious was that the actors were confident in their performances and put their hearts and souls into it. The excellent Finale gave them the opportunity to enjoy the big show numbers including Bring On Tomorrow, Hard Work and Fame itself. Great singing and dancing during this.
The cast was:
Emily Corner as Carmen Diaz, Ellie Simmonds as Grace Lamb, Rob Chilton as Schlomo, Natalie Brown as Serena, Harvey Latter as Nick Piazza with Lydia Thacker as Iris. Jake Truman as Tyrone, Jack Woolley as Joe, Thomas Phipps as Goody King, Alex Tavener as Miss Sherman, Emma Collins as Ms Bell,
Adam Guest as Mr Sheinkopf,
Molly Parkinson as Sonia, Simon Parker as Mr Myers - the drama teacher, Louise Seel as Mrs Peterson, Katie MacDonald as Jessica, Erin Hill as Tiffany, Amy Parker as Mabel and Jenny Ashworth as Nicole.
The Director was Adam Daniels.
The Choreographer was Rachel Murray.
The Musical Director was Tom Watkins.
Sound was by Sam Lenord.
Lighting was by Stephen Greatorex.
Stage Management by John Woolley.
The next show from what will be from tomorrow LEOs Musical Theatre Company will be My Fair Lady in October.
By their next show it is expected that the May Hall Theatre will have new tiered seating installed which will greatly improve this good venue.
LEOs Musical Theatre Company
May Hall Theatre, Trent College, Long Eaton
April 13th
This is a stage musical based on the 1980 musical film of the same name.
The Musical conceived and developed by David De Silva,has a book by José Fernandez, music by Steve Margoshes and lyrics by Jacques Levy. It was first premiered in 1988 in Miami, Florida.
De Silva had produced the 1980 film about students at New York City's High School of Performing Arts. The critically and commercially successful film was followed by a six-season television series and the musical. The musical is significantly rewritten from the previous adaptations, with an almost entirely new score. The film is referred to several times in the script and in two songs.
It tells the story of several students who attend the High School of Performing Arts, among them fame-obsessed Carmen, ambitious actress Serena, wisecracking comedian/bad boy Joe, quiet violinist Schlomo, "talented but dyslexic" dancer Tyrone, determined actor Nick, overweight dancer Mabel, and serious dancer, Iris, from a poor family.
Since the first production of the show Fame it has had hundreds of professional and amateur productions in every major language. I have seen it many times and really enjoy the exciting songs and dance routines.
onight’s final performance from The Long Eaton Operatic Society received a good ovation at the end. The mainly young cast have produced a good show and performed it with power and enthusiasm.
There were some strong principal performers and a very supportive singing and dancing ensemble.
The Director, and Choreographer injected some excellent movement and dancing into the production and all the cast were often given interesting individual things to do. The composite set on two levels was well used.
Stage Management was good and scene changes were quick and often invisible.
There was an excellent band accompanying the cast but I did feel that occasionally the balance between it and the performers was not quite right.
What was obvious was that the actors were confident in their performances and put their hearts and souls into it. The excellent Finale gave them the opportunity to enjoy the big show numbers including Bring On Tomorrow, Hard Work and Fame itself. Great singing and dancing during this.
The cast was:
Emily Corner as Carmen Diaz, Ellie Simmonds as Grace Lamb, Rob Chilton as Schlomo, Natalie Brown as Serena, Harvey Latter as Nick Piazza with Lydia Thacker as Iris. Jake Truman as Tyrone, Jack Woolley as Joe, Thomas Phipps as Goody King, Alex Tavener as Miss Sherman, Emma Collins as Ms Bell,
Adam Guest as Mr Sheinkopf,
Molly Parkinson as Sonia, Simon Parker as Mr Myers - the drama teacher, Louise Seel as Mrs Peterson, Katie MacDonald as Jessica, Erin Hill as Tiffany, Amy Parker as Mabel and Jenny Ashworth as Nicole.
The Director was Adam Daniels.
The Choreographer was Rachel Murray.
The Musical Director was Tom Watkins.
Sound was by Sam Lenord.
Lighting was by Stephen Greatorex.
Stage Management by John Woolley.
The next show from what will be from tomorrow LEOs Musical Theatre Company will be My Fair Lady in October.
By their next show it is expected that the May Hall Theatre will have new tiered seating installed which will greatly improve this good venue.
The Jungle Book
Derby Theatre
April 11th 2019
Review by Paul Stacey
Jungle Book - Derby Theatre - Review by our Guest Reviewer Paul Stacey who also presents on Erewash Sound 96.8FM (The Breakfast Show - 7am Monday to Friday).
It may be 125 years since Rudyard Kipling’s collection of stories was published, but the themes of growing-up and learning to find your way in the world are shown to be timeless and fun for the whole family to enjoy in this stage adaptation by Neil Duffield.
Derby Theatre, Tuesday 9th April 2019
From the outset it is clear that this is no ordinary performance with subtitles projected to the tops of the trees alongside dialogue and lyrics being signed throughout either by the actors themselves or an accompanying character on stage. This is an acknowledgment by director Sarah Brigham that every performance should be accessible, not just a one-off captioned or interpreted show. And the result is astounding, making British Sign Language an integral part of the show for Derby which has the largest Deaf population outside of London.
It’s a fast-moving show that will surely keep the children and grown-ups entertained with the familiar characters from the outset – Shere Khan the tiger, Mowgli the ‘man cub’, Baloo the bear and Bagheera the panther to name but a few. It’s a witty adaptation supported by upbeat original music numbers brought to life with live performances as part of the action on stage.
You’re transported into the heart of the jungle from the beginning with the trees the centrepiece of the stage. The costumes are brilliant and quirky interpretations of the jungle animals, brought to life in perhaps more colourful ways than you might find them in the wild – who would forget a bright pink stripy monkey in a hurry!
For those who have seen previous Christmas productions such as Alice in Wonderland you will be not be disappointed by this family show timed perfectly for the school Easter holidays. Professional actors, including Deaf, hearing and interpreting actors and a community cast aged between 8 and 60 show-off the diversity and the talent of the local area.
Derby Theatre
April 11th 2019
Review by Paul Stacey
Jungle Book - Derby Theatre - Review by our Guest Reviewer Paul Stacey who also presents on Erewash Sound 96.8FM (The Breakfast Show - 7am Monday to Friday).
It may be 125 years since Rudyard Kipling’s collection of stories was published, but the themes of growing-up and learning to find your way in the world are shown to be timeless and fun for the whole family to enjoy in this stage adaptation by Neil Duffield.
Derby Theatre, Tuesday 9th April 2019
From the outset it is clear that this is no ordinary performance with subtitles projected to the tops of the trees alongside dialogue and lyrics being signed throughout either by the actors themselves or an accompanying character on stage. This is an acknowledgment by director Sarah Brigham that every performance should be accessible, not just a one-off captioned or interpreted show. And the result is astounding, making British Sign Language an integral part of the show for Derby which has the largest Deaf population outside of London.
It’s a fast-moving show that will surely keep the children and grown-ups entertained with the familiar characters from the outset – Shere Khan the tiger, Mowgli the ‘man cub’, Baloo the bear and Bagheera the panther to name but a few. It’s a witty adaptation supported by upbeat original music numbers brought to life with live performances as part of the action on stage.
You’re transported into the heart of the jungle from the beginning with the trees the centrepiece of the stage. The costumes are brilliant and quirky interpretations of the jungle animals, brought to life in perhaps more colourful ways than you might find them in the wild – who would forget a bright pink stripy monkey in a hurry!
For those who have seen previous Christmas productions such as Alice in Wonderland you will be not be disappointed by this family show timed perfectly for the school Easter holidays. Professional actors, including Deaf, hearing and interpreting actors and a community cast aged between 8 and 60 show-off the diversity and the talent of the local area.
Betty Blue Eyes
Central Musical Theatre
Duchess Theatre Long Eaton
March 30th 2019
It is a 2011 stage musical comedy based on the 1984 film A Private Function and features music by George Stiles, with lyrics by Anthony Drewe. The book was written for the stage by Ron Cowen and Daniel Lipman, adapted from Alan Bennett's original screenplay.
The story is set in 1947 when the country’s long-suffering citizens are being told by the government that there will be fair shares for all in return for surviving Austerity Britain.
Meanwhile local officials feather their own nests by taking far more than their own fair share. Having won the war Britain seems to have lost the peace, and the country is staggering under the burden of acute rationing, unemployment and the coldest winter for decades.
The only bright spark on the horizon is the impending marriage of Princess Elizabeth and Prince Philip.
We find in this situation a number eccentric characters, such as the strange odd couple, Gilbert – an evangelistic chiropodist, and Joyce – a nobody determined to be somebody; Inspector Wormold - an obsessive destroyer of illegal meat; Mother Dear – ‘She’s seventy four and ravenous’; along with a weird assortment of bullies, spivs and snobs and of course, our star, Betty the pig.
What a great show it was. I really enjoyed it and say well to the cast, production team, tech team and all concerned.
The standard of performance was very high and the singing quality was fabulous. They coped extremely well with the many ensemble harmonies which sounded perfect.
The atmosphere of the 1940’s was very well captured by the excellent costumes, projections and authentic props.
The animatronic Betty was outstanding as good as the one I saw in the West End Production.
The orchestra was fabulous producing a rich sound and again sounded realistically like a band of the 40’s. The Musical Director was Alison Sharp and the band was conducted by David Blackwell.
There was a very strong principal line up and in addition to the 3 mentioned in my brief interval comments include John Wedgwood (Wormold), Steven Dunning (Lockwood), Paul Kirkland ( Swaby) and Adrian Redfern (Henry).
There was also a very strong supporting cast some of whom had cameo parts. The excellent choreography was by Fiona Carratu.
The Director Lorna Kirkland and her production team have brought an excellent show to the Duchess. Well done to all. I loved it.
Central Musical Theatre
Duchess Theatre Long Eaton
March 30th 2019
It is a 2011 stage musical comedy based on the 1984 film A Private Function and features music by George Stiles, with lyrics by Anthony Drewe. The book was written for the stage by Ron Cowen and Daniel Lipman, adapted from Alan Bennett's original screenplay.
The story is set in 1947 when the country’s long-suffering citizens are being told by the government that there will be fair shares for all in return for surviving Austerity Britain.
Meanwhile local officials feather their own nests by taking far more than their own fair share. Having won the war Britain seems to have lost the peace, and the country is staggering under the burden of acute rationing, unemployment and the coldest winter for decades.
The only bright spark on the horizon is the impending marriage of Princess Elizabeth and Prince Philip.
We find in this situation a number eccentric characters, such as the strange odd couple, Gilbert – an evangelistic chiropodist, and Joyce – a nobody determined to be somebody; Inspector Wormold - an obsessive destroyer of illegal meat; Mother Dear – ‘She’s seventy four and ravenous’; along with a weird assortment of bullies, spivs and snobs and of course, our star, Betty the pig.
What a great show it was. I really enjoyed it and say well to the cast, production team, tech team and all concerned.
The standard of performance was very high and the singing quality was fabulous. They coped extremely well with the many ensemble harmonies which sounded perfect.
The atmosphere of the 1940’s was very well captured by the excellent costumes, projections and authentic props.
The animatronic Betty was outstanding as good as the one I saw in the West End Production.
The orchestra was fabulous producing a rich sound and again sounded realistically like a band of the 40’s. The Musical Director was Alison Sharp and the band was conducted by David Blackwell.
There was a very strong principal line up and in addition to the 3 mentioned in my brief interval comments include John Wedgwood (Wormold), Steven Dunning (Lockwood), Paul Kirkland ( Swaby) and Adrian Redfern (Henry).
There was also a very strong supporting cast some of whom had cameo parts. The excellent choreography was by Fiona Carratu.
The Director Lorna Kirkland and her production team have brought an excellent show to the Duchess. Well done to all. I loved it.
Benidorm Live
National Tour
Theatre Royal Nottingham
‘Benidorm’ is not only one of my favourite TV series but one of my favourite places.
Benidorm Live is the stage adaption of Derren Litten’shis popular tv series. This national tour began in Newcastle on 7th September 2018, and will end in Canterbury on 20th April this year. Describing the show Derren Litten has written:
"A live stage show Benidorm has been talked about for many years. My agent and I first started talking about a stage tour with a different producer who was very keen but said only an arena tour would be financially viable. I don’t know much about producing theatre shows but I knew this definitely wasn’t the case.It has everything you love in [the] show, outrageous comedy, brilliant music, something to make you laugh and maybe even to make you cry. I genuinely can’t wait for you to see it. This is a show that needs to be experienced in the theatre."
The show was very well received by the pretty full theatre and ended with a standing ovation. There was a very well choreographed and performed version of Viva Espania at the end which I really enjoyed.
The show itself was not as closely related to the style of the TV show which I personally found disappointing but overall it was a good evenings entertainment. I suppose in a relatively short time on stage it was impossible to capture the atmosphere and develop the characters as was possible in a long running small screen comedy drama. However, it was well performed by the cast and there was considerable energy throughout.
It was good to see a number of the original cast including Jake Canuso (Mateo), Janine Duvitski (Jacqueline), Adam Gillen (Liam),
Sherrie Hewson(Joyce), Shelley Longworth (Sam),
Tony Maudsley (Kenneth).
Plus Tricia Adele-Turner (Sophie), Bradley Clarkson (Ben), Will Jennings (Ricky) and Damian Williams (Gay Derek).
There was also a strong and hard working ensemble, many of whom played small cameo roles.
As I said earlier the set was excellent as was the lighting and sound.
The Direction by Ed Curtis was tight and slick which kept the show moving at quite a pace and the choreography by Alan Harding was dynamic and exciting.
National Tour
Theatre Royal Nottingham
‘Benidorm’ is not only one of my favourite TV series but one of my favourite places.
Benidorm Live is the stage adaption of Derren Litten’shis popular tv series. This national tour began in Newcastle on 7th September 2018, and will end in Canterbury on 20th April this year. Describing the show Derren Litten has written:
"A live stage show Benidorm has been talked about for many years. My agent and I first started talking about a stage tour with a different producer who was very keen but said only an arena tour would be financially viable. I don’t know much about producing theatre shows but I knew this definitely wasn’t the case.It has everything you love in [the] show, outrageous comedy, brilliant music, something to make you laugh and maybe even to make you cry. I genuinely can’t wait for you to see it. This is a show that needs to be experienced in the theatre."
The show was very well received by the pretty full theatre and ended with a standing ovation. There was a very well choreographed and performed version of Viva Espania at the end which I really enjoyed.
The show itself was not as closely related to the style of the TV show which I personally found disappointing but overall it was a good evenings entertainment. I suppose in a relatively short time on stage it was impossible to capture the atmosphere and develop the characters as was possible in a long running small screen comedy drama. However, it was well performed by the cast and there was considerable energy throughout.
It was good to see a number of the original cast including Jake Canuso (Mateo), Janine Duvitski (Jacqueline), Adam Gillen (Liam),
Sherrie Hewson(Joyce), Shelley Longworth (Sam),
Tony Maudsley (Kenneth).
Plus Tricia Adele-Turner (Sophie), Bradley Clarkson (Ben), Will Jennings (Ricky) and Damian Williams (Gay Derek).
There was also a strong and hard working ensemble, many of whom played small cameo roles.
As I said earlier the set was excellent as was the lighting and sound.
The Direction by Ed Curtis was tight and slick which kept the show moving at quite a pace and the choreography by Alan Harding was dynamic and exciting.
Chicago
Cabaret Theatre Company
Brewhouse Burton
March 9th 2019
Chicago is a story of murder, greed, corruption, exploitation, adultery and treachery – in fact it has it all! It is an iconic musical which takes us into the world of Jazz and liquor in the 1920’s with fame hungry Roxie, her cellblock rival and fellow murderess, Velma and smooth-talking lawyer, Billy Flynn. The story is told mainly through the songs and dances, plus narrations from members of the cast.
As such it is in a vaudeville style which does not require much in the way of scenery or props. What it does require is high quality acting, dancing and singing and the creation of a vibrant atmosphere - this production certainly had all those things in abundance.
The principals, Sian Scattergood (Roxie), Sara Evans-Bolger (Velma), Hilary Leam (Matron), Duncan Leech (Billy), Dan Webber (Amos) and D Carter (Mary Sunshine) were all breathtakingly good. They are all very accomplished actors, singers and dancers with standards of performance that put them squarely in the realms of professionalism.
Sian and Sara made the most of their starring roles, giving us uncompromising, thoroughly convincing portrayals of hard hearted divas: thrillingly entertaining and simply wonderful to watch. Their duets of My Own Best Friend and Nowadays were perfect and their solos of Funny Honey (Roxie) and I Can’t Do it Alone (Velma), were real treats.
Duncan’s Billy was coolly assured and swaggeringly nonchalant; his stage presence in all his scenes was commanding. The incredibly detailed and beautifully choreographed We Both Reach for the Gun with Roxie and Billy, was a real comic highlight. Lovely characterisations of Mama Morton and Mary Sunshine added so much to the fun, with their solos of When You’re Good to Mama and A Little Bit of Good, both performed fabulously.
In support roles were Ashleigh Dudson (June), Maisie Ellis (Liz), Elena Foster (Mona), Stephanie Leeson (Annie), Andrea Osbourne (Hunyak), Nick Holburn (Fred) and Amy Milner (Go-to-Hell Kitty). The wonderful Cell Block Tango allowed the cell mates to shine: it was performed beautifully and much appreciated by the audience
There was also a very strong ensemble which did a wonderful job, not only singing and dancing brilliantly, but looking so good, too. The dances in particular, choreographed by Sally Everson, were fantastic. I was in awe of the very high standard of performance from everyone throughout. Very well done to Lauren Bishop, Lorien Conti, Chris Moss, Aimee Shelton, Harry Whetton and Hannah Wright.
There was an excellent 8-piece band led by the Musical Director, Charlotte Daniels. They accompanied the cast sympathetically and the sound balance was perfect. There are such great songs in this show: All That Jazz, Me and My Baby, Razzle Dazzle and All I Care About to mention but a few. They all sounded great!
The production team of Chris Moss (Director), Sally Everson (Producer/ Choreographer), Andrea Osborne (Choreographer) and Charlotte Daniels (Musical Director) are to be congratulated for producing a show of such class, with high standards in all areas.
The atmosphere I mentioned earlier was beautifully created by pace, lighting, clever staging and costumes- and performances which engaged thoroughly from start to finish. The amount of work which must have gone into realising this vision was phenomenal, but the Company should be thrilled and very proud of what they achieved.
The packed theatre and myself were treated to a great night’s entertainment and the hugely positive comments I heard on the way out of the theatre confirmed this.
The Cabaret Theatre Company prove that you don’t need to go far in the East Midlands to find incredibly creative and talented people, who compare very favourably with the best in the country.
This was in all respects, a professional level production.
Cabaret Theatre Company
Brewhouse Burton
March 9th 2019
Chicago is a story of murder, greed, corruption, exploitation, adultery and treachery – in fact it has it all! It is an iconic musical which takes us into the world of Jazz and liquor in the 1920’s with fame hungry Roxie, her cellblock rival and fellow murderess, Velma and smooth-talking lawyer, Billy Flynn. The story is told mainly through the songs and dances, plus narrations from members of the cast.
As such it is in a vaudeville style which does not require much in the way of scenery or props. What it does require is high quality acting, dancing and singing and the creation of a vibrant atmosphere - this production certainly had all those things in abundance.
The principals, Sian Scattergood (Roxie), Sara Evans-Bolger (Velma), Hilary Leam (Matron), Duncan Leech (Billy), Dan Webber (Amos) and D Carter (Mary Sunshine) were all breathtakingly good. They are all very accomplished actors, singers and dancers with standards of performance that put them squarely in the realms of professionalism.
Sian and Sara made the most of their starring roles, giving us uncompromising, thoroughly convincing portrayals of hard hearted divas: thrillingly entertaining and simply wonderful to watch. Their duets of My Own Best Friend and Nowadays were perfect and their solos of Funny Honey (Roxie) and I Can’t Do it Alone (Velma), were real treats.
Duncan’s Billy was coolly assured and swaggeringly nonchalant; his stage presence in all his scenes was commanding. The incredibly detailed and beautifully choreographed We Both Reach for the Gun with Roxie and Billy, was a real comic highlight. Lovely characterisations of Mama Morton and Mary Sunshine added so much to the fun, with their solos of When You’re Good to Mama and A Little Bit of Good, both performed fabulously.
In support roles were Ashleigh Dudson (June), Maisie Ellis (Liz), Elena Foster (Mona), Stephanie Leeson (Annie), Andrea Osbourne (Hunyak), Nick Holburn (Fred) and Amy Milner (Go-to-Hell Kitty). The wonderful Cell Block Tango allowed the cell mates to shine: it was performed beautifully and much appreciated by the audience
There was also a very strong ensemble which did a wonderful job, not only singing and dancing brilliantly, but looking so good, too. The dances in particular, choreographed by Sally Everson, were fantastic. I was in awe of the very high standard of performance from everyone throughout. Very well done to Lauren Bishop, Lorien Conti, Chris Moss, Aimee Shelton, Harry Whetton and Hannah Wright.
There was an excellent 8-piece band led by the Musical Director, Charlotte Daniels. They accompanied the cast sympathetically and the sound balance was perfect. There are such great songs in this show: All That Jazz, Me and My Baby, Razzle Dazzle and All I Care About to mention but a few. They all sounded great!
The production team of Chris Moss (Director), Sally Everson (Producer/ Choreographer), Andrea Osborne (Choreographer) and Charlotte Daniels (Musical Director) are to be congratulated for producing a show of such class, with high standards in all areas.
The atmosphere I mentioned earlier was beautifully created by pace, lighting, clever staging and costumes- and performances which engaged thoroughly from start to finish. The amount of work which must have gone into realising this vision was phenomenal, but the Company should be thrilled and very proud of what they achieved.
The packed theatre and myself were treated to a great night’s entertainment and the hugely positive comments I heard on the way out of the theatre confirmed this.
The Cabaret Theatre Company prove that you don’t need to go far in the East Midlands to find incredibly creative and talented people, who compare very favourably with the best in the country.
This was in all respects, a professional level production.
Avenue Q
Derby Theatre
Monday March 18th 2019
Avenue Q is a musical comedy featuring puppets and human actors with music and lyrics by Robert Lopez and Jeff Marx and book by Jeff Whitty. The show won Best Musical, Book, and Score at the 2004 Tony Awards. It has received many favourable reviews for its approach on topics like racism.
The national tour of the show is produced by Sellinor Productions who are responsible for a number of successful tours of popular shows such as Spamalot.
I have wanted to see the show for a very long time and I enjoyed it although it was perhaps not quite as funny as I expected. The show itself was probably more “shocking” 16 years ago when it first appeared but although attitudes have changed it still packs a bit of a punch and still has a number of important things to say about society today.
The Principal Cast of Lawrence Smith. (Princeton / Rod.), Cecily Redman. (Kate Monster / Lucy the Slut),
Tom Steedon (Nicky / Trekkie Monster / Bad Idea Bear), Megan Armstrong (Mrs T / Bad Idea Bear / 2nd Arm), Oliver Stanley (Brian), Saori Oda (Christmas Eve) is excellent. After only a short while the puppets take over and their operators became part of them and vice versa. The puppets and the actors are very engaging.
All of the actor/puppeteers portray their puppet selves with amazing skill and there are also many amusing performances from the human characters. Lawrence Smith’s bubbly bright-eyed energy works perfectly for Princeton and, though she is the only cast member without a solo, Megan Armstrong is outstanding; with her puppet and voice work consistently entertaining and very funny. The singing and dancing is first class as you would expect from a professional company. I liked many of the songs and the band was excellent.
The bright and colourful set is very good to look at and is cleverly used and lit well. The sound quality was very good and I could hear every word that was sung or spoken.
While everyone in the cast is very good, Cecily Redman is brilliant as Kate Monster; her singing of ‘There’s A Fine, Fine Line’ is a definite highlight of the show for me.
There is also a very hard working ensemble of Nicholas Mclean, Gary Coleman, Jasmine Beel, Ellis Dackombe and Robbie Noonan.
This is a very entertaining production and I can certainly now see “what all the fuzz is about.” If, like me, you have never seen the show do not miss the opportunity at Derby Theatre this week.
This is a fabulous production which continues until Saturday.
The shows Creatives were:
Cressida Carre: Director & Choreographer
Richard Evans: Designer
Charlie Morgan Jones: Lighting Designer
Chris Bogg: Sound Designer
Paul Jomain: Puppet Designer
Nigel Plaskitt: Puppet Coach
Derby Theatre
Monday March 18th 2019
Avenue Q is a musical comedy featuring puppets and human actors with music and lyrics by Robert Lopez and Jeff Marx and book by Jeff Whitty. The show won Best Musical, Book, and Score at the 2004 Tony Awards. It has received many favourable reviews for its approach on topics like racism.
The national tour of the show is produced by Sellinor Productions who are responsible for a number of successful tours of popular shows such as Spamalot.
I have wanted to see the show for a very long time and I enjoyed it although it was perhaps not quite as funny as I expected. The show itself was probably more “shocking” 16 years ago when it first appeared but although attitudes have changed it still packs a bit of a punch and still has a number of important things to say about society today.
The Principal Cast of Lawrence Smith. (Princeton / Rod.), Cecily Redman. (Kate Monster / Lucy the Slut),
Tom Steedon (Nicky / Trekkie Monster / Bad Idea Bear), Megan Armstrong (Mrs T / Bad Idea Bear / 2nd Arm), Oliver Stanley (Brian), Saori Oda (Christmas Eve) is excellent. After only a short while the puppets take over and their operators became part of them and vice versa. The puppets and the actors are very engaging.
All of the actor/puppeteers portray their puppet selves with amazing skill and there are also many amusing performances from the human characters. Lawrence Smith’s bubbly bright-eyed energy works perfectly for Princeton and, though she is the only cast member without a solo, Megan Armstrong is outstanding; with her puppet and voice work consistently entertaining and very funny. The singing and dancing is first class as you would expect from a professional company. I liked many of the songs and the band was excellent.
The bright and colourful set is very good to look at and is cleverly used and lit well. The sound quality was very good and I could hear every word that was sung or spoken.
While everyone in the cast is very good, Cecily Redman is brilliant as Kate Monster; her singing of ‘There’s A Fine, Fine Line’ is a definite highlight of the show for me.
There is also a very hard working ensemble of Nicholas Mclean, Gary Coleman, Jasmine Beel, Ellis Dackombe and Robbie Noonan.
This is a very entertaining production and I can certainly now see “what all the fuzz is about.” If, like me, you have never seen the show do not miss the opportunity at Derby Theatre this week.
This is a fabulous production which continues until Saturday.
The shows Creatives were:
Cressida Carre: Director & Choreographer
Richard Evans: Designer
Charlie Morgan Jones: Lighting Designer
Chris Bogg: Sound Designer
Paul Jomain: Puppet Designer
Nigel Plaskitt: Puppet Coach
“Aida”
Erewash Musical Society
Duchess Theatre, Long Eaton.
March 10th 2019
Review by Kev Castle
Written by Elton John and Time Rice, this is not the opera, as you’ve already guessed!
I applaud the fact that Erewash have gone for a musical that is not performed often, well I’ve never seen it advertised or performed around the area before, and that it is a modern piece of theatre. Local theatre sometimes play it safe, because they have to in order to get bums on seats which pays for the theatre group to survive, so it’s nice to see a production that is new to the local stage, not only to me but I’m sure to a lot of local theatre fans.
In the Egyptian Wing of a major museum, we find a group of contemporary museum-goers admiring artefacts of a time long ago. The crowd is gathered around the most mysterious of the objects; an ancient burial chamber.
Soon, two of visitors, a handsome man and woman, begin to move toward the burial chamber as if they know of its secrets or as if they have seen it somewhere before. The man is Radames; the woman Aida. Their eyes meet as the powerful voice of Amneris explains that “Every Story is a Love Story” leaving the stage empty, with the exception of the two lovers, allowing their ancient Egyptian love triangle to unfold.
Directed by Mark Perry, this really was a labour of love which showed in the way that he has managed to make every actor bring out the passion of their character.
James Bowden was the MD for this production and not only did I love the sound his band created, I also loved the intricate harmonies delivered by the cast. I’ve had the original soundtrack for years and hearing the songs I had only heard on CD come to life on stage refreshed my appeal for the songs.
The songs are written by Elton John and Tim Rice, and you can hear echoes of both artists in separate songs, with several harmonies reminiscent of "Jesus Christ Superstar", and that is in no way a negative for me.
Carol Lawson choreographed the musical, which showed off the various genres of music and showcased not only Carol's skills but also of those the wonderful ensemble, who had clearly paid very close attention to Carol's instructions.
Tracey Renshaw (Aida) is an actor I can't recall seeing before, I may be wrong, but I would not have forgotten that amazing voice. So controlled and sweet and sung with such passion.
Zak Charlesworth (Radames) – Richard Dawson also played the role on alternate performances – but it was Zak that I saw this Saturday evening performance. I've known Zak for many years now and know what he is capable of, but of late he has managed to impress me every time I've seen him. he did it again here as he performed, like Tracey, with such passion and nice to see his range of emotions within his role. His voice is faultless.
Kathi Ludlow(Amneris) has such a sweet, delicate voice which portrays every emotion the Princess feels. She makes you really feel for her character's betrayal.
Tom Phipps (Mereb) is another actor who I can't remember seeing before but here is a man who has a great deal of talent acting wise as well as singing. he has one of those voices that is really easy to listen to and full of emotion. A great voice for musical theatre.
Martin Briggs (Zoser) is so good at this baddie role and has a really good rock vocal style.
Sue Hagan (Nehebka),
Martin Lewis (Pharoah) and Nick Buckthorpe (King Amonasro) also deserve merit for their passionate performances as well as all three delivering emotive speeches.
The ensemble was made up of Natalie Austen, Barbara Bostock, Gill Cooke, Jonny Cox, Anna Fitzpatrick, Clare Kay, Andrea Kemish,
Maria Lawrence,Karen Robbins, Ellie Simmonds, Laurie Trott, Louisa Ward and Anna Hope.
There is an increased use of projected scenery and while sometimes this doesn’t quite work, here I think it fitted in really well with moving the action on and from location to location. Strangely enough I didn't pay too much attention to the projections as I was so taken with the actors.
The wardrobe team created a bright and colourful set of costumes which was in keeping with the set eras.
Lighting and Sound design by Dave Dallard, Harvey Tavener, Dave Martin and Matthew Cook. An excellent job throughout by this team; which is something I have come to expect and is always delivered.
Having never seen this musical performed before I can say that I was very impressed with the story and the way that this talented cast presented and performed the piece with some wonderful harmony work, especially in the intricate "A Step Too Far".
OK, now here comes my only niggle. having dancers behind Radames and Aida's big duet "Written In The Stars". This is a big number, packed with emotion and I felt that the three dancers didn't need to be there because the concentration should have been focused totally on the two doomed sweethearts.
That said I absolutely loved this show. It was a theatrical risk that proved to be a good one, and I for one was so pleased to see The Duchess practically packed on the final night.
Erewash Musical Society
Duchess Theatre, Long Eaton.
March 10th 2019
Review by Kev Castle
Written by Elton John and Time Rice, this is not the opera, as you’ve already guessed!
I applaud the fact that Erewash have gone for a musical that is not performed often, well I’ve never seen it advertised or performed around the area before, and that it is a modern piece of theatre. Local theatre sometimes play it safe, because they have to in order to get bums on seats which pays for the theatre group to survive, so it’s nice to see a production that is new to the local stage, not only to me but I’m sure to a lot of local theatre fans.
In the Egyptian Wing of a major museum, we find a group of contemporary museum-goers admiring artefacts of a time long ago. The crowd is gathered around the most mysterious of the objects; an ancient burial chamber.
Soon, two of visitors, a handsome man and woman, begin to move toward the burial chamber as if they know of its secrets or as if they have seen it somewhere before. The man is Radames; the woman Aida. Their eyes meet as the powerful voice of Amneris explains that “Every Story is a Love Story” leaving the stage empty, with the exception of the two lovers, allowing their ancient Egyptian love triangle to unfold.
Directed by Mark Perry, this really was a labour of love which showed in the way that he has managed to make every actor bring out the passion of their character.
James Bowden was the MD for this production and not only did I love the sound his band created, I also loved the intricate harmonies delivered by the cast. I’ve had the original soundtrack for years and hearing the songs I had only heard on CD come to life on stage refreshed my appeal for the songs.
The songs are written by Elton John and Tim Rice, and you can hear echoes of both artists in separate songs, with several harmonies reminiscent of "Jesus Christ Superstar", and that is in no way a negative for me.
Carol Lawson choreographed the musical, which showed off the various genres of music and showcased not only Carol's skills but also of those the wonderful ensemble, who had clearly paid very close attention to Carol's instructions.
Tracey Renshaw (Aida) is an actor I can't recall seeing before, I may be wrong, but I would not have forgotten that amazing voice. So controlled and sweet and sung with such passion.
Zak Charlesworth (Radames) – Richard Dawson also played the role on alternate performances – but it was Zak that I saw this Saturday evening performance. I've known Zak for many years now and know what he is capable of, but of late he has managed to impress me every time I've seen him. he did it again here as he performed, like Tracey, with such passion and nice to see his range of emotions within his role. His voice is faultless.
Kathi Ludlow(Amneris) has such a sweet, delicate voice which portrays every emotion the Princess feels. She makes you really feel for her character's betrayal.
Tom Phipps (Mereb) is another actor who I can't remember seeing before but here is a man who has a great deal of talent acting wise as well as singing. he has one of those voices that is really easy to listen to and full of emotion. A great voice for musical theatre.
Martin Briggs (Zoser) is so good at this baddie role and has a really good rock vocal style.
Sue Hagan (Nehebka),
Martin Lewis (Pharoah) and Nick Buckthorpe (King Amonasro) also deserve merit for their passionate performances as well as all three delivering emotive speeches.
The ensemble was made up of Natalie Austen, Barbara Bostock, Gill Cooke, Jonny Cox, Anna Fitzpatrick, Clare Kay, Andrea Kemish,
Maria Lawrence,Karen Robbins, Ellie Simmonds, Laurie Trott, Louisa Ward and Anna Hope.
There is an increased use of projected scenery and while sometimes this doesn’t quite work, here I think it fitted in really well with moving the action on and from location to location. Strangely enough I didn't pay too much attention to the projections as I was so taken with the actors.
The wardrobe team created a bright and colourful set of costumes which was in keeping with the set eras.
Lighting and Sound design by Dave Dallard, Harvey Tavener, Dave Martin and Matthew Cook. An excellent job throughout by this team; which is something I have come to expect and is always delivered.
Having never seen this musical performed before I can say that I was very impressed with the story and the way that this talented cast presented and performed the piece with some wonderful harmony work, especially in the intricate "A Step Too Far".
OK, now here comes my only niggle. having dancers behind Radames and Aida's big duet "Written In The Stars". This is a big number, packed with emotion and I felt that the three dancers didn't need to be there because the concentration should have been focused totally on the two doomed sweethearts.
That said I absolutely loved this show. It was a theatrical risk that proved to be a good one, and I for one was so pleased to see The Duchess practically packed on the final night.
What Fatima Did
Derby Theatre
February 28th 2019It is written by Atiha Sen Gupta and was her debut play In 2009, at the Hampstead Theatre and received critical acclaim. The play was produced in Germany at the Hanseatic State Theater in 2011, and received the Youth Theater Prize at the Heidelberger Stückemarkt festival in the following year.
What Fatima Did... is a funny and thought-provoking exploration of attitudes to identity, freedom and multiculturalism in contemporary Britain.
The excellent production of What Fatima Did has now finished at Derby Theatre.
The cast of Adele Ali (Mohammed), Matthew Biddulph (George), Terry Haywood (Craig), Alex Kabila (Rukshana), Taja Luegaezor Christian (Stacey), Rebecca McQuillan (Ms Harris) and Nimisha Odedra (Aisha) was excellent.
The Producer, Rafia Hussain, described the story by Atiha Sen Gupta as being about “figuring out who you are and your place in a multicultural society.” Setting some of the play in the context of a school class enabled the young characters to argue and explore this theme through humour but also through raw emotion and physical drama.
The character of Fatima never actually appears (apart from briefly in shadow towards the end) but she is the catalyst for the various struggles that occur among the group of friends. These include relationship differences, strained friendships, misunderstandings, lack of understanding and tolerance, acceptance or otherwise of other cultural values and norms and being yourself.
The way the play is written brought out very natural performances from the cast. I felt their reactions to the situations were believable and reflective of young people I have met or heard talking on tv about growing up in Britain today.
I was very impressed with the set and prop changes which were all done by the cast in a stylised and choreographed way to short musical accompaniment. This was very well done.
The Director, Sarah Brigham, and her team have created a production of very high quality. This is a play and a production that should be seen.
Lighting, sound and the set were good and contributed well to the overall atmosphere of the play.
I enjoyed “What Fatima Did” for its humour, realism, relevance, challenge and excellent performances.
Derby Theatre
February 28th 2019It is written by Atiha Sen Gupta and was her debut play In 2009, at the Hampstead Theatre and received critical acclaim. The play was produced in Germany at the Hanseatic State Theater in 2011, and received the Youth Theater Prize at the Heidelberger Stückemarkt festival in the following year.
What Fatima Did... is a funny and thought-provoking exploration of attitudes to identity, freedom and multiculturalism in contemporary Britain.
The excellent production of What Fatima Did has now finished at Derby Theatre.
The cast of Adele Ali (Mohammed), Matthew Biddulph (George), Terry Haywood (Craig), Alex Kabila (Rukshana), Taja Luegaezor Christian (Stacey), Rebecca McQuillan (Ms Harris) and Nimisha Odedra (Aisha) was excellent.
The Producer, Rafia Hussain, described the story by Atiha Sen Gupta as being about “figuring out who you are and your place in a multicultural society.” Setting some of the play in the context of a school class enabled the young characters to argue and explore this theme through humour but also through raw emotion and physical drama.
The character of Fatima never actually appears (apart from briefly in shadow towards the end) but she is the catalyst for the various struggles that occur among the group of friends. These include relationship differences, strained friendships, misunderstandings, lack of understanding and tolerance, acceptance or otherwise of other cultural values and norms and being yourself.
The way the play is written brought out very natural performances from the cast. I felt their reactions to the situations were believable and reflective of young people I have met or heard talking on tv about growing up in Britain today.
I was very impressed with the set and prop changes which were all done by the cast in a stylised and choreographed way to short musical accompaniment. This was very well done.
The Director, Sarah Brigham, and her team have created a production of very high quality. This is a play and a production that should be seen.
Lighting, sound and the set were good and contributed well to the overall atmosphere of the play.
I enjoyed “What Fatima Did” for its humour, realism, relevance, challenge and excellent performances.
Review of Hairspray
Long Eaton Operatic Society Youth Group
February 21st
Duchess Theatre Long Eaton
Hairspray is set in Baltimore in 1962, Maryland, where plump teenage Tracy Turnblad has one dream: to dance on The Corny Collins Show. When she gets put in detention with the African-American students in the school, they teach her some of their dance moves, and her new found groove wins her a spot on Corny’s show. Overnight, Tracy transforms from a nobody into a star, and uses her sudden influence to advocate for racial integration on the television show. Tracy faces scrutiny and bullying from the network producer, Velma, and her popular, but vicious, daughter, Amber. With the help of the teenage heartthrob Link, host Corny Collins, and Motormouth Maybelle (the host of ‘Negro Day’), Tracy overcomes the odds and succeeds in her mission to integrate The Corny Collins Show. The show is full of 1960s-style dance music and "downtown” rhythm and blues.
Tonight, at the Duchess Theatre the Long Eaton Operatic Society Youth Group brought this very popular Broadway show to the stage in spectacular style. This is the best amateur production of this show that I have seen and features a very talented and hardworking cast, who sing and dance their hearts out throughout. The whole theatre standing ovation was exactly what they all deserved. It was great to see the smiles on their faces as they took the applause. The finale and bows are very well done and a perfect end to a wonderful show.
There are very strong performances from the principal players and the dancers and ensemble members are of a very high standard indeed. This production takes youth musical theatre to a new level of high quality performance.
Playing the lead role of Tracy is Hannah Pettit and what an incredible performer she is. From the moment she took to the stage in the first number, “Good Morning Baltimore” it was obvious we were in for a treat. She has a great singing voice, acting talent and a stage confidence that belies her young age.
Oliver Ridgway as Edna was fantastic. He maintained his persona as Tracy’s mother throughout the show and his comedy timing was first class. He acted, sang and danced perfectly in the role, with lots of very engaging confidence. This is a very difficult part for any actor and especially for a young actor like Oliver. He and the excellent Finley McQuade, who played a well characterized Wilbur, brought the house down with their very funny routine “You’re Timeless to Me.” This was brilliantly performed by both of them and received enthusiastic applause from the full theatre.
Dominic Wood as Link looked every inch the TV star: he is a confident and expressive actor who sang his solo beautifully.
Emma Abel gave a lovely nuanced performance as Penny Pingleton, Tracey’s loyal and fun friend. A highlight was when she and her mother (Lorley Shelton) and Tracey and her mother, along with Velma and Amber performed “Mama, I’m a Big Girl Now”. A fabulous piece.
I last saw Aiden Carson in the recent Ktco production of Aladdin. He was very good in that and his obvious acting and singing talent was clear to see. As Seaweed he again showed what a versatile and talented performer he is, bringing warmth and conviction to the role.
Eleanor Carty as the strong minded TV producer, Velma, and Bella Ridgway as her very nasty daughter, Amber, are very accomplished performers. Eleanor gives Velma a cool sophistication and disdain for others, which she makes the most of in “ Velma’s Revenge”. Both Eleanor and Bella maintain their brilliant characterisations right to the end of the show, using facial expression and haughty stances, even in the finale. Great stuff.
I am very impressed with Rob McAuley in his role of Corny Collins, a part he really made the most of. He is very confident, sang well, delivered his lines clearly and has a real twinkle in his eye. He was certainly a very good choice for the part.
It was a treat to hear the powerful songs “Big, Blonde and Beautiful” and “I Know Where I’ve Been” sung so well by Issy Smales, as a very impressive Motormouth Maybelle.
Also performing very strongly in cameo roles are Isaac Brooks as Harriman and the school Principal, Lorley Shelton as Prudy, Abraham Collishaw as Mr Pinky and Phoebe Mellor as Little Inez.
The dancers and ensemble members really do need to be mentioned, as they play a huge part throughout the show. There are not many times when they not on the stage and they have so many steps and songs to learn. They never faltered and were excellent.
They are;
Darcy Cole, Trinity Shelton, Lilly Simons-Clark, Aoife Clarke (Dynamites).
Max Fuller, Naomi Thomas, Megan Trindell, Billy Sweet (Seaweed’s Friends).
Grace Collishaw, Lottie Ludlow, Emma Lowe, Chloe Brooks, Matt McAuley, Tommy Stewart, Billy Stewart, Jude Yellop (Corny Collins Dancers).
Sammy Platkiw, Amy Young, Abe Collishaw, Ella Charlesworth, Martha Bertram, Sophie Youngs, Roisin Parker & Findlay Parker.(Ensemble)
It is good to see that in this production three of the company also have roles as Dance Captains - Sammy Platkiw, Matt McAuley and Emma Lowe. I am sure they have been a great support for the rest of the cast.
This production proves how important good production teams are, especially when working with young people. This is by no means an easy show but because of the obvious talent and skills of Karen Woodhead and Siobhan Parker, the cast are all totally at home and confident with what they need to do on stage. The dance routines in particular are very well executed and full of variety and synchronized movement.
The use of excellent projections ensured that scene changes were swift and the consequence was that the show moved with considerable pace. Well done to Rob Corner and his stage crew.
The lighting by Tom and Laura Olding is excellent and certainly enhances the set and costumes. The sound by Dave Dallard was clear and crisp. He was also responsible for the projections which fitted well with the story. The costumes, props and hairstlyes are very appropriate for the 60’s and the whole company look absolutely splendid.
There is an excellent band conducted by the Musical Director, Sam Griffiths and his assistant Deborah Norman, who I am sure are delighted by the great sound they made and also the excellent singing from the cast on stage.
I have seen many very good shows from this Youth Group, but this is absolutely the best. It was a polished, professional and very enjoyable production that should stand a very good chance of a NODA Award
Long Eaton Operatic Society Youth Group
February 21st
Duchess Theatre Long Eaton
Hairspray is set in Baltimore in 1962, Maryland, where plump teenage Tracy Turnblad has one dream: to dance on The Corny Collins Show. When she gets put in detention with the African-American students in the school, they teach her some of their dance moves, and her new found groove wins her a spot on Corny’s show. Overnight, Tracy transforms from a nobody into a star, and uses her sudden influence to advocate for racial integration on the television show. Tracy faces scrutiny and bullying from the network producer, Velma, and her popular, but vicious, daughter, Amber. With the help of the teenage heartthrob Link, host Corny Collins, and Motormouth Maybelle (the host of ‘Negro Day’), Tracy overcomes the odds and succeeds in her mission to integrate The Corny Collins Show. The show is full of 1960s-style dance music and "downtown” rhythm and blues.
Tonight, at the Duchess Theatre the Long Eaton Operatic Society Youth Group brought this very popular Broadway show to the stage in spectacular style. This is the best amateur production of this show that I have seen and features a very talented and hardworking cast, who sing and dance their hearts out throughout. The whole theatre standing ovation was exactly what they all deserved. It was great to see the smiles on their faces as they took the applause. The finale and bows are very well done and a perfect end to a wonderful show.
There are very strong performances from the principal players and the dancers and ensemble members are of a very high standard indeed. This production takes youth musical theatre to a new level of high quality performance.
Playing the lead role of Tracy is Hannah Pettit and what an incredible performer she is. From the moment she took to the stage in the first number, “Good Morning Baltimore” it was obvious we were in for a treat. She has a great singing voice, acting talent and a stage confidence that belies her young age.
Oliver Ridgway as Edna was fantastic. He maintained his persona as Tracy’s mother throughout the show and his comedy timing was first class. He acted, sang and danced perfectly in the role, with lots of very engaging confidence. This is a very difficult part for any actor and especially for a young actor like Oliver. He and the excellent Finley McQuade, who played a well characterized Wilbur, brought the house down with their very funny routine “You’re Timeless to Me.” This was brilliantly performed by both of them and received enthusiastic applause from the full theatre.
Dominic Wood as Link looked every inch the TV star: he is a confident and expressive actor who sang his solo beautifully.
Emma Abel gave a lovely nuanced performance as Penny Pingleton, Tracey’s loyal and fun friend. A highlight was when she and her mother (Lorley Shelton) and Tracey and her mother, along with Velma and Amber performed “Mama, I’m a Big Girl Now”. A fabulous piece.
I last saw Aiden Carson in the recent Ktco production of Aladdin. He was very good in that and his obvious acting and singing talent was clear to see. As Seaweed he again showed what a versatile and talented performer he is, bringing warmth and conviction to the role.
Eleanor Carty as the strong minded TV producer, Velma, and Bella Ridgway as her very nasty daughter, Amber, are very accomplished performers. Eleanor gives Velma a cool sophistication and disdain for others, which she makes the most of in “ Velma’s Revenge”. Both Eleanor and Bella maintain their brilliant characterisations right to the end of the show, using facial expression and haughty stances, even in the finale. Great stuff.
I am very impressed with Rob McAuley in his role of Corny Collins, a part he really made the most of. He is very confident, sang well, delivered his lines clearly and has a real twinkle in his eye. He was certainly a very good choice for the part.
It was a treat to hear the powerful songs “Big, Blonde and Beautiful” and “I Know Where I’ve Been” sung so well by Issy Smales, as a very impressive Motormouth Maybelle.
Also performing very strongly in cameo roles are Isaac Brooks as Harriman and the school Principal, Lorley Shelton as Prudy, Abraham Collishaw as Mr Pinky and Phoebe Mellor as Little Inez.
The dancers and ensemble members really do need to be mentioned, as they play a huge part throughout the show. There are not many times when they not on the stage and they have so many steps and songs to learn. They never faltered and were excellent.
They are;
Darcy Cole, Trinity Shelton, Lilly Simons-Clark, Aoife Clarke (Dynamites).
Max Fuller, Naomi Thomas, Megan Trindell, Billy Sweet (Seaweed’s Friends).
Grace Collishaw, Lottie Ludlow, Emma Lowe, Chloe Brooks, Matt McAuley, Tommy Stewart, Billy Stewart, Jude Yellop (Corny Collins Dancers).
Sammy Platkiw, Amy Young, Abe Collishaw, Ella Charlesworth, Martha Bertram, Sophie Youngs, Roisin Parker & Findlay Parker.(Ensemble)
It is good to see that in this production three of the company also have roles as Dance Captains - Sammy Platkiw, Matt McAuley and Emma Lowe. I am sure they have been a great support for the rest of the cast.
This production proves how important good production teams are, especially when working with young people. This is by no means an easy show but because of the obvious talent and skills of Karen Woodhead and Siobhan Parker, the cast are all totally at home and confident with what they need to do on stage. The dance routines in particular are very well executed and full of variety and synchronized movement.
The use of excellent projections ensured that scene changes were swift and the consequence was that the show moved with considerable pace. Well done to Rob Corner and his stage crew.
The lighting by Tom and Laura Olding is excellent and certainly enhances the set and costumes. The sound by Dave Dallard was clear and crisp. He was also responsible for the projections which fitted well with the story. The costumes, props and hairstlyes are very appropriate for the 60’s and the whole company look absolutely splendid.
There is an excellent band conducted by the Musical Director, Sam Griffiths and his assistant Deborah Norman, who I am sure are delighted by the great sound they made and also the excellent singing from the cast on stage.
I have seen many very good shows from this Youth Group, but this is absolutely the best. It was a polished, professional and very enjoyable production that should stand a very good chance of a NODA Award
Review of Calamity Jane
West Bridgford Operatic Society
The Space
February 20th 2019
The story of Calamity Jane is set in the wild-west outpost of Deadwood City, 1876. Here we find the fearsome, sharpshooting Calamity Jane, surrounded by cowboys, townsfolk, and the famous Wild Bill Hickok. After a mix-up over a singer at Deadwood's saloon-theatre, Calamity goes to Chicago to import the glamorous actress, Adelaide Adams, but returns by mistake with her maid, Katie Brown. Katie's inability to perform is overcome as she wins the heart of the young Lieutenant Danny Gilmartin; when Calamity sheds some of her tomboy persona at a ball at the local Fort, she realises that she loves Wild Bill Hickok.
The story is simple and littered with some outdated stereotypes, but the catchy songs are very good to listen to and the happy ending is joyous enough to bring smiles all round.
Tonight, The West Bridgford Operatic Society showed their ability to provide a great evening’s entertainment and what strength they have in vocal and acting performance. The whole company chorus numbers sounded very good and the harmonies were clear and well sung. They look very good too, everyone on the stage looks like a real character, in their colourful and evocative costumes.
The use of projections is effective and enhanced by good, time appropriate props (Maureen Knight) including an impressive bar in the saloon with bottles and glasses filled with real liquids. The Director obviously has an eye for detail: I like that, as it is sometimes not present and detracts from the audience experience.
Playing the part of Calamity is Paige Shaw, who certainly makes this strongly written character her own. She is a very talented performer, both from an acting and singing perspective; she throws every part of herself into an electrifying and beautifully accented characterisation. Calamity changes her clothes and ‘fixings’, but Paige makes sure she remains a feisty gun toting woman, who has little regard for the traditional restraints of gender and never crosses her legs! She has a great voice: her powerful and heartfelt rendition of Secret Love is a highlight of the show.
Her co-star Ian Pottage as Wild Bill Hickok, is also an excellent performer, who works very well with Paige to make their relationship believable. I particularly like their wonderful duet “I Can Do Without You.” Ian is a good character actor and he also sings well; his solo “Higher than a Hawk” was a particular high spot for me.
Clare Boxer as Katie Brown gives a very engaging performance, bringing a lovely naivety to the character, with a sweetly trilling delivery and a knowing touch of fun. Delightful to watch. Her excellent performances of “Keep it under your hat” and “A Woman’s Touch”, show her versatility as a performer.
David Gyles as the Saloon Boss, Henry Miller, has just the right amount of bumbling good nature while Richard Ives’ performance as Francis Fryer is a lovely comic cameo. A high spot is when he is pretending to be a woman and sings “Everyone Complains about the Weather”.
Louise Grantham is charming in the role of Susan and Lauren Gill as Adelaide Adams has a lovely voice, singing the very entertaining “It’s Harry I’m Planning to Marry.”
Alasdair Maughan gives a convincing and well acted performance as the soldier, Danny Gilmartin, who falls in love with Katie. His duet with her “Love You Dearly” is lovely.
There is very good support from Bill Cooper (Doc Pierce), Alex Grosse (Joe), Martin Thomas (Colonel), Ken Kirk (Rattlesnake), Danielle Rodgers (Hank) and Joanne Hooper (Pete).
There is a very large and enthusiastic ensemble, which at times was perhaps a little too large for the stage, but they sounded great and moved well. Their gentle amble while singing the lovely “The Black Hills of Dakota”, was very pleasant to watch.
They are: Diana Ives, Judy Atkin, Orla O'Reilly, Rosie Pools, Sarah Harley, Sarah Shields (Dancers)
Anne Carroll, Biba Tribune, Claire Jenkins, Lisa Key, Lee Horne, Lynn Baldrick, Lindsey Parr, Penny Gale, Prue Brindle, Helen Heely, Jill Hammington, Anne Armstrong, Wendy Silver, Judy Atkin, Becky Birth, Courtney Kellam-Giddy (Female Ensemble)
Adrian Baldrick, Chris Heely, Chris Hollins, Malcolm Cocking, Gareth Morris, Sean Collins (Male Ensemble)
The set from Blind Eye Productions is attractive and the lighting and sound is well engineered. Scene changes were swift and invisible under the direction of the Stage Manager Chris Collins and his assistant Nigel Newton.
The large Orchestra directed by the Musical Director Meng Khaw sounds extremely good and accompanies the performers very well. The overture is a wonderful opening to the show.
This production of what is a show of its time, is very enjoyable. It should not only please those who remember the film, but a new audience, who will surely be captivated by the fun and colour, and by the talent and enthusiasm of the cast.
The Director Meng Khaw and the Choreographer Maxine Loydall are to be congratulated for another excellent production from this long-established local group. It was also enhanced by being at this excellent new venue in the heart of Nottingham.
West Bridgford Operatic Society
The Space
February 20th 2019
The story of Calamity Jane is set in the wild-west outpost of Deadwood City, 1876. Here we find the fearsome, sharpshooting Calamity Jane, surrounded by cowboys, townsfolk, and the famous Wild Bill Hickok. After a mix-up over a singer at Deadwood's saloon-theatre, Calamity goes to Chicago to import the glamorous actress, Adelaide Adams, but returns by mistake with her maid, Katie Brown. Katie's inability to perform is overcome as she wins the heart of the young Lieutenant Danny Gilmartin; when Calamity sheds some of her tomboy persona at a ball at the local Fort, she realises that she loves Wild Bill Hickok.
The story is simple and littered with some outdated stereotypes, but the catchy songs are very good to listen to and the happy ending is joyous enough to bring smiles all round.
Tonight, The West Bridgford Operatic Society showed their ability to provide a great evening’s entertainment and what strength they have in vocal and acting performance. The whole company chorus numbers sounded very good and the harmonies were clear and well sung. They look very good too, everyone on the stage looks like a real character, in their colourful and evocative costumes.
The use of projections is effective and enhanced by good, time appropriate props (Maureen Knight) including an impressive bar in the saloon with bottles and glasses filled with real liquids. The Director obviously has an eye for detail: I like that, as it is sometimes not present and detracts from the audience experience.
Playing the part of Calamity is Paige Shaw, who certainly makes this strongly written character her own. She is a very talented performer, both from an acting and singing perspective; she throws every part of herself into an electrifying and beautifully accented characterisation. Calamity changes her clothes and ‘fixings’, but Paige makes sure she remains a feisty gun toting woman, who has little regard for the traditional restraints of gender and never crosses her legs! She has a great voice: her powerful and heartfelt rendition of Secret Love is a highlight of the show.
Her co-star Ian Pottage as Wild Bill Hickok, is also an excellent performer, who works very well with Paige to make their relationship believable. I particularly like their wonderful duet “I Can Do Without You.” Ian is a good character actor and he also sings well; his solo “Higher than a Hawk” was a particular high spot for me.
Clare Boxer as Katie Brown gives a very engaging performance, bringing a lovely naivety to the character, with a sweetly trilling delivery and a knowing touch of fun. Delightful to watch. Her excellent performances of “Keep it under your hat” and “A Woman’s Touch”, show her versatility as a performer.
David Gyles as the Saloon Boss, Henry Miller, has just the right amount of bumbling good nature while Richard Ives’ performance as Francis Fryer is a lovely comic cameo. A high spot is when he is pretending to be a woman and sings “Everyone Complains about the Weather”.
Louise Grantham is charming in the role of Susan and Lauren Gill as Adelaide Adams has a lovely voice, singing the very entertaining “It’s Harry I’m Planning to Marry.”
Alasdair Maughan gives a convincing and well acted performance as the soldier, Danny Gilmartin, who falls in love with Katie. His duet with her “Love You Dearly” is lovely.
There is very good support from Bill Cooper (Doc Pierce), Alex Grosse (Joe), Martin Thomas (Colonel), Ken Kirk (Rattlesnake), Danielle Rodgers (Hank) and Joanne Hooper (Pete).
There is a very large and enthusiastic ensemble, which at times was perhaps a little too large for the stage, but they sounded great and moved well. Their gentle amble while singing the lovely “The Black Hills of Dakota”, was very pleasant to watch.
They are: Diana Ives, Judy Atkin, Orla O'Reilly, Rosie Pools, Sarah Harley, Sarah Shields (Dancers)
Anne Carroll, Biba Tribune, Claire Jenkins, Lisa Key, Lee Horne, Lynn Baldrick, Lindsey Parr, Penny Gale, Prue Brindle, Helen Heely, Jill Hammington, Anne Armstrong, Wendy Silver, Judy Atkin, Becky Birth, Courtney Kellam-Giddy (Female Ensemble)
Adrian Baldrick, Chris Heely, Chris Hollins, Malcolm Cocking, Gareth Morris, Sean Collins (Male Ensemble)
The set from Blind Eye Productions is attractive and the lighting and sound is well engineered. Scene changes were swift and invisible under the direction of the Stage Manager Chris Collins and his assistant Nigel Newton.
The large Orchestra directed by the Musical Director Meng Khaw sounds extremely good and accompanies the performers very well. The overture is a wonderful opening to the show.
This production of what is a show of its time, is very enjoyable. It should not only please those who remember the film, but a new audience, who will surely be captivated by the fun and colour, and by the talent and enthusiasm of the cast.
The Director Meng Khaw and the Choreographer Maxine Loydall are to be congratulated for another excellent production from this long-established local group. It was also enhanced by being at this excellent new venue in the heart of Nottingham.
Romeo and Juliet
National Tour
Theatre Royal
February 19th
The most famous story of love at first sight explodes with intense passion and an irresistible desire for change. Will this spark a revolution or will division continue to tear through generations? We will see.
This play was written in 1595-6 and is set in Verona, Italy, at a time when a long standing feud between two noble families - the Montagues and the Capulets - constantly breaks out into brawling on the streets. Prince Escalus, ruler of Verona, threatens terrible punishment on anyone who takes part in further violence.
Romeo Montague is hopelessly in love with the unattainable Rosaline and, in an attempt to cure his lovesick misery, his friends persuade him to go disguised to a party at the home of his family's sworn enemies, the Capulets. Romeo reluctantly agrees to go when he learns that Rosaline has been invited.
At the party, he meets Juliet, only daughter of the Capulets, and not even knowing each other's names, they fall instantly in love. From then on nothing is going to be the same again.
The production played at the Royal Shakespeare Theatre and the Barbican, and is now on this national tour until March.
The audience reaction at the end was very good. I heard many very positive comments from people on the way out.
The production was very fresh and fast and the performances were excellent. I particularly enjoyed Bally Gill as Romeo and Karen Fishwick as Juliet. Bally’s youthful delivery of the text was very appealing. At times I felt he had almost moved into a rap style. Karen’s performance was mesmerising although as with most productions of this play it is hard for any actress to appear as a 13 year old! She portrayed well Juliet’s confidence alongside some youthful vulnerability.
There was also a stunning performance by Charlotte Josephine as Mercutio. She dominated the stage and it was difficult not to watch her every move.
There is humour in this tragedy and Josh Finan as Benvolio was very funny and there was a brilliant performance from Ishia Bennison as the Nurse.
I personally find Shakespeare very difficult but the acting and production was of such high quality it was impossible not to enjoy the experience.
The set was simple, a rotating metal box in essence, but it worked well and kept the action moving.
The incidental music and sound and lighting effects added to the atmosphere of the play.
Cast and Creatives
ABRAHAM: NIMA TALEGHANI
BALTHASAR: TOM PADLEY
BENVOLIO, (Romeo’s cousin): JOSH FINAN
LADY MONTAGUE: SAKUNTALA RAMANEE
MONTAGUE: PAUL DODDS
ROMEO, (their son): BALLY GILL
SAMPSON: STEVIE BASAULA
GREGORY: DONNA BANYA
TYBALT, (Juliet’s cousin): RAPHAEL SOWOLE
CAPULET: MICHAEL HODGSON
LADY CAPULET: MARIAM HAQUE
PETER: RAIF CLARKE
NURSE, to Juliet: ISHIA BENNISON
JULIET, (the Capulets’ daughter): KAREN FISHWICK
COUSIN CAPULET: JOHN MACAULAY
ESCALUS, (Prince of Verona): BETH CORDINGLY
PARIS, (suitor to Juliet): AFOLABI ALLI
MERCUTIO, (Romeo’s friend): CHARLOTTE JOSEPHINE
FRIAR LAURENCE: ANDREW FRENCH
SISTER JOHN: KATY BRITTAIN
APOTHECARY: KATY BRITTAIN
ALL OTHER PARTS PLAYED BY MEMBERS OF THE COMPANY
DIRECTOR: ERICA WHYMAN
DESIGNER: TOM PIPER
LIGHTING DESIGNER: CHARLES BALFOUR
COMPOSER: SOPHIE COTTON
SOUND DESIGNER: JEREMY DUNN
MOVEMENT DIRECTOR: AYSE TASHKIRAN
FIGHT DIRECTOR: KATE WATERS
MUSIC DIRECTOR: LAURA BANGAY
STAGE MANAGER: SUZI BLAKEY
National Tour
Theatre Royal
February 19th
The most famous story of love at first sight explodes with intense passion and an irresistible desire for change. Will this spark a revolution or will division continue to tear through generations? We will see.
This play was written in 1595-6 and is set in Verona, Italy, at a time when a long standing feud between two noble families - the Montagues and the Capulets - constantly breaks out into brawling on the streets. Prince Escalus, ruler of Verona, threatens terrible punishment on anyone who takes part in further violence.
Romeo Montague is hopelessly in love with the unattainable Rosaline and, in an attempt to cure his lovesick misery, his friends persuade him to go disguised to a party at the home of his family's sworn enemies, the Capulets. Romeo reluctantly agrees to go when he learns that Rosaline has been invited.
At the party, he meets Juliet, only daughter of the Capulets, and not even knowing each other's names, they fall instantly in love. From then on nothing is going to be the same again.
The production played at the Royal Shakespeare Theatre and the Barbican, and is now on this national tour until March.
The audience reaction at the end was very good. I heard many very positive comments from people on the way out.
The production was very fresh and fast and the performances were excellent. I particularly enjoyed Bally Gill as Romeo and Karen Fishwick as Juliet. Bally’s youthful delivery of the text was very appealing. At times I felt he had almost moved into a rap style. Karen’s performance was mesmerising although as with most productions of this play it is hard for any actress to appear as a 13 year old! She portrayed well Juliet’s confidence alongside some youthful vulnerability.
There was also a stunning performance by Charlotte Josephine as Mercutio. She dominated the stage and it was difficult not to watch her every move.
There is humour in this tragedy and Josh Finan as Benvolio was very funny and there was a brilliant performance from Ishia Bennison as the Nurse.
I personally find Shakespeare very difficult but the acting and production was of such high quality it was impossible not to enjoy the experience.
The set was simple, a rotating metal box in essence, but it worked well and kept the action moving.
The incidental music and sound and lighting effects added to the atmosphere of the play.
Cast and Creatives
ABRAHAM: NIMA TALEGHANI
BALTHASAR: TOM PADLEY
BENVOLIO, (Romeo’s cousin): JOSH FINAN
LADY MONTAGUE: SAKUNTALA RAMANEE
MONTAGUE: PAUL DODDS
ROMEO, (their son): BALLY GILL
SAMPSON: STEVIE BASAULA
GREGORY: DONNA BANYA
TYBALT, (Juliet’s cousin): RAPHAEL SOWOLE
CAPULET: MICHAEL HODGSON
LADY CAPULET: MARIAM HAQUE
PETER: RAIF CLARKE
NURSE, to Juliet: ISHIA BENNISON
JULIET, (the Capulets’ daughter): KAREN FISHWICK
COUSIN CAPULET: JOHN MACAULAY
ESCALUS, (Prince of Verona): BETH CORDINGLY
PARIS, (suitor to Juliet): AFOLABI ALLI
MERCUTIO, (Romeo’s friend): CHARLOTTE JOSEPHINE
FRIAR LAURENCE: ANDREW FRENCH
SISTER JOHN: KATY BRITTAIN
APOTHECARY: KATY BRITTAIN
ALL OTHER PARTS PLAYED BY MEMBERS OF THE COMPANY
DIRECTOR: ERICA WHYMAN
DESIGNER: TOM PIPER
LIGHTING DESIGNER: CHARLES BALFOUR
COMPOSER: SOPHIE COTTON
SOUND DESIGNER: JEREMY DUNN
MOVEMENT DIRECTOR: AYSE TASHKIRAN
FIGHT DIRECTOR: KATE WATERS
MUSIC DIRECTOR: LAURA BANGAY
STAGE MANAGER: SUZI BLAKEY
Everybody's Talking About Jamie
The Apollo Theatre, London
February 14th 2019
This Musical is actually based on a BBC documentary and had it’s unlikely first success in Sheffield before moving to London.
Inspired by a true story, Everybody’s Talking About Jamie is the hit musical for today.
Jamie New is sixteen and lives on a council estate in Sheffield. Jamie doesn’t quite fit in.
Jamie is terrified about the future. He is going to be a sensation.
Supported by his brilliant loving mum and surrounded by his friends, Jamie overcomes prejudice, beats the bullies and steps out of the darkness, into the spotlight.
Recently, and a main reason for me being here tonight, Layton Williams (Bad Education, Beautiful People) joined the cast as the NEW Jamie New, returning to the West End stage after playing the title role in Billy Elliot the Musical.
Together with Rebecca McKinnis, he is joined by Hayley Tamaddon, best known for her roles in Coronation Street and Emmerdale, Sejal Keshwala, Sabrina Sandhu and special guest star Shane Richie, Eastenders’ Alfie Moon. They lead a twenty-five strong company and a nine-piece band.
The songs by lead singer-songwriter of The Feeling, Dan Gillespie Sells, and ‘hilarious’ book and lyrics by writer Tom MacRae, mean this show is billed as being funny, fabulous, feel-good, and a musical sensation. It has been wowing audiences and critics alike in London for some time now.
I have seen it once before but I am very excited to be seeing Layton in the lead role tonight. He remains my favourite Billy Eliot although that was some time again now. I have seen him since in other roles notably that of Angel in Rent at the Nottingham Playhouse where he was sensational. He has also been in the national tour of Hairspray and danced amazingly in Matthew Bourne’s Carman.
Loved it much more than the first time I saw it. Cast was brilliant. There are many views of the show on the Internet. My reports tonight are about my reaction to it. And basically that is - a great show and Layton Williams was outstanding.
The Apollo Theatre, London
February 14th 2019
This Musical is actually based on a BBC documentary and had it’s unlikely first success in Sheffield before moving to London.
Inspired by a true story, Everybody’s Talking About Jamie is the hit musical for today.
Jamie New is sixteen and lives on a council estate in Sheffield. Jamie doesn’t quite fit in.
Jamie is terrified about the future. He is going to be a sensation.
Supported by his brilliant loving mum and surrounded by his friends, Jamie overcomes prejudice, beats the bullies and steps out of the darkness, into the spotlight.
Recently, and a main reason for me being here tonight, Layton Williams (Bad Education, Beautiful People) joined the cast as the NEW Jamie New, returning to the West End stage after playing the title role in Billy Elliot the Musical.
Together with Rebecca McKinnis, he is joined by Hayley Tamaddon, best known for her roles in Coronation Street and Emmerdale, Sejal Keshwala, Sabrina Sandhu and special guest star Shane Richie, Eastenders’ Alfie Moon. They lead a twenty-five strong company and a nine-piece band.
The songs by lead singer-songwriter of The Feeling, Dan Gillespie Sells, and ‘hilarious’ book and lyrics by writer Tom MacRae, mean this show is billed as being funny, fabulous, feel-good, and a musical sensation. It has been wowing audiences and critics alike in London for some time now.
I have seen it once before but I am very excited to be seeing Layton in the lead role tonight. He remains my favourite Billy Eliot although that was some time again now. I have seen him since in other roles notably that of Angel in Rent at the Nottingham Playhouse where he was sensational. He has also been in the national tour of Hairspray and danced amazingly in Matthew Bourne’s Carman.
Loved it much more than the first time I saw it. Cast was brilliant. There are many views of the show on the Internet. My reports tonight are about my reaction to it. And basically that is - a great show and Layton Williams was outstanding.
Blood Brothers
National Tour
Theatre Royal Nottingham
he musical is set in his home city of Liverpool, and tells the story of twin boys, separated at birth only to be reunited by a twist of fate and a mother's secret.
When Mrs Johnstone, a young mother, is deserted by her husband and left to her own devices to provide for seven hungry children she takes a job as a housekeeper in order to make ends meet.
It is not long before her brittle world crashes around her when she discovers herself to be pregnant yet again – this time with twins! In a moment of weakness and desperation, she enters a secret pact with her employer which leads inexorably to the show's shattering climax.
The memorable score includes A Bright New Day, Marilyn Monroe and the emotionally charged hit Tell Me It's Not True.
I have seen the show once in London and twice at the Theatre Royal and this production has a new Mrs Wilkinson for me.
Olivier Award nominated British actress Linzi Hateley returns to the seminal role of Mrs Johnstone. Linzi has performed in countless West End productions, the most recent of which being the role of Donna in Mamma Mia. Other West End roles include Éponine in Les Misérables, Roxie Hart in Chicago, Rizzo in Grease and Winifred Banks in Mary Poppins.
The rest of the cast includes Sarah Jane Buckley, Sean Jones, Mark Hutchinson, Robbie Scotcher, Danielle Corlass, Tim Churchill, Graham Martin, Amy Jane Ollies, Alison Crawford, Graeme Kinniburgh, Andy Owens and Josh Capper.
A truly wonderful performance of Blood Brothers has just finished here at the Theatre Royal. This is the fourth time I have seen this show but the first that more than once brought tears to my eyes.
All the performances were good but in particular that of Linzi Hateley as Mrs Johnstone, Robbie Scotcher as the Narrator, Sean Jones as Mickey, Mark Hutchinson as Eddie, Sarah Jane Buckley as Mrs Lyons and Danielle Corlas were absolutely Brilliant.
The final powerful rendering of “Tell me it’s not true” brought the whole theatre to its feet. The whole theatre standing ovation continued for some considerable time.
Never thought I would say this but I am ready to see this again soon!
The music was great and the haunting themes that kept reoccurring were so beautifully crafted and performed. Everything was perfect tonight.
National Tour
Theatre Royal Nottingham
he musical is set in his home city of Liverpool, and tells the story of twin boys, separated at birth only to be reunited by a twist of fate and a mother's secret.
When Mrs Johnstone, a young mother, is deserted by her husband and left to her own devices to provide for seven hungry children she takes a job as a housekeeper in order to make ends meet.
It is not long before her brittle world crashes around her when she discovers herself to be pregnant yet again – this time with twins! In a moment of weakness and desperation, she enters a secret pact with her employer which leads inexorably to the show's shattering climax.
The memorable score includes A Bright New Day, Marilyn Monroe and the emotionally charged hit Tell Me It's Not True.
I have seen the show once in London and twice at the Theatre Royal and this production has a new Mrs Wilkinson for me.
Olivier Award nominated British actress Linzi Hateley returns to the seminal role of Mrs Johnstone. Linzi has performed in countless West End productions, the most recent of which being the role of Donna in Mamma Mia. Other West End roles include Éponine in Les Misérables, Roxie Hart in Chicago, Rizzo in Grease and Winifred Banks in Mary Poppins.
The rest of the cast includes Sarah Jane Buckley, Sean Jones, Mark Hutchinson, Robbie Scotcher, Danielle Corlass, Tim Churchill, Graham Martin, Amy Jane Ollies, Alison Crawford, Graeme Kinniburgh, Andy Owens and Josh Capper.
A truly wonderful performance of Blood Brothers has just finished here at the Theatre Royal. This is the fourth time I have seen this show but the first that more than once brought tears to my eyes.
All the performances were good but in particular that of Linzi Hateley as Mrs Johnstone, Robbie Scotcher as the Narrator, Sean Jones as Mickey, Mark Hutchinson as Eddie, Sarah Jane Buckley as Mrs Lyons and Danielle Corlas were absolutely Brilliant.
The final powerful rendering of “Tell me it’s not true” brought the whole theatre to its feet. The whole theatre standing ovation continued for some considerable time.
Never thought I would say this but I am ready to see this again soon!
The music was great and the haunting themes that kept reoccurring were so beautifully crafted and performed. Everything was perfect tonight.
Bugsy Malone
Erewash Musical Society Youth Group
by Kev Castle (reproduced by permission)
Duchess Theatre
February 8th 2019
I remember seeing the original Alan Parker film when I was a teenager and loving the fact that kids were playing adults and they had "splurge guns". It's also one of the rare films that i actually went out and bought on DVD.
What's it all about then for anyone not knowing of this brilliant film?
Ok, picture the scene. It’s 1929, Gangster warfare in New York, Dandy Dan's hoodlums terrorise the district, exterminating undesirables with their new weapon splurge guns. His rival is Fat Sam Stacetto, who runs the Grand Slam Speakeasy, but Fat Sam's gang still use old fashioned pies. Fat Sam engages the help of Bugsy Malone, a smooth city slicker who hitherto has been more occupied in sweet talking Blousey Brown, a would be girl singer. With Bugsy's help, Fat Sam escapes from a frame up but he learns later that Dandy Dan's mob have splurged nearly all his gang. There's only one hope left. Fat Sam pays Bugsy 400 dollars in exchange for more help.
This is the first time that I have had the chance to see the stage version of the musical, and realise that transposing a classic film to the stage is not always as easy as it first may seem.
The first thing that hits you is the set and the large "Bugsy Malone" sign in lights and the lighting, which is brilliant. That teamed with the sound design already sets you up for an enjoyable night. All thanks for Dave Dallard, Dave Martin and Harvey Tavener.
Great to see the orchestra on stage, and their sound really evoked the era of the musical, especially that lovely muted trumpet (Mick Glover) and drums (Ben Glover), but the whole orchestra, under the musical direction of Amy Glover - the rest of the orchestra are not named Glover by the way.
Joel Dawson (Bugsy Malone) was just briliantly cool throughout.
Alice Renshaw (Blousey Brown) has one of the loveliest voices that i have heard for one so young. I was so pleased that several of her spots were done accapella which really gave us the full tone of her voice.
James Christian (Fat Sam) is a youngster that i have seen before, and yet again he caught my eye with his wonderful character play, and I love his ad libs.
Joe Langley (Dandy Dan, Fat Sam’s rival) has a cool aura about him, a lovely sense of comic danger.
Ben Kirkland (Knuckles, Fat Sam’s right hand man) is a natural on stage.
Tom Baddiley (Fizzy) really did make me sit up with his featured spot, "Tomorrow". He has a great voice and I can't wait to hear what he sounds like in a few years time if this is what he can offer now.
Emily Bridge (Tallulah) really puts on a show at the start of Act Two with the song "Tallulah". She really performs this song and merited the massive round of applause she, and the ensemble around her received.
Will Robbins (Leroy Smith), Ethan Fletcher (Cagey Joe) and another brilliant ensemble section was just another highlight for me with the gym scene in "So You Wanna be A Boxer"
The two cops on the case made me smile Oli Hickling (Captain Smolsky) and Rob Cattanach (O' Dreary).
It's not that often that a minor role can cause such reaction from the audience but in "Bugsy", Dylan Hoole as "Baby Face" just strolled on and stole the whole scene in Act Two. Now I am not going to say why, and how the scene was stolen but the applause he received was enough to raise the roof of The Duchess Theatre.
A massive ensemble who worked really well together and they actually looked like they were having as much fun on stage as we were having watching them.
Produced and Directed by Georgina Kemish, whose love of this musical is easy to see, especially as "Bugsy" was the first ever musical that she performed in, and where her passion for musical theatre stemmed from.
The choreography for this musical was excellent and all thanks to Hattie Kemish.
Loved the costumes which really gave a particular flavour in keeping the essence of the period.
I was also really impressed by the accents that this cast maintained throughout.
Now, i know this was only first night and normally adjustments are made after opening night so here comes the picky bit.
The scene changes could be tightened up and I noticed a couple of empty stages. With the large cast and ensemble, getting every one where they should be when they should be there is a mammoth job and I felt that on the whole the stage crew did a cracking job. It just needs a tweak or two, but that will also come from the actors as well as the stage management.
The energy in this show is wonderful and everyone gives 110%, and that is just one reason why I enjoyed my night at the Duchess.
Erewash Musical Society Youth Group
by Kev Castle (reproduced by permission)
Duchess Theatre
February 8th 2019
I remember seeing the original Alan Parker film when I was a teenager and loving the fact that kids were playing adults and they had "splurge guns". It's also one of the rare films that i actually went out and bought on DVD.
What's it all about then for anyone not knowing of this brilliant film?
Ok, picture the scene. It’s 1929, Gangster warfare in New York, Dandy Dan's hoodlums terrorise the district, exterminating undesirables with their new weapon splurge guns. His rival is Fat Sam Stacetto, who runs the Grand Slam Speakeasy, but Fat Sam's gang still use old fashioned pies. Fat Sam engages the help of Bugsy Malone, a smooth city slicker who hitherto has been more occupied in sweet talking Blousey Brown, a would be girl singer. With Bugsy's help, Fat Sam escapes from a frame up but he learns later that Dandy Dan's mob have splurged nearly all his gang. There's only one hope left. Fat Sam pays Bugsy 400 dollars in exchange for more help.
This is the first time that I have had the chance to see the stage version of the musical, and realise that transposing a classic film to the stage is not always as easy as it first may seem.
The first thing that hits you is the set and the large "Bugsy Malone" sign in lights and the lighting, which is brilliant. That teamed with the sound design already sets you up for an enjoyable night. All thanks for Dave Dallard, Dave Martin and Harvey Tavener.
Great to see the orchestra on stage, and their sound really evoked the era of the musical, especially that lovely muted trumpet (Mick Glover) and drums (Ben Glover), but the whole orchestra, under the musical direction of Amy Glover - the rest of the orchestra are not named Glover by the way.
Joel Dawson (Bugsy Malone) was just briliantly cool throughout.
Alice Renshaw (Blousey Brown) has one of the loveliest voices that i have heard for one so young. I was so pleased that several of her spots were done accapella which really gave us the full tone of her voice.
James Christian (Fat Sam) is a youngster that i have seen before, and yet again he caught my eye with his wonderful character play, and I love his ad libs.
Joe Langley (Dandy Dan, Fat Sam’s rival) has a cool aura about him, a lovely sense of comic danger.
Ben Kirkland (Knuckles, Fat Sam’s right hand man) is a natural on stage.
Tom Baddiley (Fizzy) really did make me sit up with his featured spot, "Tomorrow". He has a great voice and I can't wait to hear what he sounds like in a few years time if this is what he can offer now.
Emily Bridge (Tallulah) really puts on a show at the start of Act Two with the song "Tallulah". She really performs this song and merited the massive round of applause she, and the ensemble around her received.
Will Robbins (Leroy Smith), Ethan Fletcher (Cagey Joe) and another brilliant ensemble section was just another highlight for me with the gym scene in "So You Wanna be A Boxer"
The two cops on the case made me smile Oli Hickling (Captain Smolsky) and Rob Cattanach (O' Dreary).
It's not that often that a minor role can cause such reaction from the audience but in "Bugsy", Dylan Hoole as "Baby Face" just strolled on and stole the whole scene in Act Two. Now I am not going to say why, and how the scene was stolen but the applause he received was enough to raise the roof of The Duchess Theatre.
A massive ensemble who worked really well together and they actually looked like they were having as much fun on stage as we were having watching them.
Produced and Directed by Georgina Kemish, whose love of this musical is easy to see, especially as "Bugsy" was the first ever musical that she performed in, and where her passion for musical theatre stemmed from.
The choreography for this musical was excellent and all thanks to Hattie Kemish.
Loved the costumes which really gave a particular flavour in keeping the essence of the period.
I was also really impressed by the accents that this cast maintained throughout.
Now, i know this was only first night and normally adjustments are made after opening night so here comes the picky bit.
The scene changes could be tightened up and I noticed a couple of empty stages. With the large cast and ensemble, getting every one where they should be when they should be there is a mammoth job and I felt that on the whole the stage crew did a cracking job. It just needs a tweak or two, but that will also come from the actors as well as the stage management.
The energy in this show is wonderful and everyone gives 110%, and that is just one reason why I enjoyed my night at the Duchess.
The Full Monty
National Tour
Theatre Royal
February 4th
The Full Monty is one of the most acclaimed British films ever and the stage version has now become one of the most phenomenal theatrical productions of recent times.
The original production about six out-of-work, impoverished steelworkers from Sheffield with nothing to lose, took the world by storm and has become one of Britain’s most successful shows.
Based on his smash hit film and adapted for the stage by Oscar-winning writer Simon Beaufoy, this hilarious and heartfelt production has received many standing ovations and won the prestigious UK Theatre Award. Having seen the show tonight I am really not surprised.
The producers of this national tour have assembled a brilliant cast including Andrew Dunn as Gerald, Louis Emerick as Horse, Gary Lucy as Gaz, Kai Owen as Dave, Joe Gill as Lomper, James Redmond as Guy, Liz Carney as Jean, with Fraser Kelly and Nathan Zammit as Nathan. All of these principal players were excellent.
The supporting cast are very good. Andrew Ashford (Alf and others), Stephen Donald (Barry and others), Keeley Fitzgerald (Sharon and others), Alex Frost (Understudy), Bryonie Pritchard (Linda and others), Amy Thompson (Mandy), Lee Tomes (Brian and others).
In addition to high quality acting and the witty script by Simon Beauty, the glorious songs by Donna Summer, Hot Chocolate and Tom Jones added that extra wow factor. The production by Rupert Hill (Director), Ian West (Choreographer), Strve Parry (Music and Orchestrations) is excellent. The lighting by Colin Grenfel is very effective and the sound by Luke Swaffield is crisp and clear.
The set by Rob Jones (who also designed the costumes) is very good to look at and is used very creatively by the Director.
I have seen the Full Monty several times in both professional and amateur productions and this is one of the best.
There are lots of laughs in this show but also moments of real emotion and poignancy which probably explains some of its success. It can make you laugh and cry in the same scene.
National Tour
Theatre Royal
February 4th
The Full Monty is one of the most acclaimed British films ever and the stage version has now become one of the most phenomenal theatrical productions of recent times.
The original production about six out-of-work, impoverished steelworkers from Sheffield with nothing to lose, took the world by storm and has become one of Britain’s most successful shows.
Based on his smash hit film and adapted for the stage by Oscar-winning writer Simon Beaufoy, this hilarious and heartfelt production has received many standing ovations and won the prestigious UK Theatre Award. Having seen the show tonight I am really not surprised.
The producers of this national tour have assembled a brilliant cast including Andrew Dunn as Gerald, Louis Emerick as Horse, Gary Lucy as Gaz, Kai Owen as Dave, Joe Gill as Lomper, James Redmond as Guy, Liz Carney as Jean, with Fraser Kelly and Nathan Zammit as Nathan. All of these principal players were excellent.
The supporting cast are very good. Andrew Ashford (Alf and others), Stephen Donald (Barry and others), Keeley Fitzgerald (Sharon and others), Alex Frost (Understudy), Bryonie Pritchard (Linda and others), Amy Thompson (Mandy), Lee Tomes (Brian and others).
In addition to high quality acting and the witty script by Simon Beauty, the glorious songs by Donna Summer, Hot Chocolate and Tom Jones added that extra wow factor. The production by Rupert Hill (Director), Ian West (Choreographer), Strve Parry (Music and Orchestrations) is excellent. The lighting by Colin Grenfel is very effective and the sound by Luke Swaffield is crisp and clear.
The set by Rob Jones (who also designed the costumes) is very good to look at and is used very creatively by the Director.
I have seen the Full Monty several times in both professional and amateur productions and this is one of the best.
There are lots of laughs in this show but also moments of real emotion and poignancy which probably explains some of its success. It can make you laugh and cry in the same scene.
Aladdin
Kristian Thomas Youth Company
Thursday January 31st
The story of Aladdin and his lamp is well known, but usually as a Christmas Pantomime. The production tonight at the Duchess Theatre was the Disney musical version, that was originally an animated film and more recently a stage show. It has a good pedigree, being written by Chad Beguelin (Book+lyrics), Alan Menken (Music), Howard Ashman and Tim Rice (Lyrics).
The story is more or less the same as the original and tells the story of Aladdin and his three friends, Babkak, Omar, and Kassim. They are down on their luck until Aladdin discovers a magic lamp and a Genie who has the power to grant three wishes. Wanting to earn the respect of the Princess Jasmine, Aladdin embarks on an adventure that will test his will and his moral character. Along the way he comes across the wicked Jafar, who tries to take the lamp and genie away from Aladdin and take over the Kingdom.
This stage adaptation of the popular Disney hit is filled with magic and adventure and includes catchy songs including “Friend Like Me," "Prince Ali" and "A Whole New World.”
Playing the role of Aladdin was the very talented Aiden Carson, who performed confidently throughout, bringing a convincing earnestness to the role and an endearing charm. His solos and duets with Jasmine showcased his lovely voice.
Olivia Weaver was a wonderful Genie. She dominated the stage whenever she appeared and showed, through her wonderfully expressive acting, lovely singing and fabulous dancing, that she is a great talent. She was very confident throughout and her comedy timing is excellent, especially for such a young performer.
Nadia Potter as Jasmine gave a charmingly feisty portrayal of the highly principled and modern minded Princess. Nadia understands this character and carefully showed her vulnerability as well as her strength. Another lovely voice which, along with the others, must surely be guaranteed to delight audiences for years to come.
Bailey West was the compellingly evil Jafar, giving a very solid, mature performance with a steely nastiness and wonderfully gruff delivery.
The role of Iago should have been played by Harrison Ince, but unfortunately he was unwell, so Bridie Mae O’Donnell stepped in at the last minute. She was excellent, giving a very funny performance with lovely expression, well timed physical comedy and an engaging enthusiasm.
Ollie Davidson played the role of the Sultan, impressively taking on the voice and mannerisms of an older person and successfully mixing gravitas with warmth.
There were some lovely performances from Aladdin’s friends, Daya Khosse as Babkak, Paige Sisson as Omar and Daniel Lane as Kassim, all making the most of their particular character’s traits.
The Princess’ friends were an amusingly excitable coterie, who provided some comic moments: Luiseach McAleese as Isir, Orlagh McAleese as Manal, Emily Bridge as Rajah and Chloe Elsom as Afreya.
Playing important cameo roles in the production were Hana Bendiba (Spooky Voice) who displayed some nice movement, Ellie Byard-Bennet (Razoul), Grace Collishaw, Lilia Scattergood, Isabelle Massie (Guards), Edie Peace (Beggar), Olivia Thomas, Maisie Denney, Reina Wafang, Pip Blackman, Holly Brownhill (beggars), Ellis Rushton (Apple Vendor), Rene Stanley (Fortune Teller), Lucy Marshall & Suzannah Gilding (Attendants), Abe Collishaw (Prince Abdullah).
The all-singing, all-dancing ensemble was delightful; they performed some very energetic routines that took my breath away. The speed and complexity of the dancing was incredible, and the large cast was always well placed on the stage. The choreographer, Helen Perry, is to be congratulated for achieving such a high standard with the whole cast: using their strengths, but challenging them to really show what they can do.
Well done to:
Abe Collishaw, Amy Brownhill, Bridie Mae O’Donnell, Chloe Elsom, Daniel Lane, Daya Khosse, Edie Peace, Ellie Byard-Bennet, Ellis Rushton, Emily Bridge, Eve Lumley, Freya Thomas, Grace Collishaw, Hana Bendiba, Harrison Ince, Holly Brownhill, Isabelle Massive, Lilia Ludlow, Lucy Marshall, Luiseach McAleese, Maddie Atkin, Maisie Denney, Oliver Davidson, Olivia Thomas,Orlagh McAleese, Page Sisson, Pip Blackman, Reina Wafang, Rene Stanley, Suzannah Gilding.
The costumes by Tracy Scattergood were very Arabian Nights, with lovely flowing lines, great headwear and an appropriate mixture of jewel and drab colours, depending on status. The set was bright and well designed, a central revolve made scene changes very swift and the Magic Carpet sequence was simple, but effective. The props (Claire Collishaw) were convincing, especially the lovely shiny lamp!
The lighting by Matt Cook and sound by Hannah Griffiths were well designed and effective, adding immeasurably to the audience’s enjoyment of the show.
I certainly enjoyed the show, which was an outstanding production: the cast and production team of Katy Maclaughlin (Director), Shannon O’Donnell (Coordinator), Musical Director (Tom Bond) and Helen Perry (Choreographer) and Kristian Thomas (Producer) should be very proud of what they and the young cast have achieved.
There was a well-deserved standing ovation at the end and I agree with a comment overheard from a member of the audience who said on the way out “It was great to see such enthusiasm and talent on stage tonight.”
Great show – well done all.
Kristian Thomas Youth Company
Thursday January 31st
The story of Aladdin and his lamp is well known, but usually as a Christmas Pantomime. The production tonight at the Duchess Theatre was the Disney musical version, that was originally an animated film and more recently a stage show. It has a good pedigree, being written by Chad Beguelin (Book+lyrics), Alan Menken (Music), Howard Ashman and Tim Rice (Lyrics).
The story is more or less the same as the original and tells the story of Aladdin and his three friends, Babkak, Omar, and Kassim. They are down on their luck until Aladdin discovers a magic lamp and a Genie who has the power to grant three wishes. Wanting to earn the respect of the Princess Jasmine, Aladdin embarks on an adventure that will test his will and his moral character. Along the way he comes across the wicked Jafar, who tries to take the lamp and genie away from Aladdin and take over the Kingdom.
This stage adaptation of the popular Disney hit is filled with magic and adventure and includes catchy songs including “Friend Like Me," "Prince Ali" and "A Whole New World.”
Playing the role of Aladdin was the very talented Aiden Carson, who performed confidently throughout, bringing a convincing earnestness to the role and an endearing charm. His solos and duets with Jasmine showcased his lovely voice.
Olivia Weaver was a wonderful Genie. She dominated the stage whenever she appeared and showed, through her wonderfully expressive acting, lovely singing and fabulous dancing, that she is a great talent. She was very confident throughout and her comedy timing is excellent, especially for such a young performer.
Nadia Potter as Jasmine gave a charmingly feisty portrayal of the highly principled and modern minded Princess. Nadia understands this character and carefully showed her vulnerability as well as her strength. Another lovely voice which, along with the others, must surely be guaranteed to delight audiences for years to come.
Bailey West was the compellingly evil Jafar, giving a very solid, mature performance with a steely nastiness and wonderfully gruff delivery.
The role of Iago should have been played by Harrison Ince, but unfortunately he was unwell, so Bridie Mae O’Donnell stepped in at the last minute. She was excellent, giving a very funny performance with lovely expression, well timed physical comedy and an engaging enthusiasm.
Ollie Davidson played the role of the Sultan, impressively taking on the voice and mannerisms of an older person and successfully mixing gravitas with warmth.
There were some lovely performances from Aladdin’s friends, Daya Khosse as Babkak, Paige Sisson as Omar and Daniel Lane as Kassim, all making the most of their particular character’s traits.
The Princess’ friends were an amusingly excitable coterie, who provided some comic moments: Luiseach McAleese as Isir, Orlagh McAleese as Manal, Emily Bridge as Rajah and Chloe Elsom as Afreya.
Playing important cameo roles in the production were Hana Bendiba (Spooky Voice) who displayed some nice movement, Ellie Byard-Bennet (Razoul), Grace Collishaw, Lilia Scattergood, Isabelle Massie (Guards), Edie Peace (Beggar), Olivia Thomas, Maisie Denney, Reina Wafang, Pip Blackman, Holly Brownhill (beggars), Ellis Rushton (Apple Vendor), Rene Stanley (Fortune Teller), Lucy Marshall & Suzannah Gilding (Attendants), Abe Collishaw (Prince Abdullah).
The all-singing, all-dancing ensemble was delightful; they performed some very energetic routines that took my breath away. The speed and complexity of the dancing was incredible, and the large cast was always well placed on the stage. The choreographer, Helen Perry, is to be congratulated for achieving such a high standard with the whole cast: using their strengths, but challenging them to really show what they can do.
Well done to:
Abe Collishaw, Amy Brownhill, Bridie Mae O’Donnell, Chloe Elsom, Daniel Lane, Daya Khosse, Edie Peace, Ellie Byard-Bennet, Ellis Rushton, Emily Bridge, Eve Lumley, Freya Thomas, Grace Collishaw, Hana Bendiba, Harrison Ince, Holly Brownhill, Isabelle Massive, Lilia Ludlow, Lucy Marshall, Luiseach McAleese, Maddie Atkin, Maisie Denney, Oliver Davidson, Olivia Thomas,Orlagh McAleese, Page Sisson, Pip Blackman, Reina Wafang, Rene Stanley, Suzannah Gilding.
The costumes by Tracy Scattergood were very Arabian Nights, with lovely flowing lines, great headwear and an appropriate mixture of jewel and drab colours, depending on status. The set was bright and well designed, a central revolve made scene changes very swift and the Magic Carpet sequence was simple, but effective. The props (Claire Collishaw) were convincing, especially the lovely shiny lamp!
The lighting by Matt Cook and sound by Hannah Griffiths were well designed and effective, adding immeasurably to the audience’s enjoyment of the show.
I certainly enjoyed the show, which was an outstanding production: the cast and production team of Katy Maclaughlin (Director), Shannon O’Donnell (Coordinator), Musical Director (Tom Bond) and Helen Perry (Choreographer) and Kristian Thomas (Producer) should be very proud of what they and the young cast have achieved.
There was a well-deserved standing ovation at the end and I agree with a comment overheard from a member of the audience who said on the way out “It was great to see such enthusiasm and talent on stage tonight.”
Great show – well done all.
Grease
Loughborough Town Hall Theatre
CTC
January29th 2019
Grease was certainly the word tonight, as CTC presented their first performance of this popular musical. It is indeed an “Electrifying” production from a very talented and hard working production team and cast.
Since its inception in 1971, Grease has been a favourite on Broadway, in the West End and with youth and adult musical theatre groups. Tonight CTC’s production was dynamic and exciting and simply thoroughly entertaining from start to finish. The Directors/Choreographers, Michael Gamble and Julie Easter, capture the essence of the original, but in a fresh and exciting way with stunning dancing, great singing and a lot of fun.
Grease is set in 1959 in the fictional Rydell High School. At the heart of the story is the romance between Cool Dude, Danny Zuko and the sweet new girl in town, Sandy Dumbrowski. They had a secret romance in the summer, but now back in the context of school, peer-pressure and cliques make their love a bit more complicated. Basically the question is ‘Can Danny maintain his cool dude status and still get make demure Sandy his girl?’ The story is told through hit songs such as "Greased Lightnin'", "We Go Together”, and “Mooning”, recalling the music of Buddy Holly, Little Richard and Elvis Presley that became the soundtrack of a generation. It so hit the right note that it ran on Broadway for 8 years!
From the soaring and tuneful opening number, “Rydell Alma Mater” it was obvious that the standard of music in this production was going to be very high. It is matched by breathtaking set piece choreography that lights the stage up. At times one doesn’t know where to look, as there is so much going on, all of it beautifully executed by everyone involved. There have been huge challenges issued to this cast, especially in complex song and dance terms: they have risen to them and produced something very special.
There are incredibly strong and professional performances from the principal actors. Ashley Bright as Danny, Anja Palmer as Sandy, Holly Easter as Rizzo, Hannah Osgood as Frenchie, Hannah Parker as Jan, Lucy Brown as Marty, Aaron Murray as Kenickie, Ollie Lewin as Roger, George Stackhouse as Doody and Jordan Cope as Sonny. Every performer who has a solo or duet steals the stage and makes their own moment a highlight: Danny, Sandy, Rizzo, Kenickie and Doody all excel in theirs and Roger and Jan have a lovely comic piece in ‘Mooning’. The Pink Ladies and the Burger Palace Boys are carefully cast and work together with an obvious love of this joyous production.
There are also very good performances from Alix Johnstone as Patty, Alex Hudson as Eugene, Anita Benson as Miss Lynch, Duncan Gadsby as Vince, David Burton as Johnny, Frankie Johnson as Cha Cha and Craig Butterworth as Teen Angel. All thoroughly convincing with some lovely moments of their own and vital to the overall success.
The equally vital and incredibly energetic ensemble, who move, dance and sing with such skill are Bobbie Da’Bell, Sophie Draycott, Jack Hardy, Jerry Gaillard, Sarah Lorimer, Amy McMurray, Vicky Mee, Julie Robinson, Jayne Sanderson, Mel Swift, Alex Trott and Ben Trott.
I was particularly impressed by the excellence of the big whole cast numbers, such as “Summer Nights”, “We Go Together”, “Shakin” and “You’re the one that I Want.” Getting the hand jive right is quite a skill and they manage it with perfect timing. Michael Gamble and Julie Easter obviously have considerable talent as both choreographers and directors; the placement of the cast in these big numbers in what is a relatively small space is outstanding. Attention to detail is also in evidence with individuals and groups always staying in character and props which are very realistic – I like to see liquids in bottles and real food on plates!
The Musical Director, Vicki Hing, leads an excellent band that sounds great and supports the performers well. The standard of singing from the whole cast is of a very high and pleasing standard, with a lovely authentic sound for the era: they certainly know how to wop-bop-a-loo-bop!
I like the set which is bright, adaptable, colourful and well used by the cast. Scene changes are swift and well managed and on a few occasions some of the cast members stay in role while changing the set, bringing an immersive feel to the production.
The lighting design by Robert Bridges complements the set and creates the mood, while the sound by Rob Templeman and Harry Bridge is spot on: I could hear every word. Costume wise the show looks pleasingly authentic to the times with an interestingly fresh take on the pink ladies’ jackets. Authenticity is also true of the set and props: attention to those details that enhance the whole experience.
I have seen Grease a number of times before but I think this production showed me just how great it can be. A real wow of a show from a very hardworking and talented company; CTC have yet another big hit on their record.
I understand that the show is pretty much fully booked for the rest of the week, but if you can get a ticket you will have an absolute ball.
Loughborough Town Hall Theatre
CTC
January29th 2019
Grease was certainly the word tonight, as CTC presented their first performance of this popular musical. It is indeed an “Electrifying” production from a very talented and hard working production team and cast.
Since its inception in 1971, Grease has been a favourite on Broadway, in the West End and with youth and adult musical theatre groups. Tonight CTC’s production was dynamic and exciting and simply thoroughly entertaining from start to finish. The Directors/Choreographers, Michael Gamble and Julie Easter, capture the essence of the original, but in a fresh and exciting way with stunning dancing, great singing and a lot of fun.
Grease is set in 1959 in the fictional Rydell High School. At the heart of the story is the romance between Cool Dude, Danny Zuko and the sweet new girl in town, Sandy Dumbrowski. They had a secret romance in the summer, but now back in the context of school, peer-pressure and cliques make their love a bit more complicated. Basically the question is ‘Can Danny maintain his cool dude status and still get make demure Sandy his girl?’ The story is told through hit songs such as "Greased Lightnin'", "We Go Together”, and “Mooning”, recalling the music of Buddy Holly, Little Richard and Elvis Presley that became the soundtrack of a generation. It so hit the right note that it ran on Broadway for 8 years!
From the soaring and tuneful opening number, “Rydell Alma Mater” it was obvious that the standard of music in this production was going to be very high. It is matched by breathtaking set piece choreography that lights the stage up. At times one doesn’t know where to look, as there is so much going on, all of it beautifully executed by everyone involved. There have been huge challenges issued to this cast, especially in complex song and dance terms: they have risen to them and produced something very special.
There are incredibly strong and professional performances from the principal actors. Ashley Bright as Danny, Anja Palmer as Sandy, Holly Easter as Rizzo, Hannah Osgood as Frenchie, Hannah Parker as Jan, Lucy Brown as Marty, Aaron Murray as Kenickie, Ollie Lewin as Roger, George Stackhouse as Doody and Jordan Cope as Sonny. Every performer who has a solo or duet steals the stage and makes their own moment a highlight: Danny, Sandy, Rizzo, Kenickie and Doody all excel in theirs and Roger and Jan have a lovely comic piece in ‘Mooning’. The Pink Ladies and the Burger Palace Boys are carefully cast and work together with an obvious love of this joyous production.
There are also very good performances from Alix Johnstone as Patty, Alex Hudson as Eugene, Anita Benson as Miss Lynch, Duncan Gadsby as Vince, David Burton as Johnny, Frankie Johnson as Cha Cha and Craig Butterworth as Teen Angel. All thoroughly convincing with some lovely moments of their own and vital to the overall success.
The equally vital and incredibly energetic ensemble, who move, dance and sing with such skill are Bobbie Da’Bell, Sophie Draycott, Jack Hardy, Jerry Gaillard, Sarah Lorimer, Amy McMurray, Vicky Mee, Julie Robinson, Jayne Sanderson, Mel Swift, Alex Trott and Ben Trott.
I was particularly impressed by the excellence of the big whole cast numbers, such as “Summer Nights”, “We Go Together”, “Shakin” and “You’re the one that I Want.” Getting the hand jive right is quite a skill and they manage it with perfect timing. Michael Gamble and Julie Easter obviously have considerable talent as both choreographers and directors; the placement of the cast in these big numbers in what is a relatively small space is outstanding. Attention to detail is also in evidence with individuals and groups always staying in character and props which are very realistic – I like to see liquids in bottles and real food on plates!
The Musical Director, Vicki Hing, leads an excellent band that sounds great and supports the performers well. The standard of singing from the whole cast is of a very high and pleasing standard, with a lovely authentic sound for the era: they certainly know how to wop-bop-a-loo-bop!
I like the set which is bright, adaptable, colourful and well used by the cast. Scene changes are swift and well managed and on a few occasions some of the cast members stay in role while changing the set, bringing an immersive feel to the production.
The lighting design by Robert Bridges complements the set and creates the mood, while the sound by Rob Templeman and Harry Bridge is spot on: I could hear every word. Costume wise the show looks pleasingly authentic to the times with an interestingly fresh take on the pink ladies’ jackets. Authenticity is also true of the set and props: attention to those details that enhance the whole experience.
I have seen Grease a number of times before but I think this production showed me just how great it can be. A real wow of a show from a very hardworking and talented company; CTC have yet another big hit on their record.
I understand that the show is pretty much fully booked for the rest of the week, but if you can get a ticket you will have an absolute ball.
Macbeth National Tour
January 20th
Nottingham Theatre RoyalThis was a dramatic, powerful, often gory and dynamic production. I cannot claim to be a great fan of Shakespeare but I have seen this play a few times but this one is quite different.
Not set in the traditional time, this is described as being set in a post apocalyptic time when all is chaotic and full of danger. Not always quite sure where it is set though but this does not matter.
There have been powerful performances from the cast both principal and ensemble. The set design is good and the lighting and sound designs are excellent.
The original music adds to the atmosphere of the play as do the special effects.
This is not a production that makes me feel comfortable but it has kept me on the edge of my seat.
January 20th
Nottingham Theatre RoyalThis was a dramatic, powerful, often gory and dynamic production. I cannot claim to be a great fan of Shakespeare but I have seen this play a few times but this one is quite different.
Not set in the traditional time, this is described as being set in a post apocalyptic time when all is chaotic and full of danger. Not always quite sure where it is set though but this does not matter.
There have been powerful performances from the cast both principal and ensemble. The set design is good and the lighting and sound designs are excellent.
The original music adds to the atmosphere of the play as do the special effects.
This is not a production that makes me feel comfortable but it has kept me on the edge of my seat.
Peter Pan
The Young Performers
January 16th
Duchess Theatre.
The legend of Peter Pan has been delighting children of all ages for over 100 years and this version, featuring music and lyrics by the award-winning duo George Stiles and Anthony Drewe, is perfect for the whole family. Tonight we joined Peter Pan and the Darling family as they are whisked away to a Neverland full of colourful characters, including the Lost Boys, Tiger Lily and, of course, the dastardly Captain Hook. There is a spectacular mix of swashbuckling adventure, flying performers, and an infectious score.
This production, directed by Zak Charlesworth in his first full solo directorial role, feels fresh and is captivating. The characters have depth and dimension, and the music is breathtaking. I have always loved the music of Styles and Drew and once again they have produced a score that is very tuneful, easy to listen to and full of great lyrics. The book by Willis Hall is also very well written.
There are some excellent performances from the principal players, led by Harvey Tavener whose performance is thoroughly engaging. He makes the part his own and shows that he clearly understands the character he is playing. He reacts to the things happening around him and is able to show a range of emotions from mischievousness and anger to vulnerability and wistfulness. He dominates the stage whenever he is on and his sheer joy in performing, his excellent diction and lovely singing voice, plus a lively physicality, make him a delight to listen to and watch.
Caitlin Oldham is an excellent Wendy. She plays the part with charm and great confidence and thoroughly endears herself to the audience. Wendy is sensible, but open to fun and she is sometimes called upon to be both responsible and brave beyond her years. Caitlin has thought about and captured all these characteristics and she has a lovely voice: her duets with Peter are beautiful.
Jake Truman is often formidable as Captain Hook, with a snarling churlishness, delivering many of his scathing lines in a richly booming voice. However, he also shows the more sensitive side of the character and I particularly enjoyed his rendition of “A Pirate with a conscience” that was very well performed with Ellen Oldershaw (Smee). Jake has thought about the physicality of his character and has perfected a suitable swagger and confident air of menace.
Ellen Oldershaw is an excellent all round performer with a great voice: she plays the part of Smee with great gusto and a real twinkle in her eye. She has excellent timing in all her interactions, particularly with Captain Hook; she delivers every line with complete understanding and cleverly accented clarity. A super performance. I hope we will be seeing lots more of her in future productions.
Charlotte Rowland (The Story Teller) has a lovely voice and she did very well making her entrance through the audience, which is a nerve wracking debut, particularly on a first night. Her duet with Molly Parkinson (Mrs Darling) was charming and she makes the most of her poignant revelation at the end of the play.
Molly has a great voice too, and I particularly enjoyed her first song in Act 1 ‘Just Beyond the Stars’. She has taken on the role of a person older than herself with aplomb and has not only modified her voice, but her movements and actions. Thoroughly convincing and at times, very moving.
Tinkerbell, played by Brooke Marsden is dainty, charming, vengeful and mischievous, all conveyed through dancing, movement and mime, which is an excellent achievement.
There are other good performances from Ryan Yates (John), Drew Boswell (Michael) and Ricky Hill (Mr Darling).
In this show the ensemble play a big part and those in it have to play a number of roles. This they all do well, and I am very impressed by the energy and enthusiasm shown by them. There are a number of ensemble songs including the delightful ‘The Lost Boys Gang,’ which is a real treat and “There’s Something in the Air Tonight”, which starts off the first Act. The direction and choreography of this scene was impressive.
The ensemble is: Cassie Murdoch, Finlay Dilks (who also operated the puppet dog, Nana), Lenny Antwi, Lewis McDowell, Harriet Slatcher, Finlay Boswell, Erin Byrne, Megan Thomas, Ava Haylock, Millie Weston, Millen Scrivener, Henry Icke, James Pedrick, Marcy Truman, Ruby Garrison, Neve Saxton, Millie Relf, Eleanor Meakin, Emma-Jayne Peel, Phoebe Clarke and Emilia Buxton.
George Parkinson, the musical director and his excellent band accompany the performers very well - it sounds great. The sound balance between the band and the performers is just right: well done to Dave Sims for that. The score is demanding, and I am sure George has worked very hard with the cast and musicians to produce such a good result.
The large cast is well choreographed by Victoria Byrne, the dances and movement are exciting and well presented, with a range of visually pleasing styles. The limited space is well used and the stage never feels too crowded, owing to excellent placement of individuals and groups.
I was very impressed by the set designed and built by Zak and Roydon Charlesworth. It is used in different configurations for a large number of scenes. It works well, is very versatile and at times, really beautiful to look at. It is enhanced by the excellent lighting plot designed and operated by Dave Martin, starting with a lovely green hue that sets the tone at the start of the play. The stage crew and the cast are to be complimented for swift set changes, although I would have liked some of the changes to be covered by some incidental music. The Stage Manager, Roydon Charlesworth kept everything on track.
The costume requirements for this show are many and varied. Victoria Garavan has once again showed her skill in this area; the differentiation between the groups, although simple, is clear and effective. Captain Hook is magnificently bewigged and clad, and Tinkerbell’s costume is particularly effective: a dainty fairy in boots sums her up perfectly.
Finally, to the Creative Director. Zak certainly embraces this difficult production with considerable skill and bravery: he had a vision and he has carefully drawn on the expertise around him to help make it happen. The hand of the director is also evident in the expression of the principal characters, who have obviously been given time and guidance to develop their roles. His cast have responded well to his enthusiasm, expertise and direction and have given their all to make this production a success.
There was a well deserved and prolonged ovation from the full house at the theatre.
The Young Performers
January 16th
Duchess Theatre.
The legend of Peter Pan has been delighting children of all ages for over 100 years and this version, featuring music and lyrics by the award-winning duo George Stiles and Anthony Drewe, is perfect for the whole family. Tonight we joined Peter Pan and the Darling family as they are whisked away to a Neverland full of colourful characters, including the Lost Boys, Tiger Lily and, of course, the dastardly Captain Hook. There is a spectacular mix of swashbuckling adventure, flying performers, and an infectious score.
This production, directed by Zak Charlesworth in his first full solo directorial role, feels fresh and is captivating. The characters have depth and dimension, and the music is breathtaking. I have always loved the music of Styles and Drew and once again they have produced a score that is very tuneful, easy to listen to and full of great lyrics. The book by Willis Hall is also very well written.
There are some excellent performances from the principal players, led by Harvey Tavener whose performance is thoroughly engaging. He makes the part his own and shows that he clearly understands the character he is playing. He reacts to the things happening around him and is able to show a range of emotions from mischievousness and anger to vulnerability and wistfulness. He dominates the stage whenever he is on and his sheer joy in performing, his excellent diction and lovely singing voice, plus a lively physicality, make him a delight to listen to and watch.
Caitlin Oldham is an excellent Wendy. She plays the part with charm and great confidence and thoroughly endears herself to the audience. Wendy is sensible, but open to fun and she is sometimes called upon to be both responsible and brave beyond her years. Caitlin has thought about and captured all these characteristics and she has a lovely voice: her duets with Peter are beautiful.
Jake Truman is often formidable as Captain Hook, with a snarling churlishness, delivering many of his scathing lines in a richly booming voice. However, he also shows the more sensitive side of the character and I particularly enjoyed his rendition of “A Pirate with a conscience” that was very well performed with Ellen Oldershaw (Smee). Jake has thought about the physicality of his character and has perfected a suitable swagger and confident air of menace.
Ellen Oldershaw is an excellent all round performer with a great voice: she plays the part of Smee with great gusto and a real twinkle in her eye. She has excellent timing in all her interactions, particularly with Captain Hook; she delivers every line with complete understanding and cleverly accented clarity. A super performance. I hope we will be seeing lots more of her in future productions.
Charlotte Rowland (The Story Teller) has a lovely voice and she did very well making her entrance through the audience, which is a nerve wracking debut, particularly on a first night. Her duet with Molly Parkinson (Mrs Darling) was charming and she makes the most of her poignant revelation at the end of the play.
Molly has a great voice too, and I particularly enjoyed her first song in Act 1 ‘Just Beyond the Stars’. She has taken on the role of a person older than herself with aplomb and has not only modified her voice, but her movements and actions. Thoroughly convincing and at times, very moving.
Tinkerbell, played by Brooke Marsden is dainty, charming, vengeful and mischievous, all conveyed through dancing, movement and mime, which is an excellent achievement.
There are other good performances from Ryan Yates (John), Drew Boswell (Michael) and Ricky Hill (Mr Darling).
In this show the ensemble play a big part and those in it have to play a number of roles. This they all do well, and I am very impressed by the energy and enthusiasm shown by them. There are a number of ensemble songs including the delightful ‘The Lost Boys Gang,’ which is a real treat and “There’s Something in the Air Tonight”, which starts off the first Act. The direction and choreography of this scene was impressive.
The ensemble is: Cassie Murdoch, Finlay Dilks (who also operated the puppet dog, Nana), Lenny Antwi, Lewis McDowell, Harriet Slatcher, Finlay Boswell, Erin Byrne, Megan Thomas, Ava Haylock, Millie Weston, Millen Scrivener, Henry Icke, James Pedrick, Marcy Truman, Ruby Garrison, Neve Saxton, Millie Relf, Eleanor Meakin, Emma-Jayne Peel, Phoebe Clarke and Emilia Buxton.
George Parkinson, the musical director and his excellent band accompany the performers very well - it sounds great. The sound balance between the band and the performers is just right: well done to Dave Sims for that. The score is demanding, and I am sure George has worked very hard with the cast and musicians to produce such a good result.
The large cast is well choreographed by Victoria Byrne, the dances and movement are exciting and well presented, with a range of visually pleasing styles. The limited space is well used and the stage never feels too crowded, owing to excellent placement of individuals and groups.
I was very impressed by the set designed and built by Zak and Roydon Charlesworth. It is used in different configurations for a large number of scenes. It works well, is very versatile and at times, really beautiful to look at. It is enhanced by the excellent lighting plot designed and operated by Dave Martin, starting with a lovely green hue that sets the tone at the start of the play. The stage crew and the cast are to be complimented for swift set changes, although I would have liked some of the changes to be covered by some incidental music. The Stage Manager, Roydon Charlesworth kept everything on track.
The costume requirements for this show are many and varied. Victoria Garavan has once again showed her skill in this area; the differentiation between the groups, although simple, is clear and effective. Captain Hook is magnificently bewigged and clad, and Tinkerbell’s costume is particularly effective: a dainty fairy in boots sums her up perfectly.
Finally, to the Creative Director. Zak certainly embraces this difficult production with considerable skill and bravery: he had a vision and he has carefully drawn on the expertise around him to help make it happen. The hand of the director is also evident in the expression of the principal characters, who have obviously been given time and guidance to develop their roles. His cast have responded well to his enthusiasm, expertise and direction and have given their all to make this production a success.
There was a well deserved and prolonged ovation from the full house at the theatre.