Theatre Reviews 2025

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 28th 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.

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