Sunday, 18 November 2018

“Adult Child/Dead Child” by Claire Dowie
Nottingham New Theatre
The play itself is a difficult watch because of the subject matter, but the message it gives is so powerful that if you walk out of that performing space unaffected, you must be made of stone.
The play deals with the realities of developing schizophrenia. It unlocks the daily realities and unlooked-for consequences of the condition from the perspective of the adult looking back on his confused and innocent child-self.
An incident involving an attempted hammer attack on his father makes perfect sense to him, and by explaining it from the child's point of view it makes a strange kind of sense to the audience too."An eye for an eye" as they say in the bible.
Such moments are potentially dark, but there are touches of humour and absurdity which lift the piece without undermining its seriousness.
His only comfort comes in the shape of his imaginary friend, Benji, who becomes company of sorts at first, only to turn into something more troubling and sinister as her condition worsens.
Alex Piechowski is a very brave, but talented man to take on a role like this but shows his talent as an actor. For 65 minutes he holds us in his spell with his retelling of the character's journey from a child to adult hood, Not only is it impressive that he has this power to keep is hanging off of every single word, but his memory power is immense.
When I went to "radio school" many years ago the first thing that they had everyone do was to talk about themselves for one minute. That may sound simple, but just try it!. Fortunately I was able to do this and passed the first test. Alex has to do this about "the child" for 65 times longer, and ok it was scripted, but to make it sound natural and unscripted takes talent. It takes not just a good actor, but a fine story-teller to pull this gem off.
And then there are the character add ons. The leg shaking, the fiddling with his clothes, the nervous eye twitches, the inability to remain in one place for too long. All of these things make the character alive and human, so we're not just listening to a monologue, we're experiencing the pain that this human being was put through.
The looping provided us with maybe what the child was hearing in his own head, repeated voices speaking to him, nit knowing who or what to listen to. So layered is this damaged character that you just want to give him a hug.
The ending is a beacon in this man's life though and I'm not going to say what that is, because it does release the pressure cooker feeling that this play, and its' wonderful writer, Claire Dowie creates within you.
Directed by Jess Donn, she and Alex, has succeeded in showing what loneliness is like from another viewpoint A viewpoint that hopefully none of us will, or have had experience of.
Produced by Charlie Basley (who I was so pleased to get to say hello to afterwards), proving that he is growing into an absolute theatre all rounder.
The lighting (Daniel McVey) adds that extra air of, I don't know if menace is the right description, but depression is probably too strong a word, something between the two.
This monologue incorporates poetry, projection (Amy Crighton) and live sound looping (Sound design by Izzy de Bono) and really explores being lonely, loneliness, recovery and that desperate need to be loved and to love.
This, like all of the productions that NNT have presented this season, has been thought-provoking, which is a brilliant for local theatre.
"Adult Child/Dead Child" is at the Nottingham New Theatre until Tuesday 20 November 2018 and with all tickets at just £3.00 there is absolutely no reason for this particular play not to be sold out every night

Saturday, 17 November 2018

“9 To 5 The Dolly Parton Musical” by ESNA Players
Loughborough Town Hall
It's been so long since I've seen this musical that I'd forgotten just how much fun this show is.
Music and lyrics are by Dolly Parton and the book was written by Patricia Resnick. The musical is based on the 1980 film and set in the late 1970’s. Three female co-workers have been pushed to boiling point by their boss, so they plan to get their own back!
Now this musical is, on the outside light, fluffy bundle of fun, but just under the surface there is a relative and serious reminder of what's happening in the world today. #MeToo. the subject of equality with equal pay for female workers and the way that they are treated in the workplace. Just goes to show how far we have, or have not moved on in the last few decades.
That aside the production lives up ti the standard I've come to expect from ESNA.
Laura Hardy (Doralee) is great fun to watch, and just like the real Dolly that the character is based on, she may be blonde but she ain't no dumb blonde. Laura injects a lot of fun into the play with high energy levels. Her vocals are well suited to the Country style, and along with the other ladies in the show, looks like she is having a ball in this role.
Emma Adcock (Violet) matches Laura and Nicky with her wonderful vocals, as well as glamour, and equally fun to watch. Her big song "One Of the Boys" is pure Broadway as she strives for equality and promotion.
Nicky Hignett (Judy) gets to wear an amazing red dress in this musical and she looks, and sounds, amazing. her version of "Get Out And Stay Out" made me tingle, especially that end note!
Natasha Bryan (Roz) gets to show two sides of Roz. You know that mousy secretary who then whips off the glasses and lets her hair down, well, that's what you see in Roz. From mouse to sex bomb in one song. The applause level rose after her "5 To 9" number.
Gareth Busson (Hart) maybe the boss who is under fire, quite literally in one part of the show. he is hung up, branded, poisoned, shot up, ties up with telephone cord but, as an actor I bet he enjoyed every second of this character role. He smashed this part.
Lewis Fenn Griffin (Joe) becomes the hero of the hour with his nerdy know how,and Joe's a man who gets what he wants as well... in the end. Lovely character acting.
An epic supporting cast and the ensemble dance pieces are lovely to see, especially the tap number, and I love a good tap ensemble piece.
The choreography by Carl Edwards is energetic but these dancers make it look so easy. And when it looks that easy, I know that that a great deal of hard work has been put into it.
Gareth Wynne is the Musical Director and anyone who has been to the Town Hall before for a musical evening will know what great acoustics this place has. When you have an MD of this standard, you know that the quality of the music is also the best, and it was a beautiful and clear sound the orchestra produced.
With this show there is also the addition of Dolly Parton's image segments within the show, so working the live music around these features is also another thing that Director and Musical Director had to get spot on. And they did.
Directed by Benjamin Hardy, and I can't believe that this his full musical directorial debut, what with his decades of performing in musicals.
I really must doff my cap to the stage management crew, led by Simon Pack. the speed that the scenes were changed were as rapid as any professional touring show I have seen. Stage Direction by Ash Moulton.
Loved the costumes which really made me feel like I was back in the 1970's.
Lighting design by Kevin Cutts and Sound by Rob Temperton and Harry Bridge.
I've no idea if the Town Hall was as packed throughout the week as it was this afternoon, but I'm hoping it was because I know that ESNA have an incredibly loyal fan base. Not only that but I love to see a full theatre enjoying quality local theatre shows like this one.
"9 To 5" ends tonight for ESNA and I have a feeling that the cast will be having the biggest of post show blues. Another success for everyone involved.

Friday, 16 November 2018

“Yen” by Anna Jordan
Nottingham New Theatre
Anna Jordan's play “Yen” explores a childhood lived without boundaries and the consequences of being forced to grow up on your own. It was the winner of the 2013 Bruntwood Prize for Playwriting.
The play is set in the present day, in the living room of a flat on an estate in Feltham, South West London. 16-year-old Hench and his 13-year-old brother Bobby live alone with their dog Taliban, playing video games and watching violent porn.
There’s no adult supervision, though their mother Maggie occasionally visits from her latest boyfriend’s place and passes out in a diabetic coma.
But then Jennifer, a practical, animal-loving Welsh girl, shows a concern for the neglected Taliban, and succeeds in taming both the dog and his semi-feral owners.
The play is shocking, and I mean that in a good way. Another incredible choice for the NNT. It's shocking the way that Maggie treats and speaks to Hench, and some of her words are like a smack in the face.
All four of these characters are victims, and I found myself feeling equally for all of the characters. Each one of them reacting to the way that they have been treated by their treatment of others.
The imagery, visual and hidden, also has shock value, the hidden more so as it activates your own imagination about what is happening behind closed doors.
The four actors really got into the specific characters and showed the pain they all felt in different ways, again some of it shrouded but always just bubbling under the surface.
William Tillett (Hench) shows the 16 year old as part child part adult. Let's face it he is the responsible one at the start. The child like obsession with playing electronic games along with his naivety around the more confident Jennifer, or Yen as her late father used to call her, is at odds with the responsibility he feels towards his younger brother. It's really sad though near the end when that brotherly love crumbles from Hench's side while Bobbie's love for his older brother is as strong. A passionate actor who you can tell has really got under the skin of his character and delivered a brilliant portrayal of this damaged teen.
Jonny Khan (Bobbie) also gave an incredible portrayal of the only just teen who has been forced to grow up due to not having the full rime love of his mother. When she decides to pop in, he over compensates his love for her in an immature way, but can you blame him. Another tainted and broken character with a jaded view of the world and women, but he has no other peer figure apart from his brother who watches violent porn with Bobbie in the same room. Like the other cast members Jonny has a real understanding of his character and brings out the "simple" side of the complicated Bobbie.
Eleanor Rickenbach (Maggie) has the opposite challenge to Jonny. While Jonny has to convince us that he is a thirteen year old, and he does, Eleanor's character is a thirty something mother of two, by two very different fathers. While she is a mother of sorts to Bobbie, she has a dislike for Hench, due to the treatment she received from Hench's father, and that dislike really shows in her actions and what she says. Maggie does turn it around though with Hench and there is a lovely ice breaking scene later on in the play between Hench and Maggie. Eleanor convinces us all of her character and the maternal tug of war we discover towards the end of the play.
Isabella Hayes makes her debut with NNT, and like so many other debuts I've had the pleasure of witnessing over the years, the confidence and natural ability is just wonderful to see. I don't know if Isabella is actually Welsh, but her accent never wavered. I believe her to be Welsh. As with the other cast members, Isabella has done her homework fir this character and the change from her first scene to the last shows the journey Jennifer has travelled and what she had been put through.
Directed by Ellen Dennis, which I believe is her Directorial debut, and like Isabella, what a debut! Ellen really shows us everything that the author wanted us to see and feel in this brilliantly thought-provoking piece of theatre.
As withe every NNT production the technical crew create everything else to evoke the emotions and feelings we are meant to feel. Lighting (Sasha Gardner) and Sound (Arthur Mckechnie), Produced by Ellie Roberts,
The play will affect you emotionally and I'm sure that you'll find watching these talented actors truly, what's that word again? Mesmerising.
And you know what makes this play even sadder? This situation is happening as we speak somewhere in the world every single day.
“Yen” is at the Nottingham New Theatre until Saturday 17 November 2018

Thursday, 15 November 2018

“Murder Weapon” by Brian Clemens
Beeston Players
Here is a thriller which at first sight seems to be pretty much cut and dried as far as what has happened and who the killer is, but all may not be quite as it seems. After all if we start the play with the murder and the person responsible, there is only way to go, and that is backwards, and then all of the mystery about the story has gone. Or has it?
Diane’s husband, Paul, has been shot, which she discovers after being escorted back from the opera by Chief Constable Bligh and ex con Charley Mirren is standing over the body, the gun still in his hand. Jessica Bligh believes that this is not quite as open and shut as it first seems, and takes us back over the events that led up to this cunning thriller, and if Mirren didn’t do it, why was he there, and who did do it?
Debbie Blake plays our sleuth, Jessica Bligh, and what a great sleuth she makes, Always in the back of her mind that something was not quite right about this obvious situation, she slowly uses cunning to unravel the clues to uncover the truth. I love that Debbie acts with the whole of her body, making us believe every action and line she delivers.
Paul Langston pitches the character of Inspector Fremont, just right. Impatient to get on with the case and lock up Mirren, guilty or not. Lovely characterisation with Paul's acting.
Rob Jackson, for me delivered one of his best performances as would be killer Charley Mirren. So used to seeing him play comedic roles, this serious part was a lovely eye opener for me and showed another side to his acting skills.
Gary Frost is another of Beeston Players regulars who absolutely stepped up his game playing the part of Hugo. This character is a departure from the normal comedy roles I've sen him plat, and again, same as Rob, shows a completely different side to his skills, and I like it!
Sarah Murray is, I think, a new name to me. Sarah played the widow Diane, and has a wonderful scream on her. An easy watch and can't wait to see what she does next.
Kevin Fairbrother manages to get himself killed off quite early on, well his character, Paul, under a case of possible mistaken identity, all adding to the twists and turns of Clemens' plot.
Alison Williams, again another new face to me, I think, and plays a very convincing WPC as Constable Walters.
Directed by Larraine Maddison, this is a big success. It was pacy and all the characters were well rounded, and with all the twists and turns in this play, the atmosphere was electric. Sometimes the flashbacks in a live play can be a bit confusing, but not with this one. They were really well executed.
As always there is a solid creative and production team behind the scenes keeping the show rolling on with well greased wheels.
Fiona Maxwell and Tom Jenkins (Lighting), Sam Williams and Nina Tunnicliffe (Sound), Barbara Barton (Producer), Sue Frost (Stage manager) with Ian Greatorex (Assistant Stage Manager). The set was designed by Sam Williams and there was a good use of props (Alison Williams and Gwen Murray). Hair and make up was by Maxine Taylor.
Beeston Players, now in their 50th year, really do come across as one big family and this is also borne out by the wonderfully friendly front of house staff who provide the complimentary tea and coffee, work the pop up bar, sell raffle tickets and generally make you feel really at home.
Every year they seem to build on their previous reputation, but this production really raises their bar quality wise, so go and support your local theatre who really do produce some amazing live entertainment throughout the counties.
“Murder Weapon” is at Round Hill School, Foster Avenue, Beeston until Saturday afternoon. The matinee on that day starts at 2.30.

Wednesday, 14 November 2018

“The Picture Of Dorian Gray” by Oscar Wilde
Duchess Theatre, Long Eaton
This is the first offering from Blind Eye Productions and just by looking down the cast list in the programme, you are almost guaranteed that this production is going to be a big success because the cast and technical crew are some of the cream of Nottingham and Derby’s local acting talents.
Gray is literally a blank canvas for others to create their own images of masterpiece. In order for the devilishly handsome Gray to keep so young and beautiful, he makes a Faustian pact after Basil Hallwood paints his portrait. Gray hides the portrait away because in order to remain the Prince Charming of society, his portrait bears the ageing process and that would cause too many questions.
Beauty is only skin deep and that beauty allows Gray to take advantage of all that is on offer. He becomes selfish and arrogant, and even dumps the young actress Sybil who he has fallen for. He loves her acting but when she gives a poor performance, She was only acting in the first place to find real love,and because she has, or thinks she has found the love of her life, she then decides to end her life. Her younger brother James Vane, years after then decides to hunt for her Prince Charming to get revenge, but could this young man he sees really be her late sister’s lover?
Tragedy follows Gray around and he can only see one way out of this terrible circle, by destroying the painting, but has Gray really forgotten that pact he made?
I was once told that the more menacing and dangerous a character, the quieter he speaks, and I would have liked to have heard more light and shade with Gray's speeches, especially in the second act when his arrogance kicked in. There are parts of the script that could have been delivered with a quieter, more menacing tone.
Josh Hayes is perfectly cast as Gray though. He is devilishly good looking and he has great charisma and stage presence and you can tell that he knows how to deliver a line to get an impact. His build up of Gray was done well and you really get to feel that you know Gray by the end of Act One, only for the greed and arrogance to take hold in Act Two.
Meng Khaw, as Lord Henry Wotton is his usual controlled and relaxed performer, which again is a perfect casting for this role.
Chris Mercer is the painter who creates the portrait, Basil Hallward. Basil delivers a brilliantly passionate speech in the second act, explaining why he did not want to exhibit the painting in Paris.
Holly Turner plays Gray's love, Sybil. A lovely incite to her acting skills is when she performs the first "Romeo and Juliet". You can see her performing Shakespeare if this little taster is a sample of what she can do.
A supporting cast made up of some fine local actors, Gill Cook (Lady Agatha), Bertie Black (Mr Isaacs), Ryan Thomson (James Vane), Marcia Wood (Lady Henry), Lindsey Parr (Mrs Vane), Adam Chapman (Mr Hubbard/gamekeeper), Danielle Rodgers (Mrs Leaf/Opium seller/Duchess Harley), Courtney Kelham-Giddy (Alan Campbell), Sarah Shields (Lady Monmouth), Beth Hinchliffe (Hetty Morton) and last but not least Frazer Stanko (Adrian Singleton/ The Portrait).
I thought some of the accents needed a bit more work as they seemed to wander a bit.
I also thought that maybe some incidental music could have been played during the black outs when the scenes were being changed, just so that the audience were left to chat among themselves, but I must admit, the scene changes were done well and timely.
With the portrait, I think that maybe a frame around Frazer to make him stand out as a portrait, but I realise that these shows aren't cheap to produce and every penny needs to be accounted for.
There were times when you could see the backstage crew setting up behind where the portrait was as the cover was not covering the space, but I also realise that this was the first night and speed and nerves can affect any set of actors, but it's just an observation.
The set, designed by Zachary McCormack, was wonderful with its' many picture frames and I loved the simplicity of the look.
Directed by John Gill, who also helped design the set and designed the costumes. John also designed the programme, which is worth buying for the wonderful glossy pictures of the cast by Gavin Mawditt and Stephanie Timbol.
The sound design (Paige Shaw and Meng Khaw) and the lighting design Paige Shaw and Chris Mercer) added to the whole atmosphere of Victorian London.

I must also mention the wonderful hair and make up by Emma Berry.
Adapted by Merlin Holland and John O Connor, at times it felt like there were bits missing which may have built up a bit of a back story for some of the minor characters, I also thought that some of the pauses in some of the speeches were sometimes a second or two too long and could be tighter. That said the production is one where you get your money's worth because it lasts just under three hours.
I know that I am being very picky with my criticisms here, but I also know that this cast and technical crew have put a lot of hard work into making this show a success, and they are perfectionists, especially John Gill, and I recognise this.
This is the first production by Blind Eye Productions and a solid foundation for their 2019 shows. I certainly enjoyed it.
Being an Oscar Wilde fan, I was bound to enjoy this production and they did it good service, although I feel that the audience may have missed quite a few of the witty lines from Wilde as I found myself sniggering solo at much of the classic Wildean script.
“The Picture Of Dorian Gray” is only a limited run and closes on Thursday 15 November 2018.

Tuesday, 13 November 2018

"Matthew Bourne's Swan Lake"
Nottingham Theatre Royal.
Matthew Bourne's New Adventure productions are the equivalent of a Harvey Nichols shop. Classy and the best that you can get. Well that just about sums up this production.
A very different production from the one that came here about four years ago but equally as mesmerising. This art form is wonderfully relaxing to watch but is as exciting as any thriller around.
The swan is a beautiful, serene creature but with a very nasty, violent, protective streak, as you'll discover in this production.
The Prince (Liam Mower) seems to be having some bad dreams but his mother, The Queen (Nicole Kabera) doesn't seem to be too bothered. Now the Prince seems a little confused because we see him with a mother fixation, almost bordering on incest, until he meets "The Girlfriend" (Freya Field), who is a wonderful comic character. The scene where she is in the Royal Box at the Opera House, is hilarious!
Must mention the costumes for the Tree Trolls in this section because they were out of this world, as was their make up.
And I also loved the education in theatre etiquette in this section.
Well. the Queen is against this relationship and so, after he feels he has lost the love of his life at "The Swank" nightclub, he decides to top himself in the lake, which just happens to have many swans swimming on it!
They swans come alive but the leader (Max Westwell) takes a bit of a liking to The Prince....or is this all in the imagination, or dream of the Prince's. Make your own mind up.
Anyway, the tables are turned when The Queen is attracted to a younger man at a ball but in the middle of the ball, in comes a very handsome young man and impresses the Queen. Needless to say, The Prince is not as impressed.
Loved the way the stranger (guess who) kept teasing The Prince with his lascivious glances while leading The Queen on with his dance moves. The section where the stranger and The Prince dance is heady and intoxicating to watch, and you just can't take your eyes off the stage and the two amazing dancers.
The Prince's jealousy gets the better of him, as the Stranger flits and flirts with the Queen and several of the other guests at the ball, and The Prince decides to take things into his own hands with tragic results which leads the Queen to also take drastic action. This action in turn leads to an amazing finale.... which I am not going to tell you but is pretty explosive and involves a King Size bed and many swans.
Ballet is no longer for snobs and Sir Matthew Bourne makes sure of that with his wonderful comic touches. What he also ensures is that ballet is sexy and very watchable.
The dancers are athletes. You only have to look at their bodies to see that. What you will also see is that the dancers are not all small and wiry. There are different body shapes, come on let's face it you have to admire the work that goes into creating all of those abs. Their stamina is endless.
Sir Matthew always uses the best dancers, the best costumes, the best scenery and that is why if you're going to see ballet, you need to see the best, and that is, in my opinion, Sir Matthew Bourne.
A wonderful re-working of the Swan Lake story and the magical music of Peter Ilyitch Tchaikovsky. At times as delicate as a sheet of gold leaf, at other times brash and bouncy.
An incredible group of dancers who will keep you transfixed to that stage. They are also incredible story tellers without saying a word.
So if you enjoy seeing a whole host of half naked, sweaty men with fantastic physiques, and some very sexy ladies, go and see this production. If you also appreciate the art of dance and love a beautiful story told impeccably, you also need to see this incredible gender-fluid production.
I thought their previous version of "Swan Lake" was amazing, and I can credit that one for creating a ballet fan out of me, but this different version is just as wonderful and just as an emotional ending as their previous one.
A very well deserved standing ovation at the end, and the performers could have been on that stage taking bow after bow for even longer than they did.
"Swan Lake" is at the Nottingham Theatre Royal until Saturday 17 November 2018. Do not miss this one. It's swanderful!

Monday, 12 November 2018

“King Charles III” by Mike Bartlett
Lace Market Theatre
The play premiered in 2014 and the longer the play runs the closer to recent history it becomes. Charles has been preparing for this role all of his life and now that the Queen has passed and he is about to take up his role, but he has his own vision of how he wants to be King, and that causes conflict within his family, parliament and the country, dividing opinions and loyalty. The action covers the period from the Royal funeral up to the Coronation Day.
One thing I love,and admire about the Lace Market Theatre is that they don't choose productions guaranteed to put "bums on seats", opting more for the artistic view of bringing little performed but interesting plays such as this one to the local stage.
It's a fairly large cast of 17 actors, several playing other roles as well as their main ones, typical of a Shakespearean piece. The vari-aged cast work as one, like a jigsaw. Every piece vital to give the whole picture and if one was missing, you'd notice.
This isn't a production of mimics and unlike TV programmes like "The Royals", there is no attempt to make the actors look like the characters that they are playing, but you just know who they are supposed to be by the distinct characterisation.
Robert Suttle (Charles) presents the king in a masterful role. After all, this is the job that he has been waiting for all of his life.He has a lovely paternal connection with his fellow "family" actors, separating the man and the father from his job as would be King. His smooth and natural acting style worked so well in this role.
Cynthia Marsh (Camilla) had a more comical role than I had expected with her obvious wish to be The Queen.
Mark Gadsby (William) took the role as big brother as well as the next in line seriously, just in the same way as the real Prince is depicted, but only the future will tell if his ending matches the one in this play!!
Lucy Monaghan (Kate) shows that behind every powerful man, there is a woman who is pulling his strings. A real eye opener of a character depiction.
Aaron Connelly (Harry) shows the playboy Prince in a more three dimensional character. I am a fan of this Prince in the real world and I think Aaron, as the younger Prince, showed the fun, normal "lad" with his laddish mates and that touch of reality about him. I loved the fact that he asked James if he had heard of Sainsbury's, where he had been shopping with Jess. Loved this character and the character portrayal
Matthew Clapp (James) plays the personal servant to Charles and the sudden upsurge of work needed to do what the heir requested showed as a worry in James' face. The tug o war juggling act he has shows what a difficult job this character has, and is well portrayed by Matthew.
Alex Milligan (Jess) is the spanner in the Royal works but gives the young Royal a new outlook on his life and I feel breaks down Charles' official exterior, which shows that the future could be more relaxed for the Princes. Obviously written before Meghan came on the scene.
I also loved Roger Newman's role as the Prime Minister and Roger's stage presence and character acting, as well as the best vocal projection of the night, made him a stand out for me.
There's even ghostly visitations from Diana giving a prediction of sorts, but to whom is this prediction aimed at?
When written and first performed, and even as a television drama, it proved to be controversial, but then again so was “Spitting Image” in its’ day. I think the controversy, only a few years on has faded but I really enjoyed this possible crystal ball future glimpse of the Royals, but only time will tell to see if the ending in this play becomes a reality.
Written in Shakespearean blank verse – which for those who didn’t know is “ poetry written with regular metrical but unrhymed lines, almost always in iambic pentameter”. It's an interesting concept with a look to the future with a style that harks back 400 odd years. It's this style that also makes this play different and interesting.
Directed by Sam Allison with a wonderful set designed by Cris Brawn. A set that takes in the Royal quarters, a nightclub and includes a kebab stall which doubles wonderfully as part of the parliamentary scenery.
The lighting design is from Allan Green and the Sound design by Jack Harris, both wonderfully adding to the whole feel and setting of the play.
There has also been a lot of research gone into this play regarding getting advice on Royal etiquette from Steven Scott, who was once a footman to the Queen, and if you thought the riot gear looked realistic, it is because it's on loan from the Nottingham Police. there are no corners cut for this play.
The costumes are brilliant, but again that is no surprise when Max Bromley's name is involved.
All in all this play is an interesting incite into what could happen within the Royal Family when the Queen has gone. There's a good dollop of comedy and, with the wonderful script and the talented cast, this play was over, for me, far too soon.
“King Charles III” is at the Nottingham Lace Market Theatre until Saturday 17 November 2018.