"Kiss Me Kate" by West Bridgford Operatic Society.

Squire Performing Arts Centre, Nottingham.

The plot, if you've never seen this musical before, is a clever one: divorced Broadway stars Fred Graham (Petruchio) and Lilli Vanessi (Katherine) are opening their production of "The Taming of the Shrew" in 1950s Baltimore. Backstage tensions overspill into on-stage action with romantic misunderstandings between Fred, the soon-to-be-remarried Lilli and their young co-star Lois Lane, playing Catherine's younger sister, Bianca. Added to this Lois' boyfriend Bill, also in the show playing Lucentio, has signed an IOU for his gambling debts to Mr Hogan, the local mafia don, causing his collectors to pay the theatre a visit - eventually ending up as part of the show.

Cole Porter is one of my favourite songwriters and injects so much humour into his songs and this musical is a perfect vehicle for his work. Many of these songs are standards and have been recorded by many international stars. Hearing them in the context of this musical gives a lot of them new meaning. They are jazzy, bluesy and have a few naughty connotations - just listen to "Tom, Dick Or Harry". His lyrics are very clever - how long must it have taken him to write "Brush Up Your Shakespeare" where he deliberately bends the words to fit what he wants it to say. He plays with words, often giving the singer a tongue twister just for fun - "I've Come To Wive It Wealthily In Padua" or "Where Is The Life That Late I Led".  And then there are the standards like "Always True To You" and "So In Love", "Too Darn Hot", Oh, and then there is "I Hate Men", pure brilliance.

There is just one thing that this productions needs; that is a National tour or a West End Stage, befitting of the quality of this show and performance. I haven't seen a production of "Kiss Me Kate" this brilliant in a very long time.

The opening set is a bare stage with a ghost light central; if you don't know what a "ghost light" is, it's a single bulb on a stand that is left glowing when the theatre is closed. . Used for both safety and superstition, it prevents staff from tripping into orchestra pits or over props in the dark, while tradition suggests it keeps resident ghosts happy and allows them to perform. I love theatre superstition.

Drew Dennis is Fred Graham (Petruccio), the ex of Lilli Vanessi. I've seen so many of this cast in other productions, so as a reviewer, you know the quality of the cast and what to expect. Drew is a quality performer with incredible vocal ability; a vocal strength that materialises with such ease, making you feel that you're listening to an operatic piece. The perfect choice of a leading man because he is playful with the character, at times seemingly letting the audience into a boyish prank of joke, especially with the scenes with Lilli.

Louise Grantham-Lang is Lilli Vanessi (Katharine) and the perfect foil for Fred. A wonderful comedy performance and what a voice. Cole Porter wrote some incredible pieces for Lilli with some big notes, and Louise hit the notes with the same ease as Drew did with his. There are a few scenes where Lilli has to slap Fred and from where I was sitting you could hear those slaps very clearly as they connected. 

Steph Jones plays Lois Lane (Bianca), the quintessential airhead who often relies on her womanly wiles to get what she wants, from practically all of the male characters. So many highlights, as with everyone in the show, but the powerhouse version of "Always True To You In My Fashion" just sends tingles just about everywhere.

Richard Ives is Bill Calhoun (Lucentio), a ne’er-do-well actor who has a bit of a gambling problem, which is the reason why Fred has the two debt collectors on his back throughout the show. Bill also has the eye for Lois. If only he's behave himself!

Chris Heeley is Paul, Fred's personal dresser. The opening of Act two is the song "Too Darn Hot", which Chris performs with a big ensemble and another one of my highlights; you can't beat a big, flashy opening and that's what we got for the start of the second act. Loved the arrangement of this song, and another vocalist who took all the big notes easily in his stride.

Sam Parfitt is Hattie, Lilli Vanessi’s personal dresser and confidante. 

Tom Parry is The First Man, half of the debt collecting duo. Alasdair Maughan is The Second Man, he’s the First Man’s shadow - especially when it comes to IOU’s that ain’t been paid! I love this duo and I love their song "Brush Up Your Shakespeare" with Porter's perpetually perfect wordplay. There are shadows of music hall in "Kiss Me Kate" and this song reflects this era, especially with the gradual increase of upmarket ness culminating in top hat and canes.

Martin Thomas is Senator Harrison Howell, the secret fiancé of Lilli's who turns up in act two to rescue her from beatings from Fred, well that's what Lilli claims anyway.

Julie Fowler is Harri (Baptista), Malcolm Cocking (Ralph, the Stage manager), Tim Biller (Stage Doorman/Priest/Ensemble), Katie Walker-Bogod (Dance Captain/Haberdasher/Stagehand), Jarrod Makin (Grumio/Ensemble), Christopher Collins (Hortensio/Ensemble). Keith Harrington (Nathaniel/Stagehand), Anne McCarroll (Gregory/Stagehand/Ensemble). Becky Birch (Phillipa/Stagehand/Ensemble), Alice Rainford (Nurse/Stagehand/Ensemble). Clive Marner (Doctor/Stagehand/Ensemble), Jill Hemington (Wardrobe Mistress/Ensemble) and Helen Heeley (Cab Driver/Ensemble).

Then we come to the Dancers who consist of Ali Biller, Penny Gale, Asta Knight, Orla McMahon and Katie Waller-Bogod. With the energy in these routines, you can guarantee that this team have no need of gym sessions, and they do all this with the biggest smiles on their faces!

As you can imagine, with a musical that has a show within a show for the main show, there are plenty of ensemble roles, all of which deserve a mention. After all, where would we be without the talented ensemble? 

Apart from those listed above as "Ensemble", here are the rest of the Ensemble.....Judy Atkin, Adrian Baldwick, Bill Cooper, David Gyles, Diana Ives, Carl Rushworth and Wendy Silver.

Directed by Linda Croston. This is a role that takes up so much time, even before the cast are picked the Director is working their way through the book, and that work doesn't really stop until after opening night, so this is a massive job; after all a show and its' cast is only as good as the Director, so I can just sum up Linda's work by saying that this cast and the show was incredible in all areas.

Choreographed by Shannon O'Donnell. This is a proper old school musical, a classic, and that is also reflected in the choreography. The big numbers were just that; BIG! The smaller dance routines were magic. The choreography showed just why this show is deemed a classic, and why this production is a massive success.

Musical Director is Jonah Williams, who at times was involved as a minor cast member. I must say, and I told Linda after the show, that this band were incredible. This band could swing and sounded as if they had been playing together professionally for ever. The sound was just gorgeous, but I must give a special mention to Richard Dry as the percussionist. It's a wonder there's any skin left on those drums, and if I didn't have a good view of this section of the band, I would have sworn that Animal from the Muppets had been let loose on them. Possibly one of the tightest bands I've heard in a while. 

I imagine that Jonah may also had leant a hand, and maybe even an ear, with the vocals throughout the cast. I have already mentioned that these vocals in the show are out of this world. I know that the word "operatic" is in the name of the group, but to hear these classic songs sung just the way I imagine Cole Porter had meant them to sound was an absolute joy, especially the songs with that music hall slant such as "Shakespeare" and a song that Petruchio sings "Where Is the Life I Late Had Led" - another example of Porter's brilliant wordplay twisters.

Costumes by Amy Thomas and the Lace Market Theatre Wardrobe department.

Set Hire is from Roydon Charlesworth with the set painting by Guy Evans.

Lighting by the team from Squire Performing Arts Centre. I have come to expect this area to be excellent, and I can confirm that my expectations were yet again met.

Sound by Rob Kettridge. I could hear every word that was spoken or sung, partly because Rob knows exactly what he is doing around a sound mix desk. Plus Squire Performing Arts Centre have acoustics that every theatre would die for. The sound was big and bouncy. but also with the ballads such as "So In Love" the volume was perfectly blended with the actors' vocals creating a lovely sensitive mix.

Stage Manager is Matt Allcock with Deputy Stage manager being Nigel Newton. Two legends of stage management, locally.

It's been a busy week for me this last week, which is why I could only get to see this practically perfect performance on Friday night, but I would not have missed the chance to see West Bridgford Operatic Society's latest show with their all round excellent cast. What a way to go into the weekend!

"Kiss Me Kate" is simply wunderbar, so don't miss out, it's two shows for the price of one and all at the same time! It's at the Squire Performing Arts Centre in Nottingham until Saturday 21 February.

 "The Glad Game" by Phoebe Frances Brown.

Nottingham Lace Market Theatre.

"The Glad Game" is Phoebe’s play about living with an incurable brain tumour. She performed the play at Hampstead Theatre, London and Nottingham, Playhouse and this is the first time that it has been performed in Nottingham since Phoebe herself performed it in 2021.

Phoebe was born in 1992, and grew up in Nottingham, found a place to develop her skills as a performer at the Television Workshop. She went onto study theatre at the University of Birmingham and performed on the National Theatre stage in "Small Island".

 In November 2018, aged 26, Phoebe was diagnosed with an incurable brain tumour in the area of her brain that controls speech, language and memory. Being an actor, losing these functions was devastating to say the least, but still she battled on with her "do what you gotta do" attitude. Phoebe lost her battle to cancer in April 2022 aged just 29.

"The Glad Game" is Phoebe’s story. Her story of finding herself in the darkest, bleakest of times, of finding gladness in the saddest of moments and of how who and what you love can pull you through.

This has to be the quickest 80 minutes in theatre, due to the way that we are involved in this story; it's almost like finding someone's diary and reading it and discovering so much about a person that you thought that you knew.

We are taken to the edge of emotion and sadness and just as you're about to tip over, you're brought back from the brink with an unexpected funny line and off we go again on another story. You don't get much time to feel sorry for Phoebe before you find yourself smiling, grinning and laughing. I never met Phoebe but this play shows her as someone who didn't let this evil curse keep her down for too long. Someone who packed so much into the short life that she lived and because of her gifted skills and life, makes you miss that kind of person and want to be in her circle.

It would take a very special and gifted actor to take this story on and hold an audience alone on stage but Jen White is that person chosen to drive this one woman play. When I first went to "radio school" - yes, there is such a thing, my group tutor was Bruno Brookes - the first thing we had to do was to talk about ourselves for one minute, which some in my group found difficult to do for a whole minute. It may not come as any surprise that I cruised through the one minute with ease talking about me. Just think how hard it is to hold an audience in the palm of your hand and entertain them for 80 minutes, remembering a whole play's script with no one physical to bounce off. And also to not trip over or forget any word in the script, standing, sometimes sitting or lying down in the spotlight with everyone's eyes on you. Jen White has possibly performed her most intoxicating piece of theatre to date, earning the standing ovation she received at the closing of the show. And that is something that you don't see at the end of every show at the Lace Market Theatre.

Directed by Kathryn Edwards in her directorial debut, this is a big production to tackle for a debut, but boy she made this show hard-hitting as well as a joyful lesson in how to get through the crap that life throws your way. 

Lighting Design is by David Billen and you may think that a one woman show telling a story won't really require a fancy lightshow. Think again! Throughout the light moments of Phoebe's life it was reflected in the lighting design. In the darker moments Phoebe is illuminated by one spotlight on stage, making sure that you focus on Phoebe and her words, also creating an atmosphere of isolation and being penned in.

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• Sound Design is by Jonathan Blacknell. We get soundbites of music where Phoebe dances around the stage. We get sound effects. We also get the other characters' speech sections to flesh out the story. With so many sound cues within the story, a sound man has to be always on top of their game to make sure that every cue is perfectly timed. The timing could not have been better.
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• Stage Manager is Jae Marriott who taught Phoebe and introduced Kathryn to the play.

"The Glad Game" is a truly thought provoking piece of theatre with great warmth, humour - we are given permission to laugh by Phoebe at the start of the play, sadness and strength of character. And just when you think the show is over, we get to see a little bit of Phoebe on film, which is quite an emotional watch.

I was so pleased to see the Lace Market Theatre almost full; there were only a handful of seats left, so I really do hope that the shows from Friday onwards are completely sold out for a few reasons. To experience an incredible performance from a wonderful actress, to remember a brave and extremely funny local lady and appreciate her immense talent and humour, and thirdly to appreciate how good the Lace Market shows are - most of us already know this anyway. Also to see the blossoming of a wonderful Director.

It's a joy to acknowledge the talent we have on our doorstep.

"The Glad Game" is at the Nottingham Lace Market Theatre until Saturday 21 February in the main auditorium.

 "Cinderella" by Alan P Frayn.

The Watson Players.

Landau Forte College, Derby.

Before I start I just want to say that I have had the best night out on Wednesday night, not only with this wonderful pantomime, but also with some of the loveliest people involved in local theatre, and we all sat on the front row at Landau Forte College in Derby.

Alan P Frayn's script combines the traditional story we all know and love with "Cinderella" and blends it with some brilliantly funny, and topical lines, as well some lovely old chestnuts like the potato clock sketch; this blend of traditional, new, topical and those jokes that you can see coming a mile off but still find very funny make for a fantastically funny pantomime. But a script is just words on a page until you get a cast who know how to deliver a funny script and make it side splitting. And that's where I start....

Abbi Pritchard is our Cinderella, kind hearted and innocent with a lovely voice which brings out an almost Disney Princess vibe about Cinderella. Abbi makes you want to root for the character and win over her two nasty step-sisters because of that niceness she brings out of Cinders. With sitting right on the front row I also got to see something that I had seen many times before, but never the secret of how it was done. The scene where Cinderella twirls around and her rags magically turn into a gorgeous sparkly ball gown. This change was performed very subtly but I had never realised how it was done, and if you don't know how the magic works, I'm not telling.

Ciara Beighton is Prince Charming, and charming this Prince is. Love the traditional sly flapping - sorry thigh slapping - and the chemistry between the Prince and Dandini. Ciara is another class act when it comes to pantomimes. I have seen some Princes in Cinderella portrayed a little on the dense side but Ciara delivers a realistic Prince which makes the character feel more modern.

Dandini is played by Wayne Perry. The first sign you get of just how much fun this Dandini was going to be was with the swapping of the sash when the Prince and Dandini decided to swap places to allow the Prince to meet "normal" girls. You may not get to see the fun that the simple sash swap brought about unless the decision to keep that fumbling about in. Wayne is a master at comedy so panto is the perfect vehicle for his visual comedy talents.

Jessica Baird-Swinburn is Buttons. What a fun portrayal of this panto stalwart and Jessica brings out the playful character perfectly. Buttons is always the one in this panto who gets the audience going; not the easiest of jobs in the cast, but she eventually got the audience to the level of excitement and participation needed for the cast to feed off. Another comedy gold, one off section involves Hagan the horse and one of his coconuts and Buttons.

Hagan the horse was a real hit with everyone in the audience. Jake Perry was at his playful best with his cheeky hoofing around and his flirty, knowing looks and smiles to the audience. A fun version of "Always Look On The Bright Side Of Life" was like a new awakening in the auditorium as people at that stage started to warm up and really became more audible in their appreciation of the show that they were watching. Jake certainly looked as if he was having a marvellous time on stage, he only stopped smiling to pull a funny face before returning back to grinning away. I am sure there was even a touch of ad lib acting with the hoof mishap which may have thrown a lesser experienced actor, but not Jake.

Our comedy double act Bodget and Leggett are played by Liz Woolley and Karen Jones. Beautifully cast comedy coupling and looking like a pair of Mario Brothers, complete with Italian accents. There are some very funny association scenes, stringing together many TV DIY/Home move programmes - well there are so many to count on. This particular scene is relevant as Bodget and Leggett are builders, complete with a form of transport that looks like it has the ability to traverse the potholes without spoiling either the wheel or suspension. Both Liz and Karen are naturally funny ladies so the decision to pair them up is a lovely decision.

Patricia Church is Grizelda and Sally Tickner-Mellor is Gertrude, the "Ugly Sisters". Another marvellous decision in casting this pair as the step-sisters. Grizelda has been given comedy teeth which really transform her face and Gertrude looks like Linda in the sit com "Gimme Gimme Gimme" with those glasses and the hair. This pair of sisters are comical to watch and as soon as their banter starts they become even more hilarious. There's less evilness towards Cinderella but I think that is in their favour. A great duet between Grizelda, Gertrude and Cinderella just after they first meet with a mash up of "Sisters" and "Sisters Are Doing It For Themselves". Kate Jones's make up made them look as gorgeous as they do. Patricia and Sally are another classic comedy pairing.

Fairy G (odmother) is played by Yvonne Baird and straight from the off, Yvonne made you feel like smiling because of that gorgeous smile that she has. Fairy G oozes loveliness and fun, and who wouldn't want a good fairy like Fairy G watching over you. 

Gina Repton is The Baroness. This is possibly one of the most glamorous pantomime Baronesses I have ever seen, but that ties in with the extremely glamorous actress who is playing the Baroness. Love the slight haughtiness air instead of going over the top haughtiness that I have seen in some portrayals of the Baroness. I have always thought that Gina's humour is sometimes underestimated, and that is because she has a brilliant poker face. That talent is used to great advantage with this character, which made the Baroness a warmer character, despite her only marrying the Baron for money, who was also marrying her for the same reason.

Jack Woolley as Baron Hardup. I don't hear Jack venturing too often into the accent box, but he gives Baron Hardup a posh accent which really suits the character. Visually Hardup's wig automatically makes Jack look older, so the whole physicality and visual image of the Baron is completed accurately for what you'd expect a Baron to look and sound like.

Chambers, the Lord Chamberlain, is played by Gary Rowley. This is only a minor role but even in a minor role Gary managed to make the part his own, especially in how the delivery of the script was done. I don't know if there are directions on how the script for characters is supposed to be done and sound when companies receive the scripts, in the same way notes are received on scenery etc., but if not, whoever developed the way Chambers sounded has created a memorable role.

The Ensemble and Dancers are Lexie Hicken-Moss, Adam Thornewill who is an incredible dancer who has so much energy and never once looks out of breath, James Ash, Alice Deegan, Lisa Griffin, Georgia Barkes who is the Dance Captain, Mel Pugh and Bayleigh Watson. I know I mentioned Adam, but they all leave you quite breathless just watching in some of these choreographed pieces, especially "The Fast Food Song" by the Fast Food Rockers which was an out and out cheerleaders performance.  

Directed by Angela Swift. What a fast paced pantomime this really is, hardly any room to catch breath. I don't need to mention what a brilliant pantomime this is again and how good Angela as a Director is because everything that I have said about the actors is proof, in part, of just how good a job Angela has done with this cast. I say "in part" because it's also the cast individually who have injected the fun and comedy experience into every minute of this show.

Musical Director is Jo Baird-Swinburn. The usual mix of pop tunes from various decades which certainly kept my toes tapping and hands clapping. From the opening song "Apt" which segued nicely into "Mickey" to introduce Bodget and Leggett to the stage, via "Bibbidi Bobbidi Boo" and "Come Alive". 

Choreographed by Sharon Stringer. Well, I've already stated just how energetic the dance routines are, but in contrast to the high energy routines is the majestic "Cinderella Waltz".

Costumes are something that I always look forward to checking out with The Watson Players because I am aware if The Crafty Ladies who create and make the costumes; well they did not disappoint in this show. They look like they have been hired in by a professional theatrical costumiers, but I know that many long hours have gone into sourcing materials and the various costumes have been brought to life by this group of talented people who go by the name of The Crafty Ladies. Patricia Church  has designed the costumes for this show.

There are a lot of people on this stage and are all stage managed by John Woolley and Brian Hartshorn, along with the Stage Crew Angela Barradell and Mike Moss.

The Set Designers are John Woolley and Brian Hartshorn.

Sound effects design is by John Woolley with the Sound Operators being from Landau Forte College.

Lighting design and operation is by Lee Hartshorn. the show is a colourful one with all the characters being colourful and the lighting design match these characters for the colour flood.

I have mentioned just how good the characters are and I noticed in the programme that this pantomime has a Character Coach in Graham Swift, who has obviously worked his panto magic in this area.

I have a feeling that this is my final pantomime (I may be wrong) for the Winter period, and you know that saying "save the best for last", well I think that may be true for this production.

Great fun, great company and a great time was had by all, especially in the front row.

"Cinderella" is at Landau Forte College in Derby until Sunday 22 February, and I can promise you that it won't just be Cinderella who will have a ball!

 "Sunny Afternoon - The Kinks Musical"

Nottingham Theatre Royal.

Unlike some jukebox musicals, this musical's storyline has a strong story and the songs meander along perfectly throughout the two hours and twenty minutes the cast are on stage. Never setting out to mimic the singers you get to see four actors who just happen to be able to play their instruments brilliantly and have the raw energy to belt out the wonderful back catalogue of one of the best bands ever. They also prove that the Gallaghers from Oasis were not the first brothers to rip chunks out of each other, verbally and physically.

Based on the formation and career of The Kinks, this is their tale of their rise from the dead end streets to rock stardom. It’s set against the background of political and social change of the 1960s and examines the early years of the Muswell Hill based group. After initial failure, the band's lead guitarist Dave Davies experimented and created a distorted power chord sound on the group's third single, "You Really Got Me". The song, written by Dave's older brother Ray, went to No 1 in the charts and preceded a string of hits.

Woven into this 2015 award winning new musical are the themes of the Davies brothers' sibling rivalry, management problems, their sister's untimely death, Ray's doomed marriage and their subsequent banning from the United States following a dispute with the musicians' union.

All the biggest and best hits are here, “You Really Got Me”, “Days”, “Dead End Street”, ”Dedicated Follower Of Fashion”, “Stop Your Sobbing”, “All Day And All Of The Night”, “Tired Of Waiting”, "I Go To Sleep", “Waterloo Sunset”, “Lola”, "Sunny Afternoon" and so many more. It also includes one of my guilty pleasures favourites "I'm Not Like Everybody Else" which was only a "B" side of "Sunny Afternoon".

This show combines the adrenalin rush of being at a live concert with the whole theatricality of a stage show and the whole rebellious spirit of the 1960s. Bringing the primal sound of rock ‘n’ roll to the “lardies” (lah di dah-upper class people) can be an uphill struggle and not without physical oppositions.

It’s always nice to see those on stage actually playing their instruments, bringing an air of realism to the roles of the fine musicians that are the Davies brothers and the band, with only a couple of drafted in musicians to fully flesh out the sound.

The arrangements of Davies' songs when stripped back show what beautiful words and melodies he produced. It also highlighted the excellent voices the actors have.

Danny Horn plays Ray Davies, the more sensible one of the Davies brothers. It shows the initial hunger of the brother which then turns to one of those "be careful what you wish for" moments. He shows the homesick side of Ray, longing for his wife and baby, tired of all the legal Union wrangles in the States, which then turns again when he gets back home, also showing the faith in the people he has around him in the band and management. Danny also shows what a fine rock voice he has in these songs, as well as a very soulful set of vocals in the stripped back versions of some of their songs. there's also a really sensitive side to Ray shown near the end of act two with his brother.

Oliver Hoare is Dave Davies, the clown of the band who liked to dress up in outrageous clothes, an almost child like behaviour who liked to throw the odd tantrum if things didn't go the way that he wanted; all of which manifested in a magnetic character which the groupies clearly found attractive. One of the opening scenes sees the Davies brothers working on chords for a song in their bedroom. They ramp up both amps to eleven and then practically destroy one of the amps to cause a raw distortion. The noise that came from that stage sent vibrations through the seats in the auditorium; I am so pleased that the sound department did not scrimp on the volume, my glasses nearly vibrated all the way down my nose!! The musical also shows the level of inter band altercations with one between Dave and Mick ending in a bloody stage fight. There's a sentimental brotherly love understanding near the end where confessions were made by both brothers.

Harry Curley is their bassist Peter Quaife. I had quite forgotten about Quaife wanting out of the band in 1966 because he didn't think that the rest of the band liked him, even though Quaife and Davies had been the best of friends at school and practically created the school band between them. He also showed the fear of what might happen in the band if he didn't get out. Thankfully Quaife changed his mind and returned with a walking bass line that became the intro of one of their big hits. Even though I have seen this musical before, I had forgotten just what a fragile character Quaife is portrayed to be and Harry brings that fragility to the fore.

Zakarie Stokes is Mick Avory, the Kinks' drummer. What you don't get to appreciate so much with the Kinks' songs was the level of excellence Avory had. In the second act there's a scene with Avory running amok on the drum kit, moving from jazz styles to out and out rock drumming and then to a softer Latin style rhythm. Zakarie Stokes is an incredible drummer and percussionist and lays it out there on stage in one of the best drum solos I have seen performed live in a musical. the driving rhythm section of Curley and Stokes replicate the sound that made the Kinks's rhythm department the powerhouse that they were. And when you throw into that mix the guitars of Ray and Dave, you get that unmistakable rock sound.

Returning from the original Hampstead Theatre and West End companies are Ben Caplan as Eddie Kassner and Tam Williams as Grenville Collins and, from the original UK Tour are Victoria Anderson as Gwen, plus Victoria was Dance Captain, Deryn Edwards as Mrs. Davies, Joseph Richardson as Robert Wace, Lisa Wright as Rasa, Ray's wife, and James Hudson.

The company is completed by Alicia Ally, Morgan Burgess, James Chisholm, Phil Corbitt, Alasdair Craig, Dominic Gee-Burch, Kristian Jacobs, Robin Johnson, Sorrel Jordan, Jada Langley, Timothy Roberts, Georgiana Wainwright-Jones and Emily Whitby-Samways. 

Alex Ward is the additional guitarist.

Brilliant costumes, make up and wigs, especially for Dave Davies, are thanks to Carole Hancock. The costumes bring back memories of watching old editions of "Top Of The Pops", "Beat Club", "Shindig" and other pop music shows from the Sixties on TV, when they used to show them back in the Eighties on Cable TV. And all of those brilliant wigs for both men and women!

An amazing light show and powerful sound really made you feel as if you were at one of their live concerts, creating an all round electric atmosphere. 

Directed by Edward Hall and perfectly paced. All thriller and no filler.

Choreography is by Adam Cooper and we get to see an amazing array of Sixties style dances, and dancers.

Musical Supervisor is Elliott Ware and Musical Director is Michael Cullen. Associate Director is Christopher Chase Carter. They made sure that the Kinks music sounded just as it did back in the day, but with an added freshness that modern technology enhances. There are some brilliant arrangements of these songs. the stripped back arrangement of "I Go To Sleep", sung by Lisa Wright over the phone to ray when he was at his lowest ebb is truly heart wrenching. It really got me!

Design is by Miriam Buether and the first thing that hits you about this production is the stage set. Three walls floor to ceiling of various sized speakers with a recording studio booth window at the back. 

Fight Director is Terry King.

Great entertainment as well as educational, an amazing back catalogue of songs, a fantastic history lesson and a crazy, mixed up, shook up world of sixties pop culture. These songs will have you singing for days after the event as you walk off into your own Waterloo sunset. And listen out for some wonderfully ironic lines in the script.

 "Sunny Afternoon" is at the Nottingham Theatre Royal until Saturday 21 February, so whatever you do, don't take all day and all of the night to decide to get a ticket. Get them now while you can.

 "Jane - England's Nine Day Queen" written by Kim-louise Sparks

by Prism Theatre.
Sawley Memorial Hall Community Centre.

This is a completely new, never seen before piece of theatre written by Kim-Louise Sparks about Leicestershire born Lady Jane Gray. It's quite a rarity for me to see a completely brand new shiny musical, but here it is.

"Jane" is the story of Lady Jane Grey who reluctantly became Queen, but for only nine days due to a conspiracy where she was forced from the throne, in favour of Mary Tudor, and executed, along with her husband for treason. That's the potted history of Lady Jane Grey but the story line through the musical is very detailed as it's all done via this sung through piece of musical theatre. Kim-Louise, who wrote the songs as well as the storyline has obviously delved deep into the history of this woman, and those surrounding her, on both sides, and has created a history lesson in song that educates and entertains all at the same time.

I love that the music covers various styles and has so many catchy hooks running through it. Twenty six new pieces of music that will sound great on a soundtrack recording, especially with these singers, mixing classic musical theatre style tracks with toe tappers, and there's even a touch of rap going down on one of the tracks. I was very privileged to have heard four of the songs from "Jane" - "What Now", "Still I Stand", "Tudor Pawn" and "Her Name In Stone" - a few weeks ago which really whet my appetite for the rest of the songs, but there are many more standout songs here like "The Pieces Move", "Jane", "For England" and What Will Remain"; but it's really difficult to pick just a few of my new favourites.

I've seen all of this cast in various pieces of theatre over the years, so I don't need to tell you how good they are acting wise or vocal wise, and they bring their amassed talents to these new roles and the new songs. They all manage to keep your attention, especially those like me who don't know a lot about Lady Jane or this historical happening. There are also no standout performances for the main reason that all of the performances stand out.

Louise Potter (Lady Jane Grey), Matt McAuley (Lord Guildford Dudley/Thomas Wyatt the Younger), Dan Bates (Prince Philip of Spain/ Thomas Brydges, the Tower guard), Rebekah Dean (Lady Mary Tudor), Graham Buchanan (John Dudley/Henry Grey - Jane's father), Philippa Buchanan (Frances Grey - Jane's mother), Hannah Gorton (John Feckenham/Sir John Brydges), Grace Deakin (Katherine Grey), Emma Kerrison (Mary Grey), Alistair Langton (King Henry VIII)*, Brooke Meadows (Queen Consort Anne Boleyn)*, Penelope Dean (Princess Mary Tudor)* and Everley Meadows (Young Mary Tudor)*

Directed and choreographed by Kim-Louise Sparks, who also sourced the brilliant costumes, and I must say I loved Frances Grey's boots. There's a song, which may have been "Tudor Pawn" where there was some brilliant fanography going down. Kim-Louise also created the wonderfully informative programme which has many historical facts included as well as everything else you could want from a programme.

The set is basically a bare black backdrop with several props brought on and taken away, but who needs a full set when the story behind the musical is such an interesting one.

Production Assistants for the show are Rebekah Dean and Matt McAuley. Matt is also responsible for the Tech and Lighting design.

Vocal Coach is Emma Kerrison.

Graham Buchanan is the Fact/History Checker.

Martin Lewis is the Performance Technician - he is  in charge of the sound and lighting and video operation. Two free standing microphones picked up the majority of the speech and vocals, but this cast are well versed in projection. Sound wise it was nice to note that Martin listened to the sound mix of the backing tracks and the live vocals and at times adjusted the backing so as not to drown the on stage vocals. Lighting wise was a nice mix of colorful flooding and more intimate shades and spotting. 

Andrew Chick was responsible for sourcing props for the show as well as the videography - there was a slight technical hitch with the video, so we didn't get the full effect of this on opening night, but I am sure that this will be sorted out for Saturday's performance.

I must also mention two of my favourite people who were Front Of House on Friday night; Beth Yearsley and Becky Morley - lovely to see you both.

I noticed online that tickets for Saturday are dwindling, so if you want to get in there at the start of something so fresh and original, grab those remaining tickets while you can. As I said at the start, it's quite rare to see a musical that is completely new, and especially written by someone with as much talent, and love of history, as Kim-Louise. It's also a chance to see a collection of talented performers that make up this cast.

"Jane - England's Nine Day Queen" is being performed at Sawley Memorial Hall Community Centre in Sawley until Saturday 14 February.

*These parts were pre-recorded on video.

 "The Beekeeper Of Aleppo" by Christy Lefteri.

Adapted for the stage by Nesrin Alrefaai and Matthew Spangler.

Nottingham Playhouse.

This beautiful play was last at the Nottingham Playhouse in 2023 and now it's back with a few new additions to the cast, but the story and the history behind this play has not changed. It does though give someone like myself, who saw it the last time it was here, a chance to notice more of the story that we may have missed while we were concentrating on the main storyline of the refugee issues and how people are treated. This time around it felt fresh and simultaneous storylines leapt out from the stage, making this viewing even better than the first time.

The play’s narrator and protagonist is Nuri Ibrahim, a man from Syria. He and his wife Afra have fled from Syria due to the violence of the Syrian Civil War. After a long journey, they have managed to reach London. They are living in a lodging house with other refugees, as they wait to learn whether or not they will be granted asylum.

The main storyline focuses on Nuri and Afra’s journey, which is told in a series of flashbacks as he goes through the immigration process. They lived a peaceful life in the Syrian city of Aleppo. They had a seven-year-old son named Sami, and this time around I was more focused on what happened to Sami through Nuri and Afra's eyes. Nuri worked as a beekeeper, which he found very fulfilling. His partner and mentor in this business was his cousin Mustafa. After violence of the war began to spread and to affect Aleppo, Mustafa sent his wife and daughter out of the country. Later, when Mustafa’s son was killed, Mustafa decided to flee the country as well.

At the end of the play, Nuri and Afra reunited with Mustafa and his family. Nuri and Afra have not yet been granted asylum, but they remain hopeful. They also hope that they will be able to return to

a peaceful Syria one day.

It's a beautifully written, powerful play full of compassion, love, loss and hope and will not fail to touch you. This is a story that will be topical forever, unfortunately for the people involved in the migration and immigration process.

This really is an ensemble piece of theatre, so I am going to mention the whole cast on the same level of excellence.

Adam Sina (Nuri), Farah Saffari (Afra), Joseph Long (Mustafa/ The Moroccan Man), Aram Mardourian (Nadim/Fotakis/Ali) whose parents grew up in Aleppo, Alia Lahlou (The Immigration Officer/ Doctor Farouk/ Dahab), Dona Atallah (Mohammed/ Sami), Princess Khumalo (Angeliki/ Lucy Fisher) and Mohsen Gaffari and Helena Massoud as the ensemble. Aram and Joseph were in the 2023 production.

There's a different Director for this production with Anthony Almeida taking over; the original Director being Miranda Cromwell. I managed to spot a few little details in this production that I hadn't seen in the original. Whether this is because they are new to the production, or maybe I just hadn't noticed them in the 2013 production. It's an incredibly touching story and the whole stage direction is excellently done.

The Set Designer is Ruby Pugh. This is a multi-faceted set which is really well utilised, with windows, hatches, a chair and a bed all incorporated into a Syrian style landscape, and also includes a poppy garden towards the end of the play.

Ben Ormerod's lighting design defines the high and low points of their journey, which combined with the video design, which is projected onto the set itself, creates an atmospheric feel throughout. The Video Designer is Zsalt Balogh for Palma Studios. 

Sound Designer is Tingying Dong. The playhouse auditorium is a wonderful capsule for sound, whether it be for live bands or a theatre production, musical or otherwise, and the richness of the music flows from the speakers and engulfs you. That clarity and quality is also in the soundbites we get to hear along the way, especially in the flashback sections of the play.

The gorgeous original music has been composed by Elaha Soroor, transporting you to Syria, London and Yorkshire all with the same authentic style of music.

When you see and hear what Nuri and Afra went through to escape probable death; their battle to find a safe place to live, you can't help feel a variety of emotions, including human guilt at the way these people were treated in several stages of their journey. You also feel a sense of hate in at least one part of the play. Another theme of the play, which is revisited several times is Nuri's loss and his guilt which, in my mind, is reflected in his interactions with Mohammed, as he comes to realise the loss of his own son, Sami. There's quite a ghostly feel surrounding this area, which doesn't quite become apparent until later in the play.

This is a piece of theatre which will make you think long and hard about the world we live in, and the way some of us treat our fellow man. And a lesson we should all learn by way of this superb production. It also brings the political side of the story more up to date with certain names being thrown into the mix; another small way that the Director has managed to refresh the narrative, and also to point out that thirteen years on from the last time "Beekeeper" was on this stage that, maybe not an awful lot has changed and that this story is ongoing in 2026.

I also love the lesser narrative of just how important bees are to our environment, and while we still have bees, we still have a future and we still have hope.

"The Beekeeper Of Aleppo" is at the Nottingham playhouse until Saturday 28 February.