"Familiar Strangers" by Maddie Craig

NNT Autumn Online Season.

What I love about new writing is that I have no preconceptions about what I am about to see, and this is one piece that really made me sit up. I was not expecting the finale!

"Familiar Strangers" is a fictional online dating site which as Laura, the main character in this piece of writing, describes as "holding auditions for your soul mate".

Match 1 is a brilliant tour de force of comic character writing. He is the archetypal 1980's wine bar loner who is corny, comical - in the eyes of the distant observer - the sort of man who every woman should avoid dating. He tells Laura that she "will never meet anyone like him", and boy is that the truth, but for all the wrong reasons. I can imagine him like a shark, prowling and dressed in tight leather trousers, shirt open to the navel, bleached blond hair, tacky jewellery et al.

Match 2 is slightly better but has a terrible line in pick up banter; he even tells Laura that he won an award for the worst banter! I loved the misunderstanding of Match 2's job title. Even though I did anticipate the "mix up", it still made me smile.

Match 3 would have been the one that I expected Laura to choose. there was a natural connection and at least he showed an interest in Laura and what she was doing, and you could see that Laura also gravitated towards his personality.

If this had been "Blind Date" you just knew that Laura would tell Cilla that she would be choosing contestant number three. Laura and Match 3 chatted about meeting up.

And then came the part that I didn't expect. the part where everything took on a decidedly darker turn.....

Time passed when Laura received a really dark message from her ex, Jasper. Controlling, intense and bordering on the maniacal stalker, he came across as a dangerous and desperate person. He knew exactly what Laura had been doing, and what she had been talking about....but how come he knew so much about what had been going down?

What I had first expected to be a comedy turned out to be a worrying piece of online theatre, highlighting the downfalls of online match-making and online presence. It really did leave a feeling of unease as I did not know what would happen next, and how far Jasper would go. A possible sequel to this, Maddie?

The filming was excellent, as was the sound and captioning. The Autumn Online Season for Nottingham New Theatre has gone from strength to strength, and I for one have rejoiced in the fact that they have found an outlet for their immense talents during lockdown, and produced such a high quality set of work.

Talking of talented people, time for me to shine a spotlight on them.....

Laura - Ace Edwards

Match One -

Nicholas Landon

Match Two - James Fellas-Lauries

Match Three - Max Nichols

Jasper -

Jack Titley

Writer and Director - Maddie Craig

Producer - Ella Seber-Rajan

Assistant Director - Phoebe Marshall

Video Editor - Shayla Dimaano

Creative Assistant - Pip Horn

Sound Designer - Jesse Rough

Captioner -

Zoe Smith

Assistant Video Editor & Graphics Designer -

Skylar Turnbull Hurd

"Familiar Strangers" will be shown on Wednesday 2 December at 7.30pm on the NNT Youtube Channel as part of their Online Season

https://www.youtube.com/channel/UCq6zOPIOcfIK6fxtxILeffw

 "Autumn Showers" by Alexandra Hogg

NNT Autumn Online Season.

Sofia has left home to go to Uni, and it's a world of discovery. Fitting in to life away from home with new friends, a new way of life but also personal discovery, or to be more conclusive, personal affirmation. It shows the conversations between a mother and a daughter at different stages of the growing process.

There is a lovely retrospective section where Sofia, the daughter, looks back at a particular situation just before she goes out to a party, and recognises the concern and love from Katherine, the mother, which at that time was lost on her daughter. Something that all of us parents can recognise and can only hope that their children grow to acknowledge.

This short film, just a smidgen over 21 minutes long, is really quite beautiful because it does reveal several issues and highlights areas of a mother/daughter relationship with the trust that is invested within.

It shows the expectations from peers, which can often be so out dated, and the pressure that is put upon the youth. It shows the weight that a young person carries around when they anticipate revelations to a parent, revelations that can be life changing but in the wide scheme of things, not that important, or not that important that warrants the weight that can be envisaged by the bearer.

This is a beautiful film and a really lovely story by Alexandra Hogg. Now I don't know Alexandra so I do not know if this is a work of fiction or she has written this from personal experience, but either way, this is a story that has a lot of heart invested in it.

I loved the descriptive passage where Sofia describes herself as "living in a grey area". Watching this film you can really understand where she is coming from, and a description that could describe several areas of most people's lives, throughout life.

The maturity of the script and the way the script has been written, for me belies the youth of the author.

The camera work is also beautifully done with the external shots really capturing the beauty of Autumn.

The music compliments the mood throughout. It is melancholy but soothing and also very beautiful, even in the scenes where you would not expect the soothing soundtrack to fit in , like the slow motion clubbing scenes. Everything fits perfectly.

The ending fades out and again provides another call for help, something that is repeated throughout, and with this ending it left me wanting more. More because I wanted to know what Sofia wanted to discuss with Katherine, and more because Sofia is someone you want to know, and know more about, and care about..

The actors portraying the roles were Katie Booth (Sofia 1),

Lily Bailes

(Sofia 2) and

Megan Peace

(Katherine). Needless to say with my comments above, this trio were very well cast.

The crew are as follows

Director and writer - Alexandra Hogg

Producer -

Charlie Basley

Assistant Producer -

Lottie wright

Shadow Producer -

Anna Schooling

Shadow Director / Video Editor -

Lauren Brady

Video Editor -

Alicia Conte

Sound Designer / Video Editor - Charlie Finney

Captioner -

Emma Barber

Creative Assistants -

Beth White

and Giulia Duggan

Publicity Assistant -

Laura Sherratt

Poster Designer - Anya (Ace) Edwards.

This is an online event that you can access via the Nottingham New Theatre Youtube channel at 7.30 pm tonight https://www.youtube.com/cha.../UCq6zOPIOcfIK6fxtxILeffwhttps:

 "Far Apart" by Alice Walker &

Libby Horobin

NNT's Autumn Online Season.

The latest in the Nottingham New Theatre's Autumn Online Season which can be seen on Wednesday 25 November at 7.30.

As in the last production, I feel that this works so well as an online piece of theatre. It would work as a piece on stage with segmented spotlight highlighted parts of the stage but you would not get as much out of the backgrounds as in this online piece.

The story is about three siblings, Andi, Cal and Alex. They are far apart, Cal is just starting Uni, Alex is working abroad and Andi is at home, on the brink of going to Uni. And then something within the family circle happens to cause worry and grief.

The conversation is over face time, sometimes with all three and sometimes between two of the three siblings.

Andi, with being at home and, although in the thick of it, is often shielded, but she knows what is what and at times feels guilt over wanting to get out of there and also feels great responsibility to be at home. She is adamant though that she is going to put her life on hold for the sake of her parents, something she sometimes feels Cal and Alex should also do. She feels segregated but is with her family unit.

Cal is in the throes of Fresher's Week but often feels that she does not fit in with the Uni crowd, which also at times makes her ever more longing to be home.

Alex works abroad, and has done well for himself and we start with discovering that he is in the early stages of a new relationship, something he tells Andi not to tell his parents of. That sibling trust is broken but we discover why as the story unfolds.

The production is just shy of 33 minutes long but you become so wrapped up in the conversation and what is happening in the background of the story that it seems a fraction of that time.

It's lovely how we see what little things make the trio smile and laugh, from wearing odd socks to "Countdown", and that really breaks the intensity of the conversation.

It's also nice that the final five minutes unfold and we get a happy ending for all three but the silver lining also has that darker cloud just beneath.

The production highlights different life choices and personal responsibilities

Lelah Gorgin (Andi),

Georgia Barnwell

(Cal) and Mikey Flannery (Alex) are all very natural performers and I would love to see them on stage in a production, maybe in 2021. I do have a feeling that I have seen Georgia before anyway at NNT. I must also say that I love the drawings on the wall behind Georgia's head.

And now to some more talented people responsible for this piece...

Director and Co-writer: Alice Walker

Producer and Co-writer:

Libby Horobin

Assistant Producer:

Gabriella Teriaca

Sound Designer: Em Rule

Publicity Assistant/Poster Designer: Skylar Turnbull Hurd

Video Editor: Jasmine Butler & Rose Edgeworth

Creative Assistant and Captioner: Izzy De Bono.

You can catch "Far Apart" on the Nottingham New Theatre Youtube Channel on Wednesday 25 November at 7.30pm

"Hello World" by Oliver Binns.

 "Hello World" by Oliver Binns.

Nottingham New Theatre online.

The first show in NNT's Autumn online season is ‘Hello World’ by Oliver Binns which premieres at 7:30pm on Wednesday 18th November on the NNT Youtube channel and I have been lucky enough to see the production before hand.

I have never been one of those technical people, I can just about work a computer and download stuff, so I can confess that I am by no means a techie type person, so some of the terminology went over my head, That didn't matter and it kept me watching to the end credits. Some of the online pieces I have seen over the last eight months, for me, have not worked, but here is a piece that works very well online, and I can't really see this type of production working on stage. Not as good as it worked online because the technical imagery was made for the online format. Not saying it wouldn't work live on stage but I think it would provide the technical team a few headaches. Meet Zero/One. Two, although they appear as characters, could be shapes, symbols, pieces of cheese, the images could have depicted anything. We see Zero and One develop from the basic form to a super intelligent pair, often opposing each other but also in agreement. It is like eavesdropping on a pair of bots, if bots have conversations with each other. Who knows, there is nothing to say they don't! And that is the wonder of this piece of work, we don't know and that opens up a world of magic and imagination as to what these computerised "things" look and sound like. It also highlights the fact that Oliver has included a great deal of technical knowledge into this story, and I am always a fan of intelligent scripts that do not aim to be overly intelligent, but comes across as a natural intelligence. We see in the twenty-five and a half minute piece of theatre the growth of computer-ware and this is visually presented as well as in the script. You'll see exactly how this is done by watching it on Wednesday night at 7.30pm. I love some of the comparisons used, especially in the simile that "intelligence is like a tube of Pringles" and also the part where Zero/One are "inventing words" in the same way that Shakespeare did. Well that could well be the case! Although there is loads of technical terminology it does not swamp and the feel is light and enjoyable, and even educational to someone like me who thought a hard drive was finding my way out of Birmingham's one way system during road works. Mimi Clay (Zero) and Amelia Hackett (One) made the job look the easiest acting job ever and laid themselves open to all the wonderful visual technical wizardry of the video editors (James Appleby and Skylar Turnbull Hurd). Skylar also did the captioning. Written and Directed by Oliver Binns, assisted in the Direction department by Abraham Botha. Produced by Nicholas Landon and some fun work with the sound design by Anna Schooling, who also composed the music for this piece. I know how hard everyone works at NNT so I also like to mention as many people as I can. Publicity Assistant - Abraham Botha Poster Designer - Caetano Capurro Creative Assistant - Tobi Bambi Graphic Designer - James Appleby Graphic Designer - Caetano Capurro ‘Hello World’ by Oliver Binns premieres at 7:30pm on Wednesday 18th November on the NNT Youtube channel.

 "Rosalie, Sandra and Jodie"

Nottingham Playhouse

As part of the Nottingham Playhouse Unlocked Season this was due to be streamed totally live as well an in house, socially distanced audience, but due to the latest lock down, the show was streamed completely online.

Nottingham’s own Rosalie Craig has worked extensively in the West End. She won the Evening Standard’s Best Performance in a Musical Award on two occasions and was nominated for an Olivier for her performance as Bobbie in "Company" – the first time the role has been played by a female.

Sandra Marvin, known for her powerhouse vocals, has had leading roles in a number of hit shows including "Showboat", "Chicago" and "Hairspray". Most recently, you may have seen Sandra starring in Emmerdale, where she played Jessie Grant for two years.

Jodie Prenger shot to fame after winning BBC’s "I’d Do Anything" and taking on the role of Nancy in "Oliver!". Since then, she’s starred in a number of productions including "Annie", "Fat Friends the Musical" and "Abigail’s Party".

Sara Poyzer was last seen performing at Nottingham Playhouse as Sarah Jane Moore in Stephen Sondheim's "Assassins". Prior to that, she played the role of Donna Sheridan in Mamma Mia! for over six years on and off, on the International Tour and in the West End. You will also be able to see her this December as the fairy Godmother in the Playhouse panto "Cinderella"

The concert kicked off with a Sondheim tribute of "Everything's Coming Up Roses". "Tonight" and the under estimated but gorgeous "Losing My Mind" showing us the vocal talents of Sara, Rosalie and Sandra.

Jodie Prenger then performed her first of three pre recorded sections, and she has gone all blonde on us "Secret Love" was very Marilyn Monroe-esque and had an air of innocence. Gone was the innocence for "The Trolley Song" as Jodie injected the fun into the "Meet Me In St Louis" song made famous by Garland and then cor blimey, even more fun with "Oom Pah Pah" from "Oliver!"

Sandra, who I know want to see everything she has done as she is gorgeous and has a powerhouse of a voice. "When You're Good To Mama" from "Chicago" was earthy, "I Didn't Plan It" from "Waitress", the mournfully beautiful "Summertime", "I Will Always Love You" and just as I had felt wrung of emotion came my favourite song from "Hairspray", the incredible "I Know Where I've Been" which just completely exhausted me in the best way. You may have also recognised her from her role in "Emmerdale".

Rosalie sang "With Every Breath I Take" from the musical "City Of Angels" which showcased a beautifully haunting cello solo, a spine tingling "With You", my favourite song from the musical "Ghost". "Darkest Hour" from the Tori Amos penned musical "The Light Princess" followed by another beautiful piece of musical theatre with "Back To Before" from "Ragtime" and then the sublime "Being Alive".

Sara packed so much emotion into "Maybe This Time" from "Cabaret" and after kicking the evening off with "Everything's Coming Up Roses" she joined Rosalie and Sandra in a tribute to Carol King with the medley of "Beautiful", "You've Got A Friend" and "Natural Woman".

This performance was truly a celebration of the female voice within musical theatre, and I for one absolutely loved it. Sat at my PC desk watching online, I was tempted to stand and applaud at the end, but I may have received some weird looks from the family, so I gave a virtual standing ovation to these four wonderful women.

 "Ghost Stories"

Nottingham Playhouse.

The presentation features stories of a spectral nature read by Mark Gatiss and Adrian Scarborough, who stepped into the role at the last minute due to Jade Anouka not being able to make it. As the temperature outside the theatre dropped, so did the temperature inside the auditorium.

The four tales were all new to me and were all very different and while possibly could have been set in any era, they felt quite modern, creating a further eeriness.

The atmosphere was set as soon as you enter the auditorium with a stage set with ghostly pumpkins and atmospheric lighting with a lectern for the two orators to deliver their tales.

Ghost Stories is part of the Nottingham Playhouse Unlocked festival of live and live-streamed shows, and I am so glad that I was able to sit in the theatre to see this performance as I don't know if the atmosphere would be as good sat at home watching on a mobile device, TV or computer. It's one of those productions, I feel, is best experienced in person.

The Live Stream though is a current viable option for anyone missing theatre or maybe not feeling secure enough to venture out to an actual theatrical venue. And it is also helping to bring revenue back into the theatre; breathing life back into local arts.

The Playhouse staff, who are also getting used to this new way of working make sure that every precaution has been taken to make your visit as safe as possible with temperature checks as you enter, sanitiser bottles that automatically dispense so you do not even have to touch anything, socially distanced seating and bar orders delivered to your seat.

A wonderfully creepy start to your Halloween celebrations.

 “Shuck” by Lapelle’s Factory

Nottingham Playhouse

Before I start, can I say what a joy it is just to sit in a theatre again. To drink in the atmosphere, to view a stage, to be around like minded people and to smell the smell of a theatre.

I applaud the staff of the Nottingham Playhouse for the ease in their operation of Covid's rulings to keep everyone safe and making the possibility of live theatre a reality again.

There is social distancing outside the theatre, your temperature is taken as you enter and then you are directed towards the hand sanitisers, after which your e ticket is scanned and you are directed to your seat, all social distanced.

Drinks can be ordered via your phone and these are brought to your seat. At the end of the performance the staff direct you out of the building row by row.

This is the start of the way back for theatre, and made so easy by the Playhouse staff who have had to master this all new procedure to make sure the procedure runs as smooth as the performances we have grown to expect from the Playhouse stage.

And now, on with the show....

Throughout folklore there have been stories of murderous, evil hounds from hell with blood red - or yellow - eyes, or eye, and razor sharp teeth, hunting for their prey on dark, wet, windy and foggy nights. The sort of hound that fill the pages of myths and legend books over the decades. This is the tale of that kind of hound.

This is the first public sharing of a new work in development from Nottingham's most wayward and compelling theatrical partnership: an old tale with new beginnings that raises the hair, tingles the spine and tickles the ribs.

As a native of East Anglia, Olwen grew up on a healthy diet of weird folklore, and no tale is weirder than that of Black Shuck: the true account of an actual hellhound from actual hell that's affected the identity of her rural community for hundreds of years.

In "Shuck", LaPelle's Factory tell the history of the folklore behind the mythical Black Shuck, but they do it with humour and ability to create a chilling atmosphere within minutes They shine a light on folkloric demons and query how and why grisly tales get passed down through generations, and how they retain their mysterious power to bring us together.

Olwen grew up with these tales but outsider Ollie is a non believer....or is he just in denial?

The set is of minimal proportions, but you don't even need a set when the story telling is as strong as it is in this production. Ollie and Olwen draw you in with their orating, and have you gradually leaning forward in your seat in anticipation of the tale that is unravelling.

Although this is an aperitif for the Halloween season, there is a lot of comedy with Olwen playing the straight person to Ollie's comic dance moves and script - but more of that shortly!

The sound scape was creeping and some nice sound effects, the occasional one making some of the audience jump. So the atmosphere was there while not being overtly scary on a theatrical level.

I love a good story and who doesn't love to be told a good spooky tale, especially at this time of year. it's just a shame that this was a "one night only" performance.

The only thing I found only slightly off putting was that part of the time it was not off book. Now this may be for several reasons such as rehearsal time for the actors, and maybe another week would have put paid to that. Time though is a difficult thing to pin down, even in these Covid times. I will however, take nothing away from these actors who painted pictures in my mind this evening.

The performance was streamed live, but what a joy to be there in the theatre to see live actors and to wallow in the whole atmosphere of live theatre again.

It's good to have you back.