" A Bunch Of Amateurs" by Nick Newman and Ian Hislop.

Blind Eye

Duchess Theatre, Long Eaton.

A washed-up Hollywood star, Jefferson Steele, is flown to England to play the title role in King Lear at "Stratford" believing he will be appearing onstage at the legendary Royal Shakespeare Company in Stratford-upon-Avon.

Instead he finds he has signed on with the "Stratford Players" in the Suffolk village of Stratford St John. He arrives in England with his career deteriorating and having problems with his daughter who is an aspiring actress on the fringes of the New York theatre.

The local villagers are over the moon to have such a “star” playing with them. Steele though is a typically selfish American with no time for manners, and displays an appalling lack of class, considering himself too big for this lowly setting. Will the arrogant Steele knuckle down to his latest role, or will he forever play the Hollywood star? If you've never seen this comedy before then there's only one way to find out......

Jefferson Steele is played by Jonathan Greaves, portraying the archetypal American "star" to be a ball of ego, attitude and entitlement; thinking that he is too big to rehearse, wanting to change the script to fit Steele's "talents" and expecting everyone to cow tow to him. When he finds out that this local theatre group are not about to treat this Hollywood star as a star so up himself, and his agent cannot, or will not get him out of this contract, he starts to  think differently on the job in hand. He also discovers that not all media news is great publicity!

I can only imagine that this role is joy for Jonathan to play as it allows him to play the ultimate diva, flounce and swear to his character's heart's content, as well as deliver some iconic Shakespearian lines alongside some brilliant comedy lines by Hislop and Newman. As always with Jonathan, the role is delivered brilliantly, reminding me so much of the actor Greg Davies in this role.

Saurav Modak plays Nigel Dewbury, possibly a rival for Steele but he loves the theatre and is very confident about his acting ability with the Stratford Players. Nigel is a proper ham and we get some wonderfully hammy, over the top lines from The Bard's pen, and Saurav brings the pompousness to the stage gloriously.

Danielle Rodgers plays the slightly over excitable Mary Plunkett, and in the play she has a bit of a crush on Steele. Could her jealousy be the downfall of out American star? Another lovely comedy role, whcih is something that Danielle excels at. there is a scene where Mary has to deliver a speech to Lear with great anger, and is in such contrast to the previously "fan-girl" behaviour when around Steele, it makes you sit up and take note!

Alex Sjoberg-Weekes plays Lauren Bell, the wife of the sponsor and budding actor herself, but all does not go quite to plan when her former occupation causes quite an unexpected blow to the future of the play!!!

Paul Duffy plays Dennis Dobbins, caretaker, health and safety officer and the Duke of Gloucester in "King Lear". Great accent and another classic comedy performance, including an unexpected change of character in the second act. Paul also was the Fight and Lift Co-ordinator.

Kay Thomason-Vardy plays Jefferson’s feisty teenage daughter, Jessica Steele. Jessica is wise to her father and his ways and stands no nonsense from him. Does her love of acting bridge that gap that has widened between her and Jefferson over the years? Kay brings the drama to the play within the play in the second act, but a drama that brings the gap between father and daughter closer together. As with Jonathan and Paul, we get another wonderful and consistent accent.

Beth Duffy plays Dorothy Nettle, the director of the Stratford Players and the moving force behind keeping the theatre alive. Dorothy is very typical of many Directors I know because she is the glue, the force, the determination, the organiser, the agony aunt as well as the mother hen for this bunch of amateurs. A real bridge over various troubled waters within the Stratford Players. 

Evie Lucas, Ashleigh Wilkinson and Gabriella Tilley play The Singer/Journalist. This trio move the play on, distracting from the subtle scene changes and giving the cast members breathing space to change costumes, and performing the words of the Bard to music arranged by Rowan Nix, with choreography thrown in by Ashleigh Wilkinson.

Directed by Lindsey Hemingway, assisted by JJ McCormack. It's pacy, is hilariously good fun and has been well cast. I have to say that these roles have been so well matched to the actors, playing to the individual strengths. The musical interventions are clever and cover a range of music genres - I especially like the country and western version of Shakespeare. There's a really nice balance of serious am-dram action combined with the hilarious ham fest. This is only Lindsey's second bout of directing ever, but the quality of the direction shows that I don't think this will be the last time that Lindsey dons the Director cap.

Set Designer is JJ McCormack. The whole stage is filled with this excellent design; there are two massive doors at the back which make the archetypal village hall seem more like a barn door design. The rest of the area is filled with various sections of scenery and a stage. It was quite fun getting in the auditorium early to take a look at the amount of props on stage, all of which are so relevant to the am-dram scene. As usual the construction of the set is by JJ, Lindsey, Grant Hemingway and Zack McCormack. This quartet should be up for some kind of set design/construction with this great set.

Kirsty Smith is the Stage Manager, making sure that the running of everything stage wise ran smoothly, along with Stage Crew of Izzy Tilley and Jennifer Reckless.

Costumes for the play are by JJ McCormack and Adam Chapman. If you've ever seen one of Blind Eye's shows, you'll know just how good the costumes are, having won awards for their costume design in the past. And I don't think that there were any of the characters who didn't have at least a couple of costume changes each.

Sound design and  lighting design are by Jack Clarke with Dave Dallard on standby. The sound cues were beautifully timed and the lighting operation was as timely and apt as the sound design and operation.

The writers Ian Hislop and Nick Newman really get to the heart of what local theatre is all about and that an amateur operation like local theatre is anything but amateur. I for one have been shouting this for decades.

Blind Eye support a different charity with every production and this time around they have chosen to raise money for Asthma and Lung UK. This charity do amazing work across the UK helping us all to breathe easier, and are the only charity in the UK supporting the nation's lungs.

"A Bunch Of Amateurs" is at the Duchess Theatre in Long Eaton until Saturday 30 May and see how a bunch of amateur theatre actors put on a professionally slick piece of theatre.

 "Same Time, Next Year" by Bernard Slade.

Performed by Jakobus Theater in der Fabrik.

Nottingham Lace Market Theatre.

The second of two plays performed in German by one of the other theatre companies twinned in Germany with the Nottingham Lace Market Theatre.

Every year there is a theatrical exchange where the Lace Market theatre travel to Germany to perform a couple of plays, and vice versa. This year is the first time that I have attended any of the German theatre groups' productions. With not being fluent in the language - my German lessons at school were a veeeerrrry long time ago, but there are the odd phrases or words that I recognised. This being the case, it made me pay even more attention to the stage and the actors on the stage. Neither of the plays performed this week I have seen before, another reason to pay more attention than usual, but as I mentioned in my Monday evening's review, you don't have to be fluent in Russian to enjoy Chekhov, or know Italian to enjoy most operas, because the talents withing the actors deliver the story in a more physical way.

"Same Time, Next Year" is a romantic comedy about New Jersey accountant George and Oakland housewife Doris meet at a motel in 1976. They have an affair, and agree to meet once a year, despite the fact both are married to others and have six children between them. We get to see ad hoc meetings from 1976 to 2001.

There are some very comical scene changes, which entail either a maid, and in one case someone who looks like a stoner with his shirt slashed to the waist, smoking a joint. These sections involve the worker tidying up the bed, removing cases and clothing and putting things back to where they should be; with a running joke of a chair being removed from one side of the room to the other, which is immediately moved back to where it was previously. The calendar showing the year is also amended by the motel worker.

There's music by artists like Prince, Red Hot Chili Peppers and Billy Joel plays behind the choreographed room tidying routines, also involving some dancing and/or singing, which I loved as it broke up the dramatic segments.

The play opens with Markus Künstler entering via the auditorium doors, greeting audience members with a brush, as the owner of the establishment where the meetings take place and sets the scene for the audience and gives a potted history of George and Doris's past rendezvous. This is done in English. This leads us up to the start of the rest of the play.

George is played by Christian Brunner, a lovely physical actor who relays the story in his physicality of the character. I just know that if I was fluent, or even semi fluent in German, that I would have loved his, as well as Magdelana's, performance even more than I did because both are such vivid storytellers via the physical comedy side of their acting. I also noted that Christian also had as many full costume changes as Magdelena, something that some Directors omit for the male leads.

Doris is played by Magdelana Maier, and I can echo everything that I have said about Christian here. The pair really bring everything to life, and just wait for the final rendezvous scene; I was not expecting that! Both actors really complement the other and make the relationship very believable through the chemistry they both have. I must say as well that my favourite scene was the second rendezvous in 1989 - that was a bit of a surprise where the dramatic comedy play really kicked in! With Doris the years between the meetings were visually excellent via the fashion choices. Women's fashion always seems to change so much from year to year, and the costume changes depict this time lapse brilliantly.

The Chambermaid who pops in to tidy the room is played by Jule Klessing. Again a brilliantly choreographed comedy routine to Prince's "Kiss" and an opportunity to show off Jule's singing voice to Billy Joel's "Just The Way You Are". It's cameos like this and the one for Freddi that really kept the zing going in this production.

The Hotel Page is played by Freddi Schmeider. A contrast to Jule's smart chambermaid outfit with the shirt slashed to the waist and smoking while he slowly does his tidy up of the room. A lovely comedic section with the chair which could only really be done by a man to get the reaction that it did. The Red Hot Chili Pepper's song "Under the Bridge" backed up that chilled out persona perfectly.

Directed by Andreas Rüdenauer, who is a professional Theatre Director. Everything about this production, as well as the previous shows this week at the Lace Market Theatre smacks of professionalism. In this production I really enjoyed the scene change segues, as I mentioned previously in this review. It's not often in British Theatre that the scene changes are as entertaining as the scenes themselves, but here we get a brilliant example of how entertaining they can be.

The set design is wonderful. In the centre of the stage is a double bed with a window at the back of the set which has a lovely 3D effect looking out over the motel grounds. Also in the room is a keyboard, and I was wondering why there's a keyboard in a motel room, but that becomes apparent later on in the play. The chair that traverses the stage at the start and end of each scene, a chest of drawers with a phone atop, which also gets an upgrade later on, and a hatstand. A wonderful set design, and I also liked the cross on the wall which also indicates the passing of time when we get to the second act! Set Designer and Property Manager is Sabrina Gabriel.

The costumes for all four are great, especially the two leads who have several costume changes throughout to show the passing of time in between the meetings.

Sound design and lighting design are both excellent with several well cued sound effects peppered throughout the show. These areas are the responsibility of Niko Meister and Martin Schlegl.

respectively.

The technical crew consist of Luca Renner, Martin Schlegl, Niko Meister, Nicholas Hilger, Jens Rohmann, Leonard Berscheid and Markus Künstler.

Even without knowing the German language, I did know the basic storyline, this quartet of actors provided a lovely physical comedy that you were able to follow most of the story from. And it did give me a chance to recall even more phrases and words from my misty past of my German lessons with Frau Knott, back in my schooldays.

A couple of very enjoyable introductions to German am dram, and not one prompt in either show!

There's two more chances to see this production on Thursday; a 2.30 matinee and a 7.30 evening performance. The production is performed in German for free, but a ticket will be required to assure your seat.

Photography by HERRliche fotografie

 "Come From Away" by Irene Sankoff and David Hein.

Carlton Operatic Society.

Nottingham Theatre Royal.

I really look forward to Carlton Operatic Productions because I know that they will be so easy to review. This is because I know practically everyone involved on (and off) stage and I know their calibre and the work ethic that they apply to anything that they put their name to.

This is the third time seeing this musical and it gets better at every viewing, and I adore the Celtic infused soundtrack. Being part Irish myself I can never keep my feet still at the sound of a fiddle and a bodhran.

"Come From Away" shares the real-life story of the 7,000 air passengers from all over the world who were grounded in Canada during the wake of 9/11, and the small Newfoundland town of Gander community that invited these "come from aways" into their lives with open hearts.

The comedy is so gentle and in abundance, balancing perfectly with the obvious confusion and terror from the passengers who had no idea what was happening and the reason for their flights' diversions. There's emergency panic from the townsfolk who had no idea as to how many people to expect and where they were going to put them up, or how to feed them.

The feeling of comradery though becomes infectious with even Walmart staff offering them to come home with them for a shower!! Can you imagine that being offered by an Asda employee? (other supermarkets are available of course).

Strangers become friends, and friends become lifelong friends, some even staying in the town, and some become even closer friends. But of course, there's those who lost family and friends because of what happened on September 11 2001, and they are also remembered.

Many of the stories related were not known about until this musical, let's face it the pregnant Bonobo monkey or the cat who was on tablets didn't make front page news, but is equally as interesting to hear about, as well as Bonnie Harris who realised that there would have been animals on the planes and, as she worked in an animal shelter, made it her job to go looking for them, and caring for them.

The stories of the local news reporter, who had just started working for the TV company, the Mayor Claude Elliott, the Police Officer, the female flight staff, as well as the passengers, some of which didn't speak English and had specific dietary needs, the party of children who were travelling over as part of the "Make A Wish" foundation, so many different people of different ages and religions, all scared and unaware of the horrors that were unfolding on that day.

It also depicts how in a situation like this, people can also become very wary of some people and treat them very differently, especially if they are Middle Eastern, the horror and embarrassment of a strip search before they let him on the plane told in such a way that you almost feel ashamed for what he had been put through, just because of his religion.

There's also the story of the gay couple, Kevin and Kevin, who didn't want to reveal their relationship for fear of a backlash, and the Jewish man who discovered that one of the Gander residents was also Jewish, but had never revealed that fact.

There are so many wonderful human stories that are woven into this wonderful comfort blanket of life happenings, all bought about by such a sad turn of events by such evil forces. The resilience and love though won through.

I very rarely look through the cast list before the show, especially when it's such a big production as this, because I love spotting people who I know from other societies, and there are plenty to spot in this production. It's a great credit to see so many actors also wanting to be a part of these big productions that Carlton Operatic Society stage, some actors who have been tempted back to the stage after a theatrical hiatus and some who are making their debuts with Carlton Operatic Society.

Here's the list of the characters and the wonderfully talented actors who bring this true story back to the Nottingham stage....

Daniella Anderson (Patsy), Meghan Borg (Janice), Joe Butler (Margie/Micky), Jennifer Chatten (Martha), Adam Collishaw (Dwight), Claire Collishaw (Crystal/Brenda). Poppy Cook (Annette), Aston Fisher (Beulah), Maddie Gradwell (Bonnie), Cliff Hart (Doug), Chris Heeley (Garth/Matty), Sarah Hill (Linda), Sam Howard (Brenda's Brother/Eddie), Celine McKeown (Britney), Gavin Owen (Oz/Terry), Katie Waller (Janet), Graham Ward (Claude/Derm) and Bekki Wilson (Patricia).

These are the Newfoundlanders who received the planes and the people and welcomed them into their homes and hearts.

The Come From Aways are just as star studded....

Wendy Austin-Giddings (Diane), Charlotte Barrington (Flight Attendant), Paolo Ellis (Kevin J), Oliver Wheddon (Kevin T) who I've not seen in over a year; so good to see him back on stage again. Lizzie Fenner (Maria), Tobias T Fries (Muhumuza), Fabian Golding-Williams (Captain Bristol), Riley Halls Backler (Joey/Rabbi), Hannah Haywood-Cupitt (Roxanne), Stacey Ireson (Winnie), Lindsey Jaycock (Sara), Alice Kirkby (Lisa), Joseph Straw (Bob), Helen Taylor (Lana), Kate Taylor (Hannah), Sarah Thompson (Delores), Helen Tunnicliff (Ali/Mr Michaels), Darren Ward (Nick) and Abby Wells (Beverley).

This show is truly an ensemble piece of theatre that was non stop, and Carlton Operatic Society have increased that ensemble to allow more people to be involved in such a wonderful story, which in turn also depicts a bigger Gander community, and the sound of everyone singing together sounded like a heavenly choir.

Directed and Choreographed by Rachael Rees. This is a show where the timings have to be spot on and the choreography the same. The transitions from scene to scene were almost invisible in their application, the chairs, tables etc just seemed to appear by magic, but that will be because you are so focused on the storytelling by the actors that everything around them seemed not to exist until they moved away, and suddenly a whole new scene appears.

The choreography is gorgeous and I especially loved the playout section following on from the bows where the whole company join to dance to the playout music of Celtic music, almost like attending a Ceilidh. There was no way I was not going to get to my feet and have a little Irish jig and clap along with such infectious dancing; the perfect ending to a perfect show.

Musical Director is Chris Rees, and as I have said earlier, I love the sound of Irish music and Chris and his orchestra created a very authentic Irish sound, I'm surprised they were not all dressed in green. Absolutely beautiful music throughout and the vocals from all were impeccable.

The set itself  was supplied by Scenic Projects, but I was so invested in the storytelling and the action that I didn't take that much notice. Absolutely no disrespect to Scenic Projects but my eyes didn't stray from the stage area all the way through.

I've mentioned the stage transitions and in charge of stage management are Vicky Johnson, Deputy Stage Manager Nigel Newton and Assistant Stage Manager Ellis Jones. A stage management dream team if ever there was one.

Talking of dream teams Tom Mowat is the Lighting Designer and Rob Kettridge is Sound Designer, assisted by George Wilson. Sound and light complementing the other.

Costume Coordinator is Charlotte Turpin.

Props Coordinators are Patrick Humphreys and Carole Ellis who obviously had no problems locating a cod to kiss and an Ugly Stick; both props vital to one section of the production.

The programme is wonderfully educational. Designed by Chris Rees and Helen Tunnicliff, you'll find the usual cast biographies and rehearsal photographs but some fascinating sections on some of the original Come From Aways from 2001 as well as information about Newfoundland. 

Can you believe though that 9/11 was twenty five years ago, making this production even more poignant. I think everyone can remember exactly what they were doing when the news of the first plane hit the first of the Twin Towers; I know I can remember every detail of where I was and what I was doing. Carlton Operatic also have a series of Facebook posts telling what some Nottinghamshire people were doing when this happened as well as several other posts about that day, which make for fascinating insights locally. This information is sourced by Celine McKeown.

The musical has no interval and is sung almost straight through.

There's also a collection after the performances to collect for the Fire Fighters Charity, so please give generously if you're able.

"Come From Away" is at the Nottingham theatre Royal until Saturday 30 May, so get prepared to kiss the cod, and welcome to the rock!

Photography by Martin Holtom.

 "Ein Komisches Talent" or Comic Potential by Alan Ayckbourn.

Performed by Theater Die Käuze.

Lace Market Theatre, Nottingham.

Theater Die Käuze usually do plays for children, like stories from fairy tales, but occasionally do adult company shows like this one. The production is performed in German but. believe me, you don't need to be fluent in German to understand the thread of the story or the comedy.

The production is a romantic science fiction comedy play, set in a TV studio in the foreseeable future, when low-cost androids (known as aktroids) have largely replaced actors.

Idealistic young writer Adam Trainsmith meets Chandler Tate, a former director of classic comedies, who makes a living by directing a never-ending hospital soap opera. The leading-role android makes a series of mistakes. Supporting role android, JC-F31-333, spots his lapses and laughs. Now, androids are not supposed to have any kind of human emotions, and Adam sees it as being a real comic talent!

Later on, while Adam is watching old Buster Keaton slapstick comedy, JC-F31-333 laughs again. She is afraid that the sense of humour is a production fault. Adam sees it as an advantage. He nicknames his favourite android Jacie and persuades Chandler that they should make a comedy for her.

Regional TV director Carla Pepperbloom threatens to ruin the project. She is jealous of Adam's sympathy for talented Jacie and orders the android's memory wiped. Adam panics and decides to kidnap Jacie. While on the escape, Adam and Jacie fall in love.

As I have said, although the play is presented all in German, the physical comedy shines brightly and you soon recognise the characters in Ayckbourn's play. It's like watching a Chekhov play in Russian, seeing opera in Italian, or going to the ballet, you don't need to  understand every word because the story is understood through the drama and the actions, so do not let the fact that the play is performed in a different language deter you from seeing this brilliantly performed and humorous piece of Northern humour.

The immensely entertaining cast are as follows.....

Michael Kaupp (Adam Trainsmith - Autor)

Dennis Gollis (Chandler Tate - Regisseur - Reporter)

Siegfried Roth (Lester Trainsmith - Portier - Kellner - Reporter)

Jorg Bettinger (LMO 5623 Aktroid - Arzt - Bauer - Reporter)

Sven Weber (LJM 54823 Aktroid - Sohn - Zunhalter - Man In The Shop - Reporter)

Steffen Butz (Marmion - Keliner - Techniker)  

Aaliyah Klix (JCG31333 Jacie Aktroid - Krankenschwester)

Mira Laborgne/Julia Eberle (Trudi Floote - Technician - Woman In the Shop - Reporter)

Karin Krebs (Prim Springs - Programmiererin)

Larissa Kaufman-Nicolaus (Carla Pepperbloom - Studioleiterin)

Brigitte Schucker (CW 77502 Aktroid - Mutter - Verkauferin - Reporter - Nutte).

Directed by Tobias Jost who had the cast popping up from all directions, making use of the auditorium entrance as well as the entrance to the Green Room, as well as via the wings. Wonderfully paced and what may have caused Tobias a few issues was the fact that the cast only arrived in Nottingham yesterday after a fourteen hour trip to block the play in the theatre itself. Not that any issues at all came to light tonight as it ran as smooth as Der Babypopo.

Assistant to Tobias is Anastasia Schieicher.

Stage design is by Marie Herrndorff, and here is another clever use of cast and space. The set starts off as a white backdrop in the centre of the stage and a "hospital bed"; as the play progresses various other props are brought on and removed by the cast after a total blackout which then fades to a dim light where members of the cast jerk robotically across the stage and into position after placing set props into place.

The Costumes are really interesting with plenty of colour, and at least two suits that I would have worn myself - not at the same time you understand, especially in this heat! Wardrobe is thanks to Sabine Kaufmann.

And finally, Sound and Lighting Designer is Felix Kipper. Both areas impeccably timed to create the perfect complete blackouts along with the sound effects and musical backdrop.

This play is my first play from Theater Die Kauze, even though they have been making the journey from Germany to Nottingham regularly since 1982, exchanging shows with the Lace Market Theatre returning the compliment by taking shows over to Germany.

On Wednesday and Thursday, you'll also get the chance to see "Same Time Next Year" by Bernard Slade performed by Jakobus Theater.

There are two opportunities to catch this production on Tuesday with a 2.30 matinee and a 7.30 evening performance.

The performances are all free but you will need a ticket.

 "Scenes From A Friendship" by Jane Upton.

Neville Studio.

Nottingham Playhouse.

The year is 1987 and Jess and Billy first meet as first year juniors in a Long Eaton school. As they grow up, as with most of us and school friends, they pursue different life choices, jobs, relationships etc which take them off in different directions, only for their lives to rekindle again. As with most soul mates, this also brings arguments, as well as a lot of laughter and fun. Secrets are shared and the green eyed monster makes an appearance as well.

The play explores the complexities and rewards of close friendship through a thoughtful dramatic lens. It also examines how our best friends shape us, know us intimately, and influence our lives. It covers decades of childhood memories - let's face it, who can forget making a mixtape for their loved one or best friend forever? For those too young to know what a "mixtape" is, Google it. Through teen years, young adulthood, falling in and out of love through to parenthood. But through all of this is a deeply rooted bond of true friendship.

I have read Jane Upton's plays and have seen them on stage and I am a fan of her style and language. It's like listening in to a conversation behind a pair of school kids on the bus, especially the first section of the play, before the complexities of grown up life take over and remove a lot of the innocent fun from those days. the bragging of who snogged who, and other activities behind the bike sheds and the gossip of who's doing what to whom brought back the joys of being a certain age. Their love of drama at school cements their friendship which gives both a solid foundation as friends which follow them through their adult lives.

But then over the years, everything becomes a lot more serious with jobs, paying bills, getting the breaks, relationships and of course parenthood. This play takes you through every aspect of these things but having your best friend there for you, showing that life ain't easy, but would be a lot harder without a friend to help bear the burden of life.

There's so much comedy in this play, and comedy that I am sure that most of us can relate to, but on the flick of a switch sadness and heartbreak is just around the corner, especially where love is concerned and discovering the real you.

I mentioned language, some of which is quite raw and fruity, but nothing worse than you'd hear nowadays in a school playground, but I love that playwrights like Jane write what they know, and the language is all Nottinghamshire/Derbyshire sayings and dialect. 

Katie Redford is Jess, and coming from Long Eaton knows the accent well. Her acting doesn't seem like acting because of the naturalness of the situations and, along with Benedict Salter is Billy, they create a wonderfully believable coupling. Their teasing and laughter, their partying as well as the fallings out and big bust ups all are very credible, which makes this play such a warm and heart warming piece of theatre. Certain scenes from this friendship just make you want to give both a big bearhug for the scenes and situations they find themselves, especially after an emotional revelation by Billy near the end of the play.

Directed by Hannah Stone, who brings the rapidity of the intended snapshots, or scenes from the forty years or so the story covers, to life. This is done with a quick succession of light and sound cues to start and end the life segment for that stage. It is very pacy, but also allows the more emotive scenes time to breath.

Abby Clarke's set design somehow seems to make the Neville Suite seem so much bigger with this design. WARNING! Don't have too much to drink before seeing this because the set may mess with your mind. The monochrome set has only a few pieces of furniture - a bed, chest of drawers, a desk, a chair, but all of these have been slightly altered... I won't say how as I wouldn't want to spoil the effect. But take a closer look at the floor of the stage as well as the walls and every little square is a picture, depicting a different scene from Billy and Jess's friendship.

Lighting Designer is Alex Musgrave. This is where that rapidity becomes so effective with blackouts timed seamlessly with music stabs to create the impression of time.

Sound design is by Ellie Isherwood, who also composed the original music for this play. In between though is a soundtrack that really took me back to my younger days with some excellent choices of big chart hits from the likes of Pulp and Underworld among them.

Stage managed by Vivi Wei. The fixed furniture items in the set design allow props to be hidden and retrieved easily for the particular scenes, but it's the quick stage exits and entrances that ensures the flow of this story, and making sure that these exits and entrances are available to Katie and Benedict is vital to the pace of this play, so stage management is very important to both actors.

I love theatre plays, and especially plays that are new, like this one, that give you something to think about, and this play gives you plenty to think about when it comes to having people around you that you know and can trust, and who know you. This play highlights the importance of this and makes you evaluate who you have in your life.

Written using some of Jane's own life experiences, it also shows the importance of believing in yourself, and others. It also shows why Jane Upton is one of Nottinghamshire's true gems, and this play shows why she has won so many awards for her work. The rawness, the passion and the fun that her plays and stories deliver, and most of all the real and human face of life.

On Tuesday 2 June there's also a Touch Tour enabling Blind and partially sighted people to explore the stage, set, props and costumes before attending the show. Touch Tours are free and take place one and a half hours before the Audio Described performance starts and can be booked via the Playhouse website.

The play runs for a little over an hour and a half without interval and is at the Nottingham Playhouse until Friday 12 June.

Photography by Pamela Raith.

 "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.