"The Sound Of Music"

Nottingham Arts Theatre.

The 1965 film was adapted from the 1959 stage musical and has since been a favourite of many film lovers as well as musical theatre patrons. This production follows the stage version as opposed to the film version, so you may spot a few songs in different places.

Maria is a free-spirited young Austrian woman studying to become a nun at Nonberg Abbey in Salzburg in 1938. The Mother Abbess sends Maria to the villa of retired naval officer Captain Georg von Trapp to be governess to his seven children—Liesl, Friedrich, Louisa, Kurt, Brigitta, Marta, and Gretl, who she managed to win over with her attentiveness and kindness, as opposed to Captain von Trapp's military upbringing. This causes friction between von Trapp and Maria and orders her back to the Abbey.

Music saves the day after he hears the children singing, which brings back memories for the Captain. After Maria returns to the villa, she learns about the Captain's engagement to the Baroness Elsa Schraeder and agrees to stay until they find a replacement governess. The Captain though has feelings for Maria which are now stronger than those for the Baroness, so calls of the engagement and marries Maria instead.

While they are on their honeymoon, Uncle Max Detweiller enters the children in the Salzburg Festival against their father's wishes. The couple return home, where a telegram informs the Captain that he must report to the German Naval base at Bremerhaven to accept a commission in the German Navy.

Strongly opposed to the Nazis, the Captain tells his family they must leave Austria immediately. That night, the von Trapp family attempt to flee to Switzerland, and it is the Music Festival, that the Captain was set against taking part in, that enables their freedom.

Erin Hill plays Maria and what I liked about the way that Erin played the role was the connection that she had with, not only the children, but also with Captain von Trapp. Maria is an intelligent woman and this is shown throughout, and especially when one of the children pretends to be another; she sees through it straight away. The connection that grows between Maria and the Captain is highlighted in one section in Act two when they sing to each other and the intensity of their eye connection is electric. Anyone who has seen Erin before knows what a lovely clear voice she has, so this role is the perfect vehicle to show off her vocal talents.

Naval Lieutenant Commander Captain von Trapp is the father to the children and is played by Sam Howard. You can see, and feel the icy, regimented Captain melting like an iceberg in a heatwave, and Sam brings the mellow melting, especially when he realises what he is missing with his children, as advised by Maria. Sam also knows how to emote; just see him sing "Edelweiss" near the end, in the Salzburg Festival, you can almost see the lump in his throat as The Captain realises that he is escaping from a country that he loves but can now not call his own.

Emily-Hope Wilkins plays Leisl von Trapp, the eldest of the children at sixteen. Emily shows the free spirit and rebel side of Leisl, and there's a lovely scene with Rolf where they sing "Sixteen Going On Seventeen" with a lovely choreographed section, including a bit of tap. I can remember the dance section for this scene in the film but can't recall this section being this length in the stage version, and not that I am complaining because it showed the wistful, teenage love this pair have in the musical. As always with Emily, a lovely vocal performance on every song.

Friedrich von Trapp is the oldest boy in the family and is played by Sonny Noble and Brogan Haynes. On Thursday night it was Sonny's time to shine. I last saw Sonny playing Doody in "Grease" at the Arts Theatre last year, and this is a very different role for Sonny. He is a very confident performer, and you can see that he enjoys his time on stage.

Louisa Von Trapp is played by Daisy Hillery and Kate Russell. Thursday's show saw Daisy's turn. Like Sonny, Daisy is building up a lovely musical theatre CV after being in "Grease" last year.

Kurt is played by Liam Brown and Harry Keiller. Liam played Kurt in this performance. I've seen Liam in several shows now, and notably playing Oliver in "Oliver", and since then he has grown, quite literally, as a performer.

Brigitta Von Trapp is played by Amelie Tindle and Grace Moroziuk. Thursday night saw Amelie play the role. I don't recall seeing Amelie before, so it's nice to see a new face on stage. Another confident young lady and I can't wait to see what Amelie appears in next.

Marta Von Trapp is played by two young ladies, Orla Donohue and Atia Morrell. Orla I can remember being part of the ensemble of "Oliver" around a year ago.

The youngest of the Von Trapp children is Gretl and is played throughout the week by three young actors, Esmae Rhodes, Lauren Burton and Ella-Louise Rhodes. I think that it was Ella-Louise that took the part on Thursday night, and what a cutie she is. I don't know why it surprises me to find one so young being so confident in front of a full theatre, because there are so many youngsters finding drama in local theatre and being so good at it and not being phased by anything.

Uncle Max Detweiler, is played by Shantanu Bhumbra. Shan seems to be able to morph into any role, and with the help of costume and make up, and Shan's acting skills, as Max, he looks a lot older than he actually is. He carries off this mature role well, his voice sounded good and blends in nicely in the duets he has in this show,

Pippa Ward plays Elsa Schraeder, Von Trapp's short term fiancée. There is a wonderful scene where she breaks off the engagement in front of Von Trapp and Maria, and the withering look she gives Maria is marvellous, showing that Elsa has read the room perfectly on stage. Love the wig as well.

Frau Scmidt, the von Trapp housekeeper, is played by Alison Russell and Franz, the butler is played by Michael Coles.

Louis Chadburn plays Rolf Gruber, the telegram boy who's fallen for Liesl. Everyone knows what a big fan of Louis I am, and in this part he turns from being a lovelorn seventeen year old into a rather nasty Nazi, but we know that Rolf's feelings for Liesl come through at the end, saving the family. Knowing what an absolute gem of a young man Louis is away from the stage, it's really good to see him stretching his acting talents to bring out a darker character.

Vocal wise, I don't really need to express my appreciation for his vocals, but I will. He nails "Sixteen Going On Seventeen". I am looking forward to Louis's first album of musical theatre greats - and just before Louis gets inundated with enquiries about this, there isn't one, but a reviewer can wish can't he?

Rebecca Burgess plays the Mother Abbess for most of the run, but tonight (Thursday) we experienced Lindsey Jaycock. I first saw Lindsey in a musical called "The Legend Of Lady Rock" eight years ago, and instantly became a fan. Lindsey brought the tingles on again with an incredible, powerful rendition of "Climb Ev'ry Mountain" which completely raised the roof. I had not realised what a beautifully operatic voice Lindsey has, until tonight. It also goes without saying that her acting ability as the gentle and caring Mother Abbess matches that beautiful voice.

Eloise Lowe plays Sister Sophia, Emily Hudson plays Sister Margaretta and Emma Nicol plays Sister Berthe whose voices harmonised so well in the song "Maria".

The Postulants are Sophie Benner, Olivia Rose Bonham, Hermione Cumbers, Evelyn Johnson and Connie Thomas, who created such a heavenly sound, it was like being in church.

Mark Russell plays Herr Zeller, the enemy of the Captain and the villain of the story! Mark is only in a few scenes but what an impact he made on the audience who booed him when he came on for his final bows. This reaction of course shows that the audience completely believed the villainy provided by Mark.

Another villainous character in this musical is Von Schreiber. An admiral in the Nazi navy, who arrives to collect Captain von Trapp and bring him to Berlin. Played by Joe Pritchard, he also received his fair share of the final bow boos.

The dinner party guests included Barry Hobbs as Baron Elberfield and Barbara Benner as Baroness Elberfield.

The Ensemble are made up of Barbara Benner, James Fleming, Barry Hobbs, Isobel Munden, Arlo Perrons - another young actor to keep an eye on, Joe Pritchard, Mark Russell and Roy Smith.

Directed by Lindsey Jaycock, this musical is a longish one, but it didn't seem to be as long as I was expecting, mainly because of the way this musical is paced; there's no waiting around for anything, which is a tribute to the stage crew as much as Lindsey.

The Stage Crew, under the Stage Managers of Anna Humphrey and Matthew Allcock, are George Wilson, Andrew Burton, Cathy Bodman, Ian Hadlington, Hollie Harvey, Riya Passmore and Louis Barnes-Cupit. The work they have put in meant sure that this show was possibly one of the smoothest flowing shows I've seen at the Arts Theatre.

Choreographed by Daniel Stringer. What I noticed was that there appeared to be more choreographed pieces than I remember from previous productions of this musical. Now, that may be because of the quality of the choreography. I do like a nice tap routine, and there was just enough tap by Louis and Emily-Hope to satisfy my tap fetish. The scene where Von Trapp shows Kurt how to dance with a woman was mesmeric.

Musical Director is Jonah Williams, one of the busiest men in theatre at the moment. I chatted with Jonah in the interval and found that his diary is even more full than mine! I love some of the new arrangements for the songs, especially the "Do Re Mi" sequence. You would think that there was a full orchestra in that pit but you'd be fooled. The sign of an excellent MD is to ensure that the cast hit their marks perfectly and Jonah has obviously worked close with everyone on stage to bring this about.

Someone else who has worked close with the cast is the Vocal Coach Rebecca Burgess. Quite a lot of this musical borders on the operatic scale, and when it doesn't it's the harmonies that come to the fore. Both these areas sound wonderful, again showing a lot of hard work invested by Rebecca and delivered by the cast.

Of late there have been several classic musicals performed around the area; this is another classic musical, and along with that brings a classic soundtrack. "My Favourite Things", "Do Re Mi", "Sixteen Going On Seventeen", "The Lonely Goatherd", "Climb Ev'ry Mountain", "Edelweiss", "Maria", "So Long Farewell" as well as the sweeping title track.

Set Design is marvellous and what I appreciated was the back drop scenic curtains which meant for a swift change of scenes. Scenic Projects have created a realistic group of scenes for this production and they look good.

The costumes are provided by Molly Limpets Costume Hire and really add to a production like this.

Sound Design is by Oliver Read, and while there were a few missed mic cues, and let's face it, there were many bodies on stage with mics to operate, I did expect a few. I've said it before, Sound Operators have to be born part octopus. The sound itself was lovely and clear and on just the right level.

Lighting Design and operation is by Evie Webster; another excellent lighting performance.

"The Sound Of Music" is one of my guilty musical theatre pleasures. The soundtrack is wonderful, this cast are excellent, there's a lovely light and shade in the story, and it deserves the label of "classic". Don't believe me? Go grab yourself a ticket.

"The Sound Of Music" is ringing out at the Nottingham Arts Theatre until Saturday 24 February.

 "The Drifters Girl"

Nottingham Theatre Royal.

Here's a jukebox musical that I've not seen before, but being a big fan of the music of The Drifters, could not wait to see.

The story is about Faye Treadwell, the Drifters Girl who managed the band and never gave up on her belief that they would be big; the band she loved. The book is by Ed Curtis and based on an idea by Tina Treadwell, the daughter of George and Faye Treadwell. Tina has launched the careers of stars like Britney Spears, Nsync and Justin Timberlake.

Jukebox musicals can be a thin story with an excuse to cram in as many songs from one artist or musical genre. Not so with this because I actually learnt a few things about The Drifters, and I thought I knew a lot about them.

The music is, as expected brilliant. I grew up in the seventies with the Drifters as my soundtrack. One of the first albums I bought was a Music For Pleasure compilation of The Drifters; you know the sort, a few hits with the rest of the album being little known album tracks or American minor hits that didn't make it over in the UK. Later that decade I bought, second hand, "The Drifters 24 Greatest Hits", double album; the one with the animated scene of a pool table and cue which showed cartoon scenes depicting some of the tracks within the album sleeves. I loved that album and played it until the grooves wore out, so I can say that I am a big, BIG fan of their music.

The story in "The Drifters Girl" takes you from the very early days and how Faye was introduced to Clyde McPhatter by George Treadwell, who was married at the time, but had fallen for Faye because of her forthright attitude and love for the music.

We see the rise to fame, the many line up changes, a bit about why the various members were swapped, the hits, the sexist attitudes that Faye had to endure - after all she was not backwards at coming forward where the band was concerned, but she was a powerful woman in a male industry. We also see the racism the band endured when trying to book a black band into hotels in the UK. No Dogs, No Irish, No Blacks. We also see an incite into the court case brought by the greedy Lover Paterson. But most of all we see the determination of Faye Treadwell, The Drifters Girl.

There's a lot of comedy in this musical, especially as the four actors who play all of the members of The Drifters, play every male role. As The Drifters tour up and down the UK, we get an array of accents, accentuated for comic effect. Roger and Roger are depicted as the archetypal British, stiff upper lipped, hooray Henry pair. And for anyone who don't click as to who Roger and Roger are, they are Roger Cook and Roger Greenaway who wrote most of The Drifters' hits in the 1970's while they were on Bell record label.

It's not all fun and laughter though because we also witness Faye finding out about the death of her husband, George Treadwell, from one of the members of the group.

So that I don't have to repeat myself too much, let me say that the voices from everyone are phenomenal. With the four male leads, if they ever make a musical about Boyz To Men, these four must be in the running as their voices together, and separately are like having melted salted caramel chocolate poured down your throat; heavenly.

Carly Mercedes Dyer plays Faye Treadwell. This woman has an absolute wonder of a voice, some may describe it as the voice of a diva, and that may be right because in my eyes, a diva is someone who knows their worth and has the confidence to deliver what's on the tin label. This Carly Mercedes-Dyer tin though had no label on for me, and so the contents came as a gorgeous surprise. The power in her voice, and the emotion could give Mariah Carey a run for her money. A voice that gave me tingles, especially with the song "I Don't Want To Go On Without You".

Miles Anthony Daley (George Treadwell), Ashford Campbell (Ben E King, Rudy Lewis), Daniel Haswell (Johnny Moore) and Tarik Frimpong (Clyde McPhatter, Lover Patterson) play these main characters and every male role throughout. They deliver comedy, pathos, amazing soulful vocals, exciting choreography and an array of accents. This quartet really earn their money.

Jaydah Bell-Ricketts plays Girl. Girl starts off playing the jukebox which brings the music of The Drifters onto the stage. Girl also plays Faye and George's daughter, who must be Tina Treadwell, but is not named as such. Jaydah also has a great voice.

Directed by Jonathan Church, this show could not be more pacy if you pressed the fast forward button, but then again, there's a lot to cram into two hours of music history.

Karen Bruce's choreography bring back those wonderful early boy band synchronised dance moves, even before the label "boy band" was created I imagine. The late 1950's/1960's energetic choreography is there as well, especially with the early Clyde McPhatter performances. Happy memories of watching "Top Of The Pops" in the 70's and "Soul Train" performances shown on MTV came flooding back with the choreography.

Dustin Conrad is the MD, heading up the seven piece band, which sounds more like an orchestra. One thing that I enjoy with Jukebox musicals is the opportunity for the arranger to deconstruct and reimagine certain songs. The stripped back version of "Stand By Me" is beautiful, along with some gorgeous soulful R 'n' B versions of some classic Drifters songs.

Talking of which, there are twenty five songs showcased in this show. From early songs like "Money Honey", "Fools Fall In Love", "This Magic Moment", "Dance With Me" and "When My Little Girl Is Smiling" to the later classics like "Come On Over To My Place", "Hello Happiness", "Kissin' In The Back Row", "Saturday Night At The Movies" and my personal favourite, "You're More Than A Number In My Little Red Book".

Anthony Ward's set design is colourful, and very 1970s. Andrzej Goulding's Video design brings extra context to the stage set and adds to the slightly psychedelic and kaleidoscopic effects.

Fay Fullerton designed the costumes. Love the brightly coloured combination suits for the lads, which looked to have been also easy to switch, because there are some pretty quick off-stage jacket changes. Once more, the costumes bring back images of Top Of The Pops performances for me, which I loved.

Fay's designs for Faye Treadwell's outfits are full of class and style, giving that early power dressing image some bling and sparkle.

Sound design by Tom Marshall was powerful, chunky and clear, and I noticed at least one mic cue miss, showing that touring professional shows can also miss the odd cue. I really don't think anyone clocked it, but as I highlight these things in local theatre productions, I felt the need to just drop it in there.

Lighting design by Ben Cracknell. There's a certain look and feel to the lighting design for the 1970's, and also for the 60's era as well, and these were well replicated for this production. Lovely big bright blocks of light complimented the colourful costumes marvellously.

I love the music in this show, and is one of those musicals that I'd see over and over again. Not just for the music though, but for the story, the vocals and the entertainment value.

"The Drifters Girl" is at the Nottingham Theatre Royal until Saturday 24 February.

 "Oliver" by Central Musical Theatre Company.

Duchess Theatre, Long Eaton.

Everyone should know the story of “Oliver”. The musical is based on Dickens’ classic novel of a workhouse boy who is sold as an apprentice to an Undertakers, but after another employee insults Oliver’s dead mother, a fight breaks out and Oliver escapes and is taken under the wing of Fagin, thanks to meeting another young, but streetwise urchin, The Artful Dodger, who with the other boys, teach Oliver how to pick a pocket or two for a living. Oliver also meets Nancy, the live in wife of Bill Sykes, who as we all know is not a nice man. This is where the dark side of the musical starts to rear its’ ugly head!

Oliver is played by Forrest Majhouri. Now, this is a big role for any young actor, and I think I can remember someone telling me that Forrest is only seven years old. This is a massive achievement for such an actor of tender years but nothing phased this young man at all. His voice was vulnerable but strong and he showed great confidence as Oliver Twist, and he definitely has that cute factor in the same way that Mark Lester had in the original film version. The look on his face at the final bows was an absolute joy to see; a mix of joy and possibly relief.

River Majhouri plays The Artful Dodger. Now, haven't I heard that surname somewhere before? River is Forrest's elder brother, so talent obviously flows through the family blood! River is a fine actor who has the cheek of the Artful one and can belt out the songs like a good un, cor blimey! He also has the choreography mastered and will be an excellent character actor as he gets older.

You can see the chemistry with these siblings. There was one part in the first act where Forrest blanked and, even though we heard the prompt from offstage, River, like a true professional and naturally as a brother, improvised to get his younger brother back on track. That I applaud both Forrest and River for. This will be first night nerves for Forrest, and I know this because throughout the rest of this performance, both actors were word perfect.

Adrian Redfern plays Mr Bumble. I received my first "tingle" in this musical from Adrian as soon as he started to sing. His tone and power had no need of a microphone and is a worthy match for Harry Secombe, who played Bumble in the film. Along with that incredible voice, Adrian gives a lovely comedy performance with Widow Corney in the "I Shall Scream" scene, as well as the scene in Act Two in the parlour scene.

Freya Primrose plays Widow Corney, and again, another powerful, big voice with the ability to deliver brilliant vocals and comedy characterisation. A fantastic pairing with Adrian.

Dean Osborn plays Mr Sowerberry, the funeral arranger and along with Lorna Kirkland as Mrs Sowerby, they make an entertaining pair, if not a little creepy, but that's what you'd expect from a pair who are happy when there is a funeral to arrange. Another excellent comedy duo.

Ellie Nicholas plays the not so nice Charlotte, who works in the Sowerby's business and playing Charlotte's boyfriend, co funeral worker, greasy bacon fan and Oliver's bully is Tim Hand as Noah Claypole.

Charley Bates, a main member of Fagin's gang who is up there with Dodger on the thieving stakes, is played by Ted Osborn. A nice cheeky role for Ted.

Jonathan Penton plays Fagin. I have seen many Fagins over the years and every actor brings something different to the iconic role. Jonathan goes back to basics for Fagin's character. The voice brings back memories of how Ron Moody played him with that broad Jewish accent. The image was Catweazle-ish (look it up on Google for younger than fifty year olds), even down to the long earring in the right ear which Fagin exhibited in the film. The whole physicality is spot on. Jonathan succeeds in bringing out the comedy in the character and especially in the songs "Pick A Pocket Or Two" and "Reviewing The Situation" which were both real crowd pleasers.

Fagin's Gang consist of Jack Berry, Takunda Khumalo - who wins the award for having the biggest smile on stage throughout, Maximilian Lee, Joshua Liddle - how cute is this young man?, Alexander Michael, Noah Simper, Noah Sindol and Tyler Sindol. I spot more talented siblings here! All of this gang of young actors are excellent in their roles and quite believable with some of their cheeky expressions when singing their songs with real enthusiasm.

Sarah Towle plays Nancy. In Central's show last year, "Dr Dolittle", I commented on her vocals; a year later her voice has matured like a fine, rich wine. Sarah has a gorgeous voice and her emotional rendition of "As Long As He Needs Me" gave me the second dose of tingles. In contrast "Oom Pah Pah" was light and as frothy as the beer in the tavern the scene was set.

Bill Sikes is played by Dominic Primrose. We all know that Sykes is the baddie here but when Dominic made his appearance in Act Two, there seemed to be a hush fall over the audience in anticipation of the bully, which really brought a darkness to the tavern scene. Another wonderful character role for this young man because when he took his bows, the audience booed. I have it on good authority though that Dom is a real pussycat away from the stage.

Georgie Bond is Bet, a former disciple of Fagin's gang. A lovely fun role which really suited Georgie down to the ground.

John Wedgwood is Mr Brownlow, the wealthy man who is unlucky enough to have his pocket picked on Oliver's first criminal spree, but not by Oliver. Brownlow takes him into his care and looks after him; feeding him and clothing him. The good deed brings to the surface a twist in the back story of Oliver's life.

Mrs Bedwin, Mr Brownlow's housekeeper who tends to Oliver, is played by Lynn Towle, who is also the Production Assistant.

Chris Banks plays Dr Grimwig, the medical man who is called by Brownlow to check Oliver over. The Doctor likes a good chuckle and creates more than a ripple in his supporting role. A nice fun role for Chris.

Helen Oldham is The Milk Maid, the Strawberry Seller is played by Liz Willgoose, Laura Jones is the Rose Seller and Greg Tabberer plays the Kinfe Grinder in the "Who Will Buy" scene. A very harmonious five way version of this song which also included Oliver as part of the quintet.

Bridgett Wyatt plays Old Sally, the character who relates to Widow Corney the history behind Oliver's birth, providing proof of who Oliver's mother was. All of this on Old Sally's death bed, well death wheel chair. Another character who provides a few giggles on her exit, and when I say "exit"......

The ensemble is made up by Kathryn Fitchett, Laura Hutsby, Sarah Rosental, Jade Turner, Richard Stokes, John Bolton, Tim Hand, Laura Jones, Lorna Kirkland, Ellie Nicholas, Helen Oldham, Dean Osborn, Adrian Redfern, Liz Willgoose and Bridget Wyatt. Jade and Ellie also play Workhouse Assistants.

Directed by Nigel Taylor. "Oliver" is one of my top five musicals, and I didn't think I could love it more, but Nigel's direction has done just that. I love this show more than I did when I walked in the Duchess.

Choreographed by Anthony Beaumont-Mills and Lauren Litherland. There are some big ensemble pieces which require choreographing; the opening scene and "Oom Pah Pah" for example, and both had a lovely energy to them. The scene with Fagin in "Pick A Pocket Or Two" is another well crafted piece of choreography. Three highlights, but I could have chosen any of the other scenes to be honest.

Musical Director is Morris Fisher, a diamond of an MD. With all of Morris's experience in this field, I for one knew, as soon as I saw the programme credits that the music and vocal side of this show would be of the highest quality. Guess what? I was correct. It's also lovely to see the ten-piece orchestra out front.

The soundtrack is packed with musical theatre classics like "As Long As He Needs Me", "Food Glorious Food", "Pick A Pocket Or Two", "Reviewing the Situation", "Where Is Love", "Consider Yourself", "I'd Do Anything", "Oom Pah Pah" and of course the title track.

The costumes are simply superb. From the workhouse simple rag-like, bare essential clothing, to the opposite end of the clothing spectrum with the bright official looking outfit for Mr Bumble. Fagin's robes were perfect as was the dark red costume for Nancy.

Stage Manager, Chris Margett kept the running of the stage going smoothly with the crew of Tim Booth, Julie Harper, Ben Redfern and Stefan Osvath.

Talking of The Set, which was multi levelled, creating London Bridge, plus an upstage exit and entry point, perfect for introducing and removing parts of the movable set, also making several stage access points for the actors. A bustling tavern scene, workhouse and funeral parlour plus the Brownlow's home and busy market place. Designed by Christopher Grantham and Chris Margett.

Sound Design is by Harry Greatorex with Lighting Design by Stephen Greatorex. The occasional missed mic cue but I know that this is opening night and the projection of the actors meant that I didn't miss a word anyway.

The standing ovation at the end shows that the rest of the audience were of the same opinion as myself, that this was a superb production highlighting the talents of these young actors, and showing the class of the other actors. Plus the opportunity for these very young stars to perform with the experienced actors, and learn from them is something I'm sure they will treasure, and likewise with the experienced actors learning from the youngsters.

"Oliver" is at the Duchess Theatre in Long Eaton until Saturday 24 February but is sold out all week. It may be worth putting your name down on their reserve list just in case any tickets are returned.