"Liberation Squares" by Sonali Bhattacharyya in association with Brixton House.

Neville Studios, Nottingham Playhouse.

Three teenage girls forge an unlikely friendship when they meet at a creative writing workshop at a hip new café/workspace which used to be their library, now renamed "The Bibliotek". 

Sabi and Ruqaya challenge each other with ideas, TikToks, beat boxing lyrics, dance routines, all while avoiding the bully on the bus. Influential social media activist Xara asks the girls to speak out about their injustice, but they discover the workshop is connected to the state surveillance "Prevent" programme, and they have to fight back. The only question is how? What you say, and even what you think, can be viewed very differently, depending on who you are... Friendships fracture and loyalties are tested as they pursue different avenues of resistance.

 

"Liberation Squares" is a story of sisterhood, freedom of speech and creative expression, in an era when dissent is being criminalised and the state follows your every move, online and offline. 

This triple hander features Vaneeka Dadhria as  Ruqaya, Asha Hassan as Sabi and Halema Hussain as Xara. This trio play all the characters in "Liberation Squares", sometimes moving from one to the next by the application or removal of something as simple as lipstick in the case of Nadia.

Loved the "old school vibe" with Vaneeka's beat boxing which started the play and meandered through the play. The clever use of a loop machine highlighted the musical talents within the actors.

All three actors pull off the teenage schoolgirl image, not only with the look but also using the vernacular of that age group.

Directed by Milli Bhatia, the pace was relentless all the way through. It's a play which will make you think seriously about exactly what information unseen departments may actually hold on you, echoing George Orwell's "1984".

Whilst being entertaining and humorous, the play highlights the state of the world, and Nottingham today. Libraries and youth centres being closed. Racism, bullying, Islamophobia, colonial violence, bringing this play into the political circus ring.

The set design is by Tomás Palmer. The props the cast have are utilised in several ways to create different settings and the use of mobile phone projection onto the back wall is a clever way to further utilise the limited space. The three back panels revolve to allow whiteboards to be used to highlight the path of the story and to be used as a screen for the mobile phone footage.

Lighting design is by Joshua Gadsby and the Composer and Sound Designer is Elena Peña.

Produced by Nottingham Playhouse and Fifth Word.

The play runs straight through and lasts 75 minutes and I enjoyed every single minute of the play, which while being immensely entertaining, and really humorous, provides you with plenty to mull over after you've left the building.

"Liberation Squares" is at the Neville Suite at Nottingham Playhouse until Saturday 27 April with a matinee and evening performance and has a 14+ age restriction.

 "American Idiot" by Heanor Musical Theatre Company.

Mansfield Palace Theatre.

“American Idiot” is the story of three boyhood friends, Johnny, Will and Tunny, each searching for meaning in a post 9/11 world. The show features the music of Green Day with the lyrics of its lead singer Billie Joe Armstrong and book by Billie Joe Armstrong and Michael Mayer. Can you believe that the Green Day album that this jukebox musical is based on is 20 years old this year?

Andrew Bould plays Johnny, the main protagonist of the story. On his journey, he experiences nihilism, drug abuse, and lost love in Whatsername. With Andrew you feel the anger from his character and channels it through his singing. People think that singing rock music is easy, everyone can belt out a rock song, right? Wrong! As with most singing styles there are different breathing methods to match the style With the exception of a few singers like Freddie Mercury and Dan Vasc, singing anything other than rock music is not easy, when you are known for rock music. Andrew, and the other leads in this musical show that rock and musical theatre styles of singing can be blended to sound faithful to the genre.

Curtis Salmon is Tunny who accompanies Johnny to the city, but soon joins the military and is sent to war and suffers serious injuries. During his rehabilitation, he falls in love with his nurse Extraordinary Girl, played by Evie Burke, and she returns home with him. Last time I saw Curtis in this musical he played Johnny. Curtis has a voice that you can pick out, he has that something, which works well with the songs in "American Idiot". It's not that often that you see Curtis in a choreographed routine, but again he shows that he is very capable of dance; an all rounder.

Arden-Caspar Jennison  plays Will who plans to leave town with the group until his girlfriend, Heather, played by Katy Gaskin, reveals that she is pregnant with his child. Will stays at home in an alcohol and drug-infused depression. Most vocalists prefer to sing upright, but even sitting and lying down, the smooth flow of Arden's voice is unhindered. This again shows the importance of breath control for a performer, and magnifies the work that the Musical Director has done with them.

Jack Readyhoof revisits his role as St Jimmy and gives a playful performance. St Jimmy is an interesting character to play because you're never really 100% sure that Jimmy is real, or just a drug-addled image in Johnny's head. Jack reprises his role and is just as manic and exciting as when I first saw him in this role  some five years ago. I've commented in the past that Jack gets to play some wonderfully unhinged characters, and with the help of the giant projections we experience an almost comic book characterisation of St Jimmy. I know what a good singer Jack is, and there's one very short section where Jack sings falsetto which was completely jaw dropping, sounding similar to Justin Hawkins of The Darkness.

Alana Moran plays Whatsername, and along with Emme Gunn as Alysha, Katy Gaskin as Heather, Candice Curnow-Newland as The Recruiter - a role I can't remember from other productions - and Evie Burke as Extraordinary Girl, they all give brilliantly powerful performances, matching the attitude and passion of their male counterparts. Needless to say, their vocals are also powerful and, when required, full of attitude. There's fire with all of these ladies.

 Theo, played by James Hallam is another interesting character with a slightly devilish image. When The Recruiter is recruiting Tunny into the armed forces, we get to see Theo as the all American army role model in a giant on stage projection. I hope that James won't mind me saying but he looks an awful lot like a younger Jonathan Ross, something I certainly had not noticed before, but when your image is about fifty foot high on stage, you can't help but notice.

Filling the Mansfield Palace stage even more are the Ensemble consisting of Megan Hill, Chrissie Smyth, Courtney Bowles, Charlotte Swindells, Jade Eaton, Charlotte Bell and Shannon O' Donnell, providing even more rocking girl power.

The show includes the hit songs “Boulevard of Broken Dreams”, “21 Guns”, “Wake Me Up When September Ends”, “Holiday”, “Give Me Novacaine”, " Good Riddance (The Time Of Your Lives)" and the blockbuster title track “American Idiot”. Also included are several songs from Green Day’s 2009 release 21st Century Breakdown, and an unreleased love song, “When It’s Time”.

Directed by Kheenan Jones who has made a few very subtle changes to this musical, which you'd not really acknowledge in the usual bracket of a jukebox musical. The Directorial amendments may not be visible to anyone who doesn't know, or may not have seen the musical before, but they have been smoothly applied and actually enhance what is already a fantastic piece of musical theatre. A piece of theatre that I've been a fan of for many years.

Choreographed by Shannon O' Donnell. We get all the expected rock dance moves; the moshing, the extended one arm in the air with the two middle fingers folded, the head banging, but we also get some lovely soft choreography as well. Choreography that brings the excitement to the stage, especially in the opening number and title track of the musical. The energy in the choreography will mean that none of this cast will need to visit a gym this week at least because the calories burnt on stage will far outweigh any high velocity workout.

Musical Directors are Tom Bond and Tim Yearsley. I've already alluded to the work that any Musical Director would have put into this genre of musical, especially the breathing. But Tom and Tim aren't just any Musical Directors, and this isn't just any jukebox musical. After the opening number, we saw just how the main cast members were out of breath, and that is a full on choreographed and vocal number, showing the intensity needed for the cast and Musical Director, because it wasn't long before the next number arrived.

Green Day are not just an American garage band. In these arrangements you can hear the raw rock but you also get a taste of Billie Joe Armstrong's musical influences. There are lush, symphonic sections as in "Boulevard Of Broken Dreams" and "Wake Me Up When September Ends" and there are Motown sounding breakbeats and rhythm sections. The closing number "Time Of Your Life" accentuates the Beach Boys style of harmony, especially from this large cast and ensemble. Tom Bond and Tim Yearsley manages to magnify these influences to glorify the music of Green Day.

I will also name check the band because they did an incredible job. Tom Bond on keys, Tim Wright and Rob Holsman on guitars, Marcus Cain on bass, and on drums, beating up a storm, is Harry Greatorex.

Lighting design is by Stephen Greatorex who brings the classic rock lighting alive. Brilliantly operated by Matt Sheridan and Follow Spot, which is not the easiest of stage lighting to operate, is operated well by Brett Waller.

I couldn't see a credit for the Sound Designer or Operator, but apart from just a few clipped mic cues, the sound, for me, was everything I'd expected from a musical of this genre; loud and powerful but not overbearing. So, whoever the mystery sound person is, you did a cracking job, because sometimes the sound at Mansfield Palace is not as consistent as the sound was on opening night.

I've also mentioned earlier the projections in this production and Technical Director Paul Young has enhanced the visual side of this musical with the projection designs. These are the things that you would see on a touring West End show, using the back screen and four columns in front of the band to project onto. I've seen projection used for this musical before, but this takes the art to another level. Paul also designed the set.

The musical runs for ninety minutes straight through, which was the right decision not to break the flow of this story by having an interval, which also means that the cast also work that little bit harder as well.

"American Idiot" is at Mansfield Palace Theatre until Saturday 27 April, and in my opinion, you'd be an idiot to miss this production.

 "Home I'm Darling" by Laura Wade.

Bonington Players.

Bonington Theatre, Arnold.

Here's another play that I'd not heard of until Bonington Players advertised that they were performing it, so up until this production it had remained a hidden gem. This is the first time this play has been performed on a Nottingham stage.

We are transported back to the 1950’s, as the play starts in full “Mad Men” style. Judy is in her fifties style dress, high heels and coiffured hair preparing breakfast for her husband Johnny. On the immaculately clean surface(s), their marriage seems perfect – they themselves are “disgracefully happy” they announce to each other.  It is clear from the start that this kitchen sink drama, and the domestic goddess image Judy works hard to maintain, that we are going to witness some kind of deterioration of this idyllic oasis and we watch in anticipation as things slowly begin to unravel by the end of the first act.

Act two comes as a real surprise as we start in a flashback scene and then gradually gets darker. But is there anything that Judy can do to dig herself out of the situation that she has created for Johnny and herself?

There are many questions that arise about gender stereotyping, identity, tradition, feminism, the imbalance of power and relationships.  In the end though, the play is still about love and marriage and how to work through all the hard times and find a way to stay happily together, and maybe a little fantasy in a marriage isn't always a bad, or good thing, depending on how you view the term "fantasy".

Anna Hodkin plays Judy. and while we start off in a sickeningly saccharine sweet situation, Anna also shows the dark underbelly of Judy's character which became a real eye opening second act. 

Alex Brimelow plays Johnny. Like Anna he starts off in a completely different mindset to the one we see in Act Two. the end of the play though sees both characters in a more palatable relationship. When Johnny snaps though, Alex forces us to sit up and take notice of his character. Anna and Alex show great flexibility in their characterisation of this complex couple.

Gennie Price plays Fran, best friend of Judy's along with her husband Marcus, played by Tom Spencer. The two couples frequent "Jivefest" annually but this year Fran and Marcus have decided to head off on their own holiday, but something happens that is the catalyst of the darker mood in the second act. 

Zoe Lander plays Sylvia, Fran's mother, who is not a fan of Judy's lifestyle choices. When Judy asks her for help it's like Judy being a match and Sylvia being the short touch paper, and the fallout explosion is another sit up and take note moment.

Abi Hemmings plays Johnny's new boss, Alex. It's partly down to Alex as to whether Johnny gets the promotion that he is after, so he invites Alex around to meet Judy. A promotion means a wage rise, but the meet and greet with Judy does not go quite as Johnny had planned. Cue the unravelling.......

Co Directed by Charlotte Hukin and Eddie Januszczyk. The play lasts about two and a half hours and, for me, the success of a well directed production is if that time seems to be  less than the advised time. This show flew by. The first act being great fun with bright and bouncy direction. The second act being the epitome of dark comedy. 

The scene changes are combined with Gennie, Tom, Zoe and Abi dancing to 1950's hits while re arranging various bits of the scenery and props, continuing the lighter side of the story, and creating that 1950's atmosphere. The choreography is thanks to Jenny Chatten.

Sound operation is by David Goatham, and the Smartphone sound effects were very well timed to create realism. The soundtrack songs were also perfectly segued into the production to keep the pace going.

Lighting operation is by Peter Hodgkinson.

Bonington Players always tick the props box for me, and this play is no different with their variety of props for the production. Glynis Hunt, Jeff Casterton and Laura Harding sourced the props; everything from an authentic looking record player of the period, fridge, cooker, kitchen units etc.

And there's actual food and drink as well. I really frown on "invisible" food and drink in productions but these poor actors have to deliver lines while eating the most delicious looking chocolate cake, drink tea or eat boiled eggs and toast with marmalade. Don't see this play on an empty stomach!

The set design is split into two, the kitchen area and the front room, complete with fifties style drinking cabinet/bar, and dressed by Linda Whitehurst and Teresa Smith. 

I have just one small gripe. The invisible door from the front room to the kitchen which the actors pretended to open and close to enter or exit the kitchen. I did note that a few times the door was not opened, or maybe not closed, before or after the entrance/exit into the kitchen. If that was me, I'd have just not had the door and would have just had the actors moving from one room to the next without having to remember to open/close a door we couldn't see. I am sure the open plan layout was around in the 1950's.

The costumes were gorgeous, especially Fran's bright red with white polka dot dress. There were several costume changes, especially for Judy, each one as lovely as the previous.

I stated at the start that this play is a gem, and it really is. There are places where the phrase "I wasn't expecting that" popped into my mind as well. There's also a section that makes you feel quite uncomfortable, but there are several parts that will leave you pleasantly surprised at just how good this story is, and why you've not seen this play previously.

Another thing I really enjoyed was seeing a selection of 1950's advertisements that would have been posted in the newspapers of the day, screened upon the curtains.

"Home I'm Darling" is at Bonington Theatre in Arnold until Saturday 27 April.

 "Frozen Jr" by Spotlight Theatre Company.

Squire Performing Arts Centre, Nottingham.

It's only recently that I saw the Disney film of "Frozen", I am so late to the party, I know! I've not been the biggest fan of this musical, the film left me slightly cold, but my heart has melted at this production. For those who don't know the story, or need a reminder, this is what it's all about.....

When Queen Elsa accidentally sets off an eternal winter in the town of Arendelle, her younger sister Anna (along with her friends Kristoff, Olaf, and Sven) goes off on an adventure to find her sister and save the kingdom. Facing an unsuspected villain, unpredictable ice powers, and something new waiting round every corner, Anna must fight alongside her friends to bring back summer. "Frozen Jr" reveals how true love can come in many forms, and can at times be deceptive, that the bond between sisters is something truly special. 

Amy Flatman plays Anna on Friday evening, Saturday evening and Sunday matinee. Amy has a wonderful talent for producing believable chemistry with every character she interacts with on stage; Amy also has a lovely control in her vocals which makes her very easy to listen to. I loved the duet of "Love Is An Open Door" and the timing with Preston was spot on.

Erin Hanby plays Anna on Saturday matinee and Sunday evening. 

Hemani Kader plays teen Anna. We don't get to see too much of Hemani, but the taster of her talent we did see shows a promising future on stage.

Emily Taylor plays young Anna. I remember Emily from one of the shows at the Arts Theatre and remember that her smile just lights up the stage, and here she is again lighting up the stage. You can really tell that Emily is having a ball with Spotlight and especially playing young Anna because her enthusiasm is completely contagious. The duet of "Do You Want To Build A Snowman" was packed with fun with Emily and Eliza.

Emily Holder plays Elsa on Friday evening, Saturday evening and Sunday matinee. Emily gets the task of singing that big song from the musical, "Let It Go", and she really did. I was really impressed with Emily's vocals and that big note was pitch perfect, so perfect that it gave me shivers. The scene where Elsa gets an on stage costume change is carried out with split timing and, while Elsa isn't really classed as Disney Princess, there's no doubting that Emily looked every inch a Princess. 

Kayla Burgess plays Elsa on Saturday matinee and Sunday evening.

Karin Hurst plays teen Elsa, and as with Hemandi, her time on stage was limited, but a nice taster for her future stage roles.

Eliza Harrison plays young Elsa. The pairing of Eliza with Emily was heaven made because they are both as cute as two buttons, they compliment each other wonderfully, and their duet, as mentioned above was packed with innocent fun.

Hemi Lewis plays King Agnarr and Lucy Horton plays Queen Iduna.

Jason Thompson plays Oaken, and Jason quite literally stands out due to his height, but not only that but he has a lovely comic feel surrounding him, and this role. The song "Hygge" perfectly represents this fact along with the fun choreography; plus he is another actor who has a great smile, which also makes this scene great fun to watch.

Oaken's wife is played by Mia Kostrzebski. The Oaken children are played by Sophie Brown, Seth Burgess, Hattie Buxey, Lottie Buxey, Tessa Gibbons, Kiera Hicken and Holly towey.

Tom Blakey plays Weselton, the  Duke Of Weasel Town - oops, sorry Weselton. What a marvellous young actor Tom is going to be, well he is already, injecting real comedy into this character. Even when he wasn't acting, I found myself watching him just so that I didn't miss any of his stage comedy.  Tom also went down a storm with the audience on Friday night as well.

Bria Spencer plays Pabbie and Evie Andrew plays Bulda.

Megan Holder is Olaf, the magical snowman who the two sisters created when they were younger. Megan operates the puppet Olaf, created by Amanda Hall, as well as voicing the character. As with any good puppet master, she made sure that my eyes were focused on the Olaf character and not Megan the actor. One of my favourite fun characters in this production.

Preston Nash plays Hans and what a twist of a character for Preston to play. For those who don't know, Prince Hans "falls" for Anna but that's where the twist comes in, as we discover later on in the musical. As previously mentioned the duet of "Love Is An Open Door" has been timed to perfection, showing the hard work not only Preston and Amy have put in, but the Musical Director Laura Ellis has invested in this piece.

George Young plays Kristoff, and another successful character role for George. You can always guarantee that George will deliver a solid performance.

Scarlett Coleman-Smith is Sven the Reindeer. A lovely comedy part for Scarlett which I enjoyed tremendously.

Another actor who really drew me to them was Jack Lamb as the Bishop. His voice is so mature and commanding. He has a voice that will always sound great in the theatre, whether that be musical theatre or in play form.

Snow and Ice are played by Darcey Adams and Hermione Cumbers respectively.

The Snow Chorus are Sophie Benner, Lyla Calladine, Hallie Gregory, jessica Griffiths, Zara halse, Lucy Horton, Willow Hunter, Karin Hurst and Jessica Sutcliffe.

The Castle Staff are played by Ella-Mai Blower, Stephanie Booth, Abigail Cusack, Jasmine Leek, Ace Merkelt and Charlotte Wright.

There are hundreds more who play the Townspeople, Hidden Folk and feature in the "Summer section". Ok, maybe not hundreds but A LOT!!

Directed by Amanda Hall - need I say more? Whenever, and whatever Amanda is involved in turns gold, I think she ought to be renamed Amanda "Midas" Hall.

Choreographed by Bethany Wear, this was a job and a half but what a performance Bethany teased out of everyone. I especially enjoyed the opening section with the young Elsa and Anna as well as the "Summer" scenes, but there was not one piece that I didn't love choreographically.

Musical director is Laura Ellis. This creative team at Spotlight are like well oiled cogs because they work so smoothly together. All you have to do is listen to this cast singing to recognise the work that has been put into this production by Laura.

The soundtrack contains, not only the well known songs like "Let It Go", "Love Is An Open Door", "Do You Want To Build A Snowman" and "For The First time In Forever", but also has some lesser known earworms like "In Summer" and the tongue twisty "Kristoff's Joik Fixer Upper".

Lighting design is by Tom Mowat; basically see above regarding the creative team. There are some lovely touches with the lighting that highlight the intended actor in such a beautiful light. Pure class.

Sound design is by Rob Kettridge, and all I need to say is "ditto" to the above. The sound is perfectly balanced between the soundtrack and the vocals, another indication to the work that has been invested into this show.

A basic set, provided by Spotlight as well as Roydon Charlesworth. You could argue that a backdrop or video design could add something to a production, but I didn't miss any of that because the quality and strength of these performers drew all of your attention to them, so I certainly did not miss any extras in the set department.

This production will certainly warm the cockles of your heart. The cast's energy spills over from the stage like the haze used to replicate the coldness, and of course there's snow falling. Don't get left out in the cold, go and chill out with this fun and immensely enjoyable musical that isn't just for young girls who dream of being Disney Princesses. it's for anybody who appreciates great entertainment from the future stars of Nottingham's stages. And if I can just mention Grace Hodgett-Young who was once a Spotlight member who is now starring with Nicole Scherzinger in "Sunset Boulevard" and recently nominated for an Olivier Award this last week. You never know where your love of theatre will take you! Today Squire Performing Arts Centre.... 2025 London's west End. Just saying!!

"Frozen Jr" is at Squire Performing Arts Centre until Sunday evening with matinees on both Saturday and Sunday.

Photography by Martin Holtom and Liam Arthur Petruccio-Hall