"Cinderella" by Northern Ballet.

Nottingham Theatre Royal.

Anyone who knows me, knows that I love watching ballet; it's so relaxing to watch, especially when performed by one of my favourite companies like Northern Ballet.

Performed to Prokofiev's gorgeous music played live, Cinderella's story unfolds with twists and turns and a romantic finale where love (and a perfectly fitting slipper) conjure a "happily ever after" that you won't be able to resist. 

Originally choreographed by Michael Pink for Milwaukee Ballet, this dance show will make you feel like a child again, and get you in the mood for the upcoming festive period.

The role of Cinderella is played by Saeka Shirai, who may be a tiny dancer in stature but makes a big beautiful impact on stage.

Cinderella's Mother, who is Cinderella's Guardian Angel throughout the show, is played by Heather Lehan. The ballet starts at her funeral, and we see her in a halo of light above the funeral, keeping an eye on Cinders and her Father.

The Stepmother is played by Alessia Petrosino. What a fantastic role to play because, even without words, you could tell what a nasty piece of work she is. There's a stance in the Paso Doble which makes the dancer look like a Matador which Alessia takes up on several occasions. It reminded me of a hen protecting her chicks in the way that this Step Mother drew herself up in front of Cinderella and her Father. Wonderfully dramatic.

The Prince is played by Jonathan Hanks, handsome and regal throughout.

Cinderella's Father is played by Harry Skoupas. He makes you feel sorry for him when he is at the mercy of his domineering wife.

Lucretia, the Step Sister, is played by Yu Wakizuka and Prunella, the other Step Sister, is played by Andrew Tomlinson. What a wonderful pair of comedy players these are. Andrew bringing the panto element to the show with some wonderful "naff" dancing. I say that, because that is what both Step Sisters are required to bring to the scenes. I can also say that it is more difficult to dance badly when you have been trained to the quality of dance that all of these dancers are trained to.

Jack, the handsome leading man in the story, is played by Harris Beattie, who appeared to be a big success with a couple of elderly ladies sat right behind me!

In the kitchen are Jun Ishii (Herald), Noah Benzie-Drayton (Courtier), Albert González Orts (Wig Master), Stefano Varalta (Shoe Maker), Antoni Cañellas Artigues (Dancing Master), Filippo Di Vilio (Violinist) and Gemma Coutts, Kaho Masumoto (Milliners).

In the Garden are Aerys Merrill, Julie Nunés (Summer), Isabelle Clough, Helen Bogatch (Spring), Mayuko Iwanaga, Kirica Takahashi (Winter), Gemma Coutts, Kaho Masumoto (Autumn), Dominique Larose, Miguel Teixeira (Spirits Of The Ball Gown), Amber Lewis, Jackson Dwyer (Spirits Of The Glass Slipper), Alessandra Bramante, George Liang (Spirits Of the Mice), and Sarah Chun, Filippo Di Vilio (Spirits Of the Hours).

The dancers playing The Courtiers in the second and third acts are Aerys Merrill, Julie Nunés, Isabelle Clough, Helen Bogatch, Mayuko Iwanaga, Kirica Takahashi, Jun Ishii, Noah Benzie-Drayton, Albert González Orts, Alejandro Ródenes Gonzalez, Antoni Cañellas Artigues and Bruno Serraclara.

Children from the Northern Ballet CAT Programme are Ava Fearnley (Dressmaker), Taylor Harrison (Cobbler) and Alexander Stubbs (Gardener). It is always fantastic to see the next generation of ballet dancers on stage with their peers, and this trio were almost like "mini me's" for the adults on stage. Grace, poise, flexibility and talent all on show from these little stars.

Choreographed by the international, award winning Michael Pink. This show is gorgeous, dreamy and absolutely delightful, with dancers seemingly floating over the stage. Simply beautiful performances from every dancer on the Nottingham Theatre Royal stage.

Music by Sergei Prokofiev, who is no stranger to composing beautiful ballet music, and conducted by Daniel Parkinson. I always think that when there are big orchestral pieces, it's best to hear the music played live. That's not always the case with companies like Northern Ballet, due to the cost of touring an orchestra, but the sound from that orchestra pit on Friday night was absolutely lush.

Set Designer is Bruce Brockman. I was chatting to a couple of ladies from Northern Ballet before I went in to watch the performance, and I asked about the set design, to which they told me that the design was "simple". I can see where they would describe it that way, but this version of simple was towards the glam side of simple. This design shows that, it may be simple, but looked fantastic, and after all, you don't need all the bells and whistles for a set that is fronted by the level of dancer and the beautiful costumes.

Talking of which, the Costume Designer is Peter Cazalet. I loved the way that the Stepmother was clad in the archetypal dark costumes, and the "nicer" the other characters were, the brighter costumes they wore. Naturally the Prince was all in white, Jack wore more of a pastel costume, with the Stepsisters adorned in green and a darker pink. No expense spared with any of the costumes and they all looked superb.

Lighting Designer is David Grill, this man knows exactly how to light a stage, while the dancers lit up the stage.

The ballet is performed in three acts with two intervals, which took a few of the audience members by surprise because I think that they had only expected one interval. When you think of how long these dancers are performing on stage, especially when en pointe ( supporting the whole weight of the body on the tips of their toes), they truly deserve more than one interval. That said the whole performance lasts two hours and twenty minutes, including both intervals.

One thing about ballet performances is that it attracts such a wide range of ages. Friday night saw little girls, practicing moves in the intervals, and older theatre goers who just love the dance form along with the gracefulness of these dance athletes, let's face it, they have to have the stamina of athletes to do what they do and look as featherlight as they do.

This is a traditional story danced in the traditional way.

"Cinderella" is being performed at the Nottingham Theatre Royal until Saturday 24 October.

 "Underneath The Lintel" by Glen Berger.

Karuna Productions.
Nottingham Arts Theatre (Studio).

I've not seen this play before, and it surprises me why it's not been performed locally previously, or as far back as I can remember, because this is a masterclass in storytelling.

This is a one woman show and Marilyn Ann Bird is spellbinding in how she holds the audiences' attention for the full eighty minutes that we are he captured by her picture painting as she weaves her magic via this time travelling mystery that all revolves around the return of a library book. That in itself may not be the most interesting theme to base a play around, but this particular library book was taken out over 100 years previous. Imagine the fine on that one!

Marilyn takes the role of this middle-aged Dutch librarian who arrives at work one day to find an overdue book has been returned, but placed incorrectly in the "overnight slot". Irritated, the librarian examines the offending book, a travel guide, to discover that it's also overdue - by a mere 138 years.

This is only the starting point of the story as the Librarian makes it her goal to find out who the culprit is who took the book out and returned it so tardily. Hang on though, the date stamp in the book was from 138 years previously, so who exactly is she searching for?

An intriguing mystery turns into an obsession that takes her around the world, via China, Australia and London, trying to track down whoever it was responsible in a whodunnit mystery that has to be seen to be believed.

The staging is set out as if the Librarian, we never know her real name, just her job title, is giving a talk publicly, maybe even in a library. She has a box of "scraps", or "evidences" with which her story is woven around. She discovers that the book was loaned to someone simply called "A." with a post office box in China as their address. Our librarian turned detective discovers a laundry ticket dated 1913 within the returned travel guide and decides to ask for leave from her job to start her hunt. Unfortunately for her, the leave is denied, so she throws a sickie, but is found out and eventually loses her job.

All of this is the starting point of a story where we find out more about the Librarian. But does she discover who is behind the extended book loan? Come on, you don't really think I'm going to answer that one do you?

The eighty minute show flew by, thanks to Marilyn Ann, who is on stage all throughout the eighty minutes, and there were times that I closed my eyes to imagine the journey that the Librarian took us on in my head - so if anyone glanced around and saw me with my eyes shut, I wasn't asleep, I was on a virtual journey across the world with the Librarian as my tour guide.

Alongside the mystery element and the adventure, there are some important messages to take away from the story of "The Wandering Jew" and the side serving of race, faith and belief elements.

Directed by Chris Sims, who also had a couple of minor interjections in the story also. This is Chris' debut as a professional Director; I've seen Chris's directorial skills as a non- professional, and they were just as captivating as this professional job. I, like many other people, love to be told a story and to follow the narrator in my mind, so this piece of theatre is a perfect vehicle for anyone who loves to listen, with the added pleasure of the visual element as well.

Stage managed by Kathy Bobkowska with Katie Evans as Designer. I got there early and fell in love with the stage design. There are so many props involved and some gorgeous pieces on stage, many I discovered belong to Chris Sims. It's like being in one of those classy auction houses, or an upmarket charity shop, or "pre-loved" as they now prefer to be called.

Light, Sound and Projection are all thanks to Esther Warren.

Producer is Laurie Owen.

"Underneath The Lintel" can be seen in The Studio section of the Nottingham Arts Theatre until Saturday 24 October.

Photography by Grace Eden Photography.

 "Jesus Christ Superstar"

Greasepaint Productions.

Loughborough Town Hall.

I am in no way biased, but this is one of my favourite musicals of all time. As a child I remember buying a Music For Pleasure LP of "Highlights From Jesus Christ Superstar" and from then on I was hooked, so this show has a special meaning for me as it must have actually influenced my love for musical theatre. I love every song and practically know the songs back to front.

I can sum my review up with just one sentence. One of the best non professional production I've seen. I've seen many different versions of this musical, and just when you think that you've seen them all, here's another one that has a has a different vision of the story.

You know it's the story of the last seven days of Jesus's life but the musical is more about Judas than it is about Jesus, while still playing second fiddle to the Messiah. Portrayed, not as a God, but as a human being with all the pressures and troubles that any human being could be heaped with when stuck on a pedestal, as Jesus Christ was when Rice and Lloyd-Webber penned this iconic musical. Almost as if Jesus is the ultimate "X Factor" winner, he is adored and revered by almost everyone. I say almost because any hero worship is going to have their nay sayers.

Jesus may have been nailed to the cross but that wasn't the only thing that was nailed. The singing, choreography, acting, the passion, timing, basically everything was nailed by everyone.

Jesus is played by Dan Robinson. All musical theatre lovers were waiting for Act 2 for "Gethsemane", the song that Jesus sings seconds before his betrayal, by Judas, in the Garden Of Gethsemane. It holds such power and emotion when sung correctly and Dan did the song proud, and that falsetto is off the scale.  It's not an easy song to sing, but Dan delivered it with real passion, as was the final scene of Jesus on the cross. This scene particularly brings a lump to the throat and raises the hairs on your arms and neck as he asks for his mother and a drink of water, as would a child after a nightmare and looking for comfort from the one he feels safe with. I must also mention the scene where he has received the 40 lashes, the SFX make up for that came as a bit of a shock because the wounds were so realistic, I found myself wincing.

Judas is played by Andy Longley-Brown and another incredibly good vocal performance; in fact there are no weak links from anyone in this show. Passion and power combines in Andy's vocals to create a really raw rock vocal. The opening number has a different arrangement, delivered by Andy. I would have liked to have heard Andy's mic turned up a notch, and this is only my preference. Even with the power in his voice, I thought it would sound even better if the vocals were more dominant in the sound mix. 

Mary Magdalene is played by Nelly Collins. Her versions of "I Don't Know How To Love Him" and the duet with Peter, "Can We Start Again, Please", are simply sublime and full of tenderness and passion.

Pilate is played by Beth Cluer. I am always a little nervous when male characters are played by female actors, but this was definitely and inspired option. "Pilate's Dream" was stripped back and you heard every wonderful note and intonation of the lyrics, and sung with a voice that dripped with purity.

Caiaphas, the High Priest of Israel who sees Jesus as a threat to the nation, is played by Richard Coles. Here's another change to what I've normally been used to seeing and hearing as Caiaphas in previous productions, and the original film has a really deep voice, Richard didn't try to get that low, but that doesn't matter that much because his voice did all the work to show his emotions about the King Of The Jews. A very modern look as well for the character.

Keith Reynolds is Annas, Caiphas' right hand man. As with the above comments, it's always a nice surprise to hear a role being performed not in the way that you had expected, and like Caiaphas, a very modern look.

Judith Coles is Zadok. Another visionary change to the normal casting, Zadok is usually played by a man, but Judith's vocals make a real difference to the Council's quartet sound.

David Clifford is Matthais, the fourth corner of the Council.

Jodie Pearman plays Herod. I have seen several different incarnations of Herod, but never a woman Herod.  It's like a character that you never knew that you needed in a musical because Jodie as Herod works so wonderfully well. Along with her chorus line of ladies, this is unexpected but so welcomed as it turns the character you're expecting to be turned completely on its' head; almost like a biblical dominatrix with the power this character, as a female has. Plus I also love the slight change in the arrangement of "Herod's Song".

Simon Zealots is played by Chris Warmington, who I have had the pleasure of seeing and hearing in shows before, and hearing him sing Simon's piece with Dan, and the Ensemble, highlights that rich set of vocals that Chris has.

Adam Pearman is Peter, the follower who denies knowing Jesus after Jesus' arrest. The duet with Mary, "Could We Start Again, Please", really shows what a really lovely voice this young man has, and how well his voice blends with Nelly's.

This show is, and always has been, a "rock opera" and these actors have the power and passion of a rock singer as well as the control of an opera singer.

There's a massive ensemble who flood the stage with exuberance and talent, and it's with this ensemble that another part of the story is told. The growth of Jesus' followers as we see maybe one or two start in contemporary dance style, and then others join in until you have a throng of followers, as if they have heard the news of Jesus and want to be a part of the following. They also depict the other side of the coin with the masses who implore Pilate to crucify this King Of The Jews. It's their voices and urgency that turn these scenes very dark, putting Pilate on the back foot, surprised that they have turned so quickly on Jesus.

The Ensemble consist of Taylor Bennett, Nikki Coles, Charlotte Coles, Abi Crossley, Rowan Dixon, Paul Hopkin, Gemma Landers, Jenny Norvill, Josh O'Reilly, Jeanette Patrick-Cooper, Heather Ramone, Nicole Ray, Mel Sharp and Rory Stanton.

Directed by Liam Patrick. I love the way that this musical has evolved over the years and feels every much as fresh and exciting as it was when I first saw it, many moons ago. It's not easy to keep a musical, that has been going for over fifty years, as exciting as this production is, but Liam's vision of this show is exciting and fresh. Set in a setting that is akin to a nightclub, which in itself creates an exciting, visual treat. The option to gender swap a few of the characters was also a brave choice, but also a refreshing one, keeping audience members like myself on our toes, giving us something fresh to get our teeth into. Brilliantly inventive in the vision that Liam presents, because he could have just done a carbon copy of the show, but Liam has never been that kind of Director to rest on his Directorial laurels, opting to push boundaries. Loved the opening countdown section which also included the "Overture" with that soaring rock guitar opening.

Set design is by Dave Wright. The stripped back set design is a brilliant idea, and when combined with the lighting design creates a very different feel to the stage and the production.

Musical Director is James Stevens. Every single song delivered impeccably with the power and passion and performance required for that particular piece, by both the band and the performers. The soundtrack contains so many well known songs, "I Don't Know How To Love Him", "Superstar", "Gethsemane", "What's The Buzz", "Everything's Alright", "Heaven On Your Mind" and of course "Herod's Song". Love the new arrangements of some of these iconic songs, especially the opening number "Heaven On Their Minds".

Choreographed by Kate Willey. This show has always had some wonderful choreography, especially with the big ensemble numbers. There's one scene in particular where Jesus is caged in with two large metal fences, moved by the cast, showing how Jesus was almost bear baited by the crowds, as well as those earlier numbers like "What's The Buzz" and "Heaven On Their Minds", highlighting a wonderful co-ordination of a massed group.

Costumes are courtesy of Gillian Leeson, Rachael Gunn with additional costumes provided by the cast. It's a very modern look, and even Jesus's costume had a modern look and feel about it. Suits for the hierarchy members showed the power they have with the followers also having a modern feel, bringing the story into a more modern time.

The wigs, which are brilliant, are thanks to Leedham Wigs.

Stage management is by Lynsey Bloomfield. With the wings being open to view to the audience, you're able to see all that happens off stage, so the management of the stage, props etc was all done almost invisibly. That is another joy of having a sparse set though.

The SFX Make Up is by Nikki Coles and looked amazing, as well as extremely painful. That first image of Jesus's back really was enough to make anyone recoil. It looked like a scene from "24 Hours in A&E".

Sound is by Ryan Heath. There were a few crackles from mic pacs, but that is something that can't be brought to the door of the sound people; these things happen. As I said earlier, I would have preferred a slight increase in volume on Judas's mic, but the whole sound for this production was great, bringing that rock opera sung through feel alive.

Lighting is by James Cladingboel. This is a really colourful lighting design which ideally shows that "nightclub" style set design, crossed with that rock concert feel, providing another layer of energy via light. The scene where Jesus is being tormented by lepers is depicted by spotlights fading and out is particularly powerful, visually as well and with intent and meaning.

"Jesus Christ Superstar" is a true heavenly delight and is Lording it over any other musical this week. I for one will religiously revisit this show time and time again, and when it's as good as this performance, why would you not?

"Jesus Christ Superstar" is at Loughborough Town Hall until Saturday 24 October.

Photography by Mark Chinnery and Mark Corns.

 "East Is East" by Ayub Khan Din.

Derby Theatre.

A semi-autobiographical story of growing up in a mixed-race, working-class family in 1970s  Salford. Written in 1996, I first saw this play many years ago in Leicester and loved the rawness and human elements of the play and, although the score has changed from that play to this new production, the rawness and honesty, as well as the comedy still remains as strong as ever. 

"East Is East" is about a tyrant of a father who came over from Pakistan and married a woman from Salford, which is where the play is set, and his fight to keep a grip on his family and his Pakistani beliefs and faith. He is the man that demands respect from his wife and British born family, but he soon discovers that his old fashioned ways are not the faith and beliefs that his family want to follow. They rebel against his attempts for arranged marriages, the freedom he thinks they should have, and their father's view of his responsibility to his family.

There have been several news items over the years about arranged marriages and of what happens to the daughters, and sons, who try to live their Westernised lives, and this play shows the dark side of this enforced implementation by the head of the household who feels that he has to uphold the Pakistani religion. The violence is a complete contrast to the wonderful comedy moments liberally scattered throughout.

George Khan, the father, is played by Baskher Patel, a face you may remember from "Emmerdale". George is a character you, in a way have pity for as he is so wrapped up in his two lives, the one in Pakistan and the Salford family. He also has his devotion to his religion, so much so that he can't see the impact it has on his family. He is rude, violent and disrespectful to his wife, Ella, played by Samantha Power, while demanding her to listen to him and to respect him. This is a very different character to Rishi Sharma from "Emmerdale", but what a fabulous role to play. We get to see both sides of the Pakistani patriarch, from the comedy elements in the regional language to the violence that he shows towards his sons and his wife. and the conflict within his head over his loyalties to his faith, and his struggle with his love for his family. 

Samantha is a real powerhouse actor. The conflict between protecting her children and sticking up for them against the wishes of her husband, and the love that she has for him and wanting to be a good wife is almost heartbreaking to see her torn.

The family, Meenah (Maya Dhokia), Sajit (Rohan MacLeod), Tariq (Zaki Ali), Maneer (Joerava Sanghar), Abdul (Danyal Ishmail) and Saleem (Matthew Khan) are a modern family who want to follow their own modern 1970's lifestyles. A wonderful cast with some brilliant characterisations.

Meenah is a proper westernised young woman who likes the fashion of the day, swears and eats bacon with the rest of her siblings.

Sajit is the youngest of the family who has managed to escape his circumcision appointment when younger, and is the initial reason for the family unrest, well George's unrest with the family. Sajit is the most affected member who prefers to dress in his old parka, and we discover the reason for that attachment when his elder brother, Abdul and Sajit have a conversation. 

It's that decision to have Sajit circumcised that brings the turn around from Ella and the family and brings the downfall of George's kingdom. Rohan who plays Sajit is brilliant as the troubled and damaged son who will not take off his parka, he even sleeps in it. It's only removed under anaesthetic and one other time near the end of the play, which proves to be a defining moment for the boy.

The Doctor is played by Sushil Chudasama, who also plays Mr Shah. Two very different roles, and just wait until you see the hefty gold framed pictures of Mr Shah's suitors for Abdul and Tariq!!

Tariq is rebellious, proud, and defiant against his father, George. He parties, dates English girls, and drinks alcohol, strongly rejecting his father's attempts to force traditional ways and arranged marriages onto him and his siblings. A proper playboy who also has amazing fashion taste and great hair.

Maneer, unlike his more rebellious siblings, is devout, obedient to his father's religious and cultural rules, and frequently seen wearing a skull cap. The play reflects the language of the time, and he is called "Ghandi" by his siblings.

Abdul is quiet, good-natured, reliable, and tries to avoid open conflict. George arranges for Abdul and Tariq to marry the twin daughters of a Bradford businessman, Mr Shah.

Saleem, the fifth son of George and Ella Khan, is secretly studying foundation art rather than the engineering course his strict father believes he is taking. The big comedy scene comes when Saleem brings home his piece of art that he has been working on and is revealed in front of Mr Shah!

The whole cast are brilliant with the family's unwavering devotion to their mother and their changing opinion of their father. The "rod of iron" approach of George and the steadfast protectiveness and love of Ella for her family.

Victoria Brazier also has a lovely role as Auntie Annie which brings so much natural comedy to the play.

Zoe Iqbal and Rahul Sidhu are the Offstage Swing cast members.

The play shows family pride as well as highlighting the faults of the family and is a wonderful slice of 1970's multi cultural Britain and is a modern classic. There are some horrific scenes of family brutality and wife beating, which could actually have been more brutal, but were shocking enough. And then there's the vocabulary and the way George delivers the language that will put a smile on your face

Directed by Kash Ashad, he does not shy away from the language of the day, nor does he shy away from the ripe language used by practically everyone on stage. This in itself delivers the raw human element. 

Kaitlin Howard is the Fight Director. Only one minor point for me is that, to make this even more realistic, I was hoping to hear sound of a slap now and again, especially where the attacks to the face were concerned, and the blow to the stomach could have looked to have had more contact. That said, I was sat quite close to the stage so had a really close view.

Movement Director is Jennifer Kay. There are some lovely dance moves that I found brought a smile to my face because it was Bollywood style dance performed from a British viewpoint.

Set and Costume Design by Rachana Jadhav. The costumes are fantastic, especially Tariq's ensemble.

The set is a work of art with the fish and chip shop literally emerging from the set of the Khan's living room, and then an extension into another room coming out of that. This is a set that keeps on giving.

Lighting Designer is Jane Lalljee. 

Sound Designer is Arun Ghosh. I alluded to a different score for the show. In the show from a decade ago I saw at Leicester Haymarket, the music consisted of the big hits of the early 1970's performed Bhangra style. In this show the music is of a more traditional style.

Natalie Grady is the Dialect Coach making sure that the Manc accent was spot on, as well as the wonderful accent for George.

The story is quite beautiful, and is beautifully acted  by this cast. It's a story that is wonderfully dated, and then again is as relevant as it ever was, and is.

It's a show that is educational, on many levels, plus it's incredibly entertaining. I found out that the run is practically sold out, and I know exactly why that is after seeing the show on Tuesday night.

"East Is East" is at Derby Theatre until Saturday 24 October.

Photography by Pamela Raith.

 "Another Round" by Sharon Rutland.

Nods Theatre Company.

Royal Oak, Ockbrook.

This is Sharon's second play, following on from "Escape", which Nods Theatre performed back in 2023. The play is all about beer and campanology - that's bell ringing to you and me - and the venue is a pub in Ockbrook, Derbyshire.

Kev is a man who lives by standards, and tries to enforce his standards on everybody else involved in the bell ringing group. He is tense and takes that tension out on almost everyone, although sticks up for his wife, who wears many hats within the group, including the Treasurer. Kev is played by Ray Harrison, and I am sure that if I could have seen the veins in his neck, they would have been bulging due to all of that built up pressure of upholding standards. Kev is a brilliant character because inadvertently he adds much of the humour into the plot.

Rachel, Kev's wife, we discover has had a busy past, which comes back to bite her on the backside. She is also the Treasurer and has a penchant for shopping; now there's a pairing that could either go hand in hand, or become a temptation that Oscar Wilde may have a thing to quote about! Played by Heather Berry, this is another character that has been well thought out by Sharon.

Cathy in this evening's show, was played by Sharon Rutland, stepping in at the last moment as Sue Leahy became unwell, and let's face it, who else is going to know the script and the character better than the creator herself. Cathy is a lovely character who sees the comical edge to most things and loves to smooth troubled waters.

Lauren, another bell ringer, is played by Victoria Herbert. Lauren is a mother to Rose, played by Erin Rutland, who brings a breath of fresh air to the collection of bell ringers. Lauren doesn't really "big up" Rose's artistic talents, but through the conversations, those talents are recognised by several of the other characters, which really brings out a different side to Rose's character, and this Rose really starts to bloom!

Like so many of these characters in the play, you recognise them in people that you know, or have known in the past. Bob, is one of those characters. Easy going in nature, Jonathan Wolff brings that easiness out of the character, who, as we go through the play, we find knows all of the other characters' backgrounds, as you do when you're part of a village like this.

Jack is always putting off his role in the bell ringing, preferring to spend his time at the village pub, cracking jokes and pulling out the puns, some so bad that there were a few groans from the packed audience. As we go through the play, we find out a few things about his past. In the end though, he comes good when his bell ringing experience realises that there's something he needs to do! Owen Anthony is Jack.

Tom is one of the guests of the wedding party that the bell ringers are ringing their bells for. He finds his way up to the tower where the bells are being rung from and straight away gets into Kev's good books by showing that he is a capable campanologist and would like to keep his hand in. Tom also recognises a familiar face among the group who he has history with! Tom is played by Ian McHugh.

Alex is the barmaid at the village pub that Jack spends so much time in. There's a scene near the end that made me smile, which was done quite subtly, with Alex reacting to a conversation with Jack Kerry and Tom. Alex is played by Hazel Whaley.

And finally Kerry, the new Vicar, who has some interesting changes in mind for the church, changes that would definitely fall way below Kev's standards. Kerry also gives an interesting insight into some of the other characters in the play. This very modern Vicar is played heavenly by Jennie Ruddle.

Written and Directed by Sharon Rutland, who has rung a few bells in her time, so the facts about bell ringing are spot on. I was educated and entertained with this new play and Sharon has created some wonderful characters all set around the hobby of bell ringing, and not forgetting beer as well. Richard Whitehorn is Assistant Director; Richard I last saw, as far as I can remember, in their last production "The Roses Of Eyam".

Pat McHugh was the show's prompt, and even though there were times when I though a prompt was needed, I didn't hear one prompt from Pat. This, I think, was a wonderful example of leaving a gap in the script to create an air of tension, and the prompt recognising when one is actually needed is a special quality.

Lighting for the production is by Timothy Fryzer-Smith. The two areas of the village pub and the bell ringing area were separated well with the lighting.

Sound Designer is Jane Hough. There are some lovely timed sound effects which really expand the external vision of this play.

The set design is by David Bloodworth, Elaine Sellors, Brian Meese and Dennis Henshaw. The main area for the set has six ropes suspended from a framework with a wall showing an interesting whiteboard and information board, plus an exit which leads down the stairs of the tower, enabling another access point to enter and exit the "tower". The other section of the performing area contains the bar scenes. This is a massive boon to have a real working bar to use for a bar-room scene.

Talking of which, this is the first time that I have been to The Royal Oak in Ockbrook, and what a gorgeous pub it is. Think oldie worldy atmosphere with a few offshoot rooms named the "Snug" and the "Tap Room", almost reminiscent of the Rovers return from the Sixties. Cosy little nooks, the largest room being the room where the play is performed. The staff are extremely friendly and the decor just takes you back to a time which is so much simpler than today. An absolutely lovely venue for a play of this feel.

The reason for the name of the play is revealed in the very last sentence of the play as well. This is a new play which has plenty of ap peal, hitting all the right notes, and just in case you want to expand your terminology of bell ringing, there's plenty of that in the programme as well. Educational and thoroughly entertaining.

Nods Theatre Company are supporting the charity "Little LIves, Big Journeys", the Centre Neonatal Transport, which is a dedicated service based in the East Midlands, specialising in neonatal transport between hospitals.

"Another Round" is at The Royal Oak until Saturday 17 October with a 2.30 matinee, but tickets are very sparse, and after tonight, I can see exactly why they are.

Cheers!

 "A Butler Did It" by Robert Scott.

Bonington Players.

Bonington Theatre, Arnold.

The Butler family is congregating to attend the funeral of their aunt, Francesca Bloom, who doesn't seem to have been the most popular member of the family. But what you see may not be quite as it seems!

There's a lot of manipulation from some of the characters and what "whodunnit" play would not be complete without a few twists thrown in for good measure? But can we really believe that a Butler did do it, or was it someone else......?

Andrew Butler is a movie star who has done well for himself in Hollywood but has a shady secret, which is revealed not too far into the play. Played by Christian King, we first see him being interviewed by the police in a smart black suit complete with dark glasses, an image to match his "superstar film star" status. As the play goes on, we discover that he's not entirely happy with his life, even though he has just remarried and has returned from his honeymoon. Christian is an excellent comedy actor, but in this role we also see how good he is portraying a villain; but that's not say that his character is guilty of first degree murder....or is he?

 Kimberley Butler is Andrew's wife. They have just come back from what at first seems like an idyllic honeymoon, straight off the plane, straight to the home of the late Francesca Bloom. Played by Charlotte Hukin, who delivers a marvellous upper-class accent and shows a privileged air, well after all, she has married into money. But money is not all that she wants from this family.......

Freddie Butler is Andrew's brother. Freddie has gambling issues and we find that he owes quite a bit of money to some heavies, who are in a rush to get the debt paid. His wealthy film star brother has agreed, again, to help him out of his hole by providing him with the million he needs to clear the debt. But the debt is not the only issue Freddie has! Eddie Januszczyk plays Freddie, and as usual, we get a perfectly pitched comedy performance. His scene later in the play with the housekeeper/maid is a fantastic physical farce fest.

Colin Butler is Andrew's other brother and is a nervous wreck. Andrew Goodfellow-Swaap, a newcomer to Bonington Players, plays Colin, who states from the moment he comes out of the closet, literally, that he does not feel at all comfortable being in the same room as his brothers, and we find out why very quickly. Andrew does awkward very well, which is just as well because Colin finds himself at the centre of some really awkward situations. Andrew is a relative newcomer to the stage but this doesn't come through with the confidence shown by Andrew. I'd just suggest a little more projection in places, but the volume provided could also be interpreted as Colin's nervousness in the situations he finds himself in, but as a debut, this is good.

Ester Butler is Colin's wife and played by Lindsey Hemingway. Ester has to take charge of her husband on more than one occasion; the character is a strong one and Lindsey shows that strength brilliantly, but then again Lindsey is a very strong actor who is used to delivering strong characters to the stage.

Sally Ann Dowling is an eccentric, confused maid who mixes up her words and is there to make sure that the funeral guests are well catered for, maybe over catered. Francesca had left Sally Ann in charge of the proceedings for the funeral, maybe because she has been in service for Francesca for a long time. Several smaller comic scenes for Gennie Price, who plays Sally Ann, but the scene in her work out gear, complete with Olivia Newton-John's "Physical" in the headphones exercise to is a scene that made me smile. Just a while later she finds another way to destress with a member of the gentry! 

Jasper King Jr is the aged Butler, who like Sally Ann, has been in service to the Blooms and The Butlers for many, many years. Wayne Hill plays Jasper with brilliant physicality, slowly moving from one side of the stage to the other is comedy gold in itself. I've witnessed quite a few of Wayne's stage characters over the years, and this is one of his best comic roles.

Francesca Bloom is played by Anne McCarroll, and I think you may have surmised that if Bonington Players have cast an actor of the quality of Anne, in her debut with the group, then the role must be more than that of a corpse. You would be right and I don't think that I'm giving anything away to say that this is the first of many surprising twists in this play. 

Inspector Bridge is the detective on the case along with Inspector Henderson, who is the more enthusiastic of the pair. Played by Des Fitzpatrick and Zoe Lander respectively, this pair are well matched in the casting. Bridge is a typical East End copper who plays the "bad cop" role with Henderson being more of the "good cop" figure. The scene with Henderson interviewing Colin though is a comedy masterpiece, obviously written by a comedy mastermind, but I won't spoil it by saying why - go and see it.

Dawson is a brief that is assigned to the case. She has a bit of a crush on the famous Andrew Butler, and the fact that she gets text or WhatsApp messages from her mother, complete with emojis ensures that the timeline of the story remains modern. Played by Joanne Smith, who also makes her debut for the Bonington Players.

Directed by Chris Gardner and Billy Bamberger, this production is one of the funniest farces - even though a farce is supposed to have five doors, who cares the set is two doors short. The first act gives not a lot away, and having never heard of this play, never mind seen it previously, you're at the mercy of the cast to feed you the information, and they do that brilliantly. I had no idea at all what was to happen in the second act and though to myself of what the possibilities could be. My guesses were nowhere near what actually happens! As of the end of the first act, we had no lifeless bodies, but after the start of act two........

Sound and lighting design is by David Goatham and Sound Operator being Robin Davis with the lighting operated by one of the theatre technicians. Some well timed sound effects and an explosion that made a few people jump!

The set has been designed by Howard Whitehurst.  The set is predominantly taken up by the living room of Francesca Bloom, but there's a little space, highlighted by the lighting, which shows an interview space in the police station. One of several things that I always look forward to with the Bonington Players are the set designs. This is no different, the set is perfect, the sort of room I could see myself living in myself. Howard's knowledge of design is second to none, as shown here. The set dressing is thanks to Linda Whitehurst.

Construction of the set is by Steve Atkin, Carol Hill, Nick Hill, Neil Lylack and Gareth Morris.

Props are thanks to Glynis Hunt.

Stage managed by Luke Richardson, assisted by Nigel Kenton and Gail Tomlinson.

Many people will only go and see plays that they know, but I love seeing plays that I have never seen or heard of before. Sometimes it's a bit of a gamble, but in the case of this one, it's a gamble that I would wager will not leave anyone disappointed. It's one of the funniest murder mystery comedies that I have seen ever, which makes me wonder why it's a play that is not performed more often. I guarantee that you will leave with a smile on your face.

Another big success for The Bonos, thanks to a great choice of play, wonderful cast, great make up and costumes, and perfect Production team. Also watch out for their next play in January called "The Tin Woman"

"A Butler Did It" is being performed by Bonington Players at Bonington Theatre, Arnold until Saturday 17 October. It'll be a crime to miss this one.