"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.

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!

 "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.

 "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.