"My Son's A Queer (But What Can You Do?)"

Written and performed by Rob Madge.

Derby Theatre.

The advisories on the Derby Theatre website states "Contains some swearing, a fair bit of precociousness and scenes of utter joy. May cause happiness!". Tick. Tick and Tick - and we're not talking "Priscilla" here. The last advisory though may need amending because the word "may" is far off the mark, and should be replaced with the words "definitely" and "will".

Now in it's third year, having originated back in 2021 and sold out all dates at the Edinburgh fringe, it's been a non-stop rollercoaster of a success all over the place.

I suppose we've all put on shows for our parents and family in the living room when we were young, as did Rob. Little did they know that this would bloom into a celebrated career later down the line. 

When Rob was 12, they attempted to stage a full-blown Disney parade in their house for their Grandma. Rob put on a wig and played Mary Poppins, Ariel, Mickey Mouse and Belle, their Dad doubled as Stage Manager, Sound Technician and Goofy, but didn't quite get the hang of theatre timings and direction and a few other parts of the Madge magic didn't quite go to plan. By all accounts though, Grandma enjoyed the entertainment.

Now on a bigger stage, WE get to enjoy this, as well as Rob's upbringing and the unconditional love and support he received from their family. Love and support that not every gay or Trans person receives from their nearest and dearest.

The set is like any living room and has a large screen where we get to see home videos of Rob, which show an enthusiastic appreciation of all things Disney, which was obviously the inspiration for their own in house parade. As well as the home videos, which by the way are hilarious as well as incredibly touching, Rob recalls details of his childhood and growing up. It also serves as a guide to any parent who has, or may have children who also may have a slight obsession with Disney, and would like to grow up to be a Disney Princess, as opposed to a Prince. From this snapshot of Rob's family life, he has the coolest and most loving and supportive family ever.

It also reminds us through Rob's natural story telling that lines can be blurred and the things we may have been told, or had been told to other parents and their children, should remain in the past. Everything should not be either pink or blue. So what if your son wants to play with Barbie Dolls and not Action Men, or want to wear earrings and make up as a child. It teaches us that everyone is different and that is what makes the world such a colourful place to live in, and why we should rejoice in what individuals bring to the party. 

Rob has the ability to pull at your heartstrings one moment, and the next have you laughing out loud, sometimes at the most absurd things; but always with great love and affection.

The one thing that I consider most important for any parent is to nurture your child's interests, whatever they may be, and to support and love them whoever and whatever they want to be. Thank goodness that Rob's family provided that love and support, as without it, we may not have the joy of seeing this gorgeous show. 

It is seventy five minutes of flamboyant fun, film clips, a few swear words, some precociousness, a lot of love, happiness and utter joy.

Directed by Luke Sheppard with a brilliantly sparkling music score by Pippa Cleary and Rob Madge.

"My Son's A Queer (But What Can You Do?)" is at Derby Theatre until Wednesday 24 July, and will whet your appetite for Nottingham Pride this coming weekend. Don't miss your chance to see this wonderful storyteller and entertainer on stage.

 "Abigail's Party" by Mike Leigh.

Nottingham Lace Market Theatre.

I must pre warn you, dear reader, you may need to get yourself a beverage and a biscuit now as I think I may be about to gush on a giant scale.

This Mike Leigh slice of suburban seventies soiree is one of my favourite plays from this era; a play that has stood the test of time with theatre goers and lovers of classic comedy theatre.

Beverley is throwing a small but select "do" consisting of their new neighbours, Angela and Tony and Susan, mother of Abigail, who is having a teenage party a few doors down. Laurence, Bev's husband, is racing around catching up with his work as well as racing around after Bev.

As the evening continues we hear snatches of the back stories of all the characters and slowly, secrets are revealed about all five of them, giving us a more rounded image, as well as a darker side to them all.

Tony and Laurence are sent off to make sure that all is well at Abigail's party, Tony returning a while after Laurence confirming that all is OK to Susan, who takes ill after Bev continually topping up her drinks. All on an empty stomach as well!

The evening ends in a very dark way for one of the five!

Laurence is played wonderfully by Luke Willis who really encompasses the hard working husband, slightly under the thumb with a bit of a rebellious streak. Visually you'll smile as soon as he appears on stage, thanks to the most wonderful hairy amendments. You could almost see the veins in Laurence's neck bulging due to the anxiety and stress levels raised by Beverley and her demands. All this on top of his stressful demands of his Estate Agent job. The jealousy, caused by Beverley, is also brought to the surface well as you almost expect the two "stags" to lock horns at any moment.

Danielle Easter plays Beverley and is wonderfully flirty as the hostess with the mostest. It's been a while since Danielle has performed locally, but this season closing sensation shows what an incredible actor Danielle is. It also shows what a cracking character actor she is, as she brings the glamorous, man-eating Beverley to glorious life. The nasal twang grinds on the ear, but it is supposed to, and you read every endeavour to send Laurence's mercury levels racing to the peak of his virtual thermometer, and she enjoys that power. Beverley is one character that, visually, is not a million miles away from Danielle, as both actor and character are gorgeous.

Kareena Sims is the man-spreading Angela, a wonderful character to play and her voice is delightfully infuriating while also keeping that comic edge. This character is the complete opposite to Danielle's because, and I'll admit that I really had to look two and three times, but the gorgeous Kareena has had to glam down with the make up, glasses, costume and wig. Angela sometimes lets her tongue run away with her while trying to keep up with Bev's life tales, much to the annoyance of hunky hubby, Tony.

Tony is played by Paul Spruce and depicts the typical 70's heart throb. Long hair, beard, tache, hairy chest, smart, trendy clothes and at times mysteriously silent. He also used to be a pro footballer - for a short time. It makes you wonder why he has married Angela as the pair seem to have absolutely nothing in common. You can tell he has an eye for the ladies as he is seduced by Beverley, right under everyone's nose. Paul's comic timing is spot on, and most of the time, Tony has just one word responses, but it's the way that these words are delivered and timed that cause the audiences reaction. This is also another character who has transformed the actor beyond recognition thanks to a brilliant wig and costume.

Charlie Osborne plays Susan, another wonderful character driven part, as are all the characters in this play. Susan is well bred, divorced and nervous about leaving Abigail and the party, especially with all the horror stories the others drip feed her about their past party experiences. It's been a few years since Charlie has been on this stage, so it's great to have her back in such a brilliant role. I have no idea how she manages to keep such an outwardly serious disposition, as I am sure that inwardly, there are guffaws waiting to emerge. It's that seriousness in such situations that also create yet another layer of comedy.

This cast could not have been selected more perfectly, not only for their acting ability, but for their comedy acting talents. Comedy is the hardest acting vein to perform in, but these fabulous five make it look so very easy and natural.

Mike Leigh's script is rammed with comedy lines. The comedy is definitely non politically correct at times, and I am so pleased that these lines, like calling Demis Roussos a "fat Greek", have remained. the 1970's was an era where you weren't afraid to laugh at really funny comedy and be looked down on for doing so.

That is why TV sit coms of the day like "Love Thy Neighbour" and "It Ain't Half Hot Mum" were bringing in TV audiences in their millions, due to the un-PC scenes. Scenes and shows that would never be repeated on today's screens due to them upsetting somebody without a sense of humour. Thank goodness we still have plays like "Abigail's Party", which could never be updated or have the script amended for snowflake audiences.

Directed by Jonathan Cleaver, assisted by Jamie Goodliffe. I have no words to shower on this pair because everything about this production is, for me, just perfect. I mentally recalled segments of the script, like a favourite record that I'd played on repeat as we went through the play.

The pace and the comedy timing, which also accentuated the awkwardness between some of the characters, especially in the scene where Beverley initiates the dancing, just to get close to Tony, as well as the accents.

Listen carefully, and you'll see that every character has a different accent, making all five as individual as you can get. Also watch out near the end of the play as there's a very subtle, or not if you didn't notice, change in the light shades on stage.

Colour also plays a very strong part in the strength of the individual characters, so take a look at the costume hues as this is also another very clever, hidden in plain sight touch by the Director(s).

A brilliant set design, by David Babington, which depicts the typical 1970's middle class home, complete with lava lamp, fibre optic light, and other seventies style lighting, bar, furniture, wall coverings and vinyl. James Galway, Donna Summer, Tom Jones and of course Demis Roussos. The props take me back to when I was a kid with some of them like the lighting, but everything has been thought of. From the Cosmopolitan magazine and magazine rack to the cigarette lighter to the telephone, record rack, radio and record player.

The set itself looks to be an expanded one to the ones that I can remember from other productions. Apart from the living room, we can see a gorgeous green kitchen and also the front door of the house, which the cast enter and exit by.

As only to be expected the clothes are wonderful collated by the wardrobe wizard, Max Bromley, as are the wonderful wigs, thanks to Linda Croston. That is what makes this play fascinating to watch, the attention to detail. Like the retro cheese and pineapples on sticks (I still love these), peanuts, crisps and olives (love the reason why Beverley can't stand olives, so listen out for that line).

The Lighting Designer is David Billen and sound design by Matthew Allcock. As with the casting and the show itself, perfect! I don't think I've ever had to say anything negative about the sound and light design and operation at the Lace Market.

This production is a great way to close the season. But that is one thing about the Lace Market Theatre; the season's productions are so well chosen for variety that it starts on a high and continues in that way, which is the reason why so many of their shows are continually sold out, like this one.

I can also honestly state that I have not heard the walls of the Lace Market Theatre auditorium rattle to the sound of raucous laughter as much as they did with this production. There were not just waves of laughter, there was an absolute tsunami of belly laughter.

"Abigail's Party" is at Nottingham's Lace Market Theatre until Saturday 27 July. It is a sold out production all week, but is well worth checking for any returns via the box office.

 "Chicago Teen Edition" by Centre Stage Theatre Arts.

Landau Forte College, Derby.

Making big musicals accessible for youth groups to perform as "Junior", "Youth" or "Teen" editions only mean that any bad language or adult references have been removed, so gives younger, local theatre groups the opportunity to produce musicals that they might have shied away from previously. It still includes all of those classic musical theatre songs like "All That Jazz", "Razzle Dazzle", "Cell Block Tango", "Roxie", "Mr Cellophane" and "They Both Reached For the Gun" among the soundtrack favourites.

The musical is the story of Roxie Hart who is married to wimpy Amos Hart, but has a lover, Fred Casey, who one night pops round and ends up being fatally shot by Roxie. She is arrested and jailed where she runs into Velma Kelly, who becomes a rival on just about every front.

Mama Morton, who runs the women’s prison, negotiates a deal with high flying, hot-shot lawyer Billy Flynn to get Roxie off the charge, which puts Velma’s nose out of joint as she is no longer the centre of attention. How fickle is Flynn and the media world? Well this musical answers that!

But surely I am preaching to the converted here as there can’t be many people who have not seen the film “Chicago” which starred Richard Gere, Catherine Zeta-Jones and Renee Zellweger, so you all know the outcome of this glitzy musical packed with razzle dazzle.

I was absolutely overwhelmed by the talent from this massive cast. So that I don't have to repeat myself too often, the vocals from this cast and ensemble were absolutely spot on. Bob Fosse's signature choreography of curved shoulders, hip rolls and thrusts, turned-in knees and toes, sideways shuffling, insistent finger snaps, and the famous jazz hands are all in there and beautifully executed. And the characterisation is wonderful.

Roxie Hart is played by Bella Kiddle who really gets this character. One of the scenes that I was really looking forward to was the "They Both Reached For The Gun" section as it's not the simplest of scenes to co ordinate or sing; anyone who knows this musical will know what I mean, but the co ordination and vocals were great. Bella also has a voice made for musical theatre, and is well matched by Nathaniel, who played Billy Flynn. A really fun performance and the urgency of Roxie's acquittal comes through Bella's performance. 

Velma Kelly is played by Amy Loweth. I said that I'd try not to repeat myself too often, but here I go again. What a voice, and what a very mature performance. Velma is on some ways a bit of a slimeball, but she has to be to stay tough inside and fight for her rights, and that all comes across in Amy's performance.

Billy Flynn, the high-flying lawyer that everyone wants in their corner, is played by Nathaniel Dale. Nathaniel is a young man who, straight away from his first scene as Flynn, commanded your attention. Flynn is THE MAN, and Nathaniel made sure that we all knew that he was in charge of the situation, as long as it was to his own ends! I don't know how old Nathaniel is but what a voice he has. There are some long notes in some of Flynn's songs but Nathaniel held those notes strongly, especially in Flynn's big song "All I Care About Is Love". Great stage presence, characterisation and voice, and a very slick performance that matches Flynn's hair!

Adam Patten got the audience on his side as the doormat that is Amos Hart. Again, another excellent character actor who also showed brilliant vocal talents, and timing, in his featured song, "Mr Cellophane".

Mylie Randle, as Mama Morton, showed she was the boss. What vocals she gave in the awesome "When You're Good To Mama", which is one musical theatre song that has so many double entendres, thankfully that should go over the heads of the younger audience members.

Fred Casey, Roxie's bit on the side, is played by Johnny Grant. Not a big part, but an essential part. Johnny makes sure that in the courtroom scene, he brings the comedy required for that section.

Grace Simpson plays the reporter Mary Sunshine. If you've not seen a full version of this musical, you won't know how different this role is for the Teen Edition. That aside, Mary is a minor character, but Grace performed the role well. The problem is that this character has so much more to her in the full show that can't be performed by a younger cast. Again, if you've seen the show before, you'll know what I mean.

Other actors who had specific roles are Laura Barnfield (Annie), Lucy Cripps (Liz), Jude Grant (Mona), Hannah Keane (Fogarty), Rose-Lynn Macrae (Kitty), Francesca Mayne (Hunyak), Thomas Murfin (Harry) and Molly Wileman (June).

A big ensemble consisting of some excellent singers and dancers. Milly Adams, Amelie Aldridge, Esme Basterfield, Libby Batchelor-Needham, Libby Bray, Isabella Brown, Maddison Cocker, Faye Davis, Dolly Foss, Holly Goodling, Maisie Gore, Jessica Hallam, Isabella Hart, Megan Haslam, Millie Heldreich, Georgia Hindley, Evie Iljins, Emily Jones, Beth Kershaw, Hannah Lake - Good Luck for the Eagles Awards tomorrow Hannah, Sophie Lancaster, Faye Long, Georgia Manners, Edward Mason, Olivia Mercer, Callan Minns, Arun Mistry, Ria Mistry, Lorenna Mohidin, Alexandra Owen, Lily Pearce, Lilly Sampson, Elif Sever, Amrit Shergill, Joseph Showler, Libby Spooner, Chloe Stolworthy, Lois Toone, Lilliah Trueman, Molly Village, Lewis Waigand Fishwick, Emily Walker, Holly Watson, Poppy west and Jasper Wright. Where would any musical theatre show be without their ensemble?

Directed by Lucy Cadney and Louise White. This is a big show for any theatre company to stage but CSTA have made it look easy, and we all know that anything that looks as easy as this takes a shed load of hard graft. It moves along at a cracking pace, even with the amount of stage management that is needed with such a huge cast. It looks amazing and it sounds the same. What more could you ask for from any company, never mind a teen company of eleven to eighteen year olds?

Choreographed by Josephine Walker who has kept all the original Fosse elements in the choreography in this show. You can see the hard work that has gone into this area by both Josephine as well as the cast members. Little things that making sure the hands are turned out perfectly just make this show the classy and stylised musical that it is. 

Musical Direction, and as soon as I saw the names credited in the programme, I knew that we'd have no issues in this department. Paul Matthews assisted by Sam Griffiths and Gabryl Olesko. These three are the reasons why the vocals are so good and so full of character. They know how to get the best performances from their cast members, and that is proven in this show.

The Set Designer is Jon Gore as well as CSTA and the staging hire is by another well-known name in theatrical stage hire and construction, Roydon Charlesworth. Loved the "Cell Block Tango" section which was really effective while being minimal and easy to move on and off stage.

Sound design is not mentioned in the programme, but the sound was incredibly clear and balanced with the backing. With a cast this large (sixty odd) you can't have radio mics on everyone so a few speeches were drowned out or not projected enough, but that is by the by. It's a large theatre space and projection will come in time for the younger members, I ain't gonna nit pick.

Lighting design is also not mentioned in the programme, but was one of the highlights, one of so many highlights in this production. It was colourful, jazzy, exciting and full of razzle dazzle, and that big CHICAGO sign that is lit up over the stage, which is the first thing I noticed when walking into the auditorium, was stunning. The lighting was supplied by Tony Stott, so not sure if he also designed the lights, and the sign was thanks to Sam Holbrid.

Costumes are thanks to CSTA parents and students, Fiona Carratu and Five Star Theatre and really gave that glamourous feel to the show.

"Chicago" has always been in my Top 10 favourite musicals, and this performance reminded me just why it is in there.

"Chicago Teen Edition" by Central Stage Theatre Arts will be at Landau Forte College in Derby until Sunday 21 July with a matinee and evening performance.

 "Re-Take That - Take That Tribute Show"

Nottingham Theatre Royal.

I've never been one for tribute bands as most of the time they don't look like the people they are supposed to look like and most don't sound like the bands/singers they are supposed to sound like. There are exceptions like The Fab 4 and Justine Riddoch, who is an amazing Tina Turner tribute; and now I can add to that short list Re-Take That.

I was asked along to the show by a friend, and didn't expect too much, but this tribute band are as close to the real thing as you are going to get.

The stage show is a big affair, the light show is incredibly good; it's like being inside a big arena show. The sound is probably one of the best sound designs for a band that I've heard for a live band at the Theatre Royal.

And then, after an introductory projection design screen show, on came "Gary Barlow", closely followed by "Marc Owen" and "Howard Donald" - I was quite pleased when they introduced themselves as I wasn't quite sure which other members they were supposed to be. Strange enough though, after a while the resemblances did become quite clear, visually.

"Gary Barlow" (Will Jennison) had the accent and sounded just like the real Gary Barlow, which worked really well in the section that just had "Gary" at the piano performing the solo hits like "Forever Love".

I was really surprised that "Mark Owen" (Zen Blythe) also sounded exactly like the actual Mark Owen, especially when singing "Shine" and "Babe".

"Howard Donald" (Peter Waite), who we don't really hear featured on many of Take That hits, but we did get to hear yet another very strong vocal on the closing number "Never Forget".

"Robbie Williams", who also looks just like Robbie looks today, had all of the Robbie trademark moves and characteristics on stage. The second act was opened by a selection of Robbie's biggest hits, which of course included "Let Me Entertain You", "Rock DJ", "Candy", "The Life I Love" and of course "Angels".

After this mini-Robbie concert, he joined the remaining three Take Thatters to take us back in time for some early hits like "It Only Takes A Minute", "Pray", "Relight My Fire" among the classics.

The choreography was also there, and that is another thing about this show that this quartet needs credit for. I have been a fan of Take That since their first album, "take That And Party", which I bought on the day of its' release, and bought it on picture disc, as well as standard black vinyl back in 1992. The choreography was very tight for the band back then, and Re-Take That adhered to that tight choreography; in fact Will is probably a better dancer in these routines than Gary was back then. I also liked the fact that "Gary" acknowledged his dancing ability by asking for some Deep Heat!

This is a show that is full of hits - no fillers - great dance routines, replica costumes, excellent vocals, wonderful scenic projections, an amazingly good light show, and a fantastic backing band. Re Take That may just have changed my mind about tribute bands, but that is because of the love and attention to detail that these four frontmen have invested in this show.

If you get the chance to see this show, Take That opportunity, because it's as close to the real thing as you're going to get.

 "Sister Act Jr" by Attic Theatre School.

Nottingham Arts Theatre.

This is my first production by Attic Theatre School, and my what a talented bunch of people they are; I would have loved to have seen them perform the whole musical, but this seventy-minute taster has definitely whet my appetite for more from this West Bridgford based group.

"Sister Act", which is based on the film of the same name and starred Whoopi Goldberg is all about Deloris, a club singer in the 1970's trying to make it big in her boyfriend Curtis's club. She sees Curtis kill one of his henchmen and reports it to the police, who just happens to be her old college mate "Sweaty" Eddie. Eddie has the idea of hiding her among a convent of nuns until the court date.

This is a whole culture shock for Deloris, so to keep her out of trouble, Mother Superior puts her in charge of the choir, who's singing aptitude is described by Mother Superior as "having no words" to describe them. With Deloris' help they are transformed into a choir Gareth Malone would be proud of and by doing so saves the nunnery from being closed down. Curtis and his friends in the meantime though are determined to find Deloris and intend to make sure that she doesn't tell anyone else about what she had seen...ever!

Having seen this musical several times you could see which parts were omitted, but if you were new to the musical, the show on stage last Saturday and Sunday was seamlessly put together with edited versions of the songs performed.

Attic also shared some of the roles with different actors, so that everyone could get to perform in this heavenly musical. It's a good job that Director Amanda Grimsey pointed this out to me as I thought that my concentration levels had dipped and was getting a bit confused in my old age!

Deloris was played by both Evie Cockram and Lily Essex, both had stage presence and what a great pair of voices. Take Me To Heaven... yes they did. Fabulous Baby...yes they were.

Tina was played by Jessica Sims, Nina by Mya Matthews, Elle by Lily Cockram and Michelle by Ellie Adey.

Curtis, the nasty boyfriend and mobster, was played with devilish delight by both Joe Grainge and Oscar Haines.

Curtis' henchmen Joey, played by Megan Wilson and Isaac McLeod, TJ by Charlie Fish and Pablo by Elai Aydinbas. The section where they are chasing the nuns, trying to get to Deloris was wonderfully comical.

Evan Del Gaudio plays Ernie, who is dispatched early on for allegedly grassing on Curtis to the cops.

Officer "Sweaty" Eddie Souther is played by Jack Forth. Lovely characterisation of the policeman who has dreams of being "that guy", and what a lovely tone to his singing voice.

Abigail Brogan plays a cop at the police station.

Mother Superior is another role shared by two more marvellous young actors, Amy Woodcock and Sinead Trendowicz.

Monsignor O' Hara is played by Thomas Star, who has the right surname because from watching Thomas perform in this character filled, fun role, this young man is a star in the making. 

Sister Mary Patrick's role is shared by Anna Clay and Alexandra Jones.

Sister Mary Roberts is played by Scarlett Hobbs, who gave a very tender version of "The Life I Never Led". Georgia Reid played Mary Roberts on Saturday.

Sister Mary Lazarus is played by both Emelia Beatham and Ella Brennan. Both actors giving exceptional and fun portrayals of this particular sister.

The Sisters Mary Martin-of-Tours was played by Mya Matthews, Mary Celeste was played by Helena Cave, Mary Irene was played by Izzy Burrows, Mary Stephen was played by Ellie Adey and Mary Theresa was played Jessica Sims.

The Newscaster was played by Henry Pavier.

The Altar Boys are played by Attic's Inter Boys, the Nuns are played by the Inter and Senior Girls and the Street People are played by Inter and Senior Girls.

Directed by Abigayle Hames and Amanda Grimsey, they kept the pace of this show going at a marvellous pace without compromising the storyline one iota, still retaining all the fun elements of the full-blown musical. 

Musical Directors are Elise Fairley and Emily Knight, and they have done a wonderful job with the vocals within this cast; there's not one bad voice in this cast. ballads like "The Life I Never Led", sung by Mary Robert and "Sister Act" retained the tenderness, and the sleazy "Lady In the Long Black Dress", although edited to about a third of its' original length, still hit the spot. The cast also dealt well with the up-tempo 70's style disco numbers, complemented by some lovely retro styled lighting, complete with mirror ball.

Great costumes and wigs really brought that 1970's feel to the stage with plenty of glitter and sequins.

The choreography was also brilliant, and by the looks of it the cast seems to have enjoyed learning and performing some of the classic retro dance moves.

Sound wise, it was perfect; I heard every word spoken and sung, and I was sat at the back of the theatre.

With never having experienced anything by Attic Theatre School before, but being aware of their solid reputation, I had no preconceptions of what I was about to see on Sunday afternoon, but what I did see and hear has now cemented their reputation as a class act with me. 

Some of the cast on stage were performing their last roles with Attic as they had reached the age where they had to move on, so by the end it was quite an emotional curtain call, but I really do hope that we see some of this older cast go on to perform with some of the local theatre groups, or even better, go on to have a career down South.

"Sister Act Jr" was performed by the Attic Theatre School last Saturday and Sunday at the Nottingham Arts Theatre.