Ladies Down Under
Arcade Players
Duchess Theatre
February 11th 2026

Leave the grey, wet streets of Long Eaton behind, fasten your seatbelt and join the Arcade Players as they fly high – all the way to Australia. By the end of last night’s performance I really felt as if I’d been on a journey, from Manchester Airport to the Outback, campsites and beaches of Australia, and even taken part in a Mardi Gras celebration. Fabulous.

Ladies Down Under is Amanda Whittington’s sparkling sequel to her popular play Ladies’ Day. The story picks up after four friends from Hull — Pearl, Jan, Shelley and Linda, all fish factory workers — have hit the jackpot at the races at Royal Ascot. Flush with cash, they decide to spend their winnings on the trip of a lifetime to Australia. All have reservations and that’s not just their airline tickets, there is more than one kind of journey to be taken and a poignant secret to be revealed, which will change all their lives.

There are plenty of laughs along the way of course, Amanda Whittington really understands the warmth and wit of working women, particularly those from the North. The story and the humour are found, not so much in events, but in the four women, in their relationships and in the journey they take.

It’s Pearl, played by Karen Robbins, who faces the biggest personal challenge, undergoing a change as she learns to accept help and share her burden. Karen finds her warmth and her wit, expressing her ability to nurture the other women alongside bluntly pointing out when she thinks they are wrong. It’s a role with huge heart; Karen seems to love the character and genuinely believe in her friendships, which makes it easy for the audience to do the same.

All of the characters undergo change, either in the sultry heat of the outback or the sultry glamour of the Mardi Gras; it’s the latter where Linda discovers herself. Ellen Horton has the measure of this quietly witty character who is struggling with guilt over her new found wealth. Her dry delivery makes sure her lines land and her character’s transformation is entirely believable.

Jan’s humour is a little more broad than the others, but she doesn’t know she’s funny, so Caroline Byatt delivers her lines in a suitably deadpan style. Her journey from resigned realism to the joy of reconnection is expressed in her appearance, and in a noticeably lighter tone. This is down to the hapless but loveable Joe, played by Ali Langton, who is unable to meet the Ladies at the airport and endures all sorts of privations to find them.

Shelley is a wonderfully vivid, glamorous character and Rheema Orme-Hawskley expresses this beautifully; she looks every inch the part and wears some fabulous clothes!Her cases disappear, there is no luxury hotel and she discovers it’s hard teetering on 5 inch heels in the Outback. It’s then we learn where her materialism comes from and witness her discovery that happiness needn’t be expensive. It’s the gentle Danny, played with sensitivity and warmth by Gary Lever who helps her to realise this.

There are plenty of laugh out loud moments in the dialogue, some crafty bits of humour in the Airport announcements and some broader stuff from other characters. Alex Chalk and Nick Hallam play Bill & Ben, a comic turn as Stewards on the plane and later they become the larger than life, very gorgeous Koala Bare and Bondi Bitch. Nick also plays the amusing beach hippie Charlie, who is kept reasonably sober by Jason Parker’s droll drifter, Shane. These are stereotypes, but characterful roles that contain plenty of humour and interest when they are performed well. A lot of work must have gone in to perfecting the accents, both the broad vowels from Hull and the even broader ones from Australia.

Director Rob Byatt has created a visual treat and a real sense of accompanying the characters on a journey. Full size back projections create each scene along with clever lighting and some evocative ambient noise, especially effective in the Outback. Scene changes are swift and simple set properties, such as a few airline seats, a campfire or a wooden boardwalk, add detail. Much thought has gone into character placement to avoid them just standing in a line. Touches such as tea in the billycan, snags in the mess tin, dirt smears on the Ladies’ tee shirts and mosquito bites on poor Shelleys’ arms, add to the realism. The glorious Mardi Gras, to which the audience are invited to attend, wave flags and belt out ‘I Am What I Am’, becomes a shared celebration. Well done to all the production team, stage crew and backstage creatives, for bringing the director’s vision so vividly to life.

 

Double Indemnity
Theatre Royal, Nottingham
February 10th 2026

Double Indemnity is a stage adaptation by Tom Holloway of James M. Cain’s 1936 novella, a landmark work of American crime fiction and archetype of the film noir genre. It was famously adapted into the 1944 Billy Wilder film, but this version reimagines the story for the stage, while capturing all the entertaining characteristics of the genre. The visual style is bleak, featuring low-lit smoke-filled spaces; the narrative is pessimistic and cruel; the characters are cold and manipulative and the story is told partly by a cynical, fast talking narrator. If you are of a certain age and watched old American crime films from the 1940s and 50s with your Mum & Dad on a wet Sunday afternoon, you’ll recognise it all.

Insurance salesman Walter Huff becomes involved with Phyllis Nirdlinger, a cool and manipulative woman who persuades him to help murder her husband. Motivated by greed and arrogance, Walter devises the perfect plan to make the death look accidental and claim the ‘double indemnity’ clause in the insurance policy. If the death is accidental, the insurance payout is doubled.

Although things initially go well, the scheme begins to unravel under the scrutiny of Keyes, Walter’s hardboiled colleague. As suspicion mounts, the relationship between Walter and Phyllis deteriorates, a family member is threatened, double crossing abounds and desperate measures become inevitable...

All this takes place within the most striking Art Deco style set, above and behind which can be glimpsed some of the huge letters of the Hollywood sign – a homage to the film. There is no symmetry though, the curve at the top of a metal clad side wall is offset by sharp angles; the wall cleverly disappears at times to create further scenes. Harshly lit internal spaces become a busy sidewalk, a park, a road out of town. The mist swirls, the light fades, the music blares and the tension heightens: throughout the lighting and sound create that noir atmosphere and psychological intensity.

Other clever devices employed by director Oscar Toeman keep the pace grippingly tight, scenes melt into one another, the sparse props – and sometimes no props at all – suggest a car ride or a train journey. Telephone calls are conducted without props, just some sound magic that lets us listen in without pausing the action on stage. Splendidly evocative costumes create the period and tiny mundane details such as wool winding bring visual interest. We’re not spared the grisly bits though and are left in no doubt as to how dark these characters are as they ruthlessly commit their crime.

The swaggering Walter Huff is played by Ciarán Owens, capturing the arrogance and self belief of a hard bitten Californian, who even in moments of panic can show icy self control. It’s a huge wordy part with some accomplished verbal sparring, but there were times the rapid dialogue was indistinct, at least to these old ears.

Mischa Barton is a fabulous Phyllis, a femme fatale gliding around the stage and delivering perfectly pitched lines; every subtly evil suggestion or loaded insinuation lands flawlessly. There’s not much character development in this role and it’s testament to her acting skills that a rather one dimensional vamp, so typical of this genre, makes such an impact.

Another typical character is the know-it-all, the one who spots inconsistencies and threatens to foil the plot, in this case the brash, fast talking Barton Keyes, played very engagingly by Martin Marquez. There’s a troubled young female too, of course, a sassy secretary and a suspiciously behaved boyfriend who may be more involved than we thought; the tension is maintained as the plot unravels and a shot rings out...

The book and the film have different endings and this adaptation has yet another one. It’s left to the audience to imagine, rather than made explicit and this led to a slight lag between lights down and applause. That was just until it had sunk in, but it may have been helpful to know for sure that a character had sunk, too!

 

Guys n Dolls
 Erewash Musical Society Youth Group.
Duchess Theatre, Long Eaton.
February 5th 2026

Review by Kev Castle (Reproduced with permission)

One of the greatest Noo Yoik based musicals of all time, and one of my all-time favourite musicals on stage or on film.

"Guys n Dolls" is the story of Nathan Detroit and his doll Adelaide and Sky Masterson and his newly discovered doll Sarah, who is in the process of saving souls. Will Sky's soul be one soul she can't save, or will Sky give up his gambling evil ways and succumb to the word of the Lord?

Based on the stories and characters written by Damon Runyon, the action starts in Runyonland where Nathan is looking for a place to hold his latest "crap game". The only way he can think of raising the funds to pay for a venue is to bet Sky $1000 that he can't take a "doll" of Nathan's choice to Havana for dinner, and Nathan chooses Sarah Brown from the mission.

In the background Adelaide, Nathan's fiancée for the last 12 years, wants to get married and they plan to elope, but all does not go to plan while Nathan is still planning the latest "crap game".This is Hollywood though so it's all bound to end up happily ever after, and it does, leaving you with a fluffy, warm, squidgy feeling in your tummy.

Sky Masterson, suave, smart, handsome who unexpectantly falls for Sarah Brown, the Missionary leader, is played by Oliver Nolan. I stated in my last review of Oliver as Poseidon in "The Lightning Thief", that he was officially cool, and he takes that "cool" up another level as Masterson. He looks cool, he acts cool, he has a cool accent and he can sing, and I am sure that his voice has gone even deeper.

Sarah Brown, the Sergeant of the local Mission who falls for Sky, is played by Izzy Cole. Oh My God what a voice! Her voice takes me back to those classic musical women, people like Kathryn Grayson (look her up on Google/YouTube); so pure and clear and beautiful to listen to. Love the way that she acted out the rebuffs of Masterson's advances and the slap she gives Sky in the Mission hall looked incredibly real. I also loved the Havana scene as this had been done in a slightly different way, which I'll mention later. Everyone was talking about Izzy's voice in the interval.

Livvi Hickling plays Miss Adelaide, long time love of Nathan Detroit and a lead performer at the Hot Box nightclub. Another wonderful voice and I liked how Adelaide was not presented as some high winy-voiced airhead, as she was in the film. Livvi also has the choreography nailed, especially in the number "Take Back Your Mink" plus "Adelaide's Lament" was given a lovely subdued feel. The duet Adelaide does with Detroit in "Sue Me" is also another highlight for me.

Nathan Detroit is played by Elis Moore. Elis has an ear for accents, and you know how much I love a well presented accent. A very broad Bronx/Noo Yoik accent which at times, when the script required a faster paced speech, the accent never suffered but the clarity of the speech became mashed, which would be truly realistic if listening to any heavy accent when the owner of that accent becomes excited. I've always been a fan of Elis's vocals and his comedic abilities, and both are well utilised as Nathan Detroit.

Nicely Nicely Johnson is played by Noah Hickling. Just like his name suggests, he is the nicest and cheeriest of the gambling crooks. High-spirited and a bit naïve, but sincere and genuine. Nathan’s loyal friend and lackey. This young man has one of those mobile faces and he can make you smile with just a change of expression. I have really been impressed with his vocals in past shows but in this show his vocals are true musical theatre vocals. It's not easy to maintain a constant accent like Nicely's, but to also sing in accent is even more difficult but Noah does both brilliantly. Just listen to "Sit Down You're Rocking The Boat", one of my favourite scenes in this production. Plus the rapid wordplay in "The Oldest Established" is performed, not just delivered. This young man is becoming an all rounder with his vocals, acting, dancing and comedy skills; Noah is more than ready for leading man parts.

Blake Hagan plays Lieutenant Brannigan, the hapless B - Movie type cop, chasing his tail trying to catch Sky, Nathan and the rest of the players.

Heather Beardmore plays Harry the Horse who is entertaining Big Julie while he is upstate.

Benny Southstreet is played by Harry O'Boyle. Nathan’s right-hand man and a gambler himself. Smart, slick, always moving and shaking, but with what he thinks are Nathan’s best interest at heart. Another consistently excellent character acting job by young Mr O'Boyle.

Yasmin Aldous plays Rusty Charlie, the gambling sidekick of Nicely Nicely and Benny Southstreet. These three roles are so well cast because they all require actors who are naturally funny and can sing in three part harmony, as showcased in the opening "Fugue For Tin Horns".

Jessie Gatehouse plays Big Julie, who is in town to "shoot crap", not a bad loser, it's just that he always likes to win! With a moustache and beard drawn on to her face, Jessie is completely transformed into this greedy gangster. Another fine stage combat scene is where Sky punches Big Julie during the "Luck be A Lady" section, and the timings on that punch was impeccable by both Oliver and Jessie that it looked incredibly real

Lowri Moore is Angie The Ox, another one of the gamblers.

Myla Statham-Browne is General Matilda Cartwright who has come to town to tell Sarah and the Missionaries that they have to close this missionary post down but not even Matilda B Cartwright fails to not fall under the spell of the beguiling Sky Masterson, and allows them to prove the success of the missionaries.

Arvide Abernathy, Sarah's Uncle and fellow Mission worker, is played by Gabriella Tilley. There's a lovely scene in the second act where Sarah confesses to Arvide that she does love Sky, but she will not see him again. Arvide expresses his faith in Sky's inherent goodness and urges Sarah to follow her heart and sings "More I Cannot Wish You"

Agatha is played by Jessie Jerram, Mollie Jerram is Martha, members of the Mission group.

Xander Thorpe plays Joey Biltmore, the owner of the garage where Nathan wants to hold the secret crap game at.

Emily O'Boyle is the Master of Ceremonies who introduces Miss Adelaide and the Hot Box dancers.

The Hot Box dancers are played by Lowri Moore, Eloise Chamberlain, Yasmin Aldous, Sophie Forman, Lauren Hazledine, Clarissa Armitage, Juliette York and Tayla Dilks. The choreography for these dancers is fantastic and these young actors create a Hollywood nightclub style vibe in both big numbers "A Bushel and A Peck" and "Take Back Your Mink"

Rose Staniford and Eva Woodcock have ensemble roles.

Directed by Anna Fitzpatrick. This is the full version of the musical but with a few trimmed bits I noticed, which I felt enhanced the enjoyment of the show. The section in Havana had been trimmed slightly and I loved the flow and stage combat of that section which was almost balletic. The pace was perfect as was the comedy and the wonderful accents from everyone.

Choreographed by Sophie Robbins and assisted by Katie Chamberlain. So many choreographic highlights in this production for me. The crap game in the sewers was done in silhouette and was almost cinematic. The Havana scene had a big impact with it being trimmed down flowing into the fight scene with Sarah and the Havana dancers. This is one of those wonderful classic musicals where there are lots of choreographed scenes and every scene was just a joy to watch.

Musical Director is Martin Lewis, who knows his way around where musicals are concerned, and his experience, on and off stage, reaps so many dividends when it comes to big scale musicals such as this. The score sounded classy, which is something that martin brings to any MD job.

The soundtrack is full of classic musical theatre songs that have become favourites in the Great American Songbook; songs like "If I Were A Bell", "A Bushel & A Peck", "I've Never been In Love Before", "Luck Be A Lady", "Sit Sown You're Rocking the Boat", "Marry the Man Today" and of course the title song.

Costumes were thanks to EMUS Committee, friends and family and were marvellous. I loved the smart suits for the gamblers and also loved the costumes for the Hot Box dancers.

Set Designers are Mark Robbins and Bill Robbins.

Sound design and operation is by Dave Dallard, assisted by Jack Clark, and everyone who was mic'd up in the production was heard perfectly, and no missed mic cues.

Lighting design and operation is by Richard Chamberlain, assisted by Dave Martin. A colourful musical which was complemented by a colourful lighting design.

Having had the pleasure of reviewing EMUS for quite a while now, I get to see the theatre journey that these young people travel down. I see them grow and their talents get better and better. I hear the male actors' voices breaking and their development and growth from ensemble to leading man roles. I also get to see the ladies blossom and their voices get stronger and fill out. This musical is an absolute classic, and not the easiest one for a youth group to take on, but I think that I can honestly say that all the actors have moved up another rung of their dramatic ladder and have given audiences possible one of the best productions from EMUS on Thursday night. If you've already got tickets for the rest of the run, you are in for an absolute treat. Don't gamble on tickets being available because I bet they'll all be gone by Saturday!

 

The Red Shoes
Matthew Bourne
National Tour
Nottingham Theatre Royal
3 February 2026

Matthew Bourne’s The Red Shoes is a story filled with strong characters and powerful dancing. As someone who doesn’t usually watch ballet, I found it surprisingly easy to follow. Bourne’s focus on character and emotion makes the ballet accessible and very engaging.

At the heart of the story is Victoria Page, a young dancer driven by fierce ambition. She is passionate, disciplined, and desperate to succeed, but also fragile. She believes dance will give her everything, without realising what it might cost her. Tonight, Victoria is played by Cordelia Braithwaite, who was outstanding. The role demands both emotional and physical stamina which she has in abundance. She balanced vulnerability with determination as the pressure around her slowly increases.

Running the dance company is Boris Lermontov, played by Andy Monaghan. He is cold, controlled, and completely devoted to the work, believing art must come before love or happiness. He is fascinating to watch and his stillness contrasts sharply with the emotional damage he causes. He is frequently isolated on stage which makes his power and single-mindedness in life and work very clear.

Dominic North, who I have seen several times, plays Julian Craster, the young composer. He is warm, impulsive, and emotionally open, representing a more human way of living. His presence softens the mood whenever he appears, and his relationship with Victoria, along with his clash with Lermontov, sits at the heart of the story.

The supporting characters add real depth to the ballet world. Ivan Boleslawsky (Will Bozier), the company’s star dancer, is flashy, arrogant, and exciting to watch, but clearly unstable. His dancing feels dangerous and exaggerated, which perfectly matches his personality. His wife, Irina Boronskaya (Katrina Lyndon), contrasts him with her elegance and quiet sense of disappointment; her movements are controlled and emotionally restrained. Together, they reveal a world where talent, ego, and personal collapse exist side by side. Glenn Graham, as the Ballet Master Grischa Ljobov adds warmth to the company scenes and is good to watch.

The rest of the cast are excellent. Whether playing dancers, backstage staff, or figures from Victoria’s imagination, they work as a tight, expressive group. Bourne uses them brilliantly to create atmosphere, from tense rehearsal scenes to high-pressure performances under harsh lighting, and darker moments where reality begins to blur. Even when not the focus, they are always contributing to the story. Tonight’s cast included Rosanna Lindsey, Shakiera Ward, Daisy West, Isabella Chandler, Jarrod McWilliams, Matthew Potulski, Kingston Taylor, Thomas Ireson, Molly Shaw-Downie, Tom Barnes Standing, and Mark Austin.

The design of the production is excellent. Paule Constable’s lighting plays a large part in shaping the story, shifting from bright, exposed rehearsal spaces to darker, moodier scenes as Victoria’s world begins to disintegrate. Sudden changes build tension, while warmer lighting is used sparingly but to great effect. The moving theatre frame at the centre of the set is highly effective, constantly changing position and angle to keep the action moving at pace. The use of projections by Duncan McLean is dramatic and impressive – I honestly don’t know how they make it work, but it really does.

Music and sound are central to the experience. The recorded score is glorious and fills the theatre with rich sound (Paul Groothuis), supporting both the drama and the choreography. It includes well-known music, with orchestrations and additions by Terry Davies.

Visually, the show is stunning. Lez Brotherston’s sets and costumes move smoothly between the real world and Victoria’s darker thoughts. The costumes do more than look good; they indicate status, emotion, and change. The red shoes themselves glow under the lights and feel almost alive, becoming a powerful presence on stage.

This touring revival shows exactly why The Red Shoes is often described as one of Matthew Bourne’s best works. It is dramatic and emotional, yet easy to watch. Its strong design and exceptionally talented cast bring the pressure and glamour of the ballet world vividly to life. I can’t honestly say I understand every moment, but it is always compelling and beautiful to watch. Mention also needs to be made here of the Associate Director and Choreographer Etta Murfitt for her contribution to this.The standing ovation at the end was completely deserved, with the cast accepting the applause in classic ballet style.

I’m not a ballet expert, but I thoroughly enjoyed this production. I’m a big Matthew Bourne fan and am already looking forward to The Car Man, which comes to the Theatre Royal in the autumn. It will be the third time I’ve seen it, and I wouldn’t dream of missing it.

Beauty and the Beast
The Kaleidoscope Players
The Duchess Theatre
Long Eaton
January 31st 2026

The Kaleidoscope Players finished their run of Beauty and the Beast last night at the Duchess Theatre and it was a great success. The show was full of energy, with plenty of jokes, catchy music, and lots of interaction with the audience. It had everything you’d expect from a traditional pantomime, along with some fresh new elements.

The story was a little different from the traditional Beauty and the Beast, but was very entertaining. It follows Belle, a clever and beautiful young woman who heroically takes her father’s place as a prisoner in a remote, enchanted castle. There she encounters the Beast who is, in fact, a Prince cursed by an evil witch. To break the spell, he must find true love before the last petal falls from a magical rose.

The principal actors all gave very strong performances.Alice Goodall, as the heroine Belle, is a very accomplished actor with a fabulous singing voice. She brought plenty of emotion to the role, as well as great comedy.

Jason Kramer was a very strong Beast, and Evie Barfield as Prince Louis was excellent. The use of two actors for this role worked extremely well, and the transitions between the two were very smoothly handled.

Shannon Smart, as the prince’s servant Jacques, gave a confident and often amusing performance.

Paul Margett played Dolly Jolly with excellent comedic timing, but in a slightly quieter style than some pantomime Dames which I really liked. He delivered some excellent one-liners, and his facial expressions were particularly effective.

Zoe Shepherd, as Rose the Fairy, gave the show a bit of a French ’Allo ’Allo! feel. She is a superb actor who worked the audience very well.

Emily Mughal was fabulous as the vain Jean-Claude, and Lucy Cadney was not only delightfully evil but also very funny as the villain, Countess Cruella.

The comedy duo of Mikey Panichi and Tessa Raum, who played Belle’s sisters, were consistently funny throughout, and especially brilliant in a slapstick beauty parlour scene.

Belle’s father, played by Ron Murfin, gave a solid performance and worked very well with the pantomime horse, played by Jess and Charlotte. Their movements were perfectly coordinated and a joy to watch.

The rest of the strong cast played an assortment of characters: Josephine Walker (Madame Tricot), Rebekah Street (Madame Botox), Beth Margett (Jean-Claude’s PA), Caitlin Wright (Tarquin), Lily Rawson (Tiffany), Olivia Parker (Chelsea), Samantha Moss (Svetlana Moss), Lauren Victoria Wells (Portrait), Hannah Bradford (Ensemble), Michelle Bradford (Ensemble), Amy Bradford (Portrait), Freya Moseley (Ensemble), Julie Black (Ensemble), and Rachel Robinson (Ensemble).

The young cast members also brought a great deal of enthusiasm to the stage. I was very impressed by their high standard of dancing and singing. They were Alex, Elise, Ava, Rosie, and Madison.

Musically, the production was very strong. Musical Director Bethan Davies-Taylor has clearly worked hard with the cast to achieve such a high standard of singing. The mix of live and recorded music worked well, and the three live musicians were excellent.

The dancing, including some ballet, was impressive, and choreographers Evie Barfield, Amy Bradford, and Josephine Walker deserve congratulations for their work along with the Dance Captain Hannah Bradford.

The technical side of the show was very professional, with lighting and sound working perfectly throughout. One particularly striking scene in the second half used ultraviolet (black) lighting to make fluorescent cups, cutlery and plates appear to dance while the actors remained unseen. This was very impressive and, in my opinion, the best use of this effect I have seen at the Duchess.

The sets (Dan Goodhall, Barry Smith, David Dilmore, Des Dunn, Ron Murfin and members of the cast.) and costumes (Denise Brown and Debbie Weetman), looked great. it was refreshing to see a production that relied on physical scenery rather than digital projections often seen these days.

Director Amy Bradford and the rest of the creative team clearly put a huge amount of work into making the show run so smoothly. The creative team included Alice Goodall and Samantha Moss (Producers), Martin Church and Sammy Hempsall (Stage Managers), Aaron Mace (Lighting Design), Aaron Mace and Jack Clarke (Technicians), Jason Kramer (Prosthetics), and Kerry-Ann Roe, Debbie Weetman, and Fiona Church (Props).

The show ended with an excellent finale that the whole cast clearly enjoyed performing and I really enjoyed watching.

This was a high-quality production that sets a great standard for the group’s future productions. I’m already looking forward to seeing their version of The Wizard of Oz in July.

 

The Signalman
Middle Ground Theatre Company
Derby Theatre
January 27th 2026

There are plenty of chills here and not just from the creepy atmosphere - the billowing smoke from the dark chasm of a railway tunnel, the sudden thunder of a train upon the track and the haunting background sounds of a moonlit night. We’re left in no doubt that something very strange is happening books suddenly fall off shelves, cupboards rattle with untold terrors, lights flicker and the mouth of that tunnel threatens more than just smoke...

Originally from the pen of the master storyteller, Charles Dickens, this adaptation by Francis Evelyn tells the tale of a terrified signalman who unburdens himself to a traveller who chances upon his isolated signal box. He gives a chilling account of a spectre that haunts him, and the terrible disasters that follow each appearance…but what horror will the ghost warn of next?

Dickens was deeply affected by his involvement in the Staplehurst rail crash of 1865 and it could have been this experience that led him to write about a ghost who foretells terrible railway disasters: one of the first stories to link steam trains with the supernatural. Francis Evelyn extends the original story with background detail, some extra characters and informative historical context, but is true to Dickens’ vividly descriptive style.

The set is a work of art, designed by director Michael Lunney with the sort of attention to detail that both lovers of the railway and of the ghost story genre will appreciate. The railway lines appear to reach deep into the forbidding blackness of the tunnel, the moonlit bushes rustle in the breeze and in stark contrast, the brightly lit interior of the signalman’s box rises above. The clock, the fender, a crucifix, a steaming teapot, books, an array of levers; a visual treat of authentic detail which becomes a feast for the senses. The wind howls and the trains thunder past into the distance as the story unfolds. Then the light flickers and those other noises begin...

Chris Walker is the deeply troubled Signalman who unburdens himself to John Burton’s sympathetic but gently cynical Traveller. Excellent character portrayals as the Signalman doggedly resigns himself to his fate and the Traveller finds his commitment to the rational being challenged. Both actors bring nuanced meaning to their dialogue and to some periods of effective silence in between. The supporting cast of Bruce Chattan, James Morley, and Adam Mort provide further details and enhance the impact of the story.

Lots of exposition in the first act, so the audience have to be good listeners and perhaps a couple of the frights are a bit Scooby-Dooish. But it stays the right side of cartoonish, as that evocative set keeps the action real and there are times when the creepy atmosphere makes a sudden shock truly scary. Quite a few eyes tight shut at those points.

 

Single White Female
National Tour
Theatre Royal Nottingham
January 20th 2026

Rebecca Reid’s adaptation of the 1992 film Single White Female changes much of the action, moves the setting from New York to London and brings it sharply up to date. What she does retain is the gripping premise of a stranger who insinuates herself into the lives of her new flatmates, with horrifying consequences.

Allie, a single mother, moves with her 15 year old daughter Bella, into a swish looking apartment block, only affordable because it’s actually shabbily built and dreadfully noisy. It is not what it seems. When the payments from her ex husband Sam are reduced, her business partner and neighbour Graham suggests she advertises for a flatmate, to share the costs. Enter Hedy, a photographer who just needs a base between work trips, so will be away a lot. Perfect. But she is not what she seems...

This play grips in the way the big soap storylines do: ordinary people who we can recognise and identify with become caught up in extraordinary events that cause their lives to spiral out of control. It’s heightened reality, it's often far fetched and yet it’s convincing - we want to keep watching, to find out what happens next. Rebecca Reid capitalises on this, her characters are modern, flawed and have intriguing back stories. They use social media, airdrop and even weight loss jabs; their reality is established and we invest in them, overlooking the ridiculous. Just tell us what happens next!

It’s not just the writing that keeps us engaged: there are powerful performances from the whole cast. Lisa Faulkner as Abbie and Kym Marsh as Hedy excel, taking us convincingly from the quotidian to the nightmarish, as Hedy’s true intent is revealed. Amy Snudden as Bella captures the language of a bullied, insecure teenager superbly, with the mood swings, shrugs and slams that anybody with a teenager will recognise! Andro plays the supportive, witty and perceptive Graham and Jonny McGarrity is ex addict Sam, who treats the women in his life with some disdain – and lives to regret it.

There’s no whodunnit here, even those who haven’t seen the film realise quickly that this new flatmate is out to spoil things, but it’s the atmosphere and increasing tension that bring the psychological thrills. This is down in no small part to the very powerful sound and lighting that bring Morgan Large’s set to chillingly to life. The flat is oppressive and increasingly forbidding as the exaggerated sounds of the door buzzer, the lift and the faulty tap threaten to overwhelm and the tubular lighting starkly takes us from the present to the past. A hauntingly lit piece of scenery at the top of the proscenium is accompanied by poignant sounds from Hedy's past. They hit the spot.

Director Gordon Greenburg keeps the action brisk and drops the hints entertainingly, causing some in the audience to laugh delightedly as the thuds become louder and Hedy’s appearance and demeanour change. Actions are telescoped for pace, relying perhaps a little too much on the suspension of disbelief – some timings are unrealistic and food is discarded without being eaten. But the cleverly lit, well choreographed denouement satisfies and the final tragic twist, which belongs very firmly in the present day, resonates with a modern audience.

For those who have seen the film this adaptation captures the spirit of the original and makes a few direct references to it, but provides a new character, new motivations and very different consequences. For others it’s two hours of the sort of story many of us enjoy on TV, but with the intimacy and immediacy of live theatre.

The Nutcracker Prince
The Young Performers
Duchess Theatre, Long Eaton
January 15th 2026

This production of “The Nutcracker Prince” by the Young Performers, is a pantomime version, loosely based on Tchaikovsky’s The Nutcracker Suite. It was written for the Young Performers by Patricia Freer and Barbara Moran. I really enjoyed it and the young cast did very well.

It is a lively tale of Franz and Clara’s kidnapping by the villainous King Rat, sparking a magical rescue quest led by Laura and the newly freed Prince Valen. With enchanted kingdoms, colourful characters, music, mayhem, and plenty of pantomime fun, it delivers all the classic goodies, baddies, and panto sparkle.

The Principal Cast do exceptionally well. They do not just perform the story, they really throw themselves into it.

Leading the main cast are Paige Bone (Prince Valen), Clarissa Armitage (Laura), Lexie-Mae Hart (Nanny), Finlay Tomlinson, (Grandfather), Mily Hopkins (Clara), Evie Yates (Franz), Daniel Swan (King Rat). They all impressed me.

They are very well supported by Millie Weston (Dribble), Alex Povey (Drivel), Violet Graney (Twitch), Imogin Scott (Snitch), Jamie Higgins (Mergus), Neve Johnson (Auralia), Lottie Ellis (Eleane), Evie Perks (Fallandra), Alexa Lewis (Malpoda), Sophie Longcroft (Mother Nature), Keeley Rickerby (Sweetpea), Izzy Pickering (Primrose), Daisy O’Connor (Poppy), Molly Price (Snowdrop), Emily Wilkins & Livvy Read (Randolph), Remy Read & Heidi Parsons (Ria).

The ensemble is a joy to watch and listen to. Featuring confident performances by A J Chamberlain, Alexia Simpson, Amelia Baker, Archie Brooks-Ball, Elijah Green, Emily Mae Taylor, Emmie Simmonds, Megan Shackleton, Mia Allen, Millie Newbold and Olivia Monk. There is some great dancing, ballet included, and good chorus work throughout.

The production team deserves much credit for the show’s success. Under the direction of Vicky Byrne and assistants Ella Charlesworth and Lewis McDowell, the production moves at a brisk pace. Together with production designer Lewis Cuthbert, they ensure the stage is used to its full potential, with a cast that navigates the space with confidence.

The technical execution is seamless. Scene changes, managed by Royden Charlesworth, Eva O’Riordan, and Lewis Cuthbert are swift and efficient. The scenery (Roydon Charlesworth) and the effective use of projections (Gizel Chaparova) provide a stunning backdrop.

Musically, MD Harvey Tavener has clearly worked hard with the cast to achieve a good standard of vocal performance. This is perfectly complemented by Lottie Ludlow’s exciting choreography, which integrates beautifully with the story. I really enjoyed the routines that were well performed.

The visual appeal is further enhanced by lovely costuming by Sarah Charlesworth, Andy Cook, and the Friends of YPs. Finally, Olivia Michaud’s sound design and the lighting by Dave Martin and Maddie Taft were spot on. Every word was clear, and every scene was bathed in beautiful, atmospheric light.

This production of "The Nutcracker Prince" is a delight that captures, in panto style, the magic of the story. From the excellent cast to the good technical execution, every element works in harmony to create an enjoyable theatrical experience for all ages.

There was a very enthusiastic ovation at the end from the audience during the excellent finales. It is very well choreographed and performed. I love a great Finale!

Pantomime is not an easy genre especially for young performers, but I was impressed by the skill shown by the main principals, who responded well to the audience reactions.

Northanger Abbey
Your Chance Productions
Duchess Theatre
5th January 2026

The Georgians come to the Duchess Theatre this week with this adaptation, by Matthew Francis, of the wonderful Northanger Abbey. Published in 1818, after Jane Austen’s death, it was written some years before and is full of the humour, wit and social commentary that she had honed as a juvenile writer - through her prolific output for her family - between the ages of 11 and 18. It’s got everything Austen fans l

ove: a sympathetic but flawed heroine, a self assured hero who is willing to change, a bore, a cad, a middle aged social climber, a flighty friend and an upper class snob who will listen to no-one. Added to that is the context of the absurdity and sensationalism of popular Gothic literature, a genre which strongly influences how the heroine interprets her life and social interactions. It’s a delicious mix.

Catherine Moreland is seventeen, living a quiet life in a parsonage with her parents and many siblings, enlivened only by the thrilling Gothic novels she reads. Invited by her wealthy and rather superficial neighbour, Mrs Allen, to spend a season in Bath, she arrives full of naivete, but also with the assurance that everything will work out just like it does in her books.

Introduced to the lively Isabella Thorpe and her loquacious brother John, Catherine is thrilled to realise her new friends already know her brother James, who quickly becomes engaged to Isabella. So far so good, especially as the charming Henry Tilney has caught Catherine’s eye; two happy matches must surely follow. Not so, as Catherine has to avoid the unwanted attentions of the tedious John, watch her trusted friend Isabella flirt with a perceived better catch and then suffer the shame of her own most embarrassing behaviour...

Samantha Hempsall plays Catherine Morland beautifully, a huge part with lots of dialogue which she delivers flawlessly and with charming characterisation. When Catherine is invited to Northanger Abbey by Henry Tilney and his sister Eleanor we see the effect of her reading upon her, as she imagines all sort of Gothic horrors within the stone walls, including the murder of the Tilney’s late mother. Sensitively played and evocatively created.

Using minimal scenery, just a few draped chairs and odd bits of furniture, the director Jessica Morgan-McClean relies on sumptuous costumes, background sound and lighting to create place, time and atmosphere. The bustle and sounds of the Bath Assembly Rooms accompany Alice Goodall’s wonderful Georgian dances, which the cast must have worked hard to learn. The supposed Gothic horror of Northanger Abbey is achieved by red lighting which takes us into Catherine’s fantasy world; masked characters add to the horror. Masking would have been familiar to the Georgians, so using it as a device to enable cast members to play more than one part is inspired. Jane Austen would surely have approved!

Darren Taylor plays the dashing Henry Tilney, Rachel Augustsson is a very lively and capricious Isabella Thorpe; Martin Weston shines as the lumpen John Thorpe; Alice Goodall is an endearing Eleanor Tilney; James Taylor is the earnest James Morland; Rachel Bates plays both the vacuous Mrs Allen and the forbidding Annette; Dan Bates is a splendidly awful General Tilney and Kourtney White plays both Mrs Thorpe and Mrs Morland.

A huge undertaking for this creative team and cast, as this is a long, wordy play that needs to move quickly through crisply delivered dialogue. More projection is needed from some of the actors, especially as the ceiling fans at the Duchess are so loud in the auditorium; some dialogue was completely lost. Some lighting also missed the spot at this first performance: these technical issues are ones that will be sorted out following feedback, letting this production truly shine.

It’s one that has stayed with me, reliving memories of the first time I read the novel at school and rekindling a love of the wit, warmth and glorious story telling of Jane Austen. I’m off to read it again.

Northanger Abbey and this lively cast of Georgians is at the Duchess Theatre until Wednesday 7 January.