“Godspell” by West Bridgford Operatic Society
West Bridgford Baptist Church, Nottingham.

This immensely successful rock opera needs little introduction, but when it was first produced on Broadway in 1971 it broke new ground in its stage treatment of the historical Jesus Christ. Based on the Gospel according to St Matthew it deals with the last days of Jesus, and includes dramatized versions of several well-known parables.

And yet it is something more - a religious experience, a demonstration of joy, and a celebration of the family of man. The cast use many well-known theatrical devices, pantomime vaudeville and varied musical styles leading up to the Last Supper and Crucifixtion

This musical has always been a lesser performed piece of theatre as it lives in the shadow of “Jesus Christ Superstar”, so I, for one, is very pleased to see this being performed in Nottinghamshire. It seems that I’m not the only one either as Friday was sold out.

I loved the way that the story is told in an almost "rehearsal-mode" way with Jesus as the Director of the piece. He throws in seemingly ad libbed sections and arranges the followers and places them on stage. It comes across as a rehearsal but, please do not take this as a negative as I'm not sure if it is supposed to be like that, but if it is, it worked really well for me.It looked like a really relaxed and natural get together.

Having never seen this play performed before, this is all new, so I have nothing to compare this performance to, but what an introduction to a wonderful theatre experience, and that I can thank Director Meng Khaw for, who was also Musical Director for this musical. Also loved the modern touches injected into the play. See if you can spot them as they enhanced the natural comedy of thye script.

Performing this piece in West Bridgford Baptist Church, gave the play a special feel as you felt you were seeing Jesus' home inside God's home. Very atmospheric.

John Gill plays Jesus, and a completely different Jesus in a rock opera than I had seen before. Excitable like a puppy with a new toy in the first Act, but in the second Act, we saw the more mature side of the man as he learns of his betrayal, and while the Crucifixion isn't the big feature as per "Jesus Christ Superstar" it is a very poignant moment. J.J.'s version of "Beautiful City" was stripped back so you could hear the beautiful lyrics to the song and so you could understand the meaning of the song. Uncluttered by lush arrangements, the simplicity and J.J.'s voice was a spine tingler.

This production boasts quite a big cast, 32 in fact, spanning quite an age range, and I love it when a musical can encompass all ages, as well as varied vocal styles and ranges as well. And when all of these styles and ranges come together, as they did in the second act, the sound was heavenly, making the venue seem even more appropriate.

I'm not going to single anyone out because everyone gets featured,and there are some lovely solo, duets and featured pieces which really elevate this musical throughout.

It's always difficult with local theatre productions in performance spaces like this to get the clarity and projection, which is why several of the principals passed around radio mics, which meant we could hear clearly the main characters but some of the lesser characters were sometimes lost. Nothing can be done about this and I know that if the funding had been there, all would have had the kind of stage mic that J.J. had.

That said, I thought the sound for J.J.'s mic was not balanced right and possibly needed a bit more treble as it sounded a little muggy compared with the hand held mics.

The soundtrack is so varied, from gospel to pop to rap to vaudevillian. For me there were several highlights. "Prepare Ye" took me to church in an instant. the gorgeous "Day By Day" sung by Sarah Shields blended the gospel with the pop. The fun soft shoe shuffle of "All For The Best" by J.J. and Tom Parry, The beautiful folky duet "By My Side" by Sarah Harley and Lee Horne with a lovely guitar accompaniment from Orla O Reilly. The gorgeous uplifting happy clappy "We Beseech thee" by Alex Grosse and the cast, all made for a very memorable and enjoyable musical experience.

WBOS also put on an interval treat as well with samosas - meaty and veggie - as well as some delicious refreshments, so please take advantage of these as they are a taste bud treat at very reasonable prices.

“Godspell” will be performed at West Bridgford Baptist Church, Nottingham until Saturday 15 June with a matinee.

“One Night In Miami”
Nottingham Playhouse

“One Night in Miami” is the debut play written by Kemp Powers. It is a fictional account of a real night, 25 February 1964. It is a fictional account of a real night, 25 February 1964. It pinpoints a pivotal moment in the lives of four black American icons whose potential, thoughts and actions develop and show in the 90 minute, one-act play.

The scenario presents a big challenge - to cast 22 year old, newly crowned world boxing champion Cassius Clay as he transforms into Muhammad Ali, controversial Nation of Islam leader / mentor Malcolm X, influential singer-songwriter and record producer Sam Cooke and star NFL footballer Jim Brown. The men, friends in real life, celebrate Clay's surprise title win over Sonny Liston in a Miami hotel room, watched over by Nation of Islam security.

Conor Glean plays Clay, handsome, self confident but with a hint of vulnerability which we see a glimpse of when he is in the company of his friends. We also see that he can be easily led,especially by Malcolm X religion wise and Sam Cooke when it comes to alcohol and having fun. see just a normal 22 year old, but this one with the world at his feet.

Matt Henry is Sam Cooke, and we get to hear those wonderful soul songs that Cooke gave us. Matt's silky vocals bring back those wonderful Sam Cooke vocals, especially in the final song performed, "A Change Is Gonna Come" - a real spine tingler.

Christopher Colquhoun plays Malcom X, and he looks so much like the man himself. We also get to see that Malcolm wasn't always the confident orator he is known as, but also the power that he had over others, and the danger that this power created which led to the protection he had from the two security guards.

Miles Yekinni is Jim Brown, the one character in this play that I didn't know anything about, so this was a history lesson in this sports star for me.

The two security guards are played by Nottingham born actor André Squire (Kareem) and Oseloka Obi (Jamaal).

Directed by Matthew Xia. He gave us a fly on the wall experience of these four iconic black men, all heroes in their respective fields.

When you look at what is happening in America today, you realise just how well timed this revival is, as well as the struggle they, and the black community in the 1960's had. Has that struggle changed so much?

There is a lovely scene where Malcolm X is having a bit of a go at Sam Cooke, and Cooke comes back to show that how he, as an artist has reversed the white supremacy by allowing the Rolling Stones to record a song written by Bobby Womack. This meant that as the record sold more, white artists and the young white girls who bought the Stones' record, were lining Womack's and Cooke's pockets. Something you'd not think of, but so so true.

Designer Grace Smart has created a great set. The modest apartment hired for Clay and his friends is situated centrally which also gives the feel of the almost claustrophobic feel that these four men must have been feeling, trying to hide away form the rest of the world, just so they can have some quality time to celebrate as friends, like normal people would.

Lighting Designer is Ciarán Cunningham and I love the colourful back drop, complete with palm tree. The lighting effects for the paparazzi flash bulbs gave the impression of the press mob that assembled, which Clay dutifully obliged with his showman style comments.

Composer/Sound Designer is Max Pappenheim. Responsible for the live music from Henry and also the subtle soundscape which just seemed so natural, you almost wouldn't realise that it was there.

Who knows what was really talked about on that night by these four, but this play, not only provides a probable slice of history, but also highlights many subjects from race, politics and social responsibility to being comfortable within their own circle, and being able to talk freely, something that at that time was not something that could be taken for granted.

Fact or fiction, this play had me hanging on to every word, and like the words of that emotional song from Cooke, one day a change is gonna come; the question is... when?

“One Night In Miami” is at the Nottingham Playhouse until Saturday 22 June

“The Bodyguard”
Nottingham Royal Concert Hall

I’m sure that there aren’t many people who have not seen the film of the same name which starred Whitney Houston and Kevin Costner, but the story is basically the same.

Former Secret Service agent turned bodyguard, Frank Farmer, is hired to protect superstar Rachel Marron from an unknown stalker. Each expects to be in charge – what they don’t expect is to fall in love.

The musical is packed with great Whitney Houston songs like “I Wanna Dance With Somebody”, “The Greatest Love Of All”, “Queen Of the Night”, “One Moment In Time”, “So Emotional”, “Saving All My Love For You” and of course, the song we associate with the film, “I Will Always Love You” plus so many more Whitney classics.

First off let me say that no one sings Whitney like Whitney, but both Alexandra Burke (Rachel Marron) and Micha Richardson (Nicki Marron) came very close, especially, may I say in the ballads. You can't help but get the tingles when Alexandra sang "I Will Always Love You", "I Have Nothing" and "Run To You"

I saw this show the last time it came to Nottingham and it’s a cross between a big West End musical – which it is – and a concert, so this show should keep musical theatre as well as fans of both Whitney and Alexandra.

Benoit Marechal (Frank Farmer) is a very talented all rounder. He's a dancer, a singer ( don't let his version of "I Will Always Love You" fool you), a model and created a musical based on Charles Aznavour. In this musical, he is the ideal leading man, lusted after by both Rachel and Nikki Marron, charismatic to the last.

Phil Atkinson (The Stalker) brought the menace to the show, and I imagine made a few ladies' knees go a bit weak as well, especially from the reaction he got when he appeared topless on stage.

Fletcher Marron, Rachel's young son, absolutely stole the stage with his singing and especially his dancing. Throughout the tour there are six young actors who play this young man, and if they are all as talented as this young man on Wednesday night, I can see long and successful futures for them all.

Directed by Thea Sharrock this show is a massive success, the pace is well measured and the music and light cues are split second to give the maximum effect.

Lighting Design by Mark Henderson and Sound Design by Richard Brooker made this musical seem like a full on concert in parts with the light show. When the "jump" factor the lighting cues made you sit up and take notice, and the wonderful slow motion section was incredibly exciting, highlighting the danger that Rachel was in, being in close proximity to her stalker.

Choreographed by Karen Bruce and, as I'd previously seen this musical before, I knew I was in for a treat, because this is West End choreography at its' best. Full on energy from the ensemble as well as Alexandra and the rest of the cast.An absolute treat for dance fans.

Michael Riley was the Musical Director, creating all of those wonderful Whitney classics.

To be honest, the first song "Queen Of the Night" was swamped by the volume and I had trouble hearing the lyrics and the scripted section within the song, but after that, someone must have turned the volume down a bit. It was still loud but the mix was better. I was sat in the tier, so I can only imagine that the people in the stalls at the front may have left with their ears ringing. That said, the ballads were beautifully produced and balanced.

What really made this show so classy for me though was the whole staging of the show. Props and scenes that seemed to slide in and out, Stage sectioning to focus on the smaller scene while the quick changes were being done in the darkened and shielded part of the stage and also the three way closure of the scenes - the two from the sides of the stage and then another that lowered from the top of the stage to diminish the vision to a small square which then vanished. Difficult to explain but a fabulous way to bring closure to a scene.

I wasn't a big fan of the film, but I love this musical version and would not tire of seeing this on stage. Not only is it presented so well, but it features the music of one of the greatest female singers ever. I will never get to experience Whitney live, but through this musical, I think I got as close as I ever will.

“The Bodyguard” is at the Nottingham Royal Concert Hall until Saturday 22 June but if you’re paying to see Alexandra Burke you may want to check the performance dates as Alexandra is not performing in all the shows in Nottingham.

“Mindgame” by Anthony Horowitz
Nottingham Theatre Royal

I’d seen this play before so I knew before hand what a brilliant piece of theatre this is. I also knew about the twists and turns that occur and, technically, what an interesting play this is. Needless to say, I couldn't wait to see this play again.

Mark Styler, a writer of "true crime" stories arrives at the Fairfields experimental hospital for the criminally insane, with the hope of interviewing serial killer Easterman for a new book.

He meets Dr. Farquhar, the hospital director, however things don't seem quite right. The doctor is reluctant to let Styler see Easterman, and encourages Styler to leave. Styler refuses with the excuse of a long car journey. In the end, he stays and Farquhar offers him dinner.

His assistant Nurse Paisley appears frightened, and is anxious. She tries to pass a note to Styler, but Farquhar burns it in the bin. Why is the doctor so reluctant to let Styler meet Easterman and why is Nurse Paisley so nervous around the doctor? Who is hiding what from who, or whom?

Andrew Ryan reprises his role as Styler, the writer and his uncertainty and fear he shows in Styler's face really does make you worry for him, but you don't know why you should be worried, Slowly though, it dawns on you just why he feels the way he does. Andrew is well known at the Nottingham Theatre Royal for his panto stints as Dame and for the Colin McIntyre Thriller Season, but if you've never seen Andrew in anything else, come and see what a powerful performance he gives in this thriller.

Michael Sherwin again plays Farquhar, and from shortly after his first appearance, you start to have doubts about Farquhar and if he really is who he seems to be. Not only does he make Styler feel uncomfortable, but he succeeds in making the audience feel the same way.

Angie Smith plays the Nurse, and Angie is the only new member of the cast from three years ago, but she fitted in well. I've seen Angie before so also knew that the addition was a good one.

Directed by Karen Henson, this woman knows how to create tension in the theatre and the twists still come as a jolt form the blue, even after seeing it before. The feeling of uncomfortable unease is so evident throughout, and that can only be achieved through experience in directing thrillers and of course picking a cast who is known to deliver.

The design is by Sarah Wynne Kordas, another woman who has so much experience in her field that as soon as you see her name on a playbill, you know that it's going to be good, and it was. Combined with the projected images, Liam Banks, the set really does play games with your mind. More than that I shall not say!

Two other names I know from other productions, are responsible for the lighting design - Michael Donoghue - and sound design - David Gilbrook; the latter will also play games with your mind, or may just send you mad. Go see it and you'll see what I mean.

Be prepared for nothing, or no one being quite what they first seem. Even the skeleton isn't quite what it first seems. It's one of the most stylish and exciting thrillers doing the rounds at the moment, so make sure you don't miss it.

“Mindgame” is at the Nottingham theatre Royal until Saturday 15 June.

“Eve and Adam” by Tara Anegada
Nottingham New Theatre

This is a new play, so there were no expectations from me as to what this was about.

We start at the beginning with the voice of God explaining that Eve was created first and then God made Adam from one of Eve's ribs and, quite reasonably confirmed that "man" was made from "wo man".

We then seem to come to the modern times with Adam and Eve in a passionate relationship, but then one night, Adam is visited by the snake from the Bible, well we all know what happened then.

Various scenarios are then played out from the first flushes of the relationship where the pair could not wait to see each other and when they got together, passionate sparks flew and sex was an integral part of their relationship. Throughout the play, and at various stages of the relationship, we re-visit the same scenarios and we see the diminishing ardour for each other. But then there are twists with viewpoints from both sides, initiated by the snake. Plus Adam has been a naughty boy!

I really must commend the three actors, Georgia Barnwell, Barney Hartwill and Francis Simmons for filling 105 minutes with edge of the seat drama. I for one, not knowing anything about the play was gripped as to what was to happen next and what the outcome was to be. 105 minutes is a long time for just three actors to keep the momentum and expectation at the rate that they did.

I must also commend Tara Anegada for her strong and gripping script as well as her Direction of the play, along with Co-Director Lillian Race and Producer Oscar Rigg and Assistant Producer, Alice Martin.

Creating the intensity and tension of this play also must be credited to the tech crew, Adam Frankland (Technical Director), Joe Stables (Lighting Design) and Tara Anegada's Sound Design. Assistant Sound designer was Alex Levy. The harsh blackouts and distortion to separate the scenes really creates an uncomfortable feeling, which I loved.

The set design, by Annie Clayton, hits you as soon as you walk into the performance space, with a large tree of knowledge seemingly growing in the room. It's definitely eye-catching.

I was fascinated by Rohan Rakhit role in this play as he is billed as the Sexual Theatre Designer. I must admit that I have never seen this role before mentioned in any production I've seen, but after seeing the play, I think I know what the role entailed.

I love new theatre and this one definitely ticked all the boxes for me. Anyone who has been involved in long term relationships will also recognise themselves, possibly, or someone else in Adam and Eve, or even Eve and Adam.

“Eve and Adam” is at the Nottingham New Theatre until Tuesday 11 June.

“Little Shop Of Horrors” by Musicality
Trent Building, Nottingham University

For the bums and misfits of Skid Row life is empty. But there’s a great, green hope on the horizon for Mushnik’s flower shop assistant Seymour Krelborn, in the form of a strange and interesting new plant species which shows massive potential.

Will Seymour’s growing fame win the heart of his co-worker, the sweet Audrey? Can they both break free and find happiness somewhere that’s green…? What has happened to Audrey’s sadistic dentist boyfriend and Mr Mushnik?

This is Musicality’s second show of the year and is a perfect example of what you can do without loads of scenery. Performed, almost in the round, and using all the available space within the room.

Directed by Rowena Fry and produced by Lucy Boardman, all strengths with the actors were well worked to, and this pacy musical was delivered with grow-bags of energy.

What also impressed me was the choreography of the mic passing. Performing with hand held mics is not the easiest, especially when there's singing and dancing, but this lot never missed a beat, and we caught every word.

James Thacker (Seymour) was really well cast as our shy hero, and with being so close to the action and the actors, you get the full power and tone of his voice, as well as his softer tones in songs like "Suddenly Seymour". I was also impressed with his speed in "Now (It's just the Gas)", the duet with Matt, which reminded me of the patter songs of Gilbert & Sullivan. I've seen James in several shows with Musicality, and this is his final show, but what a way to bow out

Elly Hassall (Audrey) also has a lovely voice with just enough vibrato in her songs. And it's nice to hear the role not, for once, performed in a higher-toned, dizzy blonde speaking voice. Her musical theatre experience really shines through in this role.

Tom Outhwaite (Mr Mushnik) gave us a really good Jewish accent, and he also gave us some lovely comic moments with his facial expressions. Among his highlights for me was his duet with James in "Mushnik and Son". This is also Tom's final show with Musicality,

Matt Talbot (Orin, the Dentist) epitomised everything I'd want from this role, loud, evil and slightly unhinged.

Lucy Avery (Audrey II) blew me away with that powerful voice of hers. I have also never seen a human as the plant, but adorned all in green, she made a refreshing change, especially with the Audrey II offshoots in Claire Wimbushand Hattie Rothwell-Inch providing the movement of the plant with some lovely choreographed pieces.

Carla Davison (Ronette), Millie MacLaurin (Chiffon) and Siska Yustina(Crystal) provided a lovely harmonious set of vocals and also helped to move the story on.

Also involved in the cast were Katie Monk, Maddy Telford and Andrew Whitaker in various roles throughout.

This one of the most fun musicals to watch, so I can only imagine that it's even more fun to perform. Looking at this cast, they certainly looked like they were having fun.

Musically Directed by Megan Smith, the five piece band created a more than adequate sound which was well balanced with the vocalists.

The soundtrack includes some well loved songs, "Somewhere That's Green", "Suddenly Seymour", "Dentist", "Skid Row/Downtown", "Call Back In The Morning" - which had echoes of "Christmas Bells" from "Rent" - and the finale of "Don't Feed The Plants" will all remain in your head, well after you've left the building.

The lighting, thanks to TEC PA and Lighting and Matthew Herbert and Annabel Jeffries worked well to separate the scenes with the full blackouts as well as creating that calming green glow for the shop and Audrey II.

I've already mentioned the choreography, so we need to give thanks to Sophie Mitchell who created an energetic set of dance routines within the limited space they had.

I've always found that Musicality always put 110% into everything,and the way that they all gel together make a tight performance for all that they perform. And who needs scenery when these actors paint the pictures and add the colour to any performing space, before your very eyes.

“Little Shop Of Horrors” is at the Performing Arts Studio, Trent Building at Nottingham University until Sunday 9 June 2019 with a 2.30 matinee as well.

“Hair” by The Cast
Duchess Theatre, Long Eaton.

The musical tells the story of the "tribe", a group of politically active hippies living a bohemian existence in New York City. Its main protagonist Claude, lived a life characterised by the pursuit of love, peace and sexual revolution - but faced a battle with his family who wanted him to fight in Vietnam.

The hippies' long hair - and the title of the show - was a symbol of their defiance. You would have had to have your hair cut when going into the military and therefore the name Hair is highly symbolic as a form of rebellion.

Back in 1968 when the original theatre version was first presented, theatre goers walked out of the theatre in disgust due to the nudity and the messages the play gave out.

The programme does advise that there is sexual content and nudity, but nothing that might embarrass your granny, just a bare chest and a naked bottom.

The show is a bit dated, and the shock factor is no longer prevalent but that aside, the energy, the songs and the message really pull this show through. Plus this is one theatre production I've wanted to tick off my theatrical bucket list for a long time.

Andrew Buxton (George Berger), the self professed leader of The Tribe, brings the hippy attitude to the stage as well as the confident sexuality of the flower power era of the Vietnam War. Having seen Andrew before, I knew that his vocals would be strong, which they were throughout.

Daniel Collington (Claude) keeps us hanging on to see if he burns his conscription card, or enrols to fight for his country to well into Act Two. Daniel has always been a confident actor and his role in "Hair" brings out his naturalness and ease of characterisation. In other words, I saw Claude and not Daniel.

Cat Tuckey (Sheila) gets to share both leading men in this show. We had to wait for Cat to really show what she could vocal wise until the back end of Act One with one of my favourite songs from the soundtrack, "Easy To Be Hard" - it gave me shivers. Cat also got to deliver one of the more well known songs in "Good Morning Starshine" in Act two.

George Lamb (Woof) brought a real sense of camp fun to the show, which really went down well with the audience.

Katie MacDonald (Jeanie), Sascha Cornelius (Ronny), Emily May Corner(Chrissy), Candice Shevaun Curnow-Newland (Dionne), Rob Chilton, Matthew Charlton, Cheryl Camm, Claire Farrand-Preston, Gemma Ryan, Michelle Bruce, Rachelle Bragg and Stephanie Wright complete the cast list.

This group not only dance their way through with great energy but what they also have are incredible, harmonious voices, which are highlighted in the soundtrack's gospel tinged numbers.

One voice that really stood out for me belongs to Candice who has an amazing soul/gospel powerhouse of a voice, but everyone really gives everything they have in the vocal department. This is particularly evident in the wonderful "Let the Sun Shine In". It's one of the most well known songs from the show but before seeing this production, I didn't really get the full meaning and feel from this song that was presented by The Cast last night.Yet another goose-bump moment.

Directed by Beth Yearsley, you can tell that she has really done her research on this one, because you really felt that you'd been transported back in time, especially with the evocative opening sequences. A great pace to this show.

I've mentioned the choreography and the energy through the choreography and this is all down to Siân Scattergood.

A solid sound from the band, under the musical direction from James Bowden, and I loved the fuzzy rock guitar start to the musical.

The well known songs are here, "Aquarius", "Ain't Got No.... I Got Life", "Let the Sun Shine In", "Good Morning Starshine", and I think you'll find a few others among the soundtrack that may become guilty pleasures.

Great costumes, provided by Mina Machin, which really placed you back in the Summer of Love period.

The Lighting Design was clever and created the psychedelic feel, thanks to Dave Martin.

Dave Dallard was in charge of the sound and I heard effects last night that I'd not heard at The Duchess before, and that added to the excitement of the production.

Not only is the language colourful, but so is the set, another thing to visually draw you in, designed by Rob Corner and Beth Yearsley.

I will admit that for part of the play, I didn't quite understand what was going on, but who cares because it all comes together and makes for a very enjoyable, and energetic trip back in time.

It's not often you see "Hair" performed either professionally, or by local theatre, so I'd advise that you take this opportunity to see it while it's local. You know what they say "Hair today - gone tomorrow", well they may say that on Saturday!

“Hair” is at the Duchess Theatre, Long Eaton until Saturday 8 June.