“Anita & Me”
Nottingham Theatre Royal

“Anita & Me” is the debut, semi-autobiographical novel by comedian/actor Meera Syal. The play has been adapted by Tanika Gupta and directed by Roxana Silbert.

Set in the 1970’s in a fictional Black Country mining village, Tollington, and the times they are a changing. The village mine closed, a new motorway is due to be built, a school is to be pulled down and a Punjabi family has moved in to the village.

Relationships are forged and one of the more unlikely ones is between 13 year old Meena and the slightly older, in many ways, Laura. Meena is Punjabi and Anita is a blond, mini-skirted young white girl.

The play doesn’t pull any punches surrounding issues like racism, violence and immigration, but does it in such a way that there’s laughter surrounding the seriousness of the topics. Although this was written in the mid 1990’s and set in the 1970’s, the issues highlighted are still around today and by shrouding the seriousness of the topics in humour doesn’t sweeten the pill, making it easier to swallow, but it also makes this play an easy watch. there are several times where you feel a little bit uncomfortable laughing because you know that really you shouldn't laugh under normal circumstances.

For anyone of my age, and grew up in the 1970’s, it’s a lovely melancholy trip down memory lane with Top Of The Pops, chip shops, fish fingers and the youth culture of the time. Many a young girl used the Jackie magazine as a virtual crutch. The agony aunt section, the picture love stories, the dreams they encourage within those pages, the pin up pop stars of the time and the crushes the girls had on their paper heroes. All brought back to life in this play.

It also blurs the cultures and by the end of the play shows the emergence of going forward with both cultures, and maybe acceptance of both.

Starring Shobna Gulati (Coronation Street and Dinnerladies among her credits) she plays Meena's mother, adopting the archetypal speech and attitudes of the Punjabi woman. A sensitive portrayal balancing the traditional with the modern 1970's. While Shobna is the most well known of the cast, she doesn't hog the stage and the limelight.

Meena, played by 19 year old Aasiya Shah is wonderful as the 13 year old girl bridging the cultures, trying to fit in to the community, breaking family ranks and making friends with the wayward Anita.A joy to watch and completely believable.

Laura Aramayo (Anita) is another totally believable character. Her hormones are racing through her veins and feels that Meena is, at times cramping her style, slightly jealous of Sam's attention being focused on Meena. The ending sees a different less confident side of Anita, showing a different side of laura's acting.

Sam Cole (Sam) plays the bully boy with his eye on Meena. More a case of forbidden fruit though for this character. he delivers many of the often shocking lines of the racist side of his character. He looks the part and you wouldn't want to meet Sam, as the character Sam alone at night.

Tom Oakley plays Sam's partner in crime buddy, as well as Ned, formerly known as Hairy Ned, who provides the live keyboards on stage.

Meena's Dad, Shyam is played by Robert Mountford and a solid performance from Robert. Solid, committed and protective of his family.

Therese Collins (Mrs Worrall), Rebekah Hinds (Mrs Ormerod), Claire Worboys (Sam's mother) and Megan McCormick (Tracey/Sandy) complete the women of the village.

Aaron Virdee (Uncle Amman/ Mr Bhatra), Humera Syed (Pinky), Sejal Keshwala (Aunty Sheila) compliment Meena's side of the family.

Almost stealing the show though is the wonderfully comical Rina Fatania as Nanima, Meena's Grandma. What a great character role and almost similar to the role played by Meera Syal in The Kumars, Like Meera as Granny Kumar, out of the stage role, Rina looks completely different.

The set is a work of art. It's almost like sitting in someone's back yard in a row of terrace houses. This also converts into several other scenes including the side of a canal.Bob Bailey is the man responsible for this amazing set as well as the wonderful costumes.

The choreography is also worthy of a mention mixing Bollywood glamour with some manic retro moves, thanks to Ann Yee.

The accents are also well executed yow know, adding another veneer of realism to the play.

This show is pure joy. Well written and well observed and still manages to cause ripples of shock with some of the language and the actions of some of the characters, even this far sown the line. Some things though seem not to change and it's always worthy to remind us of the racism and bigotry that still exists today.

“Anita & Me” is at the Nottingham Theatre Royal until Saturday 18 March 2017.

"Infectious"
Nottingham New Theatre.

Back in the 1960's/early 1970's there was a programme on TV called "Comedy Playhouse" which gave a rostrum for young, up and coming writers to, if the BBC thought were good enough, showcase their talents, and many famous faces and writers came out of this stage. Visiting the Nottingham New Theatre must be a bit like that for many reasons.

There are many reasons why I love seeing the plays that are presented by these students. The majority of the plays are all written by the students, so you have no prior knowledge of what the play is about. That gives a certain impact on the audience member.

The acting is incredibly good in these plays and you get to experience a certain rawness as well as a professional slickness in all areas of staging and presenting a piece of theatre.

"Infectious" is a new play, written by Emma White and while the title doesn't really give an awful lot away, it has the possibility to mean several things, depending on the viewer.While it can refer to a disease or a disease causing organism, it can also mean likely to spread or influence others in a rapid manner. Both of these definitions can be aimed at this piece.

"Love is infectious" is a line and a statement in the play, among others. As the play progresses you also get the feeling that Jessica, the character in this two-hander, played by Felicity Chilver isn't talking about spreading laughter as the mood takes a different turn.

Jessica's friend is Abbie, played by Daniella Finch, we learn is portrayed in flashback and we soon see why that is. This also explains part of Jessica's personality which comes to light as the play unfolds.

Emma's writing is clever as it sets you up with several possible thoughts but then leaves you to decide on what happened. There are pointers from Jessica as to whether Abbie is actually there with Jessica, and Abbie re-enforces this near the end. Is Jessica's story, which at the start meanders between what could be the truth and her imaginary little world where she invites audience members to play out some of her favourite film scenes, real or not. That question remains unanswered, and Emma leaves that to be discussed by decided by the audience after they leave. You see I told you it was clever.

Aside from the audience participation, there's a certain amount of unscripted work, something that Felicity played to with ease.

The set, in one of the NNT's smaller, more intimate studio theatre performing spaces consists of a kitchen setting as well as a non descript space which is used for most of the story telling; the kitchen used more for the flashback scenes.

There was one very subtle but incredibly powerful piece to close the play where the lights dimmed, but the spotlight stayed on one empty chair for just a while longer, giving you time to mull over the previous build up speeches and action and possible conclusion.

The play is a female tour de force. Not only are the two characters women, and the writer a woman, Emma White also directed the piece, but it was produced by Emily Sterling, the technical director was Joanne Blunt and the design assistant was Emily Wong. The only male input was from Ben Woodford, who designed the lighting and Max Miller who designed the poster. Together a very strong team and sadly possibly one of the last pieces of theatre these women produce for NNT.

There's plenty of laughs and plenty of thought provoking imagery....or is it imagery?

"Infectious" can be caught just once more on Tuesday 14 March 2017 at the Nottingham New Theatre as part of their Spring Fringe Season.

“Hello Dolly” by Erewash Musical Society.
Duchess Theatre, Long Eaton.

The show has become one of the most enduring musical theatre hits, enjoying three Broadway revivals and international success. It was also made into the 1969 film Hello Dolly! that was nominated for seven Academy Awards, and won three.

It’s so nice to have this musical back where it belongs, on the stage, be it local or National, it’s one of the great feel good musicals of our time, and it’s definitely looking swell and going strong if this production was anything to go by.

It’s the story of Dolly Levi,a professional match-maker, some would say meddler who is hired by Horace Vandergelder, a “rich” hay and feed dealer to find him a second wife. Dolly sets him up with Irene Molloy, but she has no intention of letting this blind date go ahead successfully because she has other plans for Mr Vandergelder which are purely selfish.

While the fat cat is away the underlings will do what they like and his clerks, Cornelius Hackl and Barnaby Tucker, decide to take an unauthorized holiday and end up aiding and abetting Dolly in her quest, quite unaware of what's unfolding.

There are various comical incidents which occur but there are happy endings all round.

Erewash Musical Society have the perfect cast for this show and I can't think of anyone who could play Dolly Levi better that Alex Tavener. her comic delivery is wonderful and the scene where Dolly and Horace are having a meal is just comedy heaven. Dolly's clothes are gorgeous in the "Hello Dolly" routine. They sparkle almost as bright as Alex's smile.

Grumpy tightwad Horace is played by Keith Butcher, and another excellent piece of casting if you ask me. Again some lovely comedy lines and brilliant characterisation.

Vandergelder's shop assistants, Cornelius Hackl and Barnaby Tucker are played by James Bowden and Martin Lewis and another well paired duo all round. the contrasting confident, but older Hackl and the 17 year old Tucker were great on their trip out of town to see the Barnum whale and kiss a girl. Well one out of two ain't bad.

Playing Vandergelder's original set up, Irene Molloy was Tracey Renshaw. Irene runs the hat shop in New York with her assistant Minnie Fay, played by Becki Charnley. One of the strengths of this musical is the pairings and this is another lovely, believable pairing.

It's been a very good year for Tom Preston, who plays the artist Ambrose Kemper in "Dolly". I saw him first last March in his very first production in "Copacabana" for EMS. He was so nervous in that show but since then his confidence has sky rocketed and his role in this show, shows how far he has come in local theatre. he oozed confidence in his acting, singing and dancing and is a natural comedy actor.

Another lovely comedy role is that of Kemper's intended, the weepy Ermengarde with the annoying, but comical wailings. Played with great gusto by Gem Blake.

The ensemble here is large but very, very good. They move as one and the choreography they are given is excellently executed, thanks to an excellent choreographer Siân Scattergood. I especially loved the work for "The Waiter's Gallop" which was timed to perfection and "Hello Dolly", both pure Hollywood glamour.

I also loved the close harmonies, especially the male ensemble who sounded quite barber shop at times. Just magical.

There were some notes that weren't quite hit though but I know that there are a few nasty bugs going around which would affect the voices on stage but on the whole the cast did a wonderful job, and those who were blighted by the bugs got through their songs admirably. The sign of professionalism.

Really good use of backdrop scenery projection, and while this can sometimes be a bit over the top if not paired with other scenery, this show played to their advantage with the projection and it only added to the extra props and scenery, giving a cinematic feel to the musical.

I mentioned the costumes earlier and they looked marvellous on all the cast.Thanks to Stageworld at Wolverhampton this production provided the glamour and decadence of the period and added yet another professional veneer to the show.

The band, under the direction of Lizzie Bullard were, as usual excellent, tight and tuneful. Never swamping the actors who were mic'd up, making sure that the mix between the band and the actors were heard perfectly. Credit to the sound guys Dave Dallard and Ben Tennett.

Some lovely songs in this musical, not only the rousing title track but the jaunty "It Takes A Woman", "Put On Your Sunday Clothes","Before The Parade Passes By" and "So Long Dearie" as well as some slower moments such as the elegant "Ribbons Down My Back". A lovely soundtrack.

Another guy who is always on top of his game making the actors look their best is Dave Martin who controls the lighting.

Unobtrusive stage management meant that, although you could see the scenery being moved, they did it while the action was ongoing, meaning that these stage ninjas did their job with the minimum of fuss.

I said at the start that this is a wonderful feel good musical and you will leave the Duchess feeling very good about the time you've spent watching this lovely light hearted show.

“Hello Dolly” is making the room, the band and the audience sway at The Duchess Theatre in Long Eaton until Saturday 11 March 2017.

“Rock Of Ages” by LAOS
Loughborough Town Hall

Lonny Barnett, who serves as the show's narrator, sets up the story: In 1987, an aspiring rocker named Drew Boley works at the Hollywood bar called the Bourbon Room, owned by Dennis Dupree and assisted by Lonny. Drew falls instantly for a girl, Sherrie Christian, who just arrived in town, hoping to make it big in acting. Drew convinces Dennis to hire Sherrie as a waitress.

A pair of German developers, Hertz Klinemann and his son Franz, persuade the city's mayor to abandon the "sex, drugs and rock-n-roll" lifestyle of the Sunset Strip and introduce "clean living" into the area, much to the anger of the City Planner, Regina.

When Dennis learns that part of the plan involves demolishing The Bourbon Room, he believes the club can generate more money by having rock star Stacee Jaxx and his band, who recently announced their break up, play their final gig at The Bourbon Rooms.

Will the club raise the money and stop the demolishment of The Bourbon Rooms?

Will Drew get Sherrie to fall for him as more than just a friend in pursuit of her acting dreams?

Will Franz realise his ambitions and open that confectionary store back in Germany?

Will I ever stop asking silly questions that I already know the answers to?

This show is definitely one of the best “jukebox” musicals around. The songs are the cream of rock anthems. Slade’s “Come On feel the Noize”, Twisted Sister’s “I Wanna Rock” & “We’re Not Gonna Take It”, Joan Jett’s “I Hate Myself For Loving You”, Bon Jovi’s “Wanted Dead Or Alive”, Europe’s “The Final Countdown”, Whitesnake’s “Here I Go Again”, the song that gets everyone going Journey’s “Don’t Stop Believing”, as well as some marvellous rock ballads like Foreigner’s “I Want To Know What Love Is”, Warrant's “Heaven”, Extreme’s “More Than Words”, Mr Big's "To Be With You" and a song that really should have made it really big by The Far Corporation called “The Search Is Over”, plus so many more great songs.

Rock music is a genre that we all think we can sing, especially in the shower, but these guys show just how difficult it is to pull off a great rock vocal. That by the way is no criticism because most have been trained in musical theatre singing, something quite different to this style.

I knew that this show would be nothing short of brilliant by the calibre of the cast and with James Nelson as the director.

Cazz Lander (Sherrie) is extremely eye catching in this role and her sweet vocals compliment those of Dale.

Dale Collington (Drew) gets to show off his fine falsetto and also makes for a fine leading man who gets the girl of his dreams..

David Burton (Stacee Jaxx) plays this role for laughs with a tongue in cheek portrayal of the archetypal rocker with his bevy of groupies.

Chris Wilson (Lonny) is one of the many highlights in this show. As the narrator he constantly has permission to not just break the fourth wall, he smashes the wall to bits by venturing into the audience to chat to them. With at least a dozen costume changes as well, some more dubious than others, but all great fun. His coupling with Dennis takes an odd turn but all done in the best possible taste!

Richard York (Dennis) gets to showcase some fine rock vocals as the club owner, as well as some wonderful comedy lines.

Mark Chinnery (Hertz) gets to be bossy with his son, Franz, but reverses the personality at the end, which also turns out to be great fun to watch.

James Highton (Franz) camps it up in what I think is his first full comedy character. Franz's transformation in Act 2 extracts a massive round of applause from the audience. This is a role that is difficult to go over the top with but such a wonderful role for a very talented actor. Franz also gets to perform a very different version of Pat Benatar's "Hit Me With Your Best Shot" which sent the audience into a frenzy.

Natasha Bryan (Justice) has the voice to sing these songs and has one of the most powerful ranges in the cast. A lovely character part for Natasha as well. One of my highlights, among so many.

Lianne O Connor (Regina). Oh what fun she has in this feisty role as the head of the protesters who also finds an ally from a corner she didn't expect.

Plus an incredible ensemble cast of protesters, dancers minor characters and strippers flesh out this enjoyable and exciting production that will have you singing, dancing, hand clapping and stomping in your seats and out of the theatre and all the way home. Oh and there's also an incredibly cute puppy as well.

Directed by James Nelson, who couldn't resist adding some famous faces to the show which produced a few extra laughs, which came thick and fast. Keeping this show fresh and at a great pace, the story rolled on like of of Saxon's Wheels Of Steel.

This show is also packed with some wonderful rock choreography, thanks to Hannah Osgood, making you want to get on that stage and shake your locks to the rock.

The music is all played live on stage under the musical direction of Peter Fines, creating that gig like atmosphere. What a great band.

There were a few sound issues with mics but nothing too distracting, but I must say that Act 2 was better sound wise, which I noticed was also louder. Now I know I'm getting on a bit but I do like to hear rock music played as it should be LOUD, not because my hearing is on the way out, because that's how rock music should be played.

The set partly converted itself into offices, the men's room (you should see what happens in there!), Justice's boudoir and the record company office among other things. The multi levelled set also provided several exit and entry points which made for a visual treat at times.

There's also two poles, one at either end of the stage which allows a certain amount of athletic gyrations from several of the lovely ladies and the odd man... and I do mean odd!

Some wonderful costumes and amazing wigs complete the rock image and added a lot of sauce to this tasty show.

By the time "Don't Stop Believing" was sung the audience were already on their feet.

“Rock Of Ages” is at Loughborough Town Hall until Saturday 11 March 2017. Miss it at your peril.

“Matthew Bourne’s The Red Shoes”
Nottingham Theatre Royal.

Matthew Bourne is the king of modern ballet choreography. His new adaptation is of the Academy award winning Powell & Pressburger’s 1948 film of the same name and Hans Christian Andersen’s fairy tale. It’s about a girl, Vicky Page, who lives to dance, and the two men who inspire that passion within. This is Bourne’s 11th full length production.

Vicky hopes to impress Boris Lermontov, the poker-faced director of an innovative ballet company, and she manages to attract his attention. He’s impressed and invites her, as well as a moody young composer, Julian Craster, to join his company. The pair’s talents flourish under his guidance and then romance rears its head for Craster and Page and that's where the problems start.

Bourne reunites the magical team who worked on “Sleeping Beauty” for this hypnotic, slightly gothic but ultimately romantic story.

The set and costumes are designed by Lez Brotherston. The set is cleverly designed utilising a large stage within a stage where the curtains can revolve allowing you to see both sides of the stage. it also acts as a split section allowing the stage crew to change one side of the scenery while the other half is being used. With a smooth rotation of the curtains we can then move to the other half.

We visit the ballet stage, the beach at Monte Carlo, A sleazy music hall and we even get a steam train in there as well.

The costumes, as only to be expected from Sir Matthew's ballets are eye-catching, exciting blending the contemporary with the outlandish. Visually a treat for all.

Paule Constable has designed the lighting. It changes from stark to Hollywood glamour, from brilliant sunshine on the beach to dark eerie castle gloominess.

The gorgeous, rich and romantic sound is the responsibility of the New Adventures Orchestra. sweeping strings transport you to a far away place and then bring you back to the darker side of the ballet with just a staccato exchange.

Paul Groothius designs the soundscape. He makes you feel like you're sitting by the Monte Carlo

beach with a gentle sound of the waves washing over you, then later creating the sound imagary of an approaching train. Aural delight!

The music itself is arranged by Terry Davies using the magical music of Hollywood composer, Bernard Herrmann, who has worked on scores for Martin Scorsese, Alfred Hitchcock and Orson Welles among other legends.

Matthew Bourne combines several dance styles in his ballets, including a wonderful comedy Wilson and Keppell sand dance routine. And comedy is one thing that Mr Bourne loves to inject into his work and there's loads of humour in this one. But this ballet also has a darker underbelly as well.

The three main leads Sam Archer (Lermontov), Ashley Shaw (Victoria Page) and Chris Trenfield (Craster) are all, as only to be expected excellent. The whole ensemble are excellent. Come on let's face it Sir Matthew only uses the very best dancers for his productions.

You can see why Matthew Bourne has been nominated for the Best Theatre Choreographer in the 2017 Olivier Awards with work like this. His reputation attracts theatre goers and dance fans all over the world, guaranteeing an excellent evening of classy artistry.

I adore this form of art, and while I know that some may still feel the world of ballet to be slightly elitist, Sir Matthew Bourne could change that image for you because dance performed to this standard is pure magic. Go on, take a chance.

“The Red Shoes” is at the Nottingham Theatre Royal until Saturday 11 March 2017.

Oh and Sir Matthew, if you happen to come across this review, please can you bring "The Car Man" back to Nottingham. Please!!!

“The Same Sky” by Open Road Productions
Guildhall Theatre, Derby.

The story is one of love against the back drop of the Nottinghamshire coal fields in World War 1. Billy and Eileen are the two lovers; Billy is a miner and Eileen is the daughter of the pit owner but Eileen’s dad, Joshua, isn’t in favour of this relationship and when Billy is sent off to war, there’s no hiding Eileen’s father’s relief, until he finds out that he also has to go out to the battlefields as well.Will Billy and Eileen’s love survive the war, and will they all make it back in one piece.

If there's any production that portrays the loneliness and fear of being apart from a loved one in the time of a conflict, then this is the one. You can feel the despair and worry of the possibility of not seeing their partners and loved ones again.

The story is by Tim Harvey and the writing is so evocative and poignant, brought to life by this group of incredible actors.The wonderful soundtrack is written by Phil Baggaley and conjures up the desperation, sadness and loneliness, again brought to life by some excellent voices.

A wonderful set which made you feel you were there at their village gathering as well as on the front line with all the smoke and horrific sounds of war. The lighting, especially in the battle scenes was marvellous, the work of lighting designer Sandy McAlister. The costumes (Flame Costumer Hire) completed the realistic imagery of war and the mines.

More often I'm now seeing whole casts who are amazingly excellent,and even though this story is about two characters who are in love against the backdrop of war, there were no "featured" roles and actors. Every single actor on that stage was an equal in terms of standing and quality.

Seren Sandham-Davies has taken over the role of Eileen this time around. Seren has the voice of an angel. I fell in love with her voice straight away as well as her very simplistic girl next door look. A beauty with a beautiful voice to match. She pulls at your heart strings with her very pure and clear vocals.

Curtis Taylor-Tipton plays her love who goes to war with his pals, Billy. Curtis seems to have matured so much in his acting since the last time I saw him on stage. He's always been good. In this he is at another level altogether. His voice matches Seren's perfectly and their relationship is totally believable. If this was real life, those two would have such amazing babies with such talent.

Joshua, Eileen's father is played by Bill Varnam. I'm not going to give anything away in the plot but he's rather over protective, in fact taking it too far and when his daughter discovers what he has done, she's not happy.Great character part for Bill to get his teeth into.

The lads in the pit and who go to war with Billy are Cyril (Andrew Buxton), Henry (Harry Gibson), Alfred (Julian Walker), Tommy (Alex Vilkaitis) and Clarence (Jack Cottis). Every one brings a different personalty to their character. The ladies in the audience are going to love these lads; they could be a new boyband with their looks. Apart from that they are all excellent actors.

Mark Tunstall plays General Sutton, who encourages Joshua to get the pals army together and then pulls rank on Joshua. Mark reminds me ever so slightly of a younger version of Donald Hewlitt from "It Ain't Half Hot Mum". Nice to see both sides of the Sutton character, giving the role depth.

There are also two other incredible female actors on stage in Anna Kate Golding as Maggie and Emily Vinnicombe, Eileen's best friends. the emotion that these two ooze in these roles is just wonderful to see, and again what gorgeous voices. Every single actor on this stage had a brilliant voice, and not just for the theatre. I could imagine several of them singing just about anything.

Directed by Daniel Ellis this show is a triple threat with a talented trio in Daniel, Tim and Phil. I can't wait to see what their next outing, "Silver Darling" does and whether it will top this incredibly emotion packed piece of theatre.

The live music played by 12 of the best musicians I've heard was so understated and beautiful, they make you want to go and buy this incredible soundtrack. It was if you were listening to it on CD.

I saw people in the mixed age ranged audience dabbing at their eyes, and it is very emotional. Not just because there was the possibility of never seeing your loved one again and possibly losing them to the war, but the story of these two lovers, And there is a twist which I thought I'd got, but then another twist came around, giving yet another wave of emotion.

 The brotherhood of the mining lads, the unity and community spirit of the girls back home, and the after affects of the war were all played out so well. If this was a Hollywood movie, it would have been an Oscar winner.

“The Same Sky” is at The Guildhall Theatre until Saturday 4 March 2017 but get those tickets fast or you may not get the chance to catch one of the best new musicals around at the moment.

“Oklahoma” by West Bridgford Operatic Society
Nottingham Arts Theatre

Rodgers & Hammerstein’s first collaboration remains in many ways their most innovative, having set the standards and established the rules of musical theatre, which are still being followed today.

Set in a western Indian territory just after the turn of the century, the high-spirited rivalry between the local farmers and the cowboys provides a colourful background against which Curly, the handsome cowboy, and Laurey, a farm girl, play out their love story.

The road of true love though never runs smooth. This journey is as bumpy as a ride in a surrey, with or without the fringe on top, down a pot-hole ridden ride down a country lane.

Matthew Siveter (Curly) has the strongest voice in the cast, but I knew that having seen him perform in "The Mikado". His rich tenor soars majestically and with incredible ease. His charisma makes this show an easy watch.

I said that Matthew has the strongest voice but the rest of the cast aren't lacking in power or commitment by any shot.

Louise Grantham (Laurey) has this feisty role down to a tee. She is another one with a voice that soars; no fear of her not reaching the back walls of the theatre.

Ali Biller (Aunt Eller) is an absolute delight to watch. Her smile lights up the stage, she sings like an angel and she stamps Aunt Eller's authority on the musical.

This is a big cast so here's a few more equally notable mentions.

Alisdair Maughan (Will Parker) plays Ado Annie's beau, who she cain't say no to. Another fun role. He cracked the first lasso task but the second fell short. That's not a criticism as those things are notoriously difficult to master, and I imagine Alisdair has managed that section fine in rehearsals,and will in the upcoming shows.

Stacey Ireson (Ado Annie) also injects loads of fun into the role, especially in her main song "I'm Just A Gal Who Cain't Say No".

Paul McPherson (Ali Hakim) was the travelling Persian salesman who wanted to share his wares with Annie without putting a ring on it, naughty man! This show is full of really lovely comedy, fun performances and Paul makes everyone smile. My only niggle was that in parts, while doing the Oriental accent, some of the script was lost, but these were only on odd occasions and didn't take any fun from the role.

Martin Thomas (Jud Fry), was the sinister villain of the piece, and his facial expressions created that sinister air about him. Lovely characterisation which earned him "boos" from the audience when he took his bows. Another strong voice.

Natalie West (Gertie Cummins) bagged her man on the rebound with Ali Hakim, but it's her laugh that she'll be remembered for.

Ian Pottage (Andrew Carnes) notches up his 4th time in this show, and is always a delight to see in any production.

A good ensemble, but at times I got the feeling that (only some) seemed to be holding back just a tad in the dancing. This is a joyous musical and with all of those country dances going off, you can really throw yourself into them. Sometimes though it felt like more gusto could have been applied. it may have been that the stage with all of those people on didn't give the opportunity to fling yourself around. You have to abide to health and safety after all!

I couldn't easily find an acknowledgement in the programme for the choreographer, but thank you for some wonderfully high spirited choreography by Agnes De Mille.

Pacy direction by Julie Fowler kept this musical bouncing along nicely, and this is her first direction of "grown-ups", having worked with younger theatre performers in the past.

The music clarity was good and at just the right level as to not swamp any of the singers. Musically directed by Timothy Selman.

Loved the costumes, making watching this musical great fun. Let's face it even us big boys like dressing up in cowboy boots and chaps now and again, don't we?

I've already said that this musical is a joyous, fun musical and that's what spills over from the stage. Great songs that you all know, "People Will Say We're In Love", "Surrey With The Fringe On Top", "Oh What A Beautiful Morning", "The Farmer And The Cowman" and "Kansas City" among them.

A talented cast and colourful set, great costumes (Ann Thomas) and not forgetting the props (Grace Lievesley) and a well set out programme (Rob Harrison).

“Oklahoma” is at the Nottingham Arts Theatre until Saturday 4 March 2017