“Bugsy Malone” by Erewash Musical Society Youth Group
Duchess Theatre, Long Eaton

I remember seeing the original Alan Parker film when I was a teenager and loving the fact that kids were playing adults and they had "splurge guns". It's also one of the rare films that i actually went out and bought on DVD.

What's it all about then for anyone not knowing of this brilliant film?

Ok, picture the scene. It’s 1929, Gangster warfare in New York, Dandy Dan's hoodlums terrorise the district, exterminating undesirables with their new weapon splurge guns. His rival is Fat Sam Stacetto, who runs the Grand Slam Speakeasy, but Fat Sam's gang still use old fashioned pies. Fat Sam engages the help of Bugsy Malone, a smooth city slicker who hitherto has been more occupied in sweet talking Blousey Brown, a would be girl singer. With Bugsy's help, Fat Sam escapes from a frame up but he learns later that Dandy Dan's mob have splurged nearly all his gang. There's only one hope left. Fat Sam pays Bugsy 400 dollars in exchange for more help.

This is the first time that I have had the chance to see the stage version of the musical, and realise that transposing a classic film to the stage is not always as easy as it first may seem.

The first thing that hits you is the set and the large "Bugsy Malone" sign in lights and the lighting, which is brilliant. That teamed with the sound design already sets you up for an enjoyable night. All thanks for Dave Dallard, Dave Martin and Harvey Tavener.

Great to see the orchestra on stage, and their sound really evoked the era of the musical, especially that lovely muted trumpet (Mick Glover) and drums (Ben Glover), but the whole orchestra, under the musical direction of Amy Glover - the rest of the orchestra are not named Glover by the way.

Joel Dawson (Bugsy Malone) was just briliantly cool throughout.

Alice Renshaw (Blousey Brown) has one of the loveliest voices that i have heard for one so young. I was so pleased that several of her spots were done accapella which really gave us the full tone of her voice.

James Christian (Fat Sam) is a youngster that i have seen before, and yet again he caught my eye with his wonderful character play, and I love his ad libs.

Joe Langley (Dandy Dan, Fat Sam’s rival) has a cool aura about him, a lovely sense of comic danger.

Ben Kirkland (Knuckles, Fat Sam’s right hand man) is a natural on stage.

Tom Baddiley (Fizzy) really did make me sit up with his featured spot, "Tomorrow". He has a great voice and I can't wait to hear what he sounds like in a few years time if this is what he can offer now.

Emily Bridge (Tallulah) really puts on a show at the start of Act Two with the song "Tallulah". She really performs this song and merited the massive round of applause she, and the ensemble around her received.

Will Robbins (Leroy Smith), Ethan Fletcher (Cagey Joe) and another brilliant ensemble section was just another highlight for me with the gym scene in "So You Wanna be A Boxer"

The two cops on the case made me smile Oli Hickling (Captain Smolsky) and Rob Cattanach (O' Dreary).

It's not that often that a minor role can cause such reaction from the audience but in "Bugsy", Dylan Hoole as "Baby Face" just strolled on and stole the whole scene in Act Two. Now I am not going to say why, and how the scene was stolen but the applause he received was enough to raise the roof of The Duchess Theatre.

A massive ensemble who worked really well together and they actually looked like they were having as much fun on stage as we were having watching them.

Produced and Directed by Georgina Kemish, whose love of this musical is easy to see, especially as "Bugsy" was the first ever musical that she performed in, and where her passion for musical theatre stemmed from.

The choreography for this musical was excellent and all thanks to Hattie Kemish.

Loved the costumes which really gave a particular flavour in keeping the essence of the period.

I was also really impressed by the accents that this cast maintained throughout.

Now, i know this was only first night and normally adjustments are made after opening night so here comes the picky bit.

The scene changes could be tightened up and I noticed a couple of empty stages. With the large cast and ensemble, getting every one where they should be when they should be there is a mammoth job and I felt that on the whole the stage crew did a cracking job. It just needs a tweak or two, but that will also come from the actors as well as the stage management.

The energy in this show is wonderful and everyone gives 110%, and that is just one reason why I enjoyed my night at the Duchess.

“Bugsy Malone” is at the Duchess Theatre, Long Eaton until Saturday 9 February

“The Full Monty” by Simon Beaufoy
Nottingham Theatre Royal

It’s the story of six out of work steel workers from Sheffield who decide that, for one night only, they will get a bit of dosh in, by performing The Full Monty, in their local club. The decision comes about by way of a “girlie night” at the club with a set of strippers who do not go “all the way” and Gaz gets together his work mates to top this by going all the way, or The Full Monty, as that will be how they can guarantee a full house and get the maximum money in as a short term end to all of their money issues.

Despite being a comedy, Simon Beaufoy also touches on serious subjects such as unemployment, fathers' rights, depression, impotence, homosexuality, body image, working class culture and suicide.

This play is as much a play for the lads in the audience as it is for the women, because it shows brotherhood and working together as well as discovery.

Actors are notoriously self-conscious, so to perform in this play takes a lot of guts, but these lot looked like they were loving the adoration of the crowd tonight.

Gary Lucy plays Gaz, as cheeky as ever, and he really has made this role his own. Gaz has the most pressure on as he has a son that he needs to pay maintenance for, who is living with his ex, Mandy, and her new boyfriend, Barry. With the threat of not seeing his son due to the payments owed, he is desperate to stem this money flow and get more access to see his son.

Gaz, Lomper, Dave and Gerald hold auditions to get the other two, Horse, who is a bit of an old school dancer and Guy, who can’t dance but has something big to add to the mix!

Andrew Dunn, who you will recognise from “Dinnerladies” plays Gerald, the former foreman at the mill.

Louis Emerick, from “Brookside”, “Last of The Summer Wine” and “Coronation Street” plays “Horse”.

Joe Gill, best known for his role as Finn Barton in “Emmerdale” is Lomper, the security guard at the mill.

Kai Owen, best known for playing Rhys in “Torchwood” is Dave.

James Redmond is a well-known face on TV having appeared in “Coronation Street”, “Emmerdale”and “Doctors” among many other TV roles, plays Guy.

All six have their secrets which we all discover throughout the play

Amy Thompson plays Mandy, Liz Carney plays Jean - Dave's wife and Keeley Fitzgerald plays Sharon, and the women in "The Full Monty" play just as important role as the men.

Stephen Donald plays Barry.

Gaz’s son, Nathan is played by Fraser Kelly,and is a complete natural.

Directed by another soap star, Rupert Hill, who has, over the years carved out a reputable career on stage as an actor as well as Director, and has played Guy in the past on tour. I notice there was at least one scene that Rupert decided to leave out of this production, which didn't spoil the flow one bit.

The lighting, and this all important in this play, is designed by Colin Grenfell.

Ian West choreographs the play leading up to that final, and famous strip routine, which got all the women in the audience whooping.

You’ll know all of the songs played in the play, most of them you’ll remember from the 1997 smash film. Hot Chocolate’s “You Sexy Thing”, Donna Summer’s “Hot Stuff”, Wilson Pickett’s “Land Of A Thousand Dances” and of course Tom Jones’ “You Can Leave Your Hat On”.

This is a wonderful, fun and cheeky play which will tug at your emotions in many ways but will leave you feeling just that little bit warmer inside after seeing it.

“The Full Monty” is at the Nottingham Theatre Royal until Saturday 9 February 2019. Could you bare to miss out on seeing these lads rise to the occasion?

"Aladdin Jr" by KTYCo
Duchess Theatre, Long Eaton.

"Who would pay to see people singing and dancing?" is one of the lines in this show, and I can answer that; anyone who loves great entertainment like this show.

The Kristian Thomas Youth Company present an evening of magical and mystical entertainment for all the family. I've seen several of this theatre company's shows and have not seen a duff one yet, but this is the first of their youth group's presentations and it is every bit as professional as the adult productions. I expected that because I know what perfectionists this team are.

The story is one that we all know about Aladdin's stroke of luck with the magic lamp and finding his Princess Jasmine and this incredible and young cast just bring the story to life before your very eyes, they had me smiling within the first five minutes of the curtains opening and I didn't stop until well after I gave them a standing ovation at their curtain call.

Aiden Carson (Aladdin) was a perfect piece of casting with great energy, oozing with likeability and he has a really good musical theatre voice, which in a few years time will be a massive asset to any theatre company.

Nadia Potter (Jasmine) also has a great voice and in either solo or duets with Aiden, she shines vocally. Loved the feistiness of the character and a lovely melting of Jasmine as she meets Aladdin.

Bailey West (Jafar) is an actor I've had the pleasure of seeing before so i knew what Bailey was capable of. Or so I thought! As the evil Jafar, he showed another layer of his acting skills and I could see him doing really well in pantos in the future as a baddie because he's really mastered the evilness. I also loved the way that he had just the right amount of echo on his voice to signify that he was trouble. Great character role.

Talking of brilliance and greatness, I was completely bowled over by the talented Olivia Weaver who played the Genie. She can dance, sing and has a wonderful sense of comic timing, and those high kicks at the start WOW! A triple threat.

Also loved Bridie Mae O’Donnell (Iago). Another young actor with natural "funny bones" and this role played to her obvious strengths. Plus she stepped in at the last moment as Harrison who should have been playing the part was unwell. Hope you get better soon, Harrison.

Aladdin's faithful trio of friends were played by Daya Khosse (Babkak), Paige Sisson (Omar) and Daniel Lane (Kassim). great fun to watch all three of these in action.

Likewise are Jasmine's trio of Luiseach McAleese (Isir), Orlagh McAleese (Manal) and Emily Bridge (Rajah)

Ollie Davidson (The Sultan) is also one to watch.

Several excellent cameo parts which I loved were from Hana Bendiba (Spooky Voice), Chloe Elsom (Alfreya) and a wonderfully miffed Prince Abdullah played by Abe Collishaw.

The ensemble was massive and when they sang all together, the sound they made was incredible. You could tell that they all put such a lot into all of the roles and it all paid off because this was such a sleek show stuffed with talent.

Loved the choreography (Helen Perry), and there was a lot in there, and if you go and see this show - if you can get tickets - watch for the placement and turning out of the hands, they are superb for such young dancers. Loved the tap routine as well.

Directed by Katy MacLaughlin, she kept this show so tight. practically no empty stages and on the odd occasion, the music covered.

Co-produced by Shannon O'Donnell and Kristian Cunningham, so another guarantee of slickness and professionalism.

A brilliant set design with a rotating piece of set which really impressed me. I kept looking to see if I could see anyone spinning it around but I couldn't see anyone. It was bright, it was colourful and it was practical as well. A massive pat on the back for Tom Bond and Graham Scattergood.

Loved the colourful Lighting Design (Matthew Cook) making it even more fun to watch. There were a few minor hiccups with the mics but nothing really to spoil the show, and Hannah Griffiths did a sterling job of the sound.

The costumes (Tracey Scattergood) were fantastic, adding even more colour to the show,

Tom Bond was the Musical Director and while there were a couple of places where the music drowned the singing, I loved that it was loud, but not too loud, with a beautiful clarity to the tracks.

Most of the songs you will know, "A Whole New World", "Friend Like Me", "Arabian Nights" and the gorgeous "Proud Of Your Boy", but the whole soundtrack will have you tapping your feet throughout.

This show is practically perfect and so professionally produced that you almost forget you're watching a local theatre production. I for one know that local theatre shows are often just as well presented as any touring professional piece of theatre. Go on prove me wrong if you can and pop to the Duchess Theatre and see this smasher.

"Aladdin Jr" is at the Duchess Theatre, Long Eaton until Saturday 2 February 2019

“Anything Goes” by Act One
Iveshead Theatre, Shepshed.

Now, when I was a lad, we never had theatres like this in our school. A fully functioning theatre with a deep stage, professional lighting and sound and an orchestra. A massive asset to the students who go to Iveshead School and are part of Act One.

Anyway, for those of you who don't know the story of "Anything Goes", here goes.....

The S. S. American is sailing between New York and England with a colourful group of passengers: Reno Sweeney, a popular nightclub singer and former evangelist, her pal Billy Crocker, a lovelorn Wall Street broker who has come aboard to try to win the favour of his beloved Hope Harcourt (who is engaged to another passenger, Sir Evelyn Oakleigh), and a second-rate conman named Moonface Martin, aka “Public Enemy #13.” Song, dance, and farcical antics are abound as Reno and Moonface try to help Billy win the love of his life.

Olivia Needham (Reno Sweeney) is feisty and determined as Reno. She is very engaging and can really deliver a song. her dancing ability is also excellent and she has some energetic dance routines to perform while singing, and she does this without looking the slightest bit out of breath.

Oliver Halford (Billy Crocker) is a natural. He looks comfortable on stage and makes a fine leading man,and for one so young, he has a really good voice., I think there was just one song that may have been not in the right range for him, but he delivered on everything he did. And you know my love of a good accent, well this young actor pulled off several in his role. Someone to look out for in the future.

Isabel Morris (Hope Harcourt) has a lovely chemistry with the two men in her on stage life. Her duet with Oli on "It's Delovely" was performed in true Broadway panache, setting the tone for the whole show.

Alex Leeson (Sir Evelyn Oakleigh), what can I say? Alex was just incredible in this part. His upper class accent was perfect and he really got into this part, even when the focus was not on him, he was still performing. He is a young actor who gets inside the character and acts with his whole body. He is going to be a wonderful character actor in the future. One of my highlight performers in this richly talented cast.

Will Savage (Moonface Martin), I could say ditto as above because Will has a really good ear for accents and his Noo Yoik/ Yonkers accent was spot on. He was great fun to watch work and has a good sense of comic timing.

Nicola Coles (Bonnie Mia /Mrs Wadsworth T. Harcourt) did make me smile as the overbearing, bossy mother, desperate for her daughter to marry Oakley.

Kyle Cornwell (Elisha J Whitney) is also a really good character actor in his part as Billy's boss.

Ryan Moreland (Captain Of The SS American) and Noah Baguley (Purser) looked great in their roles and showed just the right level of authority in carrying them out.

Reno's backing ladies, The Angels were played by Katie Ince, (Melody), Millie-Mae Clarke (Harmony), Josie Ince (Symphony) and Scarlett Robinson (Rhapsody), and a lovely harmonic quartet they were too.

The Chinese Converts Ching and Ling were played by Charlotte Coles and AlicePowell., Bishop Henry T Dobson was played by Ryan Moreland, the sailors by Freya Lakin, Georgia Brierley Smith, Jessica Robinson and Lydia Bird.

Reporters & Passengers were Lily-Mae Dunnicliffe, Sophie York, Toby Ashurst and Yasmin Wilbram and the other passengers: by Charlotte-Grace Davis, Ellie Freer, Grace Burton, Gracie Collins & Leah Leslie.

An absolutely delovely cast and ensemble who really rocked the theatre with the large dance numbers, especially the amazingly good tap section.

Produced and Directed by Adrian Dobson, and you can really tell the passion that Adrian has for these shows because of the end product. I am sure that he in immensely proud of everyone involved in this, not the easiest of musicals to perform, performance.

Musical Director is Hazel Needham, again someone who I'm sure is very happy with the end product she produces with the other eight members of her orchestra. The sound was spot on, complementing the young actors and singers perfectly.

The music is very tasty, filled with some of the best known Cole Porter songs "You're the Top", "It's Delovely", "Friendship" - another one of my highlights of this show and sung with brilliant humour by Oliver, Olivia and Will - "I Get A Kick Out Of You" - beautifully arranged and sung with such class by Olivia- "Anything Goes", "Let's Misbehave" - another comic highlight sung by Olivia and Alex - the mighty ensemble number "Blow Gabriel Blow"- and a brilliant vehicle for Will Savage's comedy "Be Like A Bluebird". You see it's packed with great songs, and there are more.

Choreographed by Wendy Spencer with help from Helen Starkey, Michelle White, Olivia Needham & Danni Starkey. the dance sections are not easy, although this crew make them look easy. They are classy and as I've already highlighted, the tap sections were just wonderful.

Costumes by Lorna North, and boy did they look great. From the classic 1930's suits for the men to the glamorous ladies outfits and the glitzy outfits for Hope, The Angels and Reno. This is one classy wardrobe!

The set design is by LAOS, Kevin Spencer, Joe Harrison & Olivia Needham, and again, very classy indeed, and was well manged by the stage crew in the scene changes.

Sound (James White) and Lighting (Charlie Kent) were, as usual wonderful, although there were just a few mic issues, but it's first night, they'll all be ironed out for the rest of the run I am sure.

The only thing that disappointed me was that there should have been a bigger audience to see this very classy musical and the talented cast. this also meant that some of the more subtle comedy was missed. This cast and crew deserved more.

“Anything Goes” is being performed at Iveshead Theatre until Saturday 2 February 2019, with a Saturday matinee at 2.30pm.

“Grease” by Christchurch Theatre Club
Loughborough Town Hall

We may not be seeing Summer Nights this week, weather wise but at Loughborough Town Hall the sun is shining and there is great fun to be had with this brilliant slice of retro teen/coming of age High School awopbopaloobap awopbam boom fun musical.

Everyone knows the story of Rydell High’s Danny, the leader of the pack and High School “jock” and Sandy, the prim and proper “Sandra Dee” character who has just moved to Rydell and reacquaints herself with Danny after some Summer Lovin’ with Zuko, There's also the T Birds and The Pink Ladies and the unforgettable soundtrack, so I don’t need to go into the story for you.

Ashley Bright (Danny Zuko) is perfect casting. I always thought that John Travolta's version was just a bit too dense, but Ash's version portrays Zuko as an ordinary lad who likes to be with the ladies as well as being one of the boys, and that for me makes him more believable. He looks the part and he is a talented singer who delivers a song.

Anja Palmer (Sandy Dumbrowski), again looks the part and has mastered that Aussie accent that Olivia Newton-John did so well. The transformation from Miss Prim to sex kitten is stunning.

Holly Easter (Rizzo) really looked that iconic movie part. The hair, the outfits, the voice, the attitude. Squint and it could be Stockard Channing on stage. In the movie Rizzo was always one of my favourite female characters, maybe because of the vulnerability just below that tough surface, and Holly did a great job as Rizzo.

Aaron Murray (Kenickie), and you know I think I prefer Aaron's Kenickie to the original Jeff Conaway, once more because he's portrayed in a more human way than the caricature dumbo in the film. Aaron brings a more streetwise version of Kenickie to the stage, and I like that.

Hannah Donnelly (Jan), Lucy Brown (Marty) and Hannah Osgood (Frenchy) are well cast as The Pink Ladies, and being a big fan of Didi Conn, who played Frenchy in the film, I was taking a good long look at Hannah, and she did the role proud.

Jordan Cope (Sonny), Ollie Lewin (Roger) and George George Stackhouse(Doody), again perfect casting. Loved George's version of "Those Magic Changes" and Ollie's "Mooning", both songs highlighting their excellent falsettos.

Craig Butterworth (Teen Angel) gets to show off his vocals on "Beauty School Dropout" and his wings in just one of this show's many highlights.

Alix Johnston (Patty), Alex Hudson (Eugene), Anita Benson (Miss Lynch),Duncan Gadsby (Vince Fontaine), David Burton (Johnny Casino) and Frankie Johnson (Cha Cha Digregio) complete the main cast.

And another dozen make up the ensemble parts, so as you can tell, this is a large cast!

Co Directed and Co Choreographed by Michael Gamble and Julie Easter, this show is an explosion of energy and brilliant dance routines. Just look at the choreography for "We Go Together" and you'll see how well timed choreography is essential to this musical.

Vicki Hing is the Musical Director and I expected nothing less than a powerful and punchy sound from Vicki and her orchestra, and that is what I got. You just know when you look at the programme what you are going to get when you look at the names in there, and there are certain names I look out for. Vicki's is one of those names I look for.

Lighting Design (Rob Bridges) and Sound Design (Rob Temperton), as usual at Loughborough Town Hall is a colourful visual and aural delight.

Loved the costumes, hair and make up which all gave a wonderful aura of the era.

One thing I noticed about this production which some other productions have not done, is the complete movie soundtrack is used. In some productions, some songs are omitted, due to the fact that the company have to buy separate rights for some songs. this show has the lot. I'm so pleased at this as I know one of those additional rights is for the song "There Are Worse Things I Could Do" which has always been one of my favourite songs from the movie.

They are all there, "You're The One That I Want", "Summer Nights", "Grease", "Sandy", "Hopelessly Devoted To You", "Born To Hand Jive", "Look At Me I'm Sandra Dee", "We Go Together" and so many more.

Okay, now I get picky. there were a couple of songs that I thought weren't quite phrased right in parts and this may have led to them not giving the full emotional impact for me. I know that this was first night, and as you know I am a very forgiving type of bloke, so maybe I am making too many comparisons with the film soundtrack.

Let's face it, if this is the only thing I can nit pick at in this massively popular and incredibly entertaining and iconic work, then you know that this reviewer enjoyed himself, and the rime flew by liked Greased Lightning.

“Grease” is at Loughborough Town Hall until Saturday 2 February 2019 if you can get a ticket. It’s the one that you’ll want to see this week.

Photos by Betty Gamble Photography.

“A Streetcar Named Desire” by Tennessee Williams
Lace Market Theatre

You can see why this play was so shocking when it was first performed in theatres in the late 1940s as it deals with adultery, alcohol abuse, domestic violence, gambling and mental illness. This is also the reason it has stood the test of time. The characters are beautifully flawed and the plot twists and turns, giving away the story a little at a time, keeping your attention every step of the way.

If you can disengage yourself from the film version, you can see that this cast have taken the characters and rudiments of the characters and have slightly remoulded them around themselves and their own personal set of acting skills. You won’t be seeing a Marlon Brando or Vivienne Leigh lookalikes or soundalikes in this production. You won’t need to as the cast have enough experience and are charismatic enough to take the story and carry it.

You can almost feel the New Orleans heat in this production as fading southern belle, Blanche DuBois, seeks solace with her sister, Stella Kowalski, after her world starts to crumble. Her downward spiral brings her face-to-face with Stella’s husband, the brutal, unforgiving Stanley Kowalski. Temperatures soar and passions rise, as Blanche and Stanley battle for Stella’s soul.

Danielle Amie Easter (Blanche) gave an absolute blinder of a performance and what a completely believable accent. The gradual decline of her mental health was like a slow burn, exacerbated though by Stanley's mental and physical actions. This is such a brilliant and complex role for any woman to play, making that role feel as natural as it looked from the audience takes an actor who knows just how to pitch that character. Danielle is that actor. Oh, and I love the comedy regarding the drinks at the start of the play.

Alex Wrampling(Stella) showed us the two sides of Blanche's sister, and I loved the way that there was that gradual flipping of the coin, revealing that she had the better end of the stick, especially after the put downs from Blanche at the start. As Blanche showed an even more glamorous side, Stella appeared the more dowdy, creating that sliding scale of character and appearance. A stellar performance.

Kelvin P. Coleman (Stanley), well what can I say? I have never seen Kelvin play anything like this in the past. Stanley creates the unease and Kelvin delivers the unease. Physically he looked different without the facial hair, and you would not believe how different he looks and the effect this physical change can make to create this character. You actually felt a little uneasy with this timebomb, and that, believe me, is just what you should feel. That is a sign that actor and director have both done their homework, and their intended job.

Jak Truswell (Mitch), again gives us two sides of the character with Blanche, and possibly helping her on the down slide, especially after we learn about Blanche's past. A really concentrated performance from an actor I've seen give some amazing performances over the year. Here's another passionate role to add to the list.

Dawn Price (Eunice), the neighbour upstairs who looks out for Stella. But this character has her own marital issues. Dawn presents this character as the sort of woman that every woman wants on her side. Strong, protective but also has the experience to be able to give comment and help.

Completing the cast are Paul Spruce (Steve Hubbel), John Halstead (Pablo Gonzales), Raj Singh (Young Collector/Sailor), Rupert Butt (Doctor), Marie Morehen (Matron and Flower Seller), Alistair Hudson (Vendor), Molly Wright (Woman In the Street) and Henry Vervoorts (Allen Grey).

The set is a wonderful piece of design (Mark James and Philip Makin) which really puts you right in the heart of the action and creates the whole 1940’s New Orleans feel.

Directed by Wayne Parkin, assisted by Peter Konowalik, they have not missed a thing, even bringing in a voice coach to get that specific regional accent nailed and a “poker guru”. Poker would go right over my head but is an integral and explosive part of the play but I do appreciate a finely turned out accent, which is exactly what we have in this here play, thanks to voice coach, Julie Fleming.

The little things that may go un-noticed make this play as realistic as it is. Simple things like having a bathroom suite that you only get to see glimpses of through the bathroom door.

Stanley actually looking like he had been soaked in the shower by his poker mates.

The hole in the bathroom door that had been patched up which gives us an idea that Stanley had had problems with his temper in the past.

These are things that maybe a Director with not the same eye for detail may have missed or not bothered with. they may be small things but they add that extra layer that says things to an audience member, production wise and story wise.

Sound Design (Simon Carter) and Lighting Design (Allan Green). Both of these very important in this play. The jazz soundtrack was perfect for this play, and being a Billie Holiday fan, I loved the inclusion of "Strange Fruit".

I did notice an eagerness on the lighting trigger finger at the start.

I must also give a mention to the wardrobe department for some very glamorous clothes for Blanche and the contrasting outfits for Stella..

This play is powerful, it shocks, it makes you feel uneasy, it will have you chuckling in parts and in others feeling troubled about what you're seeing. I always say that if you leave a theatre without feeling something, the cast have not done their job. I'm very pleased to say that this cast did an excellent job.

"A Streetcar Named Desire” is at the Nottingham Lace Market Theatre until Saturday 2 February 2019. Yet again though it has sold out before opening night so your only chance of getting a ticket is by checking for ticket returns on the night, or possibly winning one in a poker game!