Coming Soon:

Madagascar the Musical - Theatre Royal, Nottingham - July 24th 2024

An Officer and a Gentleman - Theatre Royal, Nottingham - July 29th 2024

 

My Sons a Queer (But What Can You Do)
National Tour
Derby Theatre
July 22nd 2024

My Sons a Queer (But What Can You Do) has just finished at Derby Theatre and it was absolutely brilliant. One of the best shows i have seen for a very long time.

We have laughed and cried throughout and it is very difficult to describe but often very emotional.

It was the story of Rob Madge particularly as a young stage struck boy. There were fantastic original videos to accompany the solo descriptions from Rob. They are superb and made us laugh and cry in equal measure.

The cosy set and the large background video wall were just right and used to great effect. The costumes were brillant.

What i didn’t expect were the fabulous songs sung so well. Brilliant and often very funny lyrics. There were also some very poignant ones too.

The production directed by Luke Sheppard was fast and furious with no delays.

This is a fantastic experience, one that was most certainly different from anything i have seen before.

The show is on until Wednesday and needs to be seen. Please come and see it and i think you will not regret it.

It is a testament to what life should be all about - being yourself despite what others might say.

There were two standing ovations which says it all.

Come to Derby theatre tomorrow or Wednesday and experience the magic for yourself.

Chicago, Teen Edition

Centre Stage Theatre Arts

Landau Forte College

July 20th, 2024

Razzle Dazzle ‘em sings Billy Flynn and we were certainly razzled dazzled last night by this red hot teen edition of Chicago, performed by Central Stage Theatre Arts. This version might have a few bits removed, but there’s nothing lacking in impact: this 60 strong group look and sound amazing and have produced a wonderfully entertaining show. The production values, the staging, the costumes, the quality of both individual and ensemble performances are first class and belie the ages of the performers. An obviously expert production team have given these young people a taste of professional theatre and in turn they have all risen to the challenge of singing, acting and dancing up a storm. It’s fabulous.

Written by Bob Fosse and Fred Ebb, Chicago is viewed as an exemplar of Fosse's signature dance style and choreographer Josephine Walker has fully embraced this. Elements such as turned-in knees and feet, shoulder rolls, splayed ‘jazz hands’ and finger snaps characterise the dances; the opening number ‘And All That Jazz’ skilfully demonstrates all of these. So much to look at, not just the snazzy dance routine, but the interpretations of individuals, who give the spectacle so much character. A great start, an intro into the steamy and sleazy world of Chicago (spelt out in a fabulous lights) in 1924; we feel the heat, are dazzled by the lights and prepared for the satirised story of corruption and the fickle nature of fame that follows.

Roxie Hart, who has dreams of Vaudeville stardom, has shot dead her lover Fred Casey for trying to leave; her faithful and naive husband Amos stands by her, ignoring her cold heart and self serving machinations. In prison Roxie meets Velma Kelly, a Vaudeville star who murdered her sister and husband after catching them in bed together. Both ‘celebrity criminals’ desperately need the help of prison warden ‘Mama’ Morton and flamboyant defence lawyer Billy Flynn to get them off the charges and save them from the gallows, particularly when a fellow female prisoner is unexpectedly hung. Things look bad, but Billy’s talent for stage managing the influential media circus will surely save the day…

Bella Kiddle nails the brittleness of Roxie’s character, with flashes of her child like vulnerability nicely balanced against her obsession with self interest and fame. Bella has a lovely, expressive voice and gets to show off her dance moves and comic timing, too. The wonderful ‘We Both reached For The Gun’, which sees Roxie as literally a dummy for Billy’s ventriloquism is a comedy highlight. Numbers such as ‘Funny Honey’, ‘Roxie’ and ‘Me And My Baby’ are beautifully performed; Bella should be so proud that she has done this iconic character and huge part justice.

All the principals hold the stage (honestly, you forget these are teens!) and none more so than Nathaniel Dale, who plays the suave and highly manipulative Billy Flynn. Nathaniel captures the swagger and self assurance of the character and he doesn’t just use his strong voice to sing, he really performs a song. The duet with Roxie, the highly satirical ‘All I care About Is Love’ and the glorious ‘Razzle Dazzle’ are all brilliantly done. Sitting next to his very proud Mum (the audience must have been full of very proud families), I was amazed to learn that he is only 15 and this is his first production with CSTA. There will surely be many more!

Another student who must be going on to further success is Amy Loweth, who gives a mature and highly accomplished performance as Velma Kelly. Amy has a range of theatre skills, but her lovely voice is particularly captivating. Again, hard to believe that the strong voice that opened the show and went on to perform the touching ‘I Can’t Do It Alone’ and ‘I Know A Girl’, plus many others, could belong to a teenager. A polished performance that was thoroughly entertaining.

Another entertaining performance from Mylie Randle as Mama Morton, who completely captures the physicality of the character and her swaggering self belief. ‘When You’re Good To Mama’ is always a highlight and Mylie’s strong voice and phrasing made it a triumph, nothing lost there!

A performer who really impressed me was Adam Patten as Amos Hart, Roxie’s downtrodden husband. Some excellent characterisation and acting here (great projection) and the pathetic but very amusing ‘Mr Cellophane’ was sensitively performed.

Other roles are played Johnny Grant as the hapless Fred Casey and Grace Simpson as the chirpy reporter Mary Sunshine, plus Lucy Cripps (Liz), Laura Barnfield (Annie), Jude Grant (Mona), Hannah Keane (Fogarty), Rose-Lynn Macrae (Kitty), Francesca Mayne (Hunyak), Thomas Murfin (Harry) and Molly Wileman (June).

The Cell Block Tango, so well performed by the inmates of Cook Jail, is another favourite; the modified dance in no way detracted from the grit or the humour.

The ensemble are as important as the principals in this show as they provide excellent backing as well as some lovely vocals and set piece dancing. Directors Lucy Cadney and Louise White must have had a strong vision of how they would use so many performers and give them a chance to shine, while keeping up the pace of a fast moving spectacle. They’ve certainly achieved that, aided by a simple but effective set - which is colourfully and imaginatively lit – plus a few well chosen props and some slick entrances and exits. No cabaret style here, just some lively narration from members of the ensemble and the pleasure of a good story vividly told. Careful placing from the choreographer means the ensemble pieces are busy and interesting, but never overcrowded; the overall look of the production is simply lush.

The Musical Director Paul Matthews - assisted by Sam Griffiths and Gabryl Oleshko – has created a lovely, vibrant sound and obviously worked very hard with both the principals and ensemble. It’s hard to sing and dance at the same time and it’s hard to sing well and in character, so it’s only good direction and tons of hard work that will produce performances of this quality.

It was hot in the theatre last night – there were a few fans being used - but it was even hotter on the stage, as these young performers lit it up with their talent, skill and passion.

The Wizard Of Oz

RMTC The MOB

Majestic Theatre Retford

July 14th 2024

What a treat it was on Sunday afternoon to be whisked magically to the Land of Oz by 57 young performers in the Majestic Theatre at Retford. No need for Sunday dinner, this was a majestic feast that left the audience full – full of admiration and joy. Yes, 57 in the cast, and yes, it was magical – a wonderful spectacular that showcased not just the talents of these enthusiastic and hardworking young performers, but those who teach and direct them, too. The magic from the performers was enhanced by puppetry, aerial flying, splendid lighting and sound effects, and some wonderfully effective projections. Wow! Add to those an inspired directorial decision to fill the auditorium with bubbles at some points and the awe and wonder is obvious. The small boy next to me remained enthralled and vocally excited for over two hours of performance time; praise indeed.

Many of us are familiar with the story from Sunday afternoons in front of the tele watching Judy Garland in the 1939 film version, but also from the newer incarnations: the Andrew Lloyd Webber version and the recent touring one with The Vivienne.

Dorothy is swept away from Kansas during a tornado and finds herself among some helpful Munchkins in the Land of Oz. After advice from the Good Witch Glinda, she sets out along the Yellow Brick Road in some snazzy red slippers, to find the Wizard of Oz. The all powerful wizard can not only get Dorothy back to Kansas, but grant the wishes of some new friends she meets along the way, too. If the Wicked Witch of the West doesn’t scupper their plans…

The magic begins with the tornado, the drab and rather oppressive Kansas landscape is thrillingly replaced with the colourful Land of Oz and the absolutely spectacular first ensemble number, featuring the Munchkins. So much to see here, a stage packed with performers, but so well choreographed that it’s never less than a visual delight and the singing is glorious. Many performers took the eye here and every one was putting their heart and soul into their part and creating their own little character. Congratulations to the Musical Director Pete Lack, who conducted the 11 piece band and who must have worked very hard with the cast to produce not just ensemble pieces of such high quality, but some wonderful solos too, such as the iconic Over The Rainbow. Other great songs which really get the feet tapping and put smiles on faces are Ding-Dong! The Witch Is Dead, The Lullaby League / The Lollipop Guild, Follow The Yellow Brick Road, We're Off To See The Wizard and There's No Place Like Home. Great stuff.

Choreography by Becca White shines throughout, there are not just crowd scenes to manage, but some set piece movement sequences and varied dances including some lovely tap and ballet style numbers. Rehearsals must have been fun, but very hard work!

The ensemble have so many opportunities to shine and cameo roles, such as the charming Munchkin officials; Fraser Duffy as the Winkie General, Louisa Merrion, Chloe Veitch and Jasper Whitworth as the crows; Bethany Bailey, Elisha Lucas and Adwyn Roberts as the very cool apple trees and the flying monkeys led by Katrina Fenton, are confidently performed. The Jitterbug scene, which shows off the dancing talents of Isla Merrills and Mya Hill is a joy to watch and the Poppies are enchanting. Each one is wearing a striking Poppy headdress; a mention here to Carolyn White and her sewing assistants and to the make up team of Grace Baron and Trinity Searles. Both costumes and make up were perfect throughout the show and made a huge impact to the production as a whole.

Nine performers get the chance to star as principals and they certainly make the most of it. It’s not surprising to read in the programme (one of the best I’ve seen), that many of these young performers go on to professional training after their thorough grounding in theatre skills with The Mob. It was lovely to read the dedications of their justifiably proud families.

I saw Cast Wiz and was treated to Daisy Brammall’s lovely voice as Dorothy, a Dorothy she understands, making her heart rendingly vulnerable and quietly serious. Over the Rainbow was beautifully and wistfully performed. Dorothy needs light relief and she finds it when she meets up with the Scarecrow, the Tin Man and the Lion. Toby Cupit’s Scarecrow is a joy, not just the nuance in his delivery, but the physical acting that brings the character literally to life. Hermione Hunt is a talented actor who makes every one of her Tin Man’s lines count and Charlie Buxton has the comic timing and sense of slapstick that makes the Lion so endearing. The four of them create something magical together. And they can all dance and sing, too!

Some real magic comes from Glinda, the Good Witch, who flies into Oz to help Dorothy and does her best to put things right. Well done to Naomi Earl, who also plays Aunt Em, for flying so high and lighting up the stage. Aunt Em’s lovely husband Uncle Henry is played convincingly by Jack Hilditch. For contrast, the Wicked Witch of the West (and the formidable Miss Gulch) are played with delicious malevolence by Scarlett Parkin. Fine acting, characterisation and projection from Scarlett make these characters truly horrible! More accomplished character acting that really impressed me from Victoria Needham as Professor Marvel and the Wizard of Oz. Acting of the non verbal kind from Theodore Smith, who along with Ava Softly-Robins, trained with Bryony McCombie-Smith to operate her custom made Toto puppet. Theodore became Toto and there was never a moment when Toto didn’t react to events like a real dog; so skilfully brought to life and much appreciated by the audience.

The director Keri Duffy and her assistant Sarah Mitchell have definitely created something magical: insisting on such high production values and using the talents of Vinnie Hemmings on Lighting, Adam Bright on the very atmospheric Sound, Flying First Class and Cinematic Theatre Productions, has really paid off. Little touches like the bubbles, the peeping Munchkins and the clear direction to the cast to not only be in the right place, but to always react to events convincingly (while singing and dancing up a storm!), have given this production professional polish. The complicated but seamless scene changes of Proscenium’s wonderful set added to this immeasurably: Stage Manager Richard Concannon and his team of seven nailed it. A huge effort and a huge success.

I look forward to The Mob’s next production which is Charlie and the Chocolate Factory at the Majestic Theatre Retford, from 10th -12th July 2025.

 

Here You Come Again

Theatre Royal Nottingham

July 9th 2024

It’s 2020 and would be comedian Kevin is living in a loft bedroom in his parents’ house in Halifax – trapped during lockdown and alone with his despair. Frustrated at his inability to both kickstart his career and face up to the reality of his failing relationship, Kevin’s only succour comes from the music of his idol, Dolly Parton. What follows from this introduction – set in the most beautifully styled and detailed loft - is a fantasy, where Dolly bursts through a poster to entertain, support and encourage Kevin to make the decisions that will change his life. A fantasy, but one grounded in the reality of Dolly’s glorious music and the grit of her no-nonsense advice.

This is a rollicking couple of hours packed with wit, humour, flawlessly performed songs and some great character acting; it’s warmly funny and ultimately joyous, yet often sensitive and sometimes heart rending.

What gives the story emotional depth is not just the skilled writing of Bruce Vilanch and Gabriel Barre (who also directs) and Tricia Pauluccio (who also stars), but a brilliant character portrayal by Steven Webb. His Kevin is immediately likeable, self deprecating, full of wit - which is delivered with impeccable timing - and completely open about his fears and failings. We root for him immediately, marvel at his ability to perform a song (his “Jolene” is show stopping) and become fully engaged in his claustrophobic, yet animated, life in the loft and his dealings with Dolly. Much of the humour comes from the additional material by Jonathan Harvey (Gimme Gimme Gimme) who gives Kevin the dry, British wit and familiar references we all know and love.

Dolly is captured with sequined, sparking precision by Tricia Pauluccio (she’s already taken this show across the US) and her performance of Dolly’s songs is absolutely wonderful. The big ones are here: “9 to 5”, “Two Doors Down”, “I Will Always Love You”, “Islands in the Stream” and “Jolene” – alongside the gentler “Little Sparrow”, “Love is Like a Butterfly” and a couple of less familiar ones. Dolly’s Tennessee twang, along with her intonation and ability to infuse even barbed comments with warmth, are all perfectly captured. Like many who seek solace in her music, Kevin takes onboard the message of hope, never giving up and finding the beauty in life.

The designer, Paul Wills is responsible for not just the wonderful set, but for Dolly’s fabulous costumes and wigs, both of which create a vivid, beautifully lit picture that perfectly complements the drama. The realistic detail of the loft - the old toys, the skeleton and the Christmas decorations- is offset by the background of chimneys and the top floor, where backing vocalists (Aidan Cutler & Charlotte Elisabeth Yorke) add not just harmony, but character voices. The on stage band rock up a storm and it matters not a jot that they have appeared in Kevin’s loft – after all what’s Dolly doing there, anyway?

What does matter – to me anyway - is the constant breaking of the fourth wall. I want to enter this imagined world, be in this beautifully detailed loft, admire Dolly’s costumes, enjoy the fabulous performances and be taken into the world of fantasy drama. When Dolly enters and says ‘Hello Nottingham’, when both she and Kevin speak directly to the audience, even inviting us to switch on our phone lights, I lose the pleasure of suspending my disbelief, of being transported into a magical place where amazing things happen (and there are some great illusions in this). I land with a thud back in the Theatre Royal, looking at a very clever set, with some very talented performers on the stage, but no longer in that very special place that theatre can create. Just a personal bugbear.

The audience last night absolutely loved this production, there was a standing ovation, a joyous finale and smiles on the faces of all those who had been not just entertained, but lifted up.

 

 

Unfortunate: The Musical
Theatre Royal Nottingham
June 25th 2024

Fresh from complete sell out runs at the Edinburgh Fringe and around the UK comes this critically acclaimed smash hit parody musical 'Unfortunate: The Musical’. Promising a tell-all tale of sex, sorcery and suckers this show does not disappoint!

A witty and irreverent retelling of the classic Disney tale, focusing on Ursula, the sea witch from "The Little Mermaid.", this musical dives deep into Ursula's backstory, offering a fresh perspective on her motivations and character. It is packed with humour, catchy songs and a lot of sass, making it a delightful experience.

The set design and costumes are visually stunning, capturing the underwater world in a whimsical and imaginative way. The use of clever puppetry is a joy and very funny to watch. The music is also a highlight, with original songs that are both memorable and fitting for the story's tone.

The cast are incredibly talented and all deliver very strong performances. Some of the cast play several different characters and move seamlessly from one to another. Shawna Hamic plays Ursula and brings a perfect blend of charisma, menace, and humour to the role. The supporting cast of River Medway (Ariel), Thomas Lowe (Triton), Allie Dart (Sebastian), Jamie Mawson (Eric), Julian Capolei (Grimsby), Corrina Buchan (Ensemble), Jack Gray (Ensemble), Jamie McKillop (Ensemble) also shine brightly and give a vibrant and energetic atmosphere to the production.

This is an entertaining and clever show that offers a new take on a beloved villain. It's a must-see for anyone who enjoys musical theatre and a great laugh. It runs until Saturday 29th June and I would urge you to join Ursula if you can, to see what really happened all those years ago under the sea.......

Eloise

Awful Auntie
Theatre Royal Nottingham
20th June 2024

How awful can an Auntie really be? Well, the protagonist of tonight’s story, Stella, was about to find out!

A stage adaptation of one of David Walliams’ best selling books, Awful Auntie, this play tells the story of Stella Saxby. The play begins with Stella waking up from a three month coma to find herself unable to move, completely wrapped in bandages. Only her Aunt Alberta can tell Stella what has happened and Stella is given the devastating news that both her parents have died in a car crash and she has broken every bone in her body.

However, Stella begins to become suspicious of Aunt Alberta and realising she’s not actually injured, just bound by the bandages, Stella attempts to escape. Unfortunately, she is caught by Auntie and her terrifying pet owl Wagner and soon she finds herself locked in the cellar. Stella realises she is now in for the fight of her life against her very own Awful Auntie! In despair, and not knowing what to do next, Stella begins to cry until friendly ghost ‘Soot’ appears. They form a friendship and together they plot to defeat Aunt Alberta and find out what really happened to her parents.
This is very funny play and although primarily aimed at children, there is humour throughout that appeals to all ages. Comically exaggerated performances led to big laughs and in typical Walliams’ style, there was plenty of toilet humour and slapstick comedy. This was particularly well received by the younger members of the audience. The play also features the use of puppetry. A very clever addition, with mini versions of Stella, Auntie, Soot and Wagner used in scenes based outside which gave the illusion of space and a was a joy to watch.

A hugely talented cast bring the book to life on the stage; Annie Cordoni (Stella Saxby), Matthew Allen (Soot), Neal Foster (Aunt Alberta), Emily Essery (Wagner), Zain Abrahams (Gibbon), Elan Retsof (Detective Straus).

Awful Auntie runs until Sunday 23rd June and I would urge you to go and see it if you can. You won’t be disappointed.

Eloise

The Little Mermaid

The Young Performers

Duchess Theatre Long Eaton

June 12th 2024

The Young Performers' production of Disney's "The Little Mermaid" is a delightful production which brings this underwater story to life with youthful energy and genuine passion. Transforming the classic animated film for the stage is no easy task, but this talented group of young actors and the production team have done it brilliantly.

Ella Charlesworth in the role of Ariel, is excellent. Her portrayal of the curious and determined mermaid is engaging and her beautiful singing charmingly captures Ariel's perseverance and determination. Her performance of "Part of Your World" is accomplished and powerful, earning a well-deserved round of enthusiastic applause.

Prince Eric is played by Finlay Boswell with depth and sincerity. His relationship with Ariel feels genuine and the expression of their budding romance is engaging. Finlay performed Her Voice and One Step Closer with strength and considerable feeling.

Theo Brewer excels as Sebastian the crab (love his accent), and the outstanding Summer McNorton plays the villainous Ursula, adding humour and menace to the show. What a voice she has, too! Her puppet helpers, Jetsam and Flotsam are energetically played by the talented pair, Neve Johnson and Izzy Pickering. Sebastian's lively version of "Under the Sea" has the audience tapping their feet, while Ursula's "Poor Unfortunate Souls" showcases Summer’s impressive vocal range and ability to sell a song.

Elijah Green as Flounder soon became a firm favourite with the audience, due in part to his frequent cheeky smiles and ability to glide across the stage. Like many others in the underwater world he was wearing shoes with wheels on. They make the characters glide around the stage seemingly effortlessly. Very effective staging.

The Director, Zak Charlesworth, has produced a show in which he clearly balances the whimsical elements of the story with moments of real emotion. The staging is creative, making excellent use of the space to create an immersive underwater world. The transitions between scenes are smooth, keeping the story's momentum going and as a consequence the audience are engaged throughout. Well done to Paul Wheedon and Kevin McDowall for their very speedy movements of set.

Other parts are played well by Will Mellor (Grimsby), Jess Henshaw (Scuttle the seagull), Lewis McDowell (King Triton), Fin Tomlinson (extremely funny Chef Louis), Will Hamilton (the Pilot), Millie Weston (Windward) and Emily Wilkins (Leeward).

I was very impressed with the group of Ariel’s Sisters who feature in several musical numbers. They are Isabella Frampton, (Adrina), Lucy Coulson-Jones (Aquata), Hattie McEwan (Arista), Amelia Forecast (Atina), Liv McEwan (Adella) and Lottie Ellis (Allana).

There is also a very hardworking ensemble. Dillan Brookes, Carly Gaunt, Kelly Rickerby, Violet Graney, A J Chamberlain, Olivia Monk, Lexi-Mae Hart, Lucie Artis, Sophie Longcroft, Emily-Mae Taylor, Sophie Dexter, Emmie Simmons, Clarissa Armitage, Molly Price, Alex Povey and Livvy Read.

The choreography, by Ellie Simmonds is energetic, exciting and well-executed. The dance numbers, especially "Under the Sea" and "Kiss the Girl," are vibrant and visually stunning. Regular readers know that I love a good finale and this production certainly has one. I really enjoyed that and I think the cast did too!

The set design by Roydon Charlesworth is imaginative and effortlessly transports the audience from the depths of the ocean to Prince Eric's castle. The video projections are excellent and very well synced to the music. Some of the best I have seen in this theatre. They also made the space on the stage impressively large for the whole cast numbers.

The use of the extended stage walkway is brilliant, enabling various characters to get very close to the audience and provide an entry and exit to the underwater scenes. Along with the lighting effects (Dave Martin) a magical atmosphere is created. The underwater scenes are particularly well done, with flowing fabrics and bubble effects adding to the illusion of being beneath the sea. Must mention here the Young Performers Techies who helped with sound and lighting. Well done.

The costumes are lovely, capturing the essence of each character while allowing the performers to move freely. Ariel's iconic mermaid costume and Ursula's evil looking tentacles are fabulous. The costumes are provided by Spotlight Theatre.

The musical accompaniment was a high-quality track which was well balanced with the performers' vocals. The musical director, Ben Ward has obviously worked hard with the cast to produce such good quality singing. The great Sound design by Harvey Tavener complemented this well.

This production of Disney's "The Little Mermaid" is a heartwarming and entertaining experience that showcases the talent and hard work of its young cast. It is a production filled with joy, creativity, and the timeless magic of Disney. Whether you are a long-time fan of the animated film or new to the story, this adaptation is sure to leave you with a smile on your face and a song in your heart.

Highly recommended for audiences of all ages,

 

The Syndicate

Nottingham Theatre Royal

June 4th 2024

The Syndicate is a comedy drama based on the first series of Kay Mellor’s hit BBC show, telling the story of five supermarket workers who scoop the lottery jackpot and find their lives changed forever. With Kay Mellor’s customary flair for story telling, for creating ordinary but interesting characters and for engaging dialogue, it’s a thoroughly entertaining play.

Beginning in the supermarket, which has been imaginatively created by designer Bretta Gerecke, the action follows the everyday lives of the workers, including brothers Stuart and Jamie, who are both desperate for money.

Kay Mellor writes ensemble pieces with due regard for all her characters, but there is always one who becomes the pivot of the action, who drives the story forward. A character who gives the play heart, who has us wondering what we would do in the same situation. In this piece that character is Stuart, played so sensitively by Benedict Shaw, ably showing desperation, indecision and ultimately remorse as he struggles with the consequences of his own and his brother’s actions.

Oliver Anthony creates the flawed but powerful character of Jamie with absolute conviction; both his spoken and physical delivery are spot on. He’s an irredeemably immoral character, tainted by his upbringing, driven by self regard and willing to commit a shocking crime to get what he wants. Who knew they would win the lottery the very next day?...

Samantha Giles, unrecognisable from her well known part in Emmerdale, is the dowdy, gossipy, but warm hearted Denise, making the most of the character’s unintentionally humorous lines. Rosa Coduri-Fulford plays the gentle but elusive Leanne, who has a secret past, and the genial manager Bob, is played by William Ilkley, a wonderful example of experienced character acting. Jerome Ngonadi is the Police Inspector who cheerfully bides his time as he waits for forensics and human nature to take their course. Gaynor Faye is Kay, the Lottery rep, who not only flits around the supermarket workers, keenly exploiting their commercial potential, but unexpectedly opens the play in a way that makes the audience sit up and take notice.

The supermarket set is flanked by the manager’s office on one side and the staffroom on the other; lighting successfully takes us into these, while the action continues silently in the darkened central set, a directorial decision that works well. What didn’t work so well for me was the quick change of the staffroom into a hospital ward; too much disbelief to suspend there. Other demands on the imagination of the audience work effectively: some little surreal touches are humorous and a final fantasy scene to explain Jamie’s fate is powerful.

It's in the hospital we first encounter Amy, Stuart’s gloriously demanding girlfriend, brought vividly and glamorously to life by Brooke Vincent, late of Coronation Street. She comes even more awfully into her own in the second act, where the set and costumes richly reflect the characters’ new found wealth. It’s amongst the opulence of his mansion that Stuart finally confronts his demons, Leanne comes to terms with her previous life, Denise discovers her worth and Bob gets the potentially happy ending that he deserves. Amy is left wallowing in the glory of her yearned for wealth, but not necessarily any richer.

It was Kay Mellor’s ear for the wit and warmth of Northern dialogue and her talent for creating stories about ordinary people in extraordinary circumstances that made her so successful. This, her final stage play, follows her other highly regarded adaptations of Fat Friends The Musical and Band of Gold and is directed in her honour by her daughter, Gaynor Faye.

 

Kipps - The New Half A Sixpence

Carlton Operatic Society

Nottingham Theatre Roya

lMay 28th 2024

‘What a triumph’ sing the cast in the Flash Bang Wallop finale of this breathtakingly good production. They’re not wrong. It’s a wonderfully entertaining show, showcasing excellent local talent and living up to the rave reviews this revamped production received when it premiered at the Chichester Festival in 2016. Such rich story telling – first from the pen of the visionary H G Wells in 1905, then retold as a vehicle for Tommy Steele in the 1963 ‘Half A Sixpence’ and finally reimagined through the wit and warmth of Julian Fellowes, in collaboration with Stiles and Drewe. No better songwriters to add their own touch with vibrantly entertaining and witty songs that constantly bring a smile to the face and get the feet tapping.

None of this means a jot though, unless the production brings talent, energy, emotion, colour and fun to the material and this is just what Carlton Operatic, through the visionary direction and choreography of Rachael Rees and some exceptional performers, has done. Time flies when you’re having fun and this show just races by; from the balmy esplanade of Folkestone to the stiff collars of Shalford’s Drapers, to the even stiffer High Society venues and back to the soggy beermats in the Hope and Anchor pub, we travel with Kipps, as he discovers that money isn’t everything. The excellent set with it’s nifty blue and filigreed flats, that serve to divide the space and the action, richly evokes the Edwardian period; we’re taken inside the authentic draper’s shop, to lady Punnet’s elegant drawing room and back to the pier, complete with a hall of mirrors and a fortune teller. Much credit should go to Vicky Johnson, Nigel Newton and Matthew Allcock for their unobtrusive and slick management of this richly detailed and complicated set, that is such a joy to see against the sympathetic background of our magnificent Theatre Royal.

So to the performers – this show was a vehicle for Tommy Steele orginally and Lu Anthony assumes that mantle with ease, energy and an enormous amount of talent. I first saw Lu in 2016 in Singin in The Rain and wrote then that I’d just seen a genuine ‘trip-le threat’, one of those rare amateur performers who can act, sing and dance equally well. It’s even more true now, as Lu gives us a warmly engaging Kipps, who is taken in by those he perceives are better than him, yet never bowed; this is a chipper, cheeky chappie. The accent is impeccably Cockney – I don’t know if a vocal coach was employed or Lu just listened to Rylan a lot, but it’s spot on. Songs such as Half A Sixpence, She’s Too Far Above Me and the joyous Flash Bang Wallop are beautifully sung; Kipps is on the stage almost constantly and a lot of that time he’s dancing, too. Lu excels at this, always a joy to watch, with some wonderful moves that complete a captivating characterisation.

Kipps is lucky enough to have two love interests, the down to earth Ann, a sweetheart from childhood to whom he gives the half sixpence, and Helen, the sweet toff, who is a reluctant pawn in her family’s scheming. Sarah Thompson and Lizzie Fenner both nail their respective accents, mangling and honing vowels to great effect. Lizzie brings real warmth to the trapped Helen, who reminds me of Princess Louise, Queen Victoria’s daughter, desperate to give free reign to her artistic talents, but trapped by status and the demands of an overbearing mother. Lizzie keeps her beautifully contained yet warm and gets to show off her lovely pure voice, particularly in the wistful yet powerful Believe in Yourself.

Sarah develops her character from the naïve teenage to the humble but insightful parlour maid who sadly witnesses the change in her beau, due to his unexpected windfall. Sarah has a lovely, emotionally resonant voice and this is showcased in several songs; I particularly enjoyed her duet with Flo - the window dresser at Shalford’s Drapers - Just a Little Touch of Happiness. Both have great voices and Alison Watkins (Flo) is a wonderfully entertaining performer; this was a highlight among many during the show.

Kipps’ other friends in the drapers are Pornick, Pierce and Buggins, brought to life so engagingly by Jonathan Jaycock, James Sikora and George Young. H G Wells wrote about his own life as a draper’s assistant, he wrote social realism with the warmth and insight that comes from personal experience and with the type of engaging detail that the writers of soaps aspire to today. It’s great fun watching these characters interact and making the most of their 13 hour days serving the rich, while keeping their own dreams alive.

The other side of the sixpence, as it were, comes from the rich, or would be rich, as Helen’s family are somewhat reduced and looking for a way out and up. Mrs Walsingham is played by Lindsay Jaycock, ably portraying the rather sad social climber who is desperate to restore her wealth and buy a property that reflects her standing. Her equally desperate son James is played by James Ellison with a delightful mix of arrogance and oiliness, as he persuades Kipps to invest in his portfolio. A cleverly choreographed lunch (A Simple Lunch) highlights both the awkwardness of Kipps, the unease of Helen and the sheer awfulness of Mrs Walsingham and James. A hard scene to manage, but this director and these actors pull it off brilliantly.

Another toff, this time with the riches to prove it, is the beautifully mannered, aloof but gossipy Lady Punnet. With the looks and cut glass vowels of Joanna Lumley, she is played elegantly by Helen Tunnicliff.

A catalyst for plot development is Chitterlow, a would be theatre impresario who literally bumps into Kipps while out on his bike and proves to be a useful friend: one who puts Kipps resolutely on the path to riches. Dan Armstrong’s superb delivery of this flamboyant character reminded me of Tom Baker; he’s confident, over the top, warm and engaging with some great vocals. Yet another highlight.

Darren Ward plays the stiff as a starched collar draper, Mr Shalford and Claire Collishaw and Adam Collishaw play the Kipps’ warmly supportive Aunt and Uncle. There are numerous cameos, all important as they create such realism, whether it be as characters in the pub, visitors to a musical soiree, or passers by on the pier.

There are some huge numbers that the ensemble give their all to, they dance and sing up a storm, particularly in the wonderfully choreographed Pick Out A Simple Tune and that humdinger of a finale. The younger members of the ensemble – we saw Team Romney – are delightful and it’s clear all have worked very hard to bring their characters to life and be thoroughly convincing on stage.

I was pleased that the sound by Rob Kettridge was so good at this production and that every word of dialogue and song lyrics could be heard, as they are really worth listening to; loved the atmospherics too – I was at the seaside! Lighting (Jamie Vella & Tom Mowat) is excellent, particularly in the grand finale, but throughout there is unobtrusive highlighting and almost flawless spotting. Production values all round are top notch, wonderful costumes give this already stylish piece the period detail that it deserves and make it richly descriptive of the time.

Rachael Rees must have put her heart and soul into this production and been delighted with the level of performance that’s been achieved, none less than by Musical Director Chris Rees and his 14 piece orchestra, working with these talented performers. It must have been such hard work for everyone involved, but it’s paid off and this show, costing less than a quarter of West End productions to see, is of the absolute highest quality.

Back to that finale, which simply rocks and goes on for a satisfyingly long time; it follows the wonderful Flash Bang Wallop with a reprise of other great tunes, some fabulous banjo playing and some breathtaking dancing. Phew!

This show deserves packed audiences, who will be as delighted as those standing at the end of last night’s performance were;

 

Good Night Mister Tom

Bingham Musical Theatre Society

Bingham Arena

May 24th 2024

Michelle Magorian’s novel, Goodnight Mister Tom, is renowned as one of the most heart warming tales ever written. Itis brought to the stage by David Wood, who has been described as the UK’s ‘National Children’s Dramatist’ by The Times newspaper.

Set against the ominous backdrop leading up to the Second World War, Good Night Mister Tom tells the poignant story of young William Beech who when evacuated to the English countryside forms a deep and touching bond with the elderly and solitary Tom Oakley. Their idyllic life is abruptly disrupted when William receives a heart breaking summons from his mother, calling him back to London.

I have to admit that I have not seen the film or tv versions of this story, so I came to it with no preconceptions. This production by the Bingham Musical Society has a very talented cast who quite obviously have put a lot of time and effort into it.

Leading the cast as Tom Oakley is Graham Buchanan, an actor I have seen a number of times before. This for me was his finest performance to date. His characterisation of the grumpy old loner is perfection. He is on stage for most of the show and never falters either with his lines or his interpretation of the character. He is ably supported by the young actor William Curtis who plays William Beech, the boy who was at first forced upon him due to the war, but who lately called him Dad.

William reminded me of Mark Lester in the film Oliver. His ability as actor is clear; his personality developed through the play, which is not easy for a young actor to manage. Talking of Oliver, another fine young actor, Charlie Hourd, an aspiring actor and friend of William, reminded me of the Artful Dodger and together with William make a fine acting pair. I am certain both of these boys will be seen in many productions in the future.

Other children in the production played their parts well. They were Belle Black (Carrie), Holly Loran (Ginnie) and Seb Ferrar (George). There was also a hard working children’s ensemble featuring Ebony Bright, Scarlet Bright, Mia Davies, Jake Looms and Olivia Lowe. Well done all, especially in some of the incidental musical numbers.

Ellen Loran as William’s deranged mother, Mrs Beech is a very powerful actor. She certainly made me jump several times!

The dog, Sammy, was a puppet operated very well by Katie Lister. Not only did she move the dog, but her face showed her to be right into the action and responding to what Mister Tom was saying to Sammy. The lovely puppet is by Phillipa Buchannan.

There is a large and hard working supporting cast whose costumes are evocatively authentic thanks to Amanda Warriner. Playing the other roles are Anthony Alldread (Charlie Ruddles), Becky Morley (Mrs Fletcher), Simon Hawkins (Doctor Little), Eloise Lowe (Annie Hartridge), Sam Middleton (David Hartridge / Mr Stelton), Fran Bonner (Miss Thorne), Paul Green (Mr Miller), Ben Bradley (The Vicar), Vicki Goodwin (Miss Miller and others), Caroline Morley (Arp Warden), Gill Cook (Glad), Emma Robinson (Police Woman)/Billeting Officer), Anjali Pancholi (Nurse), Mandy Simons (Sister) and Jenny Branson (Londoner).

The Director, Emily Hudson and her production team of Alison Blackmore (ass. Director), Jen Reckless (choreographer), Emma Robinson (Musical Director), Katie Brougham (Stage Manager), Karen Richards (props) did a wonderful job bringing this often dark and emotional story to life. Scene changes were on the whole swift and unnoticed, which given the limitations of the stage is excellent.

The set by Nik Hudson, the lighting by Nick Elliot, the sound by Ben Bradley are very appropriate for the story.

I like the use of appropriate incidental music, some of which is original and others sung by members of the cast. While this is not a full on musical which would be inappropriate, this does enhance the story telling. There is some well choreographed and performed dancing too.

Overall, I really enjoyed this production, but I have to say that this was a little affected by the limitations of the seating in the venue. I was unable to see everything happening due to people in front of me. This excellent venue is in my opinion crying out for tiered seating, which is a must these days for all theatrical spaces of this kind.

Having said that, it was obvious that all involved have worked very hard to bring this touching story to life and I say well done to all.

 

Cluedo 2 – The Next Chapter

National Tour

Theatre Royal Nottingham

May 21st 2024

Cluedo 2 continues the thrilling, comic mystery from the original Cluedo play. Set in a grand mansion, the play revolves around a group of colourful characters who are invited to a dinner party that quickly turns into a whodunit as a murder occurs.

As the night progresses, the guests must work together, despite their distrust of one another, to solve the crime and uncover the identity of the murderer among them. Clues are discovered, alibis are tested, and red herrings abound, all while the characters navigate a series of twists and turns. Staying close to the boardgame we also need to discover “who, where and with what” as the action proceeds. With sharp dialogue, witty repartee, and a fast-paced plot, Cluedo 2 keeps us guessing until the final and unexpected conclusion. I can say no more about that!

The play blends elements of classic murder mysteries with farce, madness and mayhem, creating an engaging and entertaining experience that pays great respect to the beloved board game while offering new surprises and many laughs.

I enjoyed Cluedo 1 when it was here in February 2022 and I enjoyed this one just as much. Not surprising really as it was written by the award winning writers Laurence Marks and Maurice Gran famous for such tv hits as Birds of a Feather, Goodnight Sweetheart and the musical, Dreamboats and Petticoats, among many other well loved productions.

The cast is great with Ellie Leach as Miss Scarlet, Jason Durr as Col. Mustard, Jack Bennett as Wadsworth, Hannah Boyce as Mrs Peacock, Dawn Buckland as Mrs White, Liam Horrigan as Mr Black and others, Edward Howells as Professor Plum, Gabriel Paul as The Reverend Green and Tiwai Muza as PC Silver. The cast is completed by Kara Alberts-Turner, Audrey Anderson and Henry Lawes. It is important to mention the fact that this is very much an ensemble piece in which all the performers are equally important.

The set and costume design by David Farley captures the grandeur of the mansion, albeit in a simple but very effective way. It also includes a giant cluedo board at the back of the stage. The Lighting by Jason Taylor and the Sound by Jon Fiber is excellent and the movement, directed by Anna Healey, is outstanding. Most of the individual and group action is choreographed and this includes set changes. These are all part of the action and very much in the hands of the cast. They all do it perfectly!

The Director, Mark Bell, ensures that the play moves at a good pace. In fact there’s never a dull moment as the characters find clues and weave through a web of deceit and misleading events.

What’s really impressive is how the play kept me and I suspect most of the audience guessing until the very end. Just when you think you’ve figured out who did it, another twist changes your mind. The clever dialogue and interactive bits also get the audience involved.

Overall, Cluedo 2, The Next Chapter is a big hit, offering just the right mix of suspense and laughter. It’s a must-see for fans of the original play, lovers of murder mysteries, the board game and anyone looking for a fun and engaging night at the theatre.

 

Bonnie and Clyde
The Musical
National Tour
Theatre Royal Nottingham
May 14th, 2024

Bonnie & Clyde The Musical tells the tale of two small-town kids from the middle of nowhere who rose to become the most celebrated folk heroes in America. They hungered for adventure - and each other. Fearless, shameless, and captivating, it's the electrifying story of love, adventure, and crime that gripped an entire nation.

From the start we're whisked away on a thrilling journey through the American South, as this toe-tapping production brings to life the legendary saga of the infamous outlaw duo.

Katie Tonkinson, Alex James-Hatton, Daisy Wood Davis and Sam Ferriday shine as the four main characters, Bonnie, Clyde, Blanche and Buck. Each gives a dynamic portrayal of these engaging characters, delivering wonderful vocals and exciting choreography, effortlessly transporting us back to the era of jazz, prohibition and Tommy guns.

AJ Lewis's performance as Preacher emphasises his moral compass amidst the chaos of Bonnie and Clyde's world. Daniel Reid Walters excels as the police officer Ted Hinton, vividly portraying his conflicted emotions between affection for Bonnie and his duty as a law enforcement officer.

But it's not just the performances that shine in this production. The music by Frank Wildhorn is a delightful blend of blues, rock, and country that will have you tapping your feet and humming along in no time. Each song serves to deepen the emotional resonance of the story. The arrangements by John McDaniel and lyrics by Don Black are perfectly suited to the narrative. In terms of the ensemble, the song "Made in America" is performed exceptionally well, accompanied by superb choreography, making for a fantastic start to Act 2.

Ivan Menchell, who wrote the book for the show, has sanitised the horror and replaced it with an lively exploration of the highs and lows of love, loyalty, and the pursuit of the American Dream..

The costume and set design by Philip Witcomb evoke the essence of the 1930s era, transporting viewers back in time. The combination of projection with traditional set design is breath-taking at times. Lighting and sound are flawless, with the orchestra sounding great and well-balanced with the cast.

The Production Team, led by Director/Choreographer Nick Winston, has done an exceptional job of producing such a fast-paced show that keeps audiences on the edge of their seats throughout.

All in all, Bonnie and Clyde The Musical is a triumph of storytelling, filled with heart, humour, great tunes, and plenty of excitement.

 

Festival of New Short Plays

Palang Productions

Duchess Theatre

May 13th 2024

It’s always lovely to see local talent and last night at the Duchess we were treated not just to local actors, but to the work of East Midlands playwrights, too. This Festival of new short plays has been put on by Palang productions to showcase three pieces: ‘Belief’ by Hugh Jones, ‘Reaching Out’ by JF Sheehan and ‘I Want a Divorce’ by Richard Layton.

The first play ‘Belief’ is a thought provoking piece that challenges prejudice, distorted ‘truths’ and assumptions based on appearance. Mrs Barber, played by Elaine Sellors is cleaning the church in her English village when she is shocked and alarmed by Yasue, a visitor from Iran, who cheerfully engages her in conversation. Ramy Al-Rufaie beautifully captures the character’s warmth and generosity, as he gently explains why Mrs Barber and her treasured English way of life is under no threat from him. With interesting historical detail and sensitive challenging of entrenched prejudices, this engaging piece asks us to look for similarities rather than differences, to disregard negative stereotypes and to value individuals.

The second play “Reaching Out’ is based on a memoir and has the feel of a radio play, as four family members read out letters from 1977. Abandoned son Luke, played by Johnny Sheehan, has found the letters and hears the voices of his mother and his sisters Cara and Moira, as he rereads them and revisits his past. A vivid picture emerges of a dysfunctional family in which there is angst and hardship, but also love and humour. Cleverly written little details help to bring the emerging story alive, as we hear why Johnny wants answers, how Cara escaped and why Moira is trapped. All brought to life by Angie Pollard (Mother), Louise Leybourne (Cara) and Donna Briscoe-Greene (Moira).

The final play ‘I Want A Divorce’ contains a lot of humorous dialogue and joyous elements of farce, as an unhappily married couple look for a way to end their marriage, with each of them hoping to benefit from it. Richard Whitehorn read the part of Walter last night (splendidly) and Donna Briscoe-Greene plays the much put upon and over emotional Davina. As divorce becomes inevitable Walter cooks up a plan with his latest beau Natasha (played very convincingly by Jane Russell) to avoid alimony, while Davina seeks the help of smooth lawyer Lloyd (Ramy Al-Rufaie). The denouement is not quite what anybody expects!

Each play has a simple but effective set and benefits from a projected backdrop to set the scenes, with skilled lighting and sound enhancement from Dave Martin. No personal mics are used and there was a need for more projection at times, but this was noted and acted upon by the performers.

It’s always exciting to see new plays, especially by local writers and gratifying to know that we have the talent and dedication in the area to bring them to the stage. Well done Palang Productions, keep up the good work and we look forward to your next project.

 

A Streetcar Named Desire

Blind Eye Productions

The Duchess Theatre

May 10th 2024

As this play is one of the most critically acclaimed of the 20th century, I was thrilled to see it produced locally and even more thrilled to discover that Blind Eye Productions have more than done it justice.

Tennessee Williams’ masterpiece from 1947 charts the fall of Blanche DuBois, a faded Southern Belle, who arrives at her sister Stella’s home in New Orleans for an extended stay, ostensibly to rest from her teaching job in Mississippi. Stella’s husband, Stanley Kowalski, resents Blanche’s presence and has his suspicions about her motives and her past. Tensions rise, prejudices surface, addictions grip and relationships are severely tested. With these strong themes, plus undercurrents of misogyny and domestic abuse, the play absolutely sears, the dialogue is tight, wonderfully descriptive and thoroughly engaging. With some shocking revelations and brilliantly taut exchanges alongside everyday, amusing conversations, the writing always draws the audience in and keeps the story going; this is a long play at 2 hours 40 minutes, but I was gripped throughout.

The impact of this production is not just in the wonderful writing of course, it is in the astonishing skill of the actors, who must have worked their socks off to get to the standard they have achieved. I don’t know if there was a prompt, but if there was they had nothing to do; all the actors are so polished and fluent, even when maintaining an authentic accent and finding deeply felt meaning in what they are saying, at times in explosive, physically and emotionally challenging scenes. Your performances were much appreciated by me and the rest of the rapt audience. Bravo.

Monica Dakin plays Blanche DuBois, what a gift of a part for a talented actor, who brilliantly captures Blanche’s fragility alongside her brazen, flirty confidence, her frustrating yet understandable reliance on men and her sad decline into mental illness. It’s a huge part with a huge amount of dialogue - an almost constant presence on stage - and Monica has absolutely nailed it. With the sass of Scarlett O’Hara and the desperation of Norma Desmond, Monica gives us a Blanche who is hidebound by class, by the expectations of her Southern upbringing and a pathetic need for protection. Yet through the haze of addiction and the prejudices of the time, Blanche recognises misogyny and abuse and, although she ultimately becomes a victim of it, bravely attempts to fight against it. A tragic heroine of 20th century drama, and yes, she has been done justice by this wonderfully nuanced performance.

Beth Duffy plays Stella, Blanche’s sister who escaped the confines of the family estate, Belle Reve, before everything collapsed into financial ruin. Stella found her salvation in Stanley Kowalski and the deep animalistic attraction between them is unshakeable. Even when the kindly, nurturing Stella realises that Stanley’s treatment of her and Blanche is not acceptable, she is unable to resist, as she has too much to lose. Beth gives us all the angst and conflict that Stella feels, not just in her beautifully judged delivery (every pause counts), but in her facial expressions and physical acting. Poor weak Stella betrays her sister, but she’s trapped and anyway, he loves her so much…

Stanley Kowalski is an absolute brute of a man, who has a terrifying stage presence, which JJ McCormack totally embraces, giving a magnetic performance that is captivating. Another wonderfully fluent performance with a flawless accent, but what makes it so compelling is the physicality, the swagger, the threat of his closeness and the constant tapping of his leg, as his anger is getting out of control. Such well observed characterisation. When the outbursts come they are terrifyingly authentic and the audience feel hatred for this man, the lower class ‘Polack’, who was born in America, served America in the war and is loyal to his friends, yet knows he is despised by Blanche and her like. His resentment and misogyny are tangible and, to a modern audience, despicable. Marlon Brando (film 1951), hated the character and couldn’t understand his appeal to many; it’s obvious that JJ McCormack has thrown his heart and soul into the character, regardless of how he feels about him.

The director Paul Duffy has also thrown his heart and soul into this production and given it a freshness through the inclusion of modern music between scene changes, underlining that these themes are still relevant after nearly 80 years. The pace is relentless (so tightly rehearsed), scene changes are smooth and the clever placing of characters on the effective set keep our attention in just the right place. The rather claustrophobic shabby rooms in which Stella and Stanley live is expanded by entrances and exits using the whole auditorium. The set is gloriously 1940’s, down to the furniture, the kitchen items, the decoration on the stairs, the cigarettes - and is wonderfully augmented by the appropriate costumes; a detailed evocation which adds so much to atmosphere. The only prop that hit the wrong note for me was the baby, a small doll that perhaps needed to be bigger and more swaddled to look realistic. It’s distracting during a piece that is grimly realistic and at a point in the story that is deeply emotionally affecting, to have such an obvious fake.

Lighting and sound (Paul Duffy, Nick Elliott and Alan Betton) also add immeasurably to the atmosphere, at certain points there is an abrupt change of lighting that is so effective as it takes the audience to a different place and puts us on alert – listen, this is going to be important. The heat of New Orleans and of dysfunctional relationships is captured not just by Blanche’s and Stella’s fans, but by intense red light. Plenty to make you sweat here!

A character who does plenty of sweating is Mitch – Blanche’s potential beau – who beats a hasty and undignified retreat when he discovers more about her. Paul Duffy finds the decency in the character, a lovely gentle portrayal which shocks all the more when his moral judgements cause him to behave very badly. Another actor who can use pauses to great effect and, like the three leading actors, seems to live and breathe the character and is entirely convincing.

Lovely supporting roles from Jackie Cooper as the amusing and feisty upstairs landlady Eunice Hubbel and Saurav Modak as her argumentative husband and Stanley’s poker partner, Steve. Eunice is the voice of reason, reason according to the mores of the 1940’s anyway, and as much as she shouts at her husband she knows her place and the place of other women.

Max Willmott plays Pablo, another poker player as well as a young collector who becomes a victim of Blanche’s need to know that she is alluring; Lindsey Hemingway (who also gets to show off her voice as a Mexican woman) and Steve Webb play the nurse and doctor who Blanche eventually realises will provide the ‘kindness of strangers’ that she has long relied upon.

Desire was a streetcar that ran in New Orleans at the time, Tennesee Williams was inspired by it, and also by the plight of his mentally ill sister; fragments of ideas that he used to create this deeply affecting and gripping play that is his most popular work. It’s an icon of 20th century drama and is well worth seeing, all the more so when it’s done with as much passion and commitment as this production.

 

2.22 A Ghost Story

National Tour 2024

Theatre Royal Nottingham

May 7th 2024

This is going to be a review that is a little sparse on detail and the reason is simple: you must experience this show without knowing much about what is to come or anything about the ending…

The plot however, is straightforward. Jenny believes her new home is haunted, but her husband Sam isn't having any of it. They argue with their first dinner guests - old friend Lauren and new partner Ben - when Jenny reveals she hears footsteps and crying in their daughter’s bedroom each morning at exactly 2:22am.

Soap star Fiona Wade takes on the lead role of Jenny, a pivotal character whose portrayal adds intrigue to the unfolding mystery while mining the emotional depth of the story. Through her nuanced performance, she brings Jenny to life with a blend of maternal strength, vulnerability, and increasing fear.

George Rainsford, as Sam, delivers a gripping performance, adding depth and tension to the story. He adeptly captures Sam's complex personality, making him both enigmatic yet relatable, infuriating yet likeable and providing many of the play's comedic elements.

As Jenny's friend Lauren, Vera Chock authentically nails her increasing drunkenness and conflicted feelings. Alongside Jay McGuiness, who confidently characterises her breezy geezer partner Ben, they create a strong chemistry alongside the other two characters. All four have perfect comic timing which brings some smiles to the increasingly creepy atmosphere.

Completing the cast are company members Aaron Dart and Rachel Morris.

The clever set design by Anna Fleischle, complemented by Lucy Carter's lighting, sets the perfect tone, while Ian Dickinson's sound design creates a haunting and emotionally wrought atmosphere that immerses and surprises throughout the story.

The unexpected twists and turns, masterfully woven by writer Danny Robins, keep the audience on the edge of their seats, with a particularly surprising twist at the end. I will say that I was not expecting the ending and it was only afterwards that I began to see the various clues that led to it.

The direction by Matthew Dunster and Isabel Marr is imaginative and makes sure every moment counts towards both the storytelling and the tension. For aficionados of mystery theatre, "2.22 A Ghost Story" is an unmissable production, offering a truly memorable experience in every aspect.

 

Drop the Dead Donkey
Theatre Royal Nottingham
23rd April 2024

Having only vague memories of the smash hit 90’s TV series Drop the Dead Donkey, I was unsure what to expect from tonight’s performance and had reservations that this may affect my enjoyment of the show. However, it very quickly became apparent that a knowledge of the series was not needed and that the show could just be enjoyed as a standalone production.

Drop the Dead Donkey tells the story of the Globelink News Team and now, 30 years later, the old staff are back together to launch a brand new show ‘Truth News’. The audience is given an insight into the chaotic launch of Truth News led by the original Chief Executive of Globlink News, Gus.
The ensemble cast is made up primarily of the same actors from the original show. There was a warm appreciation from the audience when the familiar faces appeared on stage. The original cast members include Susannah Doyle as Joy, Robert Duncan as Gus, Ingrid Lacey as Helen, Neil Pearson as Dave, Jeff Rawle as George, Stephen Tompkinson as Damien and Victoria Wicks as Sally Smedley. New to the cast are Julia Hills as Mairead and Kerena Jagpal as Rita.

The pace of the show is just right, delivering laughs consistently throughout. Written by Andy Hamilton and Guy Jenkin the script is witty and topical, containing many up to date references to current news stories. There are some particularly great one liners in there!

The staging cleverly depicts a bustling TV newsroom, with a giant screen back drop used to display social media interactions, indicative of today’s world and public reactions to news stories.

The show promises razor-sharp wit and classic British humour and does not fail to deliver. Even if you have never seen the TV series, I would suggest you go and see this stage production. You will not be 

Eloise

Life of Pi
Theatre Royal Nottingham
(Nottingham Puppet Festival)
April 16th 2024

Pi’s full name is Piscine – French for swimming pool – abbreviated to lessen the ridicule and pay homage to the mathematical constant. We meet her (in this performance Pi was female) in India in the 1970s, living with her sister and her mother and father, who own a zoo. Full of reckless fun, but with lots of unanswered questions about life, the teenage Pi joins three religions at the same time, searching for the nature of God and the meaning of reality, to the despair of her family.

When the political situation worsens the family feel they have no alternative but to emigrate to Canada, so crate up the animals and escape on a Japanese cargo ship, to a new life. During the journey disaster befalls them and Pi is left floating in the Pacific Ocean for over 200 days, with only a zebra, a hyena, an orangutan and a Bengal tiger for company. What happens during her time at sea is told in a series of flashbacks from her hospital bed in Mexico, where she is being questioned by Government officials.

Both the creation of atmosphere and the evocation of place in this production are stunning – we watch as Pi’s stark hospital room dissolves into a bustling street in India, the colourful sights and shrill sounds of the Zoo appear and later, the oppressive expanse of the ocean threatens to engulf us, too. Huge creative effort from a big team, the director, video, light and sound designers, plus puppet designers and masters have combined to produce a dazzling, sometimes visceral effect that is a real assault on the senses.

For many the animals are the stars of this show, as skilled puppeteers create large, dynamic and carefully observed creatures. For me this did not work as well as it does for most, as although I can appreciate the skill and artistry of such powerful creations, I cannot see past the puppeteers who people the stage, so the impact for me is greatly lessened. My lack of engagement with the puppetry is not generally shared, as the animals have been variously described as ‘jaw dropping’, ‘brilliant’, ‘masterful’ and ‘enchanting’ and the production has universally excellent reviews.

The star of the show for me was Adwitha Arumugum, who plays Pi with a cheerful insouciance, even when threatened with death and languishing at sea with no water, she retains her charm and sass. It’s a demanding physical role that this actor makes look effortless and she is never less than fully engaging. Strong supporting roles from her family and in particular the Government officials keep the narrative flowing; there’s a powerful story here beyond Pi’s time at sea, but Lolita Chakrabati, who adapted it for the stage, can only convey a fraction of the complexity of Yann Martel’s prize winning novel.

Life for Pi is hard and there are no details spared as she tells two versions of her story and invites the Officials to choose the one they like best. As she says, all life is a story, so we are never sure how close we are to the truth, or even reality. The reality of life at sea with wild animals includes death, which is vividly portrayed: not one for the squeamish this, as we see and hear innards being eaten, bones being broken and endure the horrible killing of a sea turtle. The domination of a wild animal can also make for uncomfortable viewing, but the evolution of a relationship between a human and an animal, and the eventual outcome are satisfying to witness.

We’re not left with clear answers at the end of this production, it’s up to us to decide which story we prefer. The version with animals is clearly the one that those who heard Pi’s story prefer and Pi herself believes that God feels the same; she has found her own truth.

Recommended for those who enjoy puppetry and a story vividly well told, but with an advisory of 8+ (personally I would make that 10+) The Life of Pi continues at the Theatre Royal until Saturday, April 20th.

========

The Wizard of Oz

National Tour

Nottingham Theatre Royal

10th April 2024

I must start this review by saying that this production of the well-known story and musical was nothing short of brilliant.  Indeed, it is undoubtedly one of the best musical productions I’ve seen in recent years.

Naturally, the actors are very talented, but the production is also a theatrical

marvel, seamlessly blending back and front projections with solid props and scenery. From the very start we were whisked away to the enchanting kingdom of Oz, thrilled by great performances and visuals that left me for one, breathless – the only description I can use.

While remaining faithful to this beloved classic, this production fills it with fresh energy and creativity, casting aside any preconceived notions from past adaptations. From the iconic yellow brick road to the captivating Emerald City, each scene is brought to life with striking sets and costumes and wonderful colourful characters.

 

Based on L. Frank Baum's timeless children's novel, the narrative follows Dorothy Gale, a young girl whisked away from her Kansas home by a tornado to the mystical land of Oz. There, she befriends a Scarecrow in search of a brain, a Tin Man longing for a heart, and a Cowardly Lion in need of courage. Together, they confront various challenges, including the vengeful Wicked Witch of the West, mourning her sister's death.

 

The portrayal of the Wicked Witch of the West by The Vivienne is nothing short of stunning. Her meticulous attention to costume and makeup is a refreshing and dynamic interpretation of the role, while her commanding stage presence and theatricality captivates the audience. Throughout the show, she effortlessly navigates between evil and good, earning a resounding ovation at the end.

 

Equally impressive are Aviva Tulley as Dorothy, Benjamin Yates as The Scarecrow, Fdemi Akinfolarin as the Tin Man, and Nic Greenshields as the Cowardly Lion. Their impeccable characterisations add depth and authenticity to their parts and they have a touching rapport. Alex Bourne adeptly portrays the Wizard and Professor Marvel, while Emily Bull enchants audiences with her delightful singing voice and effervescent personality as Glinda, the Good Witch.

 

In this production, the role of Toto the dog is ingeniously portrayed using a puppet skillfully operated by Abigail Matthews, whose barking is impeccably timed and executed. The remaining cast members deliver great performances, skilfully embodying the essence of each beloved character.

 

The technological prowess of this production is flawless. Nikolai Foster's inspired direction, complemented by Colin Richmond's impeccable set design and Douglas O’Connell's breath-taking projections, provide many of the ‘Wow’ features of this show. Ben Cracknell's superb lighting design and Adam Fisher's crystal-clear sound further enhance the experience, while the orchestra sounds very good and is perfectly balanced with the performers.

 

With its unforgettable melodies and timeless story this production first seen at the London Palladium in 2023, is an unparalleled theatrical journey suitable for audiences of all ages.

 

Catch it before it continues its journey along the Yellow Brick Road from Nottingham this Saturday.

 

Mack and Mabel

Long Eaton Musical Theatre Company

May Hall, Trent College,

Long Eaton

April 9th 2024

Mack and Mabel, produced by The Long Eaton Musical Theatre Company at the May Hall, Trent College, showcased the society's sparkling talents once more. Bringing to life the grandeur of a big musical like Mack and Mabel demands accomplished acting, singing, and dancing, alongside technical finesse and a clear vision of a bygone era - all of which were abundantly evident in tonight's performance.

The show delves into the real-life love story between the iconic filmmaker Mack Sennett and his vibrant muse, Mabel Normand.

Dan Bates delivers a great portrayal of the irascible yet brilliant Mack Sennett. I have always enjoyed Dan’s performances but I think this was one of his best. His renditions of “Movies were Movies”, the beautifully nuanced “I Won’t Send you Roses” and “I Promise You a Happy Ending” were perfectly sung.

He is complemented perfectly by Rachel Merrill’s wonderful performance as the immensely gifted Mabel Normand. She has a powerful voice that she uses with great effect in songs like “Wherever He Ain’t” and “Time Heals Everything.” She is a very confident actor and dancer too which makes her overall performance outstanding and such a jo to watch.

Molly Parkinson is splendid as Lottie Ames. She has a great voice, dances well and displays a powerful personality throughout. A very confident and competent performer who brings a smile to many faces.

Other notable and characterful performances came from Harvey Latter as Frank, Milly Clover as Fatty, Gavin Owen and William Desmond Taylor, Jack Woolley as Mr Kessel and Stuart Bull as Mr Baumann.

The fabulous ensemble brims with energy, commitment, great dancing and fabulous singing. They are Alice Summerton (The Writer), Caitlin Sloan (Andy), Emma Collins (Principal Dancer), Josie Coleman (Principal Dancer), Lauren Riley (Principal dancer), Nicola Adcock (Principal Dancer), Rachel Spence (Principal Dancer), Sian Hooton (Principal Dancer), Victoria Palmer (Principal Dancer/ Watchman), Laura Davey (Ella), Lisa Stone (Iris), Amy Parker, Becky Morley, Eleanor Harvey, Emily McDowell, Liz Woolley, Louise McGowan, Mariko Jones and Tracy Hooton.

The whole cast work very well together with many principals also taking part in the big production numbers. Choreographer Rachel Spence deserves commendation for her great routines, such as Hundreds of Girls, Tap Your Troubles Away and the incredible Keystone Cops scene. All add spectacle dynamism and fun to the production.

The Director Amy Glover’s vision maintains a strong narrative while incorporating inventive elements such as the impeccably executed custard pie scene.

The orchestra, led by Charlotte Daniels, sounds good and is well balanced with the performers, while Sam Lenord’s crisp sound design and David Price’s evocative lighting create the evocative atmosphere of the production.

The scene changes, managed by the cast and Stage Manager Katie Bird and her crew, ensure a seamless flow in the action.

The Long Eaton Musical Theatre Company once again deliver a production of quality, earning a well-deserved ovation from an enthusiastic audience at the end.

Don't miss the opportunity to experience the magic of "Mack & Mabel," playing at Trent College until Saturday.