"Little Shop Of Horrors" by Funky Studios.

Create Theatre, West Notts College, Mansfield.

This performance is the final one of its' run, and I was so lucky that Katie Funk could fit me in for this "in the round" performance. A staging that I'd not seen done in this way in the past.

With the audience on all four sides of the performing space, this meant that the actors were always on the move, having to perform to all four sides of the space. This also meant that there was not a set but instead a raised section in the middle of the space where all the actors entered and exited from. One corner was designated the place for Audrey 2, but even then this plant did not stay in one place.

This staging is very different to any other staging I had seen before, in fact there were many things about this production that had been changed up and arranged in a different way.

Almost everyone will know the story of the mild mannered, meek shop assistant, Seymour, who buys a strange tropical plant and places it in his boss's flower shop window to attract custom in order to save the shop from closing down by its' owner Mr Mushnik. This would put him and his other, more glamorous assistant, Audrey, out of a job. The plant needs a special diet in order for it to flourish, and when it does, it makes Seymour a local and nationwide celebrity. And we all know the cost of that!

I am not going to mention under everybody's name how good their vocals are because they just are. The training that they get from Funky Studios, whether that be vocal training, stagecraft or choreography has always been of the highest quality, and that is what we heard and saw on their final night of "Little Shop"

Playing the part of Seymour was Maxwell Cooper. Funky Studios have moved away from showing Seymour as a nerd, instead they, and Maxwell, depicted this character as a slightly absent minded, probably brought on by overworking for the slightly bullying Mushnik. Apart from showing Seymour as not being the geeky one, this staging showed quite a mature, forward thinking botanist, as well as brilliantly showing the angst and stress brought upon by Audrey 2. You could feel the tension inside Seymour start to stretch to breaking point, brought emotionally to the surface by Maxwell.

Audrey is played by Lily Orton. Again this production has moved away from the archetypal blonde bimbo air head and we are presented with a young woman who feels that the controlling, violent and bullying boyfriend is all she is worthy of, something that of late has been highlighted by tv soap storylines, and having Audrey shown as not being some "dumb blonde" quite a bit of the comedy is removed from the character and a more serious Audrey is shown. I said that I wouldn't comment on how every singer is vocally blessed, but boy can Lily sing; she gave me tingles with her range that went from an almost whisper to a powerhouse belter.

Mrs Mushnik is played by Niamh Cross. Another change in the story because I have not seen a Mrs Mushnik in this musical. Niamh brought much of the comedy here, especially in the "Mushnik and Son" piece. A nice change to see the role reversal, and also to not have Mushnik with a Jewish accent as often I feel that sometimes adds pressure to a younger cast member to get the accent as it should be. With that pressure removed the comedy side of the character can be focused on.

Orin Scrivello, the dentist and sadistic boyfriend of Audrey, was played by Oliver Edwards. Orin has always been one of my favourite musical theatre baddies and I've seen many excellent Orins over the years. Here, Oliver delivers another different character-filled performance. Without having the joys of a dental set and props, he could, and had to rely on the physical comedy side of the Dentist, which Oliver did brilliantly by way of his vocal interpretation of the loud, brash and bullying and his facial acting, especially with the clear face mask in "It's The Gas". the song "Dentist" is also a brilliantly penned song which Oliver performed wonderfully.

Audrey 2 was another casting I had not expected, or seen before, as far as I could remember. As the plant grew in size, so did the amount of voices and young people depicting the monster plant. Eva Donaldson, Surann James, Tristan Tennyson and Sean Peat all created the multi-layered voice of Audrey 2. With four people this indicated the size, and power the plant had over Seymour, all participants suitably using their arms to indicate the expanding plant parts.

Crystal, Ronette and Chiffon, the 60's chanteuses created a lovely retro musical feeling from the doo wop age and are played by Cassie Hopley, Maisy Slack and Emily Matthews. Their voices just melted into one another, sounding multitracked and very typical of the Sixties girl group sound. If this trio ever went into recording music, I'd definitely buy their tracks because of their tightly perfected harmonies, and they looked like a girl group from the Phil Spector era which completed the whole look.

The ensemble consisted of Jessica Clarke, Faith Dent, Emily Mason, Lola Miles and Sienna Wright. Such a hard working ensemble, and they needed to be because there was no place for them to hide away with the show being in the round, so if they weren't in the stage area performing, they were in various corners, also acting and reacting.

Directed by Katie Funk. I love it when a Director takes a well known musical, or play, and changes various things within the production, looking at the show with new eyes and ideas. For someone like myself who has seen "Little Shop" many times, to see a production with so many visual changes that add to the original story instead of spoiling it, as I've seen some Shakespeare plays tried and failed, this makes me sit up and take note instead of expecting a carbon copy of the original direction. Thank you Katie for making me sit up and take note!

Choreographed by Katie Funk and Charlotte Neea. Once again with the shape of the stage changed, and the position of where the audience are, a new look at choreography also has to be taken into mind, and it was. I love the original 1960's style dances but there were also new choreographed moves in there to keep this show as fresh as the blood needed by Audrey 2.

Musical Director is Jacob Savage. And even more new arrangements I spotted in the songs and the newer contemporary style sounded so fresh to these old ears of mine. With Katie's Direction and Jacob's musical arrangements, this show came across as refreshingly refreshed.

The soundtrack includes some well loved songs, "Somewhere That's Green", "Suddenly Seymour", "Dentist", "Skid Row/Downtown", "Call Back In The Morning" - which had echoes of "Christmas Bells" from "Rent" - and the finale of "Don't Feed The Plants" will all remain in your head, well after you've left the building.

Stage Managed by Jasper Swanwick with Sue Funk backstage.

Sound is thanks to Matt Trigg and Tregi Worsley. So many times I have wished that the sound departments in theatre had done what this pair did on Friday night. The mic's were turned up for the singing and turned down for the dialogue, which worked so well in this smaller performance space, but also meant that every word of the songs were heard perfectly, and there's a lot of comedy in Howard Ashman's lyrics.

Lighting was by Rachel Wells, blending the danger and bloodiness with red lighting and the plant area with green lighting.

I also liked the difference costume wise in this production. Out were the typical costumes for this musical and the costumes for Crystal, Ronette and Chiffon were denim, almost rural style farm outfits and the ensemble with red and black chequered shirts, defining the two groups. Orin had the usual leather jacket but without the dentist uniform whites. Audrey's usual figure hugging dress was replaced with an updated T-Shirt and jeans. There was still the understated tank top outfit for Seymour and Audrey 2 actors were dressed mainly in black with green gloves, some with a floral pattern, but we all knew that this quartet was of the flora division.

Produced by Cat Orton.

A lovely fresh performance with some outstanding performers that created a wonderfully new feel to an old classic.

 "The Good Life" by Riverside Drama Company.

Duchess Theatre, Long Eaton.

When Tom and Barbara Good decide to exchange the pressures of the rat race for an alternative, more sustainable way of living, they set about turning their suburban home in Surbiton into a model of self-sufficiency. They grow their own fruit and veg, keep livestock in the garden, make their own clothes, and even generate their own electricity from manure. It's the good life for them - but not for Margo and Jerry Leadbetter, who live next door, and are desperately trying to maintain the Surbiton status quo. 

Jeremy Sams's stage play, based on the hugely popular sitcom by John Esmonde and Bob Larbey, reunites the well-loved characters (not forgetting Geraldine the goat) as they get themselves into and out of scrapes - some old, some new, all hilarious.

Tom is played by David Round. While it was strange, to start with, to see Tom as a bearded character, David drew in all of Tom's energy, enthusiasm and Cheerfulness. there were even times where you could even hear Richard Briers delivery coming through the character.

Barabara is played by Jane Harris. Barbara is like a ray of sunshine with her quick wit and positive attitude, two traits that are forefront in this character and shown on stage on Thursday night. Once again, the more you listened to Jane's delivery, the more you could picture the gorgeous Felicity Kendall saying those words.

Margot is played by Lizzie Norris. Margo loves all the perks associated with having a husband with a good income. She's usually unflappable with a pretentious air although she can be undone if she does not get her own way, and Lissie draws this out of the character brilliantly, especially when Margo discovers how useful the gift she gave Barbara earlier that day turned out to be. Lizzie is so good at getting beneath the skin of a character, and combine that with the upper class voice of Margo, and you have the perfect snob.

Jerry is played by John Sully. Jerry likes to keep his wife happy, in every way possible, if she'd let him. John is great at bringing the fun side of Jerry to just within sight, before Margo yanks his lead bringing him into second in command. This in itself is great fun to watch, and the scene with Sir and the office banter is wonderfully played out.

Sir, aka Andrew Ferguson, the boss over both Tom and Jerry at the offices where the designs and production of the small plastic figures that used to be found within cereal boxes, is played by John Hurley. The running joke in the TV series where Sir could never remember Tom's name has been kept in the play, which raised quite a few chuckles from the packed auditorium.

Sir's glamorous wife, Felicity, is played by the wonderful Liz Turner. The dinner at the Leadbetter's scene where they all loosen up with drink and food is especially comical, especially with the dancing to Edmundo Ros.

Moya Magee doubled up as Mary, Dr Joe's slightly eccentric receptionist who delivers a spare canister of oxygen to the Good's home, and Margaret, the boss's enthusiastic secretary.

Dave Wilson is Harry the Pigman, who managed to get on the wrong side of Margo, and decided to spice up their dinner party with Mr and Mrs Ferguson!

Anna-Birga Ostendorf is the Milkwoman who enters the story after Margo lifted a bottle of gold top from the milk wagon, but all for a good cause. It would have to be for Margo to turn thief in Surbiton.

Dr Joe, who is not a vet, is played by Russell Mason, and helps to resolve a situation in the second part of the play.

Jonathan Greaves plays the policeman who becomes quite an arresting sight for one of the play's characters, all in the line of duty in saving a life.

And, of course, Geraldine the Goat makes several appearances throughout, and is operated by Donna Osmond; and what a cute goat she is as well - Geraldine, not Donna that is!

Directed by Celia Billau, assisted by Liz Turner. When two Directors of this stature and history pool their Directorial experiences, you can guarantee that the result is a success. Need I say more?

The long list of props are provided by Sandra Read, Alison Lihou, Janet Whyatt, Diana Edwards and Donna Osmond, who are also the Backstage Team.

Sound Designer is Keith Sawley, who made sure that all of the sound effects were delivered in a timely fashion. The doorbells and the Volvo car horn could have been a little quieter as they seemed just a little out of place being at the volume that they were, but apart from that, everything sound wise was spot on.

The lighting, by Robert Osmond and Lewis Reid, was a simple procedure, visually, and alternated between the split set of the Leadbetter's sitting room and the Good's kitchen.

Talking of the set, they were built by Bob Baron along with several helping hands and looked great alongside the furniture on both sides of the stage.

"The Good Life" is one of those TV sitcoms from the 1970's that will forever be loved by people of a certain age. The script is well written and includes new material as well as sections from the original TV series. The comedy is from an age where TV comedy was at its' peak; a style that did not have to rely on smut, but seaside humour, and although these characters are from fifty odd years ago, the comedy was written to stand the tests of time. At the end of the day, funny is funny, and this show retains the fun as well as the funny.

"The Good Life" is at the Duchess Theatre, Long Eaton until Saturday 14 March, but I'd check for returns because as of Thursday night, the rest of the run is a complete sell out.

 "Matilda Jr" by Roald Dahl.

Wilsthorpe School Theatre, Long Eaton.

"Matilda Jr" is the story of a girl who dreams of a better life and the children she inspires and has the audience rooting for the "revolting children" who are out to teach the grown-ups a lesson.

Matilda has astonishing wit, intelligence... and special powers! She's unloved by her cruel parents but impresses her schoolteacher, the loveable Miss Honey. Matilda's school life isn't completely smooth sailing, however – the school's mean headmistress, Miss Trunchbull, hates children and just loves thinking up new punishments, including spending time in "The Chokey", for those who don't abide by her rules. But Matilda has courage and cleverness in equal amounts, and could be the school pupils' saving grace, as well as changing the life of Miss Honey!

I have seen several "junior" versions of "Matilda" over the years and have gradually grown to like the musical. I think it's got to the stage where I actually love this musical, thanks to this production. Every version I have seen has been rather good but this production just nudges that bar up another notch.

"Matilda The Musical" is based in a school setting, and in some versions I have seen, it just didn't quite feel like a school, but as this is a school that has produced this show this time around, the ability to use a large amount of school children to create that atmosphere and that really worked for me. Needless to say, it's a big ensemble!

Matilda is played by Holly; this is Holly's first show with Wilsthorpe and she has got everything spot on as Matilda. From the voice to the attitude, and how she made that beaker fly off the table, not once but twice is real theatrical magic. I looked for strings or some way to make that beaker move but I could see nothing. A fantastic debut and you can tell her dance training has paid off in this production.

Mr Wormwood, Matilda's dad, was played by Quillen in his Wilsthorpe debut. I know Quillen, as well as his very talented siblings - the last time I was at Wilsthorpe, two years ago, I had the pleasure of seeing his brother Findlay in "High School Musical Jr". It's about time that Quillen was given a main leading man role and he managed this role brilliantly. Quillen is a funny guy away from the stage and so taking the lead man in a comedy role is right up his street. He has funny bones, he sings well with a Cockney accent and has the moves. 

Yasmin played the self-obsessed Mrs Wormwood, Matilda's mother. Sometimes I have to pinch myself as to just how very good these young people are. I last saw Yasmin as Rusty Charlie in "Guys 'n' Dolls" which is a completely different character to this one, show great diversity in Yasmin's acting armoury. Another excellent female comedy role, and played brilliantly and naturally comical by Yasmin, who has all the signs of being a brilliant character actress.

Michael, Matilda's TV obsessed brother is played by Harry. I love this role and I love the way that Harry brings the excitement that Michael feels at the simplest of things.

Rudolpho, Mrs Wormwood's personal dance teacher, is played by Ben. A wonderfully camp character that Ben plays with great zest and confidence. Great costume for this character who reminded me quite a bit of dancer/choreographer Louis Spence from Pineapple Studios.

Miss Honey is played by Livvi, and this is Livvi's final show with Wilsthorpe, but what a role to go out on. A sensitive and compassionate role which meant that when she did rear up, it made you sit up and take notice.

Miss Trunchball is played by Ivan, and I have also had the pleasure of seeing and having the chance to write things about Ivan, who I last saw in "Crazy For You" as Moose. As with Quillen, it's about time we saw Ivan in a main role and Miss Trunchball is played deliciously evil. the scene where Bruce belches and the chocolatey mist that spreads over the class is brilliantly and comically received by Ivan's Trunchball as her tongue flicks the air like a lizard. Excellent characterisation, and this role, at the final bows, was received with cheers and not boos, which all shows the love this audience on Wednesday evening felt for Ivan's portrayal of this nasty.

Mrs Phelps, the school librarian, who loves to listen to Matilda's stories and engulf herself in them is played by Elsie. You actually believe that Miss Phelps believes in Matilda's stories due to the excitement and the concern she shows as the stories are unfolding, all showing that Elsie managed to convince us of her character and the character's investment.

The Acrobat in Matilda's story is played by Avanni and the Escapologist in the story is played by Jude. The scenes with this pair really take you into the world of danger and fantasy and I loved the puppetry utilised in their scenes.

One scene from the film that always stuck with me was Bruce Bogtrotter's devouring of the famous chocolate cake, as a punishment by Miss Trunchbull. Playing Bruce was Harrison who has played the role previously in primary school. This particular scene managed to avert my eyes away from the chocolate cake scoffing long enough for me to not notice where that massive cake actually disappeared to. I normally watch carefully where it disappears but due to the cleverly choreographed scene, I completely missed it disappearing! Looking at their theatrical CV in the programme, they obviously have a love for performing varied roles, and this is another hit role to top their CV.

The Cook who brought in the massive chocolate cake for Bruce to eat, is played by Sienna.

Nigel is played by Ronnie.

Lavender, Matilda's best friend, is played by Libby, who is another young actress I've had the pleasure of seeing on stage in Long Eaton a couple times previously. There's a scene in Act two where Lavender sets the scene for the "newt" scene, trying to not give too much away and ends up giving it all away. A lovely character role highlighting a delightful young actress.

Daisy plays Erica, Noah plays Tommy, Beth is Hortensia, Bethany is Amanda and Heather is Alice, the main children in Matilda's class.

Sergei is played by Alexa and the two Mafia heavies are played by Megan and Sienna.

The Mechanic at Wormwood Motors is played by Chris.

The three main "Big Kids" are played by Sophie, Katie and Molly.

The Big Kid Principal Dancers are Sophie, Katie, Harriet, Molly, Rowan, Avanni, Matilda, Jude, Kiera, Florence, Connie, Alexia, Cherry and Jasmine.

The Little Kid Principal Dancers are Effie, Pamela, Darcie, Olivia, Laila and Maddie.

The Big Kids Acting Ensemble consist of Ben, Sienna, Evangeline, Amiliah, Tom, Chris, Alexa, Megan, Nicole, Scarlett F, Erin, Gracie, Caleb, Christina, Sophie, Olivia, Scarlett S, Honey, Evie and Lydia.

The Little Kids Acting Ensemble consist of Amelia, Dan, Matilda, Megan, Tayha, Erin, Reuben, Sia, Harvey, Abigail, Nancy, Anya, Ravini, Archie, Thea-Rose, Eva-Summer, Skye, Pearl, Jessica, Evie, Beth, Esmae, Layla, Emily, Sophie P, Ruby, Noah, Holly and Lilly. 

Deftly stage managed by Miss S Beara

The Creative Team are Mr D Page, Miss S Beara, Miss Plummer, Mrs Baker and Miss Howell.

The start of Act Two seemed to be very new to me, or maybe other productions had not managed to get this scene stuck in my mind. It's a wonderful comedy sketch headed up by Mr Wormwood as he addresses the audience, almost panto style participation and then launching into a piece called "Tele", extolling the virtues and the knowledge gained by Wormwood by watching the television. I loved the introduction of a Teletubby, Del Boy and other TV characters.

I also loved the puppetry used in this production, especially the use of books to create a talking face with eyes, nose and mouth. There's also other forms of puppetry included, which I won't spoil by telling you what it is, but it's done very well by these young people.

The set and props are designed and created by Miss S Beara, Mrs K Fowler, the Arts Department as well as Proscenium Scenery Hire. As soon as you step into the theatre space, you become engulfed in the world of Matilda with large blocks that can be moved round, massive bookcases and a large TV set. The stage set itself is practically floor to ceiling with towering book cases, the blackboard magically writes itself, and there are loads of desks and chairs and educational paraphernalia. A really well thought out set in this show.

Sound and Lighting is by Mr D Page and Mr P London. Apart from a few mic issues at the start where some of the young actors weren't fitted with mics or the odd missed cue, the sound was really good with the possibility of the volume even being turned up a notch. the Lighting was excellent with lights scanning the audience, and one particular lighting effect used when Trunchball was spinning Amanda around in her signature "hammer throw" was very effective.

The songs from the musical will be well known with the opening number "Miracle" performed in a brilliantly choreographed piece where everyone seems to appear from behind a table on stage. Everybody who loves musical theatre should know the songs "Naughty", "Revolting Children" and "When I Grow Up", but also listen out for the clever "Smell Of Rebellion", sung by Miss Trunchball with a brilliantly comical choreography section. Comedian Tim Minchin, who is responsible for the music and lyrics for this show, has a knack of writing songs that will be hanging around for decades to come and will be stuck in your mind for days.

The Technical Crew consist of Emily, Oscar, Zack, Tayler, Winnie, Theo, Oli, Mason, Ruby, Alyssa-Mae, Freyja and Eleanor.

This is a big musical with over a hundred people, students and staff involved, and the quality of these contributors is on the stage to see

"Matilda Jr" is being performed at Wilsthorpe School Theatre in Long Eaton until Friday 13 March.

 “The Woman In Black”

Nottingham Theatre Royal.

Written by Susan Hill and adapted for the stage by Stephen Mallatratt, this play has been in the West End for 33 years. It’s the story of a lawyer, Mr Kipps, obsessed with a curse that he believes has been cast over him and his family by the ghost of a mysterious woman in black. He hires a young actor to help him tell his story in play form, within the play. It begins innocently enough but gradually they get caught up in Kipps’ eerie past.

Having seen the play previously, it can be difficult for a newcomer to this theatre play to conceive that a piece of theatre can have the same scare factor as the film. Certainly from the amount of screams from the audience, it was found out that this production does have a big scare factor! What we must remember though is that this was first a book and to get the most from a book, you have to use your imagination, and that’s part of the secret of this play.

Many of the scenes played out in the film are described aurally as well as having sound effects to allow the viewer to conjure up images in their own mind, in some ways quite the opposite of what theatre is meant to do as most theatrical productions are very visual, but that’s where the scare factor comes from. While your mind is conjuring up the images from the sound effects and story, this allows the visual side of the play to take over and create that “sudden” image which makes you jump.

Not only that but there’s the expectation of being frightened and when that fright comes at you in the surroundings of a place like a theatre, not at the times you expect it, that’s where the true frightening experience comes from. there are scenes where the silence seems to go on for a longer than expected time, and then when you start to relax back into the expectancy, the jump scare comes.

The choice of set is simple yet effective. For instance a smoky stage and a lighting stencil of a vast mansion are all that there is to depict the marshland beyond the deceased Alice Drablow’s manor, leaving the audience’s mind to question what might be lurking in the mist.

The show has several ‘jumpy’ moments; the use of lighting is incredibly effective when revealing the ghostly figure of Jennet Humfrye in several unexpected places plus the sounds from Alice can also take you by surprise.

It's not all frights though as the play, before the play within the play, has several wonderfully jocular moments which is a big contrast to what is to come later in the play.

Some say the play takes a bit of time to get going but it's very clever as it builds the tension up all throughout Act One, paving the way for a tense Act Two.

John Mackay(Kipps) and Daniel Burke (The Actor) are extremely good at building, maintaining and breaking the suspense, It's the direction by Robin Herford, the lighting by Kevin Sleep and the sound design by Gareth Owen that make this story come to life and create the shocks.

The set, by Michale Holt, is sparse, which is good for not being a distraction, but the props that are there, like the rocking chair are vital and you home in on this as well as the music box with the knowledge that they are there for a reason, helping the anticipation and the tension because you just know that there's a reason for them being there. The raked stage also makes it very easy to see everything from front to back.

You will jump, I did and I've seen it before, and the appearance of the Woman In Black at the end will unnerve you and possibly stay in your memory for a while.

What was really good to see was the age range of the audience, and there were a few schools and colleges in on Tuesday night. Apparently, Susan Hill's "The Woman In Black" is on the educational curriculum and is being classed as a "modern classic", well I can't disagree with that. When I was at school the literature spectrum consisted of Shakespeare, Dickens and the like, certainly not a modern horror, but if it gets a younger audience into the theatre then I am all for that!

And if you have to walk home, be aware of any sudden mists, or frets, and shadows! Don't have nightmares.

"The Woman In Black" is at the Nottingham Theatre Royal until Saturday 14 March and has an age guidance of 12+

 "Cougar" by Rose Lewenstein.

Mary Rose Productions.

Nottingham Arts Theatre.

It was a last minute ticket offer that tempted me into the theatre tonight, and I saw something that I don't like seeing; an almost empty theatre, and I can't really understand why as the theatre company were actually giving away tickets to fill the auditorium online.

Mary Rose Productions is an award-winning theatre company based in Portsmouth.

A succession of hotel rooms. Two People. Drama. "Cougar" is a daring, surreal exploration of love, lust, and human chaos.

Leila, played by April Singley, is a driven climate activist, and John, played by Joseph John Scatley, a bartender at the hotel where Leila is attending a conference, are brought together by chance — and soon discover that desire, ambition, and secrets make for an explosive combination. Lucas Moss is the third character who is billed as The Young Man and pops up in a couple of different roles.

The title "Cougar" straight away brings to mind a man-eating older woman, almost preying on younger men, but it's not like that at all. In one of the first scenes she asks if he is OK with what they are doing, but let's face it, any young man, practically naked in a hotel bedroom, paid for by the company of an attractive older woman is never going to decline the opportunity are they? Highlighting either a young man's fantasy or his animal and basic instincts.

There are a couple of scenes where stage sex is involved but you never see anything that would shock your mother and the scenes are very carefully choreographed to not show any more than what you may see in an after the watershed TV programme. There's one very short section where John changes his boxers on stage and his back is towards the audience while he does this, so you only get to see a bare bottom. But this play is not about sex, it's about the relationship between these two, and by the end of the play three people.

The intimacy Coordinator did an excellent job of bringing out the passion between Leila and John but not at the expense of sordidness or smut. As Kenny Everett once said, it was all done in "the best possible taste".

Leila tells John not to fall in love, so she has set her cards out on the table at the start, but she is not doing anything more than what a lot of men with power and money do. They make it clear that it's just for the sex and the laughs, but then John falls for her, and that's where the jealousy comes in and the green-eyed monster starts to rise. At this stage the fireworks and explosions also start. 

Everything takes place in hotel rooms with various scenes separated by total blackouts where the actors either take off clothes or put them back on and rearrange themselves either in the bed, on the bed or around the room.

Directed by Alex Taylor who teases you to the theatre with titillation, but once you're in there gives you a story where the sexual tables are turned and the woman is in control of the situation, that is until the end of the play. Yes, there are sub themes of climate control but this play is about a different kind of control.

Christian Masters is the Production Designer.

Joseph Williams is the Technician.

Anna Francesca Cherches is the Sustainability Coordinator.

Joseph John Scatley and April Singley are also Co-Artistic Directors for Mary Rose Productions.

This was a one night only performance and the final of four studio performances of this play.

 "Charlie and The Chocolate Factory" by Mansfield Operatic and Dramatic Society.

Mansfield Palace Theatre.

"Charlie and The Chocolate Factory" is based on the 1964 book by Roald Dahl and features an original score composed by Marc Shaiman with lyrics by Shaiman and Scott Wittman and a book by David Greig. The soundtrack also pays homage to the Leslie Bricusse/Anthony Newley score from the 1971 film with songs from the film, which starred Gene Wilder as Willy Wonka, including "The Candy Man," "I've Got a Golden Ticket," "Oompa Loompa Song," and "Pure Imagination."

The world-famous Willy Wonka is opening the gates to his mysterious sweet making factory…but only to a lucky few. Young Charlie Bucket and four other golden ticket winners embark on a life-changing journey through Wonka’s world of pure imagination including chocolate waterfalls, nutty squirrels and the great glass elevator, all to be revealed by Wonka's army of curious Oompa-Loompas.

Charlie Bucket's role is shared by Oscar Wilkins and Harry Bramall, and on Friday night Oscar was centre stage, making his Mansfield Ops debut. It is very clear though that Oscar is no stranger to the stage and musical theatre. You just have to hear his vocal ability and the confidence that he has on stage and the chemistry with the other actors. The boy has some moves as well as seen throughout this musical.

Amy Shaw plays Charlie's hard-working mother, Mrs Bucket. Amy's history of singing in public is one of the reasons why she sounds so good on stage, and this is another role to add to the growing musical theatre CV of wonderful principal female characters.

Grandpa George is played by Kay Thomason‑Vardy, Grandma Georgina is played by Clare Harris and Grandma Josephine is played by Elizabeth Sissons, a trio of character filled pensioners who spend all their time in the "communal" bed.

Grandpa Joe is played by Sean Curtis who gets the physicality of this elder statesman of the family spot on. A fun, at times feisty character who always sticks up for his Grandson, Charlie. Sean is back on stage after a two year break, and what a comeback role for him.

Mrs Green, the vegetable seller, is played by Jan Hodgetts. Jan is another one of those actors who I've seen in several productions, and it's nice to see Jan in a role where she can show off her comedy bones.

Mike Teavee, the ultimate screen addict, is played by Jamie Savage. Jamie obviously has good genes, or great make up, because he really does look like a teenage boy, and has all the energy of a teenager, maybe it's all pent up due to being sat in front of a screen most of the day! There's quite a bit of physicality involved with this character, as seen during one of the challenges Wonka sets the kids in the second act where Mike spends as much time being thrown to the floor as he does standing. Another fun character filled role.

Mike's long-suffering mother, Mrs Teavee, is played by Carolyn Frith. I've always liked the scene where Mike transports himself onto TV and Mrs Teavee has to recover him from the TV; and this scene with Carolyn is done wonderfully.

Violet Beauregarde, played by Rebecca Wigman, is self‑centred, rude, fiercely competitive and the world‑record‑holding gum‑chewing queen. There's a brilliant song that goes along with Violet's character called "The Queen Of Pop" - because she is always chewing gum - and is as catchy as anything. I wondered how Mansfield Ops were going to recreate the scene where Violet turns into a giant blueberry, after eating one of Wonka's prototype pieces of gum, but they did, but I won't reveal any spoilers.

Always by her side is her equally determined and energetic mother, Mrs Beauregarde, played by Helen Savage. Helen injects high energy into this role and matches Violet all the way, well they do say like mother like daughter... or something like that.

Augustus Gloop is played by Oliver Ward. Oliver brings a whole new fun side out of Gloop and treats this journey as a big adventure with chocolate and sausages thrown in. Gloop is like a big friendly sheepdog who jumps around in an excitable fashion, and always with a massive smile on his face. He makes you feel happy just by watching him.

Mrs. Gloop is played by Lauren Taylor, and you can see where young master Gloop's excitability stems from with Lauren's version of Mrs Gloop.

Veruca Salt, the spoiled brat who gets everything she wants from her doting, but often frustrated father, is played by Verity Lee-Varley. This is another role I can imagine being a real joy for an actor to play because Veruca's character is so "out there", plus it's made even more comical with the accent.

Mr Salt is played by Matthew Bird, who I almost didn't recognise, whether it was the accent or the hat, Matthew is almost chameleon like.

The TV reporters Jerry Jubilee and Cherry Sundae, who report on the locations of the golden ticket finders are played by Garry Richardson and Chloe Thistlethwaite. A great pairing with Garry and Chloe and their chemistry makes it feel as if these two TV news personalities have been working together for a while; in fact there's one scene where the chemistry slightly overflows.... but I won't say anymore!

Taking on the iconic Willy Wonka is JJ McCormack. This role taps into the JJ personality that I have known for about the last decade. Wonka is not only a professional but is a massively fun character to be around with a lovely sense of sarcasm. JJ could be playing himself in Wonka as he is, as everyone who has worked with him will attest to, an entertaining and warm person with a wicked sense of humour. that sense of humour also comes out in the songs, and you can tell just by watching JJ that he is enjoying being Wonka, for all the above reasons.

The Oompa Loompas are played by  Cassey Barrett-Brough, Grace Bowskill, Andrea Caulfield-Smith, Ann Colgan, Bex Haddow, Bella Shaw, Geraldine Smith, Gemma Strange, Chloe Thistlethwaite, Rosie Walters, Oliver Ward and Rebecca Wigman.

The Gloop Bavarian Dancers are Andrea Caulfield-Smith, Jonathan Cooper, Bex Haddow, Lewis Mathias, Becky Miller, Jamie Savage, Chloe Thistlethwaite and Anita Warner. This is another one of my favourite scenes in the musical where Augustus and his mother start by talking to Cherry Sundae as the news breaks about Gloop finding a ticket and then goes into a big ensemble dance number complete with yodelling.

The Veruca Salt ballet section with dancers consist of Ann Colgan, Bella Shaw, Geraldine Smith, Gemma Strange, Chloe Thistlethwaite and Rosie Walters.

The Violet Beauregarde "Queen Of Pop", pop video dancers are Cassey Barrett-Brough, Grace Bowskill, Bex Haddow and Chloe Thistlethwaite.

The squirrels and squirrel sextet are Cassey Barrett-Brough, Grace Bowskill, Andrea Caulfield-Smith, Ann Colgan, Bex Haddow, Bella Shaw, Geraldine Smith, Gemma Strange, Chloe Thistlethwaite and Oliver Ward.

The vocalists are Clare Harris, Jan Hodgetts, Lewis Mathias, Becky Miller, Garry Richardson, Amy Shaw, Elizabeth Sisson, Lauren Taylor, Kay Thomason-Vardy and Anita Warner.

As you can see, this is a big cast with the ensemble roles being many and varied.

Directed, Produced and Choreographed by Cassey Barrett-Brough. What can I say? Pacy, fun and funny, everything you'd want to be in a musical like this, Cassey has maintained them, and with such a large cast, I imagine that the choreography for this show was a massive undertaking, as well as a massive hit! Dance Captains are Ann Colgan, Grace Bowskill and Jamie Savage. Jamie is also the vocal coach.

Musical Director is Roger Holland. Some big ensemble vocal pieces but Roger also bought out the individual elements of the characters, as well as the vocalists, in the solo and duet sections.

Costumes are thanks to Cassey Barrett-Brough 9is there nothing Cassey doesn't have a hand in with this production?), Pam Frith, Carolyn Frith and the Company. Brilliant costumes all round and I loved the mini Wonka costume for Charlie in the final bows, but every costume, and there were lots of them, were all fantastic.

A busy production calls for a Stage Manager who knows what they are doing and they are Eddie Ratcliffe and Jonathan Cooper.

Sound is not credited so it may be the Palace Theatre crew, but, while at times it might have been better to depress the volume, I'm not going to have a dig at that because at least everyone from the front row to the back could hear everything with great clarity, and a nice sound mix between music and vocalists.

Lighting Design and Operation is by Nick Elliott and Amanda Joyce and Follow Spots were Alan Betton, Kirsty Smith and Izzy Tilley - not the easiest of jobs to operate successfully but a good job done by this trio.

The backdrop video worked really well and opened up the whole stage, also creating magic, especially when Charlie launched his paper aeroplane into the wings to see it flying in the videography among the stars. The Scenery and Projections are thanks to Scenic Projects and Linney Crate.

Nick Elliott is the Video Operator.

Performance Track Technician is Emily Beet.

This is a big production, with big production values, and I am sure that you can see this by the amount of people involved. 

"Charlie and The Chocolate Factory" is at Mansfield Palace Theatre until Saturday 7 March with a matinee at 2.30.