Six: Teen Edition
Nottingham Arts Theatre
Friday 4th July

What a great way to spend a Friday night watching Six: Teen Edition at Nottingham Arts Theatre! This version of the popular musical was performed by teenagers, but you wouldn’t know it from how confident and talented they all are.

The show tells the story of Henry VIII’s six wives, but instead of a boring history lesson, it’s turned into a pop concert. Each queen gets to tell her side of the story through catchy songs and funny moments.

The cast had amazing energy from start to finish, and you could tell they were having a great time on stage. The talented sixsome I saw was made up of Sophie Murphy (Catherine Parr), Kayla Burgess (Katherine Howard), Arlo Perrons (Anne of Cleves), Amelie Adams (Jane Seymour), Connie Tegerdine (Anne Boleyn) and Caitlin Young (Catherine of Aragon).

Another team will perform at other shows: the quality of the talent and the expert training that they have all received will guarantee the same success.

There is also a dazzling dance troupe to back the Six Queens. They are Katie Lister, Olivia Bott, Camille Jules, Roxy Smith, Evie Jones, and Libby Thompson. The exciting choreography is by Jessica Royce, who is also the co producer of the show, with Keira Dormer-Hazell and Eleanor Carty is the director.

The singing, under the direction of Jonah Williams was strong, and some solos gave me goosebumps. The music from Jonah on keyboards; AJ Hill on bass guitar; Abi Wilson on drums and Austin Owen on guitar, was fabulous.

The costumes were bright and sparkly, which made the show feel like a real concert. The lighting and sound were also really good — especially for a small theatre like this.

One thing I really liked was how supportive the audience was. You could feel the excitement in the room, and people were cheering for the queens like they were actual pop stars.

It’s great to see young performers getting a chance to shine in such a fun and empowering show. If you get the chance to see Six: Teen Edition at Nottingham Arts Theatre, I highly recommend it. It’s funny, modern, and full of energy — you’ll probably be humming the songs on your way home!

 

"The Lightning Thief - The Percy Jackson Musical"
Erewash Musical Society Youth Group.
Duchess Theatre, Long Eaton.
Review by Kev Castle

Ahead of the first professional touring production, Erewash Musical Society Youth Group get in there first with this production; a musical that I've never seen before, but the soundtrack is pretty good, may I say.

Although many may not know this musical, I think sometimes that by taking that risk of staging a fairly little known and new musical, you get to see these young actors, even if you've seen most of them before, as I have, in a fresh light because you don't really know what to expect from their characters, and therefore the actors. It's definitely a risk that paid dividends for this group!

New York City teenager Percy Jackson discovers that he is the half-blood son of the Greek god, Poseidon, his life takes a dramatic turn as he is plunged into a world much bigger than he could possibly have imagined. With newly discovered powers he is unable to control, an unwanted destiny and a whole textbook’s worth of mythical monsters on his trail, Percy must learn what it means to be a hero. The future of the world hangs in the balance as Percy and his friends embark on an epic adventure, with one of those friends set to betray him....but which one?

Percy Jackson is played by 14 year old Elis Moore, who I last saw playing Joe Vegas, a comedy role in the most recent past production of "Fame Jr". That comedy experience has stood him in really good stead for this role. Not an out and out comedy role but Elis delivers the comedy lines directly and expertly, all of which hit home with clarity. I knew that he had a good voice, and this role showcased the power of that voice. Elis is not at all phased with taking the reins of a leading man and looked completely at ease with everything that he did on stage tonight.

Annabeth Chase, Percy's new ally and demigod daughter of Athena, is played by Izzy Cole. Brilliant character role, and with this being a major role, we also get to hear a voice that is perfect for musical theatre from Izzy. There's a lovely breath control whenever Izzy sings, which makes certain that you hear every single word that Izzy sings at a controlled pace.

Grover, who protects Percy Jackson is played by Lowri Moore. What I like about Lowri is the variety in her roles. In "Fame Jr" she played the part of a ballet dancer, and in "Annie Get Your Gun", the right hand man to Sitting Bull, both roles a million miles away from Grover, showing Lowri's flexibility.

Mr Brunner, Percy's favourite teacher who helps him out on a school field trip and initially introduced as a middle-aged man in an electric wheelchair; and Chiron, a centaur, both are played by Lauren Hazeldine.

Grace Sims plays Percy's Mum Sally, a strong and compassionate mother to Percy. Grace really fits the role, even though she is only slightly older than Elis, showing that Grace is ready to take on those more mature characters, especially as this (I believe) is Grace's final role with the Youth Group.

Jack Tuxford is playing Luke, son of Hermes and Castellan, Luke is the friendly head counselor of Hermes cabin who bears the scar of a battle with a dragon. Nice, powerful performance from another young man who I have had the pleasure of seeing on stage quite a few times over the last few years with Erewash Youth Group.

Mr Dionysus, aka Mr D, the camp Director is played by Toby Wykes, in one of his best roles I've seen him play, even better than Tyrone Jackson in the previous Youth Group show. This role shows Toby as a natural comedy character actor, with just the right amount of campness.

Eleanor Cooper plays Ares, the God of war who has a couple of run ins with Percy, and Kronos, a titan who ate his children because he did not trust them, who also has a fateful encounter with Percy. This show will be the last one for Eleanor, before she moves to a senior group.

Jessie Gatehouse doubles up as Aunt Em/Medusa. Athena punished Aunty Em by transforming her into a hideous monster, Medusa who turns victims to stone when they look her in the eye.

Yasmin Aldous plays Clarice, the daughter of Ares who bullies Percy at Camp Half-Blood.

Gabriella Tilley is Charon, the Underworld security guard.

Oracle is played by Eloise Chamberlain.

Oliver Nolan plays the part of Poseidon, the god of the sea and one of the "Big Three" Gods and Percy’s biological father. I have a feeling by the reaction of sections of the audience that Oliver's acting talents are not the only things that impressed them!! This young man is officially cool!

Clarissa Armitage plays Silena.

Jessie Jerram is Katie.

Hades, the god of the Underworld and one of the Big Three gods, is played by Noah Hickling, who appears close to the end of the musical as he tries to get Percy and his friends to return The Lightning Bolt to him. Another good role for Noah and I did note his brilliant jacket, even in the shadows.

Mrs Dodds, the mean and tough mathematics teacher who has it in for Percy. She transforms into a monster called a Fury and attacks Percy, and is played by Livvi Hickling in this meaty character.

Gabe, Sally Jackson’s husband, and stepfather to Percy. He is lazy and abusive and spends his time sitting at home, is played by Harry O'Boyle. This is a great comedy role for Harry, who seems to have shot up in height again. Love the padding he wears to make him look tubby and love his natural comic flair.

Kurt Cobain is played by Theodore Goodwin, Janis Joplin is played by Myla Statham-Browne and Mozart is played by Blake Hagan. Three characters who now dwell in the Underworld. Love the costumes for all three as well.

Bianca is played by Rose Staniford, the Newscaster is played by Martha Smart and Farmer is played by Eva Woodcock.

Directed by Chris Renshaw, he has brought every ounce of fun in this production, keeping the pace up throughout.

Choreographed by Hayden Fletcher, and who better to take this young cast through their paces in this fresh and fun musical; someone who'll always be fresh and fun!

Musical Director is George Parkinson. The band were on stage all the time, slightly hidden by sections of the scenery. A really nice punchy sound and you can tell from this cast's vocals that a lot of work has gone into making this new set of songs sound like they have known the soundtrack all of their lives.

Set Design is by Mark Robbins and Bill Robbins. A very impressive set of white pillars overlook the stage with a garret that runs across of the set, giving characters more entrance and exit points. The additional props for the set are brought on and removed by the actors and stage crew very slickly. Mark is also the Stage Manager.

Costumes are by Eloise Chamberlain, who was also responsible for printing all of the "Camp Half Blood" T Shirts you see on stage, EMUS Committee and friends and family of EMUS and are very impressive, especially the Minotaur, which has the ability to give nightmares with those eyes.

Lighting Design and Operation is by Richard Chamberlain, assisted by Dave Martin is extremely good, with plenty of red hues to reflect the Underworld and the danger aspects throughout. Apart from the blood red lighting there's an absolute palette of colour to reflect the colourful characters in this story.

Sound Design and Operation is by Dave Dallard, assisted by Jack Clark. This area I am always critical of, but tonight it was practically perfect. Well balanced between band and vocalists. meaning you could hear every comical line the actors delivered, even over any incidental background music. A very comfortable aural experience.

It's so refreshing to see a Youth Group such as EMUS putting on a musical that is as new as this one, especially when they could have played it safe by choosing a "junior" production of a musical, but as I said earlier, they took a risk on a new musical, and it paid off, especially judging by the reaction the stage received at the final bows. It's fun, fresh and fantastic and should not be missed.

 

Kinky Boots
Nottingham Theatre Royal
1st July 2025

Kinky Boots at the Theatre Royal in Nottingham is nothing short of fabulous and an absolute treat from start to finish! This joy-filled sensation, based on a true story and hit movie, features Tony and Grammy winning music and lyrics by pop icon Cyndi Lauper and is directed by Nikolai Foster.

After inheriting his family’s failing shoe factory and with a relationship on the rocks, life is proving to be very challenging for Charlie Price. That is until he meets Lola, a drag queen whose sparkle and unsteady heels might just hold the answer to saving the struggling business.

The story is heartwarming and full of fun, with just the right balance of humour and touching moments: a rollercoaster of emotion. Every song is catchy, performed with so much power and expertly choreographed by Leah Hill. The energy of the whole cast is infectious, you can tell they are having a blast on stage and it really rubs off on the audience. The stand out performer for me has to be Johannes Radebe as Lola. His talent and passion shone through and he was incredible. Dan Partridge gave an outstanding performance as Charlie Price, working in sync with the talented Coutney Bowman as Lauren.

The rest of the cast are also all brilliant and include Kara Lily Hayworth as Nicola, Joe Caffrey as Don, Newtion Matthews as Simon Snr, Kathryn Barnes as Pat, Lucy Williamson as Trish, Scott Paige as George, Jonathan Dryden Taylor as Mr Price and Liam Doyle as Harry. Lola’s angels include Kofi Dennis, Ru Fisher, Liam McEvoy, Ben Middleton and Ashley-Jordon Packer. Young Charlie and Young Lola are played by Lonan Johnson and Jesse Manzi.

Set and costume design is by Robert Jones. The design is clever and moves the story along seamlessly, a great use of space ensuring scenes are fresh and lively. The costumes are simply dazzling, especially the iconic red thigh-high boots that got a well deserved round of applause of their own!

Most importantly, the message about acceptance and being true to yourself comes through loud and clear, without feeling forced. People were on their feet clapping and cheering by the end; it was one of those nights at the theatre that leaves you smiling all the way home.

If you get the chance to see Kinky Boots in Nottingham, please do! It’s a joyful, feel-good show that knows how to put on a party and you won’t be disappointed.

 

Shrek Junior Nottingham Arts Theatre
Youth Group Nottingham Arts 
June 27th 2025

Shrek Junior at Nottingham Arts Theatre is a joyful, colourful show that proves just how talented young performers can be when given the chance to shine. From start to finish, directors Kiera Dormer-Hazell and Eleanor Carty bring huge energy to the story and make it feel fresh and fun for everyone in the audience, young or old.

The performers did a brilliant job bringing these well-loved characters and the directors’ vision to life. Shrek himself was played with real confidence by Leo Capaldi— his singing voice was strong and clear, and he handled the tricky accent really well, never missing a beat. Donkey, played by Charles Beckett was a crowd favourite, bursting with cheeky humour and plenty of charm. His comic timing was spot-on, and he kept the audience laughing while also delivering some great vocals.

Princess Fiona, played by Alisia Carolea was another highlight. She lit up the stage every time she appeared, and her singing was truly lovely — she hit every note with ease and brought real feeling to her songs.

The Dragon’s solo – by Elizabeth Kenny - was one of the biggest surprises of the night. Her voice was powerful and filled the theatre, making her big number a true standout moment.

Other roles were packed with personality and fun: Teddy Hunt as Lord Farquaad; Pinocchio by Harry Merrick; Gingy by Benjamin Green and the Captain of the Guards by Noah Shaw. Lots of other lovely fairy tale cameos were played by the ensemble and were a joy to watch.

The whole cast sang together beautifully, too. The group numbers were full of life and you could tell they’d worked really hard with musical director Jonah Williams to get them sounding so good. It’s not easy to keep big musical numbers tight and clear, but they did it with smiles and huge enthusiasm. The choreography by Charlotte Clay and Kate Russell was fun and lively, making the most of every performer on stage.

Shrek Junior at Nottingham Arts Theatre is a real treat: it’s a feel-good show with catchy songs, plenty of laughs and a huge amount of heart. Most of all, it’s a brilliant showcase for young talent — these performers have great voices, strong stage presence and a clear love for what they do. If you get the chance to see it, don’t miss it. You’ll leave with a huge smile on your face.

Seussical the Musical
The Young Performers
Duchess Theatre,
Long Eaton19th June 2025

There are few things more uplifting than watching young actors on stage with such self-assurance and joy. Tonight’s performance of Seussical the Musical was just that. A vibrant, infectious celebration of talent, creativity, and storytelling. With boundless energy, imaginative staging, and impressive ensemble work, this production whisked the audience away into the whimsical world of Dr Seuss with much flair.

Seussical is a delightful mixture of Dr Seuss’s most loved tales, weaving them into a charmingly chaotic adventure centred on Horton the Elephant. With ears that hear the tiny sounds and a heart big enough to hold the universe, Horton discovers the tiny planet of Who on a speck of dust. Despite the disbelief and mockery of those around him, he pledges to protect the Whos especially Jojo, a curious child with “thinks” too bold for those around him.

Lewis McDowell gives a beautifully understated performance as Horton, bringing a quiet gravitas and emotional sincerity to the role, especially in the poignant “Alone in the Universe.” Livvy Read, as Jojo, is a natural on stage, blending innocence with thoughtful introspection. Her portrayal captures the central theme of youthful imagination struggling to be heard in a world of grown-up rules.

Ella Charlesworth shines as Gertrude McFuzz, whose touching transformation from insecure to self-assured is played with charm and subtlety, particularly in her solo “Notice Me, Horton.” Neve Johnson adds glamour and comic timing as the flamboyant Mayzie La Bird, relishing every moment on stage.

Finn Boswell delivers a great performance as The Cat in the Hat. With boundless energy and a mischievous glint, he narrates the action with perfect comic timing and just the right touch of anarchy.

Heidi Parsons gives a commanding performance as the Sour Kangaroo, having a powerful voice and a bold stage presence. Jamie Higgins and Millie Weston are a well-matched Mr and Mrs Mayor, clearly portraying the anxieties of parenthood with warmth and humour.

The Wickersham Brothers played with comedic flair and sharp movement by Fin Tomlinson, Alex Povey, and Daniel Swan are a mischievous delight, while Will Mellor, as General Schmitz, leads his army recruits with militaristic zeal. The cadets themselves execute some snappy choreography well.

The “Bird Girls” Evie Perks, Lucy Coulson-Jones, Isabella Frampton, Remy-Mae Read and Sophie Langcroft light up the stage with their excellent singing and crisp coordinated dancing. Completing the cast well are AJ Chamberlain (Yertle the Turtle), Dillan Brookes (The Grinch), and Elijah Green (the adorable Elephant Bird).

The ensemble of Whos and animals are Carly Gaunt, Emily Wilkins, Clarissa Armitage, Emily-Mae Taylor, Emmie Simmons, Jes Henshaw, Keeley Rickerby, Olivia Monk and Violet Graney. They are the vibrant heart of the show. Their energy and focus is complete throughout.

Much credit goes to the creative team for bringing this fantastical world so vividly to life. Roydon Charlesworth’s bold, imaginative set design, combined with Sarah Charlesworth’s colourful, characterful costumes, conjure Seuss’s whimsical world without ever overwhelming it. Lettie Ludlow’s choreography is dynamic and perfectly pitched to the cast’s abilities, ensuring the stage is constantly alive with motion. Fiona McDowall’s excellent props fit in well with the story line and the set.

Dave Martin’s lighting design expertly enhances mood and magic, while sound was expertly managed by the dedicated team of Young Techies: Eva O’Riordan, Gizel Chaparova, Lewis Cuthbert, Maddie Taft, and Olivia Michaund. The Techies also helped with building the set.

Director Vicky Byrne and Producer Zak Charlesworth deserve much praise for steering this production with confidence and care. They have ensured that there is a delicate balance between humour and emotion that ensures the heart of the story is never lost amidst the considerable mayhem. There is a lot of difficult music in this show in fact it is almost totally sung through. Support for this was from Ben Ward.

Seussical at the Duchess Theatre is more than a musical. It’s a celebration of youthful talent, creative collaboration, and the enduring power of imagination. The Young Performers deliver a show brimming with professionalism, passion, and joy. The enthusiastic ovation at the end was richly deserved. Incidentally, the Finale was perfect. How I love a well-designed and well executed Finale!

This production is a powerful reminder of what live theatre can do: uplift, inspire, and bring people together which is, of course, one of the powerful themes of this story too.

A triumph of colour, creativity and youthful talent Seussical the Musical proves that the future of theatre in Long Eaton is in safe hands.

Cheshire Cats
The Watson Players
Shakespeare House
June 17th 2025

Cheshire Cats by Gail Young is a touching comedy about Hilary, Siobhan, Yvonne, Vicky and Maggie, who come together to walk the London Moonwalk, raising money for breast cancer charities. An unexpected sixth person and unlikely Cat joins the group, which raises a few eyebrows and more than a few laughs. As they take part in the training and the event, each one reveals something about themselves and why they are there.

In the style of John Godber, it’s a slice of life, character led, observational comedy that relies far more on dialogue than action. The talented actors from the Watson Players really bring the characters to life – we recognise them, we care about them and we have a sense of following them on their journey. Congratulations to all of them for lifting these characters off the page and making them so real and for delivering so much wordy dialogue - apparently flawlessly - and with great comic timing!

Director Regina Repton, assisted by Karen Jones, has made the most of the comic foibles of each character, kept the pace lively and packed it with visual interest. The splendid costumes range from training leggings to sparkly bras and pink tutus; the characters are always busy training, travelling; even playing Jenga on the train; struggling through moonlit streets past mile markers to finish the walk. There are some very poignant moments too, leading to one final emotional scene that the director balances perfectly. Done well this play can make audiences both laugh and cry.

Hilary, played with a lovely Cheshire accent by Liz Woolley, is the strong willed, self-appointed leader of the group, who is determined to complete the walk in record time. She could appear unbearably bossy, but while expressing her no nonsense attitude, Liz softens her with humour and keeps the audience on side. The raucous words of her Cheshire Cats chant that spurs on their training, show that this Cat has a very lively sense of humour!

Someone who knows Hilary well is the level headed and supportive Siobhan, played by Angela Swift. Perfectly expressed as a gentle character who hates confrontation, she is truly in touch with the reasons that the group are doing the walk and gets her moment to insist that the team comes first.

The opposite of gentle, the feisty Yvonne is brought to life by Angela Barradell, who makes the most of both her loud indignation and her determination to escape her usual drudgery. In the hands of this actor, she’s always enormous comedy value, she moans, she swears, she complains, she takes delight in a bit of flattery and she entertains throughout.

A lot of the humour comes from Vicky – played by Karen Jones - the artistic and glamorous middle-aged divorcee, who has just started a relationship with the much younger Andrew, Another sparkling character who is enormous fun, as she gets to fool around with her toyboy, making no apologies for literally grabbing some pleasure where she can. Lovely characterisation and comic timing from Karen.

Jake Perry plays Andrew, a seemingly self assured opportunist who makes the most of a trip away with his new, very available partner and her friends. Jake provides lot of visual humour, as he not only feels his way expertly through a lot of physical comedy, he gets to dress up and look absolutely fabulous!

Perhaps the character at the emotional heart of the play is Maggie, a young, self conscious mother who is new to the group. Beautifully and sensitively played with lots of humour by Ciara Beighton, Maggie finds the self confidence to overcome both her mental and physical challenges, bolstered by the friendship of the group.

Using meta theatre, the writer builds in both audience interaction and rhyming monologues; these set speeches explain the back stories and inner thoughts of some of the characters. Where appropriate the director cleverly highlights these with a spotlight and a freeze frame effect, which works very well and emphasises the change of pace. Maggie’s monologue is a heart rending moment that the director holds briefly until a joyous finale, expressing the hope of all those who raise money for cancer research.

The play also features various ensemble roles, including a crowd pleasing aerobics instructor played by Wayne Perry, who also plays a charming drunk, warming up both the audience and two of the walkers. Lyn Wynn, Ed Watkins and Karen Sharratt play event marshalls, adding incidental humour and a sense of time and place during the walk. James Ash plays a traffic policeman on the last stretch of the walk and Karen also plays a Train Attendant.

Using a simple set, enhanced greatly by Lee Hartshorn’s lighting, scenes are created by minimal props, careful character placement and by John Woolley’s impressive range of sound effects. A park, a railway platform, a train carriage, London at night, the vast competitor’s marquee and the race itself are all created this way. In particular, the atmosphere of a busy station platform and the bustle and excitement of the marquee at the start of the race, are palpable.

There are no boobs here - a couple of tiny slip ups last night were covered confidently by amusing ad libs - and The Watson Players add another success to their award winning Catalogue.

 

Bonnie & Clyde Musicality
(UoNSU)
The Trent Hall,
Nottingham University
June 14th 2025

They may have been brutal murderers, kidnappers and bank robbers who left a trail of destruction behind them, but Bonnie & Clyde have always captured the imagination of a public who are at once fascinated and repulsed. It’s the background, motivation and desperation of two young people who were only in their early twenties when they died, that this musical explores. It’s a wild, gritty ride alongside two small-town people who fell in love and chased the American dream the only way they thought possible—by raising hell.

Set against the backdrop of the Great Depression, the show blends blues, rock, and gospel to tell the story of the unstoppable duo whose misguided passion ended in a hail of bullets. It's exciting, captivating, and wonderfully entertaining.

It's difficult to say what I liked most about this spectacular production: the imaginative choreography, the vibrantly catchy tunes and Don Black’s clever lyrics - so well performed by both the stellar cast and the band - or the tight, simple, but very pacy direction that let the talent shine and told the story so well.

The production team of Alex, Hugh & Isabel chose the end of the Trent Hall without the proscenium arch to create a performance space from staging blocks, accessed by steps. A bold choice, as the many scene changes had to be achieved by swift manoeuvres up the steps by the cast and stage crew. It worked so well, brief darkness, the distraction of incidental music and all completed smoothly in a few seconds. Sparse scenery and a few additional structures were all that was necessary, alongside the tyres, pallets and other odd bits, it gave us all we needed to make our own pictures: the harsh rural life, the beauty parlour, the courts, the rented rooms, the bar, the prison, the road where it all ended. It's a brave production team that trusts the audience’s imagination and this bravery paid dividends. Thankyou for the opportunity to become fully immersed and feeling part of the creative process.

It was the power of the acting and singing of course that made that possible: the story told so well through song and some brilliant characterisations. All the principals were excellent, great voices, convincing interpretations of their characters and fully immersed in their roles.

Clyde Barrow’s behaviour is bordering on psychopathic, yet Thomas Telford brings something more and makes him heartbreakingly human, a product of a deprived childhood, a punitive justice system and inevitable abuse. A very powerful and engaging characterisation that left a strong impression, plus some beautifully interpreted songs, such as the wild ‘Raise a Little Hell’ and the plaintive ‘Bonnie’.

Emily Hornsey is a quietly determined Bonnie, dreamy enough to aspire to be as famous as Clara Bow or a published poet, yet steely enough to hold up a grocery store. Emily has a lovely stage presence and a beautiful voice which, alongside the sizzling stage chemistry with Thomas, enchanted the audience throughout.

The young Bonnie and Clyde are played by Piper and Rory, showing us the early disillusionment as Bonnie drifts into teenage marriage and Clyde falls foul of the law. Lovely characterisation here, and a poignant return at the end as they remind us of the troubled children these reprehensible outlaws once were. Great voice and movement work from both performers.

Buck, Clyde’s brother is played by Jordan and his wife Blanche, by Eliana. Two more fabulous performances that entirely convince: Buck the loyal brother pulled in two directions and ultimately unable to resist raising a little hell of his own and Blanche, the God fearing wife (lots of light relief here), who sacrifices her principles for love. It’s powerful stuff. Jordan’s duet with Thomas (Raise a Little Hell reprise) and Eliana’s with Emily (You Love Who You Love) show off their voices and are wonderful.

Liv’s choreography is powerful stuff too - illustrating each song in an imaginative way with a variety of movement styles. Props are used, formations are carefully planned and co-ordination is never lost. It’s lovely to look at and keeps the whole cast involved; director Isabel must have wanted to create visual interest and pace; Liv and the performers supply that in spades.

I loved the score and the range of musical styles, the rock, the country inspired, the bluesy and the gospel. The gospel songs, led by the fabulous voice of the preacher, played by Ayo are among the many vocal highlights. The songs stir and get feet tapping, yet they can also be very moving; musical directors AJ and Abi have it all covered. The 9 piece band sounded great and the overall sound created by the cast was of a very high quality.

Some problems with dipping mics were mostly dealt with swiftly and the substitution of a hand mic enabled us to hear Ben’s strong voice as Ted Hinton, bemoaning his unrequited love for Bonnie. More lovely cameos from the rest of the cast: Lucy cleverly creates the bearing and anguish of Bonnie’s mother; Sarah is the devastated Cumie Barrow; Fabian is the beleaguered Sheriff Schmidt (a powerful characterisation); Drew the hapless Bob Alcorn; Iman-Sophia is the Governor and Katie, Kirstin and Rosanna play Stella, Trish and Eleanore. Lots of doubling up as incidental characters too, so we get to see the versatility of these performers as well as hear their voices. This production is led by the principals, but is a strong ensemble piece, too. Congratulations to the crew who worked so efficiently, those who organised the thirties style costumes and make-up, and whoever operated the most effective lighting.

The professional production of this musical garnered some less than favourable reviews and the tour last year ended abruptly after the performances in Nottingham. Hard to see why, as it’s a dazzling, fast paced show that tells a gripping story about flawed but fascinating characters and it’s packed with great songs.

This was our first visit to the Trent Hall and our first experience of Musicality, but it certainly won’t be the last. Talent, imagination and enthusiasm abound here and the prospect of seeing that again is a very exciting one indeed.

 

Gym & Tonic by John Godber
Belper Players
Strutts Community Centre
June 11th 2025

Don and Shirley Weston arrive at the Scardale Hall Health Hydro hoping to unwind and rekindle their relationship. Don, a stressed-out business owner, is struggling with a midlife crisis, while the frustrated Shirley is looking for more than just a massage—she wants emotional connection and a bit of excitement.

As they attempt to make the most of the relaxation and rejuvenation, they meet a cast of quirky characters: the keen and competitive Ken, the friendly but outrageously outspoken Gertrude, the very rude student Shaun, and a couple of wryly amused and long suffering staff.

John Godber’s trademark witty dialogue, engaging characters and physical comedy are in abundance here and there’s a delicious sense of eavesdropping on other people’s conversations. No need to pretend you’re not listening either – the audience have been invited to the Hydro (the clever programme makes this clear) and become bystanders to the action. It’s all beautifully created by a bit of theatrical magic and by excellent, perfectly timed and naturalistic acting from the cast.

The performance space is in the lovely old, high-ceilinged hall of Strutt’s Community Centre, complete with balcony and honours boards that go back to the beginning of the last century. It’s a great atmosphere for drama and when the lights go down that theatrical magic happens and we’re taken into Scardale Hall. Whether we’re watching a class (some lovely physical comedy here), envying a massage, overhearing the interaction between the characters or sneaking out with them for a crafty pasty, we really feel we’re there. The open set cleverly combines different parts of the Hydro and some minor scene shifting by the cast take us from one room to another, or outside. Inspired direction from Lou Jenkins.

Don Weston is a lovely comic creation, but his acerbic wit and barbed comments clearly mask some suffering, which Mik Horvath captures beautifully. His comic timing is spot on, not a wonderfully witty line is wasted, but he also vividly portrays a person on the brink of a breakdown. We’re given a surreal glimpse into Don’s inner turmoil at the close of the first act, an imaginatively directed scene that delivers a shock.

Shirley Weston is played by Sarah Henderson, another actor who so fully inhabits the character it’s hard to believe she’s acting. There’s plenty of humour as Shirley gets an offer of excitement she didn’t expect -and a chance to express herself in the art class - but there’s also frustration and sadness. Sarah captures it all and like Mik, always maintains fluency and the fast pace of the very wordy dialogue. No mean feat that: an excellent achievement from all the actors.

Nick Mothershaw softens the highly competitive and self regarding Ken into someone rather likeable, at least until he shows his true colours with both Shirley and Don. The same high level of naturalistic acting – this cast must have rehearsed and worked so hard with the director to develop their characters and hone their delivery – and a very enjoyable performance.

An equally enjoyable performance from Jane Robertson as the seemingly wise but demanding Gertrude, who makes some great comic observations while dispensing dubious advice. Jane makes the absolute most of this wonderfully quirky character.

The sulky student Shaun is brought vividly to life by Matthew Taylor, who also gets to show off his acting skills as the younger and even sulkier Sam. The staff members, Chloe and Zoe, are played by Meg Russell and Kat Foxx-Booth, who not only have to interact - often very humorously - with the guests, but teach them classes and give them massages. Some great physical acting from them, as both the massages and the slide and dance classes are very convincing!

Lou Jenkins has paid a lot of attention to the visual impact of the scenes, so everything does look convincing and the characters are never static. They’re reading, knitting, exercising, rolling up mats, drinking – and enthusiastically eating. It’s not easy to eat while acting, but it’s done so well here and no tiny bites either!

Lighting and Sound are done so well too – from that first magic lowering of the lights through some soothing colour effects, the starkness of a squash court and the nightmare of a flashback, plus some lovely background sounds and incidental dance music. All add immeasurably to the atmosphere, with the convincing props and a variety of appropriate costumes completing the impact.

This is one of John Godber’s lesser known plays, but in my opinion it’s equally as good as those that are performed more often. It’s thoroughly entertaining and full of comedy, yet never descends into farce. These are relatable characters with thoughts, feelings, and issues that we can all recognise. Added to that, this production really showcases the talent and high quality of our local theatre scene.

A visit to Scardale Hall is a must; stripping off for a relaxing massage is optional.

The Book of Mormon
National TourTheatre Royal
NottinghamJune 3, 2025

If you're after an evening of hilarity, razor-sharp satire, and dazzling stage production, The Book of Mormon is perfect. Now back on its National Tour this bold, fresh, and outrageous Tony and Olivier Award-winning musical delivers all of the above. I’ve seen it in London, where it continues to draw huge audiences, and once before here at the Royal. But this is the best production yet.

The story follows two mismatched young missionaries, Elder Price and Elder Cunningham, who are sent from Salt Lake City to a remote Ugandan village to spread the word of their faith. Expecting to make a big impression, they’re quickly confronted with far more pressing local concerns such as famine, warlords, and disease. Their well-rehearsed teachings fall hilariously flat, sparking chaos, cultural clashes, and some unexpected friendships.

Adam Bailey shines as Elder Price, the ambitious, impeccably groomed missionary whose world begins to unravel in the most hilarious way. His performance is polished and brilliantly funny. His singing and dancing are excellent.

Sam Glen is fantastic as the unpredictable Elder Cunningham, bursting with manic energy excellent timing, and a touching vulnerability. His comedy and engaging smile is a joy to watch.

Nyah Nish is a delight as Nabulungi, the hopeful young woman dreaming of salvation in “Salt-a-Lake City.” Her vocals are rich with emotion, and she brings ever shining optimism to the stage. I Loved her duet “Baptism” with Sam Glen.

Tom Bales is a scene-stealer as Elder McKinley, leading the show-stopping “Turn It Off” with high-kicking camp and comic flair. This was a highlight of the night for me.

Kirk Patterson brings warmth and charm as Mafala Hatimbi, while Rodney Earl Clarke injects delicious menace into the role of the fearsome General. Will Barratt is equally strong as the Mission President.

The ensemble is excellent, with each performer showing indivdual commitment, character, and vocal precision. The missionary ensemble is sharp and dynamic with fast-paced choreography and great flair. Their ever changing expressions add an extra layer of comedy. The opening number “Hello” was especially well-delivered and brilliantly timed.

Direction by Casey Nicholaw and Trey Parker (who co-created the show alongside Matt Stone and Robert Lopez) is slick and relentless, with the laughs coming thick and fast. Nicholaw’s choreography is packed with personality, humour, and punch always serving the comedy without it ever feeling overdone.

Musical Director, Danny Belton, keeps the score vibrant and tight, with a live band that brings the cheeky pastiche and big Broadway routines to life. It was especially pleasing to see the orchestra in the pit at the front of the stage which is something that doesn’t always happen these days. It enhances the sound and in my view deepens the connection with the cast. The balance between band and vocals was spot on.

Scott Pask’s set design is both playful and functional, transitioning seamlessly from the pristine white halls of Mormon HQ to the colourful chaos of rural Uganda. Clever use of it keeps the audience wondering what next.

Brian MacDevitt’s lighting design is bold and inventive particularly during the surreal “Spooky Mormon Hell Dream,” with its devilish flourishes and pyro-style effects.

Brian Ronan’s sound design ensures not a single lyric or punchline is missed which is vital in a show this fast, furious and funny.

This production is an absolute triumph. Uproarious, cheeky, and unexpectedly touching, brought to life by a supremely talented cast. It’s not one for the easily offended, but beneath the outrageous comedy lies a surprisingly sincere message about belief, friendship, and finding purpose in the most unlikely places.

Grab a ticket if you can and chances are you’ll be humming “I Believe” all the way home. I certainly was.

This show is outrageously funny, delightfully irreverent and a bit rude but also at times surprisingly emotional. No wonder there was a whole theatre instant standing ovation at the end and indeed some cheering throughout.

Chess the Musical

Beeston Musical Theatre Group

Duchess Theatre

May 29th 2025

Chess isn’t performed much these days, so it was a real treat to see this great piece of musical theatre. Written by music geniuses Benny Andersson and Bjorn Ulvaeus with the brilliant lyricist Tim Rice, it is a rock opera which is almost entirely sung through, with brief pieces of dialogue quickly converted to song. The music is gloriously powerful and contains a number of well known songs – emotional ballads such as ‘Heaven Help My Heart’, ‘You and I’, and ‘I Know Him So Well’, alongside the deeply stirring ‘Anthem’ and the musical theatre classic ‘One Night in Bangkok’ – plus a lot, lot more. It’s all absolutely wonderful to listen to, and is going to playing again in my car for some time to come.

The show is a Cold War love-and-power story set around a tense international chess match between a brash American, Freddie, and a quiet, conflicted Soviet player, Anatoly. As the match and the subsequent events play out, so do political mind games, romantic twists, and personal struggles. Freddie’s second, Florence, ends up falling for Anatoly, who defects to the West—but nothing is simple when governments, loyalty and love clash. In the end, everyone’s playing their own game and it’s not just about chess—it’s about what they’re willing to give up to win.

It takes a talented team and a lot of commitment to stage this musically challenging show, not just for the very demanding solo roles, but for the ensemble, who are required to belt it out and harmonise endlessly, while acting a range of characters. It also takes imagination to stage the production in a way that is fresh and exciting to a modern audience: telling the story not just through the songs, but through the visual experience.

Safe to say, BMTG have it all – truly excellent principals, a great ensemble and inspired direction that makes creative use of modern technology. A backdrop of both pre recorded video and live action camera work creates not just a sense of the claustrophobic tension, but of the historical context and the characters’ emotions. It’s immersive and absorbing: talented directors/choreographers Matt Powell and Abi Stott Marshall have created a thrilling feast for the senses. So many places to look, so much to listen to and so much drama and romantic passion!

There’s intense passion on the face of Craig Arme, as Anatoly, captured by the camera as he agonises over his chess, his love and his loyalty. But it’s through his magnificent singing that Craig tells Anatoly’s story, he has a powerful operatic style voice, with gorgeous phrasing. There are many standout moments in his performance, including belters and ballads, but perhaps the most thrilling is the rousing ‘Anthem’ that closes the first act. Wow!

Many more wow moments from Sara Evans-Bolger as Florence, another beautiful voice that does absolute justice to her many songs: the plaintive ‘Heaven Help my Heart’ is sung with a power similar to Elaine Paige. It’s a very big vocal role that Sara brings huge presence to; her scenes with Anatoly are moving and beautifully performed.

There’s not much that is moving about Freddie Trumper, the brash and quick tempered American, played engagingly by Robert Stott-Marshall. That is until Freddie reveals his past trauma in the emotional and hauntingly illustrated ‘Pity the Child’, sung with passion and feeling. Robert shows his range, not just in his vocals – ‘One Night in Bangkok’ is so different and equally well done - but in the expression of Freddie’s moods.

Both chess players have their controllers, the sinister Russian Molokov and the American TV magnate Walter de Courcey. Two powerful roles which require strong vocals with convincing characterisation; both get their moment to shine. Bobby Hughes, who has a great voice is the smooth and sly Walter, and Molokov is played with menace by Robert Charles. He also gets a wonderful comedic moment when describing ‘The Soviet Machine’, a raucous drinking song. The ensemble, complete with vodka bottles ensure this is an absolute riot.

The ensemble make a huge contribution overall to this show, showing a range of characterisations, movement and vocal styles, with many taking cameo roles: they act and sing their socks off.

Someone else who sings his socks off is Matt McAuley who plays the President of the Chess Federation – the Arbiter. Like the other roles this is a vocally demanding part and Matt impresses, giving the character suitable gravitas. His entry from the auditorium to oversee the match is filmed to include the audience and is particularly effective.

The arrival from Russia of Anatoly’s wife Svetlana is a calculated move by the Russians to throw him off his game. Brogan Jones has a lovely voice and she gives this rather sad and betrayed character a lot of style and sass. Her duet with Florence ‘I Know Him So Well’ is a vocal highlight of the show, absolutely beautiful. I wish there was a cast recording of this production for my car!

Such vocal excellence is due in no small part to the expertise and efforts of the Musical Directors, who are Ben Ward and Dave Whittle. Hours of preparation and rehearsal must have gone into producing this complicated show to such a high standard, so all the production team are to be congratulated on their combined efforts. The tech team of Dave Martin (lighting) and Dave Dallard (sound), plus the camera operators add immeasurable value – the stage positively glows at times and the crystal clear sound is often all enveloping. It’s an all round sensory experience.

This is really good musical theatre: the unique presentation is intense and involving and the glorious music is so well performed it’s a joy to be in the audience. It continues at the Duchess Theatre until Saturday 31 May and getting a ticket would definitely be a smart move!

War Horse
UK & Ireland Tour
Royal Concert Hall, Nottingham
8th May 2025

The National Theatre’s War Horse is back on tour and has now returned to Nottingham. Based on Michael Morpurgo’s much-loved novel and adapted for the stage by Nick Stafford, this latest production—directed by Tom Morris, with revival direction by Katie Henry—brings all the magic, emotion, and theatrical brilliance that made it a global phenomenon.

Set during the First World War, it tells the story of Albert Narracott and his horse Joey, who are torn apart when Joey is sold to the army. From the peaceful fields of Devon to the brutal trenches of France, the story explores love, loyalty, and the tragedy of war with real heart and stunning visuals.

Tom Sturgess gives a heartfelt and honest performance as Albert. You genuinely believe in his love for Joey—it’s the emotional backbone of the entire show. His transformation from enthusiastic farm boy to determined young soldier is incredibly touching, particularly as he searches through the chaos of war to be reunited with his beloved horse.

But the real stars of the show are the horses. The puppetry by Handspring Puppet Company is extraordinary; the movement is so realistic that you quickly forget it’s not a real animal on stage. Remarkably, each horse has its own distinct character and presence. Tonight, Joey was performed by Tea Poldervaart, Robin Hayward / Ross Green, and Gun Suen. Topthorn was brought to life by Tom Quinn, Lewis McBean, and Michael Larcombe. Joey as a foal was performed by Diany Samba-Bandza, Jordan Paris, and Eloise Beaumont-Wood.

There’s a very strong supporting cast too. Jo Castleton stands out as Rose Narracott, Albert’s mum—she brings grit and warmth in equal measure. Alexander Ballinger is excellent as Captain Friedrich Müller, a German officer who risks everything to protect the horses. Haydn Burke gives a powerful and gritty performance as Ted Narracott, portraying the troubled father with a raw intensity that captures both his flaws and his humanity.

Sally Swanson’s folk singing adds a lovely, haunting edge, giving the show a gentle, timeless quality that threads through the action.

There is also a large ensemble cast who play smaller roles and sound glorious when singing together.

The incidental music and songs—some dating back to the First World War—are incredibly appropriate and often deeply moving.

Visually and technically, the production is stunning. From Toby Sedgwick’s horse choreography to Matthew Forbes’ puppet direction, every movement feels natural and believable. Rae Smith’s scenic design and Nicol Scott’s animations transform the stage into a living storybook, while Rob Casey’s lighting takes us seamlessly from sunlit countryside to the horrors of war.
Christopher Shutt’s sound design—complete with echoing gunfire and whizzing bullets—is immersive and visceral, and Adrian Sutton’s score tugs at the heartstrings from start to finish.

If there are any small criticisms, it’s that a few scenes—particularly the early transitions from Devon to the warfront—feel a little rushed, and some side characters could benefit from more development. And while in my opinion the puppetry is remarkable, it may not appeal to everyone. But these are minor quibbles in an otherwise outstanding and near-flawless production.

I’ve wanted to see War Horse for years, and tonight I wasn’t disappointed in the slightest. The standing ovation it received was absolutely deserved.

This production is a triumph from start to finish—powerfully performed, beautifully crafted, and so moving you’ll want to have tissues at the ready by the end. I certainly needed mine.

Catch it at the Royal Concert Hall in Nottingham until 18th May. You won’t regret it.

 

Busybody
Arcade Players
Duchess Theatre, Long Eaton
April 30th 2025

Originally written in 1964 for the famous comedy actress Irene Handl, this lively play features Mrs Piper, an office cleaner who stumbles across her boss dead at his desk — with a paperknife in his back. Or does she? When the investigating detective arrives, it emerges, to his embarrassment, that he and the cleaner share a past. Her well-meaning but chaotic attempts to help her old pal solve the crime, plus his frustration and the intrigue created by a range of suspects, are all thoroughly entertaining. Effective staging and strong performances from Arcade Players guarantee success.

Kate Davis-Hill, in the demanding role of Mrs Piper, is rarely off stage and gives a great performance, playing a character originally much older, but fully capturing her nosy but well-meaning nature and lack of tact. Her confident characterisation, plus her physical and verbal comic timing - which includes some choice malapropisms - are spot on.

She is brilliantly matched by Alex Chalk as the shouty Superintendent Baxter, a bad tempered detective who is deeply uncomfortable at having his humble beginnings dredged up and his investigations hijacked. Alex brings big comic energy to the part, complete with the most convincing heavy cold. Winces of sympathy from the audience every time he blew his nose! Together they have great chemistry, and their frequent lively exchanges kept the audience entertained throughout.

They are backed by a strong supporting cast of suspects who add intrigue and comedy to the production. Helen Parker plays the wife of the managing director with a sophisticated charm and a few shifty sideways glances. She’s got a lot to hide, so could she want her irascible husband dead? He’s brought to life by Martin Mould, convincing as a businessman who has a lot to be jealous about and a ruthless streak - but may be capable of a lot more.

Robert Westerby (Toby Lee) seems anything but ruthless, a charming young accountant who only wants to help others out but admits to some subterfuge in the process. Toby has lovely vocal delivery and projection – and if Arcade Players ever do a Noel Coward play, they have a leading man ready!

Another impressive performance from Grace Deakin as the young secretary Vickie, a part I suspect was written as a Sixties ‘dolly bird’. By varying her delivery and emphasising her thoughtfulness Grace has given her much more nuance.

Rachel Ludlam also brings depth and charm to the put upon DC Goddard, Superintendent Baxter’s capable assistant, a part originally written for a man. Another casting that brings the play up to date and more relevant to a modern audience.

A lovely characterisation from Sheila Poyzer as the prickly secretary, fiercely loyal to her boss and surely not under suspicion? But this is a whodunnit, so whoknows?

Directors Hannah Reason and Miriam Deakin have ensured that the staging is always interesting and carefully planned, especially during some long sections of dialogue when the splendid set is very well used. Characters move purposefully, using Lyn Jones’s effective props to maintain visual interest and add realism. The authentic office equipment, water cooler, planner, laptops etc; really add to the overall effect. Mike Beedham’s sound and lighting do too; incidental music, voice overs and blackouts all contribute. The pace never lags, entrances and exits are swift and the physical comedy is seamless.

This performance started late due to an unavoidable delay created by traffic conditions: the cast are to be congratulated for not letting this affect them. The good-natured audience waited patiently and were rewarded with a very entertaining evening. Judging by the enthusiastic applause at the end, they enjoyed it as much as I did.

 

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

 

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

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

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

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

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

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

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

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

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

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

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

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

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

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

 

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Made in Dagenham 
LEOs
Trent College
April 9th

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

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

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

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

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

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

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

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

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

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

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

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

 

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

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

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

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

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

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

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

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

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

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

 

Calamity Jane
Theatre Royal Nottingham
March 25th 2025

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

Calamity Jane is a wonderful proto-feminist who rides scout for the Deadwood stage, picking off any pesky bandits and regaling the dudes in the saloon with exaggerated tales of her derring-do. Wild Bill Hickock, the Doc, Rattlesnake and the others take it all with a pinch of baccy, including her wild claim that she can bring their adored vaudeville star, Adelaide Adams, to the hotel bar. The proprietor, Henry Miller is mighty relieved, as he’s made a gaffe by inviting the hapless Francis Fryer to perform, thinking he was a woman. Calamity sets off to Chicago to right a wrong; she gets the wrong woman, who turns out to be the right woman for a certain Lieutenant Gilmartin - who Calamity thinks is the right man for herself - but she’s wrong. It’s a right good yarn, anyway.

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

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

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

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

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

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

 

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

It runs at the Nottingham Arts Theatre until Sunday.

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

 

Picture You Dead

National Tour 2025

Theatre Royal Nottingham

Tuesday 11th March 2025

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

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

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

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

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

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

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

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

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

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

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

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

 

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

 

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

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

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

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

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

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

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

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

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

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

The Wonderful Wizard Of Oz Pantomime
The Watson Players
Landau Forte College
February 19th 2025

There’s fun to be had at Landau Forte College this week as The Watson Players let rip with their pantomime version of The Wizard of Oz, and it’s everything a pantomime should be. Lovable characters, lots of humour, singing, dancing, audience participation, colour and sparkle; lots of sparkle. It’s a joy.

The marooned Dorothy and her three needy chums venture along the Yellow Brick Road to get help from the Wizard of Oz, accompanied by a wonderful Dame – Dorothy’s Aunt Em. Along the way they meet a couple of cheeky chappie Munchkins, two good witches and a really evil one, a thigh slapping Prince, a Porcelain Princess, a couple of monkeys and eventually, the Wizard himself. It’s a fast paced romp that is always engaging with lots of laugh out loud moments and many foot tapping, catchy tunes. Oh yes, it definitely is.

There is some great character acting in this production and it’s a testament to the skill of these performers that they have taken the well known character types and made them their own. Added to that there is a great supporting cast, who not only take cameo roles, but also sing, dance and provide background colour. Georgia Barkes and Mel Pugh as Flying Monkeys dance balletically and beautifully and all the cast do choreographer Sharon Stringer proud. Rather than large dance numbers there are smaller routines which are packed with variety and interest, taking us joyously along the Yellow Brick Road.

Mik Horvath is a splendid Aunt Em, totally at ease with the audience who immediately warm to the over-the-top Dame, her witty observations, her saucy innuendos and her gaudy flamboyance. Excellent delivery, perfect comic timing and some well placed ad-libbing make this character irresistibly funny. Several costume changes add to the fun, her outlandish, colourful and bizarrely accessorised outfits are a visual delight.

More fun to be had from the two mischievous Munchkins, Ugg and Lee, played by Lou Jenkins and Karen Jones. It’s not easy to keep a double act pacy and fluent, throw in some physical comedy, interact with the audience and land the comedy, but these two do it in style. It’s the confidence that comes from being well rehearsed and the warmth that comes from being committed to giving the audience a good time – something all of these performers exhibit.

There’s warmth a plenty from Dorothy’s travelling companions: Wayne Perry as the Scarecrow, Gary Rowley as the Tin Man and Jake Perry as Cowardly Lion. More of that nuanced character acting here and some lovely physical comedy from each of them. All three of these actors must have worked hard on the physicality of their character, as well as their distinctive delivery, something that must have become easier once they got their splendid costumes on!

It's hard to believe that the costumes for this production were all done in-house, designed by Patricia Church and made by members of the company or by the ‘Crafty Ladies’. They are of a wonderfully high standard, they add so much to each character and fill the stage with interest, colour and sparkle. Along with a colourful scenic design, some clever portable scenery and some excellent backdrops, the show looks simply gorgeous.

There has to be a baddie of course and she’s not so gorgeous, although the Wicked Witch of the West is a dastardly delight. Angela Swift has great vocal delivery and a sinister swagger; a physical menace that is in contrast to her lovely fellow witches, Patricia Church as the sensible Witch of the North and Rai Robinson as the gentle Witch of the South.

Every pantomime needs a Prince and Princess and this one has the splendid Jessica Baird-Swinburn, as a good old fashioned thigh slapping principal boy- Prince Smarmy. Lovely comic delivery as the Prince searches for a Princess to kiss, he’s not fussy which fairy tale she comes from and just a quick kiss will do. Abbi Pritchard is the delicate but determined Princess Porlain, who gets her Prince and celebrates with him in song. The wonderful ‘The Song That Goes Like This’ from Spamalot is beautifully performed, a real highlight of the show. Bravo.

Another lovely voice and polished acting skills (they really are a talented bunch), belong to Ciara Beighton, who plays Dorothy. This Dorothy is sweet, principled and characterful and Ciara plays her absolutely straight. Among the humour, farce and slapstick this is perfectly pitched, to corpse Dorothy would be wrong and lessen the overall impact. It’s a big part, particularly vocally; Ciara embraces all the challenges and triumphs.

Some more straight acting from Jack Woolley as the rather green Wizard of Oz; Jack does some lovely voice and puppetry work before the Wizard rather sheepishly reveals himself.

There are 11 songs in the show, so the Musical Director Joy Gravestock had her work cut out; judging by her smiles and obvious enthusiasm as she conducted the admirable Wizard Band, this must have been a pleasure. Incidental music and some sound effects are provided by the band too, with spot on timing. Lighting is important in this show and both full stage lighting and spot work are effective.

Many congratulations to Liz Woolley the director for the pacing, the staging, the use of entrances and exits, the character work and the audience inclusion in this production. It’s a long show – almost 2 hours 55 minutes last night, but the skill of the director and cast kept the material as tight as possible. Recommendation would be that it is suitable for children who can sustain interest for that long, but judging by the little ones who helped lead the Community singing at the end of the show, that can be a surprisingly young child!

This is a half term treat at which Everything is Awesome, put on those red shoes, click your heels and get there as soon as you can! Tickets available until Sunday from https://www.livetickets.org/.../the-wonderful-wizard-of-oz/Photos Ali Langton

 

Swan Lake

2024 Revival National Tour

Matthew Bourne – The Next Generation

Theatre Royal Nottingham

February 18th 2025

Matthew Bourne’s Swan Lake is a revolutionary reinterpretation of Tchaikovsky’s classic ballet. Premiering in 1995, it shattered conventions by replacing the traditional female swans with a powerful, all-male ensemble, creating a bold narrative that explores themes of identity, repression, and longing. This production has innovative choreography, stunning sets, and emotional depth.

Matthew Bourne reinterprets the original story, about a tormented Prince who struggles with his identity and the suffocating expectations of monarchy. The prince’s journey is one of self-discovery, culminating in his haunting relationship with the Swan, a feral, masculine figure who becomes both his salvation and his downfall. This modern twist on the tale resonates deeply, particularly in its exploration of repressed sexuality and the search for love in a world that often offers none.

The production’s most striking feature is its all-male swan ensemble. These swans are not the delicate, ethereal creatures of traditional ballet but instead are raw, animalistic, and menacing. Their choreography is a blend of grace and ferocity, with sharp, angular movements and synchronized hissing that create an electrifying presence on stage. The iconic pas de deux between the Prince and the Swan is brilliant, blending tenderness with raw intensity. It is just spellbinding.

This revival features a new generation of performers who bring fresh energy to the production. Harrison Dowzell’s portrayal of the Swan/Stranger is mesmerizing, capturing both the wild beauty of the Swan and the seductive menace of the Stranger. His chemistry with the fabulous James Lovell’s Prince is palpable, making their tragic relationship even more poignant.

Tonight was very special for me as Harrison was one of the Billy Elliot boys who I saw several times at the Victoria Palace in London. When I watched him then I knew that the 13-year-old playing Billy would one day be a superb ballet dancer. Tonight I was proved right! Yes, there were a few tears of pleasure in my eye. To add to this he is a local man from Radcliffe on Trent in Nottinghamshire.

Nicole Kabera’s Queen is wonderful with icy elegance, embodying the cold, unfeeling mother who is more concerned with appearances than her son’s well-being.

Bryony Wood as the Girlfriend provides comic relief with her bubbly personality but also adds a layer of pathos as she becomes a pawn in the prince’s emotional turmoil.

Benjamin Barlow Bazeley portrayal of the stuffy protocol obsessed Private Secretary is excellent.

The rest of the cast is as you would imagine quite superb playing many parts.

Lez Brotherston’s set and costume design are integral to the production’s success. The lavish, vintage-inspired court scenes contrast sharply with the dreamlike, moonlit lake, creating a visual dichotomy that mirrors the prince’s inner conflict. Paule Constable’s lighting design adds depth and mood, with shadows and projections that enhance the surreal atmosphere. The also very effective sound scape is by Ken Hampton.

Tchaikovsky’s timeless score, recorded by the Swan Lake orchestra conducted by Brett Morris, is a driving force behind the production’s emotional power. The music seamlessly intertwines with the choreography, heightening the drama and beauty of each scene.

Bourne’s Swan Lake is not just a ballet; it is a theatrical experience that transcends traditional boundaries. The production masterfully blends comedy, tragedy, and social commentary, creating a narrative that is both entertaining and thought-provoking. From the hilarious antics of the Girlfriend to the harrowing final act, where the swans turn on the prince in a nightmarish climax, the show certainly takes the audiences on an emotional rollercoaster.

This is a masterpiece of theatre that continues to redefine ballet for modern audiences. Its bold storytelling, innovative choreography, and stunning visuals make it a must-see production.

Whether you are a seasoned ballet enthusiast or a newcomer to the art form, this version of Swan Lake may leave you breathless and deeply moved. It certainly did me!

Tonight’s audience gave the company a standing ovation with cheering from many. There was incidentally some cheering during the performance as well showing how much many in the audience were enjoying it.

 

Joseph & The Amazing Technicolor Dreamcoat
Nottingham Theatre Roya
lFebruary 6th 2025

It might be over 50 years old but this sparkling musical never seems to age, the universal themes and catchy tunes are still irresistible. It’s always good to see an old favourite, but I’d forgotten just how joyous this retelling of Joseph’s story from the Book of Genesis is: big smiles, feet tapping and singing all the way home.

This production is packed full of freshly orchestrated musical treats and an array of exciting choreography. The talent, energy and sheer pizzaz of the performers, plus some changes that add even more entertainment, make the show an absolute delight.

Joseph is a bit of a pain, as he makes the most of his status as his father’s favourite son and shows off the very colourful coat the doting Jacob has given to him. His 11 brothers are none too pleased, especially as Joseph also has a very annoying line in the interpretation of dreams. Being told they will all eventually bow down to him like sheaves of corn in a field is the last er…straw, and they plot to dispose of him. Subsequently, along the way he gets into all sorts of bother, falls foul of the Captain of the King’s Guard & his wife, meets the Pharoah, interprets a few dreams then finally gets his own back on his brothers…

All this is told through song: the show has little spoken dialogue and it is mostly the narrator who keeps the audience up to speed. Christina Bianco is an absolute powerhouse of a performer, packing on the personality in a wide range of different song styles, dancing up a storm and taking on a couple of other characters at the same time. A fabulous performer - no surprise to read that she is critically acclaimed around the world.

Joseph might be a pain, but there’s nothing painful about Adam Filipe’s performance, another one packed with energy, fun and charm. His voice is lovely and the old favourites "Any Dream Will Do" and "Close Every Door" are beautifully interpreted. Plenty of contented sighs from the obvious fans around me.

Joe Mc Elderry doesn’t disappoint the fans either, his rock and roll turn as the hip Pharoah is a real crowd pleaser, set in a fabulously ornate palace.

It’s not just the big hits that hit the spot in this show, every song is catchy and entertaining. "Those Canaan Days" is a parody of French ballads; "Potiphar" is a 1920s Charleston style song; "One More Angel in Heaven" is a country & western song; there’s "Benjamin Calypso"; "Joseph's Dreams" is a jazz song and "Song of the King" is Elvis-themed rock and roll. There’s a spectacular bit of 60’s style dance at the end of the first act, when the cheerleader themed ensemble exhort “Go, Go, Go Joseph”. It’s great stuff.

This London Palladium production has a few changes from the others I’ve seen, the biggest being the inclusion of a children’s ensemble in the action. Instead of a static choir, these young performers (a touring cast of 30) sing, dance & act throughout the show in a most impressive way. The ten I saw were excellent, taking roles such as Joseph’s brothers, Potiphar, a baker, a butler, a goat and many more in the ensemble. All totally focused with great comic timing; a joy to watch.

There’s plenty to be learnt from watching the performances of the adult ensemble, who make this energetic and fast paced show look effortless. Some great singing and dancing from Joseph’s brothers and the female ensemble, stylishly covering disco, jazz, tap, Charleston, Can Can and rock & roll. They hardly ever stop moving.

The colourful backdrops and costumes, some impressive props and the sumptuous Egyptian Palace provide the setting for this sparkling spectacle. Ben Cracknells’ imaginative lighting design illuminates it all beautifully; watch out for those colours! Just a bit disappointed not to see Joseph’s coat triumphantly displayed at the end of the show; colourful streamers took its place. So much joy though, in the dazzling finale and the Megamix: a veritable wall of sound from the Orchestra which had the excited audience up on our feet, singing and dancing.

If you love the show this dream version will more than do, if you’ve never seen it before, well, you’ll just love it. Go, go, go!

Fame Jr
Erewash Musical Society
Duchess Theatre Long Eaton
February 6th

Absolutely loved the Erewash Musical Society Youth Group’s performance of Fame Jr. at the Duchess Theatre in Long Eaton tonight.

The energy and talent of these young performers was very impressive – they really gave it their all. The singing, dancing, and acting were spot on, and you could tell how much effort they’d put into it.

The costumes were brilliant too, really bringing the story to life. It’s not easy producing such an iconic show as this but they all absolutely smashed it. The simple set was just right and helped to keep the show moving at a good pace.

Talking to the cast after the show, the Deputy Mayor of Erewash Cn. Harry Atkinson said “ You were all fantastic and so talented. I enjoyed your performances immensely.”

The new vicar of Long Eaton Max Marsh also congratulated the cast on their excellent performances. Once again the Youth Group have produced a show which showed their many talents.

Well done to everyone involved including the production team led by Director Hayley Wood.

If you get the chance to see this show definitely go – you won’t be disappointed!

 

Coming to England
Theatre Royal Nottingham
National Tour
January 28^th 2025

*Coming to England* is a heartfelt and vibrant musical adaptation of Floella Benjamin’s book, which chronicles her journey from Trinidad to England as part of the Windrush generation. With a book by David Wood, this production brings to life the challenges, triumphs, and cultural richness of Benjamin’s story.  It offers a poignant reflection on identity, belonging, and resilience.

Floella Benjamin moved to the UK as a child during the Windrush era, facing challenges of racism and cultural adjustment. She became a successful children's TV presenter on shows like *Play School* and *Play Away* in the 1970s and 1980s, She is an accomplished author, writing children's books and memoirs, and a passionate advocate for diversity and education. In 2020, she was appointed to the House of Lords as a Baroness where she continues her work of championing social justice and children's rights.

The musical opens in the lush, sun-soaked landscapes of Trinidad, where young Floella’s idyllic childhood is filled with music, family, and joy. The transition to a cold, unwelcoming England is stark and effectively portrayed, highlighting the cultural shock and racial prejudice faced by Floella and her family. The production doesn’t shy away from addressing these difficult themes, but it balances them with moments of warmth, humour, and hope for the future.

The cast is excellent, with an outstanding performance from Julene Robinson as Floella, who brings a remarkable depth of emotion and charisma to the role. She has a great singing voice too. The portrayal of her mother by Maryla Abraham with her unwavering strength and determination, is particularly effective.

The supporting cast, including her family members and the ensemble, add layers of authenticity and heart to the story. They are Charles Angiama as Dardie, Shaquille Jack as Ellington, Solomon Gordon as Lester, Simone Robinson as Sandra, Alexander Bellinfantie as Roy and Kamarane Grant as Cynthia (at tonight’s performance.) Completing the ensemble and playing a number of parts are Jordan Stamatiadis, Joe Pieri and Christian James.

The score, is a delightful fusion of calypso, reggae, and traditional musical theatre, capturing the spirit of the Caribbean while reflecting the emotional journey of the characters. Great numbers like “Island in the Sun,” “Jump in Line,” “Smile,” “Family” and “Coming to England” are catchy and showcase the casts vocal talents and the energetic choreography.

The vibrant set design by Jasmine Swan effectively transports the audience from the Caribbean to 1960s England. The costumes are equally impressive, with bright, colourful outfits for the Trinidad scenes contrasting sharply with the drab, grey tones of England, visually underscoring the cultural divide. Set changes are fast and keep the story moving without delay.

Directed by Denzel Westley-Sanderson, the creative team features musical director and arranger Abdul Shyllon, and choreographer Kloe Dean, who also serves as movement director. Lighting design is handled by Rachel Luff and Will Hayman, while Beth Duke takes charge of sound design.

While the musical is deeply personal, it also serves as a powerful tribute to the Windrush generation and their contributions to British society. It’s a story of perseverance and the pursuit of dreams, resonating with anyone who has ever felt like an outsider or struggled to find their place in the world.

Coming to England is a triumph—a celebration of culture, family, and the enduring human spirit. It’s a timely and important story, beautifully told through music, dance, and stellar performances. Whether you’re familiar with Floella Benjamin’s story or encountering it for the first time, this musical is sure to leave you inspired and moved.

 

The Girl On The Train
Theatre Royal Nottingham
January 21st 2025

Not having read Paula Hawkins’ book or seen the film, I came to this with no preconceptions and no trepidation that a play of less than two hours would miss too much out. If it does, this adaptation by Rachel Wagstaff and Duncan Abel certainly remains a gripping psychological drama and thrilling mystery, one that benefits from inspired staging and the immediacy of live theatre.

The protagonist, Rachel Watson, is annoyingly self centred, drunk most of the time and obsessed with her former husband and his new wife and baby. Passing by where they live on her daily commute, she also becomes obsessed with their near neighbours, a seemingly devoted couple who appear to have the perfect life. When the train stops at signals she watches them and fantasises – until the woman goes missing and Rachel finds herself as a witness and even a suspect, in a dark and intriguing mystery.

Giovanna Fletcher pitches her delivery high, so Rachel is bordering on manic, but frantically trying to hide her drunkenness and make sense of fragments of memory. It’s only later, when we hear the sober Rachel that the contrast becomes clear and we understand quite how broken she was and why. Throughout Giovanna convincingly portrays Rachel’s struggle not only to remember, but to find a way through the mystery, to learn who she can trust and begin to understand herself.

This is a strong ensemble piece and the fragmented style of the drama means that each character gets a strong voice. It isn’t naturalistic, the story is told using flashback and often when a character is mentioned they appear on stage to relate what happened to them; we are taken backwards and forwards in time. It’s like dipping into the pages of the book, or watching a snippet from the film. Apart from the victim, each character is a suspect and we’re invited to listen to their story, evaluate their honesty and draw some conclusions – just what we want from a crime mystery!

Jason Merrells plays Tom, Rachels’ former husband, a reasonable chap who despairs of his ex wife’s behaviour and just wants to be left in peace with his new wife and baby. Plenty of room for character development here, and we get that in spades. Zena Carswell plays his new wife Anna, bit of a prickly sort, who is implicated by Rachel in the mystery disappearance. Other suspects are the seemingly charming therapist Dr Abdic, played by Daniel Burke, and Scott Hipwell, volatile husband of the missing woman, played by Samuel Collings. But is Rachel a reliable witness and are her recollections accurate? The wise DI Gaskill, played by Paul McEwan doesn’t think so, but until the explosive conclusion he is not sure who to believe and neither are we. Megan, the missing woman played by Natalie Dunne, gets to tell her tragic story in vivid flashback. Some lovely, nuanced character acting from all the cast.

An odd and dangerous decision by Rachel brings about the denouement which is fabulously dramatic and vividly portrayed, gasps all round. No laughter here – throughout the play there are some witticisms and a fair bit of swearing, which some in the audience found very funny. The ending silenced them.

The dramatic impact of the piece is immeasurably heightened by the staging and the stunning audio visual effects. A seemingly solid wall evaporates to reveal a space beyond, one in which a lighted box frames further scenes. The combination of vivid projections and overwhelming sound takes us on to Rachel’s train, stylised movement sees the jostle of her drunken commute. Back in in her bedsit we see the car park beyond through streaming rain, in Megan’s apartment we see her imposing art work; we barely register yet are affected by the sinister background sounds. During a crisis Rachel is seen literally in turmoil, inside the lighted box. A sensory experience that only theatre can offer.

The Girl On The Train, directed by Loveday Ingram,

 

Blood Brothers
National Tour 2024/25
Derby Theatre
14th January 2025

Willy Russell’s much-loved musical Blood Brothers continues its highly acclaimed UK tour, this time taking centre stage at Derby Theatre. This production tells the heartbreaking story of Mickey and Eddie—twin brothers separated at birth and raised in vastly different worlds, only to have their lives tragically collide.

Set in Liverpool from the 1960s through to the 1980s, the story explores themes of class divide, fate, and superstition, painting a vivid picture of how society shapes individual lives. Mickey grows up in poverty, facing hardship at every turn, while Eddie’s privileged upbringing offers him a life of ease. Russell skilfully weaves humour with sharp social commentary, using the twins’ contrasting lives to examine the tension between nature and nurture. Decades after its debut, the story remains as relevant and impactful as ever, and this tour captures its timeless power beautifully.

The cast is outstanding, delivering heartfelt and deeply moving performances. Sean Jones as Mickey brilliantly portrays the character’s transformation from a cheeky, carefree boy to a broken and desperate man. His performance is, as always, brilliant. Joe Sleight brings charm and warmth to the role of Eddie, creating a poignant contrast to Mickey’s struggles. Together, they are compelling, driving home the tragedy at the heart of the story.

Vivienne Carlyle’s portrayal of Mrs Johnstone is the emotional core of the production. She exudes warmth, strength, and heartbreak, perfectly capturing the pain of a mother forced to make an impossible choice. Her singing is packed with passion and sincerity.

Sean Keany as the Narrator is a haunting presence throughout, embodying the story’s themes of fate and inevitability. His ominous delivery keeps the tension alive, leading the audience towards the play’s powerful and heart-stopping finale.

Gemma Brodrick shines as Linda, effortlessly moving between moments of humour and heartbreak. Her role in the brothers’ lives is pivotal, and she portrays it with skill and emotional depth, transitioning convincingly from a carefree schoolgirl to a wife and mother.

Sarah Jane Buckley and Tim Churchill, as Mrs Lyons and Mr Lyons, are long-time staples of this production, and their performances are as strong as ever. Sarah Jane brings passion and complexity to Mrs Lyons, making her a central figure in the unfolding drama, while Tim’s Mr Lyons is understated yet effective. Tim also serves as the show’s resident director.

Another highlight is how the ensemble cast seamlessly take on multiple roles, adding richness and versatility to the production. James Ledsham (Sammy), Alex Harland (Policeman), Chloe Pole (Donna Marie/Miss Jones), Graeme Kinniburgh (Postman/Bus Conductor), Cameron Patmore (Perkins), Dominic Gore (Neighbour), and Jess Smith (Brenda) all deliver standout performances that complete this exceptional cast.

Visually, the production opts for simplicity, and it works brilliantly. Andy Walmsley’s set design, combined with Nick Richings’ lighting and Dan Samson’s sound design, creates smooth transitions that evoke time and place, highlighting the stark contrast between the brothers’ lives. The staging ensures the focus remains on the powerful performances, while the live orchestra, under Matt Malone’s musical supervision, amplifies the emotional core of the story. Iconic songs like “Easy Terms”, “Marilyn Monroe”, and the heart-wrenching finale “Tell Me It’s Not True” are delivered with intensity and passion.

Bob Tomson’s direction is fast-paced and emotionally charged, keeping the audience fully engaged from start to finish.

This touring production of Blood Brothers is a testament to why the musical has become such a cornerstone of British theatre. With its timeless story, emotional depth, and exceptional performances, it leaves audiences deeply moved. Unsurprisingly, it earned a full theatre standing ovation, and it’s a response the production richly deserves.

Whether you’re experiencing this classic for the first time or revisiting it, Blood Brothers is a theatrical experience that stays with you long after it ends. It’s a masterclass in storytelling and theatre —raw, powerful, and unforgettable.