"A Virtual Christmas Concert"

Nottingham Arts Theatre Youth Group.

It has been almost a year to the day that I was last at the Nottingham Arts Theatre to see the Youth Group, and how I miss sitting in the Arts Theatre for a show.

This is a virtual production so you get to see the performers up close and personal so to speak. What doesn't change is the talent you discover from this showcase of songs, dance and readings.

You even get an interval to pop off and make yourself a quick drink!

This is jam packed with the first part showcasing musical theatre songs and readings from the stage with the second half bringing the Christmas cheer.

"Don't Stop Believing" started us off in a lively vein with a group performance and it was lovely to see that some of these children unable to keep still, even online.

Let's have a look at the stars of this online extravaganza.

Lucy Heatham-Lee, Phoebe Mossop, Eloise Reese, Chloe Chapman, Freya Bird, Jonah Williams, Charles Beckett, Rosie Morgan, Florence Eventi, Lucia Lockley, Jack Symington, George Young, Sarah Nicholls, Isobel Farr, Charlotte Fisher, Olivia Grace-Tiley, Zach Silcock, Leah Wrigglesworth, Megan Holder, Caitlin Young, Esme Smith-Cockayne, Sky Douglas, Hattie Campion, Kate Russell and Myla all gave everything, especially in some of the group performances.

I was really impressed with Chloe's rendition of "Burn" from the musical "Hamilton", and while the subject matter of the song may have been not quite right for a younger person to sing, I thought Chloe delivered the song with real emotion.

George Young performed one of my all time favourite pieces from "Jekyll & Hyde" with "This Is The Moment", showing he has the potential to be a wonderful musical theatre performer in the future.

Jonah Williams' version of the classic "White Christmas" shows a crooner in the making.

There were some nice choices for the readings as well including Lucia Lockley's reading of "All The World's A Stage" and Iris, Cleo and Rebecca's "Twas The Night Before Christmas" and the comedy piece called "I Want To Be Joseph" from Zach Silcock. Jack Symington's "Making A Difference" gives a hint at a budding classical actor in the making.

A couple of ballet pieces to vocal performances by Isobel and Charlotte and Hattie and Kate were so relaxing to hear and see.

I also loved the group pieces and especially "I'm A Believer" where the one boy dancer in this group really matched the girls with his moves.

A mention must go to

Stephen Greatorex

for the video editing. He made sure that, even though these pieces were filmed separately, they were all slotted together perfectly.

With less than a week to go before the big day, this show really satisfied my musical theatre yearnings as well as got me in the mood for the run up to Christmas.

Thanks also to

Jessica Royce

the Youth Group and Production co-ordinator for getting this all together, along with

Mike Pearson

and creating a Christmas Cracker of a show.

Let's hope next year we'll be able to see this Youth Group live on stage and not on Zoom!

 "Accelerate" by Bill Hayes.

Nottingham New Theatre Online Season.

This is the final film in the NNT Online Season and so very different to the others in the season.

Mason and Sadie are two friends who are about to travel to Birmingham for what I imagine is some kind of rave, if the music is indicative of their destination.

We travel, like a fly on the wall, with them from their digs to the train station and to the rave, where they split up after an argument, fuelled on Mason's part by something a little stronger, and exciting than Ibuprofen. This means that we follow only Sadie back home, leaving to our imagination what happened to her friend Mason.

The visuals are colourful but for me bear not a lot of resemblance to the story, apart from the animation of the train, but really interesting to watch.

It is the script, which is naturally comical and flows naturally as well, and the stereo splitting of the soundtrack, effects and script that is really enhanced by the use of headphones. If you can imagine a Pink Floyd album aurally, with scenes from "Trainspotting" - but only in your mind, then this is the effect this film could have on you, well maybe not but that is what came to my mind.

The banter - or is that "bants" - between Mason and Sadie creates the comedy, and you just know that this pair really have a strong relationship, because there are parts of the film script that you just know Sadie must have a strong friendship bond to put up with some of the comments, and rantings from Mason.

The cast are Mason - Jake Levy, Sadie - Daisy Miles and Piig - Pete Rouse with multi roles being played by Rachel Coussins and Demi Idowu.

There's a large crew behind this production.....

Director - Jack Titley

Producer - Caitie Pardoe

Assistant Director - Helena Hunt

Assistant Producer - Jesse Rough

Shadow Producer - Erin Verlaque

Writer & Creative Assistant - Bill Hayes

Script Editors - Rosie Thackeray & Callum James

Visual Editor - Max Nichols

Sound Editor & Designer - Cae Capurro

Assistant Editor - Skylar Turnbull Hurd

Caption Writer - Tara Anegada

Publicity Manager - Ace Edwards

There's also thanks to be given to Dualvoidanima for their artistic contributions to this film and also to Brad Wilson for his musical contributions.

A very different but very interesting film to close the season, which I can honestly say I have really enjoyed, highlighting the incredible talent within Nottingham New Theatre.

Here's to 2021.

 "What Could Be Worse Than Jumping?" by

Olly O'regan

Nottingham New Theatre Online.

This is the penultimate piece of work in the NNT's online season and possibly, for me, one of the hardest to watch, although one of the most fascinating to listen to.

A combination of characters inspired by Fyodor Dostoevsky’s 'Demons' and David Foster Wallace’s 'Infinite Jest', the three characters discuss depression and addiction.

Katherine Gompert (Ace Edwards) relates what depression and addiction is to her and what she feels will rid her body of the depression. Katherine is a modern take of the male character, of whom I will come to shortly. She is open with her body language and has a very relaxed aura, as is her language. Her outlook has a more simplistic way of getting rid of her inner ills, offering up sedation and ECT as a remedy to what she feels.

Nikolai Stavrogin (

Charlie Catmur

) comes across as the opposite. His body language is closed and forever seems to be troubled, his hands clenched and wrung with a nervous and often frightened look. He is less animated than Katherine.

The Doctor / Tikhon

Danial Ahmer

flips between the two and while he deals with both forms of script - the Doctor's being easier flowing while Tikhon the Monk's is not written with a natural flow, so if you are used to Shakespeare or Dickens rhythms of script, you will find this of a similar pace. And the differences also make this piece of work such an interesting one.

The characters flip-flop and both offer points of discussion concerning depression and what may be the remedy.

The piece is beautifully filmed in black and white, which adds to the bleakness and the original music complements the cinematography and overall feel.

My only negative, and it's only a little one, is that the sound at times needs enhancing so we can hear the beauty of the script.

Written and directed by Olly O Regan who also co-directs with

Beth White

. Beth also produced the piece.

Barney Hartwill

,

Ellie Harding

and

Jesse Rough

were the Video Editors.

Caption-Writer is Cecillia Alexander, Creative Assistant is Holly West and Publicity Assistant is Abie Whitehead.

What Could Be Worse Than Jumping? can be viewed online from 7.30 tonight via the Nottingham New Theatre site

 "The Little Mermaid" by Mike Kenny

Derby Theatre Online.

Derby Theatre has an excellent record for producing and presenting alternative Christmas entertainment, not only for young people but for any age, and this is another classic piece of theatre, this year though available online.

The story of The Little Mermaid is told by Flotsam and Jetsam and while this does not have a happy ending, there is enough comedy to cover the sadness through so as not to upset any sensitive young viewers.

The Little Mermaid has always wanted to rise above the waves but, as told by her Grandmother, she can only do this on her 15th Birthday and while she hears the wondrous tales related by her sisters, she can't wait to see what life is like above the waves.

Her time finally arrives and she sees a marvellous party on board a ship for a Prince who is celebrating his 16 Birthday. She falls madly in love with him but the a storm wrecks his ship and he plummets to the bottom of the ocean. The Little Mermaid carries him to the surface and leaves him on the shore, saving his life.

She is absolutely smitten with the handsome Prince and seeks advice on how to woo him from her Grandmother, but as she can't live on land, and the Prince would drown in the sea, the romance looks failed from the start. The answer though lies with the Sea Witch, but there are consequences and prices to be paid!

Let me first mention the wonderful set, designed by Ali Allen, who also designed the costumes. You get a real feel of being underwater, which is enhanced by the lighting design by Jamie Vella. Also creating that special feel is the sound design by Ivan Stott, who also composed the original music, which is so relaxing.

Written by Mike Kenny and directed by Sarah Brigham, this has a lovely child friendly feel about it. And when I say child friendly, I mean children of any age.

The Sea Witch is quite scary, well witches are supposed to be aren't they? Created and Directed by John Barber and voiced by either Oliver or Jordan - there are two sets of actors alternating.

Talking of the actors, the online pair I saw were Oliver Ashworth (Jetsam) and April Nerissa Hudson (Flotsam). the other pair who I know will be just as entertaining are Joelle Brabben (Flotsam) and Jordan Laidley (Jetsam).

The story telling is magical and you could just shut your eyes and let the story wash over you, the descriptiveness painting pictures in your mind.

The show lasts about 48 minutes long, so this would be a perfect treat for anyone who wants a Christmas treat guaranteed to keep the kids quiet and mesmerised.

"The Little Mermaid" is online from Derby Theatre until 2 January 2021 so please go to the Derby Theatre website to make sure that you secure your chance to see this Watery Winter tale.

 "Cinderella"

Nottingham Playhouse.

Ay Up Me Ducks! If it is one thing that I really look forward to at Christmas it is Nottingham's pantomimes. This year is very different but the Nottingham Playhouse panto is here and apart from not being sat in the audience, this show is as full of fun as any other year, even if there are a few differences, brought about by Covid.

A really traditional panto with some modern touches, thanks to the script, written, as well as directed by Adam Penford. Adam has kept the trademark Kenneth Allan-Taylor lines and feel, and blended it with some fresh corny jokes. Watch out for the boomerang gag!

Everything you have come to expect from the Playhouse pantos is there. Great sets, designed by Morgan Brind, choreography by Rachael Nanyonjo, and what would we do without Uncle Johnny Morton as Musical Director. There is a sectio which is orchestrated and reminded me of all of my favourite instrumental sections of every old Christmas film I can remember. Lovely and lush.

There is just the one bunny though and no swathes of young dancers to open the show.

The mix of songs is well balanced with more than a couple of nods to Sara Poyzer's recent "Mamma Mia" West End and touring production.

Sara Poyzer

doubles up as Fairy Godmother as well as the nasty Baroness Kim, who when we first see her bears a striking resemblance to Glenn Close in "Sunset Boulevard", and in one number sounds a cross between Beyonce and Julie Andrews. Love the Nottingham accented Fairy Godmother but I am also a sucker for a powerful nasty woman!

The Ugly Sisters are wonderfully brought to life by Nottingham panto legend John Elkington as Kourtney and Nottingham panto newcomer

Tom Hopcroft

, who looks completely at ease in heels and a frock, as Kylie. Some brilliant scenes with these two including Bolero on wheels and a mad tongue twister, plus of course those crazy costume designs! Just clock what they wear for the wedding scenes at the end.

David Albury plays the handsome Prince who of course falls for the gorgeous Cinderella, played by Gabrielle Brooks. These two are well matched in every way, and especially when they duet during the Prince's Ball... I won't give away the song they sing but it's amazing. And you will gasp as Cinderella's rags turn into that magical ball gown.

Jessica Lee is so cute as Dandini, and is also blessed with a lovely set of vocals.

Back on the Playhouse Panto stage is Tim Frater, this year as Buttons. Tim is the equivalent of opening a bottle of fizzy pop when shaken. He explodes onto the stage and must be powered by some copper topped battery as his energy levels are never ending.

We still have the kids from the audience but socially distanced with their own bit of stage and microphone, so abiding by all the rules put into place, and there is still the audience sing song, so much of the traditional panto fare we have come to love is still in there, just carefully positioned.

Needless to say there are several topical jokes about Brexit and Covid as well as the Big Fat Man with the ruddy complexion with the sack, yes Donald Trump even gets a mention.

"Cinderella" is at the Nottingham Playhouse from Saturday 19 December 2020 - Saturday 16 January 2021. There will be the chance to see the show On Demand as well as Live Streamed on Saturday 19 December and a very special Christmas Eve production with bonus bits! Oh and you can always enjoy it at the theatre as well, so this year there is absolutely no excuse not to see this wonderfully festive, frolic filled and fantastic family fun fest.

 "faces". by tara anegada & rosiella sutherland.

NNT Online Season

The latest addition to the Nottingham New Theatre Online Season is a quartet of mini films highlighting some of the worst traits in people.

"baptism" narrated by laura garvin-gomez shows the affect that the death of her character's family members have on her life as a she looks back at her childhood and how this dramatic and life changing event affects her in her adult life.

"half *****" narrated by ella seber-rajan is all about racism. It highlights some of the things that some people say that, while at times they may not realise may be rascist, possibly due to their age, that comments can hurt. Comments like "where do you come from, no, where do you really come from".

I recently was listening back to an interview I did with a big 1960's singer and he used the "coloured" adjective to describe black people and I felt so uncomfortable listening back to this, While this may be how people from this particular age see no wrong in this, I can see that this is wrong and can be deeply hurtful.

ella relates several examples of rascism, all of which would be embarrassing to hear as well as being insulting and hurtful to the black community in this passionate and heartfelt monologue.

"first" narrated by emily rule is all about a young woman falling in love with her school friend and we automatically think that the object of her desire is male. This particular monologue shines a spotlight on homophobia and biphobia. I personally have never understood why parents can change the way they feel about their children just by the choices that they make in who they decide to love. It should change nothing and it is sad to find out that people can reject their own blood due to this.

I feel very strongly about homophobia and this particular piece of film really is important. What a shame we have no vaccine to inject homophobics with. Again this phobia may be something that is residual from decades gone by but is still here today, and this film shows this.

The final film in this quartet is called "reclamation" and narrated by eleanor rickenbach. We see some wonderful descriptive passages about the visual affects from drink and drugs on the user, as well as a sad routine of life that the drinker and drug taker can fall into.

All four separate monologues within this film are delivered with passion and I found myself closing my eyes and listening to the voices and the words as opposed to watching the films, ironic as the film is called "faces".

Unlike the previous pieces in the current online season, this delivers serious messages throughout which is at times difficult to watch and listen to.

Let's mention the people who are behind the scenes of this important film.

written & directed by tara anegada & rosiella sutherland

produced by alice zelenka martin

shadow director & dramaturg: joseph holmes-milner

publicity assistant: libby horobin

creative assistants: nadia elafi & japneet matharu

video editor: jesse rough

assistant video editor: charlie finney

caption writer: skylar turnbull hurd

"faces" can be seen on Wednesday 9 December at 7.30 via the NNT Facebook page link.

 'When Sally met Gary Henry Harry' by Cecilia Alexander.

Nottingham New Theatre Online Season.

Sally is bored at the start of lockdown, and after chatting with best friend Chrissy, she is coerced into looking for love by turning to Tinder. With little faith in the dating site, she gives it a go, never expecting to find "the one", but after a few virtual dates she realises that the first one, was indeed "the one". A bit like when you go shopping, find something you really like at the start of the shopping trip, walk all the way around town and then go back to that first shop and buy the item you saw six hours previously!!

To be honest, I had a few doubts about this piece but gradually I started to really warm to this "girl finds boy, girl loses boy, girl gets boy back again" story. So much so that the very end scene, I felt like dancing around with Sally and Harry.

There are some lovely comedy moments written into this piece, like the Wombats/Wombles and Sally's crazy dancing, which she does a lot. I also enjoyed the conversations between both Sally and Chrissy and Harry and his best friend Flinty, because they were so well observed in what was said and the way it was said. There was a succinct difference between the male and female conversations but both inevitably led to the same conclusion. Surely this shows that the way male and female minds work can't be all that different?

Chrissy (

Katie Booth

) and Sally (

Rachel Coussins

) were instantly likeable characters and I have seen them both Katie and Rachel before so know the quality of their work. When Sally finally admitted to liking Harry, after a few other virtual dates with Gary (Gazza) and Henry, I virtually punched the air and rejoiced with Sally.

Likewise, Flinty (

Charlie Basley

) and Harry (

Demi Idowu

) are again very likeable characters and, like Katie and Rachel I have also seen both actors before and know how good they are.

Charlie

always makes me smile but, and I don't know if it is because I've not been to the New Theatre for such a while, I couldn't remember if the Southern accent was naturally his, or just for this role.

I loved the light and shade of this piece, particularly noticeable with

Rachel

and

Demi

as they both show their character's emotions for each other. I also loved the jokey and sensible advice given by

Katie

and

Charlie

's characters, making this a lovely warm and fuzzy piece of writing.

This really is another way of saying what a well observed script that writer Cecilia Alexander has delivered.

I have just a couple of minor points. The first being that some of the sound production, and mainly in the face-timing sections at the start for Sally was lower in volume and at times not that easy to hear. That however seemed to get resolved as the film went on.

The second is a very minor issue but up until the last sections, Harry seemed to wear the same Tom Tailor Denim hoodie in every shot. I don't know if this was to make out that us blokes don't change our clothes very often, so I could blame Cecilia for this as she also directed the film. Only joking!

And so to the people who are responsible for the behind the scenes work.....

Co-Producers -

Nadia Elalfi

and Ylana Gibert

Assistant Director -

Pete Rouse

Shadow Director -

Lauren Birks

Shadow Producer -

Conor Waldock

Publicity Assistant and Sound Designer - Izzy de Bono

Video Editor -

Caetano Capurro

Graphic Designer - Zoe Smith

Captioner -

Emma Barber

A really well shot, well written and wonderfully acted piece of film that you can see online TONIGHT at 7.30 on the NNT Youtube site and via the NNT Facebook page.