“Hairspray”

Nottingham Theatre Royal

One of my favourite feel-good musicals travels from Baltimore to Nottingham bringing along with it some wonderfully memorable songs along with a few serious messages about segregation, class, body image and racism.

We welcome you to the Sixties and bid Good Morning Baltimore where we meet the Nicest Kids In Town, well some are nicer than others.

Our hero Tracy Turnblad is a massive fan of The Corny Collins Show and wants to be a dancer on the show. She auditions and just when she thinks all is lost, her big personality, big heart and big hair, wins the day. She also finds love and makes many new friends into the bargain. She is a pioneer for breaking down the barriers of racism, changing attitudes and opinions. Serious stuff but delivered in a bouncy, pink and fluffy way, which makes sure that the message is received in an easily digested, sugar-coated pill.

Tracy Turnblad, played by Katie Brace, who is making her professional stage debut in this production, was simply excellent here. Her whole persona embodies the role of Tracy, and boy does she have a big voice to match. Katie makes you fall in love with Tracy.

Edna Turnblad, played by Alex Bourne, reminds me facially of Brian Conley, and like Brian Conley, Alex has that natural humour which he brings to the role. So many stand out pieces with Alex but none more so than the brilliant duet with Wilbur, "Timeless To Me".

Wilbur Turnblad is played by Norman Pace, nay the Legend that is Norman Pace. I've seen Norman play Wilbur before so I knew we were in for a great night. He is one of those actors who acts with, not only his body but with his face. He has funny bones and, having seen Norman in several productions, knows that he knows how to use those funny bones to the best effect

Penny Pingleton, Tracy’s best friend, is played by Rebecca Jayne-Davies. I adore this character as there is such a transformation with the character which gives an actor such scope, almost like playing two different characters. Rebecca also has one of those voices that could cut glass. So pure but with hidden power. Love the character and love Rebecca.

Seaweed, Penny's crush turned boyfriend is played by Akeem Ellis-Hyman. A good mover and a good voice. He pulls out the taboo sex appeal for Penny with "Blacker the Berry", highlighting both moves and voice.

Corny Collins, played by Richard Meek, who bore quite a resemblance to the late Richie Valens, which is no bad thing as Valens was a teen idol from the 1950's and 1960's not unlike Corny Collins.

Velma Von Tussle played by Rebecca Thornhill is a perfect casting for this character. Very classy with a wonderful voice and a mighty fine pair of pins on her!

Velma's daughter, Amber Von Tussle is played by Jessica Croll, and I only have one niggle with this character, not Jessica, and that is that it looked like the make up artist made her look too old for this character, and for me did not fit into the teenage persona of Amber. Jesicca can play teenage roles and look the age but for some reason, she seemed to look older than the teen that Amber is. Now I have that out of the way, I loved Jessica's performance of the bolshy, controlling "girlfriend" of Link Larkin.

Talking of which, Ross Clifton plays Link Larkin. A good-looking young man who also has a very versatile voice. You really warm to Link from the start when he starts to see Tracy for the person she is inside and not what the others see externally. Another really good voice and some hip shakin' dance moves.

Motormouth Mama Maybelle, is played by Brenda Edwards. This woman has a song in this production that fits her so well, "Big, Blonde and Beautiful", which she belts out with such sass, and with a twinkle in her eye. Brenda also gets to deliver one of my favourite songs from the production, “I Know Where I’ve Been”, a belter of a ballad, and Brenda has the pipes to make that song seem so easy to deliver. A spine-tingling performance all round.

Charlotte St Croix as Little Inez and what a little pocket rocket Charlotte is. Light that touch paper and watch her explode on stage. Great energy.

I also want to mention Ceris Hine as one of the authority figures in the musical. Both parts she portrays, the gym teacher and the prison guard in The Big Doll House, are full of fun.

A brilliant supporting cast who also exhibit enormous amounts of energy levels in this fast-paced show. having seen "Hairspray" several times, it still surprises me when the interval comes around. probably because I am loving the show that much!

This production is directed by Paul Kerryson and he gets the pace for this show spot on.

Choreography by Drew McOnie and again someone responsible for the pace of the show, whether it is the Presley-esque mic stand grinding of "It takes Two" or the hundred mile an hour "You Can't Stop the Beat", this musical is packed with many brilliantly choreographed pieces.

One thing I noticed that was different this time around was the set and the cinematographic back drop, both excellent additions that keep a musical like this so fresh. The set, as well as the brilliantly colourful costumes were designed by Takis, a London based performance designer.

A wonderful live band who stormed through the many well-known songs for this show, "I Can Hear The Bells", "Without Love", "Mama I'm A Big Girl Now", "You Can't Stop The Beat", "Good Morning Baltimore", "Welcome To The Sixties", and the earworms go on.....

This is one show that is going to lift you out of the doldrums and get the till bells ringing at the same time. This is the fullest I have seen the Theatre Royal since we got back to "normal service", so that alone reflects the love theatre goers have for this musical, that and the brilliant standing ovation that was given in appreciation of a wonderful evening's entertainment.

“Hairspray” is at the Nottingham Theatre Royal until Saturday 16 October.

 “Bedknobs & Broomsticks”

Nottingham Theatre Royal

When the three orphaned Rawlins children, Charlie, Carrie and Paul are reluctantly evacuated from wartime London to live with the mysterious Eglantine Price, they have no idea what adventures lie ahead. Upon discovering Eglantine to be a trainee witch, they join forces to search for a secret spell that will defeat the enemy once and for all. Armed with an enchanted bedknob, a bewitched broomstick and a magical flying bed, they encounter surprising new friendships on their journey from Portobello Road to the depths of the beautiful briny sea.

This production took me back to when I was eight years old. This was the age when I was taken to the pictures to see the film. 1971. Tonight I reverted back to an open-mouthed kid again, in awe of the magic before my eyes. The film was truly wondrous and so was this production.

Flying broomsticks, with and without rider, clothing, boots, armour that came to life on stage. A flying bed which lit up, all sorts of magical effects, creating the wonderful magic of theatre. Humans who turned into rabbits and back again in a puff of smoke and glitter, right before my very eyes. It is one thing watching the magic of cinematography when you are eight, but seeing the magic on stage when you are..... well a few decades older is something completely different.

There was wonderful puppetry of all sizes. From glowing fish to a massive lion, the King of Nopeepo, and even a mini Eglantine complete with broomstick. The scene in the underwater ballroom, which replaces the famous football match in the film, was jaw-droppingly beautiful and full of colour.

Dianne Pilkington stars as Miss Eglantine Price, the role originally played by Angela Lansbury in the film, was truly magical. When a role is played by such an actor like Dame Angela Lansbury, she makes it iconic. Diane did not once make me feel that she was in competition with the great Ms Lansbury. Diane Pilkington made this feel like I was watching this story for the first time. She made this role her own without tainting the legacy that had been laid down by its' originator.

Charles Brunton plays Emelius Browne, and again as with Diane Pilkington, I was not forced to make any comparison between Charles and David Tomlinson's version from the film.

In this production the Rawlings children are played by Evie Lightman (Carrie) and Jasper Hawes (Paul), who has been performing since he was just four years old. Making his professional debut as Charles, the thirteen-year-old, is Conor O Hara. Sometimes when kids appear on stage, from stage school, there is an element of the old adage "eyes 'n' teeth", but not with this trio. They made you warm to them, as actors and their situation, as characters, on stage from the off.

These three make a really believable trio of siblings with Charles taking on the father figure after the children lost their parents in the opening scenes. These scenes were quite frightening with the bombing and the house being ripped apart - quite literally. Throughout these scenes and the evacuation process there was no script but you didn't need words to understand the numbed frustration that these three young kids were put through.

A brilliant supporting cast of singers, dancers and puppeteers who most definitely deserve a mention in this production.

The music is a mix of the original songs and new material, which I felt fitted in really well. The new stuff, by Neil Bartram, kept the same feel as the original Sherman Brothers' soundtrack, with its' lovely old cockney charm. I was completely unable to keep my feet still when "Beautiful Briny" started. I was quite literally bobbing along with its' infectious rhythm.

The sound design by Gareth Fry was just right and the lighting design by Simon Wilkinson added to the magic of the production. A delight visually as well as aurally.

The set was one of the best that I have seen in theatre post lockdown and was designed by Jamie Harrison, who was also responsible for the illusions we experienced tonight.

Brilliant costumes all round by Gabriella Slade.

The whole cast richly deserved the standing ovation they received although I had expected a full house ovation. maybe some of the audience had been so mesmerised that they forgot to get to their feet to show their appreciation. Maybe Emelius Browne had put them in a trance!

There is always a fear that such a beloved Disney film could be marred by adding bits to it and removing some scenes and putting it on stage and adding new music, but this is not the case here. It has added to the enjoyment of watching it, well for me at least. It's like finding a 3D version of a Director's cut of one of your favourite films that you have not seen for many years and rediscovering your love for it in a whole new way.

So thank you Michael Harrison, Candice Edmunds and Jamie Harrison for taking me back to the eight-year-old me and the magic of Disney.

“Bedknobs & Broomsticks” is at the Nottingham Theatre Royal until Sunday 10 October.

 "The Addams Family" (Quarantined Concert Version) by Erewash Musical Society

Duchess Theatre, Long Eaton.

The only reason why this is called a "quarantined" version of the show is because some of the big choreographed numbers have been omitted, not that you'd notice really, which made it easy to rehearse, but it also has several references to the pandemic and being quarantined that bring the story bang up to date.

Not quite sure why "concert" was added in there because this ain't no concert, it's the musical but slightly slimmed down version. This is the perfect show to come back with, appealing to every age group.

For those who have never seen "The Addams Family" musical, the whole story is that Wednesday has now grown up and she has fallen in love with Lucas Beineke, who is pretty normal. What will Gomez, Morticia and the rest of the family think?

What I love about this musical is that, not only is it daft, it's great fun at the same time and it also has subtle life nuggets to take away. Stuff like keeping secrets can be good as well as bad, and that if you see something you want; go and get it. Plus losing sight of who, or what you were in the past is not always a positive progression and it's nice just to let loose every now and again.

What I also love is the brilliant soundtrack. Listen carefully to the words to get the full comic element from the lyrics. Some are very cleverly wrapped up in incredibly catchy pieces of music!

Morticia is played by Hayley Wood and this is her second show with Erewash Musical Society, previously Hayley appeared in "Godspell" and her first lead. Smooth, sexy and sultry. It's no secret that this woman knows how to pull off that vampy look, similar to Fenella Fielding in "Carry On Screaming". Simply smoking!

Gomez is played by Graham Buchanan, and I was told tonight that I am Graham's nicest critic. What makes me write so many nice things about Graham? Whatever role and character Graham takes on, he embodies himself in the character and makes you believe that the character is who you see, and not the actor. Not only that but I know the graft that Graham puts into his roles. be it Shakespeare, Basil Fawlty or Gomez Addams, he morphs into the role. Love the accent. love the facial expressions - he really does act with the whole of his body, and I love the physicality he brings to the character. Great fun role and a great fun actor.

Lurch is played by John Fletcher, and John is another actor who has great physicality in his role. There was a scene where Lurch goes to answer the door to the Beinekes and the pace taken to do that extracted so many laughs from the audience, he shows that taking time to get the laugh does pay off. And wait until the end to hear what a lovely voice he has, especially that last low note! John also deserves recognition for managing to walk in those blocked up shoes.

Richard Dawson plays the wonderfully excitable Uncle Fester, and his whole enthusiasm within the character floods the audience, winning them over from the very start. This cast is full of wonderful character actors and Richard is another who can put on a character like a jumper. Great fun to watch and I am sure that Richard is having amazing fun playing Fester, because it looks that way from where I was sitting.

Maria Lawrence plays Grandma, and is almost unrecognisable thanks to the make-up and costumes, as well as the physicality that goes along with this wacky character.

Playing Pugsley Addams, the masochistic brother of Wednesday, is Lewis Taylor. Loved how he really let it go during the "Pulled" scene, plus we also saw a softer side of Pugsley with his solo "What If". Nice to see the broad scope of emotions portrayed by Lewis in these two sides of Pugsley. Lewis' voice also shows great promise for when he gets older.

Francesca Foster plays Wednesday Addams, and while this story is all about Wednesday, we also get to experience Fran's incredible singing voice. Channelling Carrie Hope Fletcher that voice has power and wonderful control. I love "Pulled" and also "Crazier Than You" and Fran really gets to showcase that voice, which gave me goosebumps, to the max. Mix that voice in with her acting ability and this girl is bound for bigger stages and roles.

Lucas Beineke is played by Gabriel Leshko, who I recognise from the Erewash Musical Society Youth Group. He has transitioned well between the two groups and he is another young actor who I have a good feeling about going forward.

Lucas' parents Mal Beineke and Alice Beineke are played Martin Briggs and Kathi Ludlow. The relationships between Gomez and Morticia are well matched with this couple. The scenes where Alice totally discloses what she really felt were classic comedy, so much so I thought some of the women behind me almost wet themselves with laughter. Martin also got chance to let rip as he turned back time, complete with his Grateful Dead T Shirt. Martin also must be noted for his vocals in the four way "Crazier Than You".

I touched on costumes and make-up earlier on, and this area really stood out for me, especially with the ensemble who looked frighteningly good.

Choreographed by Abbi Burns, this is a very stylized piece of theatre and the choreography showed this. Abbi is a seasoned choreographer and obviously knows how to get the best out of her pupils, as this show proves.

Directed by Chris Moss, and this is his Directorial debut for Erewash Musical Society. The Director has possibly the hardest job as he has to make sure that he has the best cast he can round up, and he has ticked that box rightly enough as the casting is perfect. Pace is another biggie and with the zombie movements of Lurch and the excitability of Fester, Chris has made sure that the pace is just right. In short, the Direction is absolutely spot on.

The Musical Director for the show is Martin Lewis. What can I say? With Martin in control, I knew the music side of this would match the quality and expertise of the rest of the production.

Absolutely no issues worthy of a mention with the sound quality or volume, thanks to Dave Dallard. The same can also be said of the Lighting by Richard Chamberlain.

The set, by Mark and Bill Robbins, was wonderfully thought out and designed with two staircases and double doors centre stage to allow other entrance and exit points apart from into the wings.

This whole production was just so easy to watch, I almost forgot I was there to review ( I love my job) and enjoyed every second of EMUS comeback show.

The only thing that needs to be highlighted now is the glossily produced programme (Lewis Allsopp), and the very welcoming and warm Front of House staff, who I always feel should be mentioned as they are all part of the evening's enjoyment and image of the drama company but often fail to get recognition.

"The Addams Family (Quarantined Concert Version)" is at the Duchess Theatre until Saturday 9 October. get those tickets now for this frighteningly good show before they get scare-ce. See what I did there?

 “Agatha Crusty and the Village Hall Murders” by Ravenshead Theatre Group.

Ravenshead Village Hall.

Agatha Crusty (pronounced Croosty) is a crime novelist. She ís also pretty good at solving crimes. When her sister-in-law Alice invites her to spend a few days with her in the village of Chortelby, it’s not long before she gets caught up in a series of murders which seem directed at the members of the All Saints Village Hall committee.

From Toby, the Vicar, and Eleanor, Chair of the committee, to Harry Knott the caretaker and identical twins Olivia and Oliver Truscott-Pratt, there are plenty of suspects. And with an investigating officer as incompetent as D.I. Twigg, there are plenty of laughs as the murders begin to pile up. But let’s not forget, while packed full of wit and very funny scenes, this is also a genuine murder mystery with an ingenious plot which will tax the little grey cells of the audience at the same time!

This is the first play to be staged by Ravenshead Theatre Group since lockdown and it’s so good to have them back.

Agatha Crusty, played by Ann-Marie Butler, slowly and carefully dissects all the evidence to reveal who the murderer is. And can I say, I got it wrong.

Oliver Truscott-Pratt and Olivia Truscott-Pratt are the twins, both parts played by Catherine Buckley. Olivia the slightly posh one while Oliver is a bit of a bumpkin, always ready to tilt his shotgun at a rabbit, or whatever he feels like aiming his gun at. I loved the fact that Catherine came on twice for the final bows, one for each twin.

P.C. George Lockett is played by Daniel Andrews. Lockett is not the sharpest knife in the rack and is also related to one of the other characters, but could Lockett really be above suspicion? There are certain clues that could provide links to at least one of the murders, but saying that there are plenty of red herrings in this play!

Alice Fogg is Agatha’s Sister-in-Law and played wonderfully by Verity Betts. A lovely comedy character who at times reminded me a bit of Alice Tinker from "The Vicar Of Dibley". Quite lovable but just a little scatty.

Rob Hurst plays Detective Inspector Twigg. This is a wonderful character for Rob to play as there are a lot of malapropisms in the role, as well as a great over belief in Twigg's ability to be the great detective that Twigg feels he is. This role really plays to Rob's strengths. Does our Detective twig who the village murderer is? Only one way to find out!

Maisie Grimm, the cleaner, has a devil may care attitude until young Oliver puts his foot on one of the chairs and then a look of thunder comes over Maisie's face, obviously showing the pride this cleaner has in her work. This must be one of the traits that Maisie values as she is cleaner to many of the homes in this little village. we also discover a bit of a back story with Maisie as her recently deceased husband was killed by a shotgun accident...or was it an accident? I love some of the facial expressions that Hazel O'Connell produces in this play as well as the attitude given.

The Reverand Toby Bishop, the vicar, played by John Birch delivers a performance worthy of a man of the cloth. Controlled and calming, but there is a reason we discover why he would want a diminished committee. Surely the Rev wouldn't cross over to the dark side though? Would he?

Eleanor Wagstaff is the Committee Chairwoman. Mandy Buckley, who plays the ever attentive, almost servile-like right hand woman to the vicar, reminds me a lot of a young Julie Walters/Celia Imrie with her looks and character acting ability. I am a big fan of all three of these brilliant actors, Julie, Celia and Mandy. Another wonderfully comic role for Mandy to portray, but can that jealous streak Eleanor shows when Toby favours anything or anyone else be controlled?

Isabella Battersby, another committee member with a wonderful Cornish accent as well as a great zest for the activities that are held at the All Saints Church Hall is played by someone who I always find fun to watch, Sarah Tryner.

Helen Berry completes this very entertaining and talented cast as Mandy who first appears as the life model in the Art class. Mandy then joins the drama club and gives an audience pleasing death scene as Snow White in the Village panto rehearsals.

Harry Knott is the caretaker, and his surname gives great scope for comedy, especially with Twigg. Played by Andy Cook, this is a really laid-back performance. Could Knott not be the killer, especially as he is almost always around the Village Hall, giving him plenty of opportunity. But what could be his motive?

As always, a wonderfully well cast set of actors whose comic timing is renowned in local theatre. What better way to welcome back their audiences as well than with a brilliant comedy. But when it comes to the big reveal of who did the deed, the breakdown is as good as any Poirot episode.

And talking of Poirot and other famous detectives, see how many of the great detective themes you can spot in between the scene changes.

Directed by Dennis Baggarley, this show is tight and the comedy flows smoothly, and there is plenty of it as well.

The set changes are carried out without any fuss and with speed, the sound design (Daniel Andrews) was crisp and precise and blended well with what the play was all about, the lighting was simple but effective to close and open the scenes (Iain Walton). The set was well observed for detail, but as the play about a Village Hall was performed inside a Village Hall, the group would not have far to look for realism. that said just looking at the notices on set and the signs that should be in a Village Hall were all there. Love the realism. All props and costumes fitted the play and the characters and were provided by the cast themselves.

A tremendously entertaining play, written by Derek Webb, which will have you scratching your head to work out whodunnit, but provide you with a multitude of comedy, as well as red herrings, along the way. Very clever word-play in the writing by the way.

“Agatha Crusty and The Village Hall Murders” is being performed at Ravenshead Village Hall until Saturday 2 October, so go get a ticket pretty sharpish!

 "Alicia" by Beyond Theatre

Colwick Hall

This is a bit of a strange one which you may need a few songs in to actually "get" what is happening, but once in, the story isn't too hard to follow. Set in Cornwall in 1565 Alicia has been brought up in a village where fear and the supernatural is practically the law, a bit like "The Crucible" in its' feel. There is an atmosphere of evil, echoed by the first few songs, "Season Of the Witch", "I Put A Spell On You" and "Fire". Ignisium acts partly as the narrator and throughout Act One we feel the darkness of the life that surrounds Alicia and her village.

Come Act Two, Alicia has fallen in love with Validus and there seems to be ripples of light, and a distinct lighter feel to the music with Alicia letting Validus know her feelings for him in the song "The Power Of Love". Alicia seems to be breaking free from Tenebris's clutches and influence and the evil feel ebbs away. A feeling of positivity and love also seeps into Tenebris, the Witch character as well as the equally nasty persona of Mallum, who seems to be infatuated with Tenebris, and all five characters join as one in the finale of "A Whiter Shade Of Pale"

This is a really interesting concept but without the free programme, some people may just have a problem working out who the characters are and their relationships with each other. Thank Goodness for the programme which explains the characters and how they all fit in.

I know that the definition of a "rock opera" is practically continuous flow of music throughout, and so this does fit that description, but I'd also describe this show as a gothic jukebox musical because, apart from some original chants, all the songs are well known pop and rock songs.

What i loved about the way that they were used was the arrangements of these songs. Most were stripped back, some with lush orchestral arrangements. I adored the slower arrangement of "Black Magic Woman" and especially the quasi-classical arrangement of "Paint It Black" as a duet with Tenebris and Mallum, a merging of the male and female evil and powerful characters.

AJ LeRoy played Ignisium, and the joy of immersive theatre is that it allows him to pop up at various points within the marquee. His voice is unique and his look memorable. AJ's version of "Fire" was so different to any that I heard by Arthur Brown, and loaded with warning!

Marie Nelson is Alicia, and this is her leading debut. Marie looks comfortable on stage and has a strong powerful voice. She needs it with some of these belters that she has to sing. from the gentle, and quite eerie "Ring Around The Rosie" to the soaring "I Believe I Can Fly" and the duets with Validus in "Power Of love" and the beautiful "You're The Reason".

Hayley Maria gets to play the nasty Tenebris. She is intense as she slinks around the stage and outer performance area, making occasional eye contact with audience members as she sings "I Put A Spell On You", making your blood chill with the intensity of her character. Hayley has a couple of brilliant duets within this show, the first I mentioned was the haunting "Paint It Black" and the second was a duet with Alicia with "Feeling Good" which really highlights bot incredible and powerful voices. You can really tell that Hayley is classically trained form the control and power in her vocals.

Thomas Morris, who plays Validus, at first glance bears more than a passing resemblance to James Arthur, but Thomas' voice is so versatile, and although a respected tenor, his falsettos are chillingly good. This also shows a certain vulnerability within his character. his version of "The Sound Of Silence", in the style of The Disturbed, spreads an air of unease around, and as mentioned before, his duets with Marie are simply sublime.

The final main cast member is Victor Michael, who plays the powerful and nasty Mallum, who also finds a melting of his heart in Act Two. Another classically trained singer who excels in the dramatic delivery of a lyric. His stage stalking performance of "Black Magic Woman" gives you the creeps, but in a nice way. His other main number "White Room" also delivers the drama.

When all five team up for the final piece "A Whiter Shade Of Pale", along with the choir, it is like a tsunami of sound hitting you, the power created by these performers is like G Force body blow.

The Musical Director, Tim Duncan, did an amazing job with these songs, really bringing out the drama within the lyrics and presenting them in a completely different way. You just have to listen to "We Gotta Get Out Of This Place" which really shows the longing to escape where these characters are at. The arrangements would make a brilliant soundtrack album for this show.

Great costumes, a powerful sound design and production, atmospheric lighting, and with the rain and wind outside rattling the marquee, we had a natural sound addition to the whole show, which all added to the creepiness of the tale.

This production grew on me the more I was drawn into the story and the song lyrics. Lyrics I had heard many times over the years but tonight took on a more sinister feel.

The production was a one night only chance to see "Alicia" but is now touring, and I am really pleased that I was asked along as part of the eerie love story ride.

 "Merlin" by Northern Ballet

Nottingham Theatre Royal

Ballet is theatre of a different kind. It's like Shakespeare, it has a language of it's own. Like theatre it is dramatic and conveys all emotions but through dance and has its' own kind of magic, quite literally in the case of Northern ballet's "Merlin".

"Merlin" is a blacksmith who has to hide his powers and on the eve of Merlin's 18th Birthday Morgan arrives. Morgan is a Senior General in the Solar Kingdom's Army, and Merlin has deep feelings for her. merlin is to be drafted into the army but does not fit in. Merlin has flashbacks to his birth mother and father and this gets him angry which is where he is introduced to Excalibur. the anger builds and results in him slaying everyone around him. This is witnessed by Morgan.

Merlin encounters the Lady Of the Lake as well as a fierce dragon, who he frees and befriends.

Back in Camelot celebrations are under way and Morgan is offered as a bride to Uther, the King's son, but Uther has his eye on Ygraine, the Princess of The Kingdom of the Tides, but this love is forbidden.

Morgan has followed Uther and witnesses the meeting and is not to happy about this and summons the Solar Warriors. Merlin flees with Ygraine after being saved by his new dragon friend and hides Ygraine at his home with the Blacksmith. Returning to the forest to seek out the dragon, Merlin is captured by the warriors and is thrown into jail.

Will Merlin get Morgan? Will Uther get his Ygraine? Is there an happy ending for both? What happens with Excalibur? Where does King Arthur fit in all of this?

There is so much drama in this story and I could not tear my eyes away from these dancers and the stage.

The dancers are athletes, they make everything seem so effortless, and you just have to admire the pure physicality of the dancer in conveying the story. It has taken years for them to reach the physical peak that we see on stage and you are left in absolute awe with their control, not just of limbs and body but the fact they never seem to show any accelerated breathing in the slight. As I said, these dancers are athletes of the stage.

The sets are incredible. From the initial scene of the giant golden ring that rotated slowly and slowly rose into the ether, to the amazing tree that Merlin lit up with Excalibur. From the palace scenes to the forest, the scenery was as magic as the whole story.

Talking of magic, we experience fiery globes that appear, rise into the air and vanish, a sword that looks as if it is burning that leaves Merlin's hand to float in the air, and several other wonderful illusions.

There is puppetry with the vicious dragons complete with smoking nostrils, all expertly handled so that you are watching the dragon and not the puppeteer (Ashley Dixon). There is so much to watch that your eyes are deliberately drawn to one part of the stage so that illusions can appear just out of eyeline, creating a truly magical experience.

The music lifts you up and sweeps you along the magical journey. from the very first note to the final chord, it does not seem that you are in the theatre for just under two hours. The whole mixture of the wonderful story, the beautiful music and the incredible performers just make the minutes disappear.

Directed and choreographed by Drew McOnie. So many wonderful scenes but I especially loved the scenes with The Lady of the Lake. you really got the feeling of water with the fluidity of the choreography.

The gorgeous music is composed by Grant Olding, whose name may ring a bell as he trained as an actor at Central School of Speech and Drama. The Northern Ballet Sinfonia was conducted with great gusto by Jonathan Lo.

The wonderful set, as well as the costumes were designed by Colin Richmond.

Lighting of this production also creates a special feel and is the work of Anna Watson.

I mentioned the illusions for this piece were literally quite magical and these were produced by a man who really knows his art as he is a member of the Magic Circle and was the Magic associate for Harry Potter & The Cursed Child, Mr Chris Fisher.

Rachael Canning was the lady behind the amazing puppets we see on stage.

And so to the incredible team of dancers who are also wonderful story-tellers and athletes.

Kevin Poeung (Merlin), Antoinette Brooks-Daw (Morgan), Lorenzo Trossello (Uther), Rachael Gillespie (Ygraine), Javier Torres (Vorligern), Minju Kang (Blacksmith), Abigail Prudames (Lady of the Lake), Greig Matthews (Helios), Heather Lehan and Sarah Chun were the Princesses. These were the mains and then there were the male and female warriors flooding the stage.

I can't really put into words just how much I love ballet; I've not seen a ballet that I have not loved or would not see again. As I said, there is a special kind of magic of being in a theatre and letting the music wash over you while following a story without words, and marvelling at the special talent of telling stories through dance. The beauty of the whole experience is simply awe inspiring and breath taking.

If you think that ballet is not for you, go on, take a risk because, like Shakespeare, it has a special language that you will love and become hooked on. All it takes is that one step into the unknown. Why not let Merlin bewitch you into taking that step.

"Merlin" is at the Nottingham Theatre Royal until Saturday 2 October.