"The Comedy Of Errors" by The Nottingham Shakespeare Company

St Mary's Church, Lace Market, Nottingham.

One of Shakespeare's great comedies as well as one of his shortest of plays as well. Plus, all performances are free, but feel free to drop something in one of their buckets at the end to show your appreciation. Anyway, on with the show.....

"The Comedy Of Errors" is the story of two sets of identical twins. Aegeon, the father of one pair bought the other pair from another couple as the other couple could not afford their twins, along with the Mother Aemelia. While travelling on a ship, a storm had been expected but never came, even so all the crew abandoned the ship in panic leaving the two parents, with the twins tied to the mast, the ship sank and the two twins and Aegeon and Aemelia were separated at sea.

Antipholus of Syracuse and his servant Dromio of Syracuse grew up and Antipholous wanted to find his brother, so they arrive in Ephesus, which turns out to be the home of their twin brothers - Antipholus of Ephesus and his servant Dromio of Ephesus. When the Syracusans encounter the friends and family of their twins, a series of wild mishaps based on hilarious misunderstandings and mistaken identities ensue.

It's an ideal play to introduce, not only kids, but anyone to Shakespeare who may think that the Bard is not for them and is too difficult to comprehend.

When Shakespeare wrote many of his plays, they were written to be performed in the open air, mainly because the theatres were not as available as they are today, so he wrote them as a street performance. Taking theatre into the open is returning Shakespeare to his origins, and when the weather is as good as it is at the moment, it adds to the enjoyment.

The production is Directed by Michelle-Louise Wright and Produced by Rachel Pillsbury.

It's very difficult to pinpoint one performance over another, or character, as all involved were on top form.

Michelle - Louis Wright plays Aemelia. The rate at which this play was performed was breathtakingly good, with one set of actors leaving the performance area and the next set straight on form the opposite side; no waiting around at all. The play has been reduced in size but still lasts about 85 minutes without an interval, which I don't think you need anyway with this because the story flows so well. When performed in full, the events unfold in real time, or there about.

Jen Harrison is playing Angelo and Dr. Pinch, as well as the Courtezan, due to Cat Prescott being struck down with Covid ( a speedy recovery is hopefully on the cards for Cat). This makes Jen's roles quite quick changing in some scenes, but there is no hindrance in this for Jen. Jen's Pinch was almost like a Shakespearian version of Elvis Presley, which brought a smile to my face.

Kate Lewis (Luciana - Adriana's sister - and the First Merchant), Reece George Soar (Second Merchant), Emma Carlton (Adriana), David Watts (Duke Solinus, Balthazar and The Officer) and Conor Lynam (Aegeon).

The scene where Adriana and Antipholus of Syracuse are first thrown together is great fun and reminded me slightly of one of those scenes from an old silent movie with their animated behaviour.

Christopher Collins, who is also the Assistant Director, is playing Antipholus of Syracuse and James Kaye is playing Antipholus of Ephesus. There is a great amount of comedy in this play and a fair chunk is delivered by these two characters, as well as the situations that they provoke throughout. For anyone who has enjoyed "A Servant Of Two Masters", you'll really enjoy this as the situation that ensues is similar - just in case you didn't know either play!

I must also mention that the stage slaps were timed really well, making you believe that Antipholous did actually make contact with Dromio. There's nothing worse than a slap that does not look to have connected due to timing, or no sound from a slap for taking away the realism from a play. Real attention and work has gone into perfecting the stage combat here.

Alastair Fiori-mcphee is playing Dromio of Syracuse and Mark Townley is playing Dromio of Ephesus. I really had to look twice at these two actors because the similarities between them both almost got me thinking that just one actor was being used for both roles. I knew that this could not really be the case but it did make me think - a wonderful casting decision to use Alistair and Mark.

Not only do they look alike but they have perfected the same Dromio mannerisms and the mirroring is crazily good. Both actors have also, quite literally, thrown themselves into the slapstick side of the pair of Dromios, also creating some brilliant comic moments.

You may think that, being performed outside that you may lose some of the script, but not the case. I wasn't sat near the front and I heard every single word due to the wonderful projection from every one of the actors. Shakespeare's words are very important, especially in comedy, as he really does have some brilliant one-liners, as well as his build up to a comic line. Another reason why timing and rhythm is so important in his plays.

I had the pleasure of seeing their open-air performances of "A Midsummer Night's Dream" a few years ago, and said that when the Nottingham Shakespeare Company appear again, I'll be there again. It's been a long wait for me but it was well worth it for this classic production.

The play was really well received by the quite large gathering who seemed to have treated it as a proper evening out. Blankets, picnics, chairs, wine, nibbles, groups of friends, children, as well as a very well-behaved dog, created a lovely atmosphere in the grounds of St Mary's Church, which also tied in well with the scenes of the Abbey and the Abbess, Aemelia.

So, get together with a few like-minded friends, pack up a picnic and a couple of bottles of something fizzy, and head to one of the below locations. If for some strange reason, you don't like what you see, you can always pack up and leave, and it's cost you nothing. Somehow though I don't think you'll want to leave until the end.

You can see "The Comedy Of Errors" by The Nottingham Shakespeare Company at the below venues and times.

15th July 7pm – The Roundhouse, Royal Standard Place

16th July Midday – Sneinton Market

16th July 5pm – Ruddington Green

22nd July 7pm – St John’s Churchyard, Carrington

23rd July 2pm & 7pm – Victoria Embankment Bandstand

 "Close To Croydon/Music For Amelia" by West Bridgford Dramatic Society.

The Studio Theatre, West Bridgford.

Two one act plays for the price of one; what a bargain!

"Close To Croydon" is a play written by Gillian Plowman and directed by Roxana Ciurean. This particular play is about a train crash where two people are trapped in an overturned railway carriage. The story focuses on Hugo (Luke Bratton), a PR Consultant who was on his way to a meeting, and Martha (Lesley Flounders), a museum education officer, with a luggage full of liberty bodices and money, and the relationship that starts to develop between them. They amuse each other, annoy each other, tell stores, jokes and secrets, sing songs and play word games. Just as rescue seems likely, however, they are torn apart by tragedy.

The addition voices from outside the wrecked carriage were provided by Sav Dixon and Robert Dixon.

I found myself really engaged with this play and started to play along with their "posing pouch" game in my mind as I was watching - and if that doesn't intrigue you into buying a ticket, I don't know what will! This is a play that leave several unanswered questions which, I am sure, was what Plowman aimed to do, so that the audience member could carry on the discussion of this play after they had left the theatre.

I loved the set design, both plays' sets were designed by Candice Gush. It gave you just enough visual information to show the twisted train carriage without the physicality of the metal structure, which is a clever move. This also has the added bonus of there being no heavy lifting to replace the set for the second play. Neither set was particularly intricate but both provided just the right amount of visual stimuli, allowing the audience to have the story shown before them, but never as a distraction from the stories told or characters.

"Music For Amelia", written by Derek Rhodes and directed by Margarita Papadopoulou, is all about Sir Max (Calum Sharp), an MP who has come into a radio station to be interviewed and to chat about his favourite pieces of music - a bit like "Desert Island Discs", as well as his life. His host, Amelia Cruikshank, is not there to greet him so the research is appointed to Hector (Robert Dixon), a radio station journalist. His questioning reveals shocking details of a story from the past and their repercussions in the present day, leading to an unexpected and explosive finale to the play.

There is a third character of a messenger played by Luke Bratton.

This is, as with the previous play, one that I had not heard of before, and the radio journalism aspect of the play instinctively pinged with me. It shows how music can release memories, good or bad, and can rile as well as soothe a person.

Just a short while into the play though you get the feeling that this is not just a guest and a researcher and that there is something a little more sinister, and that draws you in further. There's also a very topical touch to at least one of the lines, which resonated with many of the audience.

Two plays that have two endings that would not have been expected when first watching the opening minutes, and two plays that also link music as a form of control, but in different ways. Whether the control is as a form of taking you out of a situation and calming the situation, or as a way of control of a person. They make an interesting duo of dramatics.

Sound Design was by Arran Mackay and Lighting Design by John Fletcher and the operation of both was by Jerome Foley.

With both plays being around the 33 to 35-page mark, this gives an indication that both are short plays, and you'd be correct. You'll be in and out of the theatre while still light outside, giving you plenty of time to retire to the nearby hostelry to discuss both pieces to your heart's content.

The two One Act plays are being performed at The Studio Theatre in West Bridgford until Saturday 16 July.

 "Who Killed Agatha Christie" by Tabs Productions

Nottingham Theatre Royal.

The Colin McIntyre Classic Thriller Season is here again with three more thrilling productions delivered by the Kings and Queens of comedy thrillers, Tabs Productions. This season kicks off with a thriller that has nothing at all to do with the Queen of Thriller Literature, Agatha Christie.

The year is 1978. Playwright John Terry invites caustic theatre critic Arthur “Agatha” Christie to help him expose the suspected affair of their respective partners, Joanne and Brian. It soon transpires that John's motive is so much more than this, and his goal is much more sinister...

This Tudor Gates written two-hander stars John Goodrum (John Terry) and David Gilbrook (Arthur Christie).

Terry's wife, Joanne, is having an affair with the younger boyfriend of Christie's, Brian Coombes, and Terry has a plan to commit the perfect murder to avenge both partners. Terry has proof of the affair, which he plays to Christie as part of a live feed; the result of a pre-planned deception.

As the play progresses, Terry becomes more and more unhinged as he reveals his plans, but how can Terry commit the perfect murder when he doesn't actually kill anyone?

A thriller though is nothing without the twists and turns in the plot line, so just wait until they start to show!

Christie looks the part of the retro reviewer, wide brimmed hat, cravat, raincoat, open necked shirt and scarf, and although he puts the critic into criticise, you start to feel just a little bit for him, as what he had written in the past, all seems to be a distant memory for him, as he has trouble recalling his causticity. Terry though revels in reminding him of all the comments made in print of the plays that Terry had been involved in.

Loved the description and dissection of the role of a critic - I'm so pleased that I class myself as a reviewer as opposed to a critic - which has helped push Terry just a little closer to the edge of revenge. It's at this stage that you start to think that there is more to this thriller than first meets the eye and the death of the cheating partners could be a by-product of his main intention.

This is a slow burner of a thriller with it simmering nicely in the first act and coming to the boil by the end of the play. Right to the very end of the play.

I have never been any good at pre-empting endings and I am useless where twists are concerned; which make plays like these so much fun to watch. The final twist, which actually comes as the final line of the play is priceless.

Directed by Karen Henson, she keeps the story so edge of the seat and drip feeds everything so perfectly. The cast have been together so long that they all know how to give tense performances which is exactly want the audiences want in a comedy thriller. The comedy in this play comes from the unhinged mind of Terry and his own critique of Christie's past work.

Both John and David, as I mentioned previously, have the natural feel of being stage buddies for many years now, so they know exactly how to bounce off, and work with each other, therefore the chemistry between the playwright and the critic has a natural growing and suspicious unease. Both actors know exactly how to present characters as these two, because they have had the experience over the many years they've played opposite each other.

The set design, by Sarah Wynne Kordas, is wonderfully retro, with brown walls of various shades and a reel-to-reel tape recorder, garish chairs, brown bookcases and props straight out of the 1970s. It does not take much to send you back to those days with the whole feel of the Earls Court flat that the play is set in.

David Gilbrook is also the sound designer, and one thing that you notice with Tabs Productions is the perfect placement of the sound effects. They make you feel that the sounds are in other rooms; the door shutting and being unlocked, the bathroom cabinet being broken etc. They give distance and scope, making everything even more three dimensional.

John Goodrum is the lighting designer, and in Act Two there is a scene which reminded be a bit of "Carrie", although not with red lighting, but still really chilling. Go see the play to discover what I mean!

Another massive hit in my opinion, but then again Tabs Productions have never missed for me. It has just the right amount of comedy and the perfect number of thrills to warrant being classed as a comedy thriller. Who'd be a critic eh?

"Who Killed Agatha Christie" is at the Nottingham Theatre Royal until Saturday 16 July and in my humble opinion, is absurdly good!

 "Into the Woods" by Spotlight Theatre Company.

Nottingham Arts Theatre

Stephen Sondheim's classic musical created around some of the most well-known fairy tale characters created by the Brothers Grimm.

The musical is tied together by a story involving a childless baker and his wife and their quest to begin a family (the original beginning of the Grimm Brothers' "Rapunzel"), their interaction with a witch who has placed a curse on them, and their interaction with other storybook characters during their journey.

I could just sum the whole show up with one word; and that word is not "Agony". No! not at all but "PERFECT". This production could be transported to one of the London stages and would be a sell-out, it is that good, no not good, PERFECT!

It's a long show at around about three hours with an interval but it's worth every penny of it for very minute this ridiculously talented group are on stage.

Sondheim's score is so difficult to get right; ask anyone who has performed it and they will tell you. The timing has to be split second with the rhythm and words, and with this group not one beat was missed and the timing was perfection.

The whole cast work so well as an ensemble that it's incredibly hard to pick out any favourites, but I will anyway. Here's the whole cast list, who I am sure all deserve a very large glass of liquid, of some description, after this musical masterpiece of mirth, menace and melody.

Katie Inglis (The Stepmother/Ensemble), Lizzie Fenner (Cinderella), Mike Pearson (Cinderella's Father/Mysterious Man), Ella Greenwood (Cinderella's Mother/Snow White/Giant), Poppy Cook (The Narrator), Stan Cook (Jack), Joe Butler (Jack's Mother/Ensemble), Daisy Donohue (Milky White), Sam Barson (Baker) - who has the most incredible voice and stage presence, Samantha Hedley (Baker's Wife), Emily-Hope Wilkins (Rapunzel), Eva Sheppard (Little Red Riding Hood) - who really made me chuckle, Michael Radford (Wolf/Cinderella's Prince/Ensemble) - who as the wolf was the perfect creepy sleazeball, Oliver Halford (Rapunzel's Prince/Ensemble) - the two Princes were brilliantly tuned to each other and were a comedy pairing made in heaven, highlighted by their song "Agony", and I swear that the two young ladies who sat behind me were swooning every time either of them walked on stage. Lucy Gazzard (Granny/Ensemble), Ella Monterosso (Florinda/Ensemble), Katie Faulkner (Sleeping Beauty/Ensemble), Meghan Leahy (Lucinda/Ensemble), Lottie Allsopp (Steward/Ensemble) and, I am sorry to say that I had a favourite out of all of these talented young people, Danielle Easter (Witch).

I know that I am not alone in thinking this as some of the people I spoke to in the interval also felt the same way about Danielle. Her character voice was like Eartha Kitt with the growl and her singing voice was wonderful. I saw Danielle when she came out after the show, and I was so tempted to go up to her and say how wonderful I thought her performance was, and then bottled it; I think I'm a little bit starstruck with Danielle, and I don't get that too often!

Directed by Cassie Hall, who I got the chance to chat to after the show, to tell her what a brilliant production it was and what an incredible job she had done. She and her family and cast and crew must be so proud of this production. Everything about this production was, OK I have to use that word again.... Perfect.

Musical Director was Sam Griffiths, who also did the honours for "Little Shop Of Horrors" earlier on this week, as well as "Madagascar" in Long Eaton last week. With talent like his, no wonder he is in such demand. A faultless musical presentation by a talented bunch of musicians.

Choreography was by Emma Gregory, so again, if you've got one of the best in your fold, you get the best results. Nuff said!

Sound Design was by Rob Kettridge and Lighting Design by Oliver Read, they put not a foot, or a finger wrong in both departments.

You can see the size of the cast so stage management is going to be an equally big job, and I can imagine quite stressful, so I must mention Bronwen Webster and Nigel Newton and give credit for the incredible job they did.

Needless to say that the costume department would have worked overtime with all of these marvellous costumes for this show.

Not only was this a wonderful night show wise, but it was also lovely to catch up with several people I've not seen for years, and some I've only ever seen on the stage. Rubbing shoulders with so many talented and lovely people, I live in hope of some of their talent rubbing off on me.

I came to the theatre expecting a wonderful nights' entertainment, but this show has actually exceeded all my expectations on every level.

You really must go and see this show because excitement and talent like this on a local level needs to be supported and maintained, and that can only happen from supporting local drama groups. It's a perfect way to spend an evening out, in the woods.

"Into the Woods" is at the Nottingham Arts Theatre only until Sunday 10 July.