"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.

 "Spamalot" by Loughborough Amateur Operatic Society (LAOS).

Loughborough Town Hall.

Based on the 1975 film Monty Python and the Holy Grail, the musical follows King Arthur as he travels with the Knights of the Round Table in search of the Holy Grail.

Winner of the 2005 Tony Award for Best New Musical, “Spamalot” was written by Eric Idle and John DuPrez and features "Always Look on the Bright Side of Life", “Not Dead Yet”, “I’m All Alone”, "The Song That Goes Like This", "His Name Is Lancelot" and "Knights Of The Round Table".

Having seen “Spamalot” several times now, I knew the comedy and the Python style, but a show like this is constantly updating with topical humour, so no two productions are ever going to be the same. Whether you’re a Monty Python fan or not, you can’t deny that the writing is very funny, even after all these years and has stood the test of time. Silly comedy hardly ever ages and is mostly very cleverly written.

King Arthur is played by David Burton. Lovely comedy timing, brilliant vocals and we all know what a good actor David is. So many vocal highlights but my favourite must be "I'm All Alone".

Patsy is played by Oliver Jenkins. The comedy starts as soon as Patsy and Arthur trot onto the stage with Patsy and his coconuts. The song that everyone knows is Patsy's big number, "Always Look On The Bright Side Of Life" and Oliver sounded like he was having fun with it

Lady Of The Lake is played by Natasha Bryan. This role is for someone who can really sing, and sing in various styles, especially in "The Song That Goes Like This", "Knights Of The Round Table" and "Whatever Happened To My Part?" LAOS have so many talented comedy actors and NaTasha is yet another.

Sir Galahad is played by Tom Vickery, who also doubles as The Black Knight, who looks to be quite dangerous but ends up quite armless, and legless! Galahad's duet with The Lady Of The Lake is possibly one of my favourite comedy duets in musical theatre.

Galahad's Mother is played by Ian Paillin-Dean in a typical Monty Python gender swap role, Ian also doubles as one of the French Guards.

Sir Lancelot is played by Ryan Sargisson. There really are no serious characters in "Spamalot" and Lancelot is another brilliant comedy part, and of course the song "His Name Is Lancelot" is one of those big song and dance numbers with lyrics that are clever and comical. Ryan also plays one of the French Taunters.

Sir Robin is played by Josh Hill, and it's nice to see Josh back on stage after being the Musical Director of "Evita", I think it was last year. I loved "You Won't Succeed In Showbiz" with it's updated lyrics to include a few topical characters that Josh performed, as well as the Python classic "Not Dead Yet". Josh also doubled as one of the Swamp Guards.

Sir Bedevere is played by Richard York, another actor who I always look forward to seeing on a cast list, especially a comedy show's cast list.

Prince Herbert, the camp prisoner in his own father's tower who is supposed to be marrying a young Princess, is played by David Sturla. Herbert is rescued by Lancelot who is brought out of his shell by Herbert. David also plays the equally comedic role of Drop Dead Fred, who for anyone who is not a Python fan, is the "corpse" that has an endless energy for one so close to his grave, denying being deceased and refuses to be carted off on the dead cart.. The "Not Dead Yet" scene is brilliantly performed by everyone involved.

Kevin Clarke is The Historian who opens the story of "Spamalot", as well as playing Herbert's father, who does not like to hear his son singing and dancing in such a way, and I loved the Northern accent for the Father figure, who doesn't quite understand his son, nor see why the arranged marriage isn't quite Herbert's cup of tea! 

The Head Knight Of Ni, Tim The Enchanter and The Mayor is played by Matt Leeson, another actor who I've seen on Loughborough stages several times over the years. The Head Knight Of Ni is one of those characters whose script you can have great fun with, whilst still looking serious. The Enchanter introduces us to one of the evilest bunnies in history.

John Smith is Brother Maynard as well as a French Guard.

Concorde, who has another set of coconut shells for Lancelot's steed, and is responsible for receiving the message from Herbert by airmail, is played by Linda Adlam.

Charlie Cound plays Sir Bors and a Swamp Guard.

             

There's a big ensemble so here goes with the ensemble performers.... Charlie Cound, David Sturla, Freya Lakin, Ian Paillin-Dean, John Smith, Kevin Clarke, Matt Leeson and Mel Sharp.

The Laker Girls are played by Cassie Briggs, Gemma Baxter, Helena Stone, Laura Kidger, Linda Adlam, Mel Swift, Rhianna Boulton and Sarah Pell.

The Booth Singers are Andy Longley-Brown, Clare Proctor, Daniel Robinson and Jo Dring.

Directed by Sally Bruton, this musical is so fast paced, I actually couldn't believe how fast the interval came around. I also like listening out for the various changes in the script and the song lyrics. This is a brilliant opportunity for a Director to bring topicality into the show, so you can guess correctly that certain parts of American politics arose on a couple of occasions.

Choreographed by Tasha Hutchinson and there are quite a few styles of dance in this production. As always, I loved the big tap dance number.

Musical Director is James Stevens and the sound from this band under James' guidance was big and lush. There were times though when I felt the volume of the band slightly swamped the vocals of the actors, or some of the actors, which may have been a sound balance issue. Loughborough Town Hall has always been one of my favourite venues for acoustic clarity. Brilliant work shown with the vocals in the tricky tongue twister lyrics of some of these songs.

Set is thanks to Scenic Projects and looked brilliant with its' multi levels for the French Guards to hurl insults, among other things in the Eengleesh's direction! The flys - the sections of scenery that are lowered onto the stage - are the responsibility of David Wright.

So many props in this production with everything from weapons, rabbits - wooden and otherwise - to shrubbery and umbrellas. The multitude of props supplied and managed by Joanne Shaw.

When you think of all of the character roles, plus ensemble, plus dancers etc, and the amount of costume changes, the number of individual costumes soon mount up. The costumes are provided by Gemma Baxter and Northern Costume Hire. With this amount of costumes the Dressers for everyone were Debs Pettitt, Natalie Underwood, Allison Cundell, Alison Matthews-Savage, Joanna Hayes and Jo Dring.

The wigs are supplied by LAOS.

Stage managed by Duncan Gadsby and the Stage Crew consisting of Kirstie Bennett, Ed Dring, Adam Green, Paul Lynch, Ky Berry, Mark Chinnery and Sam Tebbatt.

Sound Designer is Ryan Heath, and as mentioned earlier, maybe a bit more volume on the actors' mics to raise the vocals above the band. Opening night is usually the time when something like this is discovered and adjusted accordingly because the sound from the mics with a full theatre is different to the sound in technical rehearsals. Not a big issue.

Lighting Designer is James Cladingboel, and a vibrant lighting design it was, especially in the up-tempo dance sections where a disco feel was needed.

I've seen "Spamalot" quite a few times over the years and I don't think that I'll ever tire of this musical, probably because every production has little things that are different to look and listen out for, thanks to the astute vision of the Director. 

"Spamalot" will be at Loughborough Town Hall until Saturday 7 March. This production is a good enough reason for you to always look on the bright side of life!

 "Gedling's Got Talent"

The Bonington Theatre

Saturday 28 February

It was an absolute pleasure to be asked back for the third year running to judge "Gedling's Got talent" alongside Katie Funk, founder & principal of Funky Studios Performing Arts School and Georgina Saunders, founder of Next Door Dance Company and Freelance Dance Teacher. Unfortunately Andy Dawson,  Independent Arts Manager and Producer was unable to make up the quartet of judges due to an accident earlier on in the week. We wish you, and your dog a speedy recovery.

Twenty acts were lucky enough to make it through to the finals but unfortunately Ella Quinn and Madeline Bisby had to pull out after Madeline broke her toe in rehearsals. We send our best wishes to Madeline for a speedy recovery and hope to see you both next year.

First act and first up were a six-piece band called Broken Amps who performed The Killers song "Mr Brightside", This is a band who could go far with a mean and moody looking lead singer who delivered a great vocal performance. I was particularly drawn to the drummer who really created a blistering sound along with the bass, guitarists and keyboard player.

Up next were Darci-Rai Harrison, Francesca Jones and Serenity Messam from Academy Dance Studios, acrobatic trio, all twelve years old or under, who performed to "I Put A Sell On You/One Way Or Another" from the film "Hocus Pocus.

Also in the twelve and under category was Freya Quinn, from the Tracey Quaife Dance Studios, who sang the song "Naughty" from the musical "Matilda".

Act number four were the Lorna Leighton School Of Dancing who gave a demonstration of baton twirling to a section of Louis Clark's "Hooked On Classics", a great choice of music which had the audience behind them all the way.

There were quite a few entrants in the twelve and under category and up next was Maryann Townsend, who came second in last year's contest singing Olivia Rodrigo's "Wondering". This time around Maryann chose "Hopelessly devoted To You" from the musical "Grease".

Maud Jefford, Paloma Howe and Ella Tudor was the sixth act performing a lyrical dance performance of a song called "Letter To My Daughter" by, I think, Kerri Brown. A cuter trio you could not wish to see and also in the category for twelve and under.

Emily Fretwell, another twelve and under entrant, was next to take to the Bonington Theatre stage performing "On My Own" from the musical "Les Miserables".

We then were treated to a very different trio of young performers, Ash Byrne, Ellie Pickering and Ophelia Johnson who acted out "Dorian" from "The Prologue" by Phoebe Eclair-Powell. A humorous piece that had  been well rehearsed and timed.

The song "She Used To Be Mine", written by Sara Bareilles, from the musical "Waitress" has always been one of my favourite musical theatre songs and this was the first of two performances of this song. This version performed by Chloe Watkins who had a lovely range to her voice.

Pinnacle Dance were next on stage. These were a group of six young ladies who closed the first act with "Ex Wives" from the musical "Six" who gave a good ensemble performance.

Act two opened with Alfie-Joe Murray - which by the way is a great name for a singer. Alfie-Joe gave us Manchester vibes with Oasis' song "Don't Look Back In Anger", inviting the audience to join in with the last chorus. Not the easiest of songs for someone of this age but he handled the song really well and I liked him.

This talent contest provided me with some of my favourite songs from musical theatre and up next was twenty-eight-year-old Nicole Louise with her heartfelt rendition of "With You" from the musical "Ghost". The competition was not hotting up, making everything much harder for all of the judges.

Sasha Garrard performed an acrobatic solo, choreographed if I heard correctly by Sam Rider, to a wonderfully dramatic female version of the Justin Timberlake song "Cry Me A River".

"Waitress" seems to be the musical to perform songs from in this year's Gedling's Got Talent because  up next was Aether Ward who performed the song "When He Sees Me".

Sixteen year old Freya Drewry chose the song "Mother Knows Best" from "Tangled", and it was clear from the off that a lot of thought had gone into every area of this performance from the costume to the backdrop and I personally loved this performance.

We had been shown various styles of dance in this year's contest but Jess Sims performed a tap routine to Adele's "Turning Tables". Now normally I like my tap routines to be with a large group of dancers with a few jazz hands thrown into the mix, but Jess showed us just how gentle and sensitive a tap routine can be with this performance.

Kate Bush's "Wuthering Heights" has always been one of my favourite oldies, probably due to the drama in the words and the performance, and bringing a little bit of Emily Bronte to the stage was fifteen year old Poppy Willow who added her own drama to this big song.

The penultimate performer on Saturday night was another Poppy; eighteen year old Poppy Ogburn who gave us her version of "She Used To Be Mine" from "Waitress", and I loved the emotion that Poppy has in her voice and especially in this song.

The final act of the competition was a dance troupe from Take 5 Theatre School of Dance. Containing an age range from thirteen year old to adult they gave us an exciting routine surrounding the theme of Artificial Intelligence to the tune of Lady Gaga's "Abracadabra". The group consisted of all girls except for Ryan who held his own in a colourful sea of female dancers.

We three judges then retired to the shelter of the ticket office to battle out to whom we should award the three prizes plus the best under twelve performers prize and it didn't take us as long as last year to  come to an amicable agreement on who we thought were worthy of these awards.

A mention must also go to Dec Prendergast who was Master of Ceremonies for the show.

The awards were presented by The Deputy Mayor and Young Mayor of Gedling, Sandra Barnes & Lydia Yates.

We, the judges decided that our Twelve and Under award went to Darci-Rai, Francesca and Serenity for their "Hocus Pocus" performance.

Third prize was awarded to Poppy Ogburn and her rendition of "She Used To Be Mine".

Second prize went to Jess Sims for her tap performance to "Turning Tables"

A unanimous first place was awarded to Freya Drewry's "Mother Knows Best".

Another fabulous evening highlighting the talent that Nottingham has to offer.

Big thanks also go to Carrie Bird and the members of Flying High Expressive Arts CIC.

 "Glorious!" by Peter Quilter.

Derby Theatre.

This is the 20^th Anniversary production of the play and still retains the ability to make me laugh, nine years after I saw it for the first time.

"Glorious" follows Florence Foster Jemkins’ journey as she prepares for her concerts, builds an unlikely friendship with her accompanist, Cosme, and defies her critics to follow her dream of performing at Carnegie Hall on October 25^th 1944. A few months later, Florence passed away. And the story is all true!

Dubbed "the worst opera singer in the world", "Glorious!" is the true story of American socialite Florence Foster Jenkins, who was known for her flamboyant costumes, enigmatic performances, and decidedly off-key voice.

Florence Foster Jenkins is played by Wendi Peters, who you may have caught last year in pantomime at Derby Arena. I've seen Wendi in musicals and in panto so I know that she can sing, so to deliberately sing out of tune is more difficult than you may think - I manage it without that much effort. There were so many whisperings around the theatre about Florence being so much like Hyacinth Bucket from the TV comedy "Keeping Up Appearances", played by the late Patricia Routledge, and the resemblances are there, but Florence was a real character and Hyacinth is a character created for a TV comedy by Roy Clarke. 

I may be biased because I'm a fan of Wendi's and have met and interviewed her, but I liked the way that she now and again flicked, facially and physically, between Cilla Battersby - her character in "Coronation Street", and Hyacinth Bucket, but as Florence came first, maybe Roy Clarke was inspired by Florence, especially the singing ability. Either way I love Florence's belief in that she had something special, and no one was going to tell her otherwise; in a way I think that she knew that she wasn't the diva she thought she was, especially as there's a piece in the script that makes you think that.

Cosme McMoon is played by ex "EastEnders" actor Matthew James Morrison. This is a lovely comic character, who you may not see as a comic character until you get the reactions from an over enthusiastic Florence on their first meeting. The character is also a lovely one because to start with Cosme is there just for the money to pay his bills, but then he sees the real Florence and becomes one of her biggest backers, believing in her belief. Matthew's character is a million miles away from Felix Baker in "Eastenders", and we really get to see his comedy talents through Cosme. It's also nice to note that Matthew is local, hailing from Mansfield.

Florence has an Italian housekeeper/Cook/Maid in the form of Maria, who doesn't speak any English, but cunningly seems to understand what Florence says. Florence of course does not understand any Italian, which is strange due to the many arias written in Italian! Maria is played brilliantly by Caroline Gruber, who also doubles as Mrs Verrinder Gedge, a woman in the audience of Florence's latest musical gathering "The Silver Skylarks" who invades the stage to hand Florence a petition from the local music appreciation society to try and get Florence to stop singing.

Florence's friend, Dorothy, who also introduced Florence to Cosme after Dorothy saw him playing piano in a restaurant and asked that he call on Florence for the engagement of accompanying her on the piano at her evenings and soirees. Dorothey is played by Sioned Jones. 

Directed by Kirk Jameson, this is a rapid-fire piece of theatre with many of the jokes and one liners coming in rapid succession; tied in with the comic values of Florence's vocalisations, Kirk makes sure that there's not any long stretches without a smile appearing on your face. There is, in complete comparison, a lovely human moment in the second act which pulls you back down to earth. Cosme's final speech is also a bit of heartstring puller.

Scenographer and Costume Designer is Ingrid Hu. Florence's apartment is flash but not overtly flashy and has taste befitting a woman of Florence's stature and age. The costumes are wonderfully comedic.

Sound design is by Mark Goggins and Lighting design is by Mike Robertson. Derby Theatre's sound and lighting has always been one of my favourites, and this show holds up that opinion.

There's an accent coach involved with all the characters, and that's Greg Castiglioni.

There's some pieces of light classical music involved in the play: Mozart's "Queen Of the Night" taken from "The Magic Flute" and "The Laughing Song" from "Die Fledermaus" are both used for Florence to "perform".

This is a lovely show for light comedy and performance, maybe not so if you take your musical performances too seriously, but there's a message running through the storyline which should also be acknowledged, plus the play is less than two hours long including an interval. It's worth it just to see Florence's various costumes, and to witness two soap stars who are also local to the East Midlands.

"Glorious!" is at Derby Theatre until Saturday 28 February.

 "Midsomer Murders: The Killings At Badger's Drift" based on the novel by Caroline Graham and the TV series. 

Adapted for the stage and Directed by Guy Unsworth.

Nottingham Theatre Royal.

This is the first time that the iconic TV show "Midsomer Murders" has been developed for a stage play. There's always a sneaking suspicion that, after being such a successful run on TV, that a stage play may just fall a bit flat, but that is not the case here because I loved it. It's like a cover version of a catchy tune; if you're going to do it, do it, but with a difference. We get all the things we expect from the TV show; a murder, clues, red herrings, plus we get a lot of humour, and when I say humour, I mean proper laughs, not just wry smiling as when watching the TV programme.

When well-loved spinster Emily Simpson is found dead in the picturesque village of Badger’s Drift, her friend Lucy Bellringer refuses to accept it was an accident. DCI Tom Barnaby and Detective Sergeant Gavin Troy are called in to investigate, uncovering a world of hidden passions, long-buried secrets and deadly rivalries.

Daniel Casey, who played the part of Sergeant Troy in the TV series plays Inspector Tom Barnaby and James Bradwell, who you may recognise from his role as Lord Basilio in "Bridgerton", plays Troy. There's a lot of comedy delivered by these two, especially near the end just as they are revealing who did it, or who Troy thought had done it, which in turn provided the solution to Barnaby.

I am not going to go to much into the roles or the storyline because I don't want to give any spoilers about what actually happens and who does what to whom. Just let me say that, even though I did the culprit right, it wasn't until near the end when the clues started to be revealed.

The residents of Midsomer will be played by an ensemble of actors: Nathalie Barclay (Judy Lessiter/Katherine Lacey), Chandrika Chevli (Barbara Lessiter/Dr Bullard/Dickie Whitely), John Dougall (Trevor Lessiter/Iris Rainbird/Henry Trace), Julie Legrand (Lucy Bellringer/Terry Bazeley/Phillis Cadell), Rupert Sadler (Dennis Rainbird/Michael Lacey), Chris Agha and Rhîan Crowley-McLean (Ensemble). there are some pretty quick costume changes that enable the actors to play the various characters, as well as a brilliant double character scene!

Set and Costume design is by David Woodhead. The opening shows one of those old-fashioned signposts pointing the way to various villages and at the back of the stage there's a large round window where we can see the village. This scene also changes regularly to show other scenes and parts of the village. Dropped in flat scenery and remote control props slide smoothly on and off set, which makes the scene changes smooth and very fast, almost giving it that cinematic/tv effect.

Company Stage Manager is Dominic Whiffin, Deputy Stage Manager is Jodie day and Assistant Stage Manager is Amber Waller.

Writer and Director is Guy Unsworth who gives us one of the better TV to Stage productions I've seen. The additional comedy elements really take the show to another level, at times it almost seems like a spoof, but still retaining the special elements that make the TV show the popular hit it was and still is.

Lighting design by Matt Haskins. The scene where the double character is on stage is made so effective due to the lighting, which I don't want to spoil by elaborating on it, but accentuates the comedy in the scene.

Sound design by Ella Wahlström. The sound bites and effect cues are perfectly timed and I love the scene where the "Midsomer" theme is played as if in a dream sequence with Barnaby as things start to fall into place. Music by Max Pappenheim.

If you love the TV series, you will adore this production. If you love murder/mysteries that don't take themselves that seriously, you'll love this show. Basically, if you love a good theatre show, you'll love this production. To be frank, just get a ticket for the show for a wonderful evening's entertainment.

"Midsomer Murders" is at the Nottingham Theatre Royal until Saturday 28 February.

 "Grease" by Musicality - University Of Nottingham.

Nottingham Arts Theatre.

It's been such a busy week this week in theatreland that I couldn't fit this show in until Musicality's final performance, showing just how healthy Nottingham theatres and Nottingham's theatre groups are in 2026.

"Grease" as we should all know by now is an upbeat, feel-good musical that blends rock-and-roll, romance, and teenage rebellion. The story revolves around Danny Zuko and Sandy Dumbrowski, two teens who fall in love during a summer romance, only to face the challenges of high school when Sandy unexpectedly transfers to Rydell High. As they navigate peer pressure, identity, and their evolving relationship, they are supported by a group of quirky, fun-loving friends. With a catchy soundtrack full of classic hits like "Summer Nights", "Sandy", "Greased Lightnin'", "Beauty School Drop Out", "Hopelessly Devoted To You" and "You’re the One That I Want".

The stage production, which by the way originated in 1972, six years before the film version, isn't quite the same as the film version, so if all that you've seen is the film, there's a few changes in the running order of the plot and some of the music. Some of the plot line has been omitted, but that is because scenes like the car race is impossible to replicate on stage unless you use videography, but that section looks good on screen, but not essential to the plot of the musical, but I always find it interesting to see what a new Director does with such a well-known musical.

Danny Zuko is played by Adam Hazell, and again another subtle change to Danny Zuko's character, more laddish and not so much of a dumb jock; there was intelligence in the character, and I enjoyed seeing that. A decent set of vocals and with the falsetto parts I felt that Adam did have a bit of trouble, but this wasn't an issue because I know that falsetto notes are never easy to hit unless you're a natural falsetto. A full of fun performance and instantly relatable character from an actor who looked as if he was having a ball with the lads.

Sandy Dumbrowski is played by Katie Wright, who has a very strong vocal ability, although I was not a fan of the arrangement for "Hopelessly Devoted To You", Katie did a nice job of the slightly slower version of the song. Katie showed Sandy to have a feisty side to her, especially towards other girls in the Pink Ladies, but also quite handy with the palm of her hand with Danny. Some productions that I have seen have portrayed Sandy as the airhead blonde girly image, but I am so pleased that Katie, and of course the Director, didn't go down that route, preferring to create a more realistic image of Sandy.

Betty Rizzo is played by Ella Chapman. I don't know why this character is my favourite, and my favourite song from this musical being "There Are Worse Things I Could Do". Ella nailed the spiky Rizzo and she absolutely nailed that song blending power with emotion.

Kenickie is played by Rory Long. Kenickie gets another of my favourite songs from this musical to sing in "Greased Lightning". the film version shows Danny singing the song, but I have always thought that it should be Kenickie's song, after all it's Kenickie's car. A brilliant arrangement of this song fronted with fun by Rory.

Doody is played by Asher Greatorex. Now here is an actor who knows how to have fun on stage, and what a role to have fun with. You hear him start with "These Magic Moments" and he gives nothing away of his true vocal talents. Asher's voice is very commercial and I love the falsetto side of his vocal range. This man can boogie as well, plus he looks cool in shades and a suit.

Frenchy is played by Imogen Freeland. The programme states that Imogen is stepping out of her comfort zone as Frenchy, but I thought she looked completely at home in this role. It's a fun role and I love the voice characterisation as well.

Joe McGarel plays Roger, or "Rump" as he is nicknamed. Why does he have this nickname? Because he is the best "mooner" in school. There's another little bit in this musical and with this character that I can't remember seeing in other productions where, in the second act Rump is debagged and on the back of his shorts are two pictures of faces - I couldn't see from where I was to whom the faces belonged to - pinned to the shorts. Again another nice touch that brought a smile to my face, showing the difference a good Director can make. Joe has a lovely voice and seems to have a flair for comedy, speech wise and physically.

Sonny, the slick Italian is played by Fabian Golding-Williams.

Jan, the compulsive eater, is played by Melanie Yates. there are little things that have been added to this musical, maybe with seeing so many versions on stage I got to notice the little additions. As far as I can remember I couldn't remember the bit where Jan goes to retrieve the sandwich bag that Danny dropped after Sandy and Danny reunite at school. I may be wrong but that small move stood out for me. Another fun character acted with a nice comedy sheen.

Immie Hoskins is Marty, the "beauty" of "The Pink Ladies", looking more mature than the rest of the ladies, that is until she opens her mouth. 

Hugh Cowles plays the nerdy Eugene. A wonderful character that requires an actor with a feel for comedy, physical and facial comedy, both of which Hugh has in bucketloads. 

Patty Simcox, the athletic and attractive cheerleader who also, and quite naturally, has an eye for all of the jocks, including Danny, even though she knows that Danny has eyes for Sandy. Patty is played by Emily Hughes in her debut for Musicality.

Angel Fagbola is Miss Lynch, the teacher, and also makes her debut for Musicality. With all of the fun characters and talented actors she is surrounded by, I was impressed with the focus that Angel had portraying the serious, and quite stuffy teacher. How she didn't crack a smile I don't know. well, I do, it's because they are all incredibly professional in their roles.

Vince Fontaine is played by Charlie Higginson.  It is very difficult to smoothly replicate the 1950's speed talk dee-jays as they made a career out of talking that fast. I have always been an admirer of U.S. DJs of this era. The Weird Beard, Johnny Holliday, Joey Niagra and Hunter Hancock; radio presenters who talked as fast as the rock n roll music they played, and that took skill to never be lost for words and rhyme what they were announcing. This is Charlie's first show for Musicality and to take on this speed talker is no easy feat, as mentioned, but I was impressed with this quick tongued young man and the way that he encapsulated that style of music presentation.

Cha Cha, Kenickie's blind date for the prom, is played by Rosanna Beacock. I am not sure if this was intentional by the Director and Production crew but Cha Cha in the film and every production I can remember seeing has Cha Cha played by a tall, leggy actor. Rosanna is a smaller actor, and there's even a wisecrack in the show from Kenickie about the stature. Quite tongue in cheek but another example of a Director making additions to the show which only added to the fun. You had to listen carefully to pick up the quip, but my mother always used to say that "good things always come in small packages" and Rosanna is great fun to watch.

Teen Angel is played by Izzy Seager, and this is the first time that I have seen a female Teen Angel, but that actually makes more sense because Teen Angel is the Guardian Angel of Frenchy who is studying beauty and cosmetics, so she should have a female angel. Top marks for that decision. I was not a fan of the arrangement for "Beauty School Dropout" unfortunately.

Johnny Casino has also had a gender reversal and is played by Emilie Copping.

One other thing that set this production aside from others that I had seen was the way that the scene changes were done. We were treated to dancers front of stage to entertain us and to take our minds, and eyes off of the set changes going off in the background. Sometimes there is nothing worse that having either a blacked out stage with no incidental music or just the stage crew setting up the next scene, and the dancers shielded that issue.

The Featured Dancers were Piper McElwee, Leah Hosten-Silva, Imogen Stobart and Evelina Agroti.

The Ensemble were made up of Eliana Dickinson, Lucy Maynard, Thomas Telford, Juliet Paxton-Doggett, Celesete Salvucci de Oliviera, Ruby Hall, Grace Pither and Kirstin Hyland.

Directed by Drew Oliver Boswell, who I last saw in "9 To 5 The Musical" last year. Throughout the review I have said how much I like it when a Director changes things about by either adding things or editing bits out in order to make the show fresh, and to give oldies like myself who has seen the show several times over the year a jolt when we see something that maybe we have not seen in other productions. This show is a brilliant, fun piece of theatre and that is one thing that drew as Director has not changed. Top job Mr Boswell.

Choreographed by Olivia Clark. Keeping the fun element in a musical like this can be not as easy as many think. A lot of the fun in this musical comes from the choreographed parts, like the Hop scene, or "Greased Lightning" scene plus that amazing opening to the second act with "Shakin' At the Hop". these choreographed pieces are full of energy and you can see the work that has gone into all of the dance sections.

Musical Director is Ben Canning, assisted by Ben Bromley. There are some lovely arrangements of many of these songs performed on stage, but there was just one other fly in the arrangement ointment for me and that was "Beauty School Dropout" The song was written as a simple, but comedic song, but I am afraid that I am not a fan of vocal acrobatics with a song of such simplicity. The arrangement, for me personally, didn't work. Apart from that one song I loved the rest of the songs, especially my favourite "There Are Worse Things I Could Do". Having seen "Grease" so many times I appreciated a lot of the new arrangements, especially the rhythm arrangements for the uptempo songs.

The band Ben Bromley (Keys), Sunny Joshi and Sara Zaker (Guitars), Georgia McKenzie and Alex Jones (Reeds), Abi Wilson (Drums) and Ella Townsend (Bass) provided a powerful backing, and I don't know if it's an uprising of drummers of late but I have noticed the drummers more over this last week being more to the fore and sounding big and beaty. 

Hair and Make up by Muneeba Saqib. This 1950's based musical is very stylised to the period and Muneeba wonderfully created that era with the ideal look.

Sound and Lighting was excellent throughout. 

Co-produced by Sarah Prayle and Ioan Liley.

The show was smoothly stage managed by Georgia Bennet, Jamie Clay (DSM), Kamala Padilha (ASM) and Stage Hands Tilly Smith and Emily Sparks-Welch.

This was the final performance of "Grease".