"Eureka Day" by Jonathan Spector.

Nottingham Playhouse.

This is the regional premiere of Jonathan Spector’s Tony Award-winning comedy. 

When a mumps outbreak hits a progressive private school in Berkeley, the well-meaning Board of Directors descends into full-blown chaos trying to create a perfectly inclusive vaccination policy. Spoiler: it does not go well…

Don, played by Jonathan Coy, who would like to take up mime, expresses a great deal of stress through subtle physical movements. He tries to be the peacemaker of the debates. but often only gets a few words out at a time. His chairing of the online debate is brilliantly funny, as is the whole debate itself.

We've all been in Zoom chats etc where everything just goes off track, insults start flying and, in this case, conspiracy theories are everywhere. This scene is very cleverly done with the audience seeing the live stream as well as the comments coming in and the committee live on stage all at the same time. A very technical, and extremely funny scene that really needs a second visit just to watch this piece once more.

Matt Gavan is Eli, a stay at home dad who is having an affair. Eli is a very vocal Committee member who also seems to have trouble sitting still. He is also, we discover as the play progresses, quite an important member of the Committee where funding is concerned and carries a lot of weight where decisions are made and agreed on.

Adele James plays Carina, mother of a student and is a new member of the board. As the play goes on we discover more of Carina's background and home life which also ruffles a few feathers with one of the Committee members.

Kirsty Rider plays Meiko, a single mother who is caught up in the story due to her daughter contracting and spreading the mumps. Often the quietest member of the board but when Meiko speaks out she makes her opinions crystal clear.

Suzanne, a senior founder of the school who sometimes dithers and at times has trouble searching for words, but who works to keep everyone involved and happy, but she has ulterior motives by getting the others on her side. One of those passive-aggressive characters that you get in any "community" gathering where decisions have to be made. Suzanne is played by Jenna Russell.

Hayley Doherty plays Winter. Originally this character didn't exist in the original play but appears right at the end of the play and we see the opportunity for history to be repeated.

Directed by James Grieve, this is one of those plays where gaps in the script and silences are just as important to the pace, the nervous tension and story as the words in the script itself. Facial expressions and the physicality of the characters also bring comedy to the stage with subtlety.

Eleanor Field's Set and Costume Design are both fabulous. The set is akin to an old school library with walls of shelves for the younger children, gorgeous stained glass window, inspirationally motivated posters, plus red plastic school furniture, and the majority of the action takes place in this environment. One of the other scenes may just be an interior wall, door and window, but there's no mistaking where this scene is set. Wonderfully colourful set that made you feel like you've just walked into your past infant/junior school.

Elliott Griggs' lighting design simply separated the scene changes, and as all of the scenes were set in the daylight hours, the lighting design needed nothing fancy. I've often said that simple light designs can be just as effective, especially for a play, thank a fancy one. Well lit and well operated.

Sound Designer and Composer is Lee Affen. Strangely enough for incidental "scene changing" music, this score was really catchy which in turn made the scene changes quite entertaining from a music perspective.

Matt Powell is responsible for the video design we see, and as I stated earlier, this was a big highlight for me. I can't remember seeing this kind of video design in any other play, which brings something new to this area of technical production on stage. It certainly gets the thumbs up emoji from me, as well as Leslie Kaufman!

Who'd have thought that making serious decisions about your children and their health could be this humorous?

"Eureka Day" is at the Nottingham Playhouse until Saturday 15 November.

 "Slava's Snow Show"

Nottingham Royal Concert Hall.

This must be about the fourth time that I have seen this show, and would have been my fifth had Covid in 2020 had not struck and caused the production of that year cancelled, so I've had to wait twelve years for this show to return. Oh how I've missed this magical piece of theatre.

This time around Slava has extended the usual one hour show by half an hour and this show was a mix of new stuff as well as some of the classic Slava favourites. I'm not 100% convinced that the extended end to the show is a good move as it seemed to drag on a bit; that aside though it's still as magical as it ever was.

Imagine the warm, safe and cosy feeling you feel sitting on a sofa with your loved one on a Sunday afternoon, wrapped in a quilt with a cup of hot chocolate and watching your favourite Christmas movie. Well now you're close to the feeling that you'll get watching Slava's Snow Show.

It's like looking at a giant aquarium of colourful, graceful tropical fish, gently cutting through the bright water watching Slava and his cast of amazing performers on stage.

The gracefulness and simplicity of the humour is very infantile, but at any age you sit there open mouthed at the magic they weave on stage and you are completely consumed by the strange, unconnected story they play out.

Most of the humour is visual with very limited speech, but you have no need for any vocal comedy because these very clever clowns are experts in their comedic field. And with anything this simple, you can bet that an incredible amount of talent and hard work went into it.

Slava's show has been touring for many, many years, all over the world and in his native Russia, and even though the show hasn't changed since the last time I saw it, it's lost none of it's magic.

The comedy timing and sound synchronicity are spot on. The sound quality is perfect in the Royal Concert Hall which all adds to the enjoyment of the show. A show that is just so different to any other show that you'll want to see it again and again and again.

With it's audience participation with giant spider webs, incredible snow storm and the many giant inflatable coloured balls to bounce around the Royal Concert Hall, this is an ideal aperitif for the impending Christmas celebrations for theatre goers of any age, and I dare you not to come out of the venue without a warm contented feeling in your heart.

It's also the amazement in witnessing how most adults get caught up in an irresistible spiral of silliness leading them to act as children by the end of the show. "Slava's Snow Show" is guaranteed to make even the most miserable human being smile. It is one of the most powerful, innocent and simply beautiful theatrical experiences. Joyfully playful, it tickles our childhood memories. This show fulfills a need for an oasis, a space in the physical world where normally sensible people can very happily return to the wide-eyed wonder and simple joy they knew as children.

Please take every opportunity to see this gorgeous piece of theatre, just in case it doesn't come around for another decade. This show is something that your children, whatever age they may be at, will love you for taking them to. 

"Slava's Snow Show" is at the Nottingham Royal Concert Hall until Sunday 2 November.

 "Everybody's Talking About Jamie" by Kristian Thomas Company.

Derby Theatre.

"Everybody's Talking About Jamie" is a coming-of-age stage musical with music by Dan Gillespie Sells and book and lyrics by Tom MacRae. The musical is inspired by the 2011 British television documentary "Jamie: Drag Queen at 16". The musical follows and is based upon the true-life story of 16-year-old schoolboy Jamie Campbell, as he overcomes prejudice and bullying to step out of the darkness into the spotlight and become a drag queen, and also gets to go to the school prom dressed how he wants to dress.

Jamie New is played by Kristian Cunningham, and believe it or not, this is his debut stage performance with Kristian Thomas Company, and it so good to see Kristian performing in the perfect musical for him. It took a quick doubletake to see him with dyed blond hair, but there's no mistaking his voice. What is also good to hear is the full range that his voice has - after only seeing Kristian in panto, hearing his voice cut through the Derby Theatre auditorium, like the proverbial knife, you could not help but get tingles, especially in the ballads "The Wall In My Head" and "My Man/Your Boy". Panto is great fun but seeing his emotive side with the anger that comes with character is a real eye opener. All that and the sassiness and comedic side of Jamie New is just like seeing this amazing musical for the first time thanks to Kristian Cunningham.

Jamie's Mum, Margaret is played by Kate Williams. When you have seen 95% of the cast before in various roles and have chatted to them, sometimes at length, I often think that an actor can't surprise me that much in a role, especially when you know their talents. Kate Williams as Margaret New was incredible. One of my favourite songs from the score is "He's My Boy" which drips with emotion and it takes someone with a powerful and emotional range to crack that song. Enter Kate Williams! I was left positively tingling all over and with moist eyes after listening to Kate pour her heart and soul into that song. the other big ballad that Kate performs is "If I Met Myself Again" which is as equally emotive. It goes without saying, especially if you've seen Kate on stage before, that her heart and soul also is pumped into Margaret New's character.

Ray, Margaret's best friend, is played by Louise Grantham-Lang . A brilliantly ballsy role, and just the sort of mate you want on your side. I love this role and Louise created electricity every time she walked on stage as Ray.

Pritti Pasha, Jamie's best friend and confidante, is played by Soleil Quarless. Here's another Jamie role that I love to bits and I also love watching Soleil on stage. One of Pritti's big songs is called "Beautiful" and that is one word that I would use to describe Soleil's voice. Pritti by character and pretty in every other possible way. The final prom scene where we see Pritti's outburst still makes me sit up sharp, even though I must have seen this show about half a dozen times. While Pritti may have felt like punching Dean Paxton, the rest of the audience felt like punching the air.

Hugo/Loco Chanellle is played by David Covey. I raved over David's Fagin, and now I am raving over David's joint role here. The "camp" is perfectly measured as Hugo and then escalated to the max as Loco Chanelle, and I love that silver dress and wig, making him look like Danny La Rue at his peak.

Dean Paxton, the school bully, is played by Tom Samuel. Tom makes us detest Dean and the things that he says to both Jamie and Pritti but gets put in his place by both at the end of the musical. The final scenes with Jamie and Dean though are heart-warming. You can gain a little of how good an actor is in the role by listening to the audience responses when an actor is on stage, and listening to Thursday matinee's crowd proved that Tom's performance this afternoon was everything that it should have been, even receiving a smattering of booing at the final bows. Paxton makes you feel uncomfortable with the things that he is spouting about Jamie and Pritti, and I can imagine that Tom also felt the same way bringing this horrible character to the Derby Theatre stage; but as I've said, that shows what an excellent actor Tom is.

Miss Hedge, the careers teacher, is played by Rosie MacLaughlin. Rosie has a brilliant voice and from the first song "And You Don't Even Know It" where she turns in a mighty impressive rap section, as well as the stomping "Work Of Art", Rosie shows what a fine set of lungs she has. Miss Hedge is a "see-saw" character because to start with you have the feeling that she is completely against Jamie, telling him to "keep it real", but come prom night, her true colours shine through. Why didn't the career teacher at my old school look like Miss Hedge, especially when it came to prom night!

Jamie's Dad is played by Darryll Clarke. His Dad was disgusted and disappointed in how Jamie had turned out and made no bones about telling Jamie so. Another character who makes you feel uncomfortable, especially with some of the things he says about Jamie being a mistake.

Drag is an art form of it's own and not many can pull off this particular area of entertainment. I know a few drag artists and they are, out of drag, the loveliest people, but when in drag, the fiercest of entertainers, for whom you do not want to try and get the better of! This side of the business is highlighted by the drag artists in this musical, Sandra Bollock (Matt Powell), Laika Virgin (David Page) and Tray Sophisticay (Darryll Clarke).

Becca and Bex are played by Shannon O'Donnell and Betsy Mae Kirkland-Ball. Another pair of characters who you definitely want on your side, and Shannon and Betsy Mae look to be having the time of their lives playing this fun duo.

An ensemble of "classmates" who actually look young enough to be in the final year of school - maybe they are! Nevertheless, they have an enormous amount of energy in the choreographed sections. Matt Powell (Bill), David Page (Mickey), Megan Singleton (Vicky), Bethany Wear (Tracie), Jake Lightbown (Levi), Harrison West (Cy and also doubles as Young Loco Chanelle - a stunning dress and what a pair of legs!) and Lydia Thacker (John).

Abbie Faulkner, Anna King, Charlotte Carradice, Ellie Simmonds, Eva Sheppard, Grace Collishaw, Helen Perry, Jane Magee, Katie Lawson, Luca Smith, Maddie Brooks-Brown, Millie Seymour, Lydia Thacker, Megan Singleton, Molly Parkinson, Poppy Cook, Reema Frost and Sophie Lowe. 

Directed by Alyshea Gomes, assisted by Tom Samuels. This production has such pace it leaves you breathless and the casting of the characters is perfection.

Choreographed by Chloe Hopcroft and Sam Holden. Anne King is the Dance Captain. This show is packed with some brilliantly choreographed ensemble pieces. Both openings to the two acts are big dance numbers and straight away they fire you up with some of the hottest choreography locally.

Musical Director is Charlotte Daniel. Every vocal is spot on; the music side of the show is absolutely faultless, all thanks to Charlotte Daniel.

The score is made up of some brilliant songs. Songs like "And You Don't Even Know It", "If I Met Myself Again", "He's My Boy", "My Man Your Boy", the epic "Out Of the Darkness" and of course the title song.

Set Design is by Scenic Projects Ltd., a name that I've mentioned a couple of times this week.

Sound Design is by Harry Greatorex. I have always professed that Derby Theatre has one of the best sound systems with the best clarity out of all the local theatres. Whether that is the system itself or the Designers and Operators who use the system, I don't know, I just know that on every visit, the sound is practically perfect.

Lighting Design is by Stephen Greatorex, who is also Technical Manager. This high energy show has a lighting design to match, but that's only to be expected from lighting legend Stephen. Kiah Smith did a great job on follow spot operation.

One area that really sets this production above the rest is the incredible, personalised video design. It almost breathes life and is practically another cast member. Designed by Matt Powell, assisted by Ryan Watson, this helps blur the lines between local theatre production and professional technical designs like "The Curious Incident Of The Dog In The Night Time".

Wigs and Make up Design are thanks to Beth Crew. The Drag Queens' wigs are as big and glamorous as their personalities.

Costume Supervisor is Amy Wicks and a special mention must go to Jules Sheppard for the effects for Jamie's limited edition blood red prom dress.

Millie Gilks is the Producer for the show as well as the Company Stage Manager; Elizabeth Harvey being the Deputy Stage Manager.

Let's not forget though that this is based on a true story and this sort of prejudice is here all the time. Whether it be racism, homophobia, or just a dislike of anyone who happens to be just a little different we need to embrace the difference in people and just be kind to everyone.

At times emotional, at times immense fun, what this musical is not is run of the mill and bland, plus it has a very important message to deliver and I imagine will lead to a great deal of conversation when you leave the theatre, which is exactly what it should do. This show is always going to be relevant as long as there are real life characters knocking about like Dean Paxton or Jamie's Dad. Thank Goodness for real people like Jamie in this world, and for everything that they stand for.

"Everybody's Talking About Jamie" is at Derby Theatre until Saturday 1 November.

 "Charlie and The Chocolate Factory" by Nottingham Operatic Society.

Nottingham Theatre Royal.

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

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

Anyone who has seen any production by Nottingham Operatic Society will know the quality of their productions, and this very sensory show has the same level of professionalism as anything that you may have seen in the past from this group. In "Charlie and The Chocolate Factory" they bring that sweet smell of success - or was it chocolate - to the Nottingham stage?

There are two teams of young actors who play separate performances. The Purple team who perform on Wednesday evening, Thursday matinee, Friday matinee and Saturday evening, and then the Yellow team performing on Thursday evening, Friday evening and Saturday matinee. Wednesday matinee I saw the Yellow Team.

Charlie Bucket's role is shared by Henry Armstrong and Toby Clark with Toby being the young man that I saw this afternoon; Charlie took the stage on Wednesday evening, and knowing that the apple will not fall far from the tree, Henry will be just as brilliant as Toby was. The level of confidence and characterisation that Toby brings to the stage is wonderful to behold. With some child actors that I see in professional touring productions, you can tell, more often than not, that a stage school is involved. With this young cast there's not a sniff of that and all the young actors are so natural in their character presentation. His voice is very clear and that helps with the story telling and comedy within his songs and you can just tell that Toby is loving his time on stage. A new name to Nottingham Operatic audiences but you can tell that this young man is very experienced in musical theatre.

Mrs Bucket is played by Emma Shute. The chemistry that is seen between Mrs Bucket and Charlie is so lovely, and while Mrs Bucket isn't in the musical that much, Emma stamps her mark, not only with her vocals but also with bringing such a believable version of Mrs Bucket to the stage.

Willy Wonka is played by Dan Armstrong. there have been many versions of Wonka portrayed on the stage and in celluloid, from the darker Johnny Depp version to the almost nonchalant Gene Wilder portrayal. Dan seems to blend the best of both to the stage version. Over the years I've seen Dan play many roles over the years, so I know what an excellent character actor he is, and this laid back and slightly acidic version of the Chocolate Factory owner is just perfect. The vocals are stronger than ever as well.

Grandpa Joe, who accompanies Charlie to the Wonka Factory, is played by Simon Theobald, another actor who I've had the pleasure of seeing on many occasions and in many roles. Grandpa Joe is a lovely character which has bucket loads of character physicality attached, something that Simon is no stranger to presenting on stage.

Grandma Josephine is played by Alison Hope, Grandpa George is played by Antony Watson and Grandma Georgina is played by Rosie Poesl.

Augustus Gloop's role is shared by Thomas Owen and Seth Burgess alternatively. Seth is in Team Yellow, the team which I saw today. Seth is a young actor who I've reviewed on several occasions now through Nottingham Arts Theatre productions. It's not easy when a young actor has to maintain a specific accent, along with singing, acting and dancing, but Seth's portrayal of this sausage loving character is brilliant.

Mrs Gloop is played by Lucy Haigh. The role has great energy and I love the accent Lucy has with Mrs Gloop.

Veruca Salt's role is shared by Martha Crosby and Clara Carter; the Veruca that I saw perform today. Love the connection Veruca has with Mr Salt as she keeps him under her thumb, and I actually like this pairing of Bara and Clara better than the original screen pairing of Roy Kinnear and Julie Dawn Cole.

Mr Salt is played by Bara Erhayiem. You would not have recognised Bara if you hadn't have known that it was him, thanks to an excellent long wig, and another great accent. There's so much energy invested in this role by Bara and some clever choreography, especially when performing with his bossy stage daughter, Veruca.

Violet Beauregard's role is shared by Betsy Stevens and Grace  Hindle. There's a brilliant song that goes along with Violet's character called "The Queen Of Pop" - because she is always chewing gum and Grace blew me away with her sassy version of this song which could well have been a hit for an artist like Meghan Trainor. Violet and her Dad really seem to bring this musical bang up to date, keeping the show as fresh as ever.

Mr Beauregard is played by Ray McLeod. This man brings such rays of joy to the show especially with this ultra hip version of Violet's father. Love all the swagger and cool and yet another excellent piece of casting. Another thing that I applaud is the cleverness and observation of dressing Mr B in a wonderful violet coloured suit, highlighting the devotion to his daughter throughout. 

Mike Teavee's role is shared by Samuel Smith and William Kent. I absolutely love how Samuel played this role, bringing out the angry teenage gamer and TV fanatic. He has a very flexible range of expression in his face and really seems to live the role that he is playing - hopefully for his parents that if this is method acting he leaves Mike at their front door. I love all of the performances in this young group but I will admit that I've always been a fan of Mike Teavee. The part where he is atomised and sent through the air to appear in a TV set is magical to watch and is one of my favourite Wonka dispatches.

Mrs Teavee is played by Joanne Lale. Mrs Teavee is her son's biggest fan and backs him to the max. I know that I keep going on about characterisation, but every role in this show is a character and Joanne is a brilliant character actor, as shown as Mrs Teavee. 

Jerry Jubilee who is a reporter and News Anchorman is played by Charlie Evers and Cherry Sundae, the news anchor link, who just happens to be at exactly the right place for when those golden tickets are revealed, wherever they may be in the world, is played by Hannah Haywood-Cupitt.

Mrs Green, the lady who makes a living selling "pre-loved" vegetables from a shopping trolley, is played by the wonderful Linda Croston, complete with an irresistible Irish accent.

The brilliantly hard-working ensemble are made up of a "who's who" of local stage stars of Abby Wells, Adele Lee, Alexandra Hazard, Amanda Dixon-Smith, Arthur Jones, Christine Boothe, Craig Youngman, Daniella Anderson, David Hails, Emily Trappen, Emme Gunn, Evie Midgley, Laurel Jones, Louise Fiddes, Louise Johnson, Marcia Wood, Nathan Curzon, Nick Smith, Oliver Wheddon, Ruth Greaves and Shaun Hanrahan.

There are so many highlights in this production - I knew that there would be - but the Oompa Loompas are really something special and their costumes are a real surprise. The extra sensory addition leading up to the end of act one I am sure boosted the sales of chocolate bars in the interval, and the scene with the glass lift at the end of the show is pure magic, and is not left to the imagination. I know that it was not just the kids in the matinee audience were left open mouthed at this scene.

Directed and Choreographed by Justine Lee. I can not suitably describe just how good this production is and that is partly down to the wonderful Direction and the incredible choreography.

Rob Murray is the Musical Director and fronts up the gorgeously lush twelve piece orchestra.

Sound is by Michael Donoghue, and an excellent clear sound design and operation.

Lighting is by Tom Mowatt. Expected nothing but the best, and that's what I got. Follow spots are operated by Cathy Bodman and Simon Carter.

Production Manager is Zak Charlesworth.

The wigs are brilliant, making me really scrutinise the cast members to spot who they were. Lucy Haigh and Joanne Lale, who are also the Makeup Consultants, sorted this area of the production out.

The costumes are excellent with the Wardrobe Manager being Marion Fisher.

The scenery is also magical with the digital screens really bringing another dimension to the show and provided by Scenic Projects in Lowestoft.

Making sure everything ran smoothly behind the scenes onstage were the Stage Crew Andrew Burton, Ethan Hamblett, Matt Wesson, Neil Ledward and Thomas Gregory with the Stage Manager being David Price and Vicky Johnson, assisted by Matt Allcock.

So much talent is involved in this production, on and off stage, producing a show of the utmost quality and entertainment values; definitely not one to miss out on.

Did you know? Roald Dahl was inspired to write "Charlie and the Chocolate Factory" during his time at Repton School, in Derbyshire! He and his schoolmates were sent chocolate to test from Cadbury's in exchange for their feedback, which gave him the idea of the eccentric Chocolatier.

"Charlie and The Chocolate Factory" is at the Nottingham Theatre Royal until Saturday 1 November. Put it on your bucket list to see this week. Don't miss out on your golden ticket!!

 "9 To 5 - The Musical" by Beeston Musical Theatre Group.

Duchess Theatre, Long Eaton.

Based on the 1980 movie of the same name, with music and lyrics by Dolly Parton and the book by Patricia Resnick. It’s set in the late 1970’s and is a story of friendship and revenge and even a little romance thrown into the mix.

Three female office co-workers, Violet, Judy and Doralee concoct a plan to get even with their sexist, egotistical, hypocritical, lying bigot of a boss, Franklin Hart. While the boss is “busy”, the trio give their workplace a makeover and take control of the company that had always held them back.

The storyline is thin but that is of no real importance because the musical is fantastically fun and fluffy all the way, and the cast know this as they sometimes break the fourth wall, as if letting us in on the fact that they know that we know.

Doralee, the sexy Southern belle becomes the subject of many of the office rumours based purely on what Hart has said, is played by Emily Owen. I love the song "Backwoods Barbie", as always Dolly's lyrics tell a story and this has a lovely story to tell about not judging a book by the cover, which ties in with Doralee's character in the musical. there's a brilliant line delivered by Doralee as she addresses her boss, Hart, advising him that she has the power to turn him from a rooster to a hen that rallies the audience behind her. Doralee's wig was so big, it must have had its' own zip code but added to the "tongue in cheek" fun feel of the show. Thanks to Simon Theobold for the hire of the wig - it looked better on Emily than it would on Simon!

Violet, the office manager who, while Hart is in charge will never be CEO is played by Sara Evans-Bolger. You can feel Violet's frustration from the stage, and that also gets the appreciative audience on Tuesday night right behind her regarding equal rights for women in the workplace, as well as in life! Sara's performance is akin to a pocket rocket, sizzling away until she explodes, and is as colourful as any firework! I must just mention the "Potion Notion" sequence which, if you like Disney, you will adore this scene.

Violet's teenage son, Josh, is played by Arden-Caspar Jennison. A textbook, moody teenager who has trouble finding a clean pair of socks in the washing pile, but also provides Violet and her office buddies with a doobie-ous way to relax and let their hair down! When this happens their imaginations run wild in three dream sequences involving Hart. Arden is also involved in the ensemble and, along with several other cast members have several very quick costume changes. Really good to see Arden back in a song and dance mode as well.

Judy is the newly divorced lady who is an office worker for the first time is played by Brogan Jones. What a change from the initial appearance as the uber nervous, confidence knocked office tryout to the Judy we see at the end of the musical, where she belts out my favourite power ballad from the show "Get Out And Stay Out". Brogan has one of those voices that send the tingles up my spine and you can feel that anger directed to Judy's ex husband, Dick.

Dick Bernly, who had run off with his young secretary, Mindi "with an I", is played by Thomas Judt.

Charlotte Drewett-Holden turns in a brilliant comedy performance as Hart's love smitten secretary, Roz Keith. And what a transformation in her big song "Heart To Hart". I've worked in an office before and there is a Roz in every office in every city in every country, but probably not as much fun as this Roz, who absolutely adores everything about Hart. Watch out for another twist though at the end!

Playing the sexist, egotistical, hypocritical, lying bigot of a boss, Hart is a brave man indeed, Craig Arme. Craig makes me smile; whatever role he plays, he never fails to put a smile on my face, and this role gives you a lot to smile about. I love the way the audience, probably many that may not have seen this musical before, reacted to some of the comments that hart comes out with, and I also heard a couple of "boos" at the final bows, which obviously shows that Craig has done his job well with Hart. Hart brings a lot of comedy to the musical and reflects the opinions and standards of the late 70's where women are concerned. 

The other main male role is Joe, who has a bit of a crush on the older Violet. Played by Joseph Straw he helps in the downfall of Hart, as his boss has just as low opinion of the office junior as he does of his female staff. There is a gorgeous duet that Joe sings with Violet called "Let Love Grow" and in this production the romantic scene by the photocopier is affixed by a lovely romantic choreographed piece with two dancers. That didn't work for me as I was either focused on watching the choreography and switching to watch Joseph and Sara singing and then back again, meaning I couldn't 100% concentrate on one or the other. A lovely duet and a beautifully choreographed and performed piece, but for me not together.

Carrie-Anne Corner (Kathy - loved the wig), Claire Farrand-Preston (Margaret - the office lush), David Artiss (Bob Enright), William Howarth (Tinsworthy - the Big Boss at Consolidated who appears at the end to "congratulate" Hart on his recent office success and to promote him), John Hand (Dwayne - Doralee's husband), Jodie Lakin (Missy), El Brown (Maria), Marie Nelson (Detective), Bobby Hughes (Doctor), Jaye Bonser (Candy Striper) and Elsa Kitching (New Employee). 

The ensemble for the show consist of Ruth Maddison, Christine Walton, Naomi Batley, Andy Bulmer, Jane Cottee and Evie Evans.

Principal dancers are Arden-Caspar Jennison, Thomas Judt, Jodie Lakin, Abi Stott-Marshall, Robert Stott-Marshall, Cibele Ponces Alvaranga, Alice Cammell, Eleanor Carty, Maisie Cutts and Sarah Dunbavand. The Dance Captains are Abi and Alice.

Directed by Beth Yearsley, who also designed the set, and the successes just keep on coming with this show. I can't believe how quick this show went this evening, whether it's the pace of the production or the fact that I know this musical so well, or maybe a mix of both. Either way this show is such fun and has such energy and a massive hit with the audience. I must also say that I really enjoyed the small section involving Craig Arme at the end of Act One as the house lights were put on. I can't remember seeing the end of the first act done in that way in other productions.

Choreographed by Fiona Cook, the ensemble pieces are great fun and really well timed, just take a look at the opening "9 To 5" piece. The three "dream sequences" - "Dance Of Death", "Cowgirl's Revenge" and "Potion Notion" are equally as much fun and it's these three scenarios that involve several quick costume changes for the dancers. And then there's that very tender contemporary piece to "Let Love Grow".

Musical Director is Adam Wright who headed up the eleven piece band which sounded wonderful, providing a real Country style feel to the score.

Costumes by Mina Holtom - the Costume Queen - with assistance from Charlotte Drewett-Holden and Emily Owen. Now normally I wouldn't dare to say anything about the costume choices but, being a massive Dolly Parton fan from the seventies onwards, I know that pink (a various shades of pink) is Dolly's signature shade, so was quite surprised to see Doralee dressed in dark purple/blue. That changed though in the second act when we saw Doralee in pinks. 

Sound is by Dave Dallard and Jack Clark. I know that I listen out for missed cues etc and while I only spotted a couple of very small ones, I must say that the sound production just lately at the Duchess is getting really good, especially in the mix between the band and the on-stage vocals. That new piece of sound mix equipment is paying dividends, especially in the hands of Dave and Jack.

Lighting is by Dave Martin and Rachel Elphick and was everything that I'd expect from Dave and Rachel. The Sound and Light Production duos are really adding that extra layer of professionalism and sheen over productions of late.

Production Manager is Katie Bird and Naomi Batley is the show's Production Assistant.

Katie is also the Stage Manager. The Backstage Crew are made up of a group of people who know everything about what goes on, on stage, so really know what is needed for a successful stage crew; Paolo Elias, Jake Gelernter, Adam Guest and Mina Holtom.

The Rostrum Hire for the stage is by A Stage For Hire and the set was constructed by Damon Pipes.

If you're looking for a fun, fluffy and fantastical musical, then this is just up your street.

"9 To 5 The Musical" is at Duchess Theatre in Long Eaton until Saturday 1 November.

BMTG are raising funds throughout this production for The Adam Barry Foundation, a local charity set up by Beverley and Peter Barry in the name of Adam, their young son who lost his life at the age of 15. Their aim is to raise funds to help those who have endured loss and bereavement and to help support within musical education and other events.

Funds raised will also support The Adam Barry Music Fund at Adam's old school, Freisland School in Sandiacre and Treetops Bereavement Counselling Services.

 "Home I'm Darling" by Laura Wade.

Nottingham Lace Market Theatre.

In "Home, I'm Darling", we're transported back to the 1950’s. Judy is in her fifties style dress, 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's 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 change to 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 which then gradually gets darker as the story is updated. 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 as you watch this play regarding gender stereotyping and, if any, how time has changed the roles, and the way that these are viewed, in a relationship.  In the end though, the play is still about love and marriage and how to work through 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".

I can remember really enjoying this play when I first saw it last year, and this production reminded me why I enjoyed it. Not sure if it has anything to do with it, but both productions I've now seen were directed by women.

Judy is played by Sally Eaton. The TV shows and stories we see and read about concerning the ideal 1950's woman are all upheld. Greeting her hard-working husband each evening, after he has come home from the office. She greets him with a drink, removes his shoes and warms his slippers while preparing their tea, after a day of cleaning the house. After a short time we see that this is not an idyllic middle class couple from the 1950's.

Sally looks the part, sounds the part and acts like the little woman chained to the kitchen, but this is all a facade, and it's not long until we also find out that this "fantasy" life is just that; a fantasy.

Johnny is played by Jamie Goodliffe. There are a couple of subtle clues given by the character, and subtly executed by Jamie where the speech and delivery is concerned. I don't want to give anything away, but subtle works so well in many of the situations, but not with all the characters!

Fran is Judy's best friend is played by Emma Smart. Emma and her character drive home the obvious clues to the "mystery" at the start visually. Some of the darker issues in the second act are thanks to the revelationary script for Fran, and that is just the start of an offshoot storyline which winds its' way back as a possible resolution for Judy.

Marcus is Fran's husband and played by Christopher Mercer. I am so used to seeing Chris in a comedy role that playing Marcus is like a slap across the face. Being the flexible actor that Chris is though means that you get a sudden shock factor and his portrayal of Marcus makes you really feel uncomfortable, as it should do. I am sure that at the bows at the end, I heard someone "boo", and that in itself shows that Chris, as Marcus, has done the job requested by the story and by the Director.

I had actually forgotten the intensity and dark character Marcus is, but Chris's ability to make my jaw drop was not the only actor and character that did this.....

Sylvia, Fran's mother, who is not a fan of Judy's lifestyle choices, is played by Cynthia Marsh. I love seeing Cynthia on stage but as Sylvia she shocked me.... by dropping the "F..." bomb. Cynthis is one of the sweetest ladies at the Lace Market Theatre, and when you're not expecting language like that in the middle of a marvellous monologue, in the second act from someone like Cynthia, is another jaw drop moment. Sylvia delivers some raw home truths to Fran in the same scene. 

Alex, Johnny's new boss, is played by Ali Lit. Johnny is expecting to move up in the estate agency business but Alex is not sure about his potential, so Judy and Johnny's fantasy future dream could well become a nightmare, depending on Alex's decision.

Directed by Payash Raslan, assisted by Sammy Whitworth. A good Director can add to a good play and I noticed a few additions to this production, and when you have seen previous productions of any piece of theatre, you notice those little additions and changes. From the opening scene it's like you're watching one of those sitcoms from way back when complete with canned laughter and clap tracks in appropriate places. These laughter and clap tracks soon diminish, showing us that the story is gradually getting more serious. What I also loved was the old TV/radio commercials which were used to great effect at the change of scenes, setting us smack bang in the 1950's settings again.

This is Payash's directorial debut at the Lace Market Theatre and I loved the fact that the actors that she had cast are possibly known for very different acting roles, making those of us who have seen these actors on stage in previous theatre pieces sit up and take notice. I have seen Payash in plays like "A Sudden Violent Burst Of Rain" at the start of this year, so I know that she is an equally talented actor as well as a Director.

Set Design is by Steph Nichols, and is another brilliant set, something that I always expect, and is delivered at the Lace Market Theatre. The set is a split set and looks amazing. Tie the splendour of the red and green split set with the props, by Jamie Clay, and you could be mistaken for stepping back in time by about seventy years or so. I loved the old TV set and the refrigerator are gorgeous. Also take a look at the stylish tea set pieces and the containers for the tea and coffee in the kitchen area.

Costumes are by Sally Oxland and Judy's wardrobe is a combination of the flowery and flowing dress style of Doris Day and the red sensibility of Betty Crocker, both names synonymous female characters from the fifties. 

Sound Designer is by Gareth Morris. Every single sound stab and effect is perfectly timed along with the retro commercials and at the perfect sound levels. Nothing more I need to say after using the word "perfect".

Lighting Designer is by Allan Green. As with the sound design, but it's nothing less than what I have come to expect from this theatre, and exactly what is delivered for every production. With the stage being split into the kitchen/diner and the living area, the lighting reflected this split, highlighting the area at the specific times.

The Stage Manager is Gill Scott and Assistant Stage Manager Holly Cooke. The Production Crew at the Lace Market theatre really know what they are doing, so again it's no surprise to see that this area of production is also up to the high standard we've all come to expect.

This may be a play that you've not heard of, and I know that some people don't like to spend money on little known plays, but this one is worth the money; not just because of the quality of the cast and production crew, but also because of the brilliant writing by Laura Wade. 

"Home, I'm Darling" is at the Nottingham Lace Market Theatre until Saturday 1 November.