"Blithe Spirit" by Noel Coward.

Ravenshead Theatre Group.

Ravenshead Village Hall.

Noel Coward's classic comedy ghost story is exhumed with great style and spirit by the Ravenshead Theatre Group. 

Mr Condomine, a writer, has invited medium Madame Acarti round for a meal with best friends Dr and Mrs Bradman to pick up some tricks of the trade for his next novel, but even though the night seems to have been uneventful, this is in fact far from true.

Karen Hall plays Ruth Condomine, who at the start is really loved up with her husband, but as soon as she has a rival in the shape of the late Mrs Condomine, quite rightly there's a frosty and protective Mrs C on the scene. Karen's acting is very natural and is a lovely character actor, soon making you feel that you're watching the character herself and not an actor playing a role, and that makes you side with her on so many of the arguments that arise.  Lovely amount of stroppiness in with the hot and cold blowing attitude shown to her stage hubby.

Rob Hurst plays Mr Charles Condomine. I've been a fan of Rob's for quite some time now, even dubbing him "The Postman" because he always delivers. He manages to go for the roles that really suit his acting style, and the pomposity of this character fits in well with Rob's style. There are parts where you do feel for the character, and the silliness of the situation that he has found himself in, all due to Rob's facial expressions.  

Edith, the Maid, is played by Lucy Johnson, who brings quite a bit of the comedy in this play, especially at the opening scenes and the physical comedy in Edith's character. The sense of innocence and duty towards the Condomines also creates many of the humorous moments. 

Andy Cook plays Dr George Bradman and Helen Brailsford plays Violet Bradman. Here's another nice pairing with Mrs Bradman also adding comedy to the mix, especially with the interaction with Madame Acarti, who you really feel doesn't have a very high opinion of Mrs Bradman. Helen's laugh just made me giggle every time.

Madame Acarti is played by Mandy Buckley, and is undoubtedly the one all of the audience were talking about in the break and at the end. Brilliant characterisation, flambouyance and eccentricity, Mandy is a joy to watch work and has a canny sense of comedy timing, but I knew that from seeing Mandy in previous productions anyway. Pure magic to behold.

Elvira, Mr Condomine's first wife, is obviously another highlight for me and played brilliantly by Catherine Petrova. Elvira is seven years passed over and is summoned to the Condomine's house, but not, as we later discover by Mr Condomine. Catherine plays the part of the petulant and fun-loving spirit so well, and such a flirtatious Elvira. If you can imagine Fenella Fielding in "Carry On Screaming" and Morticia Addams all in one role, that's quite similar to how Catherine plays Elvira, and I loved it. 

Directed by Sarah Tryner, this spooky comedy just rolls along perfectly, defining the differences between the two Mrs Condomines, placing Mr Condomine firmly in the middle of two different women and giving him choices that he could never have had while both wives were in the same plane, causing jealousy and testing Charles' loyalty, which is a big chunk of the comedy arises via Coward's sharp script. Making sure that Madame Acarti is truly eccentric is another comedy layer that Sarah has made sure was a constant throughout. the final scene was really well executed and, even though it was played for comedy, it still gave me the shivers.

Set design is by Rob Hurst, and as soon as the curtains opened, that set just hits you. Ravenshead always excel with their sets and this is no different. The action all takes place in Charles Condomine's living room, and is full of class; I absolutely adored their gramophone. The doors out to the garden were very clever as well; operated invisibly to open and close - well I couldn't see anyone operating them, so they fooled me. There were even plants on the other side of the doors to indicate that this was the garden entrance, and you know how much I like those small details!

Lighting is by Iain Walton. Nothing fancy needed, well not until the end when the effects are needed. You'll also notice a subtle green, almost ectoplasmic sheen on stage whenever Elvira drifts into the Condomine's living room.

Sound is by Daniel Andrews who managed the effects and sound bites, which were all cued well. On the subject of sound and music, I must also mention the background music at the start and the interval as the tracks really set the scene for the play; brilliant and apt choices.

Smoothly stage managed by Ann-Marie Butler with her crew Sue Bishton and James Disney.

This is a classy Noel Coward play so all of the costumes reflect that level of class, provided by Lin Baggarley and the cast.

The make up, and especially for Elvira and the late Ruth Condomine, really stood out, creating that other worldly image is thanks to Catherine Petrova.

One area that I don't normally mention is the job of the Prompt. Noel Coward's scripts are often not as simple as they first appear and there was only once that Eddie Gray was required, but what I do want to say is that there was no premature prompting from Eddie and I noted that a subtle signal was telegraphed for that one prompt. It's opening night, nerves will be up there and with an often tongue-twisty script in parts, having a Prompt who knows just when to give that prompt is a boon for the actor and the company.

I am a fan of Coward's work, and "Blithe Spirit" has been my favourite of his plays for well over thirty years after seeing the late, great Peggy Mount play Madame Acarti. This production is packed with class and comedy and there were not many empty seats on Thursday night's opening night, but then again there never really are many vacant seats as I know that Ravenshead Theatre Group have a very faithful fan base who support everything that they do. 

"Blithe Spirit" is at Ravenshead Village Hall until Saturday 31 May, but you better hurry up getting tickets to stand a ghost of a chance in seeing this classic Coward comedy.

 "Chess" by Beeston Musical Theatre Group.

Duchess Theatre, Long Eaton.

It's a mystery why this musical is not performed more often than it is. I last saw an "In Concert" production of "Chess" three years ago in Matlock, and I can't remember when I saw it prior to that, but I have a feeling that it was either at Loughborough Town Hall or Nottingham Arts Theatre; either way, it was quite some time ago, so this is a timely production.

"Chess" is not the easiest of musicals to perform, with the chord changes of Benny Anderson and Bjorn Ulvaeus from Abba and the expertise of Tim Rice, together it sounds exquisite, but I imagine a nightmare for anyone having to perfect these songs, that are more operatic than rock opera. Maybe I have just answered my previous question!

To let you know what the musical is about, in case you didn't know, it is based around a chess game which is politically motivated, but also about falling in love, as I’m sure you’ll find out by coming to check it out, mate. The story involves a politically driven, Cold War–era chess tournament between two men—an American grand-master (Freddie Trumper) and a Soviet grand-master (Anatoly Sergievsky)—and their battle over a woman (Florence Vassy) who manages Freddie and falls in love with Anatoly.

If that wasn't complicated enough, Anatoly's wife has travelled over and there's possible news about Florence's Hungarian father!

 Sara Evans-Bolger (Florence Vassy) really brought out her inner Elaine Paige for this performance. "Nobody's Side" has always been a favourite of mine from "Chess", and nobody can do the song justice like Elaine, well until tonight that was. Sara's duet of "I Know Him So Well" with Brogan Jones (Svetlana Sergievsky - Anatoly's wife) was an absolute dream to experience, their voices blended so beautifully in this slightly re-imagined arrangement. Brogan makes her debut with Beeston Musical Theatre Group.

The two chess players in this show, Craig Arme (Anatoly) and Robert Stott-Marshall (Freddie) certainly matched each other with vocal ability, with    Robert exhibiting a massive range so suited for rock opera, while Craig brought a lovely softer, operatic edge to the songs. 

"Anthem" has always been one of my favourite songs from this musical and Craig's powerful voice was an absolute joy to experience. Rob really brought that pop/rock vibe with the funky "One Night In Bangkok".

What I also liked about the performances from Craig and Robert was how easily they presented their characters. Anatoly as the calmer, more romantic character and Freddie as the petulant, rock-star styled chess superstar who didn't like to lose, who then re-invented himself as a chess influencer/reporter on BMTG TV. These opposites certainly attracted their fair share of applause throughout the night (or should that be "knight"?)

Matt McAuley (The Arbiter) is another whose vocals were well suited to this kind of musical, his enunciation of every word hammered home his power and intent over the game and made sure we heard every single word that he sang.

 Rob Charles (Alexander Molokov - Anatoly's second, as well as a secret KGB agent) has a very convincing Russian accent, even when singing; and when he does sing, what a voice Rob has. This is a role like no other, and I have seen Rob in many roles over the years. His vocal performance in this production is possibly the best I have heard him give. "The Soviet Machine" shows the fun vocally Rob is having as Molokov.

Bobby Hughes (Walter De Courcey - Trumper's equivalent to Molokov) also has one heck of a voice, and gets to show it off in his first principal role for Beeston Musical Theatre Group. Bobby also presented Walter as quite a sly character, but not quite as forceful as Molokov.

There's also a fantastic ensemble to flesh out that choristic sound to the production. Arran Mackay, Ruth Maddison, Ben Sherwin, Joseph Straw, Christine Walton, William Howarth, Arden-Caspar Jennison, Thomas Judt, Elsa Kitching, Emma, Maria Lawrence, David Artiss, El Brown, Jane Cottee, Maisie Cutts, Sarah Dunbavand and Sam Howard.

Co-Directed and Co-Directed by Matt Powell and Abi Stott-Marshall, the dream duo who have reimagined this musical in a very modern way, using live camera work to bring the feel of watching the story unfold as if viewing through a TV channel. The live camera operation is thanks to Sarah Dunbavand and Ben Sherwin. The video design is by Matt Powell, and operated by Adam Guest, and the set design is also by Matt and Abi.

Maybe because it has been so long since I last saw a production of "Chess", I found much more comedy in the production that I could remember, therefore alleviating what would have been quite a serious and political cold war musical.

The specialist costumes for "Chess" are thanks to Mina Holtom.

The MDs for this show are Dave Whittle and Ben Ward. Harmony, in however many parts you wanted, was boundless in this musical, it's like I had discovered surround sound for the first time. I touched on the soundtrack earlier, but when it contains such hits as "I Know Him So Well", "One Night In Bangkok" - lyrically such a brilliantly clever song, "Nobody's Side" - all chart hits - as well such beautiful musical theatre songs as "Anthem" and "Heaven Help My Heart", this really is an evening full of joy, as well as political intrigue.

Lighting is by Rachel Elphick and sound is by Dave Dallard, and what I really liked was that the volume was ramped up, giving the show a real rock opera type feel about the whole show. Dave Martin, who is sharing the lighting schedule, has obviously shared his knowledge and skill of lighting well as Rachel did a great job.

Stage managed smoothly by the Queen of stage management, Katie Bird and the backstage crew consist of Evie-May Evans, Mina Holtom and Damon Pipes.

And one final area that I have been told not to forget to mention is the Front Of House team, who are always ready to help and are all so lovely and friendly - thanks for all the hugs, and the reminder to mention how lovely the Front Of House Crew are.

"Chess" is at the Duchess Theatre, Long Eaton until Saturday 31 May. It's where you want to be!

Beeston Musical Theatre Group are helping to raise funds throughout this production for  The Adam Barry Foundation, a local charity set up by Beverley and Peter Barry in the name of their son who lost his life at the age of fifteen years old. The aim of the foundation is to raise funds to help put smiles back on the faces of those who have endured loss and bereavement, and to ensure support within musical education, events and activities.

 "Les Miserables - Let the People Sing"

Nottingham Operatic Productions with Carlton Operatic Society, The Cast and the Theatre Royal.

Nottingham Theatre Royal.

This is truly indeed a very special production as it not only celebrates the musicals 40^th anniversary, but it also celebrates the first time that this iconic musical has been licenced to amateur groups and will be performed, not only in Nottingham, but all up and down the country as a Nationwide celebration of the musical.

Nottingham Operatic Society were asked by Cameron Mackintosh and Musical Theatre International (MTI) to lead one of eleven amateur premieres of Alain Boublil and Claude-Michel Schönberg’s multi-award winning musical phenomenon, and let's face it. you wouldn't say "no" to an iconic musical, nor to Cameron Mackintosh!

"Les Miserables" tells the story of Jean Valjean, a former convict who spends a lifetime seeking redemption. Set against the backdrop of 19th-century France and the aftermath of the French Revolution, this story of intertwined destinies reveals the power of compassion and the quiet evil of indifference to human suffering.

As Valjean’s quest for a new life carries him into Paris and to the barricades of the Student Revolution, he is hunted by Inspector Javert and the ghosts of his past. Amidst the battles, he discovers the true meaning of love and salvation.

Neither barricades or a little fall of rain stopped the masses from flooding through the doors of the theatre to see this production. Nottingham has staged "Les Miserables" several times over the years, but it's always been the School Editions, so this time around we got the full glory of the musical in living colour, not just black and red!

Such was the excitement in the thespian fraternity that there are two sets of leads, shown on different performance days, giving as many people the opportunity to be part of this immense celebration, and wait until you see the size of the ensemble.

This production is such a joy for me to review because I've had the pleasure of reviewing the majority of these actors several times over the last twenty-five years, and know many of them reasonably well. Some I reviewed from their debuts, some from University productions, and I feel like a proud stage father seeing them upon this big stage in such a big production. That aside it's also so very good seeing some of these performers for the first time and feel that rush of a new generation of local stars.

I'm not going to do my usual and amass a whole lot of superlatives for every actor, not that they don't deserve them because anyone who did not know that this stage was full of "amateurs" (and I really don't like that word because there's the tendency for some people to add a negative slant to it), would have been surprised because the performance was nothing short of West End standard from every single actor. That professionalism didn't stop with the actors either.

Ollie Last is Jean Valjean (Tuesday Evening, Wednesday Matinee, Thursday Matinee, Friday Evening and Saturday Matinee). I last saw Ollie in "Guys 'n' Dolls" as part of the ensemble of crapshooters, which is probably why I didn't, at first, recognise him. This man's voice is insane. The power, passion, control and falsetto is something that will most certainly stay in my memory, making sure that I will not forget Ollie. The transformation from his first scene to his last is also incredible and very realistic with the aging process, which all goes to make sure that this performance, and this performer will be completely unforgettable.

Zak Charlesworth plays Jean Valjean (Wednesday Evening, Thursday Evening, Friday Matinee and Saturday Evening). I've seen Zak play Jean Valjean previously, so I know what a powerful performer in this role Zak is. Whichever Valjean you see, you are in for an absolute musical treat.

Dan Armstrong as Javert (Tuesday Evening, Wednesday Matinee, Thursday Matinee, Friday Evening and Saturday Matinee). Again, I've seen Dan in several big musicals over the years, but there is just something very special about this role, that makes Dan's performance also special. Apart from one of my favourite songs from this musical being "Stars", which Javert sings, it's the whole pronounced speech and singing which makes listening to Javert so easy. Again the power in his vocals just makes you tingle.

Kirt Hammonds as Javert (Wednesday Evening, Thursday Evening, Friday Matinee and Saturday Evening). Kirt I last saw as Gomez in "The Addams Family" at Loughborough and noted at that time that his vocals were almost operatic, so prepare yourself for some incredible vocals from Kirt as Javert. It was lovely as well to bump into Kirt before Tuesday's show for a quick "hello".

Christopher Grantham plays the almost haunting role of the Bishop Of Digne. Completely unrecognisable in character, but what I noticed in this production that I don't think I've seen in any of the School Editions, is that the Bishop always seems to be there as an ethereal reminder or even a good luck charm for Valjean.

Duncan Balcon is the Factory Foreman, and is a new name to me, as far as I can remember, but plays this bully with great gusto.

Andrea Chapman plays the Factory Girl, Jarrod Makin plays Bamatabois, Shannon O Donnell plays Madame, Kate Taylor plays The Old Woman, Emily Owen plays The Wigmaker.

Ella Greenwood is Fantine. Ella I have seen on stage for many years and know what a gorgeous voice she has and here she injects such emotion into these songs. Her rendition of "I Dreamed A Dream" turned this musical theatre classic into a pop power ballad, with the emphasis on power.

Laurel Jones was the grown up Cosette with Little Cosette being played on various performances by Caitlin Leighton, Emily Taylor and Mabel Kay. Laurel was, as always fabulous and refined in this role. I saw Caitlin on Tuesday, and what stage presence, confidence and a lovely, clear voice for such a young lady.

Hilary Leam as Madame Thenardier (Tuesday Evening, Wednesday Matinee, Thursday Matinee, Friday Evening and Saturday Matinee). Hilary I last saw in the rock musical "School Of Rock" last year playing a bossy Ms Scheinkopf, which she did wonderfully. Hilary takes the bossy up a notch here and shows just who wears the trousers in the Thenardier's relationship. "Master Of the House" is a brilliant comedy song and the personality Hilary puts into the vocals and the character is wonderful fun.

Sian Scattergood-Grantham as Madame Thenardier (Wednesday Evening, Thursday Evening, Friday Matinee and Saturday Evening). Knowing Sian's fun personality off stage, I just know that she is going to have an absolute ball onstage in this part.

Simon Theobald as Thenardier (Tuesday Evening, Wednesday Matinee, Thursday Matinee, Friday Evening and Saturday Matinee). Having seen Simon in quite a few productions over the years and having had several opportunities to chat with him, I know what a fun person he is so, as with Hilary, it's no surprise that this coupling was a dream made in musical theatre heaven.

Daniel Bogod as Thenardier (Wednesday Evening, Thursday Evening, Friday Matinee and Saturday Evening).

Thenardier's Gang are played by Kheenan Jones, Matt Wesson, Nick Smith and Jack Readyhoof.

Francesca Lewis as Éponine (Tuesday Evening, Wednesday Matinee, Thursday Matinee, Friday Evening and Saturday Matinee). I already knew what a gorgeous voice Francesca has, after singing "Almost Paradise" in the role as Ariel at the Arts Theatre in "Footloose". This role, which by the way is not her first time playing Eponine, gives you the opportunity to hear what a gorgeous voice she has. Another classic song from the soundtrack belongs to Eponine, "On My Own" and you get all that passion wrapped up in an incredible young star. The scene with Marius and Eponine at the barricades is possibly one of the most emotive performances of the two characters. Both Francesca and Craig Youngman, who plays Marius, put every ounce of emotion into that one scene.

Jenna Hancock as Éponine (Wednesday Evening, Thursday Evening, Friday Matinee and Saturday Evening).

Young Eponine is played by Betty Barnes and alternatively Sophie Shropshall.

Another of the young characters is of course Gavroche, the cheeky and streetwise urchin who helps out at the barricade. The role is shared by a trio of actors, Harley Butler, Henry Armstrong and Henri Reynolds. Harley was on Tuesday night and what a brilliant young actor he is. Very confident vocals and character acting, including a brilliant Cockney accent, and his final scene was incredibly poignant. I have a feeling that I may have seen Harley before as well.

Harri Evans as Enjolras, the charismatic leader of the Friends of the ABC. It's been a couple of years since I last saw Harri on stage, the last time being at the University of Nottingham in "Be More Chill". Harri's voice has advanced so much since 2023 and the power that he has in his vocals is now so obvious, and shows me that he has such strength at his disposal in his voice.

Craig Youngman is Marius. Craig is another former University of Nottingham musical student, who I also saw in the same production of "Be More Chill". As with Harri, Craig really delivered a surprisingly powerful set of vocals, and like Harri has so obviously developed a fantastically mature set of vocal skills. What Craig also has is a beautifully developed skill for character acting, and like I said earlier, the scene at the barricades with Eponine was incredibly emotional.

The other Students of the ABC are Owen Patten, Jonah Williams, Jack Lawrence, Louis Chadburn, Nathan Curzon, David Hass and Jonathan Jaycock. Every single one of these actors I have reviewed so many times over the years and have seen them all grow their acting skills, allowing me bragging rights in what I've written about them in the past to anyone and everyone I speak to.

This enormous staging also boasts an incredible ensemble which reads like a "who's who" of local theatrical talents, so here goes.....

Abby Wells, Adam Collishaw, Adele Lee, Alexandra Hazard, Alison Hope, Amanda Dixon-Smith, Amy Frost, Andrea Chapman, Antony Watson, Bethany Wong, Callie Egan, Caroline Van Der Walt, Cat Perry, Chris Heeley, Christopher Grantham, Claire Collishaw, Danniella Anderson, Darren Ward, David Hails, David Hass, David Page, Duncan Balcon, Emilia Makarewicz, Emily Corner, Emily Owen, Emily Rose, Emily Trappen, Emily Hope-Wilkins, Emma Shute, Emme Gunn, Evie Midgley, Ewan Waddell, Fiona Cook, Gemma Hardy, Hannah Haywood-Cupitt, Helen Taylor, Ian pottage, Jack Lawrence, Jack Readyhoof, Jake Gelernter, Jarrod Makin, Joanne Kay, Joanne Lale, Joe Butler, Jonah Williams, Jonathan Jaycock, Kate Taylor, Kate Williams, Kheenan Jones, Lily-Mae Evans, Lindsey Greasley, Lindsey Jaycock, Lizzie Fenner, Louis Chadburn, Louise Grantham-Lang, Lucy Maynard, Marie Nelson, Matt Wesson, Meghan Borg, Nathan Curzon, Neil Ledward, Nick Smith, Oliver Wheddon, Olivia Reid, Owen Patten, Paolo Elias, Ray McLeod, Rebecca Wilson, Rebekah Daley, Rebekah Dean, Richard Groves, Riley Halls Backler, Rosie Poesl, Ru Kniveton, Ruth Greaves, Sarah Leaton, Sarah Shields, Shannon O'Donnell, Stacey Ireson and Thomas Gregory.

Directed by David Covey. Now this show, as you can imagine, especially with the size of the cast, was never going to be an walk in the park, but what a production. I said earlier that this was like watching a West End production, and that is the quality of show that David has brought to the Theatre Royal Stage. The staging was unique, it was tight and pacy, so do not be put off by the three hour timescale (including interval), because it flies by and you certainly get great value for money.

Choreographer and Movement Consultant is Justine Lee. Justine is just one of the reasons why this show is paced as it is. With the number of bodies on stage in some scenes, the movement has to be tight and you realise just why everyone has to be in just the right space at the right time.

Musical Direction by Morven Harrison. I know the quality of Morven's work, which is why the vocals and music, the harmonies and power are of the best quality you'll ever see and hear on stage.

Marion Fisher is the Wardrobe Manager, so as you can imagine with all of the main characters combined with the ensemble, this role is massive for this production. Fantastic costumes which require speed management as well as incredible attention to detail and co ordination, which Marion has in this vital role. There are also a whole host of others involved in this area, from dressers to distressers.

Possibly one of the reasons why I had to look really closely at this cast to recognise the actors is due to the wigs, and there are some excellent wigs for this production. David Birt is an expert when it comes to wigs, usually specialising in pantomime wigs, and it is he who is responsible for this specific area of the production. His work with ageing Valjean is wonderful, The Thenardiers' wigs are pure panto, and impossible as it may sound, Ray McLeod's wig managed to make him look even younger than he normally does!

Set and Scenic Design is by Morgan Brind. At first sight the stage design in simple but imposing, but then you have the little extras that appear as the story gets going, which is when you then realise that this design is not as simple looking as you first thought. The "barricade" scene design added another layer to the visuals.

Sound is not mentioned, as far as I could see in the programme, but whoever is responsible for the gorgeous, rich sound deserves a pat on the back. I did note a couple of mic cues that were a millisecond late but who cares. Nothing can detract from this experience.

Stage managed, and again imagine what a possible nightmare this role could be, but from the audience point of view was seamless, is all down to Nigel Newton, assisted by Matt Allcock. The Stage Crew, also responsible for the smoothness of this production are Amanda hall, Andrew Burton, Callam Mills-Brown, Charlotte Turpin, Emma Chettle, Hollie Chappell, Laura McChrystal, Laura Thurman, Sam Turpin and Tom Ward.

Lighting is by Tom Mowat. With a production of this scale, you're obviously going to employ the skills of an expert, which is the reason why Tom's skills have been utilised here. I've seen so many productions that has Tom's name attached to this area of production, and his skills add to the overall visual excellence of this faultless show. Cathy Bodman and Simon Carter are the Followspotters; another pair of lighting legends.

If you think of the number of names that I have name checked above, these are not all of the names responsible for bringing this production to the stage. there are eighteen members of the orchestra, the wardrobe production team, the Dressers, Chaperones and everyone who works for the Theatre Royal who are also involved on and off stage. You all know who you are and all are so important in making this amazing production the massive success that it is and will be for the rest of this week.

It was obvious from the start that this would be a sold out run, and would not require someone to shout about the excellence of this project, but I am so pleased and grateful for Nottingham Operatic Productions for inviting me along. When you have the opportunity to see the quality of local talent the East Midlands have, who would not accept. Support your local theatre because this is proof of the talent we have on our doorstep.

"Les Miserables - Let the People Sing" runs until Saturday 31 May.