"Matilda Jr" by Roald Dahl.

Wilsthorpe School Theatre, Long Eaton.

"Matilda Jr" is the story of a girl who dreams of a better life and the children she inspires and has the audience rooting for the "revolting children" who are out to teach the grown-ups a lesson.

Matilda has astonishing wit, intelligence... and special powers! She's unloved by her cruel parents but impresses her schoolteacher, the loveable Miss Honey. Matilda's school life isn't completely smooth sailing, however – the school's mean headmistress, Miss Trunchbull, hates children and just loves thinking up new punishments, including spending time in "The Chokey", for those who don't abide by her rules. But Matilda has courage and cleverness in equal amounts, and could be the school pupils' saving grace, as well as changing the life of Miss Honey!

I have seen several "junior" versions of "Matilda" over the years and have gradually grown to like the musical. I think it's got to the stage where I actually love this musical, thanks to this production. Every version I have seen has been rather good but this production just nudges that bar up another notch.

"Matilda The Musical" is based in a school setting, and in some versions I have seen, it just didn't quite feel like a school, but as this is a school that has produced this show this time around, the ability to use a large amount of school children to create that atmosphere and that really worked for me. Needless to say, it's a big ensemble!

Matilda is played by Holly; this is Holly's first show with Wilsthorpe and she has got everything spot on as Matilda. From the voice to the attitude, and how she made that beaker fly off the table, not once but twice is real theatrical magic. I looked for strings or some way to make that beaker move but I could see nothing. A fantastic debut and you can tell her dance training has paid off in this production.

Mr Wormwood, Matilda's dad, was played by Quillen in his Wilsthorpe debut. I know Quillen, as well as his very talented siblings - the last time I was at Wilsthorpe, two years ago, I had the pleasure of seeing his brother Findlay in "High School Musical Jr". It's about time that Quillen was given a main leading man role and he managed this role brilliantly. Quillen is a funny guy away from the stage and so taking the lead man in a comedy role is right up his street. He has funny bones, he sings well with a Cockney accent and has the moves. 

Yasmin played the self-obsessed Mrs Wormwood, Matilda's mother. Sometimes I have to pinch myself as to just how very good these young people are. I last saw Yasmin as Rusty Charlie in "Guys 'n' Dolls" which is a completely different character to this one, show great diversity in Yasmin's acting armoury. Another excellent female comedy role, and played brilliantly and naturally comical by Yasmin, who has all the signs of being a brilliant character actress.

Michael, Matilda's TV obsessed brother is played by Harry. I love this role and I love the way that Harry brings the excitement that Michael feels at the simplest of things.

Rudolpho, Mrs Wormwood's personal dance teacher, is played by Ben. A wonderfully camp character that Ben plays with great zest and confidence. Great costume for this character who reminded me quite a bit of dancer/choreographer Louis Spence from Pineapple Studios.

Miss Honey is played by Livvi, and this is Livvi's final show with Wilsthorpe, but what a role to go out on. A sensitive and compassionate role which meant that when she did rear up, it made you sit up and take notice.

Miss Trunchball is played by Ivan, and I have also had the pleasure of seeing and having the chance to write things about Ivan, who I last saw in "Crazy For You" as Moose. As with Quillen, it's about time we saw Ivan in a main role and Miss Trunchball is played deliciously evil. the scene where Bruce belches and the chocolatey mist that spreads over the class is brilliantly and comically received by Ivan's Trunchball as her tongue flicks the air like a lizard. Excellent characterisation, and this role, at the final bows, was received with cheers and not boos, which all shows the love this audience on Wednesday evening felt for Ivan's portrayal of this nasty.

Mrs Phelps, the school librarian, who loves to listen to Matilda's stories and engulf herself in them is played by Elsie. You actually believe that Miss Phelps believes in Matilda's stories due to the excitement and the concern she shows as the stories are unfolding, all showing that Elsie managed to convince us of her character and the character's investment.

The Acrobat in Matilda's story is played by Avanni and the Escapologist in the story is played by Jude. The scenes with this pair really take you into the world of danger and fantasy and I loved the puppetry utilised in their scenes.

One scene from the film that always stuck with me was Bruce Bogtrotter's devouring of the famous chocolate cake, as a punishment by Miss Trunchbull. Playing Bruce was Harrison who has played the role previously in primary school. This particular scene managed to avert my eyes away from the chocolate cake scoffing long enough for me to not notice where that massive cake actually disappeared to. I normally watch carefully where it disappears but due to the cleverly choreographed scene, I completely missed it disappearing! Looking at their theatrical CV in the programme, they obviously have a love for performing varied roles, and this is another hit role to top their CV.

The Cook who brought in the massive chocolate cake for Bruce to eat, is played by Sienna.

Nigel is played by Ronnie.

Lavender, Matilda's best friend, is played by Libby, who is another young actress I've had the pleasure of seeing on stage in Long Eaton a couple times previously. There's a scene in Act two where Lavender sets the scene for the "newt" scene, trying to not give too much away and ends up giving it all away. A lovely character role highlighting a delightful young actress.

Daisy plays Erica, Noah plays Tommy, Beth is Hortensia, Bethany is Amanda and Heather is Alice, the main children in Matilda's class.

Sergei is played by Alexa and the two Mafia heavies are played by Megan and Sienna.

The Mechanic at Wormwood Motors is played by Chris.

The three main "Big Kids" are played by Sophie, Katie and Molly.

The Big Kid Principal Dancers are Sophie, Katie, Harriet, Molly, Rowan, Avanni, Matilda, Jude, Kiera, Florence, Connie, Alexia, Cherry and Jasmine.

The Little Kid Principal Dancers are Effie, Pamela, Darcie, Olivia, Laila and Maddie.

The Big Kids Acting Ensemble consist of Ben, Sienna, Evangeline, Amiliah, Tom, Chris, Alexa, Megan, Nicole, Scarlett F, Erin, Gracie, Caleb, Christina, Sophie, Olivia, Scarlett S, Honey, Evie and Lydia.

The Little Kids Acting Ensemble consist of Amelia, Dan, Matilda, Megan, Tayha, Erin, Reuben, Sia, Harvey, Abigail, Nancy, Anya, Ravini, Archie, Thea-Rose, Eva-Summer, Skye, Pearl, Jessica, Evie, Beth, Esmae, Layla, Emily, Sophie P, Ruby, Noah, Holly and Lilly. 

Deftly stage managed by Miss S Beara

The Creative Team are Mr D Page, Miss S Beara, Miss Plummer, Mrs Baker and Miss Howell.

The start of Act Two seemed to be very new to me, or maybe other productions had not managed to get this scene stuck in my mind. It's a wonderful comedy sketch headed up by Mr Wormwood as he addresses the audience, almost panto style participation and then launching into a piece called "Tele", extolling the virtues and the knowledge gained by Wormwood by watching the television. I loved the introduction of a Teletubby, Del Boy and other TV characters.

I also loved the puppetry used in this production, especially the use of books to create a talking face with eyes, nose and mouth. There's also other forms of puppetry included, which I won't spoil by telling you what it is, but it's done very well by these young people.

The set and props are designed and created by Miss S Beara, Mrs K Fowler, the Arts Department as well as Proscenium Scenery Hire. As soon as you step into the theatre space, you become engulfed in the world of Matilda with large blocks that can be moved round, massive bookcases and a large TV set. The stage set itself is practically floor to ceiling with towering book cases, the blackboard magically writes itself, and there are loads of desks and chairs and educational paraphernalia. A really well thought out set in this show.

Sound and Lighting is by Mr D Page and Mr P London. Apart from a few mic issues at the start where some of the young actors weren't fitted with mics or the odd missed cue, the sound was really good with the possibility of the volume even being turned up a notch. the Lighting was excellent with lights scanning the audience, and one particular lighting effect used when Trunchball was spinning Amanda around in her signature "hammer throw" was very effective.

The songs from the musical will be well known with the opening number "Miracle" performed in a brilliantly choreographed piece where everyone seems to appear from behind a table on stage. Everybody who loves musical theatre should know the songs "Naughty", "Revolting Children" and "When I Grow Up", but also listen out for the clever "Smell Of Rebellion", sung by Miss Trunchball with a brilliantly comical choreography section. Comedian Tim Minchin, who is responsible for the music and lyrics for this show, has a knack of writing songs that will be hanging around for decades to come and will be stuck in your mind for days.

The Technical Crew consist of Emily, Oscar, Zack, Tayler, Winnie, Theo, Oli, Mason, Ruby, Alyssa-Mae, Freyja and Eleanor.

This is a big musical with over a hundred people, students and staff involved, and the quality of these contributors is on the stage to see

"Matilda Jr" is being performed at Wilsthorpe School Theatre in Long Eaton until Friday 13 March.

 “The Woman In Black”

Nottingham Theatre Royal.

Written by Susan Hill and adapted for the stage by Stephen Mallatratt, this play has been in the West End for 33 years. It’s the story of a lawyer, Mr Kipps, obsessed with a curse that he believes has been cast over him and his family by the ghost of a mysterious woman in black. He hires a young actor to help him tell his story in play form, within the play. It begins innocently enough but gradually they get caught up in Kipps’ eerie past.

Having seen the play previously, it can be difficult for a newcomer to this theatre play to conceive that a piece of theatre can have the same scare factor as the film. Certainly from the amount of screams from the audience, it was found out that this production does have a big scare factor! What we must remember though is that this was first a book and to get the most from a book, you have to use your imagination, and that’s part of the secret of this play.

Many of the scenes played out in the film are described aurally as well as having sound effects to allow the viewer to conjure up images in their own mind, in some ways quite the opposite of what theatre is meant to do as most theatrical productions are very visual, but that’s where the scare factor comes from. While your mind is conjuring up the images from the sound effects and story, this allows the visual side of the play to take over and create that “sudden” image which makes you jump.

Not only that but there’s the expectation of being frightened and when that fright comes at you in the surroundings of a place like a theatre, not at the times you expect it, that’s where the true frightening experience comes from. there are scenes where the silence seems to go on for a longer than expected time, and then when you start to relax back into the expectancy, the jump scare comes.

The choice of set is simple yet effective. For instance a smoky stage and a lighting stencil of a vast mansion are all that there is to depict the marshland beyond the deceased Alice Drablow’s manor, leaving the audience’s mind to question what might be lurking in the mist.

The show has several ‘jumpy’ moments; the use of lighting is incredibly effective when revealing the ghostly figure of Jennet Humfrye in several unexpected places plus the sounds from Alice can also take you by surprise.

It's not all frights though as the play, before the play within the play, has several wonderfully jocular moments which is a big contrast to what is to come later in the play.

Some say the play takes a bit of time to get going but it's very clever as it builds the tension up all throughout Act One, paving the way for a tense Act Two.

John Mackay(Kipps) and Daniel Burke (The Actor) are extremely good at building, maintaining and breaking the suspense, It's the direction by Robin Herford, the lighting by Kevin Sleep and the sound design by Gareth Owen that make this story come to life and create the shocks.

The set, by Michale Holt, is sparse, which is good for not being a distraction, but the props that are there, like the rocking chair are vital and you home in on this as well as the music box with the knowledge that they are there for a reason, helping the anticipation and the tension because you just know that there's a reason for them being there. The raked stage also makes it very easy to see everything from front to back.

You will jump, I did and I've seen it before, and the appearance of the Woman In Black at the end will unnerve you and possibly stay in your memory for a while.

What was really good to see was the age range of the audience, and there were a few schools and colleges in on Tuesday night. Apparently, Susan Hill's "The Woman In Black" is on the educational curriculum and is being classed as a "modern classic", well I can't disagree with that. When I was at school the literature spectrum consisted of Shakespeare, Dickens and the like, certainly not a modern horror, but if it gets a younger audience into the theatre then I am all for that!

And if you have to walk home, be aware of any sudden mists, or frets, and shadows! Don't have nightmares.

"The Woman In Black" is at the Nottingham Theatre Royal until Saturday 14 March and has an age guidance of 12+

 "Cougar" by Rose Lewenstein.

Mary Rose Productions.

Nottingham Arts Theatre.

It was a last minute ticket offer that tempted me into the theatre tonight, and I saw something that I don't like seeing; an almost empty theatre, and I can't really understand why as the theatre company were actually giving away tickets to fill the auditorium online.

Mary Rose Productions is an award-winning theatre company based in Portsmouth.

A succession of hotel rooms. Two People. Drama. "Cougar" is a daring, surreal exploration of love, lust, and human chaos.

Leila, played by April Singley, is a driven climate activist, and John, played by Joseph John Scatley, a bartender at the hotel where Leila is attending a conference, are brought together by chance — and soon discover that desire, ambition, and secrets make for an explosive combination. Lucas Moss is the third character who is billed as The Young Man and pops up in a couple of different roles.

The title "Cougar" straight away brings to mind a man-eating older woman, almost preying on younger men, but it's not like that at all. In one of the first scenes she asks if he is OK with what they are doing, but let's face it, any young man, practically naked in a hotel bedroom, paid for by the company of an attractive older woman is never going to decline the opportunity are they? Highlighting either a young man's fantasy or his animal and basic instincts.

There are a couple of scenes where stage sex is involved but you never see anything that would shock your mother and the scenes are very carefully choreographed to not show any more than what you may see in an after the watershed TV programme. There's one very short section where John changes his boxers on stage and his back is towards the audience while he does this, so you only get to see a bare bottom. But this play is not about sex, it's about the relationship between these two, and by the end of the play three people.

The intimacy Coordinator did an excellent job of bringing out the passion between Leila and John but not at the expense of sordidness or smut. As Kenny Everett once said, it was all done in "the best possible taste".

Leila tells John not to fall in love, so she has set her cards out on the table at the start, but she is not doing anything more than what a lot of men with power and money do. They make it clear that it's just for the sex and the laughs, but then John falls for her, and that's where the jealousy comes in and the green-eyed monster starts to rise. At this stage the fireworks and explosions also start. 

Everything takes place in hotel rooms with various scenes separated by total blackouts where the actors either take off clothes or put them back on and rearrange themselves either in the bed, on the bed or around the room.

Directed by Alex Taylor who teases you to the theatre with titillation, but once you're in there gives you a story where the sexual tables are turned and the woman is in control of the situation, that is until the end of the play. Yes, there are sub themes of climate control but this play is about a different kind of control.

Christian Masters is the Production Designer.

Joseph Williams is the Technician.

Anna Francesca Cherches is the Sustainability Coordinator.

Joseph John Scatley and April Singley are also Co-Artistic Directors for Mary Rose Productions.

This was a one night only performance and the final of four studio performances of this play.

 "Charlie and The Chocolate Factory" by Mansfield Operatic and Dramatic Society.

Mansfield Palace Theatre.

"Charlie and The Chocolate Factory" is based on the 1964 book by Roald Dahl and features an original score composed by Marc Shaiman with lyrics by Shaiman and Scott Wittman and a book by David Greig. The soundtrack also pays homage to the Leslie Bricusse/Anthony Newley score from the 1971 film with songs from the film, which starred Gene Wilder as Willy Wonka, including "The Candy Man," "I've Got a Golden Ticket," "Oompa Loompa Song," and "Pure Imagination."

The world-famous Willy Wonka is opening the gates to his mysterious sweet making factory…but only to a lucky few. Young Charlie Bucket and four other golden ticket winners embark on a life-changing journey through Wonka’s world of pure imagination including chocolate waterfalls, nutty squirrels and the great glass elevator, all to be revealed by Wonka's army of curious Oompa-Loompas.

Charlie Bucket's role is shared by Oscar Wilkins and Harry Bramall, and on Friday night Oscar was centre stage, making his Mansfield Ops debut. It is very clear though that Oscar is no stranger to the stage and musical theatre. You just have to hear his vocal ability and the confidence that he has on stage and the chemistry with the other actors. The boy has some moves as well as seen throughout this musical.

Amy Shaw plays Charlie's hard-working mother, Mrs Bucket. Amy's history of singing in public is one of the reasons why she sounds so good on stage, and this is another role to add to the growing musical theatre CV of wonderful principal female characters.

Grandpa George is played by Kay Thomason‑Vardy, Grandma Georgina is played by Clare Harris and Grandma Josephine is played by Elizabeth Sissons, a trio of character filled pensioners who spend all their time in the "communal" bed.

Grandpa Joe is played by Sean Curtis who gets the physicality of this elder statesman of the family spot on. A fun, at times feisty character who always sticks up for his Grandson, Charlie. Sean is back on stage after a two year break, and what a comeback role for him.

Mrs Green, the vegetable seller, is played by Jan Hodgetts. Jan is another one of those actors who I've seen in several productions, and it's nice to see Jan in a role where she can show off her comedy bones.

Mike Teavee, the ultimate screen addict, is played by Jamie Savage. Jamie obviously has good genes, or great make up, because he really does look like a teenage boy, and has all the energy of a teenager, maybe it's all pent up due to being sat in front of a screen most of the day! There's quite a bit of physicality involved with this character, as seen during one of the challenges Wonka sets the kids in the second act where Mike spends as much time being thrown to the floor as he does standing. Another fun character filled role.

Mike's long-suffering mother, Mrs Teavee, is played by Carolyn Frith. I've always liked the scene where Mike transports himself onto TV and Mrs Teavee has to recover him from the TV; and this scene with Carolyn is done wonderfully.

Violet Beauregarde, played by Rebecca Wigman, is self‑centred, rude, fiercely competitive and the world‑record‑holding gum‑chewing queen. There's a brilliant song that goes along with Violet's character called "The Queen Of Pop" - because she is always chewing gum - and is as catchy as anything. I wondered how Mansfield Ops were going to recreate the scene where Violet turns into a giant blueberry, after eating one of Wonka's prototype pieces of gum, but they did, but I won't reveal any spoilers.

Always by her side is her equally determined and energetic mother, Mrs Beauregarde, played by Helen Savage. Helen injects high energy into this role and matches Violet all the way, well they do say like mother like daughter... or something like that.

Augustus Gloop is played by Oliver Ward. Oliver brings a whole new fun side out of Gloop and treats this journey as a big adventure with chocolate and sausages thrown in. Gloop is like a big friendly sheepdog who jumps around in an excitable fashion, and always with a massive smile on his face. He makes you feel happy just by watching him.

Mrs. Gloop is played by Lauren Taylor, and you can see where young master Gloop's excitability stems from with Lauren's version of Mrs Gloop.

Veruca Salt, the spoiled brat who gets everything she wants from her doting, but often frustrated father, is played by Verity Lee-Varley. This is another role I can imagine being a real joy for an actor to play because Veruca's character is so "out there", plus it's made even more comical with the accent.

Mr Salt is played by Matthew Bird, who I almost didn't recognise, whether it was the accent or the hat, Matthew is almost chameleon like.

The TV reporters Jerry Jubilee and Cherry Sundae, who report on the locations of the golden ticket finders are played by Garry Richardson and Chloe Thistlethwaite. A great pairing with Garry and Chloe and their chemistry makes it feel as if these two TV news personalities have been working together for a while; in fact there's one scene where the chemistry slightly overflows.... but I won't say anymore!

Taking on the iconic Willy Wonka is JJ McCormack. This role taps into the JJ personality that I have known for about the last decade. Wonka is not only a professional but is a massively fun character to be around with a lovely sense of sarcasm. JJ could be playing himself in Wonka as he is, as everyone who has worked with him will attest to, an entertaining and warm person with a wicked sense of humour. that sense of humour also comes out in the songs, and you can tell just by watching JJ that he is enjoying being Wonka, for all the above reasons.

The Oompa Loompas are played by  Cassey Barrett-Brough, Grace Bowskill, Andrea Caulfield-Smith, Ann Colgan, Bex Haddow, Bella Shaw, Geraldine Smith, Gemma Strange, Chloe Thistlethwaite, Rosie Walters, Oliver Ward and Rebecca Wigman.

The Gloop Bavarian Dancers are Andrea Caulfield-Smith, Jonathan Cooper, Bex Haddow, Lewis Mathias, Becky Miller, Jamie Savage, Chloe Thistlethwaite and Anita Warner. This is another one of my favourite scenes in the musical where Augustus and his mother start by talking to Cherry Sundae as the news breaks about Gloop finding a ticket and then goes into a big ensemble dance number complete with yodelling.

The Veruca Salt ballet section with dancers consist of Ann Colgan, Bella Shaw, Geraldine Smith, Gemma Strange, Chloe Thistlethwaite and Rosie Walters.

The Violet Beauregarde "Queen Of Pop", pop video dancers are Cassey Barrett-Brough, Grace Bowskill, Bex Haddow and Chloe Thistlethwaite.

The squirrels and squirrel sextet are Cassey Barrett-Brough, Grace Bowskill, Andrea Caulfield-Smith, Ann Colgan, Bex Haddow, Bella Shaw, Geraldine Smith, Gemma Strange, Chloe Thistlethwaite and Oliver Ward.

The vocalists are Clare Harris, Jan Hodgetts, Lewis Mathias, Becky Miller, Garry Richardson, Amy Shaw, Elizabeth Sisson, Lauren Taylor, Kay Thomason-Vardy and Anita Warner.

As you can see, this is a big cast with the ensemble roles being many and varied.

Directed, Produced and Choreographed by Cassey Barrett-Brough. What can I say? Pacy, fun and funny, everything you'd want to be in a musical like this, Cassey has maintained them, and with such a large cast, I imagine that the choreography for this show was a massive undertaking, as well as a massive hit! Dance Captains are Ann Colgan, Grace Bowskill and Jamie Savage. Jamie is also the vocal coach.

Musical Director is Roger Holland. Some big ensemble vocal pieces but Roger also bought out the individual elements of the characters, as well as the vocalists, in the solo and duet sections.

Costumes are thanks to Cassey Barrett-Brough 9is there nothing Cassey doesn't have a hand in with this production?), Pam Frith, Carolyn Frith and the Company. Brilliant costumes all round and I loved the mini Wonka costume for Charlie in the final bows, but every costume, and there were lots of them, were all fantastic.

A busy production calls for a Stage Manager who knows what they are doing and they are Eddie Ratcliffe and Jonathan Cooper.

Sound is not credited so it may be the Palace Theatre crew, but, while at times it might have been better to depress the volume, I'm not going to have a dig at that because at least everyone from the front row to the back could hear everything with great clarity, and a nice sound mix between music and vocalists.

Lighting Design and Operation is by Nick Elliott and Amanda Joyce and Follow Spots were Alan Betton, Kirsty Smith and Izzy Tilley - not the easiest of jobs to operate successfully but a good job done by this trio.

The backdrop video worked really well and opened up the whole stage, also creating magic, especially when Charlie launched his paper aeroplane into the wings to see it flying in the videography among the stars. The Scenery and Projections are thanks to Scenic Projects and Linney Crate.

Nick Elliott is the Video Operator.

Performance Track Technician is Emily Beet.

This is a big production, with big production values, and I am sure that you can see this by the amount of people involved. 

"Charlie and The Chocolate Factory" is at Mansfield Palace Theatre until Saturday 7 March with a matinee at 2.30.

 "The Marriage Of Figaro" by Opera North.

Nottingham theatre Royal.

I don't think that I have seen Mozart's "Marriage Of Figaro" before on stage, so I was especially looking forward to seeing this production; even more so knowing that the show is put on by the excellent Opera North.

Mozart’s comic masterpiece is a match made in mayhem!

It’s supposed to be the happiest day of Figaro and Susanna’s lives, but this is opera, so there’s plenty of time for some plot twists before they say "I do". With Count Almaviva looking set to make a move on the bride-to-be, the young couple must hatch a shrewd plan to secure their happy ending. Cue a whirlwind of secret scheming and surprise revelations.

This new production of "The Marriage of Figaro" reimagines the mischief in a quintessential modern country home. Mozart’s music, performed live by the Orchestra of Opera North, fizzes with fun and plumbs the depths of emotion. It all adds up to an invitation that’s too good to turn down. Any excuse to grab your favourite fascinator!

If you've never been to see opera performed on stage before, maybe because you think it may be "too stuffy", or you wouldn't understand it, think again and make this the evening you dispel all of those doubts you may have had about opera. This is a very modern and contemporary opera, being one of the most performed world wide. You probably also know some of the tunes that have come from the pen, or would that have been quill, of Wolfgang Amadeus Mozart, the composer who was dubbed a bit of a musical rebel in his day.

As with ballet, opera should always be an ensemble performance piece, so it'd be no use me individually saying how good every one is on stage, because they just are at the top of their game; that's why they are part of Opera North, so here's the fabulous cast and their roles.

Liam James Karai (Figaro), Emyr Wyn Jones (Count Almaviva's Steward), James Newby (Count Almaviva), Gabriella Reyes (Countess Almaviva), Hera Hyesang Park (Susanna), Clare Lees (The Countess's Steward), Hongni Wu (Cherubino - the Count's Page), Charlotte Bowden (Barbarina - Susanna's Cousin, Antonio's Daughter), Jonathan Lemalu (Bartolo - a Doctor), Katherine Broderick (Marcellina, Bartolo's former housekeeper who initially plots to force Figaro to marry her in order to settle a debt), Daniel Norman (Basilio - a music teacher), Jamie Woollard (Antonio - a Gardener, Susanna's Uncle), Kamil Bien (Don Curzio - a Lawyer).

The ensemble of staff, workers and visitors to the house are made up of the Chorus of Opera North.

The gorgeously lush Orchestra of Opera North was conducted tonight (Thursday) by Oliver Rundell and as soon as the opening chords of the Overture is played, it's pomp music sweeps you up and gets you ready for the ensuing wedding. the other piece that will be recognisable to light opera fans is the light hearted "Voi che sapete che cosa è amor" sung by Cherubino. Orchestras of this size, quality and class are becoming even more difficult to tour with due to rising costs, and the Opera North is a charity, which is why it's so lovely to hear an orchestra of this size, and why it's so important to support ballets and operas like Opera North.

Directed by Louisa Muller, and there's not one second wasted in this production. The whole performance is over three hours long with the interval, but the pace is really driven, without being rushed, which makes the time in the theatre seem so much less than the advised timeline.

Madeleine Boyd is the Set and Costume Designer. The setting is a rural country house with wellies, mackintoshes, tennis racquets and cricket pads all in sight. The room we see in the opening scene then draws out to a much bigger space with staircases with Act three being set in a snooker room, with full size table, this area also shows a nursery space with cot and wall shelves with baby toys, books and abacus. This then disappears to become a stable complete with straw and miscellaneous equine props. The costumes, for the men on the whole are fairly modern, but the ladies costumes are beautifully dated, quite Downton Abbey-ish.

The Wigs, Hair and Make-up Supervisor is Jo Charlton-Wright.

Malcolm Rippeth is the Lighting Designer.

Choreographed by Rebecca Howell.

Opera and ballet performances are a real treat for me because I automatically know that the performers are the very best in their field, so I just have to sit back and let the performance wash over me. I know that the scenery, costumes and props etc are going to be top notch, so all of these areas don't really need to be dissected, I just need to mention whose hard work they are the results of. So, it only leaves me the task of telling whoever reads my reviews that you have no need to fear opera or ballet because they are some of the best forms of entertainment seen on professional stages.

Thursday night was about half and half older supporters and young people from schools and colleges, or young people who have discovered the joy of opera, and that really pleased me to see this ratio. Opera is not fuddy duddy stuff that only your Grandparents watch, it's modern, it's exciting, it's comedy, it's everything you need from a dramatic piece of theatre.

Even if you don't understand the language the songs are written and performed in, there are two great big screens at either side of the auditorium to translate everything, again no excuse for not attending a night at the opera.

"The Marriage Of Figaro" is at the Nottingham Theatre Royal until Saturday 7 March.

 "Boogie Nights" by Erewash Musical Society.

Duchess Theatre, Long Eaton.

Boy, does this show bring back the memories, not only of the fabulous music of the 1970's, but of my days of being a mobile DJ - yes, I really am that old! It was the era that I had my first girlfriend, the decade I left school, the decade I got my first proper job; it was in a record shop in Hucknall - my weekly wage packet was a little over £38.00, and the decade that I became independently mobile - a pushbike bought from my own wages. I also bought my first record player and the first record that I bought with my pocket money from Mum and Dad was Nottingham's very own Paper Lace in 1974, "Billy Don't Be A Hero". The 1970's was a decade of growing up, surviving school and becoming a man, in every sense of the word!

Back in 2017 the Erewash Musical Society Youth Group performed this show at the Duchess, and now is the time to present the Erewash Musical Society's production, who I may say are all young at heart and still full of youthfulness.

“Boogie Nights-The Musical” tells the comical yet heart-warming story of Roddy, a Jack-the-lad, whose life of birds, booze and boogie is about to be turned upside down.

Roddy O'Neill is busy dreaming of life as a rock star! Debs, his girlfriend, has her own thoughts... basically that Roddy's a selfish, arrogant, horrible, unfeeling, rude, heartless pig! But the truth is that Roddy is in love with Debs, and Debs is in love with Roddy, but Debs knows that Roddy has more than a roving eye! Through all their tears and laughter - can they both find what they are truly searching for?

The musical starts with a wedding scene and Debs is looking lovely as the blushing bride. Roddy then relates how they got to this day, starting from the day that best mate Terry dared him to ask Debs out on a date, back in 1972. The ending comes full circle but there's a twist, well there always is..... isn't there?

For those who are too young to have experienced a 70s nightclub, this will be an eye opener. For those of us not too young (only just) it will be a nostalgic hustle down memory lane. I am quite proud to say that as a teenager I started my mobile DJ days in 1979 – two years after this story is set, but retro enough to count. The story is set around the day that Elvis Presley died - 16 August 1977 and that also is relevant in this story line.

If you can imagine being at the best wedding or retro party ever, then this is the atmosphere music wise because it has one of the best soundtracks around for a retro musical. “Ladies Night”, “Celebration”, “Blame It On The Boogie”, “You Sexy Thing”, “Kung Fu Fighting”, “Bye Bye Baby”, ”No More Tears”, “Play that Funky Music”, “Disco Inferno”, “I Will Survive”, “Boogie Wonderland”, “YMCA”… I could go on.

Partly penned by Shane Richie, this could be looked on as part autobiographical, as Richie was a jack the lad in his days of a holiday camp entertainer, dreaming of being a rock star and taking full advantage of the entertainer status. Now, I don't know how much Shane Richie was involved in the soundtrack but, being the music geek that I am, I noticed a few songs that were not released until after 1978, the cut off year for the musical. Donna Summer and Barbra Streisand's "No More Tears" was a 1979 release, The Crusaders "Street Life" was also 1979, Ottowan's "D.I.S.C.O." was released in 1979 but was not a hit until 1980 and Joe Dolce's "Shaddap You Face" was even later, in 1981. The scene when Roddy asked Debs out was in 1972 but the Bay City Rollers version of "Bye Bye Baby" was not released until 1975. Nobody but a geeky nerd would probably have noticed these though! If it's in the script, it has to be kept in. All great songs in any case.

Roddy is played by Hayden Fletcher whose energy, dance skills and likeability is so well suited to this role. I loved the fact that Roddy is so unlike Hayden but you still believed the character. Roddy is a selfish, cheating pig who constantly berates Debs, and that got the audience booing - in a friendly fashion of course and in response to how Roddy acted, not Hayden. I also have an idea that Hayden loved this role, especially the choreography. Hayden's vocals sound good and never better than on the stripped back "Sorry Seems To Be The Hardest Word", and I really liked that arrangement.

Debs is played by Rosie Taylor, one of the Society's newer members. This woman has a gorgeous voice and is put to good use with these songs. Her version of Gloria Gaynor's "I Will Survive" was so good, as was "No More Tears (Enough Is Enough)", both showing power and control of those longer notes.

Terry is played by Evan Hagen. I stated in my last review of Evan's in "Top Hat" last year that I really noticed Evan's vocals for the first time, due to them being very distinctive. I am so pleased that Evan was cast as Terry because we get to hear his voice even more. This man has a great voice with plenty of power. Like Hayden, he can also dance and add to that his acting skills, he is an all rounder of the stage. Also loved his glow in the dark bright yellow shirt.

Trish, Debs' best friend and Terry's girlfriend, is played by Nicola Tuxford. Love her voice characterisation which gives Trish a likeable air of simpleness.

Lorraine is played by Charlotte Burden, who I am sure is a new name to me. Another great find vocally and stagewise. Lorraine is a sexy, self assured character who is not about to be controlled by her boyfriend Spencer, so sets her eyes on someone else who frequents the Boogie Nights Nightclub. Musically Charlotte and Jonny are both on the same page and sound great together, but that is where the sweet music comes to a grinding halt.

Spencer, the singer in "The Love Machine" duo - with Lorraine - is played by Jonny Cox. The archetypal sexist pig who feels that he has the right to control Lorraine as she is "his property" but we soon also see that his hard man act is set to crumble.

DJ Dean is played by Ethan Fletcher. Ethan personifies what a 1970's DJ should be and while DJ Dean being slightly over the top still manages to be "one of the lads" away from the decks.

Roddy's Dad, Eamon is played by Martin Briggs. This is a lovely character; he is obsessed with Elvis, and that back story is played out in Act two, so when the news in 1977 of The King's demise, Eamon is on an emotional high, possibly due to his alcohol levels, but there's a big fall out with his son which delivers  pathos to the storyline. That scene in itself is one of my favourites as Eamon croons along with Elvis to "Always On My Mind".

Baz the Bouncer is played by Nick Buckthorpe and Gos The Doorman is played by John Fletcher. This pair welcome you to the theatre, and if you're lucky enough, you may even get the back of your hand stamped, just in case you want to leave the auditorium at any time. Happy memories of teen youth clubs and discos of my youth. This pair also open the proceedings on stage.

The ensemble consist of many brightly adorned young things; Andrea Kemish, Carolyn Briggs, Emma Barnes-Marriot, Gary Fowkes, Hannah Hirst, Harvey Tavener, James McKinnon-Bowden, Jane Freeman, Karen Robbins, Kathi Ludlow, Laura Dawson, Louisa Ward, Sarah Terry, Sophie Homer, Tracey Renshaw, Sue Hagan and Vicky Byrne. All bringing great energy to this high energy show.

Directed by Chrissie Oakden. I love what she has done with all of these characters and has brought out the real characters of the musical. It's perfectly cast with the characters matched with the actors' strengths. As with most jukebox musicals the script can be a bit flimsy, but with this one, and the music for the musical being almost a decade of music, so many of the scenes and situations blended well with the songs and they gave the musical high energy.

Only one thing I might have added to the show was in the sections in the disco, the ensemble and the characters not directly involved in that particular storyline were dancing but there was no music. I would have had some kind of music, albeit on a low volume; it just seemed a bit odd them dancing with no music, the way that club scenes are done for films sometime, but then the music is added in at a later date. 

Choreographed by Hayley Wood (apologies for getting your name mixed up when showing my ticket). The 1970's, as well as the 80's were my dancing days. In the 80's I was never out of the clubs at the weekend, which is probably why I was such a slim youth - how times change you when you get older - and I loved the inhibited and freestyle dance moves as much as the Saturday Night Fever style "everybody join in" choreography. All the moves from that era were on show on stage - Hayley has obviously done her research as she is nowhere near old enough to remember them first hand.

What I did note with the cast was that it was the male cast members who really seemed to be throwing themselves into these moves with gay abandon. they did the worm, the hustle, the line dancing and they all looked to be loving these moves. There were a few scenes that seemed just a little too static for me where there was quite a bit of dancing on the spot - no handbags were in sight unfortunately - but choreographically I loved what I saw. If my knees weren't a bit dodgy, I'd have been up at the end dancing, as instructed by the cast in the lyrics of Sister Sledge's "We Are Family".

Musical Director is George Parkinson who replicated that gorgeous sound of the 70's disco scene brilliantly alongside band members Chris Renshaw (Guitar), Jeff Widdowson (Bass) and Phil Holland (Drums). George was on keys.

Set Design is by Mark Robbins, Bill Robbins and Erewash Musical Society and looked amazing and wonderfully 1970's retro.

The costumes are courtesy of Chrissie Oakden, Alex Tavener, Karen Robbins, cast members and friends of the company. I adore the fashion of this decade and every stop was pulled out to brighten up that stage with so much glitter. I couldn't see one costume that didn't look fantastic and didn't look right for this era. And if you ever want to get rid of some of those jackets, my wardrobe would be just the place for them - I probably wouldn't be able to get in them truth be told!

Sound is by Granite AV Solutions and was clear, fresh and at the perfect level.

Lighting is by Steve Greatorex. This really makes you feel as if you're in a club back in the 70's. The stage was awash with colour, as were the walls of the auditorium and the obligatory mirror ball. 

Production Assistant is Laurie Trott, who should have been in the ensemble, but was unable to due to a knee issue. It was really nice for the cast to acknowledge Laurie in the final bows.

Stage manager is Mark Robbins, who was his usual fabulous self regarding managing all things stagey.

Props were all thanks to Anna Fitzpatrick.

I know some may feel that the sexist jibes and attitudes of some of the male characters could be insulting but that is the way that Richie, Jon Conway and Terry Morrison created the script. This was the 70's and that caveman attitude was rife - remember "Saturday Night Fever" and "Grease" both had sexist pig characters. This is written in to extract audience reaction, and it succeeded, but in a jovial way because the women did get the upper hand in the end.

The musical is not meant to be a serious piece of theatre, just a good fun night out with a brilliant soundtrack that makes you long for your hipster flares and hotpants... just me then?

Wonderful energy, some marvellous vocals, lovely ensemble work, a great soundtrack and some brilliant costumes all make for this show to be labelled the best disco show in town.

"Boogie Nights" is at The Duchess Theatre until Saturday 7 March.