David's Live Theatre
Some Mothers do ‘ave ‘em
Theatre Royal Nottingham
March 10th 2020
This was a great adaptation of the tv comedy series. All the elements of the original were there and there were some great special effects and scenery. This is, however the sort of show that I cannot describe in detail as you need to experience it first hand. I wouldn’t want to spoil it for you.
Joe Pasquale was Frank Spencer with most of the mannerisms of the original character played on tv by Michael Crawford. He had some amazing lines to remember which he delivered perfectly. A very funny performance as you would expect from this well respected performer.
Sarah Earnshaw was also well cast as Frank’s wife Betty. Her expressions of amazement at his manic behaviour were a joy to watch.
Her mother was played by Jane Ashley instead of Suzie Blake. I was a little disappointed when I heard Suzie was not on tonight but I need not have worried as Jane was excellent.
The other cast members supported well. Moray Treadwell(Mr Luscombe/ Mr Worthington), David Shaw-Parker (Father O’Hara) and Ben Watson (Desmond et al).
The writer and director, Guy Unsworth, has delivered a fast moving and very funny version of a tv classic which was worthy of the sustained standing ovation at the end.
I really enjoyed it and as a fan of the original have no hesitation in saying go and see it. You will not be disappointed whether you are a fan or not.
Theatre Royal Nottingham
March 10th 2020
This was a great adaptation of the tv comedy series. All the elements of the original were there and there were some great special effects and scenery. This is, however the sort of show that I cannot describe in detail as you need to experience it first hand. I wouldn’t want to spoil it for you.
Joe Pasquale was Frank Spencer with most of the mannerisms of the original character played on tv by Michael Crawford. He had some amazing lines to remember which he delivered perfectly. A very funny performance as you would expect from this well respected performer.
Sarah Earnshaw was also well cast as Frank’s wife Betty. Her expressions of amazement at his manic behaviour were a joy to watch.
Her mother was played by Jane Ashley instead of Suzie Blake. I was a little disappointed when I heard Suzie was not on tonight but I need not have worried as Jane was excellent.
The other cast members supported well. Moray Treadwell(Mr Luscombe/ Mr Worthington), David Shaw-Parker (Father O’Hara) and Ben Watson (Desmond et al).
The writer and director, Guy Unsworth, has delivered a fast moving and very funny version of a tv classic which was worthy of the sustained standing ovation at the end.
I really enjoyed it and as a fan of the original have no hesitation in saying go and see it. You will not be disappointed whether you are a fan or not.
Godspell
Duchess Theatre Long Eaton
March 6th 2020
Back now after a very enjoyable evening at the Duchess Theatre watching Godspell from EMS. Well done to all involved with this very different type of show for this popular local group.
The whole cast are involved and on stage throughout and they have to work very hard with little time to rest. However, It is very obvious that they are enjoying what they are doing and this production allows them to interact with the audience before, during and after the show. There is so much energy coming from the cast which is quite infectious.
The show has a varied style of musical numbers and routines throughout and although the central role of Jesus (Adam Roberts) and John the Baptist (Martin Lewis) are very important this is very much an ensemble piece in which all the cast have some individual parts to play.
The cast was: Megan Asher, Barbara Bostock, Martin Briggs, Gill Cooke, Grace Deakin, Richard Dawson, Jane Freeman, Sue Hagen, Laurie Trott, Tracey Renshaw, Maria Lawrence, Elin Haycock, Louisa Ward, Karen Robbins, Kathi Ludlow, Heather Howe, Hayley Wood, Biba Tribensee, Christie Oakdon, Natalie Byrne, Natalie Austen and Andrea Kentish.
The show moves quickly and the cast have to be ready to jump, often literally, into new roles. This they all do very well. There are many roles to play for so many of the cast.
There are a number of good songs in the show and they were very well performed and the Band directed by MD James Bowden sound very good supporting the performers very well. The musicians were James Bowden, Martin Lewis, Tim Yearsley, Dave Shipley and Tony Gordon.
I particularly liked the whole cast numbers such as "Prepare Ye The Way of The Lord," "Bless the Lord," "Turn Back O Man," and "We Beseech Thee" which were well choreographed by Abbi Burns.
The set was very attractive and well used by the cast and in particular the small trampolines! (Mark and Bill Robbins).
The lighting by Dave Martin is as usual very good and the final scene in particular was beautifully lit.
The sound was just right, well balanced, crisp and clear (Dave Dallard / Harvey Tavener.
The shows Director, Richard Dawson, whose aim was to produce a show that emphasises the important element of community into the Christian Story, has done a very good job and I think succeeds in his aims for the show. I am sure he will be very pleased with the results achieved tonight from all involved.
There was an enthusiastic ovation from the audience at the end.
Duchess Theatre Long Eaton
March 6th 2020
Back now after a very enjoyable evening at the Duchess Theatre watching Godspell from EMS. Well done to all involved with this very different type of show for this popular local group.
The whole cast are involved and on stage throughout and they have to work very hard with little time to rest. However, It is very obvious that they are enjoying what they are doing and this production allows them to interact with the audience before, during and after the show. There is so much energy coming from the cast which is quite infectious.
The show has a varied style of musical numbers and routines throughout and although the central role of Jesus (Adam Roberts) and John the Baptist (Martin Lewis) are very important this is very much an ensemble piece in which all the cast have some individual parts to play.
The cast was: Megan Asher, Barbara Bostock, Martin Briggs, Gill Cooke, Grace Deakin, Richard Dawson, Jane Freeman, Sue Hagen, Laurie Trott, Tracey Renshaw, Maria Lawrence, Elin Haycock, Louisa Ward, Karen Robbins, Kathi Ludlow, Heather Howe, Hayley Wood, Biba Tribensee, Christie Oakdon, Natalie Byrne, Natalie Austen and Andrea Kentish.
The show moves quickly and the cast have to be ready to jump, often literally, into new roles. This they all do very well. There are many roles to play for so many of the cast.
There are a number of good songs in the show and they were very well performed and the Band directed by MD James Bowden sound very good supporting the performers very well. The musicians were James Bowden, Martin Lewis, Tim Yearsley, Dave Shipley and Tony Gordon.
I particularly liked the whole cast numbers such as "Prepare Ye The Way of The Lord," "Bless the Lord," "Turn Back O Man," and "We Beseech Thee" which were well choreographed by Abbi Burns.
The set was very attractive and well used by the cast and in particular the small trampolines! (Mark and Bill Robbins).
The lighting by Dave Martin is as usual very good and the final scene in particular was beautifully lit.
The sound was just right, well balanced, crisp and clear (Dave Dallard / Harvey Tavener.
The shows Director, Richard Dawson, whose aim was to produce a show that emphasises the important element of community into the Christian Story, has done a very good job and I think succeeds in his aims for the show. I am sure he will be very pleased with the results achieved tonight from all involved.
There was an enthusiastic ovation from the audience at the end.
The Taming of the Shrew
Theatre Royal Nottingham
March 3rd 2020
Tonight’s performance of Taming of the Shrew was greeted by a very enthusiastic ovation at the end. I really enjoyed it and although I am not a great fan of the bard I really appreciated the excellent performances in this innovative production. As I said during the interval the gender swaps work really well which really surprised me.
The cast were obviously having a great time on stage and their enthusiasm and talent rubbed off on the audience.
There were so many excellent performances but I particularly enjoyed watching Claire Price as Petruchia and Joseph Arkley as Katherine.
There was an ensemble song at the start of each Act and at the end of play. These were great. The band positioned at the sides of the stage sounded very Elizabethan.
I think after tonight I might well want to see other Shakespeare plays and get to know them better.
Theatre Royal Nottingham
March 3rd 2020
Tonight’s performance of Taming of the Shrew was greeted by a very enthusiastic ovation at the end. I really enjoyed it and although I am not a great fan of the bard I really appreciated the excellent performances in this innovative production. As I said during the interval the gender swaps work really well which really surprised me.
The cast were obviously having a great time on stage and their enthusiasm and talent rubbed off on the audience.
There were so many excellent performances but I particularly enjoyed watching Claire Price as Petruchia and Joseph Arkley as Katherine.
There was an ensemble song at the start of each Act and at the end of play. These were great. The band positioned at the sides of the stage sounded very Elizabethan.
I think after tonight I might well want to see other Shakespeare plays and get to know them better.
Snow White and the Seven Dwarfs
Landau Forte College Derby
The Watson Players
February 28th 2020
Snow White and the Seven Dwarfs - The Watson Players
Landau Forte Theatre - February 27th 2020
Snow White is a traditional pantomime story of good and evil. It is about a wicked Queen who is very much annoyed that she is not the fairest of them all, so getting rid of the beautiful Snow White is a priority. However, the Queen has not counted on Snow White’s friends, the Seven Dwarfs!
What a great production this is, full of fun and thoroughly engaging, due to some inspired direction and hugely talented performers.
Great performances from the principal cast members, led by Ciara Beighton as a spirited but charming Snow White. She looks the part, entirely convinces and sings beautifully. The Song Speechless is particularly good.
Regina Repton is a delightfully evil Queen Grimelza, who can also put on a persuasive charm when needed. Yvonne Baird as her evil servant Black Wing is superb: her physical comedy is excellent.
Gary Rowley as Danny Dumpling and Ellie Mallinson as Dolly Dumpling, are very funny; their enthusiasm and keen sense of comic timing shines through, especially when involving the audience. The traditional Sing a long was well managed and much enjoyed.
Marie Madej as Prince Frederick has a lovely voice, an impressive swagger and she can wield a mighty sword, too!
The two unwilling and bumbling assassins, Stinkwort and Bogwort are played very well with lots of lovely silliness, by Karen Jones and Wayne Perry.
I really like Jessica Baird as Fairy Goodheart, the sweetly anxious trainee fairy and Patricia Church as her kindly mentor Wonderwings, who keep appearing during the show, keeping the story moving with engaging short scenes.
Graham Swift as Speak True is the commanding voice of the magic mirror.
It was very obvious from the audiences reactions that everyone enjoyed the Seven Dwarfs. They all have very distinctive characters and are played with warmth, comedy and lots of entertainment value by: Liz Woolley (CD), Trevor Chambers (Grouchy), Margaret Icely (Snoozy), Lynne Chambers (Snotty), Sally Tickner-Mellor (Jolly), Isabelle Fitzpatrick (Doz-Ee) and Tabitha Hartshorn (Disney).
It was a master stroke to introduce Am Dram, who is on work experience from Derby Theatre. Jake Perry camped his way around, deliberately overacting and holding the stage. He is very funny and the audience loved him.
The varied dancing in the show, which included the ensemble, was of a very high standard and lovely to watch.
The dancers are Sabine Bensley, Emma Sage, Becky Waller, Hannah Fox, Rachel Robinson, Emily Coxhead and Rebecca Jones.
The ensemble are Jack Woolley, Liberty Mellor, Carly Peake, Aaron Burge, James Ash, Emily Aldrich, and Lauren-Victoria Wells.
This is a production that certainly shows off this great company and is a credit to their 50th Anniversary.
The Production Team of Angela Swift (Director), Graham Swift (Assistant to Director), Jordan Baird (Musical Director), Helen Perry (Choreographer), John Woolley(Stage Manager), John Hartshorn (Lighting) and the Landau Forte Tech Staff have done a very professional job with this one.
The finale is wonderful with stunning costumes, a very impressive set and a rousing final song from the whole cast. This is the way to do a finale, it is an absolute triumph.
I cannot recommend this show highly enough. There is a performance on Sunday, so go and see it if you can!
I am looking forward to the next show in July. Well done all for your hard work and dedication: 50 great years over, but many more to come, I am sure.
Landau Forte College Derby
The Watson Players
February 28th 2020
Snow White and the Seven Dwarfs - The Watson Players
Landau Forte Theatre - February 27th 2020
Snow White is a traditional pantomime story of good and evil. It is about a wicked Queen who is very much annoyed that she is not the fairest of them all, so getting rid of the beautiful Snow White is a priority. However, the Queen has not counted on Snow White’s friends, the Seven Dwarfs!
What a great production this is, full of fun and thoroughly engaging, due to some inspired direction and hugely talented performers.
Great performances from the principal cast members, led by Ciara Beighton as a spirited but charming Snow White. She looks the part, entirely convinces and sings beautifully. The Song Speechless is particularly good.
Regina Repton is a delightfully evil Queen Grimelza, who can also put on a persuasive charm when needed. Yvonne Baird as her evil servant Black Wing is superb: her physical comedy is excellent.
Gary Rowley as Danny Dumpling and Ellie Mallinson as Dolly Dumpling, are very funny; their enthusiasm and keen sense of comic timing shines through, especially when involving the audience. The traditional Sing a long was well managed and much enjoyed.
Marie Madej as Prince Frederick has a lovely voice, an impressive swagger and she can wield a mighty sword, too!
The two unwilling and bumbling assassins, Stinkwort and Bogwort are played very well with lots of lovely silliness, by Karen Jones and Wayne Perry.
I really like Jessica Baird as Fairy Goodheart, the sweetly anxious trainee fairy and Patricia Church as her kindly mentor Wonderwings, who keep appearing during the show, keeping the story moving with engaging short scenes.
Graham Swift as Speak True is the commanding voice of the magic mirror.
It was very obvious from the audiences reactions that everyone enjoyed the Seven Dwarfs. They all have very distinctive characters and are played with warmth, comedy and lots of entertainment value by: Liz Woolley (CD), Trevor Chambers (Grouchy), Margaret Icely (Snoozy), Lynne Chambers (Snotty), Sally Tickner-Mellor (Jolly), Isabelle Fitzpatrick (Doz-Ee) and Tabitha Hartshorn (Disney).
It was a master stroke to introduce Am Dram, who is on work experience from Derby Theatre. Jake Perry camped his way around, deliberately overacting and holding the stage. He is very funny and the audience loved him.
The varied dancing in the show, which included the ensemble, was of a very high standard and lovely to watch.
The dancers are Sabine Bensley, Emma Sage, Becky Waller, Hannah Fox, Rachel Robinson, Emily Coxhead and Rebecca Jones.
The ensemble are Jack Woolley, Liberty Mellor, Carly Peake, Aaron Burge, James Ash, Emily Aldrich, and Lauren-Victoria Wells.
This is a production that certainly shows off this great company and is a credit to their 50th Anniversary.
The Production Team of Angela Swift (Director), Graham Swift (Assistant to Director), Jordan Baird (Musical Director), Helen Perry (Choreographer), John Woolley(Stage Manager), John Hartshorn (Lighting) and the Landau Forte Tech Staff have done a very professional job with this one.
The finale is wonderful with stunning costumes, a very impressive set and a rousing final song from the whole cast. This is the way to do a finale, it is an absolute triumph.
I cannot recommend this show highly enough. There is a performance on Sunday, so go and see it if you can!
I am looking forward to the next show in July. Well done all for your hard work and dedication: 50 great years over, but many more to come, I am sure.
Singin In the Rain Jr
Leos Youth Group
Duchess Theatre, Long Eaton
February 21st
Singin' in the Rain JR. is about the starlet, the leading man and a love affair that could change lives and make or break careers! In silent movies, Don Lockwood and Lina Lamont are a hot item, but behind the scenes, things aren't always as they appear on the big screen! In addition to this, the era of the silent movie is coming to an end to be replaced by the new fangled “talking pictures.” Unfortunately, Lina's squeaky voice does not translate well to the new medium and without the help of a talented young actress to do the talking and singing for her she might find her career coming to an abrupt end.
This adaptation for young performers is based upon the film and the adult stage musical that has been well loved over the years.
Matt McAuley was a very confident Don Lockwood and his rendition and dance routine of Singing in the Rain was outstanding.
Billy Sweet was amazing as Cosmo Brown and he showed considerable ability for physical comedy, particularly in “Make ‘em Laugh.”
Hannah Pettit was splendid in the role of Kathy Seldon and I particularly enjoyed her performance of Lucky Star. She has a lovely voice and is a very good actor.
Emma Lowe was terrific as Lina Lamont putting on a “fog horn” of a voice which was great and her performance was very funny. She is a very confident actor.
They were very well supported by Isaac Brooks as R F Simpson, Billy Stewart as Dexter and Holly Douglas as Dora.
There was a large all singing all dancing ensemble some of whom had supporting parts : Tommy Stewart (Assistant), Max Fuller (Assistant), Findlay Parker (Assistant).
Hayley Watson (Broadway Melody Dancer), Robert McAuley (Broadway Host), Grace Collishaw (Broadway Melody Dancer).
Emma Abel (Miss Dinsmore), Chloe Brookes (Young Girl), Lilly Simons-Clark (Roz), Ben Goodlas (Sound Engineer), Naomi Thomas (Zelda), Jude Yellop (Policeman), Kate Whittaker (Student), Joe Stewart (Student), Charlotte Case (Chorus Dancer).
Kathy’s Dancers: Hannah Glossop, Bella Syson, Ella Charlesworth, Martha Bertram, Amy Young, Grace Agius, Roisin Parker, Darcy Boyd, Lucy Coulson-Jones, Megan Trindell, Holly Brooks.
The standard of performance throughout the show was very high indeed. The dancing in particular was some of the best I have seen from an all age youth group. They were all synchronised and I was very impressed. There were many high spots for me, including
“Singin’ in the Rain”, “Moses Supposes” and “Broadway Melody”, which included a great solo performance from Robert McAuley in a very white suit!
The production had great lighting devised and controlled by Laura and Tom Olding with crisp and clear sound from Dave Dallard. He was also responsible for very suitable and effective projections which even gave us rain from time to time!
The Production Team of Karen Woodhead (Director/ Choreographer), Siobhan Parker (Producer/ Choreographer) and Giles Pettit (Musical Director) certainly made this show exciting, enjoyable and visually attractive. Rob Corner (Stage Manager) and his team ensured that the show moved quickly, with swift and efficient scene changes. The set was appropriate (Roydon Charlesworth) and was well used.
I really enjoyed this excellent production and mustn’t forget to mention the bows during the finale, which were superb. This group of young performers actually know how to bow properly, which can’t be said of some adults!
Well done to all who were involved in this excellent production. Can’t wait for their next one.
Leos Youth Group
Duchess Theatre, Long Eaton
February 21st
Singin' in the Rain JR. is about the starlet, the leading man and a love affair that could change lives and make or break careers! In silent movies, Don Lockwood and Lina Lamont are a hot item, but behind the scenes, things aren't always as they appear on the big screen! In addition to this, the era of the silent movie is coming to an end to be replaced by the new fangled “talking pictures.” Unfortunately, Lina's squeaky voice does not translate well to the new medium and without the help of a talented young actress to do the talking and singing for her she might find her career coming to an abrupt end.
This adaptation for young performers is based upon the film and the adult stage musical that has been well loved over the years.
Matt McAuley was a very confident Don Lockwood and his rendition and dance routine of Singing in the Rain was outstanding.
Billy Sweet was amazing as Cosmo Brown and he showed considerable ability for physical comedy, particularly in “Make ‘em Laugh.”
Hannah Pettit was splendid in the role of Kathy Seldon and I particularly enjoyed her performance of Lucky Star. She has a lovely voice and is a very good actor.
Emma Lowe was terrific as Lina Lamont putting on a “fog horn” of a voice which was great and her performance was very funny. She is a very confident actor.
They were very well supported by Isaac Brooks as R F Simpson, Billy Stewart as Dexter and Holly Douglas as Dora.
There was a large all singing all dancing ensemble some of whom had supporting parts : Tommy Stewart (Assistant), Max Fuller (Assistant), Findlay Parker (Assistant).
Hayley Watson (Broadway Melody Dancer), Robert McAuley (Broadway Host), Grace Collishaw (Broadway Melody Dancer).
Emma Abel (Miss Dinsmore), Chloe Brookes (Young Girl), Lilly Simons-Clark (Roz), Ben Goodlas (Sound Engineer), Naomi Thomas (Zelda), Jude Yellop (Policeman), Kate Whittaker (Student), Joe Stewart (Student), Charlotte Case (Chorus Dancer).
Kathy’s Dancers: Hannah Glossop, Bella Syson, Ella Charlesworth, Martha Bertram, Amy Young, Grace Agius, Roisin Parker, Darcy Boyd, Lucy Coulson-Jones, Megan Trindell, Holly Brooks.
The standard of performance throughout the show was very high indeed. The dancing in particular was some of the best I have seen from an all age youth group. They were all synchronised and I was very impressed. There were many high spots for me, including
“Singin’ in the Rain”, “Moses Supposes” and “Broadway Melody”, which included a great solo performance from Robert McAuley in a very white suit!
The production had great lighting devised and controlled by Laura and Tom Olding with crisp and clear sound from Dave Dallard. He was also responsible for very suitable and effective projections which even gave us rain from time to time!
The Production Team of Karen Woodhead (Director/ Choreographer), Siobhan Parker (Producer/ Choreographer) and Giles Pettit (Musical Director) certainly made this show exciting, enjoyable and visually attractive. Rob Corner (Stage Manager) and his team ensured that the show moved quickly, with swift and efficient scene changes. The set was appropriate (Roydon Charlesworth) and was well used.
I really enjoyed this excellent production and mustn’t forget to mention the bows during the finale, which were superb. This group of young performers actually know how to bow properly, which can’t be said of some adults!
Well done to all who were involved in this excellent production. Can’t wait for their next one.
Legally Blonde
Nowmads
Kimberley School Theatre
February 20th 2020
Legally Blonde was first a film in 2001 and then a stage musical in 2007. It tells the story of Elle Woods, a fun and fashion loving sorority girl, who attempts to win back her aspirational ex-boyfriend by following him to Harvard and getting a law degree.
It’s probably impossible to come out of this musical without a catchy tune or two in your head and a big smile on your face. This was certainly true for me and I’m sure many others in the audience last night, following this joyful, funny show that was performed with so much love and enthusiasm by the cast.
Laura Collins is a sparkling Elle, giving her character a ditzy warmth, yet also nailing the pithy comments and wry observations that make her so engaging. Laura has a beautiful and powerful voice which hardly needed the microphone. Some lovely dancing and perfect comic timing complete this portrayal, which is a huge success.
Two other wonderful character portrayals are Vivienne by Suzie Green and Paulette by Hannah Chamberlain. These seem to be great parts to play and they are made the most of by these talented performers. Vivienne has a very well observed frosty hauteur which resolves into grudging admiration for Elle; Suzie pitches this perfectly. Hannah has nailed both the richly comic accent and timing of Paulette; she simply holds the stage whenever she is on, especially during the lovely ‘Ireland’.
Equally Tom Bailey is a warm and engaging Emmet, a lovely performance of ‘Chip on my Shoulder’ shows off his voice. Danny De Martino plays the rather caddish but very entertaining Warner with his usual aplomb, and Richard Harvey serves the sleaze, notably during the wonderful ‘Blood in the Water’
The lively opening to the show ‘Omigod You Guys’ is a belter of a number and it was done splendidly well. Special mention also to the Greek Chorus, Margot, Serena and Pilar, who are so energetic and such fun; they had their chance to shine during ‘So Much Better’ and they certainly did.
The lively supporting and ensemble cast are Siobhan Waddington Taylor, Kelly Henderson, Isobel Kendall, Emma Heydon, Nicole Horsley, Lizzy Downs, Olly Goodman, Haydn Taylor, Clare Hawksworth, Jack Kendall, Suzanne Heydon, Zack Seals, Tracey Kendall, Lucy Hardy, Alison Reeves, Rob Waddington-Taylor, Mick Windmill-Jones, Carole De Martino, Kathy Taylor, Lis Hipkiss, Julie Castledine, Jess Hawksworth, Jorja Keeton, Jane Clarke, Evelyn Skellett, Elaine Oldham, Robert Livermore, Rae Scudder, plus Toby and Willow (the lovely dogs!).
The choreography, which was shared by Rae Scudder, Jane Clarke, Emma Heydon, Julie Castledine was appropriate, exciting and well performed. I was very impressed by the skipping routines from the girls and boys at the start of Act 2. The skipping was faultless - no easy task- so it’s a big well done to all involved. I also enjoyed “Gay or European” which was sharply performed and very funny - one of my favourite songs and routines.
The show is certainly fast paced and the Director Emma Heydon – who also plays a cracking Brooke Wyndham- makes sure that there are no delays between scenes. This is effected by the Stage Manager, Steve Clarke and his very efficient stage crew. There are many scenes some of which are very short, but the direction makes sure that these are changed naturally and without delay. Tight direction also keeps the stage interesting at all times, as individuals and groups change and focus the attention.
The set is simple but has been designed and constructed in ways that are workable on this stage. The cast used the props well and I was impressed by the carefully directed moves that enable the cast to help change without problems.
The lighting is effective. I did feel at times that the sound volume from the performers was a little too loud at the performance I saw, leading to some distortion during ensemble and loud solo performances, especially the “Omigod” song at the beginning.
The band, led by Musical Director Gareth Wynne, sounds great and accompanies the performers sympathetically. In a hall of this kind there can be a tendency for a large band to drown out the singers, but this does not happen here. The MD is a great help to the performers in managing the very challenging score, bringing them in and keeping the timing sharp: much planning and rehearsal must have gone into perfecting this.
I congratulate The Director and the Production team for the way in which all members of this company were gainfully used, whatever their age and ability. There was a real feeling that they were all loving what they were doing on stage and were confident in all they had to do. They were having as much fun on stage as we were in the audience and that certainly makes for a good night out and a good show. I really enjoyed it.
Well done to all involved, great stuff. I look forward with anticipation to the next NOWMADS production.
Nowmads
Kimberley School Theatre
February 20th 2020
Legally Blonde was first a film in 2001 and then a stage musical in 2007. It tells the story of Elle Woods, a fun and fashion loving sorority girl, who attempts to win back her aspirational ex-boyfriend by following him to Harvard and getting a law degree.
It’s probably impossible to come out of this musical without a catchy tune or two in your head and a big smile on your face. This was certainly true for me and I’m sure many others in the audience last night, following this joyful, funny show that was performed with so much love and enthusiasm by the cast.
Laura Collins is a sparkling Elle, giving her character a ditzy warmth, yet also nailing the pithy comments and wry observations that make her so engaging. Laura has a beautiful and powerful voice which hardly needed the microphone. Some lovely dancing and perfect comic timing complete this portrayal, which is a huge success.
Two other wonderful character portrayals are Vivienne by Suzie Green and Paulette by Hannah Chamberlain. These seem to be great parts to play and they are made the most of by these talented performers. Vivienne has a very well observed frosty hauteur which resolves into grudging admiration for Elle; Suzie pitches this perfectly. Hannah has nailed both the richly comic accent and timing of Paulette; she simply holds the stage whenever she is on, especially during the lovely ‘Ireland’.
Equally Tom Bailey is a warm and engaging Emmet, a lovely performance of ‘Chip on my Shoulder’ shows off his voice. Danny De Martino plays the rather caddish but very entertaining Warner with his usual aplomb, and Richard Harvey serves the sleaze, notably during the wonderful ‘Blood in the Water’
The lively opening to the show ‘Omigod You Guys’ is a belter of a number and it was done splendidly well. Special mention also to the Greek Chorus, Margot, Serena and Pilar, who are so energetic and such fun; they had their chance to shine during ‘So Much Better’ and they certainly did.
The lively supporting and ensemble cast are Siobhan Waddington Taylor, Kelly Henderson, Isobel Kendall, Emma Heydon, Nicole Horsley, Lizzy Downs, Olly Goodman, Haydn Taylor, Clare Hawksworth, Jack Kendall, Suzanne Heydon, Zack Seals, Tracey Kendall, Lucy Hardy, Alison Reeves, Rob Waddington-Taylor, Mick Windmill-Jones, Carole De Martino, Kathy Taylor, Lis Hipkiss, Julie Castledine, Jess Hawksworth, Jorja Keeton, Jane Clarke, Evelyn Skellett, Elaine Oldham, Robert Livermore, Rae Scudder, plus Toby and Willow (the lovely dogs!).
The choreography, which was shared by Rae Scudder, Jane Clarke, Emma Heydon, Julie Castledine was appropriate, exciting and well performed. I was very impressed by the skipping routines from the girls and boys at the start of Act 2. The skipping was faultless - no easy task- so it’s a big well done to all involved. I also enjoyed “Gay or European” which was sharply performed and very funny - one of my favourite songs and routines.
The show is certainly fast paced and the Director Emma Heydon – who also plays a cracking Brooke Wyndham- makes sure that there are no delays between scenes. This is effected by the Stage Manager, Steve Clarke and his very efficient stage crew. There are many scenes some of which are very short, but the direction makes sure that these are changed naturally and without delay. Tight direction also keeps the stage interesting at all times, as individuals and groups change and focus the attention.
The set is simple but has been designed and constructed in ways that are workable on this stage. The cast used the props well and I was impressed by the carefully directed moves that enable the cast to help change without problems.
The lighting is effective. I did feel at times that the sound volume from the performers was a little too loud at the performance I saw, leading to some distortion during ensemble and loud solo performances, especially the “Omigod” song at the beginning.
The band, led by Musical Director Gareth Wynne, sounds great and accompanies the performers sympathetically. In a hall of this kind there can be a tendency for a large band to drown out the singers, but this does not happen here. The MD is a great help to the performers in managing the very challenging score, bringing them in and keeping the timing sharp: much planning and rehearsal must have gone into perfecting this.
I congratulate The Director and the Production team for the way in which all members of this company were gainfully used, whatever their age and ability. There was a real feeling that they were all loving what they were doing on stage and were confident in all they had to do. They were having as much fun on stage as we were in the audience and that certainly makes for a good night out and a good show. I really enjoyed it.
Well done to all involved, great stuff. I look forward with anticipation to the next NOWMADS production.
Made in Dagenham
West Bridgford Operatic Society
The Space, Nottingham Girls' High School
February 19th 2020
Made in Dagenham is the story of how ordinary people can do extraordinary things when they stand together. It tells the story of the Ford sewing machinists strike of 1968 that aimed for equal pay for women. It is a roller coaster of a production which is at times funny, but also highly emotional and charged with political, family and social concerns.
This very enjoyable production by WBOS is slickly produced, moving at a fast pace and telling an engaging story with energy and polish.
There is a very strong performance from Cat Tuckey playing the strike leader, Rita O’Grady. She is a powerful singer and actor and inhabits the role completely. She brings out the growing strength of this ordinary woman who, because of circumstances, found herself doing things she never thought she could.
Rob Holsman is just right in the role of her husband, Eddie. He convincingly shows how much he values Rita, despite much struggling with her new found passion for the cause of equal pay. The affecting “Nearly Had it All”, sung with Cat showcases his voice.
The other principals who are very well cast are Jacky Tivers (Connie), Martin Thomas (Monty), Jo Hooper (Beryl) who handled some rather coarse language very well, Natalie Hemmington (Sandra), Courtney Kelham-Giddy (Cass), Sean Collins (Sid), David Gyles (Bill), Sarah Shields (Clare),Bill Cooper (Ron), Gareth Morris (Hopkins), Chris Heeley (Barry) and Chris Hollins (Gregory Hubble). There were other small parts played by members of the company.
Ian Pottage, who I have seen in a number of WBOS shows, is excellent as the American Ford Executive, Mr Tooley. I particularly enjoyed his performance in the opening of Act 2 routine - “This is America.” This is a great ensemble number which, like the rest of them in the show, is very well choreographed by Sarah Shields.
Completing the main cast are Diana Ives (Lisa Hopkins), Richard Ives, as a slightly manic but very amusing Harold Wilson, and Sarah Walker Smith, who is wonderful as Barbara Castle.
One of the very impressive features of this production is the very large ensemble, which when combined with the rest of cast, fill the stage and sound very impressive. The quality of the singing is high, due in part I am sure to the Musical Director, Sam Griffiths: his 9-piece band is excellent and accompanies the cast very well.
The sound by Rob Kerridge is, as usual, crisp and clear while the lighting design by Nick Gale is excellent.
Stage Management is in the very safe hands of Amy Rogers-Gee, assisted by Nigel Newton and Robert Keighery. The movement of set and props is very smooth; congratulations to the stage crew and many of the cast for this.
The Director, Tom Parry, has produced a show which never sags for a moment and is full of powerful performances. He also ensures that his very large cast are all placed on the stage purposefully and without any overcrowding.
The show is well worth going to see, not only for the quality of the performances, but also for the engaging telling of an important historical event, one which contributed to a change in attitudes and practices in the workplace, for both woman and men.
Another vibrant production from West Bridgford Operatic Society.
West Bridgford Operatic Society
The Space, Nottingham Girls' High School
February 19th 2020
Made in Dagenham is the story of how ordinary people can do extraordinary things when they stand together. It tells the story of the Ford sewing machinists strike of 1968 that aimed for equal pay for women. It is a roller coaster of a production which is at times funny, but also highly emotional and charged with political, family and social concerns.
This very enjoyable production by WBOS is slickly produced, moving at a fast pace and telling an engaging story with energy and polish.
There is a very strong performance from Cat Tuckey playing the strike leader, Rita O’Grady. She is a powerful singer and actor and inhabits the role completely. She brings out the growing strength of this ordinary woman who, because of circumstances, found herself doing things she never thought she could.
Rob Holsman is just right in the role of her husband, Eddie. He convincingly shows how much he values Rita, despite much struggling with her new found passion for the cause of equal pay. The affecting “Nearly Had it All”, sung with Cat showcases his voice.
The other principals who are very well cast are Jacky Tivers (Connie), Martin Thomas (Monty), Jo Hooper (Beryl) who handled some rather coarse language very well, Natalie Hemmington (Sandra), Courtney Kelham-Giddy (Cass), Sean Collins (Sid), David Gyles (Bill), Sarah Shields (Clare),Bill Cooper (Ron), Gareth Morris (Hopkins), Chris Heeley (Barry) and Chris Hollins (Gregory Hubble). There were other small parts played by members of the company.
Ian Pottage, who I have seen in a number of WBOS shows, is excellent as the American Ford Executive, Mr Tooley. I particularly enjoyed his performance in the opening of Act 2 routine - “This is America.” This is a great ensemble number which, like the rest of them in the show, is very well choreographed by Sarah Shields.
Completing the main cast are Diana Ives (Lisa Hopkins), Richard Ives, as a slightly manic but very amusing Harold Wilson, and Sarah Walker Smith, who is wonderful as Barbara Castle.
One of the very impressive features of this production is the very large ensemble, which when combined with the rest of cast, fill the stage and sound very impressive. The quality of the singing is high, due in part I am sure to the Musical Director, Sam Griffiths: his 9-piece band is excellent and accompanies the cast very well.
The sound by Rob Kerridge is, as usual, crisp and clear while the lighting design by Nick Gale is excellent.
Stage Management is in the very safe hands of Amy Rogers-Gee, assisted by Nigel Newton and Robert Keighery. The movement of set and props is very smooth; congratulations to the stage crew and many of the cast for this.
The Director, Tom Parry, has produced a show which never sags for a moment and is full of powerful performances. He also ensures that his very large cast are all placed on the stage purposefully and without any overcrowding.
The show is well worth going to see, not only for the quality of the performances, but also for the engaging telling of an important historical event, one which contributed to a change in attitudes and practices in the workplace, for both woman and men.
Another vibrant production from West Bridgford Operatic Society.
An Inspector Calls
Theatre Royal Nottingham
February 11th 2020
I really enjoyed this classic play by J B Priestley. I have never seen it before and did not know the story. However, there were a large number of school students in the audience who I presume did, as it is a set text for examinations. For most of the play they were engrossed but also enjoyed some humorous parts of the play. Interestingly, what they considered humorous was not always the same as the rest of the audience.
The play concerns Inspector Goole, who arrives unexpectedly at the prosperous Birling family home, shattering their peaceful dinner party. He is carrying out investigations into the death of a young woman. His startling revelations shake the very foundations of their lives and challenge all on stage and indeed in the audience.
In this production there is some breaking of the fourth wall which I found quite refreshing in a play of this age.
It was sheer joy for me to watch such a brilliantly written play performed by excellent actors, most of whom I recognised from TV. They were Liam Brennan as Inspector Goole, Christine Kavanagh as Sybil Birling, Jeffrey Harmer as Arthur Birling, Alasdair Buchan as Gerald Croft, Chloe Orrock as Sheila Birling, Ryan Saunders as Eric Birling and Emma Carter as Edna. They were all superb - a joy to watch and listen to.
There were three children in the play who played purely visual parts very well and an interesting silent and mainly stationary ensemble, or as they are described interestingly in the programme, Supernumeraries.
The play has a number of unexpected twists and turns, especially towards the end and I was totally absorbed in the plot.
The set and the way the director Stephen Daldry used it was very interesting and gave many opportunities for the unexpected. I cannot say too much about the central set, but it did have an important part to play throughout and especially towards the end.
The atmosphere for the play and the ramping up of tension was supported by the use of real water for rain, smoke, great lighting, dramatic music and sound effects. All were well integrated into the action of the play.
The play has no interval and runs for approximately 1hr 45 minutes, which I think works really well.
This is a great production of an old play but it certainly moved with pace and style and seemed to me very fresh and exciting.
An Inspector Calls continues until Saturday and I can recommend it with no reservations.
Theatre Royal Nottingham
February 11th 2020
I really enjoyed this classic play by J B Priestley. I have never seen it before and did not know the story. However, there were a large number of school students in the audience who I presume did, as it is a set text for examinations. For most of the play they were engrossed but also enjoyed some humorous parts of the play. Interestingly, what they considered humorous was not always the same as the rest of the audience.
The play concerns Inspector Goole, who arrives unexpectedly at the prosperous Birling family home, shattering their peaceful dinner party. He is carrying out investigations into the death of a young woman. His startling revelations shake the very foundations of their lives and challenge all on stage and indeed in the audience.
In this production there is some breaking of the fourth wall which I found quite refreshing in a play of this age.
It was sheer joy for me to watch such a brilliantly written play performed by excellent actors, most of whom I recognised from TV. They were Liam Brennan as Inspector Goole, Christine Kavanagh as Sybil Birling, Jeffrey Harmer as Arthur Birling, Alasdair Buchan as Gerald Croft, Chloe Orrock as Sheila Birling, Ryan Saunders as Eric Birling and Emma Carter as Edna. They were all superb - a joy to watch and listen to.
There were three children in the play who played purely visual parts very well and an interesting silent and mainly stationary ensemble, or as they are described interestingly in the programme, Supernumeraries.
The play has a number of unexpected twists and turns, especially towards the end and I was totally absorbed in the plot.
The set and the way the director Stephen Daldry used it was very interesting and gave many opportunities for the unexpected. I cannot say too much about the central set, but it did have an important part to play throughout and especially towards the end.
The atmosphere for the play and the ramping up of tension was supported by the use of real water for rain, smoke, great lighting, dramatic music and sound effects. All were well integrated into the action of the play.
The play has no interval and runs for approximately 1hr 45 minutes, which I think works really well.
This is a great production of an old play but it certainly moved with pace and style and seemed to me very fresh and exciting.
An Inspector Calls continues until Saturday and I can recommend it with no reservations.
Snow White and the Seven Dwarfs
Duchess Theatre, Long Eaton
February 6th 2020
This is a superb show written by The Erewash Musical Society’s own, James Bowden. It is a new version of the traditional tale. It contains all the elements of Panto that we love and yet it feels fresh and vibrant.
There are excellent performances from the principal players and very well choreographed and executed routines from the whole cast. The standard of singing and dancing is high.
The show has a large cast which I was pleased to see contains a fair number of boys which is not the norm in many groups these days.
The staging is good and the use of projections and some impressive trucks and props enhanced this.
Pantomime is not an easy genre especially for younger performers but tonight EMUs showed that it can be done and done well. The sound and lighting was excellent as was the band which was perfectly balanced with the performers.
The costumes were fabulous especially in the wedding scene at the end.
The show ended with an enthusiast ovation from the audience with a large number, including me, standing. Well done, all concerned.
The Deputy Mayor of Erewash told the cast afterwards how much she enjoyed the show and praised them all for their performances.
Duchess Theatre, Long Eaton
February 6th 2020
This is a superb show written by The Erewash Musical Society’s own, James Bowden. It is a new version of the traditional tale. It contains all the elements of Panto that we love and yet it feels fresh and vibrant.
There are excellent performances from the principal players and very well choreographed and executed routines from the whole cast. The standard of singing and dancing is high.
The show has a large cast which I was pleased to see contains a fair number of boys which is not the norm in many groups these days.
The staging is good and the use of projections and some impressive trucks and props enhanced this.
Pantomime is not an easy genre especially for younger performers but tonight EMUs showed that it can be done and done well. The sound and lighting was excellent as was the band which was perfectly balanced with the performers.
The costumes were fabulous especially in the wedding scene at the end.
The show ended with an enthusiast ovation from the audience with a large number, including me, standing. Well done, all concerned.
The Deputy Mayor of Erewash told the cast afterwards how much she enjoyed the show and praised them all for their performances.
Ghost
The Kristian Thomas Company
January 29th 2020
Duchess Theatre and what a wonderful show it was. It was worthy of being called a professional production and would not be out of place on any professional stage.
The principals were incredible and the ensemble was outstanding. For me the lighting and special effects were amazing and for such a difficult show I would say it was technically perfect.
I am really amazed at how good it was and for those who have bought a ticket I am sure you will love it. For those who haven’t already got a ticket there is now little chance of you seeing it as it is fully booked. Worth checking for returns though.
There was rapturous applause at the end with many standing. This is undoubtedly yet another success for Ktco and it’s remarkably talented cast and production team. Well done all - I loved it all. It was fab-u - lous!!
The Kristian Thomas Company
January 29th 2020
Duchess Theatre and what a wonderful show it was. It was worthy of being called a professional production and would not be out of place on any professional stage.
The principals were incredible and the ensemble was outstanding. For me the lighting and special effects were amazing and for such a difficult show I would say it was technically perfect.
I am really amazed at how good it was and for those who have bought a ticket I am sure you will love it. For those who haven’t already got a ticket there is now little chance of you seeing it as it is fully booked. Worth checking for returns though.
There was rapturous applause at the end with many standing. This is undoubtedly yet another success for Ktco and it’s remarkably talented cast and production team. Well done all - I loved it all. It was fab-u - lous!!
Mack and Mabel
CTC Presents
Loughborough Town Hall
January 28th 2020
Mack and Mabel was written by Michael Stewart and has music and lyrics by Jerry Herman. The plot involves a romantic relationship between Hollywood director Mack Sennett and Mabel Normand, who became one of his biggest stars. In a series of flashbacks, Sennett relates the glory days of Keystone Studios from 1911, when he discovered Normand and cast her in dozens of his early "two-reelers", through his creation of Sennett's Bathing Beauties and the Keystone Cops, to Mabel's death from tuberculosis in 1930.
This can be described as a “big musical” with spectacular singing and dance routines, sparkling costumes, a good story with strong character parts. Tonight, CTc showed all this off, in style.
There are very strong performances from Gareth Wynne as Mack Sennett, the obsessed silent film maker and his discovery Mabel Normand, played superbly by Holly Easter. Together they portray a formidable pair and both inhabit their respective roles with empathy and conviction. Opening the show with one of the big numbers of the show “Movies were Movies” Gareth showed off his great expressive voice. Then when the large ensemble joined it was one of those opening songs that gets one’s toes tapping, a real spectacle. Holly is equally brilliant in the singing department (lovely dancing too) and portrays Mabel with great sass, but also sensitivity. I loved her performances of “Look What Happened to Mabel” and “Mabel’s Roses”
The rest of the principal cast support really well, showing that this company has a range of talented performers. They were; Ollie Lewin (Frank) who gave a solid performance as the film writer, Jack Hardy (Mr Baumann - the backer), Jordan Cope ( the second backer), Jarrodd Makin (William Desmond Taylor), Carl Unwin (Fatty Arbuckle), Craig Butterworth (Andy), Anita Benson (Ella), Vicky Mee (Iris), Amy McMurray (Phyllis Foster) and Guy Benson (The Watchman)
In addition to the above there is a superb ensemble who sing well and are involved in some very energetic dance numbers. I will not give too much away, but just have to say that the routine in the second act involving The Keystone Cops is one of the best amateur dance and gymnastic routines I have ever seen. There is also an excellent tap routine “Tap your troubles away.” It is outstanding. The choreography by Michael Gamble is, as usual, very apt and exciting and very well danced by all the cast.
The Ensemble is: Bobbie Da”Bell, Rowan Dixon, Neil Ledward, Laura Moore, Aaron Murray, Hannah Osgood, David Perkins, Julie Robinson, Jayne Sanderson, Alison Darlow-Carter, Louise Smith, Mel Swift and Laura Tindle.
The production team have certainly once again brought a cast of CTc to a very high standard of performance. They are Julie Easter (Director), Vicki Hing (Musical Director), Michael Gamble (choreographer) and Frankie Johnson (Tap Choreographer).
The 19-piece orchestra is superb and despite its size never dominates the performers. It really is exceptional and great to listen to. This show is in the old style with a good lengthy overture, which I liked very much. This is enhanced by great sound design and production by Rob Temperton (assisted by Harry Bridge) - I could hear every word that was spoken or sung. The Lighting is also an important part of the show and Robert Bridges does a very good job with it.
The set is very appropriate, and the costumes are charmingly accurate for the early 1900 - 1930 period. The girls’ costumes in the tap routine are striking. Scene changes are swift thanks to good stage management by Adrian Wray, Lynne Leeming and their team, assisted often by cast members. That, I think, always helps to keep a show moving.
There are some great songs in this show, some of which did remind me of another Herman classic “Hello Dolly.” That was particularly the case with the opening number of Act 2 “When Mabel Comes in the Room.” Think of the arrival of Dolly to the Harmonia Gardens! I really enjoyed that routine, which was a highlight of many for me in this production.
This is an excellent production of a show that can sometimes be little slow in parts. However, CTc kept it moving well and deserved an enthusiastic ovation at the end of the evening with some standing.
I certainly can recommend going to see Mack and Mabel and I think it will “Tap your Troubles Away”, as it did for me - even though the ending of this true story is poignant and sad.
CTC Presents
Loughborough Town Hall
January 28th 2020
Mack and Mabel was written by Michael Stewart and has music and lyrics by Jerry Herman. The plot involves a romantic relationship between Hollywood director Mack Sennett and Mabel Normand, who became one of his biggest stars. In a series of flashbacks, Sennett relates the glory days of Keystone Studios from 1911, when he discovered Normand and cast her in dozens of his early "two-reelers", through his creation of Sennett's Bathing Beauties and the Keystone Cops, to Mabel's death from tuberculosis in 1930.
This can be described as a “big musical” with spectacular singing and dance routines, sparkling costumes, a good story with strong character parts. Tonight, CTc showed all this off, in style.
There are very strong performances from Gareth Wynne as Mack Sennett, the obsessed silent film maker and his discovery Mabel Normand, played superbly by Holly Easter. Together they portray a formidable pair and both inhabit their respective roles with empathy and conviction. Opening the show with one of the big numbers of the show “Movies were Movies” Gareth showed off his great expressive voice. Then when the large ensemble joined it was one of those opening songs that gets one’s toes tapping, a real spectacle. Holly is equally brilliant in the singing department (lovely dancing too) and portrays Mabel with great sass, but also sensitivity. I loved her performances of “Look What Happened to Mabel” and “Mabel’s Roses”
The rest of the principal cast support really well, showing that this company has a range of talented performers. They were; Ollie Lewin (Frank) who gave a solid performance as the film writer, Jack Hardy (Mr Baumann - the backer), Jordan Cope ( the second backer), Jarrodd Makin (William Desmond Taylor), Carl Unwin (Fatty Arbuckle), Craig Butterworth (Andy), Anita Benson (Ella), Vicky Mee (Iris), Amy McMurray (Phyllis Foster) and Guy Benson (The Watchman)
In addition to the above there is a superb ensemble who sing well and are involved in some very energetic dance numbers. I will not give too much away, but just have to say that the routine in the second act involving The Keystone Cops is one of the best amateur dance and gymnastic routines I have ever seen. There is also an excellent tap routine “Tap your troubles away.” It is outstanding. The choreography by Michael Gamble is, as usual, very apt and exciting and very well danced by all the cast.
The Ensemble is: Bobbie Da”Bell, Rowan Dixon, Neil Ledward, Laura Moore, Aaron Murray, Hannah Osgood, David Perkins, Julie Robinson, Jayne Sanderson, Alison Darlow-Carter, Louise Smith, Mel Swift and Laura Tindle.
The production team have certainly once again brought a cast of CTc to a very high standard of performance. They are Julie Easter (Director), Vicki Hing (Musical Director), Michael Gamble (choreographer) and Frankie Johnson (Tap Choreographer).
The 19-piece orchestra is superb and despite its size never dominates the performers. It really is exceptional and great to listen to. This show is in the old style with a good lengthy overture, which I liked very much. This is enhanced by great sound design and production by Rob Temperton (assisted by Harry Bridge) - I could hear every word that was spoken or sung. The Lighting is also an important part of the show and Robert Bridges does a very good job with it.
The set is very appropriate, and the costumes are charmingly accurate for the early 1900 - 1930 period. The girls’ costumes in the tap routine are striking. Scene changes are swift thanks to good stage management by Adrian Wray, Lynne Leeming and their team, assisted often by cast members. That, I think, always helps to keep a show moving.
There are some great songs in this show, some of which did remind me of another Herman classic “Hello Dolly.” That was particularly the case with the opening number of Act 2 “When Mabel Comes in the Room.” Think of the arrival of Dolly to the Harmonia Gardens! I really enjoyed that routine, which was a highlight of many for me in this production.
This is an excellent production of a show that can sometimes be little slow in parts. However, CTc kept it moving well and deserved an enthusiastic ovation at the end of the evening with some standing.
I certainly can recommend going to see Mack and Mabel and I think it will “Tap your Troubles Away”, as it did for me - even though the ending of this true story is poignant and sad.
Priscilla Queen of the Desert
Theatre Royal
January 27th 2020
This is just such a sparkling show in all respects. It ended with a great finale with most of the audience standing and clapping along with the music.
The cast worked hard throughout and as with most touring productions there were not too many of them. However, they made their numbers look bigger with frequent and quick costume changes which the show is actually famous for.
The costumes were lovely and the set and lights were used very well.
Strong performances from the leading performers
Joe McFadden Tick/Mitzi), Miles Western (Bernadette), Nick Hayes (Adam/Felicia)and Daniel Fletcher (Bob). They were very well supported by
Miranda Wilford (Marion), Kevin Yates (Miss Understanding), and Jacqui Sanchez (Cynthia),Jak Allen-Anderson, Natalie Chua, Emma Crossley, Jordan Cunningham, Martin Harding, Justin-Lee Jones, Nell Martin and Edwin Ray.
The Divas, who sang so well throughout, are Nikki Bentley, Claudia Kariuki and Rosie Glossop. Loved them. They looked and sounded great.
The band, which it was nice to see in the pit, sounded very good and as I said earlier were well balanced with the performers. The sound was excellent as was the lighting.
And so ends yet another wonderful production of this show that I have seen several times and never tire of. If you haven’t seen it take the opportunity while it is here at the Royal until Saturday. The theatre was pretty near full tonight so tickets may be in short supply.
Theatre Royal
January 27th 2020
This is just such a sparkling show in all respects. It ended with a great finale with most of the audience standing and clapping along with the music.
The cast worked hard throughout and as with most touring productions there were not too many of them. However, they made their numbers look bigger with frequent and quick costume changes which the show is actually famous for.
The costumes were lovely and the set and lights were used very well.
Strong performances from the leading performers
Joe McFadden Tick/Mitzi), Miles Western (Bernadette), Nick Hayes (Adam/Felicia)and Daniel Fletcher (Bob). They were very well supported by
Miranda Wilford (Marion), Kevin Yates (Miss Understanding), and Jacqui Sanchez (Cynthia),Jak Allen-Anderson, Natalie Chua, Emma Crossley, Jordan Cunningham, Martin Harding, Justin-Lee Jones, Nell Martin and Edwin Ray.
The Divas, who sang so well throughout, are Nikki Bentley, Claudia Kariuki and Rosie Glossop. Loved them. They looked and sounded great.
The band, which it was nice to see in the pit, sounded very good and as I said earlier were well balanced with the performers. The sound was excellent as was the lighting.
And so ends yet another wonderful production of this show that I have seen several times and never tire of. If you haven’t seen it take the opportunity while it is here at the Royal until Saturday. The theatre was pretty near full tonight so tickets may be in short supply.
Fame Jr
KTc Youth
January 23rd 2020
Duchess Theatre, Long Eaton
Set during the last years of New York City's celebrated High School for the Performing Arts on 46th Street, FAME JR. is the bittersweet, but ultimately inspiring story of a diverse group of students as they commit to four years of artistic and academic work. With candour, humour and insight, the show explores the issues that confront many young people today.
With its topical subject matter and high-energy, contemporary pop score which includes the hit title song, this is an ideal musical for young performers. Tonight at the Duchess Theatre the cast of KTc’s production of the show proved beyond doubt that this is the case.
There were very strong and accomplished performances from Olivia Weaver as Carmen, Millen Scrivener as Mabel, Lenny Antwi as Tyrone, Isabelle Smales as Miss Sherman, Emily Bridges as Ms Bell, Bailey West as Schlomo, Daniel Lane as Nick, Hannah Riley as Serena, Darcy Cole as Iris, Aiden Carson as Mr Myers, Oliver Davidson as Mr Sheinkopf, Isaac Brooks as Joe, Isabelle Marsden as Lambchops and Grace Collishaw as Goody.
The fabulous ensemble was Aiden Carson, Alice Gilding, Amy Brownill, Anna Gray, Charlotte Buchanan, Caitlin Such, Grace Collishaw, Harmoni Shaw, Imogen Watson, Libby Stevens, Lottie Ludlow, Luiseach McAleese, Nadia Potter, Oliver Davidson, Orlagh McAleese, Paige Sisson, Skye Priest and Sophie Ross. I was impressed to see that many of the principals also contributed in the ensemble.
The dance routines were fantastic, with choreographer, Katy Maclaughlin’s routines being full of energy and excitement and very well performed.
The lighting, designed by Stephen Greatorex (operated by Tom Bathurst) was brilliant, while Dave Dallard worked his magic on the sound. The balance between music and performers was perfect.
The Director, Shannon O’Donnell managed the large cast well, giving them plenty of things to do and ensuring that the stage never looked overcrowded. The Stage Manager, Tom Bond, along with his crew, ensured that all scene changes were swift and invisible. Tom was also the Musical Director and the singing standard of the cast was very high.
Director/ Producer Shannon O’Donnell and Producer Kristian Cunningham certainly used the many talents of the cast to great effect and have produced a high energy, fast moving and very enjoyable show.
This is another excellent production to add to the other previous ones from this highly professional youth group.
KTc Youth
January 23rd 2020
Duchess Theatre, Long Eaton
Set during the last years of New York City's celebrated High School for the Performing Arts on 46th Street, FAME JR. is the bittersweet, but ultimately inspiring story of a diverse group of students as they commit to four years of artistic and academic work. With candour, humour and insight, the show explores the issues that confront many young people today.
With its topical subject matter and high-energy, contemporary pop score which includes the hit title song, this is an ideal musical for young performers. Tonight at the Duchess Theatre the cast of KTc’s production of the show proved beyond doubt that this is the case.
There were very strong and accomplished performances from Olivia Weaver as Carmen, Millen Scrivener as Mabel, Lenny Antwi as Tyrone, Isabelle Smales as Miss Sherman, Emily Bridges as Ms Bell, Bailey West as Schlomo, Daniel Lane as Nick, Hannah Riley as Serena, Darcy Cole as Iris, Aiden Carson as Mr Myers, Oliver Davidson as Mr Sheinkopf, Isaac Brooks as Joe, Isabelle Marsden as Lambchops and Grace Collishaw as Goody.
The fabulous ensemble was Aiden Carson, Alice Gilding, Amy Brownill, Anna Gray, Charlotte Buchanan, Caitlin Such, Grace Collishaw, Harmoni Shaw, Imogen Watson, Libby Stevens, Lottie Ludlow, Luiseach McAleese, Nadia Potter, Oliver Davidson, Orlagh McAleese, Paige Sisson, Skye Priest and Sophie Ross. I was impressed to see that many of the principals also contributed in the ensemble.
The dance routines were fantastic, with choreographer, Katy Maclaughlin’s routines being full of energy and excitement and very well performed.
The lighting, designed by Stephen Greatorex (operated by Tom Bathurst) was brilliant, while Dave Dallard worked his magic on the sound. The balance between music and performers was perfect.
The Director, Shannon O’Donnell managed the large cast well, giving them plenty of things to do and ensuring that the stage never looked overcrowded. The Stage Manager, Tom Bond, along with his crew, ensured that all scene changes were swift and invisible. Tom was also the Musical Director and the singing standard of the cast was very high.
Director/ Producer Shannon O’Donnell and Producer Kristian Cunningham certainly used the many talents of the cast to great effect and have produced a high energy, fast moving and very enjoyable show.
This is another excellent production to add to the other previous ones from this highly professional youth group.
Ghost Stories
National Tour
Theatre Royal Nottingham
January 21st 2020
Ghost Stories has ended at the Theatre Royal. It was not quite what I expected but then again I wasn’t sure what I expected. Indeed it was the unexpected that made this a very good theatrical experience.
I will not say much more about the content of the show. For that you need to come and experience it for yourself. What I can say is that the 5 actors were excellent, the special effects were incredible, the sound really added to the atmosphere and the script was very well written. (For the cast and creatives see my earlier post.)
The actual stories which were well introduced and performed were serious and humorous. I think I can say that almost everything that happened was to me unexpected. The sets were very cleverly constructed and used well with incredible almost instantaneous changes. I actually enjoyed this production but cannot and will not say why. It is a production I am really glad I came to see. It is entertaining, scary, clever and certainly contains the unexpected!
Well worth considering coming to see it but I would agree with the producers warning that it is not suitable for the under 15s and those of a nervous disposition. One last thought the special effects were great .... if indeed they were special effects. Come and see for yourself. Will I sleep well tonight? Well that remains to be seen.
National Tour
Theatre Royal Nottingham
January 21st 2020
Ghost Stories has ended at the Theatre Royal. It was not quite what I expected but then again I wasn’t sure what I expected. Indeed it was the unexpected that made this a very good theatrical experience.
I will not say much more about the content of the show. For that you need to come and experience it for yourself. What I can say is that the 5 actors were excellent, the special effects were incredible, the sound really added to the atmosphere and the script was very well written. (For the cast and creatives see my earlier post.)
The actual stories which were well introduced and performed were serious and humorous. I think I can say that almost everything that happened was to me unexpected. The sets were very cleverly constructed and used well with incredible almost instantaneous changes. I actually enjoyed this production but cannot and will not say why. It is a production I am really glad I came to see. It is entertaining, scary, clever and certainly contains the unexpected!
Well worth considering coming to see it but I would agree with the producers warning that it is not suitable for the under 15s and those of a nervous disposition. One last thought the special effects were great .... if indeed they were special effects. Come and see for yourself. Will I sleep well tonight? Well that remains to be seen.
Frankenstein
Derby Theatre
January 20th 2020
This is an innovative production of the classic tale of the professor and the monster he creates. It is, however, written from the point of view of the story's writer Mary Shelley.
There is a strong cast featuring Eildh Loan as Mary Shelly, Ben Castle Gibb as Professor Frankenstein, Michael Moreland as the Monster, with other parts being played by Thierry Mabonga, Natalie Mccleary, Sarah Macgillivaray and Greg Powdrie.
The writer is Rona Munro and the play id directed by Patricia Benecke.
The atmosphere of fear and dread is well produced by the use of great lighting, sound effects and haze/ smoke. The set is on two levels which means that the action can be transferred from place to place very quickly.
I liked the performance of Eilidh as Mary Shelley which she played with considerable energy and at times some wicked humour. Although the play is certainly not a comedy there were a number of humourous moments.
This may not be a classic version of the story but I certainly enjoyed it and the way in which many members of the cast played multiple roles. It should also be said that there were a number of young students from local schools in the audience and they were obviously engrossed in the production and were silent throughout!
This production of Frankenstein is produced by Selladoor Productions in association with Matthew Townsend Productions, The Belgrade Theatre Coventry and Perth Theatre.
Derby Theatre
January 20th 2020
This is an innovative production of the classic tale of the professor and the monster he creates. It is, however, written from the point of view of the story's writer Mary Shelley.
There is a strong cast featuring Eildh Loan as Mary Shelly, Ben Castle Gibb as Professor Frankenstein, Michael Moreland as the Monster, with other parts being played by Thierry Mabonga, Natalie Mccleary, Sarah Macgillivaray and Greg Powdrie.
The writer is Rona Munro and the play id directed by Patricia Benecke.
The atmosphere of fear and dread is well produced by the use of great lighting, sound effects and haze/ smoke. The set is on two levels which means that the action can be transferred from place to place very quickly.
I liked the performance of Eilidh as Mary Shelley which she played with considerable energy and at times some wicked humour. Although the play is certainly not a comedy there were a number of humourous moments.
This may not be a classic version of the story but I certainly enjoyed it and the way in which many members of the cast played multiple roles. It should also be said that there were a number of young students from local schools in the audience and they were obviously engrossed in the production and were silent throughout!
This production of Frankenstein is produced by Selladoor Productions in association with Matthew Townsend Productions, The Belgrade Theatre Coventry and Perth Theatre.
Out There
The Young Performers
Duchess Theatre
January 16th 2020
Out There is a musical about families, love & loss, hope, learning to be a child, learning to be a parent and never, ever, giving up on your dreams.
It is about a world famous astronaut, Newman Carter, who mysteriously disappeared in 1969. Forty years later, a troubled young man turns up on his doorstep with a letter, which changes everything, for everyone. It is set in the crumbling Southern American town of Hope.
Tonight, the Young Performers brought this modern musical, written by Elliot Davis & James Bourne, to the Duchess Theatre once again, as it was performed here a few years ago by The Erewash Musical Society. This production, directed by Zak Charlesworth and produced Vicky Byrne was pacey and innovative, providing lots for both principals and ensemble to do.
There were strong performances from Harvey Tavener as the teenage rebel Logan Carter and Hayley Watson as his friend, the lively Jamie. They are well cast and work very well together. Both are excellent actors and show empathy with the characters they play, bringing them to life for the audience. Harvey sings well and copes with some very high notes, delivered in a clear falsetto. Both can dance well, as beautifully exhibited in the song “Learn to Dance.”
Playing an old man when you are very young is not easy, but James Pedrick does a commendable job, particularly with his physical movements. The trio of Charlotte Rowland as the Hope town Sheriff and her rather dumb sidekicks Ryan Yates (Stan) and Henry Icke (Billy) were great and very engaging. The two boys provide some good comedy moments. Ricky Hill as Logan’s father, David, is well cast and works hard to make the age difference between him and his son look believable. Eleanor Meakin as the TV reporter and her camera man Stuart played by Finlay Dilks, complement the principal line up with two nice characterisations.
They are well supported by the hard working ensemble of Lewis McDowall, Ruby Garrison, Marcy Truman, Ava Haycock, Emilia Buxton, Finlay Boswell, Ella Charlesworth,
Drew Boswell, Emma Jane Peel, Millie Weston, Ava Jonson, Astrid Gell, Lily Stobo,
Maisie Pitchford, Phoebe Clarke, Neve Saxton, Megan Thomas.
Zak uses the ensemble to great effect. They have lots to do and I particularly enjoyed the songs and the cleverly arranged routines for “Out There”, “Step by Step” and “Hope has Faded Fast.” These are very good to watch and are well delivered. There are a number of occasions when members of the cast are used as props; an interesting device.
The choreography by Alex Tavenener is excellent and the young performers are at times given some quite fast steps, in true southern American style. They cope well with the complexities of these.
The set is excellent. Designed and built by Zak and Stage Manager Roydon Charlesworth, it is good to look at and provides the opportunity to show off the excellent lighting of Dave Martin. It is also very versatile and combined with a number of moveable trucks, is quickly and smoothly changed. This helps to keep the show moving at a fast pace and provides some visual spectacles. I congratulate the stage crew who cope with a large number of scene changes, which often only last for a few moments. The use of a large number of fairy lights in the auditorium is a nice touch.
The show’s Musical Director and his excellent band accompany the cast well and the sound design by Dave Dallard is very effective; the balance between the band and the performers tonight, was perfect.
Overall, I enjoyed this show although the score is not particularly memorable, with a number of repetitious themes, particularly in the second act. I commend everyone involved for their obvious hard word since rehearsals began last September, which certainly showed in tonight’s performance. They also seemed to be really enjoying what they were doing on stage.
The enthusiastic audience gave the cast and production team a well-deserved ovation at the end.
The Young Performers
Duchess Theatre
January 16th 2020
Out There is a musical about families, love & loss, hope, learning to be a child, learning to be a parent and never, ever, giving up on your dreams.
It is about a world famous astronaut, Newman Carter, who mysteriously disappeared in 1969. Forty years later, a troubled young man turns up on his doorstep with a letter, which changes everything, for everyone. It is set in the crumbling Southern American town of Hope.
Tonight, the Young Performers brought this modern musical, written by Elliot Davis & James Bourne, to the Duchess Theatre once again, as it was performed here a few years ago by The Erewash Musical Society. This production, directed by Zak Charlesworth and produced Vicky Byrne was pacey and innovative, providing lots for both principals and ensemble to do.
There were strong performances from Harvey Tavener as the teenage rebel Logan Carter and Hayley Watson as his friend, the lively Jamie. They are well cast and work very well together. Both are excellent actors and show empathy with the characters they play, bringing them to life for the audience. Harvey sings well and copes with some very high notes, delivered in a clear falsetto. Both can dance well, as beautifully exhibited in the song “Learn to Dance.”
Playing an old man when you are very young is not easy, but James Pedrick does a commendable job, particularly with his physical movements. The trio of Charlotte Rowland as the Hope town Sheriff and her rather dumb sidekicks Ryan Yates (Stan) and Henry Icke (Billy) were great and very engaging. The two boys provide some good comedy moments. Ricky Hill as Logan’s father, David, is well cast and works hard to make the age difference between him and his son look believable. Eleanor Meakin as the TV reporter and her camera man Stuart played by Finlay Dilks, complement the principal line up with two nice characterisations.
They are well supported by the hard working ensemble of Lewis McDowall, Ruby Garrison, Marcy Truman, Ava Haycock, Emilia Buxton, Finlay Boswell, Ella Charlesworth,
Drew Boswell, Emma Jane Peel, Millie Weston, Ava Jonson, Astrid Gell, Lily Stobo,
Maisie Pitchford, Phoebe Clarke, Neve Saxton, Megan Thomas.
Zak uses the ensemble to great effect. They have lots to do and I particularly enjoyed the songs and the cleverly arranged routines for “Out There”, “Step by Step” and “Hope has Faded Fast.” These are very good to watch and are well delivered. There are a number of occasions when members of the cast are used as props; an interesting device.
The choreography by Alex Tavenener is excellent and the young performers are at times given some quite fast steps, in true southern American style. They cope well with the complexities of these.
The set is excellent. Designed and built by Zak and Stage Manager Roydon Charlesworth, it is good to look at and provides the opportunity to show off the excellent lighting of Dave Martin. It is also very versatile and combined with a number of moveable trucks, is quickly and smoothly changed. This helps to keep the show moving at a fast pace and provides some visual spectacles. I congratulate the stage crew who cope with a large number of scene changes, which often only last for a few moments. The use of a large number of fairy lights in the auditorium is a nice touch.
The show’s Musical Director and his excellent band accompany the cast well and the sound design by Dave Dallard is very effective; the balance between the band and the performers tonight, was perfect.
Overall, I enjoyed this show although the score is not particularly memorable, with a number of repetitious themes, particularly in the second act. I commend everyone involved for their obvious hard word since rehearsals began last September, which certainly showed in tonight’s performance. They also seemed to be really enjoying what they were doing on stage.
The enthusiastic audience gave the cast and production team a well-deserved ovation at the end.
Band of Gold
National Tour
Theatre Royal
January 14th 2020
Band of Gold was a crime drama that attracted over 15 million viewers each week when it was broadcast on TV. It was around a group of women – Carol, Rose, Anita and Gina and was at times heart-breaking and humorous. The play tells the story of how a young mother is drawn into the notorious red-light district. There is a complication that with a killer on the loose it’s a battle to survive!
The three iconic female lead roles are being taken by Gaynor Faye (Emmerdale, Playing the Field, Calendar Girls), Laurie Brett (EastEnders, Waterloo Road, Les Misérables) and introducing Emma Osman. They will be joined by award-winning TV stars, Shayne Ward (Coronation Street, Rock of Ages, X Factor winner), Kieron Richardson (Hollyoaks, Heartbeat), Sacha Parkinson (Mr. Selfridge and The Mill) and Andrew Dunn (Dinnerladies and Coronation Street).
Band of Gold was very enjoyable and well worth coming to see. Excellent performances in a good adaptation of Kay Mellor’s tv series.
National Tour
Theatre Royal
January 14th 2020
Band of Gold was a crime drama that attracted over 15 million viewers each week when it was broadcast on TV. It was around a group of women – Carol, Rose, Anita and Gina and was at times heart-breaking and humorous. The play tells the story of how a young mother is drawn into the notorious red-light district. There is a complication that with a killer on the loose it’s a battle to survive!
The three iconic female lead roles are being taken by Gaynor Faye (Emmerdale, Playing the Field, Calendar Girls), Laurie Brett (EastEnders, Waterloo Road, Les Misérables) and introducing Emma Osman. They will be joined by award-winning TV stars, Shayne Ward (Coronation Street, Rock of Ages, X Factor winner), Kieron Richardson (Hollyoaks, Heartbeat), Sacha Parkinson (Mr. Selfridge and The Mill) and Andrew Dunn (Dinnerladies and Coronation Street).
Band of Gold was very enjoyable and well worth coming to see. Excellent performances in a good adaptation of Kay Mellor’s tv series.
Guys and Dolls
Christmas Production
Crucible Theatre,Sheffield.
January 2nd 2020
Guys and Dolls is based on a story and characters of Damon Runyon with music and lyrics by Frank Loesser.
The story is about Sky Masterson who to settle a bet pursues straight-laced Sergeant Sarah Brown, only to fall head over heels for his unlikely love.
This musical comedy is a high energy riot of breathtaking dance and features all-time favourites Luck be a Lady, Guys and Dolls and the irresistible Sit Down, You’re Rocking the Boat.
So It’s time to roll the dice and fall in love under the bright lights of New York city or so says the publicity. I have to say it's pretty accurate as I have seen a professional version of the show in London and a number of amateur productions locally.
A fast and free moving production enhanced by very clever moveable sets and a double revolving stage.
Very good performances from the cast who sing and dance well. Good choreography throughout and the band is excellent.
There are some very familiar songs in the show but it is also quite wordy which slows things down a bit.
Costumes are very authentic and scene changes managed by the cast are slick and fast. Stage design is innovative and very appropriate to the story.
Overall a 5 Star production.
Christmas Production
Crucible Theatre,Sheffield.
January 2nd 2020
Guys and Dolls is based on a story and characters of Damon Runyon with music and lyrics by Frank Loesser.
The story is about Sky Masterson who to settle a bet pursues straight-laced Sergeant Sarah Brown, only to fall head over heels for his unlikely love.
This musical comedy is a high energy riot of breathtaking dance and features all-time favourites Luck be a Lady, Guys and Dolls and the irresistible Sit Down, You’re Rocking the Boat.
So It’s time to roll the dice and fall in love under the bright lights of New York city or so says the publicity. I have to say it's pretty accurate as I have seen a professional version of the show in London and a number of amateur productions locally.
A fast and free moving production enhanced by very clever moveable sets and a double revolving stage.
Very good performances from the cast who sing and dance well. Good choreography throughout and the band is excellent.
There are some very familiar songs in the show but it is also quite wordy which slows things down a bit.
Costumes are very authentic and scene changes managed by the cast are slick and fast. Stage design is innovative and very appropriate to the story.
Overall a 5 Star production.