"Anything Goes" by Beeston Musical Theatre Group.

Duchess Theatre, Long Eaton.

I am a sucker for a happy ending and with this musical you get three weddings and no funeral. You know you can't go wrong with the wonderful word craftsman that is Cole Porter. There's a whole bunch of classics like "It's DeLovely". "Friendship". "Easy To Love" "I Get A Kick Out Of You", "You're The Top". "The Gypsy In Me", "Blow Gabriel Blow" and of course the title track for you to choose from to hum as you leave the theatre, which makes a change as many musicals only have one or two songs that stick in the mind to spill out into the streets to.

Billy Crocker, a young Wall Street broker, has fallen in love at first sight with a beautiful girl he met in a taxi, Hope Harcourt. His boss, Elisha J. Whitney, is preparing to make a business deal and is going to travel to London aboard the SS American. Evangelist turned nightclub singer Reno Sweeney will be traveling aboard the same ship. Billy sees Reno as a friend, but she obviously has deeper feelings for him. Billy stows away onboard instead of getting off the ship to do a business deal for his boss, which is when he discovers Hope is on board with her fiancé Lord Evelyn Oakleigh. Throw into the mix a second-rate gangster, "Moonface" Martin, and his moll, Bonnie, and the deceit and fun begins.

Reno Sweeney is played by Sara Evans-Bolger, and in this role really gets to show off that gorgeous voice of hers, and especially her growl, especially in "Blow, Gabriel Blow". This show is a big one for choreography, also meaning that Sara fronts her Angels with some Broadway tap routines. One thing that is excellent throughout are the accents and I know from other productions that Sara's ear for an accent is finely tuned.

Billy Crocker is played by Robert Stott-Marshall. Robert really cements his position on stage as a leading man in every way. He looks like a leading man with his film star looks, his voice gets better every time you hear him - he has one of the best male vibratos in local theatre, and he puts the smooth into American Smooth.

Hope Harcourt, the object of Billy's affections, is played by Fiona Cook. There's a lot of dancing for Fiona, but that is no issue, especially remembering the wonderful choreography Fiona created for last year's "9 To 5" production. It's so nice to see Fiona back on stage, and in such a classy role, performing such serene choreography.

There are several characters who really put a smile on my face and Craig Arme, who plays Hope's fiancé, Lord Evelyn Oakleigh, with a wonderfully comic stiff upper lip and typical British misunderstanding of American terminology and slang, which makes for some very comical moments. The awkwardness that is embedded in Oakleigh's Britishness is perfectly brought out, especially in the choreography, and Oakleigh's big song and dance scene "The Gypsy In Me" is brilliantly performed, highlighting Craig's comic talents.

Moonface Martin is a brilliant character, and in the past I've seen some actors not take the full advantage of this character and the comic opportunities, which has left the character a little flat. Not so with Adam Guest, and the reason for that, I think, is due to Adam being a natural comedian, on and off stage. The comedy lines for Moonface just seem to roll out of Moonface's mouth effortlessly. Again, it's so nice to see Adam back on stage, and in such a fantastic role. Listen out for a few lines that you more than likely will not hear in another production of this musical, for instance, did Cole Porter write an 80's hit for Diana Ross? You can also see just how much Adam is enjoying this part in Moonface's choreography, especially in the song and dance number "Friendship" with Sara - what a wonderful pairing. So much fun to watch and Adam milks every last laugh; no wonder he received such applause at the final bows.

Erma Latour, Moonface’s partner in crime, is played by Maisie Cutts, another great character, and not the first time that Maisie has taken on this character. Maisie has the longest legs on stage, shown off by Erma's gorgeous costume the choreography she has, while bringing the sex appeal to the show.

Erma had all the sailors, at times, falling literally at her feet in her main number, "Buddy Beware" with the lusty pursers, played by Matt Charlton, Jake Gelernter, Bobby Hughes and Arden-Caspar Jennison; all four putting in some equally stylish song and dance numbers. Whenever I have interviewed Arden, he has always played down his dance skills, but he is an excellent dancer, especially his tap skills.

Thomas Judt plays Billy's boss, Elisha J. Whitney, a successful Wall Street banker. Because he had told Billy to leave the ship and complete a business deal for him, there's a plan put in place by Moonface and Billy to cover Billy still being there and not being recognised by his boss, which results in some brilliant comedy moments from Thomas.

Charlotte Gelernter is wonderfully over-bearing as Hope's mother, Mrs Evangeline Harcourt. Charlotte brings some lovely physicality to this role, and with the wig and costume she was almost unrecognisable.

Dippy, 50% of the gambling pair, is played by Andy Bulmer. Spit, the other half of the gambling, light fingered duo, is played by Elsa Kitching.

Henry T Dobson, a self righteous missionary travelling to Westminster Abbey who gets mixed up in all the melee, is played by John Hand.

Will Howarth is The Captain of the SS American.

Reno Holtom makes her debut stage performance as Cheeky, the dog. A well behaved debut who looked to be very much at ease on stage, taking the adoration from the audience in her stride.

Reno’s Angels, Charity, Purity, Virtue and Chastity are played by Harriet Campion, Jess Liddle (dance captain), Emily Owen and Abi Stott-Marshall.

A brilliant ensemble complement the above perfectly in all the song and dance numbers and consist of Nathaniel Halls, Jane Cottee, Charlotte Drewett-Holden and Mina Holtom.

The Principal dancers are Harriet Campion, Sarah Dunbavand, Arden-Caspar Jennison, Jess Liddle, Emily Owen and Abi Stott-Marshall.

Directed by Beth Yearsley, assisted by Naomi Batley, this production is as watertight as the hull of the SS American and as smooth as the sailing of the vessel. The casting for the show is spot on and feed in to all of the cast's strengths. A classic musical which has had a few little new sparkles sprinkled on it, making it even more tastier than ever. No wonder revivals of this show always receives big attention, and this production has been received with gusto by the audiences, and rightly so!

Choreographed by Lauren Litherland. I think, by the amount of praise written in this review about the choreography, you may have realised what a fan I am of this show and the choreography. It also shows the work put into creating these pieces. Whether they be the choreographed duets like "You're The Top", "Friendship" and "It's De-lovely", or the big, full company routines like "Anything Goes" or "Blow Gabriel Blow", there's a zing of excitement and class sewn into every step. This is one of the classiest musicals and the choreography mirrors that class.

Musical Director is Adam Wright, and along with his band, create that lush sound that goes along with this scintillating soundtrack. Who can keep their toes still when you hear this music?

The Costume Manager is Mina Holtom  and the costumes are hired from Triple C's Costume Hire. Once more, class runs through this show, and the costumes for every character reflect such class. 

Wig hire is from Cabaret Theatre Company

Production Manager is Katie Bird.

Damon Pipes is responsible for everything that goes on backstage.

The set has been hired in from A Stage To Hire and looked amazing with the back construction of the liner with two simple step sections leading from the stage area to the main deck of the ship. Separate scenes are created in front of this, creating a clear stage for the big production dance numbers.

Sound production is by Dave Dallard and Jack Clark and lighting production is by Steve Greatorex. This terrific trio add a lot to the atmosphere of the show, and can honestly say that the sound and lighting have never looked and sounded so dovetailed in a production.

A big musical with a big cast and some big song and dance numbers, all go together to create a big hit, so don't be Public Enemy Number One, grab your tickets for this delightful, de-lovely show before this ship sails.

BMTG always collect throughout show week for a chosen charity, and British Acoustic Neuroma Association (BANA UK) is a charity close to the hearts of BMTG and is therefore the chosen charity for this year. Please support the charity by dropping in the buckets whatever you can afford. Which leads me on to mentioning the brilliant Front Of House helpers at The Duchess.

"Anything Goes" is at the Duchess Theatre, Long Eaton until Saturday 23 May.

 "Legally Blonde"

Nottingham Theatre Royal.

"Legally Blonde The Musical" is the well-known story of sorority president Elle Woods, as she crosses the country on a mission to find love at Harvard Law School after being dumped by Warner Huntingdon III, who is looking for someone more "serious". After discovering that she can use law for the greater good, she uses her new found skills to defy the odds and prove that pink really can save the day.

In the interim she finds herself a new love, an unlikely ally and an enemy in Professor Callaghan when she turns the tables on him and shows what a slimeball he really is.

This is a musical which seems to get better every time I see it, and I've seen it a few times now. And when you see a show a few times you pick up on different things, and this production has many differences from any other production I have seen, and I dare to say that this is the BEST production of "Legally Blonde" that I have seen, and that is not being discriminant against every other production, because as I have said, it grows and gets better on every viewing.

Amber Davies is Elle Woods. Now I have not seen Amber on stage before; I thought I may have done, but I can't find any confirmation of that; but boy, what I've been missing. Amber has a seriously powerful set of pipes on her, and she's not the only one in this show. She really drives this show, there aren't many scenes that she is not involved in, and the stage time is full of magnetism. I already knew she was an excellent dancer, having seen her on "Strictly Come Dancing", but seeing such a dancer just feet away from you on stage is an absolute dream to behold. She simply does not stop performing on stage creating an Amber that goes through the green light, never hitting the red.

Warner Huntington III is played by Jamie Chatterton. A great voice and a great look; throw into the mix the ability to dance well and Jamie is one of those all rounders that catch the eyes of Directors like Nikolai Foster, who retain their names for other productions. Nikolai directed Jamie in Curve's "The Sound Of Music". Even though the role is a slimy one, Jamie brings an awful lot of likeability to the character.

Hairdresser and Beautician, Paulette Bonafonte, is played by Karen Mavundukure. Paulette has always been one of my favourite characters in this musical, and Karen has now cemented that feeling yet again. This woman has the most incredible voices that I have heard in a long while. You can hear those soul and gospel roots every time she starts to sing. There's so much power in Karen's voice that I had half expected to see a hole in the roof of the theatre tonight. Karen gave me tingles, and I adore that in a vocalist. Her characterisation of Paulette was slightly different to most others I've seen, making the character quite giggly when she first meets Kyle, in complete contrast to the confident "Hair Affair" shop owner. I loved every thing about this character and about Karen.

Professor Callaghan is played by Adam Cooper. This man is seriously talented; just take a look at his theatrical CV. The sliminess is slightly played down, but the "I'm in charge" feel is there, providing an aura of not to be messed with, and that is perfect for this character. He makes you not like, I won't say "hate" Callaghan, as that is not the right word for the character. The few "boos" at the final bows were expected and I loved that Adam stayed in character and did not emotively acknowledge them one iota.

Emmett Forrest, who Elle fell in love with, was played by George Crawford. From the off Emmett is one of those characters that you get behind and root for, and George brings out every ounce of likeability in Emmett. He is also another who has a great voice, and a big range, which we get to hear in this show.

Paulette's ideal man is an Irishman and when she finds out that her new UPS delivery man is not only an absolute hunk, but has Irish heritage as well..... Kyle, the UPS man is played with great confidence by Ty-Reece Stewart. I've seen a few productions where Kyle is portrayed slightly dumbed down, but this Kyle is streetwise and flirty, which works so much better and is much more believable. Another slight character change in the story that creates a more modern and acceptable character for today's society.

Vivienne, Warner's "serious" new girlfriend, is played by Annabelle Terry. Here is a not so bossy or authoratively driven character, again creating a more human role for the story. You can see the arc from where we first encounter Vivienne become broader to how she becomes a more independent business woman shining through and taking Elle's request for all girls to stick together to heart and becoming Elle's ally.

Elle's best friends are Margot, Serena and Pilar, played by Hannah Lowther, Rosanna Harris and Remi Ferdinand. These Greek Tragedy/Chorus Girls are always great fun to watch, but the energy this trio have is off the scale. Brilliant harmonies and wonderfully colourful outfits for all three.

Enid Hoopes is another Harvard intern who is on the case in Callaghan's team, and a lovely comedy part for Keanna Bloomfield. This character has also been updated and again works well for a modern musical character. This change doesn't become that apparent until the change in lyrics in the song "Blood In The Water", but of course only apparent for anyone who has seen the musical before.

Brooke Wyndham, the fitness queen is played brilliantly by Jocasta Almgill. Powerful in every scene she is in, and I love the power dressing court room scene. 

I would love to tell you who plays Chutney - who would name their child Chutney? - Wyndham, step daughter of the accused Brooke, but it isn't mentioned in the programme, so I assume that this role was played by one of the ensemble. The physicality and vocal characterisation of this particular actress was wonderful.

I have a feeling that Jaime Tait plays Nikos, again there's no credit in the programme. Nikos is the man in the dock who works for Brooke as a pool man. A minor comic role where we have to decide if he is gay or European. The truth is out, quite literally when his best friend, or is that boyfriend Carlos, played by Bradley DeLarosbel has had enough of Nikos' macho lies and decides to make a dramatic entrance into the courtroom and reveals the real Nikos!

Now we must not forget the two canine lovelies here. Milo played Rufus and Sprout played Bruiser, two of the most adorable fur babies.

And then there's the ensemble and stage swings who add more energy and layers to this gorgeous musical - James Lim, Aaron Shales (Dance Captain), Jaime Tait, Daisy Twells, Louie Wood, Raiaz Fisher, Dylan Gordon-Jones, Lauren Hampton, Alishia-Marie Blake, Ollie hart-Bradford, Alex Waxman and Emily Martinez.

Directed by Nikolai Foster. Here is a Director who is not afraid of getting out the virtual pruning shears and nipping of bits that are not as relevant as some of the other pieces, and by chopping bits out, creates a tight piece of theatre that enhances the smoothness of the run without affecting a story. Having seen the show on several occasions I immediately spotted several amendments and edits to the story, as well as updates of the script, referencing Timothy Chalomee and Drag Race, plus tweaking some of the characters to make them more PC if you like.

The scene changes were particularly worthy of mentioning. There was no hanging around in this part of the show. The scenes segued so smoothly and easily with the ending of one scene dovetailing perfectly into the next scene, making for a really smooth change of scene and setting. One scene ends, BAM! straight into the next scene, no time wasting, no incidental music or instrumental reprisals to cover changes, just straight through. 

I knew that this production was going to be a bit special right from the start where Warner and Elle break up. Instead of being in the middle of a restaurant, it went straight from Elle shopping straight into a scene like a posh arcade with one of those cabinets with a three pronged grasp where you try and pick up a furry rabbit, which made the transfer so smooth and uncluttered. How warner managed to get the furry prize out with the grasping thingy is a mystery. the wonder of theatre!

Set Designer is Colin Richmond, and here is yet another part of the musical which appeared new and different, and the simplicity of the set created the smoothness of the scene changes. The set design has been slimmed down which works so well in my opinion.

Choreography is by Leah Hill. I think I may have hinted to just how excellent this area is. It all seems so fresh and almost as if it were the first time I had seen this show, well that's the feel it gave me. Exciting, energetic and quite exhilarating all the way through. 

Musical Supervisor and Additional Arranger is Matt Spencer-Smith. Every area of this show is done with utter supremacy.

Sound design is by Adam Fisher and lighting design is by Ben Cracknell. Ditto the above comment. Fresh and vibrant lighting and the sound was crisp and loud without being too much.

The costumes for this show are always excellent and this time around are the design by Tom Rogers. Gone are the dated 1980's image and vibe and in comes a fresh and modern style of clothing for the cast, straight away visually bringing the musical up to date.

Stage management do a brilliant job, which is why the change over scenes are done with such ease.

This show is like when you get a new format of a piece of music that you absolutely adore. It's fresh and clean, sounds clearer than you remember it being and has flashing lights, bells and whistles attached. I loved it - you will too, and I have seen this show quite a few times but shows that with a good Director, who knows what to trim back while still retaining all the great bits, you can see a musical with fresh eyes and ears, and love it as much as ever. Of course, if you've never seen this musical, and there are people who haven't, you are in for an amazing night of fun and entertainment.

Be serious, you're not going to miss this show are you? That would be criminal!

"Legally Blonde" is at the Nottingham theatre Royal until Saturday 23 May.

Photography by Matt Crockett.

 "The Duchess Of Malfi" by John Webster.

Nottingham Lace Market Theatre.

The play begins as a love story, with a Duchess who marries beneath her class, and ends as a nightmarish tragedy as her two brothers exact their revenge, destroying themselves in the process. 

Jacobean drama continued the trend of stage violence and horror set by Elizabethan tragedy. There's a real difference shown from the start of the play with its' lavish settings and ending up in a very dark place. There's plenty of bloodshed and some pretty horrific murders.

It's a love story as well as the story of a strong woman who knows what she wants but pays the price for her free-wheeling ways. She embarks on several affairs and spawns three children.

The language may take a bit of time to digest but if you can get on with Shakespeare's rhythm and rhyme, you'll have no problems with this play. This is also one of those plays that you will also need to really concentrate on, not only due to the language style, but because there are a lot of characters as well to get your head around, but persevere because this dark play, with the complex characters, is well worth the investment from yourselves.

The cast are absolutely superb, and I don't need to tell you just how excellent that they are, so I'll give you a bit of information on who they portray.

The Duchess, played by Mollie Kneeshaw, is a young widow and the ruler of the Italian town of Amalfi, is the intelligent, kind, virtuous sister of the Cardinal and the twin of Duke Ferdinand. Her brothers have banned her from remarrying because, they argue, her remarriage would ruin her honor and the honor of the family. Independent and defiant of her brothers’ wishes, the Duchess decides to secretly marry her steward, Antonio, for love, and has three children with him, keeping both the marriage and the children secret. 

 

David Field Duke Ferdinand, played by David Field. When rumours reach Ferdinand of the Duchess possibly giving birth to children, his anger is so overwhelming that his violent outbursts about the horrible ways he plans to revenge himself on her. There's some brilliant manic acting from David that really drives the unhinged part of Ferdinand home. 

The Cardinal is played by Chris Sims. Like Ferdinand, he tries to prevent the Duchess from remarrying in order to preserve his sense of his family’s purity and honor as well as his access to the Duchess’s wealth. Unlike the wild Ferdinand, though, the Cardinal is careful, calculating, and controlled.

 

Paul Spruce plays Daniel de Bosola, the spy planted by Ferdinand. He is a man who is used to doing the dirty work for others. This "spy" persona is played up really well, but without being too obvious, until you realise the storyline and what he has been hired to do.

Tom Pluse plays Antonio Bologna, the Duchess’s steward, and capably runs the Duchess’s estate, and is aware of what some of the other characters are like.

 

Michelle Smith is Delia, Antonio's friend and is completely loyal, and keeps a secret well!

 

Kathryn Edwards is Julia as well as Mad Person 6. Julia is Castruccio’s wife and the Cardinal’s mistress. She is the play’s stereotypical fickle female, with constantly changing affections. Near the end of the play, she becomes enamoured with Bosola, who then uses her to get the Cardinal to admit his involvement in the Duchess’s murder. When the Cardinal finds out that Julia betrayed him, he is not a happy bunny, and it's the kiss of death for Julia.

 Fiona Bumann plays Cariolla, the Duchess's loyal maid, but her loyalty results in the ultimate sacrifice.

 

Fred Baker plays Silvio, a courtier at Amalfi, as well as Pescara, a soldier and courtier in Ferdinand’s court Mad Person 1, Executioner 1 and a Helmeted Soldier.

 Richard Young is Castruccio, an old Italian lord plus Mad Person 2.

 

Lucie Conroy is Oderiga, a courtier at Amalfi attending the Duchess, plus Pilgrim 1, Mad Person 3 and Executioner 4.

 Jake Black is Grisolan, a courtier at Amalfi attending the Duchess, Pilgrim 2, Mad Person 4 and Executioner 5. 

 

Emma Rayner plays the Doctor to Ferdinand who diagnoses the Duke with the disease Lycanthropia, which to you and me is the belief that they are a werewolf, an Old Woman and a Servant.

Joe Moore is Count Malateste, a Roman courtier and friend of Ferdinand. Joe also plays an Officer, Mad Person 5, Helmeted Soldier and Executioner 3.

An incredibly hard working cast, each and every one of them.

Directed by Nik Hedges, I know that this is something that he has long wanted to bring to the Lace Market, and boy, was it worth the wait. As I mentioned previously, the audience has to invest their listening skills and have to work out who is who and what the relationships are between the various characters; it's not one of those plays where everything is laid out nice and neat in front of you; there are some very complex characters in this play. I liked the idea of the steampunk wardrobe and industrial style set design which added another level to the story.

Stage managed by Rebecca Steele and assisted by Jennifer Finlay, this was a smooth operation from an audience member point of view.

The set design is by Nik Hedges and the "curtains" that sectioned off the stage into areas really delivered the imagery of mass bloodshed, as did the stage itself as well as the stairs leading from the stage. You don't need to see bucketfuls of blood and gore with clever imagery like this, although there are a few slightly gory bits to watch out for!

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• Wardrobe for this show is an interesting one with the image of steampunk clothing with vibrantly colourful long coats and dark, round spectacles with top hats for some. Sharon Phillips and the team are responsible for this area of the production.
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Sound Design is by Jonathan Blacknell. There's a constant soundscape throughout the show, and even before the play starts properly - one reason to actually get in your seats before the start time because there's something happening on stage even before the opening lines. Amy Bermudez is the Sound Operator.

There's good use of light and shade, designed by Philip Hogarth, highlighting comic aspects against the barbaric dark murders and even touches on the supernatural, so there really is something to whet anyone's Jacobean theatrical likes. The dimmed light really creates that industrial, steampunk vibe. The Lighting team are Philip Hoagarth, Allan Green, Hugh Philip and Vaida Asipauskaite.

Loads of props in this play, sourced by Viv Briewrley, Nik Hedges, Rebecca Steele and Jennifer Finlay.

A brilliant evening of theatre with a deliciously dark theme which will satisfy the blood lust of anyone who loves a good meaty story of forbidden love and bloody murder.

"The Duchess Of Malfi" is at the Nottingham Lace Market Theatre until Saturday 23 May.

Photographs by Grace Eden Photography.

 "Summer Holiday - The Musical"

Act One

Iveshead School, Shepshed.

This show is so well timed as I found out recently that a massive new UK tour of "Summer Holiday" starts in June, so you can see Act One's production of the show before the big nationwide touring production.

Even before you reach the theatre doors, and this is something that I have noticed with all of the Act One shows at Iveshead, the journey from the building doors to the theatre doors is given thought to. The aisle you walk down is lit and all you have to do is follow the parade of buses to the main seating area, and getting you in the mood for the show.

Four London Bus mechanics, Don, Cyril, Edwin and Steve strike up a deal with London Transport. They do up a double decker London Bus, drive it around Europe as a hotel to win a contract. While on the road in France they pick up three ladies, Mimsie, Alma and Angie, on their way to a gig as the trio Do Re Mi, whose car breaks down. So the lads agree to offer to take them to their next singing job in Athens.

They also pick up a stowaway. A young, American boy called Bobby. Meanwhile, a young American female singer, Barbara has gone missing. Her mother, Stella (who is a VERY ambitious woman) and her aide, Jerry, take the story to the press and it makes the front page. They do all they can to make the story run for as long as possible.

Well we all know that Bobby is really Barbara because of the classic film which transposed into a very successful stage musical.

Mayhem ensues as, Don falls for Barbara. Eventually, when the eight bus riders reach Athens, they're arrested for kidnapping. In front of her mother, and a press conference filled with world-press, Barbara and Don declare their love for each other and the mother accepts the relationship (after realising how 'big' Don will become).

I’m a sucker for a happy ending and I love this musical and it’s wonderful soundtrack, “Bachelor Boy”, “Dancing Shoes”, “I Could Easily Fall In Love With You”, “The Last Time”, ”On the Beach”, "The Young Ones", "Move It" and “Summer Holiday” are just a few of the classic Cliff Richard hits in this musical. They just put you in the mood for popping off to the seaside on a double decker.

Jonah Robinson plays Don, the good looking hero of the story. He is a really good choice of leading man and Jonah is another one of those triple threats - in fact all four of the male leads are triple threats. Jonah has real likeability and a good voice; I especially was impressed by his part in the song "Living Doll". He sang the lower range in this harmony and while not quite being low enough for a bass, he has a really strong baritone register, which he also put to good use in the song "Time Drags By". His vocal skills are also put to good use in the harmonies with Caitlin, especially in the ballad version of "The Young Ones". This young man has a lot going for him on stage. 

      Toby Ashurst (Edwin), David Sturla (Steve) and Arlen Panesar (Cyril) are great fun to watch as the four mechanics. They all get scenes to shine individually like Toby's table top performance of "Move It", which opened Act Two, David's comedy lingua franca and his initial introductions with Do Re Mi, and Arlen's explanation to the border guards. These are just a few highlights for this trio! One thing I also noted with Don, Steve, Cyril and Edwin is their dancing ability and also that this quartet looked as if they were having the best time on stage; they brought the sunshine to this Summer Holiday.

Katie Sturla (Mimsie), Amy Tarrant (Alma),Evie Hancock (Angie) and Caitlin Fitzpatrick (Barbara) are the four lead females. Their sense of fun is obvious to see, matching the lads for the energy that they put in to their singing and choreography.

Heather Fitzpatrick (Jerry) and Lexie Collins (Stella) are a wonderful comedy double act, and I love the over the top, dramatic scenes Stella brought to the show, with Jerry acting as a subtle comedy foil. A lovely, and clever piece of casting with this pair.

What I love about Act One is that they use so many young performers in their shows, which means you get to see a whole plethora of talent all in one place, so let's shine a light on the supporting cast....

Leo Gilbert (Wilf the Cafe Owner/Alpine Cafe Owner/Bridegroom), Abigail Corns (Sandra - the Waitress), Pollyanna Field (Marjorie - the Mechanic/ Announcers), Isabel Limb (Mary - the Mechanic), Orlagh Corbett (French Jogger), Elizabeth Cutts (French Cyclist), Freddie Walshe (Strange Looking Girl), Etta Brompton (Jean D'Arm), Halo-Grace Smith (WPC), Emelia Corns (Italian Guard), Emma Offiler-Russell (Commander), Nellie McLennan (Bride/Wrightmore British Officer), Emma Salter, Layla Adelakun, May Brompton and Orlagh Corbett (Bridesmaids) and Grace Smith (Wedding Singer).

The Backing Vocalists are Abigail Corns, Bella Jordan, Freya Walshe, Layla Adelakun, Nellie McLennan and Pollyanna Field.

The ensemble of Cafe Customers, Mechanics, Nightclubbers, Passers-By, Alpine Cafe Customers, Wedding Guests, Reporters and Beach Guests consist of Abigail Corns, Bella Jordan, Elizabeth Cutts,  Emma Offiler-Russell, Emma Salter, Etta Brompton, Freddie Walshe, Freya Walshe, Grace Clarke, Grace Smith, Halo-Grace Smith, Isabel Limb,  Layla Adelakun, Leo Gilbert, May Brompton, Nellie McLennan, Orlagh Corbett, Pollyanna Field and Scarlett Moncur.

Directed by Danni Starkey and Amy North. Their choices of actor for each role is 100% on the money. Danni and Amy obviously know the actors' strengths and have cast them perfectly. The pace is kept up brilliantly and the slower moments become all the more special in contrast with the high energy in the other areas.

Choreographed by Wendy Spencer, Helen Starkey, Shelly White and Danni Starkey. This is one musical where the dancing speaks volumes because of the instantly recognisable dance style of the decade, and all of those routines are on show on stage, and brilliantly recreated by this colossal cast. You can see the work that has been put into the choreography not only in the actors' bodies, but in their faces, they all look as if they are loving these routines, as well as the songs. And when you think that this big cast probably have not heard most of these songs, or danced in this way, they all looked as if they were born to boogie like this.

The costumes for the show are thanks to Wendy Spencer, Shelly White and Lorna North, and all look suitably sixties.

Musical Director is Adrian Dobson who with his band Mick Curtis (Sax, Clarinet & Flute), Matthew Lax (Trumpet), Dave Whittle (Keyboard 1), Pete Fines (Keyboard 2 & Acoustic Guitar), Richard James and Dotty Tripper (Electric Guitar), Tom Hetzel (Bass) and Andy Shelton (Percussion) recreated that wonderful sixties sound of The Shadows and a melodious Mariachi sound thanks to Matthew Lax's trumpet.

Sound is by James White, and while there were just a few crackly mic pacs, this didn't surprise me due to the energy that the actors put into the routines. On a personal level, I would have liked the volume for the main actors increased a little when singing over the band as they sounded just a little low in the mix. This was opening night though so without the auditorium being as full as it was, getting that essential mix between on stage actor and live band is never easy to get spot on until after that first show.

Lighting is by Ollie Whitehead. As good as it gets, and as good as any theatre. It was bright, colorful and created excitement with the music.

Stage Manager is Kevin Spencer and along with the Stage Crew, consisting of Pete Yeomans, Paul Savage, Mike Armes, Alan Jamieson, Amber Savage, Ruby Armes, Steve Hancock, Frank Armes, Natalie Savage and Amy North, they made sure that the transitions on stage were always smooth.

Props are provided by Danni Starkey and Helen Starkey, and there are many of them in this musical.

There is another star of this musical that I have not yet mentioned and that is the bus itself. I was truly gobsmacked when I saw this roll on to stage. In the past productions of this musical the bus itself is part cutaway, but here was a life-size bus on stage with upstairs and downstairs areas, both of which used by the cast. The inside of the bus was kitted out and the outside of this big red London bus was adorned with advertisements of the era, plus a clever advert for Act One's next musical production, "Sister Act". The buses registration number of AOC 2026 was also tied into Act One. Not sure whether this would be classed under a very large prop or part of the set design, whichever category it falls into, it certainly impressed me, as well as the ease that this big red monster was moved around the stage by the Stage Crew.

"Summer Holiday" will make you want to grab your buckets and spades and flip flops and head for the seaside, but before you do that, make sure that you catch this fantastically fun musical before it finishes on Saturday 16 May.

 "Gentleman Jack" by Northern Ballet.

A co-production with Finnish National Opera and Ballet.

Nottingham Theatre Royal.

"Gentleman Jack" is Northern Ballet’s new full-length ballet and is the story of the 19th century icon, Anne Lister. 

Yorkshirewoman Anne, described by some as the "first modern lesbian", lived, dressed and loved as she desired, not as 19th century society expected her to. Her diaries were discovered and decoded after her death, revealing a bold, passionate, independent, well-travelled businesswoman who defied societal norms and loved as fiercely as she lived.

Her story has inspired biographies, novels and a hit TV series, and this – Northern Ballet's first large-scale commission since 2021 and the first under Artistic Director Federico Bonelli - is the only production to bring it to life through the powerful medium of dance. 

I've always said that ballet is the most relaxing dance form to watch, no matter how dramatic the storyline, and that is all down to the choreography and the dancers who keep you spellbound and completely hypnotised, all the while story telling to the highest degree.

I've seen a few ballets over the years now, but this has to be one of the most erotic, sexy pieces of dance I've ever seen, and al the while portraying such tenderness and emotion.

I'm not going to say how every dancer is of the highest quality because that goes without saying. Companies like Northern Ballet and Matthew Bourne's New Directions only employ the best dancers, so straight away you know that you'll be seeing the best of the best when it comes to dance, performance and story telling. And that goes for the ensemble as well as the featured dancers.

Nida Aydınoğlu is Anne Lister, ballet's new heroine. Lister's well documented journals come to life on stage with the writings being shown within the four cabinets of light and video.

Julie Nunès is Ann Walker, Lister's long term partner who eventually becomes her wife.

Sarah Chun plays the role of Marianna Lawton, the friend and lover of Lister, who goes on to break her heart when Marianna marries Charles Lawton, played by Jonathan Hanks.

Miguel Teixeira plays Christopher Rawson and his wife is played by Alessandra Bramante.

Aunt (Anne Lister) is played by Saeka Shirai and Uncle (James Lister) is played by Harry Skoupas. Heather Lehan is Sister (Marion Lister).

The Businessmen, Upper Class Men, Words, Miners and Servants are played by Jackson Dwyer, Bruno Serraclara, Andrew Tomlinson, Yu Wakizuka, Noah Benzie-Drayton, Harris Beattie, Stefano Veralta, Archie Sherman, Jun Ishii and Albert González Orts.

The Parisienne Women, Upper Class Women, Words, Miners and Servants are played by Helen Bogatch, Sena Kitano, Kirica Takahashi, Kaho Masumoto, Eliza Hickey, Harriet Marden, Gemma Coutts, Rachael Gillespie, Alessia Petrosino and Alessandra Bramante.

These are the dancers for Wednesday 13^th May; there are different casts for each day of the Nottingham run.

Choreographed by Annabelle Lopez Ochoa with Dance Artist and singer/songwriter Jemima Brown acting as Choreography Consultant.

Composer is Peter Salem. Conducted by Daniel Parkinson, the music is absolutely gorgeous, and several times I found my eyes closing to focus on the music, letting the lush sounds of this beautiful sounding orchestra wash over me, and then realising that I was missing the equally hypnotising dancing on stage. I really hope that Peter Salem's music that goes with the ballet becomes available in some form or another.

Dramaturg is thanks to Clare Croft.

Lighting and Set Designer is Christopher Ash. He has used a form of set design that I don't think that I have seen before where the cinematic video is contained in four cabinets that are wheeled on and off stage and perfectly shows motion, time and travel. There's also like a small travelator that Jack uses to indicate the road he is travelling, and that combined with the moving scenic cabinets really create a wonderful effect.

The scenes within the boardroom with Jack and Rawson and effectively played out for power in an almost competitive battle for superiority

Creative Consultant is Sally Wainwright.

Costume Designer is Louise Flanagan, who has drawn on inspiration from the 1830s as well as lesbian and queer dress in modern fashion to create a contemporary feel to the period dress. As soon as the curtain goes up, you're met with the most wonderfully glamorous sight, and those costumes continue to give the wow factor from start to finish.

Get your tickets to see this intoxicating new ballet while you can!

"Gentleman Jack" is at the Nottingham Theatre Royal until Saturday 16 May.