"Art" by Yasmina Reza 

Nottingham Theatre Royal.

This play was last at the Nottingham Theatre Royal in 2018, but this is the first time that I've seen this play, so I went into this production completely blind.

Art is one of those things that is completely subjective, always has been. What one person loves, and feels to be deep and meaningful, another finds rubbish. What someone feels a piece of art is worth is personal preference, yet despite knowing this one can't help but judge the viewpoint of others. Over the centuries art has always been the subject of great debate; remember the uproar at Tracy Emin's 1998 "Unmade Bed"?

A seemingly simple purchase of contemporary art ignites a debate amongst three close friends. What begins as a light-hearted discussion about art quickly descends into an exploration of the blurred lines between art and reality. It is set in Paris, in the apartments of all three of the characters.

One of Marc's best friends, Serge, has just bought a very expensive painting. It's about five feet by four, all white with white diagonal lines. To Marc, the painting is a joke, but Serge insists Marc doesn't have the proper standard to judge the work. Another friend, Ivan, allows himself to be pulled into this disagreement. Eager to please, Ivan tells Serge he likes the painting. Lines are drawn and these old friends square off over the canvas, using it as an excuse to relentlessly batter one another over various failures. As their arguments become less theoretical and more personal, they border on destroying their friendships. At the breaking point, Serge hands Marc a felt tip pen and dares him: "Go on." This is where the friendship is finally tested......

The whole play is a test of friendship and of the power of debate.

All three deliver monologues of varying lengths, and when you think that this is only Sean's second stage play, something that you would not have guessed by the quality of his performance. There's a strong chemistry between all three, and you could really believe that these three men are all the best of friends, but like all best of friends there are bumps in the road, or in this case, potholes!

Sean Walsh plays Yvan, who's peace keeping nature gets him caught in the crossfire between his two buddies. Sean is more well known as a very successful and funny stand up comedian, but this play shows him also to be a really good comedy actor. There's one monologue regarding wedding invitations which he delivers almost without taking a breath, highlighting his comedic background.

Chris Harper plays Serge,  the modernist, extravagant painting owner who prides himself on his taste and high brow opinions. You'll recognise Chris from his TV roles in "Call The Midwife, "Upstairs Downstairs", "Life On Mars" and recently playing Nathan Curtis, who was the head of the grooming ring in "Coronation Street".

Aden Gillett plays Marc, the traditionalist who is "stuck in his ways". His complete disregard for the piece of work and stubbornness brings much of the comedy to the play. Aden is a well respected theatre and TV actor. His CV lists productions from "Mary Poppins", "Three Sisters", "A Midsummer Night's Dream", "An Inspector Calls" and "Blithe Spirit" among his many credits.

It bears certain resemblances to "The King's New Clothes" as to what people envisage.

Directed by Iqbal Khan, this production celebrates the 30^th anniversary of the play, and is quite unlike any play I've seen. The comedy is sharp and is balanced by some real dollops of pathos, mainly from Sean's character. All three also manoeuvre the scenery.

Set and lighting design is by Ciaran Bagnall. I loved the set with its' blue and burnt orange colour washed walls, showing the style of a Parisian style minimalist apartment with limited props. 

Sound designer and composer is Max Pappenheim. The incidental music as the scenery is moved around is very classy, and with the actors projecting well - no need for mics - the whole sound for this show was very enjoyable and comfortable on the ear.

The costume supervisor is Nancy Surman.

Due to some strong language, the play has a 12+ guidance. I really enjoyed "Art" and I think you will as well. Having no prior experience of "Art" before, for me, it was really refreshing to see this fast moving piece of comedy theatre with its' stylish set and original subject matter.

"Art" is a one act comedy which only lasts 80 minutes and is at the Nottingham Theatre Royal until Saturday 12 October.

 "Educating Rita" by Willy Russell.

Magpie Drama.

Duchess Theatre, Long Eaton.

For anyone who has not seen the film starring Michael Caine and Julie Walters, nor seen the play before, this is what it's all about.....

The plays follows the relationship between a 29-year-old Liverpudlian working class hairdresser called Rita and Frank, a middle-aged university lecturer, during the course of a year.

Susan (who initially calls herself Rita), dissatisfied with the routine of her work and social life, seeks inner growth by signing up for and attending an Open University course in English Literature. Frank is a middle-aged, alcoholic career academic who has taken on the tutorship to pay for his drink. The two have an immediate and deep effect on one another; Frank is impressed by Susan's verve and earnestness and is forced to re-examine his attitudes and position in life; Susan finds Frank's tutelage opens doors to a bohemian lifestyle and a new self-confidence. This new Susan though is not a personality change that Frank is all too happy about.

Willy Russell has always been a favourite of mine when it comes to stage plays - my all-time favourite musical, "Blood Brothers" is from his pen. This play is a two hander but through Russell's creative writing we also hear about the people in both Frank and Susan's life outside the confines of Frank's room, all thanks to Russell's descriptive text you feel like you have met them.

Dan Bates is Frank and Laura Davey is Susan/Rita. You have to acknowledge the amount of words these two actors have to record to memory. The play, including interval, is a touch over two and a half hours long, and when you think that this is a two-hander, that is a lot of script to remember.

There was just the one occasion requiring a prompt, which was done very subtly, and only once did we see a tripping over of words, which, to be fair was handled, on both occasions very well. Every show is different, so I don't think you'll see either of these when you come and see it because this is, after all, opening night, so those couple of incidents will be out of both actors' system. But, as I said previously, this is a massive script for just two actors. Willy Russell certainly provides "money worth" for the audience as well as the actors.

Both Dan and Laura are perfect choices for these roles, and both are brilliant at character acting and story telling. And even though I have seen this play on stage a few times, they still made me laugh in all the right places and still held my interest in what they were saying, as characters. It's a wonderfully well written story that draws you into the two characters and their back stories. 

Costume wise, Frank kept the same clothes throughout. Susan/Rita's clothes changed with the various different visits to Frank, but also her confidence grew as her educational needs were sated, which also reflected in the style of clothes, which started with electric blue leggings all the way through to a very demure but smart outfit, befitting of an educated literary lady. This also reflects Frank's standing, educationally, as staying where he is, while his student's star is ascending, along with her style and fashion sense.

Directed by Elle Bates who has taken the decision to not use the Liverpudlian accent for Susan. I've seen this play on several occasions and every time Susan has had the Scouse accent, keeping in line with the original play character description. The choice to lose the accent and keep Susan's accent close to home is something that should be opted for more often as not every actor can pull off a believable Liverpudlian brogue; it's also not the easiest of accents to keep up throughout the course of a play, especially when you're one half of the onstage cast. This also shows that the characters of Frank, who has a more RP accent, and Susan can come from anywhere in the country and do not need to be tied to one region.

The regional aspect also comes into play where in Act two, Rita tells Frank about the literary discussion she has with a fellow student, Tiger Tyson, about the better of two plays "Lady Chatterley's Lover" or "Sons And Lovers" by DH Lawrence. Plus earlier on in the play there's mention of an area of Nottingham, which I won't give away.

Set design is also by Rachel Bates, and I fell in love with the set as soon as I entered the auditorium. There books, books and books, bookcases, filing cabinets, desks, chairs; everything I'd have expected from the play area of a poet and literary tutor. The furniture was provided by Katie Bird.

Sound by Rachel Bates also. You'll love the incidental music used for the scene changes. Classical arrangements of hits from the 1980's, with a couple of original songs thrown into the mix.

Lighting by David Martin, and with a production like this, all you need is a fade down and a fade up to indicate the changing in the scenes, simple and effective.

Lovers of intoxicating theatre will love this show, as will anyone who enjoys strong character-driven theatre.

"Educating Rita" is at the Duchess Theatre in Long Eaton until Wednesday 9 October and then transfers to the Melbourne Assembly Rooms for one performance on Friday 11 October.

 "Hot Mikado" by Erewash Musical Society.

Duchess Theatre, Long Eaton.

As soon as Erewash Musical Society (EMUS) announced that they were performing this show, I just knew that I had to see it, I am a fan of Gilbert and Sullivan's light comic operas, and I also like jazz music, so the combination of the two genres, for me, was going to be an interesting watch. I already had the soundtrack, and love the blending of the two styles of music, and as always, seeing the production would only enhance the soundtrack experience.

So, what's it all about you ask......

"Hot Mikado" takes the classic Gilbert and Sullivan tale and updates it to 1940s-style. Young Nanki-Poo, the Mikado’s son masquerading as a Second Trumpet player, arrives in the town of Titipu looking for the beautiful Yum-Yum. After bribing various officials he learns that she is still going to be marrying a former tailor turned Lord High executioner, Ko-Ko. Meanwhile, the Mikado demands that Ko-Ko execute one person within the next month. Nanki-Poo agrees to be executed as long as he can spend a month as Yum-Yum’s husband. However, the plan goes awry when the Mikado makes a surprise visit to Titipu and brings with him Katisha, an older woman who is pursuing Nanki Pooh. Luckily, Nanki-Poo is not executed because he is the Mikado’s long lost son. Further, Ko-Ko and Katisha fall in love so Nanki-Poo and Yum-Yum can stay married.

Nanki Poo is played by Hayden Fletcher. The son of the Mikado, and heir to the Japanese throne, when he was betrothed to Katisha against his will, he ran away and disguised himself as a (less-than-talented) trumpeter for the Titipu orchestra. A naive and hopeless romantic, he will do anything to be with Yum-Yum, even be beheaded. This is a role made for Hayden. It has oodles of wonderful choreography, and anyone who knows Hayden will know what a talented dancer and choreographer he is. He also knows his way around a tune, and while this soundtrack may be very different to any that this cast may have done in the past, Hayden, and every one else just smashes every song. 

Yum Yum is played by Nicola Tuxford. The sweet, bubbly, middle child. She is betrothed to Ko-Ko but in love with Nanki-Poo. She is emotional and at times self-absorbed, as she wonders why she is "more attractive than anybody else in the whole world." A dark wig almost camouflages her - well the wig has very good volume - almost like Nicola's vocals. You heard every single word of these songs, and when she teams up with her other two little maids, the harmonies are akin to listening to girl trios like the Andrews Sisters, beautifully synced.

Katisha is played by Louise O' Boyle. Nanki-Poo's "just a teeny weeny wee bit bloodthirsty" bride-to-be. Although plain of face, she has "a striking left shoulder blade, fascinating right elbow, and stunning right heel". She comes to Titipu to claim her "prey"... er, fiancé. She is fierce, but quickly won over by Ko-Ko. Louise has a powerful weapon in her arsenal; her voice. There's a song in the second act called "Alone And Yet Alive", and with this arrangement it's a heart rending torch song, and Louise's rendition of this would make the eye of a needle weep. Katisha's costume is also a powerful weapon. Cut to accentuate Louise's figure, it clings and is slit to the thigh in the most vibrant of colours, and straight away cements the cougar vamp personality in your mind.

Pitti Sing, Yum Yum's elder sister, is played by Grace Deakin. The oldest of the three little maids. She is sarcastic at times but always speaks the truth. Grace is another actor whose voice has such power and control. Just before the big finale in the first act, there's almost a battle of the big voices between Katisha and Pitti Sing and I could feel the hair on the back of my neck start to rise, the vocals from both Grace and Louise were tingling.

Hayley Wood completes the three little school maids, and plays Peep Bo, the sassy, youngest little maid. She has a big voice, but tags along with her older sisters. And as I mentioned earlier, these three voices sound perfect together, especially in "Three Little Maids" which was given a harmonious boogie feel about it. Hayley has a lovely richness to her voice which also makes her stand out vocally.

The Mikado is played by John Fletcher. The Mikado is the "J. Edgar Hoover of Japan." Carefree and relaxed, he just wants every criminal's punishment to serve as entertainment, and he loves a good joke. Although his demeanor is never serious, he is very strict about following the laws of Japan. A while ago John told me that he had worries over the choreography for this role, especially the tap routines. Well Mr Fletcher, you must have worked hard on those dance steps because you smashed them, especially the tap number. The vocals were not bad either, and whoever would have thought that you and Hayden would have been cast as Father and Son in a musical eh? Natural built in chemistry and inherited talent. 

The Lord High Executioner, Ko-Ko, is played by Phil Deakin. Ko-Ko is the most unlikely candidate for his post of Lord High Executioner. He takes great pride in having power, but can't actually bring himself to execute anyone. He is Yum-Yum's fiancé and guardian. What I like about Phil is that he can play serious roles and then he can play brilliantly comical parts such as Ko-Ko and still look so comfortable in each and every role. Phil also has a nice line in facial comedy as Ko-Ko and uses that talent to his advantage, especially in his rendition of "Tit Willow". I love that suit as well.

Pish Tush, the coolest gentleman in all of Japan, is played by Evan Hagan. Pish Tush knows everything that is going on and has an opinion on it all. Evan has moved up from the Youth section of Erewash Musical Society to become one of the adult section actors. I last saw Evan in "Annie Get Your Gun" as Chief Sitting Bull, where he gave a solid performance. As Pish Tush he shows what a very strong voice he has, and just right for this type of music, especially when he has that growl in his voice. Evan is going to be a very useful addition to this group of actors with a voice like he has. I quote you "solid" and raise you both "talented" and "memorable".

Pooh Bah is played by Richard Dawson. "Lord High Everything Else," from the Archbishop of Titipu to the chief of police. He gives matter-of-fact advice from any of his many points of view, and will say anything (even state secrets) for a bribe. He is pompous and loves to show off, so far away from Richard Dawson the person which shows what a cracking actor Richard is. I loved all the "asides" to the audience, as if he was letting us into a secret all the time - a secret that we didn't have to pay extra for as well. It is no secret that Richard is a showman at heart - you must have heard his shows on Erewash Sound? - and his song and dance man persona rises to the top as Pooh Bah.       

Toby Wykes is the second young man to rise from the Youth Group into this musical, and he really makes an impression, especially with his dancing ability. I know that I have highlighted Toby for this talent in previous reviews and still he comes back with even more. His fluidity in the choreography is an absolute joy to behold and the constant enjoyment of being on stage from him just radiates. This young man, like Evan, shows the quality that comes from Youth teams in drama groups, ready to ascend to adult drama groups, and we all know just how important it is to be able to count talented singers and dancers who are male in drama groups. He makes you feel happy watching him dance.

Martin Briggs and Jonny Cox complete The Gentlemen of Japan, and I must mention the gorgeous costumes that Martin, Jonny, Evan, Richard and Toby wear throughout. I am so jealous. If I was involved I'd try and sneak those amazing suits out at the end of the run for my own wardrobe.

Playing The Ladies of Japan are Laurie Trott, Alex Tavener, Sue Hagan, Chrissie Oakden, Jane Freeman, Kathi Ludlow, Kaye Buck, Laura Dawson, Anna Fitzpatrick, Andrea Kemish and Karen Robbins.

Laurie Trott also plays The Cleaner. This section was pure comedy gold. Laurie, complete with fag drooping out the corner of her moth and pinny walked on and without even saying a word created laughter from the audience in a wonderful display of physical comedy. Who'd have thought sweeping up torn bits of paper could be so funny?

Directed by James Bowden, who is also the Co Musical Director with Martin Lewis. When a show is as perfect as it's going to be, there's no need for me to add anything else on either the Direction or the Musical Direction. This pair have so much experience in almost every aspect of musical theatre that when you see their names on a production team, you just know the show is in the very best of hands.

The on stage band itself produced some absolutely stunning swing/boogie/jive/lindy hop style music and while as a band they were incredible, I must mention Dave Shipley on drums; I'll be surprised if there's any skin left on those drums after another two shows on Saturday.

There are some brilliant songs in this show, and anyone who has seen the Gilbert and Sullivan version of "The Mikado" will know that. Most light opera devotees will instantly know "A Wanderin' Minstrel, I", "Three Little Maids", "Here's A Howdy Do", "Tit Willow", the very clever and lyrical "I've Got A Little List" and "Swing A Merry Madrigal" which starts off with four way accapella and then starts to really swing. The harmonies are joyful to hear.

Choreographed by yet another person who, when their name is in the programme, you just know is going to be of the highest quality, Ann Colgan. What Ann does not know about dance is not worth knowing. The choreography is as exciting as the jazz arrangements for this Gilbert and Sullivan show. There are glints of "West Side Story" and ballet alongside the tap routine and the jazz moves, all infused with such high energy levels.

What I must say though is that the male dancers in this show are on a par with the female dancers. I say that because often you see that the women dancers are slightly better at the choreography, but in this show, the lads really look to enjoy the choreography they are given and are really, really good at executing the choreography. That is a joint effort, I believe, between a choreographer who instills confidence in their dancers, and the dancers who are enjoying the rehearsal process of dance.

Set design is all thanks to Mark Robbins, Bill Robbins and EMS.

I have already raved about the wonderful costumes in this show but I couldn't see in the programme who was responsible for them. Every single costume stood out, and even though Hayden said that he looked like an ice cream salesman in his white suit, black shirt and white dickey, I'd have stopped him and bought one! Another super smart suit for The Mikado (John) and some gorgeous outfits for the ladies of Japan. I also couldn't see any credits in the programme for make up, wigs and hair but these also were stunning.

Lighting is by Steve Greatorex and the stage was awash with pastel shades creating a visually exciting lighting design.

Sound is where I usually have something ever so slightly negative to comment on at The Duchess Theatre with missed mic cues and the like. I am so sorry to report that I could not find anything even the slightest bit negative tonight because the sound was absolutely perfect. Every cue was spot on, I heard every word, it was perfectly balanced with the band on stage. Okay, I'm not sorry at all, I love it when perfection shines through in whatever field of production. All this perfection thanks to Dave Dallard

"Hot Mikado" is the hot ticket in town to get, but you've only got until Saturday 5 October to see this show when there's a matinee and an evening performance.