"Small Island"  by Andrea Levy, adapted for the stage by Helen Edmundson.

Nottingham Playhouse.

 "Small Island" tells the deeply connected stories of three people against the backdrop of the complex history of the UK and Jamaica. 

Four very human characters bring this Windrush story to life: Hortense and Gilbert, determined Jamaican migrants in search of belonging and respect; Queenie, an Englishwoman who defies convention; and Bernard, her husband, struggling with change.

Hortense yearns for a new life away from rural Jamaica, Gilbert dreams of becoming a lawyer, and Queenie longs to escape her Lincolnshire roots. In these three connected stories, hope and humanity meet stubborn reality, tracing the tangled history of Jamaica and Britain.

"Small Island" takes you from the sun-drenched shores of Jamaica to the cold, grey streets of 1940s London.

Mara Allen is Miss Ma, who is married to Philip Roberts, a wealthy Jamaican landowner; Robert is their son. Mara also plays Clara

Mark Arends is Bernard, Queenie’s husband. They live in a big house in Earl’s Court with Bernard’s father, Arthur.

Bronte Barbe is Queenie, the daughter of a Lincolnshire pig farmer but she is desperate to escape the family farm.

Rosemary Boyle is Mrs Ryder. Mrs Ryder is the teacher at the local school in Jamaica. She has come to Jamaica from America with her husband, but he is killed during a hurricane. 

Anna Critchlow is Hortense. Hortense Roberts is born out of wedlock to a wealthy Jamaican landowner and a poor servant. She is brought up by her father’s cousin, Philip Roberts, who doesn't treat her very well. However, she gets on well with his son, Michael, and develops a crush on him. 

Paul Hawkyard is Arthur, Bernard’s father and Queenie’s father-in-law. He suffers from shell shock as a result of his experiences in World War One and now does not speak. Queenie looks after him while Bernard is away fighting in World War Two. There's a scene involving Arthur which completely takes a second to digest, breaking your heart and sent shockwaves, audibly, thorough the auditorium.

Zoe Lambert is Miss Todd and Aunt Dorothy. Miss Todd is Queenie’s neighbor. She is a genteel-looking lady in her sixties. Miss Todd is unhappy with Queenie’s decision to take in Jamaican lodgers and lets her know in no uncertain terms. Dorothy brings Queenie to London to work as an assistant in her shop. However, she is keen for Queenie to marry well and encourages her to date Bernard, despite Queenie’s reservations. 

Jordan Laviniere is Little Michael and the son of Philip Roberts and Miss Ma. He is cheeky and mischievous, and encourages his cousin, Little Hortense, to get into trouble. He is often cruel to her, taunting her with mean words, but he always apologizes.

Rhys Stevenson is Michael who is sent away to boarding school as a child and returns as a confident, educated young man. However, he retains his mischievous, cheeky nature.

Marcia Mantack is Miss Jewel, Hortense's Grandmother. She comes from a poor community in Jamaica. She cares for her granddaughter and takes her to be brought up by the cousin of Hortense’s father, Mr. Roberts, as she knows Hortense will have a better start in life. 

Andre Squire is Elwood, Gilbert’s cousin. He believes strongly in independence for Jamaica and does not understand why Gilbert fought for the British during World War Two and now wants to emigrate to England. He attends independence rallies in Kingston and expresses his opinions freely!

Everal A Walsh is Kenneth and Philip Roberts, a wealthy Jamaican landowner and the cousin of Lovell Roberts. Philip lives with his wife and their son, Michael. They reluctantly agree to bring up Hortense, the illegitimate daughter of Lovell. However, the couple do not treat Hortense kindly. 

Daniel Ward is Gilbert who comes to England when he joins the Royal Air Force during World War Two. He is ambitious and yearns for a better life that he can hope to achieve by staying in Jamaica. During his time in England during the war, Gilbert meets Queenie. 

Toby Webster is Kip and the Young Man In the Sweetshop.

Phil Yarrow is Mr Buxton, Captain Soames and Sergeant Thwaites.

This cast collective fit together like a jigsaw and if anyone were missing, it would be incomplete. An excellent ensemble of talent who between them make you feel the whole gamut of emotion. They make you feel the hope these characters have, and had, as well as the physical and verbal insults made them feel.

What I hadn't expected from this play was the amount of humour, because there is a lot of laughs, balancing out the really sad way that these people were treated. Now, I am normally quite unshockable, but the language in this play did shock me. I heard words and names that I'd not heard for about fifty years, words that I thought that I would never hear again, including the "C" word, and I don't mean the four letter one ending in "T"; No! one that is sickening and used back in the 1970's as an insult to black people. Hearing that word, and another longer "C" word just made me feel sick. there were audible gasps from the audience every time one of these racist terms were used.

Directed by Matthew Xia, he brings to the stage a section of history covering the second world war years and shows a physical timeline of hope and hurt as well as fear, from different quarters of the community which all in the end come together, linked with all four of the main characters in a clever way. 

Set and Costume Design is by Simon Kenny. The set itself is on a turntable on stage which allows a quick, if you'll pardon the pun, turnaround of set and scenes. The second half being very different to the first, but both equally impressive. I love the costume designs and there were at least two suits that I wouldn't mind seeing in my wardrobe!

Sound design is by Adrienne Quartly and lighting is by Ciaran Cunningham. Between them they create a rich and colourful accompaniment to this beautiful, funny and sad piece of theatre.

The Video Designer is Gino Green.

Music Mentor for this play is Ben Kwasi Burrell and the Composer for the music heard is Luke Bacchus.

Anyone with a conscience will feel guilty for the sins of those who came before them in the way that these people who only came to Great Britain in search of a better life, and if everybody's skin were removed, it would show that we are all the same underneath. I personally can not stand any kind of "ism" or phobia, whether that be sexism, homophobia, agism etc. but this has been going on forever. We all just need to be kinder to everyone; a speech from Shakespeare's "Merchant Of Venice" by Shylock also comes to mind, plus a saying that I was taught back in my junior school about " do as you would be done by".

Theatre should be a medium that provides its' customers with something to think about after they have left the theatre; this play certainly does this.

"Small Island " is at the Nottingham Playhouse until Saturday 16 May.

Photography by Pamela Raith.

 "Priscilla Queen Of The Desert - The Musical".

Nottingham Royal Concert Hall.

Welcome to camp Priscilla as the big pink bus rolls back into Nottingham, and you don't get any camper than this! 

I was asked the other day about seeing the same show several times, and this show is testament to why I enjoy seeing the same piece of theatre on several occasions. It gets better every time it rolls around, with a script that is always evolving to keep the show fresh and up to date. The soundtrack as well is the best collection of party anthems ever to appear in a jukebox style musical.

This musical, for anyone who has not seen it before, is a double edged sword because while there’s dollops of fun and fabulousness in the characters and songs, not to mention the costumes, there’s also a touch of sadness threaded through the story with bigotry and homophobia and there’s some poignant renditions of the ballads.

Mitzi Mitosis, whose real name is Anthony "Tick" Belrose, is performing in a club when his estranged wife, Marion, calls for a favour, which involves performing for her business in Alice Springs. At first Tick is reluctant to do. After Marion explains that part of the reason she's asking is because their now eight-year-old son, Benji, wants to meet his father, he changes his mind and gets an act together to do what Marion asks.

Along with fellow performers, Bernadette and Adam, he sets off in Priscilla, the ”boogie bus”, to perform for Marion, but all does not go to plan and they encounter some interesting characters on their journey. Adam and Bernadette don’t get on, so there are plenty of fireworks in store.

If you can think of the best hen night party soundtrack, then you’re getting close to the soundtrack for this road trip musical. I can guarantee that if your toes are not tapping and you don’t feel like chucking your hand bag down and dancing round it, then you re truly not of the living. You’ll know every single song, “It’s Raining Men”, “Finally”, “I Will Survive”, ”Don’t Leave Me This Way”, “Venus”, “Colour My World”, “Hot Stuff” , “Boogie Wonderland”, “Go West”, “Shake Your Groove Thing” as well as a lovely version of “Always On My Mind/I Say A Little Prayer” and Cyndi Lauper's "True Colours".

Watch out for the eye popping version of “Pop Muzik” as well!

Kevin Clifton (Tick/Mitzi) shows a wonderfully camp side of his acting, but while there could have been a possibility of taking the camp over the top, this didn't happen which made Tick believable. I've seen Kevin in a few musicals now and, as always, his vocals are spot on with a nice shift from camp comedy to serious and emotive acting. Clifton also got one of the best parts of the musical with lead up to the song "MacArthur Park", a classic piece of musical theatre comedy. Needless to say, his dancing is Strictly superb!

Nick Hayes (Adam/Felicia) provides the naughty, fun element of the trio. Often like a naughty little boy who won't listen to reason and stirring it up with Bernadette. The classical piece with Felicia on top of the bus is epic and his tribute to Kylie's "Confide In Me" shows his vocals off with perfect power and control, as well as a drama. There's a scene where it all gets too much for Adam and then we get to see the more tender side of the character when the performing side of Felizia's mask slips.

Adele Anderson (Bernadette) you will recognise straight away from being one third of Fascinating Aida. Great comedy and also has the calming mother hen style with the other two, The facial expressions are a joy and Bernadette's one liners are cutting but funny. Bernadette is the classy corner of this trio, and even when she steps in to protect Adam, she brings the other person to his knees, quite literally, and with the perfect putdown.

Peter Duncan (Bob), plays the mechanic who saves the day by getting Priscilla back on the road, and finds love on the way. A lovely gentle comedy role from one Peter who will never be blue. Happy Birthday for this Sunday as well Mr Duncan.

Billie Hardy (Marion), Benji's mother and ex husband of Tick, who decides that it's time that Tick met Benji, so pulls in a favour, asking him to perform at the Casino, the club that she runs.

Sario Solomon (Miss Understanding) is sauce on legs, and what legs! She, that is Miss Understanding, jokes with the front row of the audience at the start and releases her Tina Turner moves with her number "What's Love Got To Do With It". It is eight years this year that I first reviewed Sario in "The Band" and his stage craft has skyrocketed with this role, which is only a cover, so you may not see Sario show off his brilliant comedy Tina dancing and vocals, as well as his ability as a performer to work his way around a crackling mic pac. He was handed a hand held mic to continue his performance, and I noticed when he came on at the end as Miss Understanding his little acknowledgement of the now working head mic. As a member of the ensemble, his dancing is, and has always been sharp and energetic.

Isabella Glanznig Santos (Cynthia) plays Bob's wife with an eye-popping performance that turns out to be a hard act to follow. Great fun but so politically incorrect.

The Three Divas, Leah Vassell, Bernadette Bangura and Jessie May - who also doubles as Shirley -  have incredible soul voices and look amazing as well. They really get the party started with an explosive "It's Raining Men", and add power to the majority of the rest of the soundtrack. 

Benji, Tick's son, throughout the tour is played by five different young actors. Tonight we saw local lad Harper Etienne from Derbyshire. This young man, who makes his professional debut in this show, is a rising star. Watching him in the finale medley, he was absolutely loving his time on stage. I had a feeling that I had seen Harper somewhere before and looking at the programme on the bus on the way home I saw that he had been in last year's Playhouse panto. Having checked my review from last year's "Sleeping Beauty" I also noted that I had mentioned that this young man stood out and "was at times at the back of the group and looked as if he had heard that phrase "dance like there's nobody watching". He was so in the zone while being part of a group and you were just drawn to him because of that supreme confidence. Watch this space, this young man is going to be a star very soon!

The cast is completed by Jak Allen-Anderson (Farah/Young Bernadette) and Alexander Emery (Frank).

The ensemble, Mary Suarez, Tia Antoine-Charles, Olivia Bella, Nathan Ryles, Michael Afemare, Finan O'Carroll, Alexander Gage and Samuel Stokes, work their butts off with some high-kicking and energetic choreographed pieces by Matt Cole and Associate Choreographer Thomas Charles. 

Directed by Ian Talbot with Associate Director Sam Holmes. They have added a few new sprinkles I noticed and have kept the high excitement of the other theatre productions, all of which I have loved. Ian and Sam carry the fun baton even further.

I have but one quite small negative though. In the sequence at the Casino show where the songs get ever faster and there are a few costume changes, the changes are done by way of a sliding prop covering the view to the trio on stage. The sliding screen either needs to be done a bit slower or the trio need to move with the screen a bit faster as you could see both sets of trios, one on the way out and the other trio performing. Every stage is different in every theatre so with this being opening night I imagine that this section will tighten up, but I just thought I'd mention it.

Set design is by Andrew Exeter, who also designed the lighting. Both designs are wonderful, especially with the Video Design by Leo Flint. From what I remember from the last time that I saw the show, there have also been a few changes in the design department. The bus, after it was spray painted with obscenities, is this time painted pink by hand, the inside of the bus is a more complete arrangement and the opening sequence is also different to what I remember. The lighting is as colourful and exciting as the show itself.

The costumes, designed by Vicky Gill, are flamboyantly fabulous, as you'd expect. Just take a look at the photos to get an idea of just how good the costume designs are.

Wigs, Hair and Make Up Designer is Craig Forrest-Thomas. There are some quite quick make-up, hair and wig changes for the three main leads and the results of these quick changes look absolutely marvellous.

Musical Arranger is Stephen "Spud" Murphy and the Orchestration is by Stephen Murphy and Charlie Hull. The music, as I have said above, create the perfect party atmosphere, and in numbers like "Say A Little Prayer", "True Colours" and the first half of "MacArthur Park", where the arrangement is slowed down, you appreciate just how good the song choice is for what is taking place in that part of the play.

Sound design is by Ben Harrison.

Despite all the laughs though, there is the very real message surrounding homophobia and bigotry, which is eventually overcome by tolerance and compassion. But it still reminds us that the LGBTQ community still have a battle on their hands with small minded people. Being different is something that should be celebrated and not hidden or beaten down.

You will leave this show on a high, thanks to the story and the soundtrack, but also thanks to the high energy feel from the whole cast, so if you can, get yourself a ticket, jump on board and be prepared to party.

"Priscilla Queen Of The Desert" is at the Nottingham Royal Concert Hall until Saturday 2 May.

Photography by Johan Persson.

 "Hansard" by Simon Woods.

Nottingham Lace Market Theatre.

I will freely admit that I am not, and never have been, politically motivated; it just doesn't float my boat, but this play is not solely about politics, although one of the main issues within the play is an actual by product of another one of the main bones of contention within the Hesketh family.

The play is staged in the upstairs studio of the Lace Market Theatre, which immediately gives you that "fly on the wall" feeling of eavesdropping on a marital disgruntlement.

Hansard; noun: The official report of all parliamentary debates.

"Hansard" is an intimate domestic drama about a long and troubled marriage between a Tory junior minister, Robin Hesketh, and his wife, Diana. It is also a comedy about politics and identity and the failings of the ruling class. Set around the passing of the Section 28 legislation in 1988, which banned the “promotion” of homosexuality. 

Robin drives home to enjoy his birthday, a meal with friends and to enjoy the weekend and his garden, when the foxes have finished digging holes in his lawn. Diana is ready for a good old argument and still in her nightwear, and she is not going to back down!

Robin attacks his wife’s laziness, alcoholism and leftish sympathies. She sneers at his privileged background, deep-rooted philistinism and enslavement to Mrs Thatcher. 

To get the full political comedic enjoyment from the script, you may need to be of a certain age or to know about the political spectrum from the Thatcher era. But towards the end of the play, there's a swift realisation in a speech from Diana that maybe something more personal in their lives, connected with an area of their political arguments, is at play. And when that becomes a realisation, the whole feel and audience reaction changed, almost as if the air was being sucked out of the Lace Market Studio area, and everything became just a little darker.

Charles Moss (Robin) and Melanie Hamilton (Diana) both mesmerise the audience with their depiction of these characters. There's a rise and fall of emotions throughout the ninety minute performance and when Robin's temper explodes and he bangs his fist on the table, it brings everything to a head and we start to find out what secrets that this pair have been keeping from each other, allowing the breath that you'd been holding to slowly able to exhale, and your heart to become just a little heavier.

Charles and Melanie have so much script to deliver, almost in the form of a tennis match when they volley insults and opinions back and forth throughout the whole play.

Being at such close proximity to the cast you also get to see, up close and almost personal, the emotions that are sketched on their faces allow you to get a feeling of the frustration, anger, as well as the love that clearly still exists between the pair. 

Directed by Trev Clarke, this production is a real gem, and he, as well as Charles and Melanie completely had me engrossed; partly because I am not a political beast, so I felt that I had to concentrate more with the script to get a full understanding of the play. But it's the storyline that I had no idea was coming that really made me virtually sit up and allow my jaw to drop, and the way it connected with not seeing eye to eye about the latest political legislation. Bombshells in theatre can often be telegraphed, either intentionally or otherwise, but this bombshell I did not see coming, and that is a sign of a clever Director and a talented cast.

The pace of this show is also something that I need to comment on. Because the intensity of some of the speeches, there are times when you think that a prompt was needed, but the way that the gaps between the speeches, especially the angry tirades, sometimes seemed to be just a few seconds too long. That is not the case, it's such a clever way to maintain the tension, giving the audience those few extra seconds to digest what had just been said. Sometimes what is not said, or left in silence can really highlight a feeling or a speech, and this production is a masterclass in this area.

The set design is assembled in such a way to make the upstairs performance space look a lot bigger as it uses two levels. A design that hits you as soon as you walk through the door upstairs. The furniture sourcing and construction is by Angus Macrae and the props and set decoration is by Lesley Brown.

The costumes for Robin and Diana are thanks to Mel Hamilton. They are middle class smart with the glamour coming with Diana's final outfit.

Lighting Design is by Orla Godfrey-Carter. This is, and I hate to use the phrase "basic", but there's no need for anything fancy, so it works well as basic.

Orla, as well as Amy Bermudez are responsible for the projection section which comes at the end showing a very short scene with three young lads, played by Tom Harbord, Mikey Cleaver and Logan Cordall. Julian Hanby is the Video and Image Editor.

The final scene also includes a gorgeous snatch of music by Gurrumul called "Djarimirri (Child Of the Rainbow)".

Another role, that I very rarely mention is that of the Prompt. Despite the complexity and volume of the script, no prompts were required, but an audience can underestimate the importance of The Prompt. They are the safety net for an actor, but whoever prompts has to have such concentration because they have to follow every word of the play and gauge if, and when, a prompt may be needed by knowing the play, as well as the actors, back to front. Charlotte Carter is the Prompt for "Hansard".

If you like political plays, you'll love this play, but of you're not politically driven, see this play for the gorgeous human element of the underlying storyline and the character acting talents of both Charles and Melanie. Buy a ticket and be as mesmerised, entertained and educated as I was.

"Hansard" is at the Nottingham Lace Market Theatre until Saturday 2 May.

 "The Roses Of Eyam" by Don Taylor.

Nods Theatre Company.

Duchess Theatre, Long Eaton.

It's been a long time since my last show by Nods Theatre Company, seven years in fact when I attended "Brassed Off", and what a show to reconnect with Nods by in "The Roses Of Eyam", something very different to "Brassed Off".

Don Taylor’s 1970 play, "The Roses of Eyam" is the story of the selflessness expressed by the inhabitants of the small Derbyshire village of Eyam during the Great Plague of 1665/66.

 In the play Thomas Stanley, former Rector of Eyam, finds himself out of work and at political and religious odds with his replacement, William Mompesson. It is the antagonism between Mompesson and Stanley that initially ignites Taylor’s play before further ignition is caused by the arrival of the deadly Bubonic virus. 

The Bubonic Plague virus lay dormant in a bundle of second-hand clothing purchased in London by George Vicars, the village tailor, in the early summer of 1665. When the clothes arrive in Eyam, they are damp and, as a consequence, are hung to dry in front of the shop fire, awakening the larvae of the "Rodent Flea", a flea that quickly latched on to the humans they came into contact with, quickly transferring, by biting, the deadly bacteria to their human hosts who, in the 17th century, had little or no immunity to the bacteria.

With frightening rapidity the virus ravished the community, killing off great chunks of the community on a daily basis, the members of the village often having to bury their own family, and Mompesson having to act as a doctor as well as a man of the cloth. It was however the speed of this plague that drew the former and current clergymen together to help the village get through this year long season of death. 

Between them they decided that the only way to beat this, without spreading the plague to other parts of the country was to build a stone wall around the village and for the residents to stay within the wall, and allow no outsiders in. Food from outside was to be left on the stone wall and everyone should stay in their own houses and not to mix. Initially this was not a decision that sat well with the residents of Eyam, as some wanted to flee the village of death, but they were talked round and made to see sense that the Plague would be transmitted outside the community if they decided to leave.

It's a true story and with it being in Derbyshire, the full horror is played out with great intensity and that feeling of fear completely encompassed the Duchess Theatre audience on Thursday night. It's not a piece of history that I was aware of, even though I had heard of the Village of Eyam, but they didn't teach you stuff like this in my history lessons when I was at school.

You also don't realise how frightening this story is until the comparisons of that virus and the Covid 19 situation we all lived through only six years ago is brought to mind.

This is a fantastic cast who have done an incredible job of making everyone feel the unease and fear within the situation the Eyam people found themselves in, and have taken the words of Taylor's play and brought the sadness and horror to life on stage, right in front of your eyes.

Reverand William Mompesson is played by Richard Whitehorn who draws out every emotion from this character's being. there are some lengthy speeches and deliveries from Mompesson and they are all delivered with such feeling and emotion. The helplessness at being unable to help more and then the disbelief that his God could take his wife from him after everything that he had done within the village is a truly heartbreaking scene. I have seen Richard a couple of times on stage over the years but this, for me personally, is the pinnacle to date of Richard's roles. I can never remember if Nods are included in the Eagle Awards but if they are, and they should be, this performance is worthy of an award.

Catherine Mompesson, his wife, who supports him during the crisis, is played by Louise Wiseman. A beautifully sympathetic role, full of support for the work Mompesson is doing within the village, who at first do not take to change easily. Because of that support and love for her husband, when Catherine succumbs to the disease, you, as an audience member feel a sense of loss for such a lovely character.

Thomas Stanley, the former rector who was deposed but remains a prominent influence in the village, is played by David Dunford, and actor I have seen a few times on stage. He makes you feel the hurt and rejection, in a way, of his former role as Rector, but you also understand why he does not want to initially help the new Rector. That also leads on to understanding what an upheaval of his emotions it must have been to then become allies with Mompesson in order to help the village that he has faithfully headed up. A lovely controlled and measured performance from an actor who always delivers a believable performance, whatever the role.

George Vicars, played by Andrew Brown, is the tailor who is the first to die from the plague after receiving a box of clothes. Andrew also plays William Hancock after the demise of the tailor.

The Bedlam is an orphan boy who is depicted as the Village idiot. Played by Pat McHugh, this character brings much of the comedy aspects into the play, completely oblivious of the seriousness of the situation that has landed in Eyam.

Marshall Howe is the gravedigger in the village and is played by Owen Anthony. Howe also brings some of the more lighter moments to the play, but it's also the very human side of the character, especially towards the end of the play where you can see the stress of burying so many of the villagers at such a pace that hits home.

Unwin and Merrill are two cantankerous villagers who reminded me a bit of "The Old Gits" from Harry Enfield's TV show. Completely lovable and comical, but with just that tinge of sadness to keep the reality of what they have been through and are going through with this latest period in life.

Brian Meese plays Edward Unwin, and there's a lovely scene which completely encapsulates his character and the mischievous side of Unwin when he appears to have been stricken down by the Plague, having been found on his kitchen floor unconscious, supposedly dead. It also reminded me of that classic scene from "Spamalot" in the "I'm not dead yet" scene. Lovely fun character played with great humour and energy by Brian.

Andrew Merrill is played by Jonathan Wolff, and a brilliant foil to Brian's Unwin. Together these two are wonderful to watch, almost like a Statler and Waldorf from The Muppets pairing. They come across as rivals but you can tell there's a lot of history and possibly fun times had by these two over their 79/80 years lifetime. A lovely casting decision.

The rest of the cast are as follows.....

Timothy Fryzer-Smith (Saville and Edward Thornley), Jenny Nelson (Sarah Syddall, Frances Frith, Mary Frith and Mary Thornley), Alan Hough (Richard Syddall and William Hancock), Alistair Ruddle (Rowland Torre and Edward Cooper), Victoria Herbert (Emmott Sydall and Thomas Torre), Sharon Rutland (Mrs Syddall and Elizabeth Frith), Ian McHugh (Colonel Bradshaw, George Mower and Isaac Thornley), Jenny Ruddle (Mrs Bradshaw, The Carter, Frances Torre, Mr Cooper and Lydia Chapman), Heather Berry (Mary Cooper) and Hazel Whaley (Elizabeth Thornley and Elizabeth Swann). A truly superb cast.

Directed by Elaine Sellors who has really brought out some incredibly emotional acting from her cast and has delivered a piece of theatre that will keep you hypnotised by this real-life piece of history.

Set Design is  simple but very effective with a backdrop projection and several props which just seem to appear at times, or that could be due to me being so engrossed in the acting that I never noticed anything other than the actors I was focusing on,  an obvious tribute to the stage management by David Bloodworth. The large Eyam Cross almost dominated the set design, always reminding us of the faith and religion that ran through the story.

The costumes were excellent and helped you pitch yourself right in the middle of the era that the play was set in, 1665/1666. 

Sound, Lighting and the Projection I mentioned earlier are all the work of Philip Rutland and Ray Harrison. The projection moved the story and the setting on smoothly and also gave us some lovely images of the surrounding Derbyshire countryside, as well as showing what the living spaces were like back in the 1600s. The lighting switched to suit the mood of that particular timeline of the play and with no mic pacs in sight, it was up to the individual actors to make sure that their projection was enough to reach the very back of the theatre.

There was not one of these actors who failed to be heard in the auditorium and the whole play was like watching something from The National Theatre, a masterclass in professionalism and presentation all round.

There's just one other person that I should mention, and I very rarely mention these roles because there should be no need to mention them, and that is the prompt, who in this production was only needed once, Sue Leahy. This is such a wordy play and at almost three hours long - including interval - I was very much surprised that only one prompt was needed, which also shows the amount of work that has been put into such a lengthy piece of theatre by the individuals, especially the main characters.

If only my history lessons when I was at school were as entertaining and educational as this play.

"The Roses Of Eyam" is at the Duchess Theatre, Long Eaton until Saturday 25 April.

 "The Girl On The Train" by Paula Hawkins, adapted by Rachel Wagstaff and Duncan Abel.

Bonington Players.

Bonington Theatre.

I've only seen this play once before, never read the book, nor have I seen the film. This production was quite different to the previous touring production, and I must add, as good as the professional touring production from last year.

Rachel Watson longs for a different life, a more glamorous life than what she has. Her only escape is watching the perfect couple, Megan and husband Scott, through the train window every day, happy and in love. Or so it seems from her view from the train window. Then Rachel finds out that the woman she’s been secretly watching, has suddenly disappeared, and she finds herself as a witness and even a suspect in a mystery in which she will face bigger revelations than she could ever have anticipated.

Rachel Watson is played by Abigail Taylor. Rachel likes a drink and she has memory issues; she is also still burning a flame for her ex-husband, Tom, constantly phoning him and popping round at all hours, in short, making a proper menace of herself to Tom and his new wife Anna. The opening scene shows the typical Rachel Watson; hung over and living in a messy flat, regretting the actions of the night before, or the actions that she could remember!

Anna Watson, Tom's new wife with whom he has a baby with, is played by Gennie Price. Tom and Anna seem to have a blessed life; a lovely home, new baby, Tom has a job that enables him to support Anna, meaning that she can tend to their baby's every need, but also allowing the baby to be looked after when the pressure of motherhood gets just a little too much for Anna. For obvious reasons Anna is not on best terms with Rachel, and Rachel loves to bring up things from the past when Tom was Rachel's man, so things are a little strained for these two women

Tom Watson, Rachel's long suffering ex husband, is played by Gareth Morris in his debut performance for The Bonington Players. Tom just wants a simple life where everyone involved gets on with the other. But what Tom wants and what Tom gets is not a friendly atmosphere, especially when Rachel is popping around their new home and making threats as well as calling the home many, many times especially when Rachel has had a drink!

Megan Hipwell is played by Charlotte Hukin. Megan actually minds Tom and Anna's baby sometimes, so they know each other. But they did not know where the connection to Rachel comes in, until the story starts to unfold. Megan is beautiful, refined and blonde, but she also has issues, which is why she is seeing a therapist, professionally of course. It's through this relationship though we learn more about Megan and the secrets that have been buried deep. Could one of her secrets be her downfall, or at least answer some of the questions that the online rumour-mongers have started to spread?

Scott Hipwell is played by Billy Bamberger. Scott is completely distraught with his wife's murder, so distraught that he takes the first opportunity given to snog Rachel, who he doesn't understand why she is even there and only half believes her story of how Megan and Rachel know each other. We discover though that Scott has a violent temper when secrets come to the surface! But could he really murder his own wife, especially when they are trying to start their own family?

Karl Abdon is played by Des Fitzpatrick who, like Billy, returns to Bonington Players after making debuts for the group last year. Abdon is Megan's therapist, to which patient confidentiality seems to be something unheard of. He is tall and very distinctive-looking; in fact very similar to the man that Rachel spotted from the train window kissing Megan. What kind of therapy is Karl providing his client in her own home? And with this therapy, does he hold the answers to all of the raised questions, or is he someway involved in Megan's disappearance and murder?

Detective Inspector Gaskill is played by Lindsey Hemingway. Gaskill provides quite a bit of the comedy value in the play, but does she also provide any answers to the riddle of Megan Hipwell's murder?

All the exceedingly well cast bunch of seasoned actors manage to build and retain that suspense right to the very end, leaving you with many red herrings, twists and turns along with everyone being a suspect. I had seen the play before, as previously mentioned, but couldn't remember who was responsible, and when the penny again dropped, it was like seeing the play for the first time all over again.

The ensemble consist of Alex Brimelow, Robin Davis, Chris Gardner, Zoe Lander, Joanne Smith and Gail Tomlinson.

Directed by Designed by Anna Hodkin. These two areas are what made this production so good for me, and part of the reason why I couldn't quite place who did the dirty deed. The pace is spot on and the transitions within the scenes and the actors created a very smooth set of scene changes and flashbacks. I have not mentioned the "flashback" scenes, but the way that these have been directed and staged are silky smooth. Assistant Director is Luke Richardson.

The set design is, and I want to say "simple", but what looks simple is probably not as simple as they appear. There's a back screen which is responsible in the main for moving the story on by depicting the train travel, but not with scenes of train carriages or speeding scenes from a train window, but is clever and also adds a suspenseful feel, visually. It also provides a backdrop of art for the living room for Scott and Megan's flat, as Megan was involved in the world of art. There's also, I found, quite a creepy image of Megan's face that materialises slowly on the backdrop, almost as if she is watching the story, but who is Megan watching?

Props, which of course included the noisy settee, were provided by Glynis Hunt. As with all plays, just try and count how many props there are because there are so many included.

Linda Whitehurst is the Set Dresser for this play.

Costumes are thanks to Gail Tomlinson.

Sound and Video Operator is David Goatham. No stranger to this area of expertise for The Bonington Players, I have already mentioned the effect part of the video design has in this play, the sound also adds to the whole uneasy feel to the story, as well as the standard sound effects that you'd expect with door bells, telephone sounds, cars parking etc.

Lighting Operator is Oliver Read. the effects for the flashback scenes were especially effective, giving an almost strobe effect, and there's also a scene that involves Megan and the other cast members where the light on Megan is different to give the image of an unearthly image. Other lighting effects create an underpass lighting effect on the stage and also a railway track.

Stage Managed by Robin Davis and Nigel Kenton. The only thing that slowed down the swiftness of the scene changing was the settee in Scott and Megan's room which when moved on and off sounded like it was suffering from very bad wind and was very heavy to manipulate. By the end though, it did make me smile, which it was, obviously, not intended to.

This is one of those plays that, if you don't know how the story ends and who is responsible, is very good at leading you up several garden paths with some well placed red herrings. As a murder mystery, it's very dark, but very entertaining.

"The Girl On The Train" will be pulling out on Saturday 25 April. Make sure that you get a ticket before it leaves!