"Oliver"

Nottingham Arts Theatre.

Based on the Dickens novel, "Oliver Twist", for anyone who has never seen this musical, here's a quick summary of this wonderful Lionel Bart musical adaptation.

Oliver Twist navigates London’s underworld of theft and violence, searching for a home, a family, and - most importantly - for love. When Oliver is picked up on the street by a boy named the Artful Dodger, he is welcomed into a gang of child pickpockets led by the conniving, but charismatic, Fagin. When Oliver is falsely accused of a theft he didn’t commit, he is rescued by a kind and wealthy gentleman, to the dismay of Fagin’s violent sidekick, Bill Sikes. Caught in the middle is the warm-hearted Nancy, who is trapped under Bill’s thumb, but desperate to help Oliver, with tragic results.

I really couldn't wait to get out of the Arts Theatre tonight. Why? you say when I love the theatre so much! Well, I just had to get home to put everything that I was thinking about this production online, so prepare yourself, dear reader for a bit of a long one!

Oliver is played by Liam Brown. This is Liam's second show, having previouisly played Baby John in last year's "West Side Story". I knew that Liam wasn't feeling his best due to some infection that he had picked up over the weekend, but this infection did nothing to impede this young man's singing voice. I heard not one bad note from Liam, so he has clearly been coached on how to sing through what he has picked up.

Everything you'd expect to see and hear and feel about Oliver Twist is what was delivered by young Liam. To see this young actor on stage, you'd believe that he is a lot younger than Dodger, as the film depicts, but Liam is a year older than Jamie who plays Dodger and towers over him stature wise. This is no bad thing because Liam, unless he has a big growth spurt, will be able to play younger parts for a few years, and still have the maturity in acting that he has now. His voice is powerful, even through this infection, and I reckon that when his voice breaks, his vocals are going to be even more formidable.

Dodger is played by Jamie Adlam who is an incredibly passionate young actor. He is also an incredibly intuitive actor who looks very at ease on stage and commands it. As the leader of the youngsters in Fagin's gang, you can feel, as well as see the authority he has in his role. Another cracking singing voice, which has a great deal of power behind it. He sings accurately with a Cockney accent as well, which is not easy, but Jamie made it sound easy. A lovely physical role which he also took in his stride.

Fagin is played by Shantanu Bhumbra. There are a few character roles that you need to get into the skin of that character and Fagin is one of them where you need to get the physicality right. Shan did the role proud with his physicality and made you think that he was so much older than Shan's tender years. There are several songs in this musical that aren't the easiest to phrase and deliver, like "Reviewing The Situation", but Shan got the phrasing and pace spot on.

There was just one small area that niggled me and that was the accent. Some actors are great at accents, some aren't and sounding Jewish is not one of the easiest. Fagin was Cockney in this production, and whether that was a decision made to make sure that a Jewish brogue didn't wander too much, I'm not sure. Maybe I am just used to hearing Fagin with another accent. That said, Shan smashed the whole Fagin personality.

Abby Wells plays Nancy and what a role for any woman to play on stage. There is the fun and cheeky nancy and then there is the string willed Nancy, and then there is the Nancy that shows her vulnerability, especially when around Bill Sikes. Abby created every one of these characteristics perfectly. I had prepared myself for "the tingles" when she started sing "As Long As He Needs Me", but almost throughout the whole song, as well as the reprise, the tingles started and every hair stood up on my arms and nech. Just stunning as well as powerful vocals to match the brilliant characterisation of Nancy.

JJ Gill is Bill Sikes, one of the darkest characters that I've seen JJ play. JJ seems to morph into a character, and evil and nastiness just seemed to ooze from every pore of this character. Again I talk about physicality, and this is a very physical role; tossing Nancy, Fagin and Oliver aside like one of Fagin's hankies, and you could almost feel Sikes' hand around Nancy's neck near the end. JJ is a tall, well built man and in Sikes, he looks even taller and statuesque as he towers over his minions. Thankfully JJ is one of the nicest men you could hope to meet away from the stage, which means that playing Sikes gives JJ great pleasure to channel as a baddie.

Mr Bumble is played by Bertie Black. Now here's an actor who I know exactly what to expect from him. I know that I will hear every word of the script and the lyrics of the songs because Bertie has excellent projection of his voice. He's also a wonderful comedy actor, so Bumble is perfect for his comedic talents. It's been about fourteen years since Bertie last played Bumble, but back then he had to felt tip/marker pen the sideburns on. No need for that here as he can grow his own.

Lyndsey Jaycock plays Mrs Corney, and I love the comedy connections and chemistry that Bumble has with this character. Lindsey matched Bertie every step of the way and their duet was wonderful with great timing. When Bumble is pompous, Mrs Corney knows just how to burst that pompous bubble.

Sam Howard is Mr Sowerberry, the Funeral Director who buys Oliver from Bumble. He really looked the part and I loved his drunken scenes. I was looking forward to a Cockney twang but didn't get one. Not a problem because Mrs Sowerberry delivered that twang for me.

Pippa Ward plays Mrs Sowerberry, and what a lovely rough Cockney sound emitted from Pippa, and that in itself embodied the character of the Funerla Director's wife for me.

Charlotte Sowerberry, their daughter, is played by Scarlet Coleman-Smith. Another role that involved physicality as she tries to free her beau, Noah Claypole from Oliver's angry rage.

Noah Claypole is played by Jonathan Jaycock. I hadn't realised how tall this young man is, so I imagine Liam had great fun launching himself onto Jonathan's back during Claypole's bullying and taunting of young Twist. I also imagine that Jonathan had great fun with the taunting and provoking. It certainly looked that way from where I was sitting.

Mr Brownlow, the gentleman who saves Oliver and makes a discovery that Long Lost family would nave been proud of, is played by Michael Coles. Lovely gentle acting befitting of a gentleman, but maybe a bit more emotion needed when locating Nancy at midnight on the bridge. Great beard though, something that I have never ever been able to achieve.

Mrs Bedwin, Brownlow's maid, is played by Emily Townsend. Only a supporting role but looked the part and played that part perfectly.

Olivia-Rose Bonham plays Bet. Her talents in the dance sphere is highlighted and I know that Olivia-Rose has an excellent voice on her as well. Not a massive part here but a noticable part, and Olivoa-Rose always delivers a smooth performance.

Charley Bates is played by Dylan Whistance, and this is Dylan's musical theatre debut. Way to go Dylan. He is cheeky, which is just what the role of Charley needs, so for me Dylan straight away won me over. Capitalise on this debut Dylan as I can't wait to see what role you take next because you looked so at ease on stage.

Elizabeth Kenny plays Nipper, and yet another young actor who I've seen before and have seen her journey. A really cute performance which, by the looks of it was enjoyed by not only the audience, but by Elizabeth herself.

Mark Russell plays Mr Grimwig, the doctor who has been summoned by Mr Brownlow. Wonderfully eccentric character, played brilliantly by Mark.

The part of Old Sally is shared by two newcomers, Alison Russell and Esther Coleman-Smith. Not sure which one I got to see as her face was covered, but I was loving the frailness of the performance and the dying scene, just before the vital news was delivered about Oliver's history. Now you've broken that debut duck, let's see what else you're going to play next, and more than likely a bigger role.

Nancy's Girls are played by Hermione Cumbers, Sophie Benner and Olivia Bonham.

The adult ensemble is made up of Barry Hobbs, James Fleming, Roy Smith, Bianca Cavalcanti, Isobel Munden, Nicole Spilsbury and Payash Raslan.

The Children's ensemble are made up of Coen Thurlby, Erin Mills, Evie Jamieson, Freya Barks, Isobela Wiley, Isla Stevens, Mia Jacks, Orla Donoghue, Rhea Parker and Malikea Smith.

Fagin's Gang are made up of Ana-Lucia Ward-Gonzalez, Logan Cirdall, Elizabeth, Miley Brown, Millie Thompson, Patrick Brannigan, Tilly Thompson, Wyatt Thurlby, Neveah Jouhal and Niamh Brown.

Bullseye, who is Bill Sikes' dog, is played by either Ernie or Sykes, depending on which day you see the show. Ernie was top dog on my visit and he looked as if he was enjoying his debut because his tail did not stop wagging. They say never work with kids or animals, well that adage is not true here because both performed excellently well. Even Ernie's barking was not out of place as he seemed to be protecting his master in all the right parts. He even took well to the stage make up. Go see the show to see what I mean.

Kelvin Towes is the Musical Director. Kelvin is a new-ish name to me, but looking at his body of work, I can say that I've experienced his work previously and not really acknowledged his talents. Maybe it's that I love this musical so much that I really took notice, and this cast has obviously taken notice of what Kelvin has taight them.

The soundtrack for "Oliver" has so many well known songs that everyone will know. "As Long As He Needs Me", "Reviewing the Situation", "Oom Pah Pah", "Food Glorious Food", "Where Is Love", "Pick A Pocket Or Two", "I'd Do Anything", "Be Back Soon", "Consider Yourself", "Who Will Buy" and of course the title song.

The show is choreographed by Amy Rogers-Gee, and there is some amazing choreography here. Choreography that looks as if it were easy to perform, which proves to me that the cast have worked very hard to make it look so easy.

Director for "Oliver" is Marie Rogers, so I knew that this was going to be a smash before I even left home. Great pace and you can tell that she has instilled characterisation into all of these actors and they have listened to Marie's wealth of theatrical knowledge. Using the whole stage as well as the auditorium for entrances and exits worked really well, and kept you on your toes.

The set is what hits you right away as soon as you walk into the auditorium. It fills the stage from top to bottom and from left to right. Incorporating Fagin's hideout, the bridge, the workhouse, the funeral directors and Brownlow's home, as well as the streets of London. The set is professional and acquired from UK Productions.

Lighting design for this show is by Oliver Read. One word. Spectacular!

Sound design is by Jonathan Scott and apart from one or two missed mic cues, everything ran very smoothly and sounded wonderful.

Everything about this production screams professionalism; you certainly get your money's worth with songs and talent, as well as bundles of cuteness from a few of those little tikes.

"Oliver" is playing at The Nottingham Arts Theatre until Saturday 25 February.

 "Giselle" by Varna International Ballet and Orchestra.

Nottingham Royal Concert Hall.

This is the first time that Varna International Ballet and Orchestra from Bulgaria have visited the UK in their seventy-five-year history. They perform "Giselle", "Swan Lake" on Tuesday and Wednesday, and "Coppelia" on Thursday.

The story of "Giselle" is a romantic tale of innocent love and betrayal; of philandering Count Albrecht and a trusting peasant maid, Giselle. Although she has a weak heart, Giselle loves to dance.

Albrecht, in order to woo Giselle, disguises himself as a peasant. Giselle, in her innocence and unaware of his noble birth, resists Albrecht’s advances – only to succumb to his ardour and persistence. His plans are thwarted by the arrival in the village of a hunting party which includes the Duke of Courland and his beautiful daughter Bathilde, to whom Albrecht is already engaged.

Hilarion, a gamekeeper in love with Giselle, discovers Albrecht’s disguise and reveals his rival’s true identity. This sends Giselle crazy and Act One ends with her death.

Act Two continues with Giselle's ghost rising from the grave and as part of folklore, along with the other dead maidens have to entice men to dance with them all night until they die from exhaustion before dawn. 

Albrecht, full of remorse, comes to mourn at Giselle’s grave. The Queen of The Willis - which is what the dead maidens are called - commands Giselle to come from her grave and entice Albrecht to join her in dance. Giselle continues dancing with Albrecht through the night. Although she has been betrayed by Albrecht, Giselle still loves him, and helps him to stay alive until the dawn when Giselle returns to her grave and Albrecht's life is saved.

The story-telling in the first part was excellent and the story was easy to follow, but I was glad that I had looked up the second part of the story in the programme for the event, because not everything in Act two would have been easy to follow, had I not previously known the outcome.

The video design backdrop was also excellent in showing how the dead maidens, The Willis, rose from the dead, magically popping out of the graves within the graveyard, floating off to the sides of the backdrop and appearing in physical form. What I didn't get though was their dark side of enticing men to dance all night until their exhaustion killed them as the dancers on stage were all female, so with that part of the story being a bit vague, anyone not knowing the story may have been a bit lost. I know the couple next to me were definitely slightly confused as to what was happening, die to them asking each other what was happening at that part.

I do have a couple of gripes about this production. There were some parts of the ballet where the stage was exempt of dancers altogether, there also seemed to be quite a bit of noise from the dancer's feet as they landed; something I'd never really noticed from other ballets I've seen. I just wonder if this was due to this production was on the Concert Hall stage and not the Theatre Royal stage. Are the two stages built differently?

I also thought that the synchronicity between the two main leads at times were a little awry, but I look for these things and probably went unnoticed by the majority of tonight's audience. I'm by no means a specialist in this field but it was something that I did notice.

The acoustics in the Concert Hall though are great for music shows, and especially for orchestras like this one. But did my ears detect one of the violins sounding just a wee bit out of tune? Who knows! Music Director and Chief Conductor is Peter Tuleshkov produced a well-rounded lush sound, filling the Concert Hall with the gorgeous music of Adolphe Adam.

Minor criticisms, but this was just this one ballet, and it's a ballet that I had not seen before, so it may be me; there are the other ballets that Varna are performing this week, ballets that I have seen previously, so take my criticisms with a pinch of salt.

That said, the lead dancers are wonderful.

If you like classic ballet with men in tights and ladies in flowing dresses, then you'll love these shows.

The Varna International Ballet and Orchestra are at the Royal Concert Hall until Thursday 23 February.

 "The Mikado" by Gilbert & Sullivan

St Peter's Gilbert and Sullivan Society, Ravenshead.

St. Peter's Church, Ravenshead.

I love a good old Gilbert & Sullivan operetta, and it's been too long since I indulged myself, so thank goodness that St Peter's Gilbert & Sullivan Society have put on their concert version of "The Mikado".

This may sound strange but Gilbert & Sullivan were, to me anyway, the 1800's equivalent of Stock, Aitken & Waterman. Their songs from their operettas are instantly recognisable as being from them. They have a style and sound of their own, which is what made Stock, Aitken & Waterman the hitmakers of the 80's and 90's; tuneful, memorable and an instantly recognisable sound.

The story of "The Mikado" revolves around a young fellow named Nanki-Poo who has banished himself from the little town of Titipu. Nanki-Poo has fallen in love with a beautiful young lady called Yum-Yum. Unfortunately, Yum-Yum is engaged to be married to her guardian, the tailor Ko-Ko. When Nanki-Poo hears that Ko-Ko has been condemned to death for the crime of flirting, he returns to Titipu, only to learn that Ko-Ko has not only been granted a reprieve, but has been promoted to the post of Lord High Executioner.

Apparently, those in power, wishing to slow down the amount of executions, reason that since Ko-Ko was next in line for execution, he can't cut off anyone else's head until he cuts off his own! The Mikado, however, soon takes notice of the lack of executions in Titipu and decrees that if no executions take place within the time of one month, the city shall be reduced to the status of a village.

Ko-Ko, desperate to avoid cutting off his own head, vows to find a substitute, and as luck would have it, Nanki-Poo then wanders onto the stage with a rope determined to take his own life rather than live life without his beloved Yum-Yum. Ko-Ko immediately seizes on this opportunity and offers the young lad one month of luxurious living at the end of which he would be relatively painlessly decapitated. Nanki-Poo agrees on the condition that he be married to Yum-Yum right away so that he can spend his last month in wedded bliss. But just as the wedding celebration begins, a law is discovered, much to Yum-Yum's distress, which changes everything!

Directed, adapted and conducted by the local master of Gilbert & Sullivan, Stephen Godward, who I picked up a few tips on the art of conducting, just by watching him. His ability to tune in to what will attract people to the charms of Gilbert & Sullivan while retaining the core ingredients is perfectly balanced.

Karen Turner narrated the concert and it was really refreshing to hear a modern re-working of the story, delivered in local dialect.

Nanki Poo is played by Andrew Rushton, who delivered a lovely comedic role, and what a clear voice this man has.

James Dean, who I know from the Derby Gilbert & Sullivan Society, debuted with St Peter's G&S playing Koko, a part that he has played before. Another powerful voice combined with a lovely comic delivery. And talking of delivery, his rendition of "As Someday It Might Happen", a piece that I know as "The List Song" was delivered immaculately; as usual brought up to date with lists of people who do possibly deserve on the list to be executed. Another example of how something written this long ago can still remain topical and bang up to date.

Yum Yum is played, and voiced beautifully by Joanne Robinson; a perfect example of this is in the song "The Sun Whose Rays Are All Ablaze" just brought forth goosebumps.

The whole cast were spectacularly good and when they all come together their harmonies create chills with their wall of sound. This was my first introduction to the group, and already I can't wait to see them again.

Tony Pinchbeck (The Mikado), Georgina Lee (Katisha), Karen Hammond (Peep Bo), Max Taylor (Pish Tush), Helen Halfpenny (Pitti Sing), John Carter (Pooh Bah), Helen Kirk (Rose) and the chorus of school girls, Nobles and Gurads consisting of Val Green, DawnMcGlashan, Michelle Jemmett-Allen, Angela Eminson, Helen Kirk, Lynda Tongue, Cynthia Marriott, Rosie Hayler, Jane Stubbs, Pat Summerfirld, Ralph Tongue, Honor Grantham and Chris Kenny. A musical group that filled St Peter's Church with gorgeous harmonies, especially with the beautiful acoustics in that room.

Chris Flint accompanied the vocalists on the piano.

There are songs in this operetta that most people will have heard; "A Wanderin' Minstrel I", "On A Tree By A Willow", "Three Little Girls From School Are We", "If You Want To Know Who we Are", "A More Humane Mikado", "The Flowers That Bloom In The Spring" among them.

Some people may still be of the opinion that operetta, and opera, are highbrow forms of music and entertainment, but that's not the case. Here is an example of how a theatrical piece written in 1885 can be modern, fun and catchy and still be enjoyed by any age who enjoy a good laugh and love a good tune.

There are two more chances to catch this brilliantly funny piece of theatre as there is a Saturday matinee and an evening performance ending on Saturday evening, 18 February. Coffee, tea, water and biscuits are provided in the interval as well.

 "The Beekeeper Of Aleppo" by Christy Lefteri.

Adapted for the stage by Nesrin Alrefaai and Matthew Spangler.

Nottingham Playhouse.

The play’s narrator and protagonist is Nuri Ibrahim, a man from Syria. He and his wife Afra have fled from Syria due to the violence of the Syrian Civil War. After a long journey, they have managed to reach London. They are living in a lodging house with other refugees, as they wait to learn whether or not they will be granted asylum.

The play’s main storyline focuses on Nuri and Afra’s journey, which is told in a series of flashbacks as he goes through the immigration process. They lived a peaceful life in the Syrian city of Aleppo. They had a seven-year-old son named Sami. Nuri worked as a beekeeper, which he found very fulfilling. His partner and mentor in this business was his cousin Mustafa. After violence of the war began to spread and to affect Aleppo, Mustafa sent his wife and daughter out of the country. Later, when Mustafa’s son was killed, Mustafa decided to flee the country as well.

At the end of the play, Nuri and Afra reunited with Mustafa and his family. Nuri and Afra have not yet been granted asylum, but they remain hopeful. They also hope that they will be able to return to a peaceful Syria someday.

It's a beautifully written, powerful play full of compassion, love, loss and hope and will not fail to touch you. This is a story that will be topical forever, unfortunately for the people involved in the migration and immigration process.

This really is an ensemble piece of theatre, so I am going to mention the whole cast on the same level of excellence.

Alfred Clay (Nuri), Roxy Faridany (Afra), Joseph Long (Mustafa/ The Moroccan Man), Aram Mardourian (Nadim/Fotakis/Ali) whose parents grew up in Aleppo, Daphne Kouma (The Immigration Officer 2/ Doctor Farouk/ Dahab), Lily Demir (NGO Worker), Elham Mahyoub (Mohammed/ Sami), Nadia Williams (Angeliki/ Lucy Fisher) and Fanos Xenofos (NGO Worker/ Immigration Officer 2).

Directed by Miranda Cromwell, she manages to make you feel that you are on the journey with Nuri, sections of the story also seem quite dreamlike; as if you are inside Nuri's mind, especially towards the end. Was Nuri's flashbacks all in his mind? Definitely an after show talking point.

The set design by Ruby Pugh, and along with the marvellous video design that accompanies this set, it enables the flashback sections to work to the best effect. Ravi Deepres is the film designer. The section when they are on the raft in the sea is horrifying and stunning all at the same time.

Ben Ormerod's lighting design is sharp as anything, punctuated by the sound design, which is by Tingying Dong.

There's original music throughout which has been composed by Elaha Soroor, transporting you to Syria, London and Yorkshire all with the same authentic style of music.

When you hear what this couple went through to escape probable death; their battle to find a safe place to live, you can't help feel a variety of emotions, including human guilt at the way these people were treated in several stages of their journey. You also feel a sense of hate in at least one part of the play.

This is a piece of theatre which will make you think long and hard about the world we live in, and the way some of us treat our fellow man. And a lesson we should all learn by way of this superb production. I now want to read the book.

"The Beekeeper Of Aleppo" is at the Nottingham Playhouse until Saturday 25 February.