"A Raisin In The Sun" by Lorraine Hansberry.

Nottingham Playhouse.

"A Raisin in the Sun" centres on the Younger family, a Black family living in Chicago in the 1950s. Walter Younger dreams of owning his own business, a liquor store, and the independence that comes with being self-employed. His mother (Mama) gives him a portion of the $10,000 life insurance payment from her deceased husband to invest in the store as well as additional money to set aside for Beneatha (Walter's sister) to go to medical school. 

Mama puts the remainder of the money down on a house in a white neighborhood. The family is approached by a man (Mr. Lindner) from the white neighborhood who tries to persuade them not to move into the neighborhood by offering them even more money than Mama's down payment, but the family rebuffs him. Afterwards, it is revealed that Walter has given all of the money to his prospective business partner who stole it and left town. Walter invites Lindner back to the apartment intending to accept his offer, but does he swallow his pride and accept or does his pride get the better of him and decline?

First off, let me just say that this cast, wholly and singularly, are simply incredible. If ever there were a feeling of being a fly on the wall, then this is the play to be that fly. Everything and everyone are so natural, almost as if they were a true family and there was no acting involved.

The language used is of its' time and seems at first to be outdated, but then you remember that this is America in the 1950's and racial awareness and words like "negro" and "coloured" were words in every day use. Nowadays everyone should feel uneasy when they hear these words.

There are comments made that audibly and visually shocked much of the audience, and so they should to depict the power that words can have and to create that shock, hopefully showing how far we have come, or how much more work we need to do in order to respect everyone.

Doreene Blackstock plays Lena Younger (Mama), the matriarch of the family. She is mother to Walter and Beneatha and grandmother to Travis. She is a humble, selfless, God-fearing woman, and the happiness of her family is of the utmost importance to her. And woe betide any family member who does not fall in line with her strong beliefs! Her family is her motivation for everything she does, including buying the house and giving the remainder of the money to Walter.

Solomon Israel plays Walter Lee Younger, a chauffer in his mid-thirties, the son of Mama, husband of Ruth, and father of Travis. Walter is unhappy with his current job and living situation and dreams of a better life. Although Walter has big ambition, his lack of awareness and self-centeredness leads to conflicts with the other family members.

Cash Holland is Ruth Younger, a domestic helper, Walter's wife and Travis's mother. Walter accuses Ruth of being unsupportive of his dreams, but Ruth is continually looking out for each family member's best interests and plays the role of peacemaker in their familial disputes. Ruth is always tired and puts on a brave face for the family, but she has news for her husband which does not go down well.

Beneatha Younger, college student, Mama's daughter and Walter's sister. She is aspires to become a doctor, but Walter resents her for not contributing financially to the household, and her family accuses her of being flaky as her ambitions and interests change frequently. Beneatha is played by Joséphine-Fransilja Brookman.

Gilbert Kyem Jnr plays George Murchison, a college boy and friend to Beneatha. Walter finds him irritating as he is everything that Walter is not; wealthy, educated and sophisticated.

Kenneth Omole doubles up as Joseph Asagai and Bobo. Joseph  is a Nigerian man that Beneatha has met in college. He helps Beneatha in the search for her identity by introducing her to aspects of her African heritage. Bobo is Walter's friend and supposed business partner who tells Walter that the other partner has stolen his money and absconded.

Oliver Dunkley, one of two actors playing this role in Nottingham, plays Travis Younger, the ten year old son of Walter and Ruth and Grandson to Lena Younger. Oliver is fourteen but looks the correct age for Travis, but what an actor he is, and will be going forward. He plays Travis as the typical younger brother, annoying his big sister but picking up on everything that goes on around him. He has wonderful little facial expressions that are so natural, nuances that can't be taught. This is a young man to watch for in the future.

Jonah Russell plays Karl Linder. He offers Mama more money than she has put down on the house just to prevent the family from moving into the white neighbourhood.

Directed by Tinuke Craig. With this being a play, pace is something very different than the pace of a musical, but as I've already said, this is so naturalistic, the pace that is created by the actors on stage is perfect and unforced or unchoreographed. The shocks are delivered and then moved on from, sometimes not even giving you time to digest what has just been done or said; let's face it, in real life you don't wait for a reaction when you're in full flow of an angry moment, do you? There is also real balance with the love shown within the family and there's plenty of comedy in the script.

Tinuke creates that real relevance today in chasing dreams and racism as the writer Hansberry did when the play was written in the 1950's, and while this is set in Chicago, it could have been set anywhere in the world because the story is that strong.

Set Designer is Cécile Trémolières and at first sight, this set looks like a standard set with kitchen/diner, but there are sections at either side of the main set which are gauzed off to reveal two separate rooms where the action is conducted in slow motion, creating an interesting incite to what's happening in the minds of the characters within the offshoot rooms. I was really impressed with the onstage working kitchen as well.

Costume Designer is Maybelle Laye. Composer and Sound Designer is Max Pappenheim. Wigs Hair and Makeup Designer and Supervisor is Dominique Hamilton. Lighting Designer is Joshua Pharo

"A Raisin in the Sun" addresses some of the topics that were current in the 1940s and 50s such as racism/segregation and changing gender roles/feminism, but other topics like the value of hopes and dreams and the importance of family are still relatable today. A really powerful piece of theatre that will spark conversations after the show has finished.

And if you were wondering, like I was, where the title of the play comes from, it comes from the poem "Harlem" (also known as "A Dream Deferred") by Langston Hughes.

The play is at Nottingham Playhouse until Saturday 16 November.

 "Our House - The Madness Musical" by Masque Productions.

Mansfield Palace Theatre.

“Our House” is possibly one of the best “jukebox musicals” ever, with the songs featured having been hits and album tracks by Madness. It’s also an excellent piece of theatre. The songs are not just thrown in there, there is a reason for every song being in this musical, and the story, written by Tim Firth is relevant and heart warming.

The story follows Camden lad Joe Casey who, on the night of his 16th birthday, makes a decision that will change his life. Trying to impress Sarah, the girl of his dreams, Joe breaks into a building development overlooking his home on Casey Street. But things take a turn for the worse as the police turn up. Joe’s life splits into two; the Good Joe who stays and gives himself up and Bad Joe who flees and leaves Sarah to run from the police.

The play then follows the two paths that Joe’s life could take after that fateful night; one path means a criminal record, embarrassment and social exclusion, while the other will lose him the girl that he loves. Over a period of seven years and two alternative lives Joe deals with the consequences of that night.

Whilst one Joe fights to keep Sarah, the other is marrying her in a glitzy Vegas wedding and, ultimately, while Good Joe fights to save his house on Casey Street, Bad Joe is determined to demolish it with tragic consequences. All this is watched over by Joe’s deceased father, who pulls the two stories together.

While the story lines and the music is greatly entertaining, there’s a moralistic thread throughout, proving that preaching from the musical pulpit can work.

Jake Shirley takes on the roles of Joe Casey. No, that isn't a spelling mistake or grammar error (see above). This role is so energetic with several quick changes, and Jake is barely offstage throughout. A complete change from the last time I saw Jake on stage, playing the Prince in "Cinderella", there's grit in his Bad Joe, and a playful and loyal softness in Good Joe. The accent throughout is Cockney, and that is carried through into the vocals as well; no mean feat, but it came off convincingly.

Sarah is played by Eleanor Wilkinson who, if you didn't know, was recently crowned Miss Mansfield and District. One of the things that I love about this role is that you can see the progression from schoolgirl to working woman, she matures before your very eyes. Sarah's attire also changes to match which Joe she is talking to, which makes it easier for anyone seeing this musical for the first time to place the character to each Joe. Eleanor gets to sing a little known Madness song called "NW5" which results in being a beautiful ballad, along with Joe's Dad. This is Eleanor's first show with Masque.

Kelly Marsh is Joe's Mum, Kath. Again, a very different role to the last time I saw Kelly on the Mansfield Palace stage as the wicked Stepmother in Masque's "Cinderella. You don't get to hear Kelly's singing voice in this show, but when you do, especially in "One Better Day" in the second act, you can hear that gorgeous softness and warmth in her vocals.

Joe's Dad is played by Matthew Jayes. After what seemed a bit of a shaky start (I put it down to it being opening night and maybe a smidge of nerves), we really got to hear the real quality of Matt's vocals in short bursts throughout, but really gives it welly in the opening of the second act with "Night Boat To Cairo". Matt actually sings on more of the songs than you realise!

Adam Bryant-Scott plays one of Joe's best friends, Emmo. Lewis, the other bestie of Joe's is played by Oliver Ward. As with Emmo, Lewis is a typical teenager with that typical teenager sense of humour, and both draw this out in their performances. There's great chemistry between the dynamic duo of Emmo and Lewis, but this pair also know right from wrong and don't always back Bad Joe's dodgier decisions. This is Adam's first show in six years, and his first role with Masque. Oliver joined Masque last year in the ensemble for "Cinderella".

James Hallam plays Reecey, who is a bit of a bad influence on Joe, and as with Sarah, you do see that age progression; from being in school shirt, untidily untucked, to his black persona outfit. Black for bad and white for good runs through the play with Joe Casey switching between the two, dependent on the direction choice, although Reecey was always a bit of a trouble maker! I can imagine that James has found this role massively mischievous and fantastically fun.

Lily Hewitt plays Billie, one of Sarah's best friends. Angie, another bestie of Sarah's is played by Brooke Spedding. Both bring out the sass and sarcasm in their characters as they always manage to put Emmo, Lewis and Joe in the places. A lovely fun pairing, and both aptly cast.

Mr Pressman, the property tycoon who needed Kath out of her home so that he could raze it to the ground for his own building work, is played by Brian Brooks.

Callum, Sarah's University beau, is played by, and I really hope I got this right, Matt Henson, who quite literally stood in for Brogan Haynes who has broken his feet - yes, not one both feet. Get better soon Brogan. There is a bit of nerd comedy going off with Callum and Matt got it spot on.

And last but by no means least in the named cast are Thomas Slack as Ray, when explaining to Emmo and Lewis how to wash cars was priceless, and Jade Eaton who played Julie from reception. Oh, and then at the opening of act two, Matthew Jayes as the gondola driver - do you call them drivers? I don't know who played the role of the Priest but this character is  also well worth the admission price of the ticket to see.

The ensemble and supporting cast added more meat to the bones of the musical, especially in the music and choreographed pieces, providing a rounder sound and a stage full of dancers.

Brian Brooks, Garry Richardson, Steven Ratcliffe, Thomas Slack, Andrew Steven, Adrian Toon, Andrew Wolden, Paige Allen, Connie Armstrong, Caitlin Brennan, Liz Brennan, Kya Cairns, Ann-Marie Connolly, Maxine Dillon, Adelphie Fleet, Rachel Fletcher, Amy Gunter, Jade Hallam, Lauren Herbert, Sarah Herbert, Francesca Hornsby, Jan Hodgetts, Jane McBride, Paula McCrory, Ruth Morris, Chrissie Smyth, Holly Stevenson, Kay Thomason-Vardy, Justine Wells, Hannah Winterton and Elizabeth Wolden.

Directed by Andrew Wolden. This show is a very technical musical and has a lot going on, so it's not the most "straight down the line" show to direct. It is great fun, fast and the quick changes are exactly that "QUICK". It also does not help the directorial headaches when you think you've got everything near enough down and you have to replace an actor in a role a few weeks before opening night. More of that later! Headaches aside, Andrew, as always, has done a belter of a job. Who needed fireworks outside when everything sizzled in this display of fire crackers.

The set design is by Scenic Projects Ltd. This is a really clever set as flats (sorry technical theatre term) slide into place and reveal a black door and a white door, and I am sure by now I don't have to explain that relevance. A multi level set which plays part of the Pressman Development plan, but also backdrop screen which worked so well with the "Driving In My Car" section of the plot - more than that I won't spoil what is shown behind that particular scene.

Musical Director is Roger Holland, heading up this seven piece band. We didn't need the Return of The Los Palmas 7 when this septuplet is in town. I've always loved the arrangements of these songs as they bring out the lyrics so well when laid bare and orchestrated. That is, for me, what makes the difference between this jukebox musical and many of the others, the arrangements, especially the three and four way arrangements of these classic pop songs.

All the big songs are in this musical, "Wings Of A Dove", "Baggy Trousers", "Night Boat To Cairo", "My Girl", "Embarrassment", "Tomorrow's Just Another Day", "House Of Fun", "It Must Be Love", "Driving In My Car" and so many more Madness classics.

Choreographer is Lynn Roberts. This show is practically all choreography, including of course the many Joes we see racing on and off, often within seconds of each other from either side of the stage and in a different costume. These dance routines for the thirty plus separate music sections, inclusive of reprises, have so much energy attached to the upbeat numbers and the ballads called for a softer style. All executed brilliantly by the cast, and it takes a good cast to execute good choreography.

Lighting design is by Sarah Keers, with the concept conceived by Andrew Wolden. A visual cacophony of colour, making a colourful and bright musical even more so.

Sound design is by Kirk Jackson. I would have liked to have heard the sound to vocals balance a bit more balanced as there were times when the band seemed to swamp the vocals in the upbeat numbers, but apart from that it was punchy, and I like punchy!

Costumes are by Kay Thomason-Vardy, and there are more costumes than you'd expect in this show. From the school wear costumes all the way through to the Las Vegas Showgirl costumes and everything in between, this is another area of the show that really added colour.

"Our House The Madness Musical" is at Mansfield Palace Theatre until Saturday 9 November. It would be sheer madness to miss this magnificent and moralistic monster of a musical.

 "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. These subjects depict the language and opinions of the time; that time being 1962.

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.

Tracy 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 is played by Alexandra Emmerson-Kirby, instead of the advertised Katie Brace; not the only understudy on stage tonight. That said Alexandra shows a personality as big as Tracy's hair and really belts those big songs out.

It seems that on opening night in Nottingham, it was the night of The Understudy. This could explain why the show started fifteen minutes late.

Edna Turnblad, Tracy's mom, is played by Neil Hurst. I've seen many actors play Edna, and everyone is different, bringing a bit of the actor's personality to the role, and in the way they play this role. This is a role that stands out, who ever plays the part, and I've seen Michael Ball and Michael Starke slip the dress on to play Edna. Neil makes the role his.

Wilbur Turnblad, Tracy's easy going dad, is played by Stuart Hickey, the understudy for Dermot Canavan. Stuart was great as the joke shop owner and did a wonderful version of "Timeless To Me" with Neil Hurst.

Penny Pingleton, Tracy’s best friend, is played by Nina Bell on opening night, Nina being the understudy for Freya McMahon. Nina was brilliant, and that change from bespectacled, gangly teenager to the gorgeous dancer at the end was a real transformation. One of my favourite roles in the play because she brings such a comedy element to the musical. Nina has one of those very pure voices that could cut glass.

Seaweed, Penny's crush turned boyfriend is played by Jaiden Lodge, understudy to Reece Richards. 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.

Seaweed's little sister, Little Inez, is played by Katlo. What a ball of energy this young woman is; a real pocket rocket. Light that touch paper and watch her explode on stage. Great energy.

Corny Collins is played by Declan Egan. Another brilliant character role, and an excuse to look and sound as corny as the name. Declan took full advantage with winks to the audience and a brilliantly cheesy grin.

Velma Von Tussle is played by Kirsty Sparks, understudy to Joanne Clifton. Velma is a great role for an actress to play, and Kirsty was deliciously nasty and over-protective of her daughter, and I think that you could see just what glee Kirsty got from playing this role. It also takes a solid actor to understudy for a professional dancer like Joanne, but the dancing was superb, especially during the "Miss Baltimore Crabs" section. The voice was nice and powerful without belting also.

Velma's daughter, Amber Von Tussle is played by Issie Wilman, understudy to Allana Taylor. I loved Issie's performance of the bolshy, controlling, attitude fuelled "girlfriend" of Link Larkin.

Heartthrob Link Larkin is played by Olly Manley, understudy for Solomon Davy. There was less of the arrogance in this character than I had seen in the past, which in one way made the character instantly more connectable. 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 Michelle Ndegwa. What a voice this woman has!! Her solo ballad, "I Know Where I've Been" immediately sent tingles up and down my spine, and her belting "Big, Blonde and Beautiful" shows the range that Michelle has in her voice.

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!

A special mention must be made for Jacob Smith, who played IQ, and Joseph Bristow who came on as Understudy for Fender, another one of Corny Collins' dancers, for their characterisation and energy put into their dance routines. They really stood out for me.

The trio of girl singers were also incredibly good, their harmonies were spot on and really brought that Motown/soul sound to life.

Brenda Edwards, who played Motormouth when "Hairspray" last came to the Nottingham Theatre Royal, makes her Directorial debut in this production. If anyone knows how this production should look and sound like, Brenda should, and it's nice to see that the pace is all there. One thing that I noticed that Brenda may have changed was that, near the end where the popularity poll with Amber and Tracy is, Amber loses out - nothing different there - but so does Tracy! Instead Little Inez is the star of the popularity contest, really turning it on its' head, and showing support for non-segregation. A nice touch!

Choreography is 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.

The set and costume design are by Takis. The costumes are wonderful and I love the vibrant suits for the male dancers; oranges, greens, purples. reds, so much colour. A fairly stripped down set where the platforms for the homes of the three main roles are wheeled on and off when needed.

Ben Atkinson has arranged the score and is Musical Supervisor and Richard Atkinson is the Musical Director. 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.....

The lighting design is by Phillip Gladwell and this area really blends in with the vibrancy of the costumes, making the scenes almost like an advert for The United Colours Of Bennetton - remember that one?

Sound design by Ben Harrison. Crystal clear sound which was mixed well for the vocals and band, who were positioned above the stage area.

The wigs, hair and make up design is down to Craig Forrest-Thomas. These really bring the era to the fore; there's no way that you could mistake this for any other timeline with the swept back hair for the men and those wonderful bouffainted styles for the women.

Projection design is by George Reeve. Most of this was perfect, and I do like to see projections as a backdrop as it means that the scenes can be changed quick and easy and without having to move lots of stage props and scenery away; it keeps a show full of pace. There were some sections of the projection though that were very blurry and out of focus, which should have been picked up on in the tech run (this may also have been a reason for the quarter of an hour late start, who knows?). I initially thought that I may have been wearing my reading glasses instead of my normal glasses, but no, I had come out with my correct glasses. That said, the majority of the projections were really very good.

Ok, now this is something that only a music geek like myself would spot.

In Motormouth's Record Shop, there were obviously going to be records and record sleeves. The year is 1962 and there were four record sleeves in full view. The first was the soundtrack to a film called "Black Joy" which was released in 1977. I am almost positive that the Four Tops album was on the Music For Pleasure label, a label that was not set up until 1965, the album was not released until the 1970's and the Four Tops did not release any records under their own name until 1965, the other two albums were also not released until after 1962. Apologies for the geekiness knowledge and I bet no one else spotted this, and why should they?

Anyway, there's no taking away from this musical that it's a fun filled powerhouse of a musical with some great messages, maybe a little out of date, but nevertheless, fantastic fun and a sizzling sixties feel soundtrack that will have you dancing out of the theatre.

I do wonder though why there were thirteen changes to the cast on opening night. Maybe the bus delivering them were stuck in one of the many sets of Nottingham roadworks, or they had fallen into one of the areas potholes and are waiting to be rescued for tomorrow night's performance.

“Hairspray” is at the Nottingham Theatre Royal until Saturday 9 November.

 "Patience" by Gilbert & Sullivan.

Christchurch Gilbert & Sullivan Society.

Iveshead School Theatre, Shepshed.

"Patience" or "Bunthorne's Bride" is an operetta by Gilbert & Sullivan and, in the same way that William Shakespeare often puts theatre goers off by your experience at school, Gilbert & Sullivan can often have the same effect with just that phrase operetta.

Gilbert & Sullivan are masters at writing great comedy songs for wonderful comic pieces of theatre and this is one of their best, and also one of their little performed pieces, which is just another reason for me wanting to see it again.

It's the story of Reginald Bunthorne, a poet, who would be the equivalent of your Justin Bieber or Harry Styles of today. He is followed by all of the women in the town who want him to be their one and only. Bunthorne though is in love with the milkmaid, Patience, who isn't in love with him.

Along comes another poet Archibald Grosvenor, another aesthetically pleasing young man, and becomes the flavour of the month and all the maidens follow him around which irks Bunthorne, knocking his massive ego. What irks Bunthorpe the most is that Archibald knew Patience when she was a younger girl, and still holds a flame for her!

A simple story of shallowness and fickleness where poets, painters and artistic designers were the pin up pop idols of the day.

Being a G&S Society, you just know that the vocals in these shows are going to be among the best, and they are, so I don't need to tell you how good these actors are with the vocals. it goes without saying that you're going to get some powerful and beautiful voices.

Patience, the lowly Milkmaid, is played by Rachel Fitzpatrick, who reprises her role from the 2012 production. One of the highlights of this operetta soundtrack is the gorgeous “Love is a Plaintive Song” in the second act. As I said earlier, Gilbert & Sullivan were masters at writing comedy, and Rachel gets to showcase, not only her vocals, but her lovely way with comedy as well.

Al Jordan plays Reginald Bunthorne, the man who has fallen for Patience, overlooking the twenty lovelorn maidens who wait for him with bated breath. What I love about characters like Bunthorpe is the flouncy campness, but also the masculinity of the character, which comes out through his vanity. Al brings all of those ingredients to the stage in one wonderfully camp but comic character.

Archibald Grosvenor is played by Richard Craggs. Grosvenor is more than a match for Bunthorpe in every way, except he is not a fan of having all of these women flocking around him, when all he wants is Patience. Grosvenor, while being aware that he has been blessed with the looks of an Adonis, is more of a one man woman, but he has to ring the changes, personality wise to get the woman he loves. How does he do that? Come along and see; and I love the change in Grosvenor's voice and accent. Not sure if that accent is Richard's real accent, but that little twist was a real surprise, character wise.

The chorus of Maidens consist of Brigitte Ainsworth, Alix Ashurst, Lynne Atkin, Mary Barber, Rachel Cousen, Jane dobson, Cheryl Hammersley, Christine Hibbard, Amy North, Sally Portsmouth, Sue Smith and Helen Tomlinson. All these maidens have heavenly voices that bring life to Gilbert & Sullivan's libretto.

The Ladies are made up of Helen Smith (Lady Cecilia), Valerie Hart (Lady Angela), Alison Matthews-Savage (Lady Saphir), Rosie Smith (Lady Ella), Harriet Myers (Lady Juliana) and Laura Gregory (Lady Jane). Once again, a chorus of heavenly voices.

John Cousen plays Mr Bunthorne's Solicitor, who gets knocked around quite a bit on stage.

Matthew Hammersley (Major Murgatroyd), Adrian Dobson (Duke of Dunstable) and Richard Tomlinson (Colonel Calverley) are the main men in charge of the Dragoon Guards, aka The Queen's Men. Apart from having big voices, and in the case of Adrian, a wonderful vibrato, they also get to show their comedic side as their characters decide to try and get "with it" by mimicking the clothes wore by Bunthorne and Grosvenor, with very comical effects.

The Officers of The Dragoon Guards are played by Paul Ainsworth, Edward Atkin, Ray Connelly, Joun Cousen, Richard Craggs, Brian Fletcher, Alan Hobson, Mike Jones, Roger Muggleton, Richard Perkins and Howard Pritchett, who counter the higher voices of the ladies with some lovely rich lower tones, and some rather excellent marching!

Directed by Cheryl Hammersley, assisted by Angela Kilpin. They have retained every bit of comedy in this classic operetta, and even enhanced some, from what I can remember from the last time I saw this particular piece of Gilbert & Sullivan, although that was seven years ago. It was tight and pacy and had the flow that you'd want from such a show.

Nicole Jordan is the Musical Director. Gilbert & Sullivan is not an easy sing, even if you sing it on a regular basis. They can be incredibly wordy and need to be delivered rhythmically, sometimes lovely and tenderly, and at times, especially with the patter songs that G&S are so well known for, and there's some of both rates of singing in "Patience".  You can hear the work that has been put in by the MD because you could hear every word sung, and that isn't always easy with the faster songs, because the words are almost an early equivalent of rap music. They need room to breathe and have to be delivered with rhythm and timing to get the full comedy affect.

The twelve strong orchestra is conducted by Carolyn Muggleton. What a delightful sound they make, and they made these songs sound the same way as if you were listening to the world famous Doyle Carte Orchestra; they had that specific sound and rich feel.

Choreographed by Amy North. If you've never seen anything by Gilbert & Sullivan, you won't know just how well timed the choreography for these operettas need to be. There are a lot of people on stage and the choreography has to absolutely spot on to get that desired effect. So, if you want to see what a well choreographed piece of Gilbert & Sullivan should look like, come on down to Shepshed and take a butchers at this show!

Lighting by Paul Boneham and Sound is by Paul Frost. The pair of Pauls did a great job; they didn't give me anything to criticise with their smooth operation of sound and light. The crackly mic packs can't be helped if it happens on stage, but they were soon sorted out and didn't impede on the overall sound quality.

The costumes were brilliant, especially the foppish designs for Bunthorpe and Grosvenor. the ladies all looked superb and the Guards, Colonel, Major and Duke's costumes were equally wonderful.

Expertly stage managed, and as you can see, there's a lot of people to manage, by Gordon Kilpin. Gordon also designed the set which looked great with the large gazebo at the back of the stage, adorned with foliage and covering the seating for both poets to pose on.

On Tuesday I was speaking to a lady at the theatre who said that she would go and see most theatre shows but could not bring herself to go and see opera. I think that she should take a risk and see something like this light opera because she is missing out on such a lot of fun, as well as some wonderful vocalists that we have in the East Midlands. I advised her of this production, so you never know......

"Patience" will be waiting for you to get those tickets right up until Saturday 2 November, so don't keep her waiting!