“Yen” by Anna Jordan
Nottingham New Theatre

Anna Jordan's play “Yen” explores a childhood lived without boundaries and the consequences of being forced to grow up on your own. It was the winner of the 2013 Bruntwood Prize for Playwriting.

The play is set in the present day, in the living room of a flat on an estate in Feltham, South West London. 16-year-old Hench and his 13-year-old brother Bobby live alone with their dog Taliban, playing video games and watching violent porn.

There’s no adult supervision, though their mother Maggie occasionally visits from her latest boyfriend’s place and passes out in a diabetic coma.

But then Jennifer, a practical, animal-loving Welsh girl, shows a concern for the neglected Taliban, and succeeds in taming both the dog and his semi-feral owners.

The play is shocking, and I mean that in a good way. Another incredible choice for the NNT. It's shocking the way that Maggie treats and speaks to Hench, and some of her words are like a smack in the face.

All four of these characters are victims, and I found myself feeling equally for all of the characters. Each one of them reacting to the way that they have been treated by their treatment of others.

The imagery, visual and hidden, also has shock value, the hidden more so as it activates your own imagination about what is happening behind closed doors.

The four actors really got into the specific characters and showed the pain they all felt in different ways, again some of it shrouded but always just bubbling under the surface.

William Tillett (Hench) shows the 16 year old as part child part adult. Let's face it he is the responsible one at the start. The child like obsession with playing electronic games along with his naivety around the more confident Jennifer, or Yen as her late father used to call her, is at odds with the responsibility he feels towards his younger brother. It's really sad though near the end when that brotherly love crumbles from Hench's side while Bobbie's love for his older brother is as strong. A passionate actor who you can tell has really got under the skin of his character and delivered a brilliant portrayal of this damaged teen.

Jonny Khan (Bobbie) also gave an incredible portrayal of the only just teen who has been forced to grow up due to not having the full rime love of his mother. When she decides to pop in, he over compensates his love for her in an immature way, but can you blame him. Another tainted and broken character with a jaded view of the world and women, but he has no other peer figure apart from his brother who watches violent porn with Bobbie in the same room. Like the other cast members Jonny has a real understanding of his character and brings out the "simple" side of the complicated Bobbie.

Eleanor Rickenbach (Maggie) has the opposite challenge to Jonny. While Jonny has to convince us that he is a thirteen year old, and he does, Eleanor's character is a thirty something mother of two, by two very different fathers. While she is a mother of sorts to Bobbie, she has a dislike for Hench, due to the treatment she received from Hench's father, and that dislike really shows in her actions and what she says. Maggie does turn it around though with Hench and there is a lovely ice breaking scene later on in the play between Hench and Maggie. Eleanor convinces us all of her character and the maternal tug of war we discover towards the end of the play.

Isabella Hayes makes her debut with NNT, and like so many other debuts I've had the pleasure of witnessing over the years, the confidence and natural ability is just wonderful to see. I don't know if Isabella is actually Welsh, but her accent never wavered. I believe her to be Welsh. As with the other cast members, Isabella has done her homework fir this character and the change from her first scene to the last shows the journey Jennifer has travelled and what she had been put through.

Directed by Ellen Dennis, which I believe is her Directorial debut, and like Isabella, what a debut! Ellen really shows us everything that the author wanted us to see and feel in this brilliantly thought-provoking piece of theatre.

As withe every NNT production the technical crew create everything else to evoke the emotions and feelings we are meant to feel. Lighting (Sasha Gardner) and Sound (Arthur Mckechnie), Produced by Ellie Roberts,

The play will affect you emotionally and I'm sure that you'll find watching these talented actors truly, what's that word again? Mesmerising.

And you know what makes this play even sadder? This situation is happening as we speak somewhere in the world every single day.

“Yen” is at the Nottingham New Theatre until Saturday 17 November 2018

“Murder Weapon” by Brian Clemens
Beeston Players

Here is a thriller which at first sight seems to be pretty much cut and dried as far as what has happened and who the killer is, but all may not be quite as it seems. After all if we start the play with the murder and the person responsible, there is only way to go, and that is backwards, and then all of the mystery about the story has gone. Or has it?

Diane’s husband, Paul, has been shot, which she discovers after being escorted back from the opera by Chief Constable Bligh and ex con Charley Mirren is standing over the body, the gun still in his hand. Jessica Bligh believes that this is not quite as open and shut as it first seems, and takes us back over the events that led up to this cunning thriller, and if Mirren didn’t do it, why was he there, and who did do it?

Debbie Blake plays our sleuth, Jessica Bligh, and what a great sleuth she makes, Always in the back of her mind that something was not quite right about this obvious situation, she slowly uses cunning to unravel the clues to uncover the truth. I love that Debbie acts with the whole of her body, making us believe every action and line she delivers.

Paul Langston pitches the character of Inspector Fremont, just right. Impatient to get on with the case and lock up Mirren, guilty or not. Lovely characterisation with Paul's acting.

Rob Jackson, for me delivered one of his best performances as would be killer Charley Mirren. So used to seeing him play comedic roles, this serious part was a lovely eye opener for me and showed another side to his acting skills.

Gary Frost is another of Beeston Players regulars who absolutely stepped up his game playing the part of Hugo. This character is a departure from the normal comedy roles I've sen him plat, and again, same as Rob, shows a completely different side to his skills, and I like it!

Sarah Murray is, I think, a new name to me. Sarah played the widow Diane, and has a wonderful scream on her. An easy watch and can't wait to see what she does next.

Kevin Fairbrother manages to get himself killed off quite early on, well his character, Paul, under a case of possible mistaken identity, all adding to the twists and turns of Clemens' plot.

Alison Williams, again another new face to me, I think, and plays a very convincing WPC as Constable Walters.

Directed by Larraine Maddison, this is a big success. It was pacy and all the characters were well rounded, and with all the twists and turns in this play, the atmosphere was electric. Sometimes the flashbacks in a live play can be a bit confusing, but not with this one. They were really well executed.

As always there is a solid creative and production team behind the scenes keeping the show rolling on with well greased wheels.

Fiona Maxwell and Tom Jenkins (Lighting), Sam Williams and Nina Tunnicliffe (Sound), Barbara Barton (Producer), Sue Frost (Stage manager) with Ian Greatorex (Assistant Stage Manager). The set was designed by Sam Williams and there was a good use of props (Alison Williams and Gwen Murray). Hair and make up was by Maxine Taylor.

Beeston Players, now in their 50th year, really do come across as one big family and this is also borne out by the wonderfully friendly front of house staff who provide the complimentary tea and coffee, work the pop up bar, sell raffle tickets and generally make you feel really at home.

Every year they seem to build on their previous reputation, but this production really raises their bar quality wise, so go and support your local theatre who really do produce some amazing live entertainment throughout the counties.

“Murder Weapon” is at Round Hill School, Foster Avenue, Beeston until Saturday afternoon. The matinee on that day starts at 2.30.

“The Picture Of Dorian Gray” by Oscar Wilde
Duchess Theatre, Long Eaton

This is the first offering from Blind Eye Productions and just by looking down the cast list in the programme, you are almost guaranteed that this production is going to be a big success because the cast and technical crew are some of the cream of Nottingham and Derby’s local acting talents.

Gray is literally a blank canvas for others to create their own images of masterpiece. In order for the devilishly handsome Gray to keep so young and beautiful, he makes a Faustian pact after Basil Hallwood paints his portrait. Gray hides the portrait away because in order to remain the Prince Charming of society, his portrait bears the ageing process and that would cause too many questions.

Beauty is only skin deep and that beauty allows Gray to take advantage of all that is on offer. He becomes selfish and arrogant, and even dumps the young actress Sybil who he has fallen for. He loves her acting but when she gives a poor performance, She was only acting in the first place to find real love,and because she has, or thinks she has found the love of her life, she then decides to end her life. Her younger brother James Vane, years after then decides to hunt for her Prince Charming to get revenge, but could this young man he sees really be her late sister’s lover?

Tragedy follows Gray around and he can only see one way out of this terrible circle, by destroying the painting, but has Gray really forgotten that pact he made?

I was once told that the more menacing and dangerous a character, the quieter he speaks, and I would have liked to have heard more light and shade with Gray's speeches, especially in the second act when his arrogance kicked in. There are parts of the script that could have been delivered with a quieter, more menacing tone.

Josh Hayes is perfectly cast as Gray though. He is devilishly good looking and he has great charisma and stage presence and you can tell that he knows how to deliver a line to get an impact. His build up of Gray was done well and you really get to feel that you know Gray by the end of Act One, only for the greed and arrogance to take hold in Act Two.

Meng Khaw, as Lord Henry Wotton is his usual controlled and relaxed performer, which again is a perfect casting for this role.

Chris Mercer is the painter who creates the portrait, Basil Hallward. Basil delivers a brilliantly passionate speech in the second act, explaining why he did not want to exhibit the painting in Paris.

Holly Turner plays Gray's love, Sybil. A lovely incite to her acting skills is when she performs the first "Romeo and Juliet". You can see her performing Shakespeare if this little taster is a sample of what she can do.

A supporting cast made up of some fine local actors, Gill Cook (Lady Agatha), Bertie Black (Mr Isaacs), Ryan Thomson (James Vane), Marcia Wood (Lady Henry), Lindsey Parr (Mrs Vane), Adam Chapman (Mr Hubbard/gamekeeper), Danielle Rodgers (Mrs Leaf/Opium seller/Duchess Harley), Courtney Kelham-Giddy (Alan Campbell), Sarah Shields (Lady Monmouth), Beth Hinchliffe (Hetty Morton) and last but not least Frazer Stanko (Adrian Singleton/ The Portrait).

I thought some of the accents needed a bit more work as they seemed to wander a bit.

I also thought that maybe some incidental music could have been played during the black outs when the scenes were being changed, just so that the audience were left to chat among themselves, but I must admit, the scene changes were done well and timely.

With the portrait, I think that maybe a frame around Frazer to make him stand out as a portrait, but I realise that these shows aren't cheap to produce and every penny needs to be accounted for.

There were times when you could see the backstage crew setting up behind where the portrait was as the cover was not covering the space, but I also realise that this was the first night and speed and nerves can affect any set of actors, but it's just an observation.

The set, designed by Zachary McCormack, was wonderful with its' many picture frames and I loved the simplicity of the look.

Directed by John Gill, who also helped design the set and designed the costumes. John also designed the programme, which is worth buying for the wonderful glossy pictures of the cast by Gavin Mawditt and Stephanie Timbol.

The sound design (Paige Shaw and Meng Khaw) and the lighting design Paige Shaw and Chris Mercer) added to the whole atmosphere of Victorian London.

I must also mention the wonderful hair and make up by Emma Berry.

Adapted by Merlin Holland and John O Connor, at times it felt like there were bits missing which may have built up a bit of a back story for some of the minor characters, I also thought that some of the pauses in some of the speeches were sometimes a second or two too long and could be tighter. That said the production is one where you get your money's worth because it lasts just under three hours.

I know that I am being very picky with my criticisms here, but I also know that this cast and technical crew have put a lot of hard work into making this show a success, and they are perfectionists, especially John Gill, and I recognise this.

This is the first production by Blind Eye Productions and a solid foundation for their 2019 shows. I certainly enjoyed it.

Being an Oscar Wilde fan, I was bound to enjoy this production and they did it good service, although I feel that the audience may have missed quite a few of the witty lines from Wilde as I found myself sniggering solo at much of the classic Wildean script.

“The Picture Of Dorian Gray” is only a limited run and closes on Thursday 15 November 2018.

"Matthew Bourne's Swan Lake"
Nottingham Theatre Royal.

Matthew Bourne's New Adventure productions are the equivalent of a Harvey Nichols shop. Classy and the best that you can get. Well that just about sums up this production.

A very different production from the one that came here about four years ago but equally as mesmerising. This art form is wonderfully relaxing to watch but is as exciting as any thriller around.

The swan is a beautiful, serene creature but with a very nasty, violent, protective streak, as you'll discover in this production.

The Prince (Liam Mower) seems to be having some bad dreams but his mother, The Queen (Nicole Kabera) doesn't seem to be too bothered. Now the Prince seems a little confused because we see him with a mother fixation, almost bordering on incest, until he meets "The Girlfriend" (Freya Field), who is a wonderful comic character. The scene where she is in the Royal Box at the Opera House, is hilarious!

Must mention the costumes for the Tree Trolls in this section because they were out of this world, as was their make up.

And I also loved the education in theatre etiquette in this section.

Well. the Queen is against this relationship and so, after he feels he has lost the love of his life at "The Swank" nightclub, he decides to top himself in the lake, which just happens to have many swans swimming on it!

They swans come alive but the leader (Max Westwell) takes a bit of a liking to The Prince....or is this all in the imagination, or dream of the Prince's. Make your own mind up.

Anyway, the tables are turned when The Queen is attracted to a younger man at a ball but in the middle of the ball, in comes a very handsome young man and impresses the Queen. Needless to say, The Prince is not as impressed.

Loved the way the stranger (guess who) kept teasing The Prince with his lascivious glances while leading The Queen on with his dance moves. The section where the stranger and The Prince dance is heady and intoxicating to watch, and you just can't take your eyes off the stage and the two amazing dancers.

The Prince's jealousy gets the better of him, as the Stranger flits and flirts with the Queen and several of the other guests at the ball, and The Prince decides to take things into his own hands with tragic results which leads the Queen to also take drastic action. This action in turn leads to an amazing finale.... which I am not going to tell you but is pretty explosive and involves a King Size bed and many swans.

Ballet is no longer for snobs and Sir Matthew Bourne makes sure of that with his wonderful comic touches. What he also ensures is that ballet is sexy and very watchable.

The dancers are athletes. You only have to look at their bodies to see that. What you will also see is that the dancers are not all small and wiry. There are different body shapes, come on let's face it you have to admire the work that goes into creating all of those abs. Their stamina is endless.

Sir Matthew always uses the best dancers, the best costumes, the best scenery and that is why if you're going to see ballet, you need to see the best, and that is, in my opinion, Sir Matthew Bourne.

A wonderful re-working of the Swan Lake story and the magical music of Peter Ilyitch Tchaikovsky. At times as delicate as a sheet of gold leaf, at other times brash and bouncy.

An incredible group of dancers who will keep you transfixed to that stage. They are also incredible story tellers without saying a word.

So if you enjoy seeing a whole host of half naked, sweaty men with fantastic physiques, and some very sexy ladies, go and see this production. If you also appreciate the art of dance and love a beautiful story told impeccably, you also need to see this incredible gender-fluid production.

I thought their previous version of "Swan Lake" was amazing, and I can credit that one for creating a ballet fan out of me, but this different version is just as wonderful and just as an emotional ending as their previous one.

A very well deserved standing ovation at the end, and the performers could have been on that stage taking bow after bow for even longer than they did.

"Swan Lake" is at the Nottingham Theatre Royal until Saturday 17 November 2018. Do not miss this one. It's swanderful!

“King Charles III” by Mike Bartlett
Lace Market Theatre

The play premiered in 2014 and the longer the play runs the closer to recent history it becomes. Charles has been preparing for this role all of his life and now that the Queen has passed and he is about to take up his role, but he has his own vision of how he wants to be King, and that causes conflict within his family, parliament and the country, dividing opinions and loyalty. The action covers the period from the Royal funeral up to the Coronation Day.

One thing I love,and admire about the Lace Market Theatre is that they don't choose productions guaranteed to put "bums on seats", opting more for the artistic view of bringing little performed but interesting plays such as this one to the local stage.

It's a fairly large cast of 17 actors, several playing other roles as well as their main ones, typical of a Shakespearean piece. The vari-aged cast work as one, like a jigsaw. Every piece vital to give the whole picture and if one was missing, you'd notice.

This isn't a production of mimics and unlike TV programmes like "The Royals", there is no attempt to make the actors look like the characters that they are playing, but you just know who they are supposed to be by the distinct characterisation.

Robert Suttle (Charles) presents the king in a masterful role. After all, this is the job that he has been waiting for all of his life.He has a lovely paternal connection with his fellow "family" actors, separating the man and the father from his job as would be King. His smooth and natural acting style worked so well in this role.

Cynthia Marsh (Camilla) had a more comical role than I had expected with her obvious wish to be The Queen.

Mark Gadsby (William) took the role as big brother as well as the next in line seriously, just in the same way as the real Prince is depicted, but only the future will tell if his ending matches the one in this play!!

Lucy Monaghan (Kate) shows that behind every powerful man, there is a woman who is pulling his strings. A real eye opener of a character depiction.

Aaron Connelly (Harry) shows the playboy Prince in a more three dimensional character. I am a fan of this Prince in the real world and I think Aaron, as the younger Prince, showed the fun, normal "lad" with his laddish mates and that touch of reality about him. I loved the fact that he asked James if he had heard of Sainsbury's, where he had been shopping with Jess. Loved this character and the character portrayal

Matthew Clapp (James) plays the personal servant to Charles and the sudden upsurge of work needed to do what the heir requested showed as a worry in James' face. The tug o war juggling act he has shows what a difficult job this character has, and is well portrayed by Matthew.

Alex Milligan (Jess) is the spanner in the Royal works but gives the young Royal a new outlook on his life and I feel breaks down Charles' official exterior, which shows that the future could be more relaxed for the Princes. Obviously written before Meghan came on the scene.

I also loved Roger Newman's role as the Prime Minister and Roger's stage presence and character acting, as well as the best vocal projection of the night, made him a stand out for me.

There's even ghostly visitations from Diana giving a prediction of sorts, but to whom is this prediction aimed at?

When written and first performed, and even as a television drama, it proved to be controversial, but then again so was “Spitting Image” in its’ day. I think the controversy, only a few years on has faded but I really enjoyed this possible crystal ball future glimpse of the Royals, but only time will tell to see if the ending in this play becomes a reality.

Written in Shakespearean blank verse – which for those who didn’t know is “ poetry written with regular metrical but unrhymed lines, almost always in iambic pentameter”. It's an interesting concept with a look to the future with a style that harks back 400 odd years. It's this style that also makes this play different and interesting.

Directed by Sam Allison with a wonderful set designed by Cris Brawn. A set that takes in the Royal quarters, a nightclub and includes a kebab stall which doubles wonderfully as part of the parliamentary scenery.

The lighting design is from Allan Green and the Sound design by Jack Harris, both wonderfully adding to the whole feel and setting of the play.

There has also been a lot of research gone into this play regarding getting advice on Royal etiquette from Steven Scott, who was once a footman to the Queen, and if you thought the riot gear looked realistic, it is because it's on loan from the Nottingham Police. there are no corners cut for this play.

The costumes are brilliant, but again that is no surprise when Max Bromley's name is involved.

All in all this play is an interesting incite into what could happen within the Royal Family when the Queen has gone. There's a good dollop of comedy and, with the wonderful script and the talented cast, this play was over, for me, far too soon.

“King Charles III” is at the Nottingham Lace Market Theatre until Saturday 17 November 2018.

“X” by Alistair McDowall
Nottingham New Theatre

It seems so long since I was last here at the Nottingham New Theatre, but I’m so glad that I managed to get in on the last night of “X”, the play by Alistair McDowall.

There are four occupants of McDowall’s marooned space station, which has lost contact with Earth, though there may well be a ghost in the machine. Gilda ( Nat Henderson) and Cole ( Charlie Basley) are scientists. Ray ( Callum Walker) and Clark ( Jack Linley) are astronauts. It becomes clear that they have left behind a native planet where trees and birds have disappeared and people depend on bomb shelters.

They face their own crisis on Pluto, where not only is there no connection with home but Gilda hears strange voices, sees a strange girl (Abie Whitehead) and the digital clock goes haywire. And has the mysterious visitor (Helen Brown)come to save them all?

What is happening? Clock watching is not a thing I do in the theatre but this clock does need keeping an eye on, seriously!

One by one the space ship crew end up in the freezer, including quite a gory suicide from Cole. The final two slowly going insane. Does anyone escape? Well there's the question because the ending provides another possible outcome from the story which is both sad but rather eerie as well.

It may all sound very dark, unsettling and depressing, being stuck in one place where there is no escape and you’re hoping someone will come along and rescue you, but never knowing when that will be, but there are sparkles of comedy scattered around the script.

There is a creeping sense of unknown danger which builds within the two hour production, and I'm so pleased that there was no interval because you need to keep that unease going, and Director Joe Strickland really ramped that up. I can only imagine the difficulties Joe may have had with the slow burner, but his large technical team succeeded in bringing this sci-fi/horror play to life before our eyes.

The sound design ( Tara Prasad and Rupert Galea ) and the lighting design (Nadia Elafi) added more menace to this creepy play.

A brilliantly performing cast and wonderful technical crew keep up the NNT reputation for presenting fresh and evocative pieces of theatre.

Bring on the next one!

“Dr Faustus” by Christopher Marlowe
Guildhall Theatre, Derby.

Derby Shakespeare Theatre Company present, and in full, “The Tragical History Of The Life And Death Of Dr Faustus” and is the story of a doctor who, hungry for more and bored of what he has, makes a pact with the devil in order to obtain even more knowledge and power.

The price? His soul!. It has it all; Devils, damsels and dastardly deeds. It’s the battle of good over evil, heaven or hell, red or brown sauce…. OK maybe not the last bit!

It’s a modern production, described as “stripped back” and played through without an interval; let’s face it where would you put the interval and why break that impetus and tension?

It starts off like a University campus party on the way to being debauched with a throbbing dance soundtrack. Oh I must mention the pre production soundtrack really appealed to the cheesy geeky side of me. All of the songs had a heaven or hell theme "Devil In Disguise", "Devil Went Down To Georgia", "Devil And The Deep Blue Sea", "Take Me To Church", you get the drift and it gets my seal of approval straight off!

I'm sure that you've all been to a play where you could not take your eyes off of the stage, well that is just like that. For the whole time the production was on, my eyes were transfixed to that stage and those actors. They had me under their devilish spell and it was heaven.

Directed by Niki Caister, she has thrown everything at this production, and even kept that air of uncertainty and unease surrounding it.

Anyway, like I was saying, this production had everything from bendy acrobatics to pyrotechnics to chanting monks, puppetry and a kazoo musically themed wedding. You really do have to see this if you possibly can.

Taking the lead role is Chris Scott and what a performance. I don't think I have seen Chris before and it'd great as a theatre goer to see someone new who really excites you. He slowly deconstructs the character of the intelligent Faustus to a broken wreck of a man.

Mephistopheles is played by James M Dean. Again, a newcomer to thine eyes but he is the one that causes that uneasy feeling on stage, without even doing much. just his presence as Lucifer's right hand man is enough to give you nightmares when you shut your eyes - something you won't be doing while the play is on! His whole persona and physicality oozes menace.

OK, here's another bit I loved. Richard Whitehorn as Lucifer, dressed in a white tuxedo and bow tie. How classy is that for the big man down under?

Loved the comedy of the seven deadly sins Wrath (Adam Hodgson), Covetousness (Alex Wrampling), Envy (Natasha Caister), Sloth (Matthew Swan) - who had a great T Shirt for the character, Gluttony (Daisy Chell), Pride (Clare Snape) and Lechery (Danny Duder) - another great choice of costume. All of these actors also doubling up in other roles.

The set design (Abby Caister/Ken Owen/Neil Jones) was clever and eye catching. great lighting design (Steve Greatorex) and an equally brilliant sound design (Niki Caister/Mat Shepherd).

The costumes were wonderful, as were the masks and make up.

This is the first fully presented show I've seen by this theatre group, although I was very lucky to have sat in with a full rehearsal run through of "the Tempest" earlier this year, but I can't wait to see "Richard III" in March 2019. I am now a fully fledged fan of this theatre company who are not afraid to add a bit extra spice to an already tasty recipe when it comes to cooking up the classics.

A heavenly production which will give you a devilishly good time, but only if you get in there fast as “Dr Faustus” is at only at The Guildhall Theatre, Derby until Saturday 10 November 2018.