"Veronica's Room" by Ira Levin.

Tabs Productions.

Nottingham Theatre Royal.

The third instalment of the 2024 Colin McIntyre Classic Thriller Season is Ira Levin's "Veronica's Room". Levin also wrote the chilling "Rosemary's Baby".

A middle-aged Irish couple, John and Maureen Mackey, bring a young couple, Susan and Larry, to their Boston home where the Mackeys are caretakers. Susan and Larry have recently begun to date, and the Mackeys approached them at a restaurant due to Susan's resemblance to a dead woman, Veronica. The Mackeys explain that Veronica's elderly, senile sister, Cissie, is now their charge, and Susan agrees to dress up as Veronica in an effort to bring Cissie a sense of closure. The year is 1973, but Cissie believes it to be 1935. Larry and the Mackeys leave Susan alone in Veronica's preserved bedroom to change into a period outfit. But all is not as it first seemed when the Mackeys return to the room.

The groundwork all takes place in the first half of the play, but boy does act two bring some real surprises including TWO quite shocking and disturbing final sections.

The Man is played by Jeremy Lloyd-Thomas, and if it weren't for Jeremy's distinctive voice, you would not realise that it was Jeremy due to the make up and accent; it took me a while, and a quick check of the programme cast list that I believed that it was him.

The Woman is played by Susan Earnshaw. This role is very different to what you'd be used to seeing Susan play, and by the end of the play, you almost feel as breathless as The Woman on stage. It's not often that Susan makes you feel as uneasy as she does in this role, and her facial expressions, especially in the second act, will haunt you!

The Girl is played by Hannah Blaikie, and once again, this role is very different to the others we've seen this season. Hannah makes you smell the fear and panic that her character feels, which starts right at the close of the first act, and then builds throughout act two, culminating into a cataclysmic crescendo that rendered this audience silent and shocked.

The Young Man is played by David Osmond. Like the other characters in this play I'd love to go into greater character detail, but that would completely spoil the play and the storyline. There's a sub plot that concerns David's character that is hinted at in the second act which is really disturbing, and why this production warrants a "15" age restriction.

Directed by Karen Henson, and this is such a fine example of a Director managing to keep you teetering on the edge of your seat, even though I've seen this play a few times previously. I am positive that the end scene is different to ones I've seen in other productions; if not, this version of events made me sit up and take note of the even darker closure to the play.

I have always found an open window with a sudden, and often well timed blast of wind, billowing out a curtain very unnerving, especially at certain parts in a play. This is what we had in Tabs' version of events, and that really brought the hairs on my arm and neck standing to attention. It's almost as if a "spirit" of some kind is either entering or leaving a room, and that works so well here. Again, I can't remember this small detail in any of the other versions I'd seen in the past; maybe it was included but this really stood out for me - you know what I'm like for details and little things that catch your eye. A Director who knows how to create that atmosphere, especially with a thriller, is a Director worth their salt, and Karen is worth a whole salt cellar!

The set design is by John Goodrum, and without anything happening on stage, you automatically get the feel of the era that the story is set, just by taking in the design and props. I know the play and every design is different, and this design gives you an uneasy feeling from the off. What also helps is that the lighting also creates that uneasiness......

Lighting design is by Michael Donoghue, and it's that often dim lighting that makes you feel that this room has something to hide, which indeed it does!

Sound design is by David Gilbrook. For me, it was the silences that are like pockets of unease that create the perfect tension points, but there's always something just a little spooky about the sound of an old fashioned, wind up record player, especially playing a crackly version of "Shuffle Off To Buffalo", that again gets the hackles standing erect. And of course the incidental music is enough to give you the creeps anyway.

Even after seeing the play several times over the years, this particular play gives me the creeps, it has every time I've seen it performed. This is a great sign that the writer, Ira Levin, has captured something very special in his writing. Something that with a good cast, and this is a great cast, can unnerve you, on every occasion of seeing this story. As I said earlier, I didn't remember the very last scene, and this really made this production extra special to me, because I hadn't expected it. And that scene, combined with the actor's visual dramaturgy, the eerie lighting and the ascending music score is unsettling to say the least.

And if you go and see this brilliantly chilling thriller, and you go for something to eat afterwards, don't talk to strangers and accept invitations back to theirs!!!!!

"Veronica's Room" is at the Nottingham Theatre Royal until Saturday 24 August.

Photos thanks to Whitefoot Photography.

 "Little Women" by Louisa May Alcott.

Chapterhouse Theatre Company.

Nottingham Castle Grounds.

It's always quite special when a play is performed outside and the weather behaves itself, as it did tonight in the grounds of Nottingham Castle, a beautiful setting for a wonderful piece of theatre; a piece that I had not seen, indoor or out, before.

It is Christmas Eve, 1862. With their father away on the frontline of the American Civil War, working as a Chaplain. The four March sisters – Meg, Jo, Beth and Amy – journey into adulthood, each determined to pursue a life on their own terms. But growing up means contending with love and loss, as well as the myriad twists of fortune that shape a life.

I last read this book at school, so that's, oooh let me think, a few years ago now, and seeing this production has actually kindled a new appreciation for this magical story.

This is one of those brilliant ensemble pieces of theatre, everyone involved are wonderful storytellers as well as performers.

Kaira Rodgers (Jo March), Becky Bond (Amy March), Kirsty Valler (Meg March), Tessa Brockis (Beth March), Lisa Lhermette (Marmee), Charlie Sheepshanks (Laurie), Troy Cressman (John Brooke and Frederick Bhaer) and Ieuan Dolloway (Mr Laurence and Mr Samson) just draw you into the story and whisk you along through love, loss and laughter. 

I had in fact completely forgotten great chunks of the story, and much as I love a good book, especially a classic such as this, having the story unfold in front of your eyes by a troupe of expert players was an absolute delight.

I had decided that I couldn't pick any one of these actors out over the others, but I really must mention Becky, who along with Troy were last minute new cast member replacements. Becky played Amy and was incredibly believable as the twelve year old sister. The tantrums and excited bursts of unrestrained energy were quite refreshing, and a complete contrast to the more controlled behaviour of the mature sixteen-year-old writer Jo March, who also was not a stranger to lighter flashes in her life.

Directed by Antony Law, who created a lovely balance between light and shade in the emotion department. A lovely pace that meant the two hours of stage time was well utilised, keeping the audience's attention focused on the stage and story at all times. The stand alone set also meant that it created an additional two entrance/exit points, again keeping the entrances and exits smooth as one scene exited from one point with the next scene entering from another point.

The decision to have the stage separated by an entrance and exit point with the two different houses on either side, Laurence's decorated in blue, the March's kitchen area in green, straight away allowed the audience to differentiate between the two properties. The set dressed by Lou Jardine. 

The costumes were full of style and of the era; if you like period drama like "Downton", you will love this style. The wardrobe department consists of Helen Symonds, Holly Oldham and Pearl Constance.

The music used to seamlessly blend in the scenes were a mix of bluegrass, country, classical, baroque plus original music composed by Karen Dziuba.

The whole feel of this period piece of theatre was perfect; almost like watching one of those brilliant Sunday afternoon films on the BBC, and just as easy to fall into.

I'd not seen anything from Chapterhouse previously, as most of the time they specialise in "one night only" performances in their chosen venues, but I am so pleased that this fantastically entertaining group were brought to my attention, because I'll now be watching out for them in the future, and I'd advise any theatre lover to do the same.

 "The Trials" by Dawn King.

Nottingham Playhouse.

Here's a new play to me, having only been performed since 2022, so it's nice to go into this play not really knowing what it's about and with no pre conceptions of what happens. Every now and then a play comes around that really makes you sit up and take notice; this is such a play.

The story is set somewhere in near future. The climate emergency is gathering pace, and it's our generation that is being judged.

The twelve jurors are children. But are they delivering justice – or just taking revenge?

The three defendants are adults, an advertiser, a playwright and an employee for a company. After pleading their case, the jurors decide a guilty or innocent verdict, as in any standard court case, for the climate crisis that these teenagers have been left with by their elders. The guilty verdict though means certain death for the defendants, so they are literally fighting for their lives here. 

It's a little like an updated "12 Angry Men" for the climate era. With any stage play where there is a trial involved, we find out bits about the jurors, their backgrounds and any unseemly behaviour is inevitable to surface through the conversation. This jury though does not have the life experience of adult jurors, so we get to see their characters for what they are like as teenagers with their possibly rash decisions, but also with the emotional baggage that they carry for characters so young.

Tomaz is played by a fine young actor, Jamie Adlam. I've had the pleasure of seeing Jamie perform on several occasions, normally in musicals and playing comic characters. Tomaz is the provocateur of the jury who has no real interest in what is going on, although we do find out that Tomaz is rather fond of ice cream, which causes a debate of its' own. The character is loud and brash, providing much of the lighter moments in "The Trials", and I can see why Jamie was chosen for this particular character. While this role is very different to anything I've seen Jamie play in the past, it's also quite similar due to the comedy elements that Mr Adlam brings.

Eden is played by Noah Baguley, another young man who I've had the pleasure of reviewing in the past, most recently in "The Crucible" at the Nottingham Playhouse. Eden is a fascinating character; a voice of reason and level headedness, to start with. 

Kako is played by Nevaya Davidson. This character has a very privileged background, living in a five bedroomed house with four bathrooms and taking holidays on a regular basis to foreign and expensive climes. The sort of person who would be in line to be judged in the future.

Ren, who is a tree planter as well as being the head juror. Ren often struggles to keep semblance, especially with Tomaz, is played by Abi Dring who also delivers a wonderfully emotional performance. There's more than a strong echo of Greta Thunberg in this character, whether that be in King's character writing or from Abi. There's also a shocking revelation that involves Ren towards the end of the play.

Joseph Grainge plays Noah, who seems to be quite an angry person, and his character unfolds as we go through the story, and we discover where that anger stems from. There are a lot of profanities in Noah's speech, and it comes as quite a shock to feel the force of Noah's anger and his speech, especially when he drops the "C" bomb, as that's not a word you normally hear on stage, and especially from a young character. 

Joseph's acting completely blew me away because of his passion and anger, like a bull terrier with a wasp in his mouth. I recognised Joe from "Sister Act Jr", which was staged by Attic School, where he played Curtis, and commented at the time of his acting skills. Here he is a completely different animal showing an incredibly emotional and mature performance. And he has such a baby face as well!

Adam is played by Carlad Hargan-Hughes, who I remember from being in "Jerusalem" last year at the Nottingham Playhouse. Adam is asthmatic, which is made worse when Tomaz opens a window which lets the outdoor air into the room. Carlad plays this role with great credulity, constantly fighting for breath, which makes his role probably just a little harder to play as the role of an actor and his delivery depends on breath technique, so there's that added level of acting skill needed, which is delivered with great accuracy and realism. It's also a constant reminder of the air conditions outside the juror's room.

Marek is played by Thomas Pears, a new name to me, and another very impressive character actor.

Jessica Pywell plays Gabi, who has come to the conclusion that every adult is a dinosaur. Gabi is a very domineering and opinionated person, who you get the feeling from what she tells about her parents, may have revenge on her mind for those more privileged rather than unbiased justice. 

Xander, a budding poet and member of the Climate Defence Force, is played by Finley Ramowski. A studious character who likes to think things through with the mind of a poet and with reason. We also find out that his job in life is to collect dead bodies when disasters strike, which in a way explains why he is so unmoved by everything.

Chloe Revill plays Amelia, possibly the most worried of all the jurors about having to make a life or death decision of the three defendants. At one stage she objects to casting her vote due to the anxiety that she feels over the result of the overall decision. She knows that she should not be there due to her anxiety and guilt issues.

Zoe, who is one of the constantly undecided jurors, is played by Marley Simpson. 

Playing the final juror, Chris, who seems to have their mind on Noah for much of the proceedings instead of the matter in hand, is Bernice Thomas. Even though the slightly flirtatious Chris often disappears with Noah to the toilets on a regular basis, her mind about the hot headed Noah is changed by a decision that Noah makes near the end of the play.

This is a play to turn the spotlight on the younger cast and the three defendants take a back seat with just a limited time on stage.

Our first defendant is played by Mark Jardine, who'll be very familiar to a lot of people. Mark plays a business man and claims he behaved as responsibly as he could while still managing to run a profitable company and supporting his family. He recycled, bought an electric car but tried to make business trips by rail. He had three children, a comfortable life and bought a second car, their holidays though were implied to have not been within the UK.

The second defendant is played by Rebecca Crankshaw (Cranks). She a writer, voted Green, her plays increased awareness and made a contribution to culture, she didn’t have children.

Defendant number three is played by Gail Kemp. Number three worked for an oil company: she acknowledges her own guilt, her eyes now fully open to her past, she is proud of her environmentalist, tree-planting daughter. 

Dawn King's writing could have come across as a sermon for climate change, but it doesn't. It very cleverly provides you with food for thought about what we are doing to the planet, and what kind of world we are leaving for our children to manage. I personally recycle everything I can, walk more, go around switching lights off and never switch the heating on if it's not almost Icelandic temperatures (some may see that as part of my Scottish heritage!). There's a wonderful line in this play that states "if you're not angry, you're not paying attention", and that is so true. I've no intention of gluing myself to trees to shout about what we are doing to the world that we live in, but I do feel a responsibility to help slow down what is happening. 

King presents us with many unanswered questions, leaving us to deliberate on what the answers might be. It doesn't preach, it kind of provides us all with the chance to better and self educate ourselves. The ending of this play though is quite shocking and is quite Orwellian.

Nottingham Playhouse has been home to many powerful, thought provoking and hard hitting pieces of theatre, and this is another one.

Directed by Omar Khan and Hannah Stone, assisted by Scarlett Sanders.

The set design is by Maria Terry. The action takes place mainly in one room, the jurors' room, which reminded me of the wings area of the stage with chairs, stairs and a rack of dressing up clothes, which gives Tomaz free rein on his imaginative outlets.

Lighting Designer for this production is Laura Wolczyk. It's quite stark, especially when the three defendants take to the stage in front of the safety curtain background, accentuating the drama.

Sound design is by Amanda Priestley. 

The subject of the play is very adult and these young actors, every single one of them, deliver incredibly mature performances, showing the weight that the young carry on their shoulders and what outcomes from decisions made without reasonable thought can do.

If you don't leave the theatre deep in thought about the world today and how we are responsible for the situations our young will have to try and manage, then you've not understood anything that this amazing cast have said and done in the ninety-five minutes that they are stage. Prepared to be judged!

"The Trials" is at the Nottingham Playhouse until Friday 16 August when it then moves for a further performance to Mansfield Palace Theatre on Saturday.

Photography by Pamela Raith Photography.

 "Fatal Encounter" by Francis Durbridge.

Tabs Productions - Colin McIntyre Classic Thriller Season (week 2).

Nottingham Theatre Royal.

Howard Mansfield, a well-known book publisher, is concerned for his wife, Joanna. Since returning from the country, she has become unusually distressed, nervous and mysterious. The play takes a sinister turn when Howard arrives home to find Perry, a former friend, has been shot by Joanna in a struggle. She admits that Perry has been blackmailing her and, to protect her, Howard confesses to the shooting. Perry dies before the police can question him thoroughly and, after a second attempted murder, Howard is the centre of a complex investigation where no-one is blameless.

This week, the latest thriller is set in the 1960's and the whole atmosphere is of the era, reminiscent of the old TV detective thrillers such as "Jason King", "The Avengers", Department S", well you get the idea.

There is murder, blackmail, deceit, cover ups, lies, a stabbing, it's all there to keep you on the edge of your seat and to keep you wondering who was behind the whole story. After all we know who carried out the murder, but it's the whole story behind the, albeit accidental murder, that is intriguing. And what is the significance with the painting on Mansfield's wall? 

I last saw this play ten years' ago when Tabs performed it last, and still couldn't remember what happened and who did what to whom and why!

I love Durbridge's writing style, but it does take a great cast to bring the words on the paper alive. Durbridge and Tabs Productions what a joyful combination!

The play is like a box of jigsaw pieces without the picture, and slowly you focus on each piece and discover where it all fits in to give the whole picture. And it's only when all the pieces are connected that you see the whole story.

John Goodrum is Howard Mansfield, the husband of Joanna Mansfield and the one who tries to take the rap for the murder, is on stage for practically the whole play.

Hannah Blaikie is Joanna, the wife who is, to start with a little frugal with the truth, and if you don't know this story, will be surprised at why the snowball she causes escalated to the fatal end to Mr Kingsley, played by Pav Maru, and the reason why he was where he was at the time of his demise.

Grace Kingsley, a work colleague of Howard's, is played by Kia Pope.

Jeremy Lloyd Thomas plays Mark Adler. Adler witnesses Joanna's mugging and becomes her knight in shining armour by rescuing her and driving her home to Howard.

Inspector Chris Coldwell, the no nonsense crime buster attached to the case, is played by Sarah Wynne Kordas.

Rex Winter is the man responsible for the mugging, but why did he then leave her bag, complete with everything inside intact, on the Mansfield's doorstep? Winter, who then turns up to apologise, is played by David Osmond.

Hilary Van Zale, another colleague of Howard's, is played by Susan Earnshaw.

There's also a very tall police officer that turns up at the end to make an arrest, but isn't mentioned in the programme, but is extremely tall!

Now, you may notice that I've not done my usual extensive character descriptions, well that is for a very good reason! Every character has some involvement in the string of events to some extent, but there is only one Mr or Mrs BIG. I say that because at times it's easy to get the gender of a character mistaken! (an in joke from tonight's performance - sorry).

Directed by Karen Henson, this is a classy production with just the occasional snigger snuck in. But the best thing is that, just when you think you have it all figured out, things take another twist.

The set design is by Conal Walsh and is all set in the study of Howard Mansfield's house in Holland Park, London.

As with last week's production, the show was stage managed smoothly by Fran Buxey and Alison Wilcox.

Costumes are by Geoff Gilder. Straight away you know the era because of the style of clothes. They're not over the top 1960's but stylish for the period and the class of the characters.

The lighting design is by Michael Donoghue with sound design by David Gilbrook. 

There's brilliant subtlety to the lighting, especially at the close of each scene where the spotlight falls on the character on stage before fade out. The flashback scene is also done especially well with the change in lighting and the sound effects. A multiple of door bells and phone rings throughout number more than enough to satisfy a farce - which this is definitely not - and even Durbridge manages to highlight this sound effect count in the final line of the play.

These actors are so well versed in performance and every actor's projection is clear as a bell. This is one area I always seem to comment on, but without stage mics or radio mics, Tabs actors can make the script audible to everyone, even at the back of the theatre.

Another classy and classic piece of theatre that will keep your mind and imagination in overdrive throughout this two hour thriller. Not so much a murder mystery, because we know who is murdered and by whom, but it's the whole unravelling of the plot that will enthrall and intrigue you.

"Fatal Encounter" is at the Nottingham Theatre Royal until Saturday 17 August.