"Do I Love You" by John Godber.

Derby Theatre.

I have always been a big fan of Northern playwrights and John Godber is right up there with my favourite writers. I also love Motown and Northern Soul music, so this play was one that I just had to pop over to Derby to see, combining both loves. John Godber is also a massive fan of Northern Soul music, so when he writes, hew writes with a knowledge of the songs and the music.

John has written so many classic plays, "Teechers", "Bouncers", "Shakers", "Shakers Restirred" "Cocks And Hens", "Happy Jack", "Gym And Tonic" and many, many more. "Do I Love You" is taken from one of the best known Northern Soul hits, recorded by Frank Wilson, it was even used for a TV commercial about eggs!

Sally is played by Martha Godber, who introduces us to Kyle and Natalie from the start. Kyle is Sally's best friends, and when the talk between Sally and Natalie turns to "how fit" Kyle looks, Sally tells her that he is like a brother, This obviously leaves the romantic door open for Natalie, but discovers that this step could be a step too far within the trio's relationship.

Sally discovers her love for the genre of music via boxes of old records that her Gran has in the loft, and between the three of them, they learn the dances by visiting Northern Soul venues, which they discover is full of dancers, quite a bit older than themselves. Dancers who know all the moves and can dance all night long.

Kyle is played by Emilio Encinoso-Gil, who also doubles up as Keith, the bouncer at The Floral Hall, Hornsea, one of the top Northern Soul clubs of it's day. Keith is described by the young fanatics as a "nice man. Scary… but nice". Kyle thinks he is a dancer, as well as a Kung Fu master, both art forms he practices in the same venue. Over the period of the play, they all develop their dance skills until they feel they can hold their own at the big Northern Soul dance in Blackpool.

Natalie is played by Chloe McDonald. She also plays the role of Sally's Grandmother, an old Northern Irish woman, complete with scarf over her head and a cigarette hanging out of the corner of her mouth. The switch in physicality between the two characters is perfect. It's via this character that sally develops her love for this style of music.

All three work at a fast food outlet, something akin to McDonalds, and there are vignettes where all three churn out the same old spiel about fries. What is really funny is where they are practicing their moves whenever they can, and they also do this while taking the fast food orders.

The majority of the script is delivered like a monologue, with all three chipping in with comments and jokes, quite similar to "Bouncers" and "Shakers", and all three stay on stage all the time.

There's an excellent physicality in the trio's acting, making us believe that, even though there were only these three on stage, that scenes like the club and the bus were crammed, pushing and struggling to get through the invisible crowds, creating the image of being with a vast amount of people.

Directed, as well as written, by John Godber. Needless to say the direction is as sharp and enjoyable as the script.

Choreographed by Sally Molloy, World Northern Soul Dance champion 2022. This dance style is by no means the easiest to master - I've tried it many years ago in my dancing youth; the spins, the high kicks, it's high energy on the dance floor but this cast have obviously fallen in love with these moves; you can tell by the way that they move on stage.

Set Designer is Graham Kirk. A simple set with just a few props which includes a dance floor area, a few chairs, bags, water bottles etc. Nothing to detract from the brilliant script and the wonderful delivery of that script as well as the dancing skills of these three talented actors.

The lighting for this play immediately brought to life the feel of a Northern Soul club and those sweaty, non-stop dance marathons, where the lads either danced without their Fred Perry T-shirts or came well prepared with a replacement top when the first became drenched with sweat.

The sound design contained so many Northern classics, it was practically impossible to keep your feet from moving in your seat. Classics from The Elgins, Brenda Holloway, Edwin Starr, Ramsey Lewis, Barbara McNair, Jerry Butler, Barbara Randolph, Mistura as well as non Northern dance classics from people like David Bowie, Chic and Sister Sledge. I dare you to keep your feet still!

Whether you're a Northern Soul music fan or not, this is one show that you just have to see. I'd be quick though if I were you because for a matinee in the middle of the week, Derby Theatre was absolutely packed with people, all of which obviously appreciate the humour of John Godber and the intoxicating Northern Soul sound.

Did I love it? Deed I did!

"Do I Love You" is at Derby Theatre until Saturday 29 March.

 "Calamity Jane"

Nottingham Theatre Royal.

Yeehaaw! y'all. Calamity Jane, that tomboy cowgirl rolls into town and spreads fun and song, and just a little mischief in this "sky highest, smile widest, wild 'n' woosiest western musical of 'em all".

TV viewers got an early taster of what was in store this week at the Theatre Royal last Saturday night on the National Lottery's Night At the Musicals.

Set mainly in the bar room of The Golden Garter in Deadwood, the regulars want a performance from Adelaid Adams, the beauty depicted on the collectable cigarette cards of the time, and the object of everybody’s affections. Jane is going to ‘Chicargi’ to see her and bring her back with her, after the last act to play The Golden Garter, "Frances Fryer" actually turns out to be Francis Fryer, a male act who is definitely no replacement for the lovely Frances they had been expecting!

Jane is too late to catch Adelaid who has left to tour Europe, and due to a case of mistaken identity she asks Adelaid’s maid Katie, to return to Deadwood with her to perform at The Golden Garter. When Katie's cover is blown due to an onset of nerves, Katie wins over the crowd and stays in Deadwood, and in the process wins the heart of Lieutenant Danny Gilmartin away from Jane. Jealousy kicks in with Jane but there is a happy ever after in the end, for more than Jane.

West End regular Carrie Hope-Fletcher, plays tomboy Jane and boy does she look like she is having a rooting tooting time of it all, she even gets to snog Wild Bill Hickok, played by  Vinny Coyle. I last saw Carrie on the Nottingham Theatre Royal stage back in 2016 when she played Truly Scrumptious in "Chitty Chitty Bang Bang", so it was great to see her back in Nottingham, and on stage. 

Carrie is perfect as the tomboy Jane, and brings a load of infectious fun and energy to the role. Tie that in with some wonderful vocals and you get the ideal "Callam". And what a transformation when she dons her "purdy" dress. When people think of the song "Secret Love" it's automatic recall to think of Doris Day - for me the ultimate version - but Carrie simmers serenely and then bursts into an explosion of emotion and power in that song. All in all, this is a wonderful version of a classic musical theatre character; but then again, let's not forget, this is Carrie Hope Fletcher, and whether we're watching Wednesday, Truly or Calamity, every role is packed with character and fun.

Vinny Coyle, I've not seen before, although I know of his vocal talents as I have a couple of albums that Vinny has been involved in. Hearing his vocals live on stage, as opposed to listening to a CD, is something that you need to hear because the tone, control, and at times fragility, especially in the beautiful "Higher Than A Hawk", just leaves you hypnotised. 

Seren Sandham-Davies plays Katie Brown and a lovely fun character to play. Katie fancies herself as a singer, but in the shadow of the beloved Adelaide, and when Jane comes a calling for Adelaide, who had left the theatre after her performance in the show, Katie saw her opportunity to shine. Unfortunately, her guise was spotted by someone and her real identity revealed. That was not a bad thing though in this story! 

Francis Fryer, who is mistaken for Frances Fryer, is played by Samuel Holmes.  "Everyone Complains About the Weather" and "Hive Full Of Honey" are songs full of personality, and Samuel highlights all of the comedy and personality in these songs.

Luke Wilson plays Lieutenant Danny Gilmartin. I really sat up and took notice of Luke in the second act with his duet with Katie of "Love You Dearly", which is a gorgeous ballad and really shows what a fantastic voice Luke has.

We don't get to see too much of Molly-Grace Cutler as the diva Adelaid Adams but even in a cameo, she makes an impact.

Peter Peverley plays Henry Miller,  the owner of The Golden Garter, and Henry's daughter, Susan, played by Holly Cassar, who gets her own happy ending - Susan that is. The jittering and the nervousness of Henry Miller was done beautifully by Peter; you almost feel uncomfortable around Henry Miller, almost like being around a liability, all of which makes this character such fun. Good job Henry has Susan to keep a firm hand on The Golden Garter tiller!

The supporting character roles are played by Richard Lock (Rattlesnake), Ben Mabberley (Hank and Harry), Fergus Murphy (Joe and The Stage Door Keeper), Tomas Wolstenholme (Buck) and Claire Greenway (Doc), Lara Lewis (Swing), Emma Jane Morton (Swing & Dance Captain), Theo Diedrick (Swing), Jacob Leeson (Swing, Fight Captain and Guitar Captain) and Stephen Scott Stark (Swing), James Wycherley (Drums and Percussion).

The make up for Rattlesnake is brilliant, because you would never have recognised Richard out of his costume and make up. The physicality of Rattlesnake also accentuates the age gap between actor and character. Rattlesnake is the first character on stage, encouraging the audience to sing along with his banjo playing rendition of "The Black Hills Of Dakota".

Some of the actors are also musicians so we get to see live music played on stage as well. Not only do they have to sing, act and dance but they also have to play their instruments all at the same time, but they sound incredible and look just as good.

Directed by Nikolai Foster, artistic director at Leicester's Curve Theatre. Foster keeps it very traditional; let's face it, the original was so good, there's no need to play around with it, in the way some classic musicals have been on stage. That said there's a lovely fresh feel surrounding this show, and even though I've seen this musical several times, it still made me feel as if this was my first time seeing it.

There are a couple of sections where we see travel by stagecoach, and these scenes are recreated wonderfully, at one stage combining the use of the piano as part of the stagecoach.

Choreographed and co Directed by Nick Winston. The choreography is wonderfully old school, or should I say "classic". The hoe down/country dancing sections are packed with energy, and I can only imagine that combining the choreography with playing instruments on stage is never an easy ask, but Nick has obviously managed to combine the two seamlessly.

Musical Director is Christopher Mundy, who also plays keyboards for the show. The orchestrations are by Catherine Jayes and sound superb.

Some great songs in there like "The Deadwood Stage", "The Black Hills Of Dakota", "I Can Do Without You", "The Windy City", "Higher Than A Hawk", "Careless With The Truth" and of course "Secret Love".

The costume and set design, by Matthew Wright, both take you back to the days of the old Wild West, you can almost smell the sawdust on the floor of the Golden Garter. The transformation into Calamity's shack, where she takes Katie to, is done well with unravelled drop-down drapes which bring colour to the stage, giving it a more feminine feel. Needless to say, the costumes are wonderful and made you feel like raiding those old dressing up boxes from your youth and dress like a cowboy..... just me then?

I touched on the make up, hair and wigs when I mentioned Rattlesnake, and Campbell Young Associates are who we need to thank for such transformations for the actors.

I don't think that there was one person who did not leave the theatre either singing, humming, or having "The Black Hills Of Dakota" or "The Deadwood Stage" running around their head; nor did I see anyone without a smile on their faces, and that is the proof that you need that this show is a smash hit, and also why "Calamity Jane" is dubbed "a classic".

"Calamity Jane" is on at the Nottingham Theatre Royal until Saturday 29 March.

 "Ding Dong" by Marc Camoletti.

Ashby Dramatic Society.

Venture Theatre, Ashby de la Zouche.

Bernard Marcellin has discovered that his wife, Jacqueline, is having an affair with Robert Regnier. Being a reasonable businessman, Bernard gives Robert two options to compensate for the affair......

Robert chooses one of the options and so they aim to seal the deal with a meal with both couples, much to the frustration of their overworked and underpaid maid, Marie-Louise. Jacqueline does not know that Bernard has found out about her affair and is stunned to learn that their dinner guests are in fact her lover and "his wife".

The action of the play takes place in the Marcellin's duplex apartment in Paris, set in the year 2000.

Bernard is played by David Hare, who I've had the pleasure of seeing in previous plays at Venture, proving what an excellent comedy actor he is. In this production we get to see a brilliantly slimy, physical comedy performance by David, who slips into Franglais with great ease. Now, I haven't seen this play before, nor do I know the script, but I had a feeling that there were a few lines of improvisation with David, as well as a couple of the other cast members, especially Claire. 

David is on stage quite a bit of the time and has swathes of script to deliver, and much of it at speed. That in mind, being able to think on his feet and deliver believable and apt improvised pieces is something that any actor would love to have in their dramatic arsenal.

Jacqueline is played by Jo Coupe. Another actor who I've had the pleasure of witnessing her comedic prowess when she played the role of the younger Queen Elizabeth last year at Venture in "Handbagged". Aside from the previous comic talents shown previously, I also appreciated an actor who could act as a drunk - well I say that, but the gradual onset of tipsiness at the dinner party was wonderfully observed. Does this make Jo a great method actor I wondered! Jo also gets to wear the "costume of the show" at the dinner party, in my humble opinion.

Robert is played by Richard Hitchcock. Richard is an actor that I've not seen before, and this is his Venture Theatre debut, and what a way to make a splash in Ashby. Farce has various pace, and I loved the over the top sections that featured Richard, who also showed a smooth physical comedy side of him. As I say, I've not seen Richard on stage before so have nothing to make any comparisons with, so as a starting block, he impressed me as this squirming love rat.

Juliette, Robert's wife, is played by Mercedes Cook, a recent newbie to Ashby Dramatic Society. Mercedes brings a nice level of class to the play as Robert's upper class wife. It's no secret that I love an accent that actually sounds accurate, and Mercedes' French accent, when pretending to be Nicole Levee, is spot on. 

Marie-Louise, the maid, is played by Claire Kavanagh. I noted that I have seen all of Claire's characters while at Venture, all of them being very strong character roles. Comedy is possibly the hardest style of acting to pull off but Claire is wonderfully natural in this put upon role. I got echoes of Victoria Wood in this character, and the scenes with David and Jo were comedy gold. No two performances are ever the same and I think the audience on Friday night got a performance from this trio that, possibly, was quite unique!

Barbara, a call girl, is played by Tracey Hasler. Every character in this play is a stand alone character and has plenty to offer. What I enjoyed about Tracey's version of a "good time gal" is the accent. Proper down to earth and common, but even though she knew why she had been hired, she presented the "tart with a heart" persona wonderfully. I will not reveal though whether she had to work for the payment she received!

Marc Camoletti's play has been adapted from his original French play "Sexe et Jalousie" by Tudor Gates. Marc is also responsible for another well known, and oft performed piece of theatre, "Boeing Boeing".

Directed by Mel Mitchell, who makes her Directorial debut with this farce. Farce is all about pace and Mel gets this ingredient perfect. The cast have been collated really well, especially choosing actors who have the ability to perform comedy to this level.

Anna Golden is the Associate Director.

Set design shows an upper class room with stylish furniture and decor with the four doorways and a double set of glass doors leading to the external area to qualify the play to be labelled a "farce". It is an unwritten rule in theatre that if a play has six doors or more, then it is a farce. Signalling that Parisian location, we see the Eiffel Tower in the background through the open glass doors that lead onto the veranda area.

Andrea Beirne's props collection is worthy of noting as well.

Sound design is by  Martin Pritchard and operated by Gemma Pritchard. Thank goodness someone invented the doorbell sound effect, as this show would not be the same without that particular sound effect. With every ring of the doorbell, the stakes, and the hilarity rise, and of course gives the play its' title.

Lighting design is by Aleyn Lester and operated by Martin Pritchard. Simple but effective design that was effectively operated.

Costumes are thanks to Karen Heath. The male costumes are smart casual, but it's the costumes for the women that really grab the attention, like Jacqueline's dinner party ensemble, Barbara's terrifically tacky costume and the really apt Maid's costume. All the costumes give you an instant incite into the character of the various roles.

Smoothly stage managed by Patrick Seaman.

There's much more that I could say regarding the storyline of this play, but would I give away too much and spoil your enjoyment of this magnifique comedy? Mais Non! Sacre bleu!

"Ding Dong" is at The Venture Theatre, Ashby de la Zouche until Saturday 29 March.