The Spy Who Came In From The Cold
Theatre Royal Nottingham J
une 23rd 2026

Although there have been many film and TV adaptations of John Le Carré’s novels, it has taken sixty years to bring one to the stage. His celebrated Cold War thriller has been adapted by David Eldridge, closely following a plot that explores spying, deception, and the human cost of intelligence work.

In charge of East German espionage, British intelligence officer Alec Leamas is at the point of breakdown, after the murder of his last agent and the destruction of his spy network. Ready to retire and ‘come in from the cold’, he is persuaded by his elusive chief, ‘Control’, to stay for one final operation: a simulated defection to East Germany to frame the powerful Stasi officer Mundt, as a double agent.

Mundt's deputy, the Jewish Jens Fiedler, already suspects his superior may be a double agent and could be unwittingly brought on side to oust him from power.

As Leamas embarks on what turns out to be a deeply complex mission in which it’s impossible to tell who is telling the truth and who is being the most manipulated, he develops a relationship with Liz Gold, an idealistic librarian. What begins as a calculated operation gradually becomes a hideous personal struggle, causing Leamas, for the first time to confront the moral cost of the cold war between the opposing sides of the Iron Curtain.

Beautifully produced to give a real feel of the noir era spy films, the play sustains a bleak and menacing atmosphere that draws the audience into the very dark world in which Leamas operates. Although I ‘lost the plot’ several times and couldn’t quite understand the machinations of the espionage, I was always fully engaged. Wonderful ensemble work, where actors play more than one part, fills the stage with interesting characters and imaginative choreography takes us to busy streets, the Labour Exchange, the queue at the grocer’s shop.

Scene changes are swift, as the cast bring on scenery and props, changing from the opulence of Kensington, to Leamas’s seedy flat, to an interrogation cell, or to a sinister tribunal. The physical pace is matched by the gripping storytelling, as we see the intelligence services manipulate people, lie, and sacrifice individuals for political goals. The question running through the story is whether the ends can justify the ruthless means...

Ralf Little is the emotionally detached Leamas, worn down by years of deceit, double crossing and even murder, and having no contact with any family. Speaking in short, flat sentences in a very restrained and clipped style, he perfectly conveys someone who is emotionally bankrupt. As he begins to question his role, particularly when he starts to care about someone else, and also when he realises that good and evil don’t fall neatly either side of the Berlin Wall, he shows more and more emotion.

There are strong supporting performances by Gráinne Dromgoole, as the earnest and idealistic Communist Liz, Nicholas Murchie as the coldly efficient ‘Control’ and Tony Turner as the enigmatic George Smiley, who becomes a surprisingly significant influence on events. Peter Losasso chills as the sadistic Mundt and Eddie Toll is a thoughtful Fiedler, who has more than one reason to fear Mundt’s rise to power. A torture scene is vividly enacted and uncomfortably realistic.

A strength of Jeremy Herrin’s production is the insight into the mind of Leamas, as his thoughts and imaginary interactions with other characters are brought to life. Necessary exposition at the beginning of the play is kept pacy by this and other devices and all is enhanced by meaningful bursts of sound and lighting, so effective in the otherwise gloomy setting. The backdrop of bricks is starkly passive, until it assumes political significance at the tribunal and moves shockingly into focus in the final scene.

There are plenty of villains in this piece and probably no heroes; the main themes are manipulation, what happens to people when they spend their life living lies and how individuals can be expendable There is some redemption through love at the end of the story, but the human and moral cost of ideological and political warfare remains huge.

It’s well worth an evening in the welcome cool of the Theatre Royal, leaving the heat behind and experiencing this complicated but gripping Cold War saga.

Disney’s Dare to Dream JR.
The Duchess Theatre,
Long Eaton
The Young Performers (YPs)
17 June 2026

There is definite magic in packing 100 years of Disney history into a 60 minute show, but that is exactly what The Young Performers did tonight at the Duchess Theatre. Their production of Dare to Dream Jr. is a short but high energy burst of theatricality that features so much young talent.

Rather than opting for a straightforward musical revue, Dare to Dream Jr. follows a group of enthusiastic trainees on their first day at a fictional Walt Disney Imagineering Studio.

While the show pays tribute to some of Disney’s biggest hits, the real strength of this production lies in how confidently the cast tackles the varied musically demanding numbers including A Dream Is a Wish Your Heart Makes, I Just Can’t Wait to Be King, Let It Go, You’ve Got a Friend in Me, Dig a Little Deeper, Hakuna Matata / The Bare Necessities and I’ve Got a Dream. It’s a song heavy show, and they perform every number very well.

The cast was uniformly excellent. The named Player Roles roles were played by: Lottie Ellis , Alex Povy, Alexa Lewis, Olivia Hill , Mia Allen, Lexie Mae Hart , Neve Johnson, Remy Read , Evie Perks, Jamie Higgins, Frankie Burden, Clarissa Armitage, Isobel Pickering, Paige Bone and AJ Chamberlain.

The dance ensemble consisting of Alexia Simpson, Megan Shackleton, Molly Price and Violet Graney is superb, and it is a real treat to see all their dance moves including some very accomplished tap.

The wider ensemble also delivers strong performances including some impressive whole cast routines. They are:

The Dare Ensemble: Daisy O’Connor, Elijah Green, Emily Wilkins, Imogen Scott,Keeley Rickerby, Mily Hopkins and Olivia Monk.

The Dream Ensemble: Amelia Baker, Archie Brooks Ball, Emily Mae Taylor, Emmie Simmonds, Livvy Read, Millie Newbold and Sophie Longcroft.

Many of the 20 or so songs in the show are challenging even for adults, yet the young performers showed excellent vocal versatility throughout. Solos were delivered with control and emotional depth. The Musical Director, Vicky Byrne, has clearly worked very hard to achieve such a high standard of musicality from the whole cast.

The choreography by Lottie Ludlow ensured that the full company numbers had considerable energy and excitement. The movement is tight, expressive and makes full use of the stage without making it ever feel cluttered.

Direction by Lewis McDowall kept the pace brisk and the storytelling clear. Well done for what I think may be his first production in the role. Ella Charlesworth also assisted with the direction and choreography.

The costumes organised by Sarah Charlesworth were very impressive too and added to the Disney Magic.

The YPs traditionally build their own sets and the “studio workspace” looks great. Designed and constructed by the YPs’ Young Techies under the guidance of Stage Manager and Set Designer Roydon Charlesworth, it was clean, functional and cleverly decorated with illuminated images of Disney characters. Finlay Tomlinson also helped with the stage management. For the record the “Techies” are Eva O’Riordan, Liv Michaud, Gizel Chaperova and Maddie Taft. It’s good to see this group becoming more and more involved every show.

Lighting by Dave Martin and Maddie Taft and sound by Olivia Michaud are excellent throughout.

The Young Performers have been a respected part of the local theatre scene since 1985 and Dare to Dream Jr. is a reminder of exactly why they’ve earned so many regional awards over the years. It is a fast paced, beautifully sung hour of musical theatre that left me smiling long after the finale. Incidentally, I love a good Finale and this show has one. Well done, Lewis and his production team.

All involved in this show should be very proud of what they achieved tonight. If you need reassurance that the future of local theatre is in safe hands, this production provides it. This is an infectious, brilliantly performed show that proves no stage is too small for big dreams.

The Park Bench
The Watson Players
Shakespeare House,
Derby June 10th 2026

There’s often drama to be found in the everyday lives of ordinary people and that’s what Ashley Burgoyne has captured here. Casting an eye on a single park bench and eavesdropping on the folk who sit on it, the play explores the unexpected relationships that form during a series of humorous situations and comic misunderstandings.

As Charles returns to talk to his late wife on the bench they always shared, a range of other people turn up, tell their individual stories and create an intriguing new one together. Although the situation becomes a little larger than life and the dialogue is written for laughs, these are real, credible people. It’s this that director Nigel Taylor and the cast have concentrated on and, through very naturalistic delivery, created people we can identify and empathise with.

Mike Smith is the eccentric, but kind and thoughtful Charles, managing his grief by chatting to his wife about his daily life. Mike captures his warmth and wisdom, while fully conveying his slightly dotty personality. Usually methodical and claiming to have never lost anything before, he is puzzled when he cannot find an important bag, that he recalls having last time he visited the bench...

Ryan Barber plays the stressed Ian, who joins Charles on the bench, bemoaning the indiscretions that have forced him to ring his wife every lunchtime, to reassure her that he is behaving himself. A lively, but self effacing character, who recounts an amusing tale and delivers lots of other sharply written and perfectly timed dialogue. A phone call to his wife provides a comic highlight, as it is heard simultaneously with that of another character, single mother, Stacey. Shades of The Two Ronnies here!

Stacey has her own amusing anecdotes to recount and Ciara Beighton’s cheerful but deadpan delivery is spot on. Full of comic energy, she swaggers, grimaces and cleverly introduces hints of aggression into her tone when she feels threatened. Hints of her troubled past may implicate her in the mysterious disappearance of Charles’ bag and it’s Ian’s wife Linda, who first suggests this.

Bekki Armstrong charms as the troubled but kind Linda, who, thanks to Charles’s advice, begins to forgive her husband and despite her suspicions, befriends Stacey. A catalyst for the action, she has her own solution to the problem of the missing bag, one which leads to unexpected developments.

Watching the interactions of the visitors to the park bench are two ‘geocachers’ (they use GPS to hide and seek containers), Tina and Colin. Indulging their recreational activity on a daily basis, they think they know why Charles’ bag has disappeared and the role the others play. Laying a trap to catch the perpetrators, they end up needing more than satnav to find their own way out. A wonderfully played double act, they have a sniping, but obviously warm and co dependent relationship.

Karen Jones is the long suffering Tina, who is always one jump ahead of her husband, yet becomes a willing accomplice in his wild scheme. James Ash plays the ultimate geek, Colin, who pontificates and complains doggedly, yet backs down and apologises readily. Delivering comic dialogue while convincingly drinking tea and eating sandwiches is no easy task! Kudos also to Angela Baradell and Regina Repton for all the props, which add very satisfying realism.

The director brings his own imaginative flair to scene changes in a series of amusing vignettes from the ensemble that show us some of the other visitors to the park. Characterful, varied and very entertaining, they are also lively musical interludes that perfectly capture the mood. The rest of the time the pace is gentle, gentle enough for us to hear every word and appreciate the captivating writing and clever word play. The complete clarity of this is down to the fluency and confidence of the cast.

We only get a glimpse into the lives of these characters as the story unfolds and the mystery is solved. That we are left wondering about them and wanting more details is a mark both of the writing and of the way they have been brought so vividly to life by the Watson Players.

The Choir of Man
UK Tour 2026
Nottingham Theatre RoyalJ
une 9th 2026

If you’re after an evening of serious high drama, The Choir of Man isn’t it. But if you want a brilliant, feel good night out that sends you home smiling, this show is perfect. Opening its latest UK tour at Nottingham’s Theatre Royal tonight, it felt less like a standard musical and more like the best night out at the pub. I thought it was a great show and loved every minute.

The Choir of Man was a hit in London’s West End at the Arts Theatre, drawing big audiences and earning award nominations, including “Best Entertainment or Comedy Play” at the Olivier Awards.

The set looks exactly like a traditional British pub, complete with a working bar on stage. From the start, the atmosphere is warm and welcoming. Audience members are invited up on stage for a free pint and a chat with the cast, something I’ve never seen before. It even happens again during the interval. I can confirm the beer is pretty good.

The “plot”, if you can call it that, is simply a classic night in a pub. Nine normal men, each with nicknames like The Pub Bore, The Romantic and The Handyman, form the pub’s “choir”. Led by a narrator called The Poet, played superbly by Oluwalonimi (Nimi) Owoyemi, they sing, tell stories, and share moments from their lives through the spoken word and well known songs.

The music ranges from rock and pop to folk, with hits by Queen, Adele, Sia, The Proclaimers and more. All are performed in ways that fit the pub setting and the relationships between the characters.

This is a show about community, friendship and the importance of the local pub. It also touches on men’s mental health, showing that it’s okay to open up and support each other.

The nine performers are hugely talented. They are not only strong singers coping well with tight harmonies, but also musicians and dancers, with some great tap moments. I especially enjoyed the a cappella numbers. The cast work as a true ensemble, and every one of them adds to the success of the show. The cast is:

Gustav Melbardis (Maestro), Oluwalonimi (Nimi) Owoyemi (Poet), Levi Tyrell Johnson (Hard Man), Ben Mabberley (Joker), Rob Godfrey (Beast), Jack Skelton (Handyman), Joshua Lloyd (Barman), Sam Walter (Romantic) and Aaron Pottenger (Bore).

The show is full of energy and fun. At just over two hours including an interval, it flies by. It mixes loud, lively sing alongs with quieter, touching moments about male friendship and community. Director Nic Doodson keeps everything moving at a great pace.

By the final numbers, almost the entire Theatre Royal audience was on their feet clapping, dancing and singing along. It’s warm, funny, musical and great fun. I wasn’t sure it would be my cup of tea, but I enjoyed every minute.

At the end of the performance, the Musical Director came on stage to tell us that more than 200 singers from local community choirs were in the audience. They had prepared a version of Sia's Chandelier, which they sang a cappella with the cast. The sound was wonderful, and it earned yet another standing ovation, one of several throughout the night.

This was a fantastic evening at the theatre, and I can recommend it completely. Grab a ticket if you can before The Choir of Man leaves Nottingham at the weekend — you won’t regret it.

Murder in Play
Belper Players
Strutts Centre,
Belper June 4th 2026

Director Boris Smolensky has his work cut out trying manage a cast of rather incompetent and unruly actors, who are more interested in romantic entanglements and backstage feuds than their performances. Thankfully, Boris is not directing Simon Brett’s comic murder mystery, but “Murder at Priorswell Manor’, a play within the play. Even more thankfully, all of the talented Belper Players cast remain intact, while one of their fictional counterparts gets murdered...

Directors Patricia Church and Louisa Jenkins and the cast have lots of fun bringing this dual action whodunnit to life: combining farce with some classic murder mystery twists. Simon Brett’s lively characters are well drawn, amusing and instantly recognisable, with some actors playing more than two parts. The direction ensures there is no confusion about where the action is taking place: the play Boris’s company attempts to rehearse is lit differently and the hammy attempts of his actors are clearly contrasted with the characters who are playing them and their backstage story. It’s no mean feat to act an actor, then act them acting a part... so bravo to all!

Terry Stevenson is delightfully awful as the pompous Boris, who frantically rewrites his play while shouting at and bullying the cast and giving bizarre notes. Terry captures the inflated ego and the contrast between the overwrought tyrant and the wheedling seducer, who is interested in more than his leading lady’s talent...

That leading lady is the entertainingly vacuous Ginette Vincent, who complains that playing the equally vacuous Lady Virginia Cholmondley is not easy. Joanna Raisin certainly makes it look easy as she brings both vividly to life: the terrible hammy acting and the genuine bafflement of the sweet but naive person playing her. Ginette has plenty of motive for the murder that takes place, but is she capable of plotting and executing it?

Wise to the shenanigans of her errant husband Boris, is wily old trouper Renee, who brings old style gravitas to her role as Lady Dorothy Cholmondley. Full of ego and self importance, she’s sure that Boris will drop his latest dalliance and come back to her, as he always does. Unfortunately, fate intervenes, but not until we’ve had the great pleasure of Jane Robertson’s characterisations, her beautifully delivered put downs and her machinations as she discovers she has a hold over another member of the cast...

That other member is faded soap star Christa D’Amato , brought to life winningly by Gwen Murray, as she portrays Mrs Puttock, a lovely comic creation and later, Lady Cholmondeley. The repartee between her and Renee is a delight as they attempt to put each other down while maintaining a facade of politeness. Reminiscent of the sentiment in the song ‘Bosom Buddies’ sung by Mame and Vera in Mame, they make a great double act. Is the hold Renee has over Christa enough to make her do something drastic?

Another great double act are Tim Fermor and Sophie Lawton as they work together to solve the mystery, using Tim’s common sense and Sophie’s sleuthing skills. Obviously born and bred in the East Midlands, Tim is a jobbing actor who is hot on Equity rules and not averse to sending up Boris’ poor direction. A wonderful role for the versatile Mik Horvath, as he gets to play the no nonsense Tim playing the spiffingly brave Major Rodney Purbright, complete with facial tic and increasingly manic vocal delivery.

The sensible Sophie is resigned to bit parts - even though she once played Ophelia in cycle shorts and a t shirt- until events see her promoted from Triggs, the maid, to play the lead role of Lady Virginia. Was that her motive for murder? Abigail Evans keeps her straight, intelligent and highly observant throughout, as she doubts the verdict of the police and begins her own investigation. A very engaging and accomplished performance.

To add to the fun, during the interval of the play the audience are invited to make their own guesses, considering motive, means and method. Not easy to guess the identity of the murderer before Sophie does...

Adding even more to the fun is the archetypal old luvvie, the permanently inebriated and forgetful Harrison Bracewell. Nick Mothershaw has a lot of fun as Harry, as we see him ham up the bewigged Mr Papadopoulos in the play, but then continue to bumble around falling out of cupboards, searching for his whisky and trying to regale the cast with tales of other old luvvies. Some lovely physical humour , comic delivery and a startling vocal speciality that raises the roof. Perhaps too drunk to plan a murder, but is it all a facade?

Not drunk, ego driven or vacuous is the ever practical and long suffering Pat, the Stage Manager, who literally keeps the show on the road. Some imaginative direction places Pat in the background of many scenes, ever busy with tools, props or a pot of paint, and Megan Russell’s interpretation of the role is entirely believable. Shrugging off unreasonable demands, answering back when needed and even reluctantly accepting a role in which she acts hilariously badly, she is the backbone of the company.

The backbone of the Belper Players must surely be their production and creative team, who help to stage ambitious shows like this in what is simply a performance space, rather than a theatre. Nick Mothershaw’s set is evocative and detailed, strongly creating the sense of the set of Priorswell Manor; Josh Hall’s lighting and sound add immeasurably to the atmosphere and the varied costumes complete the picture. Add the talent of the directors and cast and the magic of theatre is created.

Shakespeare used the ‘play within a play’ device in several of his plays and it’s perhaps a nod to this that Simon Brett uses some lines from Hamlet to describe the trap that finally unmasks the murderer. All’s well that ends well and Belper Players have certainly done themselves and their 90th anniversary proud.

 

Fawlty Towers – The Play
National Tour
Nottingham Theatre Royal
June 2, 2026

Fawlty Towers has always been one of my favourite TV sitcoms. There were only 12 episodes, but every one of them is a comedy classic. So, when I heard it was being adapted for the West End by John Cleese and was now touring the UK, I couldn’t wait to see it. I did wonder whether it would work though as a 30-minute TV episode is very different to a much longer live stage performance.

Cleese has cleverly merged three of the best loved episodes: The Hotel Inspectors, Communication Problems (with the unforgettable Mrs Richards), and The Germans.

The production is enhanced by an incredible set, a two level replica of the Torquay hotel, complete with the famous lobby, office, a bedroom, and the dining room. It’s superb. Doors slam, Manuel darts around the tables, Basil tries to hide a betting slip from Sybil while dealing with Mrs Richards, and it all relies on perfect timing, of which there is plenty. Amazingly, it all runs smoothly, and the action never stops. Watching the cast pull this off gives the whole thing an energy that fills the theatre.

Of course, no one can truly replace John Cleese, Prunella Scales, Andrew Sachs or Connie Booth. But what makes this production work is that the cast don’t try to imitate them — instead, they capture the physical delivery and vocal nuances of the characters, making them instantly recognisable.

Danny Bayne has the tough job of playing Basil and he gets the mix of snobbery, panic and anger just right, along with fantastic physical comedy. He is tall with long legs which, like Cleese, he swings from side to side and up and down when required - particularly when with the Germans! Need I say more?

Mia Austen’s Sybil delivers the iconic screeching “Basil!” perfectly. Hemi Yeroham’s Manuel is full of warmth and humour, and Joanne Clifton is excellent as Polly, trying to keep everything together. Paul Nicholas makes a lovely, muddled Major, and Jemma Churchill’s Mrs Richards is every bit as formidable as she was on TV.

The supporting cast are strong across the board: Greg Haiste, Emily Winter, Dawn Buckland, John Hasler, Adam Elliott, Neil Stewart, Josie Brightwell, Ashleigh Harvey, Ben Jacobson, Matthew Gordon and Raymond Rose all add to the chaos and mayhem.

Fawlty Towers was brilliant on television, but on stage it becomes something else, a full-on, breathless experience. The audience isn’t just laughing at the jokes, but at the sheer speed and constant action of the production.

Caroline Jay Ranger’s direction keeps everything moving at a cracking rate while staying true to the pace of the original. The lighting (Ian Scott), sound (Rory Madden), make up and costumes all help recreate the crazy world of the show with real affection.

Fifty years on, Basil Fawlty’s manic personality is still a joy to watch. The hotel may be fictional and falling apart, but on stage it somehow feels like an old friend and so do the characters.I loved every minute.

As a fan of the show, it was perfection for me and it was great to hear the classic lines unchanged from the TV original. My favourite is probably “Don’t mention the war. I did once, but I think I got away with it.” I am certain that the audience in the theatre was waiting for that one from the start.

This production has certainly made me want to watch the TV series again if I can find it on catch up.

Come From Away
Carlton Operatic Society
Theatre Royal Nottingham
May 26th, 2026

What a wonderful night at the theatre, watching this incredible musical about the 7,000 or so air passengers who were stranded in Newfoundland following the 9/11 attacks in the USA.

This musical has received many awards since its first performance in 2013 and tonight I found myself totally emotionally engaged throughout, which was down to the brilliance of the show itself, but also due to the wonderful performances of the very talented cast assembled by The Carlton Operatic Society. Their productions are always very good, but I think this is one of the best I have seen.

It is incredible to think that the seismic events in September 2001 will be 25 years ago this year. It is often said that many people can vividly remember where they were when the twin towers in New York and the Pentagon in Washington were attacked.

Come From Away is not directly about the attacks in New York and Washington, but is about 38 commercial international flights that were forced to divert and land at a largely defunct airport in Gander, Newfoundland (a town on a large island off Canada's eastern coast). Virtually overnight, Gander's local population of roughly 10,000 people doubled as the stranded passengers from all over the world—speaking different languages and deeply traumatised—were welcomed into their community. The musical covers the tense, chaotic, and ultimately beautiful five days that the passengers spent stranded in the town.

The small Newfoundland community of Gander invited these ‘come from aways’ into their lives with immense generosity and kindness. We hear the stories of the bewildered passengers who have come from all over the world and meet the hosts who worked tirelessly to provide them with hospitality and friendship. In the original production, there were 84 characters in all, played by 12 actors, who moved smoothly from one to another. This production is different: there are 38 in the cast (some of whom played more than one character) split into two groups – Newfoundlanders and Come from Aways. In my opinion, this worked very well indeed. The show still moves very quickly and there is no interval, which I felt contributed to the overall momentum.

One of the important features of this show is that it is very much ensemble-driven. It is not composed of just a few leading characters, and therefore everyone must be given credit for superb performances throughout.Therefore, here is the cast in no hierarchical order.

Newfoundlanders: Danniella Anderson, Meghan Borg, Joe Butler, Jenny Chatten, Adam Collishaw, Claire Collishaw, Poppy Cook, Aston Fisher, Maddie Gradwell, Cliff Hart, Chris Heeley, Sarah Hill, Sam Howard, Celine McKeown, Gavin Owen, Katie Waller, Graham Ward, and Bekki Wilson.

Come from Aways: Wendy Austin-Giddings, Charlotte Barrington, Paolo Elias, Lizzie Fenner, Tobias T Fries, Fabian Golding-Williams, Riley Halls Backler, Hannah Haywood-Cupitt, Stacey Ireson, Lindsey Jacob, Alice Kirkby, Joseph Straw, Helen Taylor, Kate Taylor, Sarah Thompson, Helen Tunnicliff, Sam Turpin, Darren Ward, Abby Wells, and Oliver Wheddon.

The music by Irene Sankoff and David Hein suits the story beautifully and is heavily influenced by Celtic and Irish folk-rock. The musical numbers range from catchy, narrative-driven tunes to moments of poignant emotion and longing. A particular highlight is the rousing ‘Screech In’, where the stranded passengers are invited to down some local whisky, kiss a fish, and become honorary Newfoundlanders.

In stark contrast, the production hits a deeply moving emotional peak during ‘Prayer’, where people of different faiths gather to pray. Here, the modern version of the Prayer of St Francis (Make me a Channel of Your Peace) beautifully morphs into Jewish, Hindu, and Islamic prayers for peace. I found this incredibly moving and highly appropriate given some of the issues affecting our world today.

The set is simple and effective, and the frequent use and movement of chairs and tables to create different settings, including the interior of the plane, are seamlessly executed. There were absolutely no delays. The Stage Manager, Vicky Johnson and her team are to be congratulated for the smoothness of set changes.

The lighting (Tom Mowat) and sound (Rob Kettridge) are excellent and perfectly suited to the story. The decision not to use back projections is a choice I like.

Down in the pit, the orchestra sounds fantastic under the direction of MD Chris Rees. He has obviously worked incredibly hard with the cast, as the quality of the singing is absolute perfection throughout.

Director Rachael Rees (also choreographer) and her production team are to be highly commended for this fast-paced, beautifully directed, and memorable version of the show.

The final scenes are particularly good, as they offer hope for the future, affirmed by a joyous final Irish dance which is well choreographed and performed by the whole cast. It is a wonderful end to 90 minutes of great musical theatre.

I will be honest and say that the first time I saw this show here at the Theatre Royal in 2024 I was a little underwhelmed, but tonight I thought this one was stupendous.

Thanks again Carlton for yet another wonderful production. It continues at the Theatre Royal until Saturday May 30th. Do come and see it if you can.

Legally Blonde the Musical
Theatre Royal Nottingham
May 19th 2026

Starting off as one big blonde stereotype is Elle Woods, sorority queen of the Delta Nus, clad from head to foot in sparkling signature pink and desperate to marry her College beau, Warner. When he makes it clear that he needs a ‘Jackie’, not a ‘Marilyn’, someone serious enough to be the wife of a would-be senator, Elle is heartbroken. Heartbroken but not deterred, as she decides to follow him to Havard - not an easy task, as a collection of Vogue magazines and a degree in fashion merchandising doesn’t quite hack it. But this Elle is quietly determined, armed with a perfect little pooch and an unshakeable belief that you shouldn’t judge a book by its cover. Although books with tatty covers are likely to get left on the shelf...

Nikolai Foster’s version of Legally Blonde is just as pretty, pink and powerful as those that have come before, but with some added punch. These sorority sisters take selfies, there are references to TikTok, Timothée Chalamet and Drag Race and streamed content. While it challenges a stereotype it highlights a few others - but the way these are presented ridicules them at the same time. Overall, it’s a joyous show with a fairground feel: a rollercoaster of a ride, packed with bright lights, big beautifully performed numbers, and as sweet as pink candyfloss.

Designer Colin Richmond creates scenes that melt cinematically into one another, playing with our perspective as we glimpse tiny buildings, are drawn into a realistically sized setting then, in the final courtroom scene, see characters dwarfed by oversized scenery. The pace is fast, as we follow Elle from the department stores and amusement arcades of LA to the hallowed halls of Harvard, through scenes of humiliation and the warmth of the hairdressers, to her eventual triumphant redemption in the courtroom.

Amber Davies ensures that Elle is never ditsy, just a pink loving fashionista, who is full of integrity, sharp enough to deliver some witty retorts and bright enough to solve a tricky legal dilemma without sacrificing her principles. When she discovers she can be herself, wear what she likes and still be successful in a world that seemed so hostile, it’s a joyous moment. An all-round fabulous performance.

Jamie Chatterton is the self centred Warner, who kicks himself when he realises what he is missing, as Elle proves she is anything but a Marilyn. Emmett, Elle’s good natured mentor who recognises her true value and helps her find her way at Havard, is played with engaging warmth by George Crawford.

There’s plenty of fun and energetic chorus work from the Delta Nu sorority who support Elle in her quest to join Warner at Havard. Later, they become the imagined Greek Chorus dispensing ongoing advice and their highlights include the joyous ‘Omigod You Guys’ (such a great opening number) and the cringy but fun ‘Bend and Snap’.

Among the challenges Elle faces at Harvard are the prejudices of her fellow students, particularly that shown by ‘preppie’ Vivienne, Warner’s new girlfriend. Annabelle Terry gives her a cool arrogance and steely determination that is channeled in the right direction in the end. Pity she doesn’t have the bob haircut specifically mentioned by Elle.

Keanna Bloomfield is the feminist and activist Enid, who in this version thankfully suffers less discrimination from the powerful Professor Callahan. Adam Cooper plays him as focused, efficient and ruthlessly ambitious, as he sets out his agenda in the grimly entertaining ‘Blood in the Water’. We’re shocked by the way he uses his power, but not surprised.

One of Elle’s greatest supporters is the lovely Paulette, a hairdresser who Elle is able to help, using her newly acquired knowledge of the law. A fresh characterisation from Karen Mavundukure that brings new naivete and warmth with a voice that raises the rafters – sublime. Her expression of her love for Ireland, plus an infatuation with Kyle the delivery guy that is gloriously celebrated in Irish dance, are comic highlights.

Elle is also able to help Brooke, a fitness instructor who has been accused of murder, during some delightfully farcical courtroom scenes. This is a challenging show, as so much of the story is told through singing, as well as being dance heavy, so triple threat performers are essential. The principals and eleven strong ensemble are just that, with the latter performing a dazzling variety of dance styles and playing cameo roles, such as Elle’s parents, the Judge and Nikos, Carlos and Chutney, key witnesses at Brooke’s trial. There’s a lot of fun in the satirical ‘There! Right There! (Gay or European), which pokes fun at cultural stereotypes and the absurdity of judging people on superficial traits. Like the whole production, what happens is not meant to be taken too seriously, but the underlying message is an important one.

The ensemble also includes two perfect pooches, Sprout, who plays Elle’s chihuahua Bruiser and Milo, who is Paulette’s bulldog, Rufus. They are pleased to meet their admirers outside the Stage Door after the production.

‘Endorphins make you happy’, says Elle and there’s no surer way to boost yours and get truly in the pink than by seeing this joyously spectacular production.

Gentleman Jack
Northern Ballet
Nottingham Theatre Royal
May 13th 2026

I should start by saying that I’m no ballet expert and know little about the finer points of the art form. Even so, I was completely captivated by what I saw and heard at the Theatre Royal last night. Rather than feeling like a period piece, this ballet tells Anne Lister’s story in a fresh, modern way. It presents a woman who refused to conform to the social conventions and sexual norms of her time.

Before tonight, I knew very little about Anne Lister, better known as Gentleman Jack, so the clear synopsis in the programme was invaluable. It enhanced my understanding, not because the ballet failed to tell the story, but because the background is so illuminating. This production, which started in Leeds, is a World Premiere for Northern Ballet and is already a great success.

The story is set in 19th-century Yorkshire and follows the life of Anne Lister who was, a landowner, industrialist, and prolific diarist. The narrative focuses on her defiance of social conventions and her pursuit of same-sex relationships at a time when this was not socially acceptable.

From the start I felt drawn in to all that was happening on stage and in particular, to the superb Nida Aydinoglu, who dances the central role of Anne. Her movements across the stage are vividly sharp and angular, using all her body. She dances with great confidence and power and I could not help but follow her every move. There are also more tender sequences, especially when she is dancing with Sarah Chunas, as her first love, Mariana Lawton. These scenes are equally compelling. Together, they bring huge amounts of character and emotion to their roles. The sadness of their breakup, due to the conventions of the age, is lyrically portrayed and heartbreaking.

The rest of the principal cast shine in their respective roles. They are: Julie Nunes (Anne walker), Miguel Teixeira (Christopher Rawson), Alessandra Bramante (Rawson’s Wife), Jonathan Hanks (Charles Lawton), Saeka Shiral (Aunt), Harry Skoupas (Uncle) and Heather Lehan (Sister). There is also a large ensemble of very talented dancers who changed the stage furniture often, in an imaginatively choreographed way, which I found quite mesmerising.

There are many quick scene changes, which keep the ballet moving at a brisk pace. This is supported by a set design that is minimal yet highly effective. In particular, four bookcases turn into video screens, displaying locations and other relevant images, some of which move across the stage with the dancers. Other pieces of furniture appear and disappear swiftly. Credit is due to set and lighting designer Christopher Ash for a beautifully kinetic spectacle and to the ensemble for handling these transitions so seamlessly.

The ensemble also dance many parts including “words” which are identified by their costumes and link with periods of Anne’s infamous diary writing. A clever and exciting touch I thought; you really need to see them to understand why.

The Ensemble is Jackson Dwyer, Bruno Serraclara, Andrew Tomlinson, Yu Wakizuka, Noah Benzie-Drayton, Harris Beattie, Stefano Veralta, Archie Sherman, Jun Ishii, Albert González Orts, Helen Bogatch, Sena Kitano, Kirica Takahashi, Kaho Masumoto, Eliza Hickey, Harriet Marden, Gemma Coutts, Rachael Gillespie, Alessia Petrosino and Alessandra Bramante.

The production is created by world-renowned choreographer Annabelle Lopez Ochoa alongside Jemima Brown (Choreography Consultant) and dramaturg, Clare Croft. Adding real weight to the project is Sally Wainwright, the creator of the hit BBC/HBO series, who served as a creative consultant to ensure the spirit of the "first modern lesbian" was captured perfectly.

The excellent orchestra is conducted by Daniel Parkinson and the volume was just right. The atmosphere and emotional tone is created by Peter Salem’s fabulous live score - which I really liked despite its unfamiliarity - by clever set and lighting design, and by Louise Flanagan’s brilliantly evocative costumes.

In my opinion, Northern Ballet has done something sublime with this story. This isn't traditional ballet, it is raw with a real contemporary bite to it yet retains the mastery and majesty of the classical. It’s a powerful reminder that while Anne Lister lived two centuries ago, that right to be true to yourself is something still relevant today. It’s a vital, moving piece of theatre that I shall remember for a very long time and can recommend to everyone: ballet aficionados, or those like me, who simply love to experience it.

And Then There Were None by Agatha Christie
Arcade Players
Duchess Theatre, Long Eaton
29th April 2026

Although this play is of its time – it was written in 1943 – it certainly resonates today. It’s just as absorbing and intriguing as it was then, with shades of some very modern TV shows. Think of the hapless contestants congregating for the first time in ‘I’m A Celebrity, Get Me Out of Here’, or the machinations and suspicion of those who take part in ‘The Traitors’ - who to trust, who will be next to get murdered – and you get a flavour of what’s on offer here. All in Agatha Christie's inimitable style of course, tight plotting, suspense, creeping dread and an absolutely chilling denouement. It might be long at 2 hours 40 minutes, but the audience are well rewarded for patience, for listening to the exposition, gradually understanding why the characters are there, and experiencing some of their fear, while grappling with what seems to be an unfathomable mystery. This production mines all of that; it keeps the pace and brings to life some rather unlikeable, but always engaging characters in an atmospheric, cleverly staged setting. And there are some laughs along the way!

Nine strangers are invited, for various reasons, to Soldier Island off the coast of Devon, to spend a few days with a largely unknown host, Mr U N Owen. None of them know each other and discover, upon arriving, that the new caretakers will be their hosts, as the mysterious Mr Owen and his wife cannot be there. Some polite introductions take place, we hear a little of their background and why they have agreed to be there, but it’s the sudden playing of a voice on a gramophone record that vividly sets the scene. It seems that all the guests are guilty of past crimes and will be taken to task, here on this island. An island that will be completely cut off from the mainland for two days. Gosh. It’s only later the significance of the large print of the rhyme ‘Ten Little Soldiers’ that is hung above the fireplace, plus the presence of ten little soldier figurines becomes clear...

This is an ensemble piece and it’s a delight to experience these characters, to wonder who they really are, if they are guilty as charged and which one is the driving force behind the mystery. As characters disappear we become more certain of the outcome and that we’ve identified the mastermind – but have we? I’ve seen this play before and thought I knew the ending, but there are two possible endings, so nobody knows for sure which one the Director has picked. Agatha Christie’s original ending for the 1943 dramatisation can be supplanted by a later version, one that more closely follows the original book, so each production is truly a mystery...

We’re introduced to the seemingly solid Thomas and Ethel Rogers, played by Martin Mould and Kate Davis-Hill and are struck by their ordinariness, by Ethel’s nervous frustration and Thomas’s impatience, masked by his willingness to help the guests. Could they be capable of a horrible crime? Hard to believe that the cheerfully capable Vera Claythorne- employed as a secretary – could be anything other than trustworthy, until we see her forced to confront her past and witness her unravelling. An excellent, emotionally charged characterisation by Nicola Tuxford, one that is complemented and enhanced by Toby Walker Lee’s engaging portrayal of the supremely confident Captain Philip Lombard. Accused of leaving a detachment of local troops to die in Africa, he’s glib enough to dismiss the allegation and brave enough to hold his nerve almost to the end. A splendidly directed scene towards the close of the play sees Vera and Philip left to grapple with events on their own, on the clifftop, in desperate circumstances. It’s a tribute to both the director and the actors that this sparse scene, in very close proximity to the audience, really hits home. We’re fully invested by this time, willing to suspend our disbelief and feel the wind at the top of that cliff, share the desperation and catch our breath at the outcome.

Mike Needham plays Sir Lawrence Wargrave, a retired judge known for his harsh judgements. We’re lucky enough to see Mike really get to grips with this character in the most powerful way: it’s great stuff and worth waiting for. Alistair Langton is the suspicious ex cop Blore, who perhaps cannot be trusted and Howard Mackintosh is the fussy General who is accused of arranging the death of his dead wife’s lover. William Scarlett plays the rather nervy nerve specialist, Dr Armstrong – who better to know how to administer poison? - and Hannah Reason is the skittish Antonia Marston, who has run over and killed two children. This part is usually a male, but Hannah deftly turns a Hooray Henry into a Honking Henrietta. Just the opposite, we cring at the sour, biting prejudice expressed so beautifully by Mina Munns as the spinster, Miss Emily Brent. She’s not spinning, but she’s knitting, no mean feat while remembering lines, bravo! David Hawker plays the genial Fred Narracott, the boatman , who probably gives us the last glimpse of normality before he leaves his passengers to their fate.

Some really good character work all round and creative direction by Clare Toska enables us to see them all, some lovely positioning on the sometimes crowded stage gives a pleasing tableau effect. It’s a long piece and the action, within the one setting, is paced as fast as it can be with swift scene changes.

The set by Damon Piper is delightfully Art Deco inspired, setting just the right tone, with the projected seaview through the windows emphasising the isolated location. Darri Tomasson’s sound is hauntingly appropriate, the seagulls, the wind, the crashing waves, all make you shudder as each chilling event unfolds. Dave Martin’s light takes us through the day into night with blackouts signalling time changes, followed by the welcome of dawn’s light. Costumes, dressing and props are the responsibility of several of the company, who are to be congratulated on their authenticity and detail. There is coffee in that pot!

The play has a satisfying denouement - we’re not left hanging - so can leave the theatre happily musing on what just happened. How was it all arranged? How could those ten little soldiers disappear so efficiently? And did they deserve their comeuppance – what is the true moral message in this story? No wonder Agatha Christie felt this was her best crafted piece.

It’s a thoroughly entertaining evening at the theatre. It's good old fashoined stuff, yet it still appeals enormously: if you enjoyed The Traitors, you will love this. Eleven strangers trapped together in an isolated location, threatened by an unknown enemy and under huge psychological pressure, with only their wits to protect them. It’s one not to miss.

Priscilla Queen of the Desert
National Tour 2026
Royal Concert Hall Nottingham
April 28th 2026

This is one of my favourite musical theatre shows. I have seen it in London, here at the Theatre Royal, and in Birmingham. It is a show which tells a simple but heartwarming story. It is packed full of great hits from the 60s, 70s, 80’s and early 90’s plus colourful characters, fabulous costumes, and a very funny script.

Set against a backdrop of travelling across the Australian outback, Priscilla Queen of the Desert follows the adventures of three friends—Bernadette, a refined transgender woman, and two drag queens, Tick and Adam, in a battered old bus named Priscilla.

The trip is to satisfy Tick’s desire to meet his young son for the first time at a remote casino in Alice Springs. Along the way, the trio faces a mix of acceptance and harsh prejudice in a riotous adventure which tests their friendships as well as their plans for the future.

Dressed in a dazzling array of over-the-top costumes and accompanied by iconic disco anthems like "I Will Survive" and "Finally," the show is a high-octane celebration of who we are and where we want to be. Ultimately, the journey proves that home isn't just a place, but it is having the courage to be exactly who you are, wherever you are.

From start to finish, this is a wonderful production in all respects and certainly one of best that I have seen. The three leading actors—Adèle Anderson as Bernadette, Kevin Clifton as Tick/Mitzi, and Nick Hayes as Felicia/Adam—are all superb. They are all multi-talented actors, singers, and dancers. I haven’t seen Kevin Clifton on stage before and was very impressed by his excellent acting, singing, and of course, dancing. Adèle and Nick work together very well, and their bitchy relationship is very well developed throughout. Nick also clearly expresses the many sides of his character; despite his outward confidence, he is extremely vulnerable and needy.

It was good to see Peter Duncan on stage playing the part of Bob the mechanic. Having seen him as a TV presenter for many years, he shows that he is a good actor and singer, too.

An important part of this musical are the three Divas, who dominate the stage throughout with their striking presence and superbly powerful singing. They are Leah Vassell, Bernadette Bangura, and Jessie May.

There are also supporting actors who are excellent. They are Billie Hardy as Marion, Isabella Glanzing Santos as Cynthia, Sario Solomon as Miss Understanding, (understudying tonight), Jak Allen-Anderson as Farrah/Young Bernadette and Alexander Emery as Frank.

The ensemble is also fantastic, and their powerful dancing is great to watch. They also help with set changes and the manoeuvring of the bus, Priscilla. They are Michael Afemaré, Tia Antoine-Charles, Olivia Bella, Alexander Gage, Fionan O’Carroll, Nathan Ryles, Samuel Stokes and Mary Suarez. The choreography by Matt Cole is often breathtaking and very exciting to watch.

I must also mention Harper Etienne, who tonight played the part of Tick’s 9-year-old son, Benji. He was excellent and very professional for such a young boy. I suspect he may well have a future on the stage. He also comes from a town in Derbyshire—I wonder which one?

I need now to mention the other star of the show, Priscilla the bus. In this production, it is used very effectively for many scenic purposes. At one point it was even split into several sections turning it into something completely different. I don’t think I have seen that in other productions. It works very well. Scene changes are very fast, and the show moves very quickly as a result.

The lighting and sound are excellent, and the use of simple projections high above the main set was appropriate and helped illustrate places, events and feelings.

The costumes by Vicky Gill, of Strictly Come Dancing fame, are wonderful. I would say that in many scenes, they are very new in design compared to previous productions I have seen. They are very appropriate and great to look at—bright and colourful in the main—but I have to say that in the funeral scene, they are dramatically black and bizarre. However, complemented by the song “Don’t Leave Me That Way,” they work very well. It’s now a bit like a scene from The Rocky Horror Show and is very funny indeed! This is her first commission for a musical theatre production, but I suspect it will not be the last.

Of course, a particular strength of the show lies in the choice of hit songs from the 70s. There are so many of them, some in full and some extracts used for a specific story purpose. My favourites are "Boogie Wonderland," "Colour My World," "Finally," "Girls Just Want to Have Fun," "Hot Stuff," "It’s Raining Men," and "I Will Survive." There is also the song that has perhaps some of the silliest lyrics of all time: "MacArthur Park." You know, “someone left the cake out in the rain,” etc. Love it!

The production team, led by Director Ian Talbot OBE, has produced a show of great quality and high entertainment value. I would love to see it many more times this week if I had the chance. It really did deserve the whole theatre standing ovation it received at the end; there was also lots of cheering.

Priscilla Queen of the Desert has always given audiences a joyous evening at the theatre, and this production does it with even more added sparkle. I will remember it for a very long time, as I guess many of the audience will too. It is, in my opinion, a show not to be missed.

2.22 A Ghost Story
Theatre Royal Nottingham
April 20th 2026

If you like the thrill of the unexpected, the chill of suspense and the jolt of a jump scare, then this play is for you. Tension is so cleverly created in this gripping story of four believable young people, starting with a simple but intriguing premise and building to a shocking conclusion, one that rocks the audience as much as the characters. Phew, deep breaths needed...

Jenny believes her new home is haunted, but her husband Sam isn't having any of it. They argue the odds with their dinner guests - old friend Lauren and new partner Ben – revealing that Jenny hears footsteps and crying in their daughter’s bedroom each morning, at exactly 2:22am. But Jenny is a new Mum, she’s tired so perhaps not thinking straight, and Sam is quick to disparage any supernatural causes...

Shvorne Marks plays Jenny with a touching depth of vulnerability and barely contained fear, yet fired by protectiveness and an articulate determination to solve the mystery. James Bye is Sam, infuriatingly glib and opinionated, but amusing enough to be both charismatic and engaging. Does he know more than he says? Could he be gaslighting Jenny? Or is he the voice of reason that will be proved to be right all along?

Lauren and Ben, played Natalie Casey and Grant Kilburn, are intrigued and delighted by the prospect of a ghost, although as the tension is increased and the atmosphere becomes more charged, tell their stories and show their vulnerabilities. Ben thinks he can solve the problem by holding a seance, but gets more than he bargained for and Lauren plays her own game that goes scarily wrong. Don’t mess with the unknown!

These are well drawn, amusing characters who the audience can invest in, share their dilemma and feel their fear. The sense of unease and the creation of suspense leads to more than one jump scare and some very audible reactions from the audience. Great fun or heart in mouth, depending on your constitution!

Anna Fleischle’s set is vividly familiar, an old property that is being renovated, but a recognisably comfortable home; it’s atmospherically lit by the security lights behind patio doors, huge skylights and eerily red framing lights. All used to good effect to grab and focus attention, along with some strategic blackouts that leave a lot to our increasingly fevered imaginations. Add to that crashes of thunder, the screams of wildlife, a seemingly deranged Alexa, that wretched baby monitor and some truly scary illusions and you may just be hiding behind your programme.

Directors Matthew Dunster and Gabriel Vega Weissman have lifted Danny Robins' story off the page, yet retained the effect of page turning, letting the audience make guesses by providing just enough tantalising clues and lots of thrilling sensory input. It’s only after the denouement that we can truly speculate on what every occurrence meant, the significance of certain statements and the clever way both we and the characters have been manipulated. You get your money’s worth!

Don’t ask Alexa to find out what happens, the real thing – or what appears to be the real thing

 

Agatha Christie’s
Death on the Nile
Nottingham Theatre Royal
14th April 2026

Bitter rivals. Buried secrets. A love to die for.

On board a luxurious cruise under the heat of the Egyptian sun, a couple’s idyllic honeymoon is cut short by a brutal murder. As secrets that have been buried in the sands of time finally resurface, can the world-famous detective, Hercule Poirot, untangle the web of lies and solve another crime?

From the moment the curtain rose this evening, it was clear the audience was in for a masterclass in suspense. This Agatha Christie production perfectly captures the author’s trademark blend of intrigue, sharp wit and slow burning tension, drawing the audience deep into its cleverly constructed mystery.

The set design and costumes are particularly impressive, creating an atmosphere that feels both elegant and ominous. Clever use of lighting and sound heightens the sense of unease, ensuring that every pause, shadow and sudden revelation lands with maximum impact.

The cast delivered confident and polished performances throughout, each actor bringing depth and distinct personality to their role. Suspicion shifted constantly from one character to the next, keeping the audience guessing and fully engaged. Dialogue was crisp and well timed with moments of humour providing brief relief before the tension tightened once again.

The cast is: Mark Hadfield (Hercule Poirot), Libby Alexander-Cooper (Linnet Ridgeway), Camilla Anvar (Rosalie Otterbourne), Glynis Barber (Salome Otterbourne), Bob Barrett (Colonel Race), Howard Gossington (Atticus Praed), Esme Hough (Jacqueline De Bellefort), Helen Katamba (Annabelle Pennington), Nye Occomore (Simon Doyle), Nicholas Prasad (Ramses Praed) and Terrence Wilton (Septimus Troy). David Boyle, Max Dinnen and Nadia Shash made up the ensemble.

What makes this production truly memorable is its pacing. Rather than rushing the story, it allows the mystery to mature naturally, building anticipation until the final reveal. Gasps and murmurs rippled through the audience as twists emerged, proving Christie’s storytelling remains as powerful and relevant today as ever.

Whether you’re a fan of classic whodunits or new to Christie’s work, this production offers a compelling, immersive experience that lingers long after the final curtain and I would urge you to go and see it if you can.

Eloise

Rodgers & Hammerstein’s Oklahoma!
Gatepost Theatre Company
May Hall, Long Eaton
April 7th 2026

It’s not often I’ve come out of a musical I know well with my jaw dropped, deep in thought and feeling that I’ve just seen something completely new. Director Chris Collington has reached in and pulled out the dark heart of this show, the one we always knew was there – the exclusion, persecution and death of a tragic misfit. But this version forces us to look more closely at all the characters and how far they are responsible, with a shocking ending that is worthy of a Shakespearian tragedy.

It’s certainly not all tragic, there are the usual joyous moments that we expect from Rodgers and Hammerstein: the big, foot tapping numbers, the clever comic songs and the wonderful melodies of the ballads. Written in 1943, it was one of the first musicals to fully integrate song and dance into a proper story: a romance set in the Oklahoma territory at the turn of the 20th century. Although this production leans more towards a psychological drama, we still feel the optimism of those early settlers and are uplifted by the glorious ‘Oklahoma’ and numbers such as ‘Oh, what a Beautiful Mornin’, ‘The Surrey with the Fringe on Top’, ‘Kansas City’ and ‘The Farmer and the Cowman’.

Farm girl Laurey Williams is given new depth here both by the director and by the nuanced, accomplished performance of Arfaa Butt. Irritatingly stubborn, it’s her petulance that leads to the tragic events that unfold when, to spite brash cowboy Curly McLain, she tacitly encourages the attentions of brooding farmhand, Jud Fry. It’s during a dream sequence, which is vividly brought to life in this production, that we see the terrified adolescent, on the verge of discovering and coming to terms with a new, adult identity. Choreographer Lottie Lodge gives us a wonderful montage of dance styles, symbolic of Laurey’s sad realisation that it’s her relationships with men that will define her future. A moving and visually stunning highlight.

Ado Annie Carnes, Laurey’s friend, has no qualms about her relationships with men, and this is another departure from the norm – this Ado Annie is no ditzy blonde. She’s a trouser wearing, cigarette smoking proto feminist who, when she sings the glorious ‘I Cain’t Say No’, is not so much giggling about her indiscretions as proudly declaring her promiscuity. A great interpretation, beautifully performed by Rachelle Bragg.

Many of the younger members of this cast didn’t know the musical, so had no preconceived ideas about the characters. Working with the director they have brought a freshness to them, evident not just in Ado Annie, but in one of her love interests, the pedlar Ali Hakim. Josh Birchall gives him an East End accent: a jaunty, cockney wide boy who is out to have a good time, without being tied down. He gets some great comedy moments and makes the absolute best of them. More excellent comic timing from Gary Heap, playing the solidly dependable Will Parker with huge charm and lovely vocals; a very engaging performance.

It’s a brave decision to make a romantic hero almost entirely dark and that’s what Ewan Waddell has done in his brooding portrayal of Curly McLain. Brash and confident, the character is seen to be subtly threatening towards Laurey right from the start and this suggestion of toxic masculinity is fully realised at the conclusion. There are glimpses of softness and enough romance, particularly expressed through song, to make the mutual attraction convincing, but the strong underlying feeling is one of unpredictable tension. Curly visits Jud and in the sinister ‘Poor Jud is Daid’ attempts to fill his head with suicidal ideation, a scene which may shock rather than amuse a modern audience. Ewan has a lovely powerful voice, which was tested at last night’s performance by a short failure of the sound track. Carrying on seamlessly without accompaniment, alongside Laurey and Aunt Eller, the audience really appreciated the impromptu acapella.

Kheenan Jones brings a dark presence to the sinister Jud Fry, alone in the smokehouse with his saucy photos and longing for Laurey. Kheenan plays him straight, rather than overly expressing his vulnerability as a social misfit, a profile that is easily picked up and recognised by a modern audience. A subtly weighty performance that makes a big impression.

Carrie- Anne Corner plays the lively Aunt Eller, Jon Dawkins shows his vocal versatility as Andrew Carnes and Christie O’Connor is the gorgeous giggling Gertie. The lavishly costumed ensemble dance and sing up a storm, doing justice to Lottie Lodge’s imaginative choreography and the usual polished musical direction of Martin Lewis.

The lighting by Steve Greatorex and the set by Mark Green and Mark Russell have enormous influence on the mood created here; there are times when scenes appear almost too sharp and stark, but that is probably deliberate. A framework of random planks is silhouetted against a changing sky, a framework that is unfinished and not yet stable: a visual metaphor for the emerging state. The pace is seamlessly quick, with very little scene change needed; no huge maps as backdrops or vistas of cornfields here, just the hope of new beginnings in a few sunflowers at the front of the stage. We’re mostly looking inwards at these characters lives and while the ending shocks, it hardly comes as a surprise.

Another bold decision is to make the crime in the final scene explicit, to highlight a disregard for the law when it doesn’t suit and to give Laurey a moment of moral clarity. A suspension in the action gives us time to take all this in and realise what has happened. No dialogue is added, but it’s a moment that speaks volumes and changes the mood of the usual ending completely. A mood that is continued in the finale and crystallised in a final look at that stark set. What will become of these people and this brand new state?

For lovers of Rodgers and Hammerstein there are the well loved songs, the joyous set pieces and the entertaining story, but for those who like to cross frontiers this offers something new: over 80 years old, but still very relevant today. Bravo.

 

Miss Saigon
The Legend Reborn
Theatre Royal Nottingham
March 25th 2026

It’s thrilling to see a new production of a well loved musical – a legend indeed – at our local theatre; this is a spectacular show of epic proportions. There is no cutting back: this lavish production has a cast of 28 actors and 13 musicians, as well as a technical team of 52. It’s brand new, it’s breathtaking and it’s beautiful. It’s a brilliant theatrical experience.

Miss Saigon draws on the history of real women to tell the story of the doomed love story between Kim, a young Vietnamese woman and Chris, an American GI. After meeting in a Saigon bar run by ‘The Engineer’ during the final days of the Vietnam War, they quickly fall in love and marry, but the fall of the city forces Chris to evacuate, leaving Kim behind. Three years later, Chris—now married to an American woman—discovers Kim has been raising their son in poverty, clinging to the hope of reunion…

This is a sung through, operatic style show that has the audience noticeably rapt throughout. Documentary footage plunges us into the turbulence of the Vietnam war, the set and lighting let us feel the heat and atmosphere of the seedy bar where Kim works, the sad, rented room where the love story starts, the faded grandeur of the presidential palace and later, the military oppression of the paddy fields and the sleazy extravagance of Bangkok. We feel Kim’s desperation as her life spirals out of control, vividly experience the panic of the evacuation of Saigon, indulge the fabulous grandiosity of the Engineer as he dreams of a new life in America, and feel the utter sadness of the inevitable conclusion.

Throughout this is a love story, especially about a mother’s devotion to her child, but it’s also about the tragic, desolating effects of war, of exploitation and forced migration. Alain Boublils’ story is viscerally human; it’s based not just on Puccini’s Madame Butterfly, but on real events, and it’s sadly relevant today.

It’s the music that packs the power, expresses the themes so vividly and is so well served by the technical brilliance of Andrew D Edward’s set, Bruno Poets’ exquisite lighting and by the fabulous performances. It’s an irresistible combination. As Cameron Mackintosh observes: “Claude-Michel Schönberg’s music has real muscle, which remains the beating heart of the musical – you would never want to diminish its soaring power and beauty.” In this pared back, slightly abridged new version it does indeed still soar and it’s beautiful; it moves, it stirs and it tells the story in the most lyrical way.

Newcomer Julianne Pundan is a vulnerable but resilient Kim, driven by her love for both Chris and her son. Her heartfelt, powerful delivery of ‘I’d Give My Life for You’, the poetic ‘Sun and Moon’ and the wistful ‘The Movie in My Mind’, are full of longing and truly moving. Daniel J Brian is a strongly principled Chris, but lost to the chaos of war, a chaos that remains with him when he returns home, leaving him with an impossible choice. Daniel has a lovely voice and performs both his solo ‘Why God Why?’, and the duets with Kim, including the sublime ‘The Last Night of the World’, beautifully.

There are strong supporting performances from Dom Hartley-Harris as John, Chris’s fellow soldier and friend, Emily Langham as Ellen, his sweet American wife, Mikko Juan as Kim’s thwarted betrothed Thuy and Thao Therese Nguyen as the fellow bar girl, Gigi. All have their own powerful vocal highlights, such as John’s reimagined and still heart wrenchingly beautiful ‘Bui Doi’. There are 28 songs in this production, solos, duets and huge ensemble numbers, all of which carry the audience on a wave of sound in a spectacular, sensory experience.

There is no more spectacular experience than that provided by Seann Miley Moore as manipulative and charismatic hustler, The Engineer. The character is flamboyantly awful, exploiting the women in his bar and ruthlessly dedicated to achieving his goal of getting to America, yet wonderfully engaging. He owns the stage whenever he appears and his big numbers are show stoppers, particularly the seven minute long 'The American Dream’, a fabulously choreographed and glittering piece, with vividly nightmarish qualities.

Added to all this intensity, sleaze, chaos, flamboyance, horror and love is a small boy, Tam - played sweetly at this performance by Favian Costales – so it’s no wonder a few people were reaching for their hankies by the end. Local audiences are a bit slower to get to their feet these days, but the standing ovation was immediate, rapturous and prolonged. This show really is one not to miss.

 

Sweeney Todd
The Demon Barber of Fleet Street
Nottingham Arts Theatre Youth Group
19 March 2026

I went along to see this youth production of Sweeney Todd not quite knowing what to expect, and I have to say, I came away beyond impressed. It’s no small feat to take on one of Stephen Sondheim’s most challenging scores, but this company handles it with real confidence and flair. For me, it proves quite clearly that age has nothing to do with the ability to deliver something complex and demanding to a very high standard.

From the opening moments, as those harsh chords echo around the auditorium, I was completely drawn into a world steeped in Victorian gloom. Director and choreographer Abbey Wells, alongside musical director Jonah Williams, leans fully into the darker side of the piece. The industrial-style set, designed by Nik Hudson, makes clever use of the stage and helps create a constant sense of unease.

The atmosphere is further enhanced by Oliver Read’s lighting, which makes striking use of shadow and sudden bursts of light to underline the show’s more brutal moments. George Wilson’s sound design is equally effective and is clear and precise, allowing every lyric to be clearly heard, which is no small achievement with Sondheim’s often discordant score.

One of the things I particularly admired was the decision to feature a 13 piece band. In many youth productions, music can feel slightly secondary, but here it’s absolutely central. The band doesn’t just accompany—it drives the action. The score is handled with real skill, giving the whole production a richness and momentum that never lets up. The balance between this large band and the performers was perfect.

As for the performances, they are impressively strong across the board. On the night I attended, Joshua Preston took on the title role and delivered it with a brooding intensity well beyond his years. His “Epiphany” was especially striking—controlled, powerful, and genuinely unsettling. Opposite him, Maddi Woodland’s Mrs Lovett was a joy to watch: warm and funny one moment, then chillingly matter of fact the next.

There’s excellent support throughout the cast. Lenny Brady brings a welcome brightness as Anthony, providing a clear contrast to Todd’s darkness. Mia Rathbone as Johanna handles “Green Finch and Linnet Bird” with confidence and agility—an impressive vocal performance. Tom Telford’s Judge Turpin is cold and intimidating, while Lizzie Kenny as Tobias gives one of the most moving performances of the evening. “Not While I’m Around” was beautifully done, and she held the stage every time she appeared.

Oliver Sheard makes Beadle Bamford both unpleasant and oddly amusing, and Jamie Adlam is great fun as Adolfo Pirelli, commanding attention whenever he’s on stage. Amelie Adams also stands out as the Beggar Woman, bringing an eerie presence that lingers. I kept wondering who is this woman? I am saying nothing.

Across the whole company, the standard of performance is remarkably high. I honestly didn’t spot a single slip, and the level of confidence on display was extraordinary.

The Lantern Bearers contribute a lot through their excellent movement dancing and vocal work, adding to the show’s unsettling tone. They are Ben Canning, Evie Midgley, Liam Brown, Caitlin Young, Craig Youngman, Alisha Carolea, Hermione Cumbers and Florence Everitt. Some of these also have small but important singing roles as do others in the ensemble.

The rest of this phenomenal ensemble are: Harvey Scott (who also played frightening Dr Fogg in the Asylam), Kate Whitaker (Bird seller), Zain Abed, Evie Jones, Andrei Morris, Neve Boyles (Vultures), Zach Silcock, Lexie-Mae Hart, Robert Murphy, Kayla Burgess, Edward Young, George Ward, Nik Hudson, Connie Tegerdine (featured soloists), Lizzy Rhodes (Quartet), Eliza Szejda, Connie Webster, Annabelle Black (Quartet), James Craig, Leo Capaldi (Male Trio + featured soloists).

What struck me most is that this doesn’t feel like a “good youth production”—it simply feels like a good production, full stop. In fact, it often looks and sounds like something you’d expect from a professional company. I’ll admit I’m not usually the biggest fan of Sondheim, but this performance completely won me over. I found myself enjoying every aspect of it—the music, the movement, the storytelling.

The production team led by Abby Wells and Jessica Royce have done a staggeringly good job with this talented cast. The standing ovation at the end was well deserved and these days audiences don’t seem to stand unless they are truly impressed.

If you enjoy musical theatre, this is well worth seeing. It runs until Sunday, and I’d strongly recommend getting along and admiring what these young people have achieved. It is simply breathtaking!

 

My Fair Lady
Cabaret Theatre Company
The Brewhouse,
Burton on Trent March 12th 2026

"One of the 'loverliest' shows imaginable ... a work of theatre magic." Words from a critic following the Broadway debut of My Fair Lady in 1956, and which, 70 years later, perfectly sum up this wonderful production from Cabaret Theatre Company. As the producer and choreographer Sally Everson says in the programme, it’s full of classic songs, fabulous ensemble dance routines, some great comedy character moments and iconic costumes. And wow, have this company done all that justice - it’s fabulous.

Eliza Doolittle is a poor flower girl, scraping a living selling posies in Covent Garden, when she encounters Professor Higgins, a linguistics professor. He brags that he can transform her into a refined lady, simply by teaching her correct speech and good manners. Encouraged to test this by a fellow linguist, Colonel Pickering, Higgins agrees to take Eliza into his home, and following months of pronunciation lessons, etiquette training, and social coaching, she gradually changes her speech and bearing. The experiment culminates at the Embassy ball, where Eliza successfully masquerades as a Duchess. However, while Higgins and Pickering celebrate the triumph, Eliza feels undervalued and determined to prove her worth…

It takes a very talented trio of lead actors to tell this story and Cabaret have just that, as well as lively supporting characters and an accomplished ensemble. Director Chris Moss has used them all brilliantly well, obviously being very precise with the dialogue while creating a lavish spectacle and, along with the choreographer, some joyous dance sequences. There’s a keen eye for tableau here, the scenes in Covent Garden, created by a realistic backdrop and authentic post-Edwardian costumes, have the quality of a painting. We’re taken into the pub where Alfie Doolittle, Eliza’s father, carouses with his mates – tankards of beer on the bar – to Higgins’ mother’s genteel flower garden with real tea in the teapot, and to a monochrome Ascot, complete with the sound of thundering hooves.

Scene changes are choreographed, there are so many and they could be clunky, but the decision to make them part of the action and managed by the ensemble really pays off. It’s lovely to look at and there is never a time when this long musical drags; it’s always fully engaging. The creation of such a spectacle, doing justice to a big, classic musical in a simple performing space is a triumph for the director and creative team, as well as the performers.

Katie French is one of the best Elizas I have seen, completely capturing the nuances of her spirited personality, her vulnerability and her transformation, with perfect comic timing and beautiful vocals. The audience are rooting for her, from the wistful ‘Wouldn't It Be Loverly’, through the hilariously acerbic ‘Just You Wait’, to the glorious triumph of ‘The Rain in Spain’ and ‘I Could Have Danced All Night’. All sublime. Katie is completely fluent in both the Cockney accent and the RP, so is able to get the maximum comic effect in Eliza’s sparky interchanges with Higgins and when she inevitably makes some gaffes.

Daniel Carter is a younger Professor Higgins, but has the gravitas, misogyny, arrogance and rudeness that makes the character so infuriating - and so entertaining. Lerner and Loewe tell the story through the songs, particularly in the ones that are almost monologues, such as Higgins’ comic patter song ‘Why Can’t The English’, the sharply witty ‘I’m An Ordinary Man’ and ‘A Hymn to Him’ and the plaintive ‘I’ve Grown Accustomed to Her Face’. Daniel delivers all of these in the most expressive and characterful way, getting the absolute best from them.

The affable and sensible Colonel Pickering is played most entertainingly by Simon Brickell and the equally sensible and long suffering housekeeper Mrs Pearce is played by Dawn White. Jean Edwards is the equally long suffering Mrs Higgins, who casts a wise and weary eye over her son’s ‘experiment’ and offers sanctuary to Eliza. Dominic White is the sweetly smitten Freddy Eynsford Hill, a very engaging performance with the highlight of the classic ‘On The Street Where You Live’.

Melvyn Edwards provides splendid comic relief as the rascally Alfred P Doolittle, who is given to a bit of moral philosophising while cadging half a crown and avoiding talk of nuptials. The rousing ‘With a Little Bit of Luck’ and later the iconic ‘Get Me To The Church On Time’ are showstoppers, with some excellent work from both the principals and the ensemble. Choreographer Sally Everson has taken the Lambeth Walk and added a whole heap of other exciting moves, including high kicks and a bit of Can Can. Well done to the ensemble for their perfectly coordinated steps and constant high energy. They are called upon to calm it down in the formality of the beautifully costumed ‘Ascot Gavotte’ and the precise ‘Embassy Waltz’; both skilfully danced.

Musical Director Gabriel Oleshko conducts the 10 piece orchestra, who are cleverly revealed during the grandeur of the Embassy Ball. I particularly enjoyed the arrangement of ‘Wouldn’t It Be Loverly’ but this show is packed with wonderful songs, all of which must have required hours of focused rehearsal to get them to such a high standard.

Tom Berriman and Matt Bancroft ensure that sound and lighting add clarity, enhancement and atmosphere. Every line is heard, sound effects add realism and the lighting changes cleverly suggest the passing of time or a change of place. Everything has come together to make this a hugely successful production – the direction, the choreography, the costumes, the set and those brilliant performances.

"Fine, handsome, melodious, witty and beautifully acted...an exceptional show." Another quote from those first Broadway reviews – and again, 70 years later, absolutely spot on.

The Woman in Black
National TourTheatre Royal,
Nottingham
March 10th 2026

This touring production of The Woman in Black is a very good example of how powerful theatre can be when it concentrates on atmosphere, imagination and skilled storytelling rather than elaborate staging.

Adapted for the stage by Stephen Mallatratt from the novel by Susan Hill, the production uses just two actors, a handful of props and an ingeniously simple set. From the outset, it quietly produces a creeping sense of unease, drawing us into its shadowy world.

The story follows Arthur Kipps, a solicitor who has spent years haunted by a disturbing episode from his past. Hoping to rid himself of the memories that still trouble him, he hires a professional actor to help him recount the events that took place at the isolated and unsettling Eel Marsh House. What begins as a straightforward rehearsal gradually evolves into something far more unnerving, as the retelling draws both performers—and the audience—back into the shadow of the mysterious Woman in Black.

As the narrative unfolds, the production expertly blurs the line between past and present. By the time the interval arrives, there is a noticeable tension throughout the theatre. The sense that something sinister may appear at any moment keeps the audience watching every corner of the stage—and occasionally the auditorium itself.

The enduring success of The Woman in Black owes a great deal to the skill of its creative team. Directed by Robin Herford, the production demonstrates a masterful understanding of theatrical tension. His direction allows the story to unfold with careful pacing, gradually tightening the atmosphere until the audience is completely drawn into the haunting world of Eel Marsh House. Rather than relying on spectacle, Herford’s approach trusts the audience’s imagination, making the moments of shock all the more effective.

Complementing this perfectly is the design by Michael Holt, whose deceptively simple set provides a versatile space that shifts effortlessly between rehearsal room and haunted landscape. The minimal design proves remarkably inventive, allowing light, shadow and suggestion to create an environment where the unseen often becomes the most frightening element of all. Lighting by Kevin Sleep and sound by Sebastian Frost is a very effective.

The success of the evening, however, rests firmly on the shoulders of the two performers, and both deliver assured and engaging performances. John Mackay brings a convincing vulnerability to Arthur Kipps, portraying a man clearly unsettled by the memories he is attempting to confront. His performance steadily reveals the emotional toll of the events he describes, grounding the story in genuine feeling.

Alongside him, Daniel Burke provides an excellent counterbalance as “The Actor”. He begins with a confident, almost playful energy as he guides Kipps through the process of retelling the story, but as the tale deepens and the atmosphere darkens, his composure begins to shift. The rapport between the two actors is strong throughout, allowing the narrative to flow smoothly as they move between narration and re-enactment.

There are, of course other things that happen that are best left unmentioned. Suffice to say that when those moments arrive, they are executed with impeccable timing and never fail to provoke a collective reaction from the audience.

The Woman in Black remains a great example of theatre’s ability to frighten through suggestion rather than spectacle. By allowing the audience’s imagination to fill the shadows, this production creates a haunting experience that lingers well beyond the final curtain. It’s a reminder that sometimes the simplest staging can produce the most effective results.

This excellent production continues at the Theatre Royal

 

The Marriage of Figaro
Opera North
Theatre Royal Nottingham
March 5th 2026
COMING SOON

Midsomer Murders - The Killings at Badger’s Drift
Theatre Royal & Royal Concert Hall
NottinghamFebruary 24th 2026

This adaptation of Caroline Graham’s novel, which was the first story in the Midsomer Murders TV series, captures everything we love about the genre. There seems to be an appetite for plays based on murder mysteries and clever detectives, especially those set in apparently idyllic English villages, such as this and Father Brown. The contrast of a peaceful village green, pretty cottages and seemingly genteel people with grisly murder is compelling...

In the quiet village of Badger’s Drift, the affable spinster Emily Simpson is found dead in her cottage, under mysterious circumstances. Her friend Lucy Bellringer insists it wasn’t an accident, begging Detective Chief Inspector Tom Barnaby and his Sergeant Gavin Troy, to investigate. As they do, they uncover a web of hidden passions, long-buried secrets and deadly machinations among the village’s eccentric residents.

What makes this play so successful isn’t just the intriguing Whodunit – and I didn’t know Who until the last few minutes – but the cast of colourful characters, the knowing nods to the conventions of the genre and the very imaginative staging. It’s also a gripping story that mixes funny, almost farcical moments with some rather chilling and shocking ones.

The cast of quirky villagers – there are thirteen of them – are played so skilfully by only five actors I didn’t fully realise this until I read the programme afterwards. Each part is full of character: highlights include a delightfully camp undertaker and his eccentric bird watching mother, who is very much in the tradition of Hinge & Bracket. The portrayal of the prim but jolly Lucy Bellringer by Julie Legrand is a masterclass in character acting. There’s a clever trick at one point to enable the performance of both the brash doctor’s wife and the gruff estate manager at the same time, one the audience are delighted to be let in on.

Some beautifully detailed scenery is moved swiftly, slid on and off or raised up and down in full view of the audience and use is made both of the distant view through an oriel window, flashbacks, mime and a dream sequence. Plenty of suspension of disbelief needed, but that’s the magic of theatre, and there’s certainly no imagination required for the gory bits...

The polite and razor sharp DCI Tom Barnaby is played by Daniel Casey (who was Sergeant Troy in the TV series), bringing the gravitas and thoughtfulness that makes him such a popular character. James Bradwell is the earnest and energetic Sergeant Troy, asking the practical questions and sometimes stating the obvious. His attempt at solving the mystery is a comic highlight and throughout the warmth of their relationship and the contrast between youth and experience is engaging.

There’s plenty going on behind the net curtains of Badger’s Drift and more than birds to watch in the fields beyond. Get those binoculars out and discover the corruption below the surface of village life; it’s a hoot.

 

Crazy for You – Youth Edition
LEOS Youth Group
Duchess Theatre,
20th February 2026

Wow, what a night! LEOS Youth Group’s Crazy for You is outstanding. It’s hard to believe this is a youth production because the talent on the stage is breathtaking. Huge credit goes to director Siobhan Parker, Musical director Shannon O’Donnell and choreographer Aoife Clarke for putting together a show that is so professional and polished.

For those who don’t know the story, it is a classic romantic comedy. It follows Bobby Child, a wealthy New Yorker who just wants to dance on Broadway. When his mother sends him to the tiny, rundown town of Deadrock, Nevada, to close a theatre, he falls head over heels for the spirited Polly Baker. To win her heart and save the building, Bobby goes undercover, brings in a troupe of glamorous Follies girls, and tries to turn a group of lazy cowboys into showstoppers. It’s a hilarious, high-energy tale of mistaken identity and romance. Being a Youth Production, the show is reduced to just an hour, but still includes some of the best George and Ira Gershwin songs, including “Bidin’ My Time”, “Someone to Watch Over Me”, “Slap That Bass”, “I Got Rhythm”, “They Can’t Take That Away from Me”, and “Nice Work If You Can Get It”. Just fabulous.

This production has, without doubt, one of the most talented and hardworking casts I have seen in a youth show.

Findlay Parker is born to play Bobby Child. He is charming, funny, and handles those huge dance numbers like a true professional. I have seen Findlay grow as a performer over the years, and he is now an accomplished actor, singer and dancer. Emily Jones is the perfect Polly Baker — she has a great voice and her performances of “Someone to Watch Over Me” and, of course, “I Got Rhythm” are wonderful. She plays the part with great confidence and self assurance.

The supporting cast deliver performances of consistently high quality. Nathan Crookdale is very entertaining as Bela Zangler. Stevie Kirkham is excellent as Lank Hawkins and Jess Chatten gives a powerful performance as Irene Roth. Fran Squire’s performance as Lottie Child is well acted and Tom Lightbown and Alice Whitaker are excellent as the Fodors, injecting great comedy into their roles.

The energy on stage throughout is electric, especially during the big ensemble numbers. Everyone is completely focused, and every member of the cast deserves recognition.

The Follies dancers — Bethany Stockdale, Robison Parker, Niamh Syson, Neve Johnson, Bella Syson, Phoebe Litherland, Maddie Woodland, Kiera Bordacs and Emily Dexter — are wonderfully synchronised and full of glamour.

The cowboys — Owain Jones, Ivan Hager, Sam Perrin, Quillen Parker, Taylen Brodsky, Eddie Clarkson, Harrison Ramplin and Finn Cliff — bring great fun and energy to the stage.

The citizens of Deadrock — Elsie Sparkes, Sophie Atkinson, Libby Stockdale, Beth Dooley-Roberts, Izzy Pickering, Kate Whitaker, Nefeli Fryganioti and Lucy Gordon — make town scenes feel natural and alive.

The dancing throughout is breathtaking. Aoife Clarke’s choreography is precise and inventive, featuring some outstanding tap sequences. From the sophisticated New York numbers to the lively routines in Deadrock, every dance is a showstopper.

The costumes for the show, and for many of the dancers, there are a lot of them, look fabulous and Carol McTernan, Judy Watson and Janet Whyatt are responsible for them. There were some very quick changes which were well handled by the cast.

A production like this needs a strong technical team, and it certainly has one. The lighting design by Stephen Greatorex and Kiah Smith is excellent, perfectly setting the mood for both the glitzy New York scenes and the dusty streets of Deadrock. The sound, by Dave Dallard and Jack Clark, is impressively clear with not a single witty line or note of that beautiful music missed. Incidentally, the musical accompaniment which was on a track was first class.

The set design by Katie Bird, Roydon Charlesworth and Becky Kirkham is just right and very suitable.Special praise also goes to Katie Bird and her stage management team. Scene changes are quick and seamless — one moment we are in New York and the next we are out West – impressive!

This may be a shortened version of the original Gershwin show, but the cast put so much into that hour on stage it is an absolute joy to watch. The finale is very well done, and it is obvious that the whole cast enjoys every minute. They received a well-deserved ovation at the end.

Honestly, if you miss this, you miss out. It is high energy, funny, polished and a real pleasure to watch. Every single person involved on stage and off should be incredibly proud.

I loved every minute and cannot wait to see their next production, the ever popular ‘The Addams Family’, in July.If you miss this one, make sure you don’t miss the next.

 

Cinderella
The Watson Players
Landau Forte Theatre, Derby
18 February 2026

Christmas may be long gone, but I can honestly say the magic was very much alive tonight at The Watson Players’ sparkling production of Cinderella at the Landau Forte Theatre in Derby.

Written by award-winning writer Alan P. Frayn, the script is packed with audience participation, classic slapstick and all the panto business we know and love. I found myself laughing out loud more than once. It stays affectionately true to tradition keeping the fairy-tale magic firmly intact. The local references went down a treat too and gave it that extra touch of humour.

We all know the story: kind-hearted Cinderella, bullied by her cruel stepmother and outrageously self-absorbed Ugly Sisters, dreams of a better life. With a little help from her Fairy Godmother, she’s whisked off to the Prince’s royal ball for one unforgettable night. It’s a tale built on hope, resilience and just the right amount of glitter. Tonight it felt as fresh as ever.

At the heart of the show is Abi Pritchard as Cinderella. She brings a lovely warmth to the role, along with a quiet strength that makes it impossible not to support her. There’s a real sincerity to her performance, even in the middle of all the chaos, and her vocals are confident and expressive. She is also to be congratulated on the excellent transformation scene.

Jessica Baird’s Buttons is an absolute delight. From the moment she appears on stage she has the audience in the palm of her hand. Her comic timing is spot on and her energy never drops. The natural rapport between Buttons and Cinderella feels genuine and heartfelt. She works the audience brilliantly, reacting effortlessly to whatever comes her way.

Ciara Beighton’s Prince Charming has a confident stage presence and plenty of charm, while Wayne Perry’s Dandini is lively and engaging, handling the inevitable comic misunderstandings with flair and excellent timing. They work very well together.

Jack Woolley’s Baron captures both the character’s hapless nature and his underlying warmth. I found his performance genuinely funny. Paired with Gina Repton as the Baroness, the two make a terrific double act. They work beautifully together and add plenty of sparkle to the chaos at Hardship Hall. Gina delivers her one-liners with real confidence and clearly enjoys every moment as do we.

Then, of course, there are the show-stealing Ugly Sisters. Trish Church (Grizelda) and Sally Tickner-Mellor (Gertrude) throw themselves into the roles with fearless energy. Perfectly over the top and gloriously outrageous, they command every scene they’re in. Their squabbles, extravagant costumes and razor-sharp timing have the audience laughing throughout. For me, they struck exactly the right balance. Daft enough for the children, sharp enough for the adults. The classic “Oh no it isn’t!” exchanges are delivered with infectious enthusiasm and draw everyone straight into the fun.

Liz Woolley (Bodget) and Karen Jones (Leggett) as the bumbling Italian builders provide some wonderfully predictable chaos as they attempt to “improve” Hardship Hall. Their physical comedy and double-act timing are excellent, and I could hear the audience thoroughly enjoying every mishap.

Yvonne Baird’s Fairy Godmother glides onto the stage with charm and sparkle. I loved the way she balanced magic with a knowing sense of humour. Her performance feels confident, warm and just the right side of mischievous.

Gary Rowley also appears as Chambers, the loyal servant, adding further character to the royal household with a polished and amusing performance.

For an extra dash of madness, there’s Hagan the pantomime horse, played with great comic flair by Jake Perry. Every time he appeared, I knew something unexpected was about to happen. The twinkle in his eye and his cheeky interaction with the audience and the band are consistently hilarious. He never stops entertaining for a second when he’s on stage.

The ensemble deserve huge credit. Their energy level never dips, whether in the impressive ballroom scene or the lively musical numbers. They bring colour, movement and atmosphere throughout, and the choreography is performed with polish and enthusiasm. They are Lexi Hicken-Moss, Adam Thornewill, Alice Deegan, Lisa Griffin, Georgia Barkes, Mel Pugh, James Ash and Bayleigh Watson.

Visually, I thought the production looked wonderful. The costumes are bright, imaginative and properly theatrical, and the set makes excellent use of the Landau Forte Theatre space (John Woolley and Brian Hartshorn). Scene changes are slick and efficient, thanks to the stage crew led by John Woolley, keeping everything moving at a lively pace.

The musical numbers are well rehearsed, with strong vocals and sharp choreography. Lighting by Lee Hartshorn and sound by John Woolley and the Landau Tech Team are thoughtfully designed and expertly operated, enhancing the magic, music and comedy throughout.

While there was some appropriate recorded music there is also a live band which sounded fantastic. Always good to see and hear the excellent musicians who were Jo Baird-Swinburn (MD and Keys), Clive Jones (Guitar), Rue Randall (Bass Guitar) and Brian Rodwell (Drums).

I was particularly impressed by the ballroom set — it looked so good it didn’t need projections. It spoke for itself. The clock effect was also very cleverly done and added a real touch of theatrical magic.

Director Angela Swift, Musical Director Jo Baird-Swinburn and Choreographer Sharon Stringer have clearly poured time, care and imagination into this production. Every inch of the space is used well; there’s no wasted time and no wasted energy.

What stood out most for me, though, was the clear dedication and sheer enjoyment behind the whole show. You can feel how much work has gone into it, but more importantly, how much everyone loves being part of it. It isn’t just a performance. It’s a genuinely uplifting community event that brings families and friends together for an evening of laughter and warmth.

This year, the company is also raising funds for The Alzheimer’s Society in memory of a much-loved member, Alison, which adds an extra layer of meaning to the occasion.

Huge congratulations to The Watson Players. I left the theatre smiling. This Cinderella is magical, hilarious and full of charm. Indeed, a glittering reminder of just how special local theatre can be.

Cinderella continues at the Landau Forte Theatre until Sunday. If you miss it you will be missing a treat – “OH YES YOU WILL.”

 

Sunny Afternoon
National Tour
Theatre Royal Nottingham
February 17th, 2026

There’s something rather special about returning to a show that has already been enjoyed in the past. I am pleased to say that this is certainly the case with Sunny Afternoon. Having first seen the production in London in 2016 and again at the Theatre Royal in 2017, and having loved both, I was excited to see it again. I am delighted to say I was not disappointed at all.

Winner of the 2015 Olivier Award for Best New Musical, with music and lyrics by Ray Davies (who also receives the Olivier for Outstanding Achievement in Music), a sharp and witty book by Joe Penhall, and direction by Edward Hall, Sunny Afternoon remains a masterclass in how to create a great jukebox musical. This show isn’t just a string of hits stitched together; it is a fully realised story with perfectly placed songs.

Set in the 1960s, the show follows the meteoric rise of the pop group The Kinks. It captures both the highs of fame and the struggles bubbling below the surface. There is creative tension, difficult friendships, and the pressure of sudden success. The spirit of the times is present in every scene, giving the production an authenticity that makes it feel real rather than simply nostalgic.

The music is, of course, at its heart. From the punchy defiance of “You Really Got Me” to the swagger of “All Day and All of the Night,” the social bite of “Dead End Street,” and the razor-sharp satire of “Dedicated Follower of Fashion” (still one of my personal favourites), each number is delivered with energy and flair. The sound is crisp, the band is tight, and the performances are brilliant.

Playing the part of Ray Davies, Danny Horn leads the show with charisma and emotion. He captures both the ambition and vulnerability of the band’s frontman, particularly as the second act explores the cracks forming within the band. Oliver Hoare’s Dave Davies is equally compelling — volatile, magnetic, and musically outstanding. Their onstage partnership drives the story and makes it feel authentic. Their final song together is particularly well performed.

Harry Curley (Pete Quaife) and Zakarie Stokes (Mick Avory) provide strong support as the other band members, adding warmth and emotional depth to the story.

The rest of the company contributes hugely to the impact of the production, with many taking on multiple roles. Lisa Wright is excellent as Ray’s wife, Rasa, alongside Ben Caplan as Eddie Kassner, James Chisholm as Gregory Piven, Phil Corbitt as Mr Davies and Allen Klein, Alasdair Craig as Larry Page, Deryn Edwards as Mrs Davies/Marsha, Joseph Richardson as Robert Wace, Tam Williams as Grenville Collins, Emily Whitby-Samways as Peggy, Jada Langley as Joyce, Victoria Anderson as Gwen, and Alex Ward (Guitarist). This truly is an excellent ensemble cast.

Notably, this touring company impresses not only with its superb acting but also with its musicianship. Playing instruments live adds an extra layer of authenticity that lifts the whole production. I am particularly impressed by the excellent trombone playing from a couple of cast members.

The staging is slick without being overcomplicated. Vibrant lighting and clear, powerful sound design ensure the concert-style numbers feel exhilarating, while the more intimate scenes are beautifully judged.

The second act carries real poignancy as the band faces a possible end, unsure of its musical direction and the future of its friendships. The humour remains sharp throughout, but it never interrupts the more serious moments, of which there are several.The direction by Edward Hall is fast and energetic, with swift and effective scene changes.

The finale has the audience (including me) on its feet, singing and clapping along. It feels less like the end of a show and more like a concert. That is the magic of Sunny Afternoon: it seamlessly balances concert-level energy with serious storytelling and reminds us why The Kinks’ music endures.

When I left the Theatre Royal, there was a genuine buzz in the air and the unmistakable sense that everyone had had a wonderful time. Great performances, a clever and funny script, and some of the best British rock songs ever written made this an outstanding evening of musical theatre. I left smiling and humming the tunes, just as I did in 2016 and 2017.

 

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.