"Captain Narwhal's Pirates Vs The French Dinosaurs"

Gatepost Theatre Company.

Nottingham Royal Concert Hall Level 4 Foyer.

Ahoy ma hearties, here's something that oive never seen before and is great fun for all ages, and something that Gatepost are taking to this year's Edinburgh Fringe Festival at the start of August. Written and Directed by Christopher Collington, this is going to go down an absolute storm in Edinburgh with the wee bairns, and everyone else North of the border.

This is a cross between panto and the kind of children's shows that you see at some of the better holiday camps. It has plenty of audience participation, as well as a chance for several of the kids to take part and become a pirate themselves, but nothing is forced. Let's face it, when there's a mix of dinosaurs and pirates, children can't wait to become involved.

Captain Narwhal’s band of pirates are at it again, stealing treasure from the local town, in this case treasure from the Nottingham orphanage. Only this time, they’ve taken more than they bargained for! Just as they are about to put things right, the treasure they have stolen is then stolen from them by the nasty French pirate, Captain OuiOui and his bouncer/butler and his pet dinosaur. 

Which pirate will come up tops, Captain Narwhal and his jolly bunch, or Captain OuiOui - or is that a big NonNon!

This is a new and interactive musical piece of children's theatre allows you to help the pirates in their quest to right their wrongs whilst battling Captain Ouioui and his prehistoric crew!

Luke Grainger (Captain Narwhal), looks in his element as the beloved by his crew Captain, complete with hook.

Kate Russell (Sophie) plays the runaway who wants to be a pirate, but a pirate with a conscience.

Jordan Neary (First Mate Matey McMate Face), Kasia Cichoka (Ugly Joe), Josh Neville (One Eyed Dan), Harrison Ince (Cut Throat Jake), Jude Cliffman (Simple Simon/Parrot no.2), Lottie Lodge (Cutlass Bill/Parrot No.1), Sarah Butler (One Eyed Clive/ Pipette), Rachelle Bragg (Dave), Phoebe Owen (No Eyed Pete/Bubbles) are the band of pirates who look to be having as much fun with the extended crew (the audience), not only during the performance but before hand and I dare say afterwards as well.

Christopher Collington (Captain OuiOui) adopts a French accent that is straight from "Allo Allo", via Derby. They say never work with children, animals or dinosaurs but Chris, as he has proved on many occasions has a natural ability to go off script and ad lib at ease, and even when the whole experience for one little lad became too much, Captain OuiOui turned the tears back into laughter. 

The costumes are brilliant, and not just for our two Pirate Captains but for every one of the cast members; they are so bright and colourful and there's no mistaking that they were anything other than salty sea dogs.

There're also some great props provided b y Tilly Bedford and Jude Cliffman, especially the marvellous treasure trunk.

I also mentioned that there's singing and music in the production, which is insanely catchy - not sure if this is another feather in the pirates cap of Mr Collington, but it works so well within this story as an introduction to Narwhal and his crew, with more than just a hint of showbusiness glamour.

The Sound Operator for the show is Ian Hartley.

"Captain Narwhal's Pirates Vs The French Dinosaurs" is at the Nottingham Royal Concert Hall until Sunday 13 July only at 11am and 1pm.

If you're in  or around Edinburgh from the start of August, watch out for the flyers for this show up there and go and support the gorgeous Gatepost family at the Fringe. The venue for the show is The Studio at The Space, Niddry Street, which is part of the beautiful Royal Mile hub.

 "An Evening Of The Supernatural"

West Bridgford Dramatic Society.

The Studio Theatre, West Bridgford.

This production consists of two separate plays "Tunnel Vision" by Sheila Hodgson and "The Signalman" by Charles Dickens and the connection between the two plays are trains and tunnels, and of course the supernatural.

"Tunnel Vision" is set in a modern underground railway station, which in a way creates a different eeriness, like when you hear about supernatural visitations and hauntings in modern houses and properties.

Susan and Brian are a young couple in a relationship and along with Susan's Mother Angie and Step Father Peter, find themselves on a deserted underground platform late at night after a night out on the town. With only a teenage runaway named Liam for company, their bickering and idle chat soon unravel hidden family secrets, as strange and unsettling events begin to unfold......

Susan is played by Rae Akinbo, who makes her debut with West Bridgford Dramatic Society; in fact Rae's previous dramatic experiences have all been of the celluloid kind, and this is her first foray into theatre. There could be advantage to go slightly over the top with some of the sections that Rae has to portray, but these sections are performed as naturally as a young girl in this predicament can be. I know it all sounds a bit shrouded , but when you see the production, you'll get what I mean.

Brian is played by Tom Smeed, who makes his debut, not only with this society but this is also his first time acting, as he is known more as a musician; maybe after getting these two roles under his belt, we may see more of Tom on local stages. A very chilled performance.

Liam is played by Harry Longbottom. This is only the second play that I have seen Harry in, the first being "Communicating Doors" earlier this year, also for WBDS. Harry plays a really convincing screw loose character, and you really start to wonder why Liam is down in the underground on his own, late at night..... all is revealed! Harry also has a very useful, mobile face for this role, especially those manic eyes as he looks at Susan, creating quite an air of danger and unease.

Angie is played by Alison Scotney, who I also remember being in "Communicating Doors" with WBDS earlier this year with Harry. What Alison brings to this character, and the play is that sense of nervousness, at times you almost feel that she is possessed by someone from the past, but then snaps out of it, which then makes the audience wonder what is going to happen to these family members deep down in the underground station, which echoes rumblings, strange drumming and echoing footsteps.

Peter is played by Tim Farrow, a stalwart of local theatre, and it's those decades of treading the boards that creates this quite interesting character, who may have a few secrets that maybe should have remained hidden, especially from who, or whatever is down in the depths of the underground with them.

Directed by Emily Martin. Having not heard or seen this play before, I went into it with a complete blank canvas, but by the end of the play, the canvas was decidedly much darker. Very nice use of shadows and projection, and the ending was not something that I had expected. 

In "The Signalman" a terrified signalman unburdens himself to a lone traveller who just happens to be at his railway cutting. He tells a chilling tale of the spectre that haunts him, and the terrible disasters that follow each appearance...but what horror is the ghost trying to warn of this time around? 

Railway stations have always held a certain eeriness for me, especially the older ones, like the one in this Dickens' classic, and the later into the night it gets, the spookier those places become. In all the best horror stories, the story builds and builds and this is one of those slow burners that make you feel uneasy, even before anything has happened, but when they do....... well, I couldn't possibly spoil the ending for you!

The Signalman is played by Bertie Black, who makes his West Bridgford Dramatic Society debut. I've known Bertie for a few years now and have the pleasure of seeing him perform on several local stages in various guises. It doesn't matter which role Bertie plays, he just seems so right, as he proves here.

The Gentleman, who wanders down to the signal box to make polite conversation with The Signalman, is played by Rob Dixon. Rob brings the Dickensian style to this production in a very calming performance as he tries to piece the pieces of the jigsaw puzzle of a tale together for his new friend.  

The Ghost is played by Rae Akinbo in a flashback scene retold by The Signalman.

The Policeman, who appears near the end of the play, is played by Tim Farrow.

The Train Driver is played by Tom Smeed, who looked and acted suitably traumatised.

Directed by Dom Gaskell, who actually played the Train Driver in an earlier radio play version of "The Signalman" staged by West Bridgford Dramatic Society during the pandemic. Dom kept the action bubbling nicely until the moment when it all boiled over.

Sound design is by Arran Mackay and operated by Jeff Tullin. There are loads of sound cues and affects to take into consideration, especially in the first of the two plays, and every cue was hit right on time. I always say that a good majority of the tension in productions like this depend on the sound and light team, and that is so true with these two plays.

Lighting design is by Jerome Foley and Alex Wardle and operated by Malcolm Todd. As with the above comments, the timings were adhered to, and I loved the shadows and ghostly projections in the former of the two plays this evening. Even I was looking as to where the shadow was emanating from.

Set designer is Annie Haley, and with just a little adjustment from the Underground setting, it immediately transported us back to an era of Dickensian gothic and provided us a gauze portal where the scenes of what happened in the past could be viewed, and then disappeared into the mists of time.

Props & Costumes are by Barbara Seymour & Sav Dixon. The second plays costumes were brilliant because they really created that air of clothing style, especially with Rob's character, complete with bowler, and I loved the Policeman's accurate attire.

Stage Manager is Calum Sharp, assisted by Dom Gaskell and Emily Martin

Production Manager is Lynn Burges.

"An Evening Of The Supernatural" is at The Studio Theatre, West Bridgford until Saturday 12 July. Miss them at your peril, and just be thankful that by the time that you leave, it's still light!!!

 "Showstopper! The Improvised Musical"

Nottingham Playhouse.

Here's a show that has been going since 2008. It has had eleven sell-out years at the Edinburgh Festival Fringe, two West End runs, an Olivier award and a BBC Radio 4 series. I'd heard of the show several times over the years but haven't, until this evening, actually seen it. Needless to say from the title itself, every show is different so nobody sees the same show on two different visits, so every performance is a "one off" production.

A brand new musical comedy is created from scratch at each performance of this show as audience suggestions are transformed on the spot into all-singing, all dancing productions. In the show, the audience meets a writer of musicals who is on a deadline – he needs their help. The audience shout out suggestions of a setting, musical styles and the title of the show, in this case "G-60 Plus", and they’re off! Just like that! Every night is a premiere.

On Thursday night the musicals proffered by the audience were "Blood Brothers", "Chicago", Heathers" and "Hamilton" and the setting for the musical and theme was a residential end of life home for world leaders. There were also homages to "Phantom Of the Opera" and "Bugsy Malone" in the second act, also chosen by the audience through Showstoppers' Instagram.

We were treated to appearances from Winston Churchill, Margaret Thatcher, Napoleon Bonaparte, Abraham Lincoln, Richard Nixon and even Donald Trump. All residents in a home for the former leaders, but what was with the rose garden, with roses that had no aroma? Was there something in the medication that was being administered by the Major there, and we also found out why it was not a good idea to get on the wrong side of Matron!! And who would win the love thrupple between Maggie T, Nappy Bonaparte and Winnie Churchill, if anyone?

Showstoppers have a big cast of members that can be called upon for their various venues and performances and tonight there was Sean McCann as the writer in this performance with Justin Brett, Dylan Emery, Ali James and Adam Meggido - I'm hoping that these cast members were correct as the playbill just lists the company actors, which number twenty. 

Providing the musical accompaniment was Duncan Walsh Atkins, who is also the Musical Supervisor, on keys and Alex Atty on percussion.

Produced by Keith Strachan, Adam Meggido and Dylan Emery.

Co-created and Directed by Adam Meggido and Dylan Emery.

Lighting Designer is Damian Robertson, who is also the Lighting Improvisor along with Alex Dowding.

What is so impressive and insanely clever about this show is that not one of the actors know what they are going to be doing, singing or saying until they are on stage and the improvisation starts, after which they all take their leads and cues from the person before them.

What is also incredibly clever is that the music is also created as the show goes on, so the vocals have to somehow fall in with the music created; the chorus and verses all created as the show goes on.

With none of the cast knowing what will be happening and where they are due to stand or move to and from, this must also be a great feat for the lighting operators. I've seen productions that have been in rehearsals for months and the lighting operators manage not to be able to get the lighting correct for the person on stage, so there is a lot of intuition and knowledge of how the people on stage work.

The story and the music is so well improvised that it makes you wonder why some shows that you see on big stages take so long to write, produce and stage when this group can create entertaining and memorable musicals on the spot for forty-five minutes an act.

It also highlights what musical theatre aficionados this cast are as they have an instant knowledge of whatever musical the audience throw them, which is incredibly impressive. 

This is theatre with a difference, completely unique, wonderfully silly and immensely entertaining. You can't even try to think where the storyline is going, because the cast themselves don't have that knowledge. 

Many, many years ago at school, I, and my classmates had drama as part of the English curriculum and we were put into groups to create on the spot ten minute dramas, and this show took me back to those school days and the English lessons, and just how much fun I had taking part in this activity and creating unique drama that went anywhere we wanted it to go, to act and react. I remember the fun, and you could tell by this cast's faces that they too were loving what they were doing on that stage tonight; and they get to do this on a regular basis.

"Showstopper! The Improvised Musical" was at the Nottingham Playhouse for one night only, but the Showstoppers are currently on tour, so try and catch them wherever you can, and as often as you can.

 "Stand In The Spotlight - Inters Annual Showcase".

Spotlight Theatre School.

Squire Performing Arts Centre, Nottingham.

Day two and this afternoon we saw what the Inters - the younger members of Spotlight can do.

The choices of pieces performed were mainly focused towards the younger performer, with just a few surprises on the way.

The show opened with "Brand New You" from the musical "13", followed by a rousing "Come Follow The Band" from "Barnum".

Showing that talent and confidence run through the genes of the Young family, Edward Young performs "I Can't Stand Still" from "Footloose". To start with I thought that Edward was miming to a soundtrack but I soon found out that he has the same vocal talents as his siblings.

I think I can honestly say that I have never seen "Saturday Night At the Movies" danced ballet style, but it worked really well, yet another nice and unexpected surprise.

And then comes the first appearance of the Minis/Juniors as they took to the stage for "Reach" by S Club 7; an overload of cuties.

There were segues from "Joseph and the Amazing Technicolour Dreamcoat" into a gorgeous version of "Corner Of The Sky" from "Pippin".

"Cotton Eyed Joe" was done tap dance style and then another one of my favourite musical theatre songs "There Are Worse Things I Could Do" from "Grease" and another tap section to Paulo Nutini's "Pencil Full Of Lead", followed by "Pure Imagination".

Sam Sparro's "Black & Gold" was given a Bob Fosse inspired choreography, which I loved, complete with black evening dress and gold top hats.

There was a very comical monologue regarding Jelly Beans from Freya Shane who really knows how to deliver a piece with excellent expression and diction.

Another cuteness overload from the Minis/Juniors with a brilliantly executed "Penguins Of Madagascar" section, "Shake A Tail Feather" from "The Blues Brothers" and a power packed group choreographed piece to "American Idiot" closed the first half.

The second half opened with a bang to "I'm Still Standing" from "Sing" and a wonderful Cockney rendition by a pair of young ladies of "The Lambeth Walk" from "Me & My Girl".

Another smooth segue from "Where Is Love" into "Food Glorious Food" from "Oliver" and then another visit to the stage by the Minis/Juniors for "Thumbelina".

Ben E King's "Stand By Me" was performed partly in sign language into another beautiful ballet section. Following this was a note perfect version of "Tomorrow" from "Annie".

Rosie Hudson then delivered another excellent monologue all about a cat who warned its' owner that they were being poisoned by the cat for monetary reasons, except the cat's mode of poisoning was by chocolate! I don't know if this is a monologue written for this show, but it was wonderfully delivered.

Later on we were treated to another monologue called "Smile" by Hemani Kader, which led  the way to another ensemble piece, sung by The Inters of "You're Never Fully Dressed Without A Smile" from "Annie".

Closing the afternoon showcase everyone appeared on stage to "Spread the Love Around" from "Sister Act" and a lovely closer of Meghan Trainor's "Better When I'm Dancing".

The Inters are split into three sections and they are....

Inters 1: Chloe Davey, Holly Fraser, Erin O'Regan, Emily Taylor, Freya Shane, Saveliy Bibicev, Gracie Horner and Hattie Horner.

Inters 2: Sophie Brown, Hattie Buxey, Lottie Buxey, Ruby Foreman, Zara Halse, Eliza Harrison, Kiera Hicken, Rosie Hudson, Willow Hunter, Lalita Kader, Atia Morrell, Rory O'Regan, Jake S, Freya Sankey, Clara Wheldon, Lyla Wilkinson and Dahliya Williams.

Inters 3: Isla Crawford, Tessa Gibbon, Jessica Griffiths, Hallie Gregory, Freya Holmes, Martha Houghton, Karin Hurst, Hemani Kader, Grace Moroziuk, Erin P, Caitlin-Rose Robinson, Phoebe Searson, Etta Stevens, Dillon Taylor, Holly Towey, Honor Wilkie, Martha Wilson, Edward Young and Harry Keiller.

The Minis and Juniors are Savannah, Francesca, Marina, Malaika, Otis, Aska, Verada, Pasha, Frankie, Hettie, Grace, Cora-Mae, Ruby, Bea and Mila. All deliver a massive dose of cuteness!

The tutors are Liam Petruccio-Hall (Drama), Bethany Wear (Dance/Ballet), Sophie Petruccio-Hall (Technique), Maddie Pritchard (Tap) and Tilly Wishart and Laura Ellis (Minis/Juniors/Singing).

Technical manager was Nigel Newton, the Lighting Design is by Tom Mowat and the Sound Design is by Rob Kettridge and SM and Sound 2 by Bronwen Webster. The show was supported by College Street Technical Services CIC.

Creative Director is Amanda Hall, Assistant Creative Director is Liam Petruccio-Hall and Administrator/Costumes by Sophie Petruccio-Hall.

The staging, as with yesterday's showcase, was slick and tight and a very varied showcase which really highlighted the quality of the choreography, and the half a dozen lads were a match for the ladies. I was really impressed with Harry Keiller who you could tell has a flair for dance, and as Justin Timberlake sang, he has the "feeling in his bones, it goes electric wavey".

Another thing that I noticed was the friendship this group have. From the very youngest to the Inters, I spotted several of them helping each other and pointing them in the direction they needed to go on stage. Spotlight have obviously taught this group not only how to perform, sing, act and dance, but life skills along the way.