"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.

 "The Marriage Of Figaro" by Opera North.

Nottingham theatre Royal.

I don't think that I have seen Mozart's "Marriage Of Figaro" before on stage, so I was especially looking forward to seeing this production; even more so knowing that the show is put on by the excellent Opera North.

Mozart’s comic masterpiece is a match made in mayhem!

It’s supposed to be the happiest day of Figaro and Susanna’s lives, but this is opera, so there’s plenty of time for some plot twists before they say "I do". With Count Almaviva looking set to make a move on the bride-to-be, the young couple must hatch a shrewd plan to secure their happy ending. Cue a whirlwind of secret scheming and surprise revelations.

This new production of "The Marriage of Figaro" reimagines the mischief in a quintessential modern country home. Mozart’s music, performed live by the Orchestra of Opera North, fizzes with fun and plumbs the depths of emotion. It all adds up to an invitation that’s too good to turn down. Any excuse to grab your favourite fascinator!

If you've never been to see opera performed on stage before, maybe because you think it may be "too stuffy", or you wouldn't understand it, think again and make this the evening you dispel all of those doubts you may have had about opera. This is a very modern and contemporary opera, being one of the most performed world wide. You probably also know some of the tunes that have come from the pen, or would that have been quill, of Wolfgang Amadeus Mozart, the composer who was dubbed a bit of a musical rebel in his day.

As with ballet, opera should always be an ensemble performance piece, so it'd be no use me individually saying how good every one is on stage, because they just are at the top of their game; that's why they are part of Opera North, so here's the fabulous cast and their roles.

Liam James Karai (Figaro), Emyr Wyn Jones (Count Almaviva's Steward), James Newby (Count Almaviva), Gabriella Reyes (Countess Almaviva), Hera Hyesang Park (Susanna), Clare Lees (The Countess's Steward), Hongni Wu (Cherubino - the Count's Page), Charlotte Bowden (Barbarina - Susanna's Cousin, Antonio's Daughter), Jonathan Lemalu (Bartolo - a Doctor), Katherine Broderick (Marcellina, Bartolo's former housekeeper who initially plots to force Figaro to marry her in order to settle a debt), Daniel Norman (Basilio - a music teacher), Jamie Woollard (Antonio - a Gardener, Susanna's Uncle), Kamil Bien (Don Curzio - a Lawyer).

The ensemble of staff, workers and visitors to the house are made up of the Chorus of Opera North.

The gorgeously lush Orchestra of Opera North was conducted tonight (Thursday) by Oliver Rundell and as soon as the opening chords of the Overture is played, it's pomp music sweeps you up and gets you ready for the ensuing wedding. the other piece that will be recognisable to light opera fans is the light hearted "Voi che sapete che cosa è amor" sung by Cherubino. Orchestras of this size, quality and class are becoming even more difficult to tour with due to rising costs, and the Opera North is a charity, which is why it's so lovely to hear an orchestra of this size, and why it's so important to support ballets and operas like Opera North.

Directed by Louisa Muller, and there's not one second wasted in this production. The whole performance is over three hours long with the interval, but the pace is really driven, without being rushed, which makes the time in the theatre seem so much less than the advised timeline.

Madeleine Boyd is the Set and Costume Designer. The setting is a rural country house with wellies, mackintoshes, tennis racquets and cricket pads all in sight. The room we see in the opening scene then draws out to a much bigger space with staircases with Act three being set in a snooker room, with full size table, this area also shows a nursery space with cot and wall shelves with baby toys, books and abacus. This then disappears to become a stable complete with straw and miscellaneous equine props. The costumes, for the men on the whole are fairly modern, but the ladies costumes are beautifully dated, quite Downton Abbey-ish.

The Wigs, Hair and Make-up Supervisor is Jo Charlton-Wright.

Malcolm Rippeth is the Lighting Designer.

Choreographed by Rebecca Howell.

Opera and ballet performances are a real treat for me because I automatically know that the performers are the very best in their field, so I just have to sit back and let the performance wash over me. I know that the scenery, costumes and props etc are going to be top notch, so all of these areas don't really need to be dissected, I just need to mention whose hard work they are the results of. So, it only leaves me the task of telling whoever reads my reviews that you have no need to fear opera or ballet because they are some of the best forms of entertainment seen on professional stages.

Thursday night was about half and half older supporters and young people from schools and colleges, or young people who have discovered the joy of opera, and that really pleased me to see this ratio. Opera is not fuddy duddy stuff that only your Grandparents watch, it's modern, it's exciting, it's comedy, it's everything you need from a dramatic piece of theatre.

Even if you don't understand the language the songs are written and performed in, there are two great big screens at either side of the auditorium to translate everything, again no excuse for not attending a night at the opera.

"The Marriage Of Figaro" is at the Nottingham Theatre Royal until Saturday 7 March.

 "Boogie Nights" by Erewash Musical Society.

Duchess Theatre, Long Eaton.

Boy, does this show bring back the memories, not only of the fabulous music of the 1970's, but of my days of being a mobile DJ - yes, I really am that old! It was the era that I had my first girlfriend, the decade I left school, the decade I got my first proper job; it was in a record shop in Hucknall - my weekly wage packet was a little over £38.00, and the decade that I became independently mobile - a pushbike bought from my own wages. I also bought my first record player and the first record that I bought with my pocket money from Mum and Dad was Nottingham's very own Paper Lace in 1974, "Billy Don't Be A Hero". The 1970's was a decade of growing up, surviving school and becoming a man, in every sense of the word!

Back in 2017 the Erewash Musical Society Youth Group performed this show at the Duchess, and now is the time to present the Erewash Musical Society's production, who I may say are all young at heart and still full of youthfulness.

“Boogie Nights-The Musical” tells the comical yet heart-warming story of Roddy, a Jack-the-lad, whose life of birds, booze and boogie is about to be turned upside down.

Roddy O'Neill is busy dreaming of life as a rock star! Debs, his girlfriend, has her own thoughts... basically that Roddy's a selfish, arrogant, horrible, unfeeling, rude, heartless pig! But the truth is that Roddy is in love with Debs, and Debs is in love with Roddy, but Debs knows that Roddy has more than a roving eye! Through all their tears and laughter - can they both find what they are truly searching for?

The musical starts with a wedding scene and Debs is looking lovely as the blushing bride. Roddy then relates how they got to this day, starting from the day that best mate Terry dared him to ask Debs out on a date, back in 1972. The ending comes full circle but there's a twist, well there always is..... isn't there?

For those who are too young to have experienced a 70s nightclub, this will be an eye opener. For those of us not too young (only just) it will be a nostalgic hustle down memory lane. I am quite proud to say that as a teenager I started my mobile DJ days in 1979 – two years after this story is set, but retro enough to count. The story is set around the day that Elvis Presley died - 16 August 1977 and that also is relevant in this story line.

If you can imagine being at the best wedding or retro party ever, then this is the atmosphere music wise because it has one of the best soundtracks around for a retro musical. “Ladies Night”, “Celebration”, “Blame It On The Boogie”, “You Sexy Thing”, “Kung Fu Fighting”, “Bye Bye Baby”, ”No More Tears”, “Play that Funky Music”, “Disco Inferno”, “I Will Survive”, “Boogie Wonderland”, “YMCA”… I could go on.

Partly penned by Shane Richie, this could be looked on as part autobiographical, as Richie was a jack the lad in his days of a holiday camp entertainer, dreaming of being a rock star and taking full advantage of the entertainer status. Now, I don't know how much Shane Richie was involved in the soundtrack but, being the music geek that I am, I noticed a few songs that were not released until after 1978, the cut off year for the musical. Donna Summer and Barbra Streisand's "No More Tears" was a 1979 release, The Crusaders "Street Life" was also 1979, Ottowan's "D.I.S.C.O." was released in 1979 but was not a hit until 1980 and Joe Dolce's "Shaddap You Face" was even later, in 1981. The scene when Roddy asked Debs out was in 1972 but the Bay City Rollers version of "Bye Bye Baby" was not released until 1975. Nobody but a geeky nerd would probably have noticed these though! If it's in the script, it has to be kept in. All great songs in any case.

Roddy is played by Hayden Fletcher whose energy, dance skills and likeability is so well suited to this role. I loved the fact that Roddy is so unlike Hayden but you still believed the character. Roddy is a selfish, cheating pig who constantly berates Debs, and that got the audience booing - in a friendly fashion of course and in response to how Roddy acted, not Hayden. I also have an idea that Hayden loved this role, especially the choreography. Hayden's vocals sound good and never better than on the stripped back "Sorry Seems To Be The Hardest Word", and I really liked that arrangement.

Debs is played by Rosie Taylor, one of the Society's newer members. This woman has a gorgeous voice and is put to good use with these songs. Her version of Gloria Gaynor's "I Will Survive" was so good, as was "No More Tears (Enough Is Enough)", both showing power and control of those longer notes.

Terry is played by Evan Hagen. I stated in my last review of Evan's in "Top Hat" last year that I really noticed Evan's vocals for the first time, due to them being very distinctive. I am so pleased that Evan was cast as Terry because we get to hear his voice even more. This man has a great voice with plenty of power. Like Hayden, he can also dance and add to that his acting skills, he is an all rounder of the stage. Also loved his glow in the dark bright yellow shirt.

Trish, Debs' best friend and Terry's girlfriend, is played by Nicola Tuxford. Love her voice characterisation which gives Trish a likeable air of simpleness.

Lorraine is played by Charlotte Burden, who I am sure is a new name to me. Another great find vocally and stagewise. Lorraine is a sexy, self assured character who is not about to be controlled by her boyfriend Spencer, so sets her eyes on someone else who frequents the Boogie Nights Nightclub. Musically Charlotte and Jonny are both on the same page and sound great together, but that is where the sweet music comes to a grinding halt.

Spencer, the singer in "The Love Machine" duo - with Lorraine - is played by Jonny Cox. The archetypal sexist pig who feels that he has the right to control Lorraine as she is "his property" but we soon also see that his hard man act is set to crumble.

DJ Dean is played by Ethan Fletcher. Ethan personifies what a 1970's DJ should be and while DJ Dean being slightly over the top still manages to be "one of the lads" away from the decks.

Roddy's Dad, Eamon is played by Martin Briggs. This is a lovely character; he is obsessed with Elvis, and that back story is played out in Act two, so when the news in 1977 of The King's demise, Eamon is on an emotional high, possibly due to his alcohol levels, but there's a big fall out with his son which delivers  pathos to the storyline. That scene in itself is one of my favourites as Eamon croons along with Elvis to "Always On My Mind".

Baz the Bouncer is played by Nick Buckthorpe and Gos The Doorman is played by John Fletcher. This pair welcome you to the theatre, and if you're lucky enough, you may even get the back of your hand stamped, just in case you want to leave the auditorium at any time. Happy memories of teen youth clubs and discos of my youth. This pair also open the proceedings on stage.

The ensemble consist of many brightly adorned young things; Andrea Kemish, Carolyn Briggs, Emma Barnes-Marriot, Gary Fowkes, Hannah Hirst, Harvey Tavener, James McKinnon-Bowden, Jane Freeman, Karen Robbins, Kathi Ludlow, Laura Dawson, Louisa Ward, Sarah Terry, Sophie Homer, Tracey Renshaw, Sue Hagan and Vicky Byrne. All bringing great energy to this high energy show.

Directed by Chrissie Oakden. I love what she has done with all of these characters and has brought out the real characters of the musical. It's perfectly cast with the characters matched with the actors' strengths. As with most jukebox musicals the script can be a bit flimsy, but with this one, and the music for the musical being almost a decade of music, so many of the scenes and situations blended well with the songs and they gave the musical high energy.

Only one thing I might have added to the show was in the sections in the disco, the ensemble and the characters not directly involved in that particular storyline were dancing but there was no music. I would have had some kind of music, albeit on a low volume; it just seemed a bit odd them dancing with no music, the way that club scenes are done for films sometime, but then the music is added in at a later date. 

Choreographed by Hayley Wood (apologies for getting your name mixed up when showing my ticket). The 1970's, as well as the 80's were my dancing days. In the 80's I was never out of the clubs at the weekend, which is probably why I was such a slim youth - how times change you when you get older - and I loved the inhibited and freestyle dance moves as much as the Saturday Night Fever style "everybody join in" choreography. All the moves from that era were on show on stage - Hayley has obviously done her research as she is nowhere near old enough to remember them first hand.

What I did note with the cast was that it was the male cast members who really seemed to be throwing themselves into these moves with gay abandon. they did the worm, the hustle, the line dancing and they all looked to be loving these moves. There were a few scenes that seemed just a little too static for me where there was quite a bit of dancing on the spot - no handbags were in sight unfortunately - but choreographically I loved what I saw. If my knees weren't a bit dodgy, I'd have been up at the end dancing, as instructed by the cast in the lyrics of Sister Sledge's "We Are Family".

Musical Director is George Parkinson who replicated that gorgeous sound of the 70's disco scene brilliantly alongside band members Chris Renshaw (Guitar), Jeff Widdowson (Bass) and Phil Holland (Drums). George was on keys.

Set Design is by Mark Robbins, Bill Robbins and Erewash Musical Society and looked amazing and wonderfully 1970's retro.

The costumes are courtesy of Chrissie Oakden, Alex Tavener, Karen Robbins, cast members and friends of the company. I adore the fashion of this decade and every stop was pulled out to brighten up that stage with so much glitter. I couldn't see one costume that didn't look fantastic and didn't look right for this era. And if you ever want to get rid of some of those jackets, my wardrobe would be just the place for them - I probably wouldn't be able to get in them truth be told!

Sound is by Granite AV Solutions and was clear, fresh and at the perfect level.

Lighting is by Steve Greatorex. This really makes you feel as if you're in a club back in the 70's. The stage was awash with colour, as were the walls of the auditorium and the obligatory mirror ball. 

Production Assistant is Laurie Trott, who should have been in the ensemble, but was unable to due to a knee issue. It was really nice for the cast to acknowledge Laurie in the final bows.

Stage manager is Mark Robbins, who was his usual fabulous self regarding managing all things stagey.

Props were all thanks to Anna Fitzpatrick.

I know some may feel that the sexist jibes and attitudes of some of the male characters could be insulting but that is the way that Richie, Jon Conway and Terry Morrison created the script. This was the 70's and that caveman attitude was rife - remember "Saturday Night Fever" and "Grease" both had sexist pig characters. This is written in to extract audience reaction, and it succeeded, but in a jovial way because the women did get the upper hand in the end.

The musical is not meant to be a serious piece of theatre, just a good fun night out with a brilliant soundtrack that makes you long for your hipster flares and hotpants... just me then?

Wonderful energy, some marvellous vocals, lovely ensemble work, a great soundtrack and some brilliant costumes all make for this show to be labelled the best disco show in town.

"Boogie Nights" is at The Duchess Theatre until Saturday 7 March.

 "Spamalot" by Loughborough Amateur Operatic Society (LAOS).

Loughborough Town Hall.

Based on the 1975 film Monty Python and the Holy Grail, the musical follows King Arthur as he travels with the Knights of the Round Table in search of the Holy Grail.

Winner of the 2005 Tony Award for Best New Musical, “Spamalot” was written by Eric Idle and John DuPrez and features "Always Look on the Bright Side of Life", “Not Dead Yet”, “I’m All Alone”, "The Song That Goes Like This", "His Name Is Lancelot" and "Knights Of The Round Table".

Having seen “Spamalot” several times now, I knew the comedy and the Python style, but a show like this is constantly updating with topical humour, so no two productions are ever going to be the same. Whether you’re a Monty Python fan or not, you can’t deny that the writing is very funny, even after all these years and has stood the test of time. Silly comedy hardly ever ages and is mostly very cleverly written.

King Arthur is played by David Burton. Lovely comedy timing, brilliant vocals and we all know what a good actor David is. So many vocal highlights but my favourite must be "I'm All Alone".

Patsy is played by Oliver Jenkins. The comedy starts as soon as Patsy and Arthur trot onto the stage with Patsy and his coconuts. The song that everyone knows is Patsy's big number, "Always Look On The Bright Side Of Life" and Oliver sounded like he was having fun with it

Lady Of The Lake is played by Natasha Bryan. This role is for someone who can really sing, and sing in various styles, especially in "The Song That Goes Like This", "Knights Of The Round Table" and "Whatever Happened To My Part?" LAOS have so many talented comedy actors and NaTasha is yet another.

Sir Galahad is played by Tom Vickery, who also doubles as The Black Knight, who looks to be quite dangerous but ends up quite armless, and legless! Galahad's duet with The Lady Of The Lake is possibly one of my favourite comedy duets in musical theatre.

Galahad's Mother is played by Ian Paillin-Dean in a typical Monty Python gender swap role, Ian also doubles as one of the French Guards.

Sir Lancelot is played by Ryan Sargisson. There really are no serious characters in "Spamalot" and Lancelot is another brilliant comedy part, and of course the song "His Name Is Lancelot" is one of those big song and dance numbers with lyrics that are clever and comical. Ryan also plays one of the French Taunters.

Sir Robin is played by Josh Hill, and it's nice to see Josh back on stage after being the Musical Director of "Evita", I think it was last year. I loved "You Won't Succeed In Showbiz" with it's updated lyrics to include a few topical characters that Josh performed, as well as the Python classic "Not Dead Yet". Josh also doubled as one of the Swamp Guards.

Sir Bedevere is played by Richard York, another actor who I always look forward to seeing on a cast list, especially a comedy show's cast list.

Prince Herbert, the camp prisoner in his own father's tower who is supposed to be marrying a young Princess, is played by David Sturla. Herbert is rescued by Lancelot who is brought out of his shell by Herbert. David also plays the equally comedic role of Drop Dead Fred, who for anyone who is not a Python fan, is the "corpse" that has an endless energy for one so close to his grave, denying being deceased and refuses to be carted off on the dead cart.. The "Not Dead Yet" scene is brilliantly performed by everyone involved.

Kevin Clarke is The Historian who opens the story of "Spamalot", as well as playing Herbert's father, who does not like to hear his son singing and dancing in such a way, and I loved the Northern accent for the Father figure, who doesn't quite understand his son, nor see why the arranged marriage isn't quite Herbert's cup of tea! 

The Head Knight Of Ni, Tim The Enchanter and The Mayor is played by Matt Leeson, another actor who I've seen on Loughborough stages several times over the years. The Head Knight Of Ni is one of those characters whose script you can have great fun with, whilst still looking serious. The Enchanter introduces us to one of the evilest bunnies in history.

John Smith is Brother Maynard as well as a French Guard.

Concorde, who has another set of coconut shells for Lancelot's steed, and is responsible for receiving the message from Herbert by airmail, is played by Linda Adlam.

Charlie Cound plays Sir Bors and a Swamp Guard.

             

There's a big ensemble so here goes with the ensemble performers.... Charlie Cound, David Sturla, Freya Lakin, Ian Paillin-Dean, John Smith, Kevin Clarke, Matt Leeson and Mel Sharp.

The Laker Girls are played by Cassie Briggs, Gemma Baxter, Helena Stone, Laura Kidger, Linda Adlam, Mel Swift, Rhianna Boulton and Sarah Pell.

The Booth Singers are Andy Longley-Brown, Clare Proctor, Daniel Robinson and Jo Dring.

Directed by Sally Bruton, this musical is so fast paced, I actually couldn't believe how fast the interval came around. I also like listening out for the various changes in the script and the song lyrics. This is a brilliant opportunity for a Director to bring topicality into the show, so you can guess correctly that certain parts of American politics arose on a couple of occasions.

Choreographed by Tasha Hutchinson and there are quite a few styles of dance in this production. As always, I loved the big tap dance number.

Musical Director is James Stevens and the sound from this band under James' guidance was big and lush. There were times though when I felt the volume of the band slightly swamped the vocals of the actors, or some of the actors, which may have been a sound balance issue. Loughborough Town Hall has always been one of my favourite venues for acoustic clarity. Brilliant work shown with the vocals in the tricky tongue twister lyrics of some of these songs.

Set is thanks to Scenic Projects and looked brilliant with its' multi levels for the French Guards to hurl insults, among other things in the Eengleesh's direction! The flys - the sections of scenery that are lowered onto the stage - are the responsibility of David Wright.

So many props in this production with everything from weapons, rabbits - wooden and otherwise - to shrubbery and umbrellas. The multitude of props supplied and managed by Joanne Shaw.

When you think of all of the character roles, plus ensemble, plus dancers etc, and the amount of costume changes, the number of individual costumes soon mount up. The costumes are provided by Gemma Baxter and Northern Costume Hire. With this amount of costumes the Dressers for everyone were Debs Pettitt, Natalie Underwood, Allison Cundell, Alison Matthews-Savage, Joanna Hayes and Jo Dring.

The wigs are supplied by LAOS.

Stage managed by Duncan Gadsby and the Stage Crew consisting of Kirstie Bennett, Ed Dring, Adam Green, Paul Lynch, Ky Berry, Mark Chinnery and Sam Tebbatt.

Sound Designer is Ryan Heath, and as mentioned earlier, maybe a bit more volume on the actors' mics to raise the vocals above the band. Opening night is usually the time when something like this is discovered and adjusted accordingly because the sound from the mics with a full theatre is different to the sound in technical rehearsals. Not a big issue.

Lighting Designer is James Cladingboel, and a vibrant lighting design it was, especially in the up-tempo dance sections where a disco feel was needed.

I've seen "Spamalot" quite a few times over the years and I don't think that I'll ever tire of this musical, probably because every production has little things that are different to look and listen out for, thanks to the astute vision of the Director. 

"Spamalot" will be at Loughborough Town Hall until Saturday 7 March. This production is a good enough reason for you to always look on the bright side of life!

 "Gedling's Got Talent"

The Bonington Theatre

Saturday 28 February

It was an absolute pleasure to be asked back for the third year running to judge "Gedling's Got talent" alongside Katie Funk, founder & principal of Funky Studios Performing Arts School and Georgina Saunders, founder of Next Door Dance Company and Freelance Dance Teacher. Unfortunately Andy Dawson,  Independent Arts Manager and Producer was unable to make up the quartet of judges due to an accident earlier on in the week. We wish you, and your dog a speedy recovery.

Twenty acts were lucky enough to make it through to the finals but unfortunately Ella Quinn and Madeline Bisby had to pull out after Madeline broke her toe in rehearsals. We send our best wishes to Madeline for a speedy recovery and hope to see you both next year.

First act and first up were a six-piece band called Broken Amps who performed The Killers song "Mr Brightside", This is a band who could go far with a mean and moody looking lead singer who delivered a great vocal performance. I was particularly drawn to the drummer who really created a blistering sound along with the bass, guitarists and keyboard player.

Up next were Darci-Rai Harrison, Francesca Jones and Serenity Messam from Academy Dance Studios, acrobatic trio, all twelve years old or under, who performed to "I Put A Sell On You/One Way Or Another" from the film "Hocus Pocus.

Also in the twelve and under category was Freya Quinn, from the Tracey Quaife Dance Studios, who sang the song "Naughty" from the musical "Matilda".

Act number four were the Lorna Leighton School Of Dancing who gave a demonstration of baton twirling to a section of Louis Clark's "Hooked On Classics", a great choice of music which had the audience behind them all the way.

There were quite a few entrants in the twelve and under category and up next was Maryann Townsend, who came second in last year's contest singing Olivia Rodrigo's "Wondering". This time around Maryann chose "Hopelessly devoted To You" from the musical "Grease".

Maud Jefford, Paloma Howe and Ella Tudor was the sixth act performing a lyrical dance performance of a song called "Letter To My Daughter" by, I think, Kerri Brown. A cuter trio you could not wish to see and also in the category for twelve and under.

Emily Fretwell, another twelve and under entrant, was next to take to the Bonington Theatre stage performing "On My Own" from the musical "Les Miserables".

We then were treated to a very different trio of young performers, Ash Byrne, Ellie Pickering and Ophelia Johnson who acted out "Dorian" from "The Prologue" by Phoebe Eclair-Powell. A humorous piece that had  been well rehearsed and timed.

The song "She Used To Be Mine", written by Sara Bareilles, from the musical "Waitress" has always been one of my favourite musical theatre songs and this was the first of two performances of this song. This version performed by Chloe Watkins who had a lovely range to her voice.

Pinnacle Dance were next on stage. These were a group of six young ladies who closed the first act with "Ex Wives" from the musical "Six" who gave a good ensemble performance.

Act two opened with Alfie-Joe Murray - which by the way is a great name for a singer. Alfie-Joe gave us Manchester vibes with Oasis' song "Don't Look Back In Anger", inviting the audience to join in with the last chorus. Not the easiest of songs for someone of this age but he handled the song really well and I liked him.

This talent contest provided me with some of my favourite songs from musical theatre and up next was twenty-eight-year-old Nicole Louise with her heartfelt rendition of "With You" from the musical "Ghost". The competition was not hotting up, making everything much harder for all of the judges.

Sasha Garrard performed an acrobatic solo, choreographed if I heard correctly by Sam Rider, to a wonderfully dramatic female version of the Justin Timberlake song "Cry Me A River".

"Waitress" seems to be the musical to perform songs from in this year's Gedling's Got Talent because  up next was Aether Ward who performed the song "When He Sees Me".

Sixteen year old Freya Drewry chose the song "Mother Knows Best" from "Tangled", and it was clear from the off that a lot of thought had gone into every area of this performance from the costume to the backdrop and I personally loved this performance.

We had been shown various styles of dance in this year's contest but Jess Sims performed a tap routine to Adele's "Turning Tables". Now normally I like my tap routines to be with a large group of dancers with a few jazz hands thrown into the mix, but Jess showed us just how gentle and sensitive a tap routine can be with this performance.

Kate Bush's "Wuthering Heights" has always been one of my favourite oldies, probably due to the drama in the words and the performance, and bringing a little bit of Emily Bronte to the stage was fifteen year old Poppy Willow who added her own drama to this big song.

The penultimate performer on Saturday night was another Poppy; eighteen year old Poppy Ogburn who gave us her version of "She Used To Be Mine" from "Waitress", and I loved the emotion that Poppy has in her voice and especially in this song.

The final act of the competition was a dance troupe from Take 5 Theatre School of Dance. Containing an age range from thirteen year old to adult they gave us an exciting routine surrounding the theme of Artificial Intelligence to the tune of Lady Gaga's "Abracadabra". The group consisted of all girls except for Ryan who held his own in a colourful sea of female dancers.

We three judges then retired to the shelter of the ticket office to battle out to whom we should award the three prizes plus the best under twelve performers prize and it didn't take us as long as last year to  come to an amicable agreement on who we thought were worthy of these awards.

A mention must also go to Dec Prendergast who was Master of Ceremonies for the show.

The awards were presented by The Deputy Mayor and Young Mayor of Gedling, Sandra Barnes & Lydia Yates.

We, the judges decided that our Twelve and Under award went to Darci-Rai, Francesca and Serenity for their "Hocus Pocus" performance.

Third prize was awarded to Poppy Ogburn and her rendition of "She Used To Be Mine".

Second prize went to Jess Sims for her tap performance to "Turning Tables"

A unanimous first place was awarded to Freya Drewry's "Mother Knows Best".

Another fabulous evening highlighting the talent that Nottingham has to offer.

Big thanks also go to Carrie Bird and the members of Flying High Expressive Arts CIC.