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.