Duets by Peter Quilter.

The Beeston Players

Round Hill School, Beeston.

Three sets of characters, three crucial moments in time; Jonathon and Wendy are on a blind date and hope their bad taste is only in their clothing and not in a prospective partner; Shelley and Bobby are divorcing on a holiday in Spain but drunk on emotion; Angela is about to marry for the third time and brother Toby hates the dress, the groom, the party and only wants the best for her—really?

Well, that's a very quick summary of these three very funny playlets.

The first playlet is entitled "Blind Date" and features Jonathan and Wendy, played by Gary Frost and Alison Parnham. I love the awkwardness of this initial meeting in the story line where you try to say all the right things, but end up saying the opposite. And by some strange magic this pair of characters actually hit it off! Gary and Ali really set the mood for the three duets, and while the comedy arises from the awkward situation and stilted conversation, there's a lot of Alan Bennett seriousness to the story.

Duet number two is called "The Holiday" featuring Bobby and Shelley, played by Tom Jenkins and Liz Austin. This play takes the comedy up a notch due to the comfortable feeling of a pair who know each other very well; an opposite from the first story line. To start with you think it's just a couple on holiday in Spain, and then you discover that they are there to say goodbye nice and civilised; well, that's the plan anyway!

Tom and Liz create the fire in these characters, and there's a nice series of bitter explosions between the pair, which makes for good viewing, but you do get the feeling that Bobby and Shelley still have feelings for each other.

I loved the way that Liz didn't go over the top acting tipsy on all that Spanish plonk which added that realistic feel. Bobby's barbed comments hit their target and you could feel the vitriol in the script, brought out by Tom. I know that this is a comedy, and I've seen Tom perform comedy very well over the years, but in this role, I saw a dramatic actor wanting to burst out!

The final Duet is called "The Bride To Be" and features Toby and Angela, played by Gary Frost and Laura Burke.

Siblings Toby and Angela between them battle wedding day nerves and superstitions in the most comic of the three plays; the previous two ramping up the comedy situations to explode with this one. Everything that can go wrong or can be said wrongly, does. We all know how fragile and tightly wound a bride's mind is on her big day, and the last thing you need is the brother to pour oil, or coffee, on troubled waters!

Gary has always been wonderful with comedy roles, and this is no different at all. He knows how to create that natural feel to his characters, and so it doesn't look as if he is acting at all.

This is Laura's first role since she broke into double figures, age wise, but you would never believe it. Laura is a perfect match for Gary's acting style. It was almost as if the audience were not there. No nerves on show, and the flow of the action and script delivery indicate a natural actor who clearly enjoys every minute she is on stage. I can't wait to see what next Laura has in store for us as she is certainly a valuable discovery in the world of local theatre.

Directed by Nicola Adkin and Paul Langston, both of which know their way around a comedy play. They build up the comedy through the three plays allowing the few serious moments, mainly in the first two, to gleam like diamonds secreted in comedy sawdust. A lovely choice of actors who all played to their thespian strengths.

The Set Designs for all three were designed by Sam Williams, who with just a few adjustments to props and backdrops, created three very different images for the three scenarios.

Sound Design and effects are also by Sam Williams.

One thing I paid close attention to was in the second play regarding sound. There are several openings of doors where on the other side of the door is a party, no sorry, a Fiesta in full swing. As you know when you open a door, the sound floods into the room and when you close the door, it muffles the sound. Every opening and closing of the door was excellently cued so there were no sound bleeds. This shows that a very keen eye was kept on the stage at all times, also in the first play with the stereo player.

Lighting Design is by Nina Tunnicliff who comes into her own in the third play regarding lighting effects, but I won't give the game away why. A dynamic duo production team.

I also feel the need to mention the props. I think I counted about fifty odd props just in the first play, which then were moved about, added to and some removed from the stage for the next two. Props management is an extremely important job and a lot of onus is put on the prop manager, not least from the actors themselves. Gwen Murray and Sue Frost were in charge of this area.

I know that I've said this before with Beeston Players but even before you get near to the auditorium, you feel like family because of the wonderful Front Of House team. Nothing is ever too much trouble for them as they make your visit even more special.

This triple decker of plays is something different for Beeston Players but I can categorically say that the risk paid off big time. I can also categorically say that I can't wait until November for their next production. Now, I need more coffee!!

"Duets" has one more outing as a Saturday matinee at 2.30 at Round Hill School by the Beeston Players.

 "Calendar Girls" by Blind Eye Productions

Bonnington Theatre, Arnold.

When Annie's husband John dies of leukaemia, she and her long-standing best friend Chris resolve to raise money for a new settee in the local hospital waiting room. They eventually persuade four friends and fellow members of the Women’s Institute (W.I.) to pose nude with them for an "alternative" calendar. They are assisted by hospital porter and amateur photographer Lawrence, who looked after John in his final days. This is much to the horror of the their local W.I. chairman, Marie.

The success of the calendar goes beyond their wildest dreams and they have soon raised the money needed and much more. Their efforts also catch the attention of the national and international press, who soon descend on the small village of Knapeley in the Yorkshire Dales. Although the calendar is a huge success, Chris and Annie's friendship though is put to the test by their new-found fame.

Tim Firth’s play is based on the true story of a number of W.I. members who famously posed nude for a calendar to raise money for the Leukaemia Research Fund in 1999.

Jackie Cooper (Annie), Lindsey Hemingway (Chris), Gill Cook (Jessie), Emily Hudson (Cora), Michelle Beecroft (Brenda), Kay Thomas-Vardy (Celia) and Lisa B Wilde (Ruth) are our gorgeous pin up Calendar Girls. Each character has a different back story, which is also revealed. This group of actors gelled so well together, reflecting their love for acting as well as highlighting the love and friendship the six characters have for each other. Their humour shines so brightly via Tim Firth's script, and it's a warmth and feminine humour rises to the top.

I've seen this play several times and I never tire of seeing, and hearing that message of love depicted on stage by a group of actors, such as we have here, who know how to deliver comedy and pathos. When that happens, the story unravels and you believe what you hear and see, and that is when it can really affect you and theatre touches you like no other medium, because it's right in front of your eyes.

I'm not going to write swathes of adjectives to describe every one of these six ladies' acting prowess; I don't need to, they operate as a team, and they certainly won as a team in this play. And I also take my hat off to you all for baring (nearly) all in front of a live audience. The bravado needed, and the trust shown in the Directors itself, deserves a round of applause.

In a play like this, the male actors are nearly all just supports - and I mean that in a good way, due to the story line of course.

Nik Hudson (John) shows the advancement of the leukaemia physically and makes an impact with his loss, even though you know it's coming.

Kevin Jones (Rod) plays Chris' husband, battling through business problems with the floristry.

Paul Duffy (Lawrence) is the shy - yes, he can do shy very well - photographer who rapidly comes out of his shell when he actually gets behind the camera for the photo shoots.

Bertie Black (Liam) plays the person in charge of the shoot for the TV commercial, originally in the film in Hollywood, but in this version, a little closer to home. And may I say, Bertie's projection is one of the best in this cast!

Marcia Wood (Marie) plays the pompous, and quite pious Knapeley WI leader really well. There are some lovely mood swings with Marie to watch out for.

Ann Colgan (Lady Cravenshire), and like Marcia, is a lovely character actor. Only a minor role but one with nice comic touches.

Abigail Kirkpatrick (Elaine) plays the make-up artist drafted in for the TV commercial shoot.

Michelle Breecroft (Brenda Hulse) is the guest speaker who arrived to present a talk about broccoli to the WI.

Fleshing out the ensemble were Charlotte Hukin, Beth Duffy and Laura Harding.

Directed by JJ Gill and Adam Chapman. There were several characters and scenes that were omitted, which made for a cleaner and streamlined play version, but I think that if anyone was seeing this version of the play for the first time, they'd be none the wiser of the omitted characters and the edits are invisible.

There's an added, and very poignant screened section in this production to the music of Eva Cassidy's "Fields Of Gold", tying in the message as well as the golden sunflower theme. This section is by Paul Duffy, who also created the visual backdrop.

With a show like this one there are quite a variety of props needed; everything from iced buns, knitting needles and music sheets to photographic paraphernalia, broccoli and projectors. The list of props throughout are many and are managed by Charlotte Hukin.

A lovely set which partly folded away from the WI room to show the hillock needed for the girls to practice their open-air tai chi. This was the design of Zackary McCormack and Grant Hemingway.

Costume Design for the show is by Adam Chapman.

The Sound and Lighting is by Peter Hodgkinson.

If you've never seen the play version of "Calendar Girls", get yourself a ticket. If you have seen the play version of "Calendar Girls", also get yourself a ticket because there is so much warmth in this play, or has the air conditioning not been switched on again?

Another Blind Eye success for everyone involved.

Blind Eye are also raising funds for Macmillan Cancer Support throughout the run by holding raffles, so if you can, please give generously.

"Calendar Girls" are at Bonnington Theatre, Arnold until Saturday 27 May.

 "Fiddler On The Roof" by Beeston Musical Theatre Group.

Duchess Theatre, Long Eaton.

The show is set in Tsarist Russia in 1905 and is based on the story of Tevye the Milkman by Sholem Aleichem.

The story follows father of five Tevye as he tries to uphold tradition in an ever changing political and social landscape. During a period of change for Russian Jews, the family learn to cope with the decline of Tsarist Russia and the tough laws enforced on the family and the village of Anatevka.

This much loved and often performed musical includes many musical theatre classics such as “Matchmaker Matchmaker”, “If I Were A Rich Man”, “Sunrise Sunset”, “Tradition” and the tentative “Do You Love Me” and the melancholy "Far From The Home I Love".

I will admit from the off that this is one of my favourite musicals, not only for the wonderful soundtrack but also for the story that is told, still so relevant today. With this production, what also makes it so good is the quality of the actors and their supreme acting. 

Adam Guest plays Tevye, the milkman, narrator, Father to his five daughters and Husband to Golde. I know Adam well enough to know that when he gets a role, he researches the hell out of the role to make that role as perfect as he can make it. He is the perfect casting, everything from the look to the accent to the voice - tick, tick, tick and boom, he nails it and presents the perfect Tevye. He is subtle with the comedy lines, of which there are many, and he also brings the sensitivity and the love for his daughters, as well as Golde.

This cast list is like a Who's Who of local actors and playing Golde is Sandy C Lane; an actor who I admire greatly. Adam and Sandy together create such a chemistry together. they show the hard-working side of the family, looking after their children, not making time for each other and rolling on as all families with children do. When it comes to "Do You Love Me", it comes across very natural between the pair because you can see the love between these two characters. Sandy is excellent in every aspect of this part; the accent is amazingly good. Perfect casting.

Tzeitel, the eldest daughter is played by yet another actor who gives everything to every role she takes on, Cibele Alvarenga. You forget just what a big role this is for an actor. There are some wonderfully emotional parts with Tzeitel and some great fun parts, highlighted in the song "Matchmaker Matchmaker" when the fun older sister is teasing her younger siblings.

Marie Nelson is Hodel, and Marie makes her debut with Beeston Musical Theatre Group in this role. Like Tzeitel, Hodel represents the changing attitudes of marriage and young women plus breaking with tradition as Hodel chooses to marry Perchik without going through a Matchmaker or The Poppa!

Esther White plays Chava. There are so many important female roles in this play; roles that marked the change for women, and Chava, albeit not as forefront as some, shows a willingness to go against tradition in more than one way. Another passionate performance from Esther.

Evie Evans is Shprintze, the fourth eldest daughter. Evie is another first timer with Beeston Musical Theatre Group.

Naomi Batley plays Bielke, the youngest daughter who, like the others takes lessons from Perchik.

Maria Lawrence plays Yente, the resident Anatevka Matchmaker. Another fantastic role because of the character and humour which suits Maria so well.

Jake Gelernter is Motel, the Tailor, who Tzeitel is in love with; between them they force Tevye's hand regarding arranged marriages. I've known Jake for a while now and have seen his progression as an actor, creating a CV full of wonderful roles. This role is one that I'm sure he will remember for a long time due to his lineage. Needless to say, Jake's acting skills are second to none and this role was made for an actor of his talents, clearly showing the nervousness of the down to earth Tailor and then the growth of Motel's confidence.

Graham Buchanan is Lazar Wolf. Another actor who can play any character, I'm convinced of that. At first, I didn't even recognise him on stage with the beard he grew for the part. The scene with Lazar Wolf and Tevye in the saloon where the pair are discussing the reason for the meeting is wonderfully comic culminating in a brilliantly vibrant version of "To Life".

Harvey Latter plays Perchik, the student who arrives in Anatevka, lodges with Tevye's family, teaching the daughters, and eventually falls for Hodel. Harvey is another actor who is a boon to any show and has racked up several shows in the recent past; every role different to the last, showing what a flexible actor he is.

Lu Anthony plays Fyedka, a Russian soldier who falls in love with one of Tevye's daughters, bypassing his own military obligations in doing so. Let's just say that Tevye is not impressed with his daughter falling for a Russian and there are fireworks! Lu is also responsible for the brilliant choreography in this show, and I was really surprised when they told me that this was their first choreographic role, as I know them to be a very talented dancer. They absolutely smashed both acting and choreographic roles.

There's a scene which is one of the comedy highlights for me when Tevye has to break some news to Golde in a bedroom scene regarding a slight change of plan and to do this Tevye introduces a dream sequence involving Grandma Tzeitel. Now some cameo roles can be forgotten but this particular one is a standout section for me. Charlotte Drewett plays Grandma with great gusto, and just how long is that train she has following her?

Other actors and roles are as follows.....

Philippa Buchanan (Mordcha), William Howarth (Rabbi), Andy Bulmer (Mendel), Paul Mills (Arram), David Artiss (Nachum), Emily Owen (Fruma Sarah), John Hand (Constable), Ruth Maddison (Shaindel) and Joy Gravestock as The Fiddler; who actually played the instrument. I've seen productions where The Fiddler mimed but this was the real thing.

The ensemble and dancers consisted of Chris Bryan, Alice Cammell, Jane Cottee, Maisie Cutts, Amelia Delbridge, Sarah Dunbavand, Daisy Forster, Arran Mackay, Rebecca Noall and Christine Walton.

Directed by Beth Yearsley, assisted by John Hand. This is one show that you do not attempt half-heartedly, and I know Beth as a Director, so straight away, I knew this was going to be a big production, because I know Beth's skills in this field. A mammoth of a show, but not too big for Beth Yearsley who ticked every box here as the Director I think the phrase "smashed it out of the ball park" just about sums it up!

Choreographed by Lu Anthony, as previously noted, and with a musical of this proportion, this is no easy task, but what a cracking job they do of the choreography for "Fiddler". A lot of hard work, as well as research I imagine, to bring the cultural dances alive, not to mention "The Bottle Dance"

Musical Director is Charlotte Howarth, and what can I say when I have used so many superlatives for everyone else. You could feel the heritage and culture through the music, which is what makes a musical like this such a treat to see and hear. Absolutely nailed every aspect of the musical side, from Adam's incredible version of "If I Were A Rich Man", which gave me tingles, as did "Far From The Home I Love", sung by Marie and the hauntingly gorgeous "Sabbath Prayer" - a song that is often missed out when listing fine and memorable songs from this soundtrack.

Lighting Production is by Dave Martin. There are sections where Tevye freezes the moment to address God, and the fourth wall, and the split-second timing switch was on the money every single time. Top class lighting throughout.

Sound Production by Dave Dallard and the mix between orchestra and vocals were of a professional standard; I could hear every word sung and spoken, floating on top of the lush eleven-piece orchestra.

The Set Design by Beth Yearsley made you want to take a look over the fence to where the trees were growing, just to be nosey.

Loved the costumes for everyone, giving you a feel for the individual and their "worth" if you like in their country. the Designs were by Jocelyn Needham and managed by Mina Holtom, which with the number of bodies involved was no easy task, but she does it so well.

And finally an area that I don't mention often enough for credit is the stage crew, making sure everything that should be on stage, is on stage and where it should be, among many other tasks that they smoothly do; Sky Marsden, Sophie Slater-Evans, Mark Gittens and Katie Bird - who also managed all of the props.

Proving that local theatre productions are as good as, if not better in some cases, than professional touring productions. And that is why this week for BMTG they sold out of tickets three weeks ago. A testament to the quality you can expect from this group of local stars.

What more can I say? I'm biased because I love this musical, I love the message within the musical and the cast are ridiculously talented.

"Fiddler On The Roof" is at The Duchess Theatre until Saturday 27 May.