"Kinky Boots" by Mansfield Amateur Operatic and Dramatic Society.

Mansfield Palace Theatre.

Based on the 2005 film "Kinky Boots", which was in turn inspired by a BBC documentary called "Trouble At The Top" about a struggling show factory and the real Charlie Price, Steve Pateman. the musical is written by Geoff Deane, who used to be in the band Modern Romance - remember them? - and Tim Firth of Calendar Girls fame. The music and lyrics are by Cyndi "Girls Just Wanna Have Fun" Lauper.

"Kinky Boots" takes you from the factory floor to the catwalks of Milan. Charlie Price is struggling to live up to his father’s expectations and continue the family business of Price & Son. With the shoe factory’s future hanging in the balance, help arrives in the unlikely but spectacular form of Lola – a fabulous performer in need of some sturdy new stilettos.

One thing that I like about seeing theatre groups that I've not seen before is that there's a good chance of being introduced to new people and experiencing new talent. I have checked  and I haven't seen anything by Mansfield Amateur Operatic and Dramatic Society previously and there's a lot of new names to take in. And a whole lot of talent.

Jamie Savage plays Charlie Price, who has been forced into picking up the pieces of Price and Son shoe factory, but he learns very quickly! Jamie's confidence in playing Charlie's unconfident character is great to watch. This role not only requires a good character actor, but a good character actor who has a strong voice, so I can see why Jamie was chosen for this role. You really sit up and take note when Charlie loses it prior to going to the Milan gig, and you can't help but sit up and take note when Jamie sings. His duet with Lola in "Not My Father's Son" is sublime and "The Soul Of A Man" highlights a strong and controlled  set of vocals that gives you the tingles.

Playing Lola is JJ McCormack. I have known JJ for quite a few years now and have seen him play most things from Oscar Wilde's "The Important Of Being Earnest" to "Chess" to Bill Sikes in "Oliver". This is a role made for JJ, and JJ is perfect for the role: you can feel that he is relishing playing Lola. He is fun and saucily wild, but there's the other side of Lola; the side named Simon. Immense fun and incredibly cheeky, all wrapped up in some gorgeous outfits and boots. Lola's not bad either!

The over confident showman as Lola and the vulnerable revelations of Simon are beautifully done and when JJ  sings, the soul in his voice oozes out. The fragility in "Not My Father's Son" is as tender as any Luther Vandross ballad, as was "Hold Me In Your Heart", which would not have sounded out of place on a Whitney Houston album.. Then there are the disco belters like "Land Of Lola" and "Sex Is In The Heel"

Nicola, Charlie's long-term girlfriend who wants to drag him away from making shoes and settle in London, is played by Helen Mumby. A brilliantly bossy character who seems intent on getting everything all her own way, and a role I can imagine Helen also enjoyed playing.

Rebecca Wigman plays Lauren who has recently been "executised" by Charlie after she gave him the idea of how to turn the factory around after Charlie tried to lay her, and other workers off, unsuccessfully. Another really fun role, and her big song, "The History Of Wrong Guys" comes along complete with some wonderfully comical facial expressions. Lauren is adamant that this history is not repeated as we see by the end of this musical.

Wayne Shutt plays the bigoted Don, Lola's nemesis. A burly hypermasculine bear of a factory worker. Don is one of the characters that I always enjoy in this musical due to the U Turn he makes, but without losing any of that alpha male standing. And you know, Wayne had absolutely no issues walking in those heels at the end of the show!

Pat, the officious office manager who will let loose her wild side when allowed, is played by Carolyn Frith. That fiery red hair really suits the character and suits Carolyn as well. 

Playing George, the factory manager who likes to keep traditions, like addressing his new boss as Mr Price and not Charlie, is Matthew Bird. 

Lauren Taylor plays Trish, one of the factory workers who has a husband and kids to worry about if she loses her job. 

Garry Richardson is Harry, a successful discount shoe salesman to whom Charlie tries to offload some of the factory's overflowing stock. Harry is Charlie's polar opposite as he is confident and self aware, but agrees to help Charlie. There's a great duet with Garry and Jamie of "Take What You Got" which has a lovely Celtic feel.

Mr Price, Charlie's father, is played by Graham Berridge. Price Snr. opens the show as he is sitting with Young Charlie, who is played by Max Shaw. Their song "The Most Beautiful Thing In The World" sets the tone for the show. Both Graham and Max have brilliant voices which, even though at opposite ends of the vocal spectrum, blend really well, especially when the whole ensemble join them.

Playing Simon Snr., Lola/Simon's father is Steve Webb, delivering an unforgiving tower of anger and disappointment that Simon opted for lace gloves as opposed to boxing gloves.

Young Lola's role is also shared by Sam Harrington and Ollie Weaver; tonight (Wednesday) the role was played by Ollie Weaver. It never fails to amaze me just what confidence young actors show in front of a packed theatre; no nerves at all and in the final section both Max and Ollie looked to be having a great time.

Jono Cooper plays Richard Bailey, Nicola's boss, who you get the feeling is a bit of a threat to Charlie career.

Claire Harris is Marge, another of the Price and Son's factory workers.

Paul Marples plays the Delivery Man as well as a Hooligan.

Kay Thomason-Vardy plays the Milan Stage Manager, a minor role but what a funny few minutes of stage time for this character.

Lola's Angels are the drag performers who populate The Blue Angel Nightclub. This ain't a job for no wall-flowers, and Mel Gregory (Melanya La Rouge), Oliver Ward (Lucy Dani Kerrs), Ashleigh Wilkinson (Mabel Syrup), Alice Lindley (Fiona Flaps), Grace Bowskill (Honey Glaze)and Cassey Brough-Savage (Valerie Valentine) are no wall-flowers!

There's also a large ensemble made up of Claire Barlow, Gemma Case, Andrea Cauldfield-Smith, Gemma Strange, Ann Colgan, Steve Webb, Kay Thomason-Vardy, Garry Richardson, Jonathan Cooper, Claire Harris, Jan Hodgetts, Thomas Ince, Kelly John-Baptiste, Laura Jordan, Joanne Lee-Varley, Paul Marples, Lewis Mathias, Becky Miller, Naomi Shaw, Harriet Shaw-Browne, Emily Shutt, Gaby Smith, Geraldine Smith and Fay Walker.

Directed and Choreographed by Cassey Brough-Savage. With such a large cast and ensemble, the dance sections are incredibly well created and performed, especially the piece that closes the first act " Everybody Say Yeah" and the closing number "Raise You Up/Just Be".

Associate Director is Pam Frith, who I had a really lovely chat with in the interval, and looked after me from start to finish.

Roger Holland is the MD for "Kinky Boots". The sound of that band was loud and proud, covering the many genres in this musical score.

It's always lovely to see Ann Colgan, and she was one of the first ensemble members that I recognised on stage. Ann, as well as Grace Bowskill were the show's Dance Captains.

The make up artists were Charlotte Cooling, Katie Gagg, Oliver Helm, Phoebe Wright and Eddie Ratcliffe. 

It goes without saying that the costumes are very special in this show, especially that Marilyn Monroe style costume that Lola wears to perform in the Clacton Nursing Home scene, and are from D&S Costumes and Angie Lee & Company.

The lighting for "Kinky Boots" was by Nick Elliott and Alan Betton and really create a buzz, especially in the Milan section and the Blue Angel club scenes.

I could not find any mention in the programme for the sound operation. There were missed mic cues and the occasional character could not be heard as either not mic'd up or the cue was not hit. Apart from these few times, the sound was lovely and clear and well mixed with the band's sound.

A great set, thanks to Scenery Solutions.

Wednesday's opening night was a smash hit with the capacity audience, and it came as no surprise that the cast received an overwhelming standing ovation.

"Kinky Boots" is a stomping good show with plenty of sole and is at the Mansfield Palace Theatre until Sunday 10 March.

 "Bad Girls - The Musical" by Erewash Musical Theatre.

Duchess Theatre, Long Eaton.

“Bad Girls – The Musical” is based on characters and stories from the popular television drama, first broadcast in 1999, and based in the fictional HMP Larkhill Prison. It was developed by the creators of "Bad Girls", Maureen Chadwick and Ann McManus, in collaboration with composer and lyricist Kath Gotts.

The main focus of the musical is on the rather detestable chief warder, Mr Jim Fenner, who uses his position for sexual gratification. He's also at loggerheads with the liberal governor, and when a newly arrived inmate commits suicide as a result of Fenner's sexual advances, he tries to usurp the governor's position to obtain career advancement.

“Bad Girls – The Musical” isn’t a comedy as such as it deals with gritty issues such as sexual exploitation of female prisoners and bullying. It also highlights the effect that being in prison has on those family members on the outside.

Saying that some of the song lyrics are very humorous, and it’s not often you get a full on tap routine as well as a glitzy, high kicking leggy dance routine inside a women’s prison, not that I have any prior knowledge of a women’s prison. No wonder it’s sometimes called a prison camp, with the emphasis on the “camp”, but we all love a bit of camp don’t we? Don’t we?

Martin Briggs plays Jim Fenner. What an absolute sleaze of a slimeball he is; Fenner, not Martin you understand. He sneers and lauds it about the place, feeling untouchable.  These qualities are something new to Martin's acting repertoire, well I can't remember ever seeing Martin play such a disgustingly sleazy character before, but he does it very well. 

Martin has a lovely voice and gets to use it well on these songs; my favourite being "Jailcraft" and the sleazy, double-entendre dripping "The Key". Not only that but he can hoof it as well as any other, complete with sparkly jacket, top hat and cane.

Ladies, (SPOILER ALERT) you also get to see Martin's rippling abs in this show, so make sure you have a fan or something to cool yourself with!! The boos at his final bows were expected and rewarding to know that he brought to the stage a completely repugnant character.

Anna Fitzpatrick is Sylvia Hollomby aka "Bodybag". There's a lovely "devil may care" attitude about Hollomby which Anna brings out. Hollomby thinks that her future is well and truly wrapped up, side by side with Fenner, but there's only one person that Fenner is bothered about. Apart from the wonderful "Jailcraft", Jim and Sylvia get to perform in another one of my favourite choreographed pieces, "The Future Is Bright", which is the big Hollywood style tap dance number in this production.

Emma Barnes-Marriott plays Helen Stewart, the prison boss with a conscience. Emma delivers that caring boss beautifully, and you feel the character's empathy, especially towards one particular inmate. Someone else though has designs on Ms Stewart!

Junior officer Justin is played by James Christian. Justin is eager to impress, particularly the new Wing Governor Helen. Justin's boyish good looks have also caught the eye of a few of the love starved inmates. There's an hilarious scene where Justin is mercilessly abused by the women to another one of my favourite songs "All Banged Up". I've had the pleasure of seeing James in several productions, and it's nice to see him get a nice meaty role like Justin.

The male "screws" played by Phil Deakin, Laurie Fitch, Nick Buckthorpe and Gary Fowkes, who when they're not trying to keep the peace and the inmates of this women's prison's hands off them, they are dancing around doing high kicks. It's all great fun!

John Fletcher is "Number One" who is trying to keep his nose clean while also trying to cover up Fenner's activities. Most of the scenes with Fenner and Number One are, strangely enough, in the men's toilets, but it's great to see John in the big tap dance number, as it's not often you get to see him dance.

 Vicky Byrne plays Nikki Wade, who is inside for sticking a broken bottle in the face of a bent copper who attacked Wade's girlfriend, so there's real attitude there. Vicky has two lovely vocal moments; the first as a solo when she hears that she is up for release and sings "One Moment" and then as part of a duet with Stewart on "Every Night".

Hayley Wood is Shell "The Baddest & The Best" Dockley. I imagine that Hayley had such fun in this extremely raunchy role. I loved the Country tinged "First lady" that accompanied the real raunchy scene. Both the vocals and the raunchiness were performed with great ease.

The two Julies were played by Louisa Ward (Julie Johnston), and Megan O'Sullivan (Julie Saunders) are a brilliant double act. Loved the duet of "Life Of Grime" which is also a journey into the dirty double entendre. One of the many musical highlights is when Julie Saunders  speaks to her son, who has been placed by Social services into a strange home, from prison. She is ashamed of being in there and has told her son that she is abroad working. Her song "Sorry" is just gorgeous and Megan pours so much emotion into that song.

Laurie Trott plays Noreen Briggs, a wonderful character who seems to have a penchant for drugs. Laurie shows that she plays less glamorous characters just as keenly as the more glamorous characters that I've seen her play, and with some lovely comic lines.

Daya Khosse is Crystal Gordon, the inmate who spouts bible passages and quotes at her fellow inmates. The second act opens with a gorgeous gospel/blues number, sang by Daya, called "Freedom Road". 

Megan Asher plays Rachel Hicks, who we see getting inducted into Larkhill right at the start. With her being the newest of the inmates, she becomes the latest target for Fenner, which has a devastating affect on her.

Lilli White plays Denny Blood. Denny is doing 7 years for arson.

Alex Tavener is Yvonne Atkins, my favourite inmate. Looking like Cher and with such a powerful attitude, she shows Shell that she is not going to be her underdog at any cost.  Atkins is a fantastic protagonist and Alex completely looks the part of this glamorous new inmate. The song "The A List" sets out Atkins' stall and is another of those big musical numbers. Yvonne's other big number is "All Banged Up" as she takes the lead in harassing poor Justin. Alex has a brilliant voice and that power did not go to waste in either of these songs.

Nicola Tuxford, Karen Robbins, Sue Hagan, Sophie Robbins and Katie Fitzpatrick complete a wonderfully strong band of criminals who sound and look good.

There are several excellent ballads in this musical like "Every Night", "Sorry" and "Freedom Road", plus some great big old fun songs here as well. Songs like "Jailcraft", "All Banged Up Without A Bang", "I Shouldn't Be Here" and "The Future Is Bright". Every song sounding fantastic under the musical direction of Dave Dallard with the six piece band. The songs can be quite tricky, especially the clever lyrics, but Dave and the band completely cracked it.

The video design, which is something that I'd not seen for this musical previously - as far as I can remember - is also the work of Dave Dallard, and also gives you all the gen on the women and the reasons why they are banged up, as well as live footage (see below).

The show is Directed by Kathi Ludlow, in her directorial debut. Making a show feel new, especially when you've seen it a few times is no easy feat, but there are several things in this production that make you feel you're watching something new and different. Look at the large screen TV to the left of the stage and you'll see, what seems to be live footage of Justin and Helen leaving the prison and waiting out in the street for a taxi, which turns up for them, plus Helen walking down the corridors of the prison and suddenly entering the entrance door of the auditorium. Kathi also uses the front part of the stage, where the orchestra normally inhabit, as Helen's front room. There are also parts of the stage used for a security office and rest room. And I haven't even mentioned the effects used, which I'm not going to, so you'll need to see them for yourselves. A brilliant debut for Kathi.

You also get a real feel for the pent up anger with the cast because there are chairs that go flying across the stage and you feel  the attitude in the riot scene. An emotion that Kathi has really given the cast full rein to perform.

Choreographed by Hayden Fletcher. These pieces show what a talent young Hayden is, and like a Director can create freshness with a new eye, Hayden has also helped create fresh choreography, especially that epic tap number in the second act. I don't really need to regale Hayden with wondrous comments on his talents, because he knows the esteem that I hold him with.

Love the set design by Mark Robbins and Roydon Charlesworth. The split level set looks like something out of "Porridge", especially with the community area being overlooked by the balcony and upper cell doors. The urinal scene is discreetly hidden by a set of doors in the back of the set.

The sound is by Phil Simcox and Phil Holland, and while to start with, I would have liked the vocal mix to be more prominent, this was also recognised by the Phils and as the musical developed, the sound became more balanced. When there's a full auditorium, the sound mix will be different due to the change in the acoustics of the amount of bodies in the room. This was acknowledged and steadily remedied. While there were a few clipped sound cues, this was opening night, which is where stuff like this is noted and amended for the rest of the run. On the whole though, the sound was really good.

The lighting is by Richard Chamberlain, and there are some very nice lighting effects in this musical. I won't say where this appears, but there is a fire effect which is really realistic. The song and dance lighting designs are done beautifully, and apart from a few of the spots chopping off a couple of heads, or were the actors just slightly on the wrong stage mark, the lighting design and operation was  well executed.

This musical is not performed that much, so when it does come around, and is presented as good as this is, you don't want to miss it. It's great fun, filled with some wonderful characters, and that gritty incident in the first part. The language is fruity, as are some of the scenes, but at the end of the day, it's all done in the best possible taste. This is a musical that you will remember for a very long time, and for all the right reasons.

Oh, and just before I break out of here, if you're in the auditorium for any length of time prior to the show starts, pay careful attention to the music playing. I love it when thought is put into a playlist and the playlist here is very well thought out. That's all I'll say.

"Bad Girls - The Musical" is at the Duchess Theatre in Long Eaton until Saturday 9 March. It would really be a crime to miss out on these Bad Girls!