“Seussical – The Musical” by Greasepaint Productions
Loughborough Town Hall

This production was only the second time that I have seen this musical, the first being performed by a younger theatre group.

The Cat in the Hat tells the story of Horton, an elephant who discovers a speck of dust containing Whos, including Jojo, a Who child sent off to military school for thinking too many "thinks." Horton faces a double challenge--not only must he protect the Whos from a world of naysayers and dangers, but he must also guard an abandoned egg, left to his care by the irresponsible Mayzie La Bird.

Although Horton faces ridicule, danger, kidnapping, and a trial, the intrepid Gertrude McFuzz never loses faith in him. The powers of friendship, loyalty, family, and community are challenged and emerge triumphant.

Now, that's the story and I was thinking on the bus ride back from Loughborough that this review would either be a very short one, or a very long one. Well, I never have done short!

I was thinking of a seven letter word, maybe a ten letter word that would describe tonight. "Perfect" or "Perfection"? I can't make up my mind.

I have had the pleasure of seeing some pretty amazing pieces of theatre of late but this has to be my favourite of the year so far, no disrespect to any of the other amazing shows I've seen this year. It touched every base and ticked all my boxes. Let me tell you why......

From start to finish this is the most colourful of musicals I've seen. I've seen less impressive and colourful light shows in nightclubs. It is an explosion of colour. A 100% success for Lighting Designer James Cladingboel.

It's a children's story that will keep any age transfixed to that stage. I at times found my jaw dropping open like a child confronted by all their favourite sweets in a candy shop, and discovering everything was free.

There's fluorescent under water sea creatures in the sea scenes, pole walkers, roller skating, lighting effects that made the stairs on stage seem to wobble, actors coming in from all directions, dry ice,incredible costumes, wigs and make up, non-stop songs, laugh out loud comedy, water pistol fun, shadow play. I did notice one thing though that was missing; a kitchen sink. Come on, this musical has everything.

This is one hell of an energetic show and not least where the dancing is concerned. This cast must lose pounds every night from the amazing choreography by Kat Pledger. There are all styles of dance and I loved the jive sequence where the kicks and flicks were so sharp you could have sliced your bread with them. Oh and then there's the Latin section, and with those costumes. As one dance expert would say A MAY ZING dahlings!

The ensemble during these choreographed pieces were out of this world; I really have been to heaven and back tonight, not just Loughborough!

The orchestra, under the musical direction of James Stevens was just the finest I've heard, and so many musical styles, they were on the go all night, so you can only imagine how hard they worked. Plus the sound quality was perfect thanks to Rob Temperton.

This size of musical, I can only imagine is not the easiest job in the world for the Director, but Liam Patrick absolutely excelled himself. A mammoth task for one so young.

The set design was absolutely stunning, as well as quite complex from where I sat. Credit goes to Steve Pledger, Ash Moulton and Duncan Gadsby.

With all of these bodies and various set changes going on, there are a pair of unsung heroes back stage in the guises of the stage managers, Chris Marshall and Lyndsey Bloomfield.

And of course not forgetting the Production manager, James Nelson.

Gareth Wynne (Horton the Elephant), Jonny Painting (The Cat In The Hat), Sophie Draycott (Gertrude McFuzz), Lucy Woodcock-Tarry (Mayzie LaBird),Emma Healey, Alix Stevens and Hannah Wolden (Bird Girls),Jade Waltham(General Genghis Kahn Scmitz) and Ian Dean (Vlad Vladikoff) all just amazing and thoroughly entertaining.

Toni Brattle ( The Sour Kangaroo) has a wonderful voice which really made me sit up and listen and Layla (Baby Kangaroo) in last night's production was mega cute and has loads of sass about her. Reya also plays Baby Kangaroo in alternate shows.

There are also two young actors playing Jojo. Poppy and Theo. I saw Theo on Thursday night and WOW! what confidence he has and does not seem at all phased by being on stage with these seasoned actors, in fact none of the kids in the show do, they just get on with it in a very professional manner. You'd be fooled into thinking these youngsters are flown in from a London stage school they are that good.

The mischievous Wickersham Brothers are played by Joe Harrison, Ollie Lewin,Scött Tomkins and Bethany Brotherhood. They are the bad boys of this musical with bomber jackets and chunky gold chains with some cool dance moves. just as well they are all excellent dancers!

Mr and Mrs Mayor are played by Liam Patrick and Lottie Heimes respectively.

It was great for everyone who stayed in the auditorium in the interval as they were entertained by The Cat (Jonny Painting) who took selfies with the kids and generally messed around with the audience, climbing over seats, just like his character's name sake. This is the sort of thing that keeps the younger members of the audience coming back for more and encourages their love for theatre.

Even after the show, the cast were in the theatre foyer to meet the kids, and adults and have more photos taken and to chat with them. I can guarantee that there were many young kids who go home very happy and tell all of their friends about the night they had at the theatre.

If ever there was a cure of the blues, then this show is that. If the NHS could prescribe a medicine for feeling down, then this production would cure all in just two hours flat.

It's just utter fun at breakneck speed. I should really apologise to anyone sat right behind me though because when I rose to give the cast a standing ovation - which they richly deserved - I then remained on my feet as the cast then sang a closing number, clapping away, only to realise that only one other person was doing the same thing. I was so lost in this magical show and a production that is worthy of any professional West End version.

You do need to book your tickets for this. DO NOT LET THIS PRODUCTION PASS YOU BY!!!! And if you feel that maybe I have gone a little bit over the top, go see the show and prove me wrong.

“Seussical The Musical” is at Loughborough Town Hall until Saturday 18 May.

“Vicar Of Dibley” by Beeston Players
Round Hill School Beeston

This stage play by Ian Gower and Paul carpenter has been adapted from the original TV series by Richard Curtis and Paul Mayhew-Archer, this is a selection of scenes from the TV programme segued together, starting from Geraldine's arrival to her relocation to Liverpool.

Being a massive fan of the TV series, I instantly recognised the scenes and found myself reciting the lines in my head as they were being played out before my eyes.

We even became guests at Alice and Hugo's wedding using the gap between the sets of seats as the church aisle.

Nicola Adkin (Geraldine Granger) really channelled Dawn French, complete with Geraldine's wig, and even sounded a bit like Dawn French.

Sue Frost (Alice Tinker) was joyful to watch as the lovelorn puppy-dog of a vester, lusting after Hugo.Emma Chambers, who played Tinker in the BBC sit com was always one of my favourites wither naive and exuberant disposition, and Sue captured these qualities wonderfully. And I loved the fact that the audience showed signs of disapproval when David Horton's character berated her to Hugo.

Paul Langston (David Horton) as with the other actors, really got under the skin of the characters and while not looking similar to the TV character, you would have been able to match the recognisable characters. Wonderfully up himself, Horton not Paul, and a lovely softening of the character towards the end of the play.

Gary Frost (Hugo Horton) matched the soppiness of Hugo Horton perfectly and who else would be able to play opposite Sue as Alice but Gary?

Ian Greatorex (Frank Pickle), complete with Frank Pickle's trademark bow-tie is another who you'd recognise from the mannerisms and speech to be Frank.

Tom Jenkins (Owen Newitt) had his share of comic lines along with many un-PC "caveman" comments which again teased intakes of breath from some of the audience, but all delivered in the best possible taste.

Kevin Fairbrother (Jim Trott) did actually pay quite a resemblance to the TV character and I think this was because Kevin captured the physicality of the TV character as well as that trademark "no no no no no no no no YES" impediment that we all love with Jim.

The hair and make up for Jim also created the Jim image - or Jimage - and was the work of Maxine Taylor.

Alison Willams (Letitia Cropley) - and up to a couple of weeks ago I didn't realise that this character's name was Letitia. The trademark culinary concoctions were evident throughout, as well as the trademark hats that Letitia wore.

Karen Livesey, who also produced the show, and Lloyd Delderfield made cameos as the two schoolkids, Katie and Archie, as well as Sarah Murray close to the end of the play.

Directed by Lloyd Delderfield, not a foot was placed wrong. The segues of the scenes done brilliantly by a change of organ music, which I loved, I must get that album for my collection, as well as simple black outs and fade ups. Well paced, simple but very effective changes.

I mentioned the lighting and this was the work of Fiona Maxwell and Jazz Collins. Going hand in hand with the lighting design is the sound design and effects, courtesy of Sam Williams.

A nice split set with Geraldine's front room and the Church Hall, where all the meetings took place, cleverly designed by Sam Williams and Mark Perez.

I've been enjoying the Beeston Players for a few years now but I've not heard the same audience reaction that I experienced at the close of this show before. The final bows were greeted with well deserved enthusiastic clapping and cheering.

From the first few minutes of the play's opening scenes, a smile broke on my face which did not leave until I left the building.

The front of house staff are as welcoming and friendly as ever.

“The Vicar Of Dibley” is at Round Hill School in Beeston until Saturday 18 May’s matinee performance.

“Forgetfulness Therapy” by Emma Collingwood
Nottingham New Theatre

Have you ever wanted to skip the mourning process, well in this play, technology has made that possible. In fact via Forgetfulness Therapy you can simply forget anyone and anything.

A glimpse into the future or some dark secret right now? Who can tell? This story gives nothing away as to when it is set but leaves this for the watcher to decide.

This could be a frightening option or could give release from a traumatic past event, and I can see the pros and cons for this therapy. Should this kind of therapy ever exist, or exists!

Dot is trying to eradicate all memories of her late husband, Luca and ropes in a reluctant sister-in-law, Margot, but Margot doesn’t buy into this and wants to make sure that Dot remembers Luca forever, But are there other reasons as to why Dot wants to forget her late husband? And as the story unfolds, we see there is also a darker reason as to why Margot is so against Dot receiving this therapy.

A new piece of theatre,and I love it when I don't know where a story is going, but in this story, with a series of flashback scenes, you discover the whole story.

It's very modern sci-fi with this possible process and also the idea of robot companion dating via an app blur the edges of the present and the future.

Esther Townsend plays Dot, and you can almost see regret in her character's eyes but is adamant that she is going to carry on with this therapy. There was a really sweet section where Dot and Luca were kids which then led to their later meeting at a party, and subsequently rolled into their wedding dance, Etta James' "At Last", choreographed by Caitlin Clancy.

Sofia Bassani is Margot, Dot's sister-in-law, and an equally interesting character, especially when we discover the reason why Margot is so against Dot's therapy.

Laura Finckh plays Dr Walshe who is the doctor who is providing this forgetfulness therapy. A very convincing character who succeeds with empathy and also a wry line in comedy.

Nicholas Landon plays Luca, the deceased husband. His story is told in the flashbacks, but he also has some secrets that would have died with him if not for one person.......

Mathilda, who is Dot's mother and the key to unravelling the past of the three family members. Mathilda is played by Natalia Gonzalez-Morales and this is a powerful debut for Natalia with NNT.

Co-Directed by Emma Collingwood and Sally Nesbitt, and produced by Emily Grote, I loved how they kept the big reveal as such a jaw dropping secret. Something I for one did not see coming at all. You knew that something was not quite all together but not knowing what the missing link was, made this one of those bolt from the blue moments.

Joe Strickland's Lighting Design separated the scenes simply but effectively and also gave a sci-fi feel to the end scene.

A good sound design by Martin Tomlinson created that world outside the performing space, but there were just a couple of slightly late sound cues but nothing to worry about.

I always watch for little details and so many local theatre and professional productions, for me, often fall down on realism. Just small things like having a meal and there being no food on the plate or having a drink and no drink in the glass. I was so chuffed to see that when hot drinks were made, kettles were boiled and an actual drink was made, with real tea. Little things make all the difference so thanks for looking after the little things which added to the realism of this piece of theatre.

I'm so glad that I was able to get to see this play on it's last night. A night that found the New Theatre turning away people wanting to see it due to it being sold out.

“Educating Rita” by Willy Russell
Nottingham Theatre Royal

Willy Russell’s 1980 play was made famous by the 1983 film adaptation starring Sir Michael Caine and Julie Walters, and tells the story of 26-year old hairdresser Rita and her Open University tutor Frank.

Frank has practically given up on his ambition to be a poet and he has grown bored by teaching undergraduate English students, often turning to the bottle for solace. Rita walks through Frank’s door proclaiming she wants to know ‘eveythin’ because she wants to better her life and get an education.

The play takes place entirely in Frank’s university office and the story unfolds across a series of tutorials that Frank gives to Rita, but by the end of the play both characters learn as much from each other.

Willy Russell, in my opinion, is one of the finest modern playwrights ever. His plays have amazing observations and are written for the man, and woman, in the street. Maybe that should be the other way around as Russell writes the female character so very well, as shown in this play.

Just think of Mrs Johnstone in "Blood Brothers", "Shirley Valentine" and the girls in "Stags and Hens" to name just three other of his wonderful plays with strong female characters.

There's a hell of a lot of comedy and gorgeously funny one line jokes in "Educating Rita" and then all of a sudden, just as you're lulled into that comedy corner, BANG! the sucker punch to the stomach that wakes you up and makes you sit up and take more notice, this from both characters. This is no one sided play.

Stephen Tompkinson (Frank) shows what a brilliant character actor he is. I have been a fan of Tompkinson's for an absolute age, and seeing him perform on stage just builds on that adoration for this man's acting

Jessica Johnson (Rita) is a new name to me but she is an actor that I want to see more of. She is funny, she has power and has a presence on stage that attracts you to her like a magnet.

Being just a two actor show, there is a lot asked of both actors and they deliver a lot. Almost like being a fly on the University office wall.

I've seen this play before on stage and I found myself just hanging on to their every word and action, which is also part to do with Russell's amazing writing, as well as the natural performances given by this pair of actors.

Directed by Max Roberts and a set design, by Patrick Connellan, that had my eyes roaming all over. I love books, so this set was heavenly to me.

There was never any doubt in my mind that I was going to love this production, and I left the theatre feeling elation at having experienced such a magical piece of British theatre.

The play shows that everyone has a choice, but you do not need to be educated to choose to see this play.

“Educating Rita” is at the Nottingham Theatre Royal until Saturday 18 May

“The Memory Of Water” by Shelagh Stephenson
Nottingham Playhouse

Three estranged sisters arrive at their childhood home on the eve of their mother’s funeral. They are not as close as they once were and argue and joke as they sort through their mother’s belongings and they gradually discuss the realities of their own adult lives.

But when they move on to childhood memories, it’s then that they discover they remember things differently, leading to a series of dramatic and devastating revelations, all watched over by the ghost of the mother they are preparing to say goodbye to..

Theresa, owner of an alternative therapy business, is angry that she was left to care for their dying mother. Mary, a doctor, is still struggling with a deep loss from her past. Catherine seeks attention through a succession of short-term partners.

For me, I found this play to be one of those "marmite" plays and I was half and half. There were some lovely comic lines in the script but there were also times that seem to drag for me. Now whether this is due to reflect those awkward silences within the estranged siblings I'm not sure but I just felt that i was waiting for the next line, the next action, especially in the first half of the play.

Directed by Adele Thomas, she did deliver, along with her cast, three very different characters in the sisters. The pain of losing their Mother and the relationships they all had with their Mother was an interesting contrast.

One scene that really stood out for me was when they were sorting out Vi's clothes form the wardrobe and all three sisters were almost like children again as they chose outfits from their Mother's wardrobe to wear. It was if they were reverting back to being little girls raiding their Mother's dressing up wardrobe.

Set Design was by Laura Hopkins and again I found myself asking several questions. I couldn't see the point in the revolving stage, especially as it was quite noisy when it revolved.

I did get the idea of the highly reflective floor and ceiling, well I think I did, it being there to represent the reflection of water,as with a lake. Well that was what I thought the reason for the reflective surfaces. It certainly wasn't the sort of room that a cottage

would have normally. I also wasn't 100% sure of the reality of the draped walls with no hard portals of entry and exit. Nothing major just a couple of queries I found running through my mind throughout.

What i did love though was the colour and the pastels in the decoration of the room, it showed that this room was a very feminine room, and also drove home the overall feminine feel of the story, relationships and focus of the story.

Sound by Elena Pena, and here again, most of it I loved, especially trying to spot the music behind the effects added to the music. The sound effects were well utilised.

Lighting Design by Amy Mae created that very feminine feel of the play.

Juliet Cowan (Teresa) is one of the family members that is always left to arrange everything, or at least that is how she feels.

Beth Cordingly (Mary) the externally tough one of the family who we discover has a soft underbelly. All three sisters have some great lines and Mary is the sarcastic one of the sisters. Mary has a big secret which we discover later in the play and we see the vulnerable side of her character.

Jasmine Jones (Catherine), has to be my favourite of the sisters.She is like a firework always ready to explode into an exhibition of colour. She is brash, says what she means with no filters, and I love her dress sense, especially those boots! Like Mary, she wears this armour but when she feels pain, you experience it with her.

Katy Stephens (Vi) is the deceased Mother and appears a few times throughout the play to talk to Mary, or are we just seeing the image that Mary is conjuring up for us. You can see where her daughters get their attitude, style and character from with Vi.

Stewart Wright (Frank) is Theresa's over-worked husband. He comes across as grumpy but you can understand why he is like this as his back story is revealed.

Nicholas Bailey (Mike) is Mary's married lover, who at the start seems to be obsessed with sex, especially in the dead Mother's bed. He seems to expect this, which might come with the territory of his job; he is both a GP and a TV doctor.

It's an interesting play for many reasons, none more so than being about female relationships.The relationship between the three sisters, individually and together, as well as the separate relationships that the sisters had with their Mother. The secrets that are unearthed whenever a gathering for grief and support is formed, as well as the greed for possession.

It's a funny (ha ha, not peculiar) play but there are also many scenes that will leave you, as an outsider to this family, feeling a little useless and awkward, which I am hoping is the way that Stephenson had wanted us to feel.

“The Memory Of Water” is at the Nottingham Playhouse until Saturday 18 May

“Mack & Mabel” by Carlton Operatic Society
Nottingham Theatre Royal

“Mack & Mabel” involves the stormy but romantic relationship between Hollywood silent movie director Mack Sennett and Mabel Normand, transformed from an artist's model to a waitress from Flatbush, Brooklyn, who became one of his biggest stars.

Sennet returns to his old studio in 1938 and in a series of flashbacks, relates the glory days of Keystone Studios from 1911, when he discovered Normand and cast her in dozens of his early "two-reelers", through his creation of Sennett's Bathing Beauties and the Keystone Cops to Mabel's death in 1930.

There are some wonderful musical moments in this show."Movies Were Movies", “Look What Happened To Mabel”, the wonderfully choreographed “Tap Your Troubles Away” and the song that most people will know from the show “I Won’t Send Roses”, and the arrangements of the score is rich and lush.

Graham Ward (Mack Sennett),Sarah Millington (Mabel Normand), Ross Lowe (William Desmond Taylor), Patrick McChrystal (Frank Wyman),Abby Wells (Lottie Ames), Alison Sheppard(Mae Busch), Joseph Jk Smith (Fatty Arbuckle), Rob Holsman (Mr Baumann), Guy Molyneux (Mr Kessell), Helen Tunnicliff (Miss Jones), Celine McKeown (Ella), Jennifer Chatten (Iris), Sean Goodwin (Charlie Chaplin), Sam Turpin (Freddie) and Ray Samuel Mcleod (Andy) were the main players.

Other featured actors were Ross Lowe (William Desmond Taylor), Rebekah Daley (Mary Miles Minter), Stacey Ireson (the Writer), Adam Collishaw, Sarah Hill and Jenny Scott (Keystone Cops), Mike Bulford (Serge & Eddie The watchman) and Frank Ellis, Stacey Ireson, Sam Turpin and Charlotte E Barrington played the friends of William Desmond Taylor.

Not only did the above play the above roles but also doubled up for the ensemble, the tappers, Bathing Beauties, Keystone Kops and in other scenes. This goes to show how hard this cast worked throughout the evening.

I'm not going to choose any particular actor for any recognition over another because I just would not be able to do so, As a cast, they all were united in presenting their usual professional best. How could I possibly choose one over anyone else.

That said I must mention the attention to character and detail of the physicality of Chaplin, as mentioned previously portrayed by Sean Goodwin.

Director Sarah Walker-Smith has researched the history of Sennet's films and has added a few little extras with some of the characters which has really given that little spark to an already wonderful musical.

I loved the "movie" sections with the Keystone Kops, Chaplin, et al, and took me back to the days of my childhood when my Father used to show the films of the silent era including Chaplin, the Keystones, Buster Keaton and Laurel & Hardy on one of those old projectors which played the reel to reel films, screened on to a white sheet pinned to the living room wall.

What you will also enjoy, if you're a fan of this cinematic era is the black and white silent movie that Carlton have made, and is played out in full in the interval.

What I also loved, and was really quite emotive was the ending with all of the red rose petals - I won't give it away, because it's a lovely piece of irony with one of the songs that Sennet sings to Mabel throughout the musical.Thank you, that was a lovely way to close the show.

This is a song and dance show and both of these were of the highest quality. The choreography, by Rachael Rees was worthy of any Hollywood film, full of glamour, glitz and spectacle, and that tap routine was spectapular.

Christopher Rees was in charge of the Musical Direction, and there really are no words to describe the beauty of the arrangements and the incredible lush sounds, especially from the string section. Like listening to a wave of music which has swept you away to the land of lush.

The Lighting was of the usual high standard that I have come to expect from Carlton Operatic. Design by Tom Mowat.

The Sound was also of the highest standard and well balanced. designed by Rob Kettridge and the Production Sound by Rob Temperton.

The sets are wonderful, again as always, and include the Kops Police car, a boat and a train. They also range from the backstage rehearsal area of Sennett Studios to a full blown glittery stage for the big tap scene.

Many many more people are also involved in this show, and all local theatre productions, who work tirelessly behind the scenes and who I would love to mention, but my fingers would be dropping off by the end, but they all do an incredible job and deserve to be acknowledged.

Great singing, great acting, great music, great shame if you miss this one!

And can I also say what a lovely front of house crew Carlton Operatic Society have laid on to assist your every need and to make your visit to their show the most welcoming and enjoyable experience.

“Mack & Mabel” is at the Nottingham Theatre Royal until Saturday 11 May.

Photographs by Gavin Mawditt.

“Shadowlands” by William Nichoilson
Lace Market Theatre

The story follows author C.S. Lewis as he meets an American poet and Lewis fan, Joy Gresham, whom he befriends and eventually marries. The story also deals with his struggle with personal pain and grief: Lewis preaches that one should endure suffering with patience, but finds that the simple answers he had preached no longer apply when Joy becomes afflicted with cancer.

I deliberately didn't read up on this play, watch the TV play or take a look at the film because I knew that this would be quite an emotional experience; and I was not wrong.

Don't get me wrong there is an enormous amount of humour in this play, but when it comes to the emotional side, it really hits the mark. Something that we can praise Director Graeme Jennings for, for getting these emotional performances from his cast of actors

Nicholas Hedges plays C.S. Lewis and right from the get go, he entered the upstairs performing space and instantly connected with the up close audience, looking us in the eye when addressing us. Nicholas's final performance with Gresham's son, Douglas, was emotional enough to bring the room to complete silence.

Major W.H. “Warnie” Lewis is played by Fraser Wanless, and I am sure that I have mentioned this before, but Fraser is one of those character actors who can manage to come across different every time he performs. "Warnie" is Jack's elder brother who shares a place, and their two character's chemistry, and their synchronicity was quite magical. Just watch the sections where they are taking their morning tea!

Laura Chambers plays Joy Gresham, and I don't think I've seen Laura before. If I have had the pleasure, I apologise, but I will now not forget her for this role. Her accent was placed perfectly as the Jew based in New York. As I said I had no prior knowledge of the play or story, but I placed Joy's geographical position just by that accent. A really emotional performance, but Laura also provided her share of the comedy, balancing the character wonderfully.

Yunus Smith (Douglas) is a real find. Not only does he have that "sponge" learning where you can soak everything up, he looks natural, as does his Brooklyn accent. Again, a nice range of emotions, from the excitable, but unimpressed first meeting of Lewis, to the scene with Lewis in Act Two.

Daniel Bryant (Professor Christopher Riley) is also a joy to watch, and I loved the reaction he received from the audience to some of his comments about the fairer sex!

Tom Rostron (Rev Harry Harrington) completed the foursome drinking group, and when these four got together in the local hostelry, you knew there would be fun or fireworks.

Marcus Wakely (Priest) appears at the end to marry Lewis and Gresham.

Katie Buckingham plays the Barmaid, Waitress, Registrar and the Doctor, and, while I enjoyed all the characters, I especially loved her part of the registrar. I won't say why, but when you see this role, you will know why.

Directed by Graeme Jennings, assisted by Joseph Taylor, the pace was perfect, and as I mentioned before, the pathos and comedy were well balanced.

Lighting Design by Phil Anthony and Sound and Projection Design by Gareth Morris, these fields really were done so well and added that certain feel and look to this piece of theatre, both setting the scenes and positioning us in the timeline of events throughout this story.

I must also mention the stage management for this play. Being in the upstairs performing space, which anyone who has seen theatre here, will know that there is a certain amount of intrusion with stage management, it can't be helped, but it was almost a silently choreographed affair with the management of the props. So a mention to both Arnd Korn and Sam Howitt.

"Shadowlands" is a powerful and emotional piece of theatre, and while sometimes after seeing a play on stage, I will take a look at the film, not in this case, because I feel it won't be as good as what I saw her at the Lace Market Theatre.

“Shadowlands” is at the Nottingham Lace Market Theatre until Saturday 11 May but the only way you’ll get chance of a ticket is if there are any on the day cancellations as this is another completely sold out production.And I know why.