"Hansard" by Simon Woods.

Nottingham Lace Market Theatre.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

 "The Roses Of Eyam" by Don Taylor.

Nods Theatre Company.

Duchess Theatre, Long Eaton.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Bonington Players.

Bonington Theatre.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Linda Whitehurst is the Set Dresser for this play.

Costumes are thanks to Gail Tomlinson.

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

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

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

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

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

 "2:22 A Ghost Story" by Danny Robins.

Nottingham Theatre Royal.

I love a good ghost story, and this is a GOOD ghost story. The anticipation and expectation of seeing this play was not tainted by having seen it a few times previously because there are certain bits of this play that still made the hair stand up on the back of my neck.

Jenny believes her new home is haunted, she hears things in the house at the same time every night via their new baby's baby monitor, but her husband Sam isn’t having any of it. They argue with their first dinner guests, old friend Lauren and new partner Ben about the existence of ghosts. Can the dead really walk again? Belief and scepticism clash, but something feels strange and frightening, and that something is getting closer. So they’re going to stay up until 2:22 am….and then they’ll know.

Shvorne Marks plays Jenny. Fear and determination mixed with a mother's protective attitude drives Jenny to prove that she is right about what she has heard, and to make Sam believe. 

Sam is played by James Bye, who you'll recognise from his role of Martin Fowler in "Eastenders". Sam is absolutely adamant that ghosts do not exist and provides just as much scientific proof of their non existence as Jenny provides to back up what she hears. Sam is very opinionated. especially where Lauren's partner Ben is concerned. Ben initiates a seance to contact Frank, the man who had died in the property before Sam and Jenny bought it, and had started ripping out the old and updating the place, something that Ben, a builder, is against.

Lauren is played by Natalie Casey, who people of a certain age will know from the brilliant comedy TV comedy from years ago "Two Pints Of Lager and a Packet Of Crisps". Lauren works in the medical sector, and knows a bit about the psyche of the human mind. She believes in ghosts, as does Ben; both having experienced the supernatural in the past. This means that only Sam is a non believer, we're not quite sure about Alexa though, as Alexa completely ignores any order that Sam gives! No wonder Lauren wants to empty every wine glass because she gets increasingly nervous about the whole situation, especially after her experience with the white spirits - no pun intended - and a teddy bear in the bathroom!

Ben is played by Grant Kilburn, who made his stage debut in this play in the West End in 2023.Ben is a Cockney so isn't afraid to voice his opinions over Sam, especially when Sam left Ben to pay for the wine from the local off licence. Ben relates his own brush with the paranormal from his youth which also sends shivers down the backbone.

There are several jump scares but what I loved about this play is the creeping menace feel that you get throughout the story, but the story has a lovely comic element as well, which makes the scary elements even more unexpected and jumpy when they arrive.

The play is written so cleverly that throughout the play you are provided with every bit of information you need, but at the time you don't acknowledge the clues drip fed to you until you look back after the show and dissect why things did, or did not, happen. Was the seance scene staged? Was the table pushed? If so how do you explain the last movement of the table or the lamp with a mind of its' own? Just ask Alexa!

Directed by Matthew Dunster and Gabriel Vega Weissman, who made sure that the sections created to make you jump, did just that, and that includes the sudden loud screams and music, as well as the stage blackouts framed by the blinding red lights. The security lights that kept coming on outside and the sounds of the foxes all create that unnerving atmosphere. It's not many plays that can start with a couple of minutes without speech and still hold your attention, but this is one that does.

Anna Fleischle's set design is stunningly good, the sort of design you could very happily inhabit. The kitchen diner living room with the bathroom/toilet is in the process of being updated. The floor to ceiling glass doors at the back lead out to a garden shed and garden overlooked by security lights. There's a full ceiling and over the right hand side of the set are big skylights which allow the lightning to illuminate the room from different angles.

Lighting design is by Lucy Carter, and whether it be the lightning, the lamps or candles, the stage blackouts or the red framing lights, they all bring the desired affect to create an uneasy and eerie feeling.

Sound is by Ian Dickinson, and as with the lighting, the thunder crashes, the foxes howls or the sound from the baby monitor, and at one stage Alexa having a mind of her own, you either jump at the sudden loud noises or you get the creeps from the music that grows in the background. Both sound and lighting work brilliantly together to create that menacing and unnerving atmosphere.

The illusions are by Chris Fisher, and I will not spoil this section of the production by telling you what to expect!

There's a scene where Lauren slaps Ben and is so realistic that I half expected to spot a big red mark on Grant's face from the sound of the slap. Of course this wasn't a real slap, otherwise Grant would be permanently bruised by the end of the play's run, but the choreographed strike created by the Fight Director RC Annie really hit the mark, again quite literally.

Alexa may not be able to do everything, or answer every question posed, but in this case Alexa may have all the answers!!!

"2:22 A Ghost Story" is at the Nottingham Theatre Royal until Saturday 25 April.

 "Newsies Jr" by Spotlight Theatre.

Squire Performing Arts Centre, Nottingham.

Disney’s "Newsies Jr" is a give or take 60 minute version of the 2012 Broadway musical, based on the 1992 film, which in turn was inspired by the rousing true story of newsboys in turn-of-the-century New York City.

This may be a shorter version of the full show but one thing that this production is not short on is energy, passion and talent. I've never seen the stage version of this musical, although I have seen the filmed stage version from 2016 starring Jeremy Jordan in the role of Jack Kelly. This Spotlight version has whetted my appetite for the live stage version if it tours. For now, this is my introduction properly to the show, and highlights the energy this show has by this large cast.

The "newsies" are young people who buy the papers from the publishers and then sell them on to the public to make a living. When powerful newspaper publishers raise prices at the newsboys’ expense, Jack Kelly rallies newsies from across the city to strike against the unfair conditions. Together, the newsies learn that they are stronger united and create a movement to fight for what’s right.

Jack Kelly, the charismatic, artistic, and fiercely loyal leader of the Manhattan newsies is played by Brogan Haynes. Jack is an orphaned dreamer and artist who yearns to get out of the crowded streets of New York and make a better life for himself out West. Fiercely protective of his best friend, Crutchie, and very loyal, Jack isn’t afraid to use his voice to attain better conditions for the working kids of New York City. I've reviewed Brogan many times and have watched him mature as a leading performer over quite a few years now. His voice has also matured really well and has a newer, softer feel in these songs. His acting, as always, is excellent as he morphs into the character of Kelly. There's a lot of choreography in this musical which he also looks very at ease with, despite the complexity of the moves. An absolute all-rounder, and he is still only 17 years old!

Katherine Plummer, a smart, determined young reporter who helps the newsies tell their story is played by Emily Holder. Katherine works hard to make a name for herself as a legitimate journalist in a time when women aren’t taken seriously. Emily, I feel, has a lot in common with Katherine; smart and determined and her voice has such power and control. This is her final show for Spotlight Juniors but with the talents that she has, she will be an asset for Spotlight Seniors, and I can't wait to see the roles that she takes on where she moves up the ranks of Spotlight, especially with that voice.

Crutchie, Jack’s best friend, a newsie with a crutch who is protective of his fellow newsies is played by Preston Nash. Crutchie is a dedicated newsie with a “bum leg” from polio that causes pain, but helps sell more papers. Walking with the assistance of a crutch doesn’t define the ever-positive newsie. When an actor has to work on stage with a prop, it can sometimes be more of a pain than a prop, but Preston looks to have mastered the art of prop work. He looks natural with the crutch, and I am sure that having to come down metal staircases with the crutch has taken quite a bit of getting used to, to make it seem natural to him. As with Brogan, his voice gets better every show and you can feel and hear that confidence in the way he sings. He also gets to join in with the choreography, or should that be crutchography? There's a scene when he is in The Refuge where he is writing to Jack which also gets to show Preston's comedy acting skills through reading what Crutchie has written to his best friend.

Les Jacobs, is the youngest newsie, who brings fresh energy to the group is played by Nellie Mason in her first proper role in a musical. It may be her first, but I very much doubt if it'll be the last time we see her on stage. Les is excited by the newsies’ freedom and loves their independent lifestyle. This young lady is going to grow into a fine character actor from what I witnessed this afternoon.

Davey Jacobs is Les's older brother who becomes a leader in the strike. Davey starts selling newspapers to help his family earn a living but becomes swept up in the fervor of the strike. A leader in his own right, who is learning to use his voice to uplift others. Played by Theo Carey in his first show with Spotlight. Theo, I was surprised to discover is 18 years old, but looks so much younger on stage which will definitely stand him in good stead for getting various roles in musical theatre. A natural character actor who has a good singing voice as well.

Joseph Pulitzer, the greedy, powerful publisher of the "New York World" is played by Daniel Ivan. A pompous businessman through and through, owns the World and is concerned solely with the bottom line. Katherine’s no-nonsense father, Pulitzer doesn’t sympathize with the strikers, but he does eventually – and grudgingly – respect Jack. I have actually seen Daniel before in "Shrek" last November at Mansfield Palace Theatre in a minor role, so it's nice to see his acting skills in this role. A confident baddie who could turn those skills into panto baddie parts, especially with his swarthy looks. We'll have to watch what happens!!

Medda Larkin, a supportive vaudeville performer who helps and supports the newsies is played by Sophie Benner. Another young person who I've had the pleasure watching mature on stage in many productions. Sophie has always had a great voice and there are a couple of scenes in "Newsies" that require some big vocal parts, including a big song and dance number inside The Bowery with The Bowery Girls, showing Sophie's singing and dancing skills and proving that she is not just a pretty face!

Oscar and Morris, the Delancey Brothers are tough brothers who work for the publishers. They are played by Harry Keiller and Jason Thompson respectively.

Wiesel is a disgruntled paper-pusher who uses the Delancey brothers as his muscle, runs distribution for the newspaper and has little patience or sympathy for the newsies. Weisel is played by Hemani Kader.

The corrupt warden of The Refuge, Snyder, is played by Jacob Jacques-Phillips. Snyder is a filthy and horrible juvenile reformatory, is concerned only with catching enough kids to keep their government cheques coming.

Governor Teddy Roosevelt, a supportive figure who encourages the newsies to stand up to Pulitzer, is played by Josh Barrington.

Spot Conlon, the most respected and famous Newsies in all of New York, is the Leader of the Brooklyn Newsies and is played by Scarlett Coleman-Smith in her final Spotlight Jr production. 

Supporting the main characters are Hemi Lewis (Race), Emma Price (Specs), Josh Barrington (Buttons), Izzy Lucas (Tommy Boy), Caitlin Robinson (Romeo), Sniper, Lucy Horton (Albert), Grace Morozuik (Muriel), Jess Blackham (Nancy), Megan Holder (Pigtails), Jess Griffiths (Hazel), Caitlin Robinson (Romeo), Atia Morrell (Jo Jo), Penny Johnson (Bill), Isla Crawford  (Dorothy), Honor Wilkie (Hannah), Seth Burgess (Bunsen/Police Chief), Izzy-Mai Davis (Darey) and Bella Stainsby (Seitz).

Scabs are played by Tessa Gibbon and Lottie Buxey.

Other Newsies are played by April Kenyon, Christie Gregory, Freya Ireson, Esmie Smith-Cockayne, Maddie Leek, Mia Jacks, Steph Booth, Karin Hurst, Sarah Fisher and Tashaya Barnett.

The Bowery Girls, Ada is played by April Kenyon, Ethel is played by Freya Ireson and Christie Gregory plays Olive.

The Bowery Brigade are played by Maddie Leek, Mia Jacks and Esme Smith-Cockayne.

The ensemble are made up of Jessica Sims, who is also the Dance Captain, Darcey Adams (Principal Dancer), Honor Wilkie, Lyla Wilkinson, Penny Johnson, Isla Crawford, Tessa Gibbon and Lottie Buxey.

Directed by Liam Petruccio-Hall; this man must have so much patience and steel to even think of Directing a show this size with so many members, but he has, and the show is carrying the banner for all large local theatre groups. This show and the slickness of the production shows once and for all, just how good local theatre can be.

Choreographed by Madelyn Pritchard and Bethany Wear. There are some BIG choreographed pieces in this Junior show and you can see how big the cast list is, and when they are all on stage, they have the energy to match the National Grid. The tap sequences are so synchronised, and I loved the special choreography - or should that be chorehopraphy - for Preston.

Musical Director is Vicky Morozuik with Assistant MD being Laura McChrystal, who also multi tasked as Stage Manager. With not having a live band to provide the backing, every single one of these singers on stage has to get their cues spot on, and you can tell that, by them achieving that in this show that the MDs have done an excellent job throughout the whole vocal process.

Assistant Stage Manager is Roman Moroziuk and Deputy Stage Manager is Nigel Newton.

Costumes Co-ordinator is Sophie Petruccio-Hall. These costumes reflect the stature of the various characters, immediately showing who is who in the ladder of success of this power hungry piece of theatre. 

The set was multi levelled wrapping the steel looking construction around three sides of the stage, allowing various entrance and exit points, which was so very useful with the size of the cast. Unfortunately, the programme seems to have omitted credit for this area.

Loads of props in this show and the folk responsibility for them are Laura McChrystal, Vicky Moroziuk, Bethany Wear, Madelyn Pritchard, Roman Moroziuk, Erin Hanby and Amanda Hall.

Sound Designer is Rob Kettridge with Bronwen Webster on Sound 2. No issues with the sound design or operation and was at the perfect volume level for me.

Lighting Design is by Abby Catto. the shadowy darkness reflects suitably the depressive atmosphere that these newsies work under but then there are glorious splashes of colour to depict the lifting of that darkness, especially in the dance sections.

One thing that was nice to see was the amount of people who came out on a Saturday afternoon to support Spotlight, as well as several people in the audience I spotted from other theatre groups. Whether that was for just an afternoon watching a wonderful musical, or to check out competition, who knows - I have a feeling it'll be the former, it was nice to see such support.

"Newsies Jr" is at the Squire Performing Arts Centre in Nottingham until Sunday 19 April. Seize the day and go and see this lovely show which is full of hope and fight.

Photography by Martin Holtom and Liam Petruccio-Hall.

 "We Will Rock You" by Melton Musical Theatre Company.

Melton Theatre.

Written by Queen and Ben Elton, the musical tells the story of a globalized future without musical instruments. The year is 2300 and a handful of rock rebels, the Bohemians, fight against the all-powerful Globalsoft company and its boss, the Killer Queen; they fight for freedom, individuality and the rebirth of the age of rock.

Scaramouche and Galileo, two young outsiders, cannot come to terms with the bleak reality. They join the Bohemians and embark on the search to find the unlimited power of freedom, love and Rock! Oh, and the last buried musical instruments, just to make sure that rock music can be reborn.

The idea for the musical came after a meeting between the actor Robert De Niro with musicians Brian May and Roger Taylor, in Venice in 1996. De Niro's daughter was a big fan of the Queen and the actor asked if the legends of rock had never thought of creating a musical based on their songs. The rest, as they say, is history.

The musical includes many of Queens finest hits such as "Radio Ga Ga", "Killer Queen", "Bohemian Rhapsody", "I Want It All", "Crazy Little Thing Called Love", "Flash", "Fat bottomed Girls", "Under Pressure", "We Are The Champions", "Headlong" and of course, ‘We Will Rock You’.

Galileo Figaro is played by James Barlow, who makes his debut for TMMTC. James has one of those voices created for musical theatre, and looking at his musical theatre CV and the roles that he has played in the past, you can tell that his powerful voice has been put to good use, as it has here. Queen songs are like Abba songs, they're not the easiest to sing, although a lot of people may think they are, this is why there has never been a replacement for Freddie Mercury, maybe with the exception of Adam Lambert. Anyway, what I am saying is that James has a great ability to sing these songs, and his falsetto is so well controlled and with perfect pitch. His lower register is as good as his falsetto, and he sings with feeling. He's a great leading man and obviously loves the comedy side of this show because he also shows just how good he is in that field.

Scaramouche is played by Vikki Taylor. I saw Vikki play the role of The Dragon in last year's "Shrek" and commented at that time what a voice she has, and this time around we get to hear, not only a more rocky sound, but also the real soul in her voice. The rawness in the big duet with James on "Who Wants To Live Forever" sends tingles up your spine, giving gospel vibes. Scaramouche is one of those roles that you have to give attitude and Vikki has plenty of that in this role.

Killer Queen is played by another one of my favourite Leicestershire ladies, Tash Bailey. I've seen Tash in a few shows and charity concerts over the last few years and I love her voice and the way that she plays around with some of the songs in this show make the Queen lyrics sound very sexy. I've always said that several of the songs recorded by Freddie Mercury could have been written with women in mind to sing them; Vikki and Tash prove my theory right. Killer Queen has never looked and sounded so saucy as it does played by Tash, and her costumes ramp up that naughtiness!

Ozzy Osbourne is played by Hannah Castledine. One thing I have again discovered with TMMTC is that there are so many big voices, and here we have another one with Hannah. A big voice and a big personality all go into making Ozzy. I love the respect that this show gives to rock legends and when the name Ozzy was mentioned for her introduction to Galileo and Scaramouche, the whole cast turned and looked to the roof as a tribute to the great Ozzy Osbourne. Oz's song "Only The Good Die Young" is another song that started the hairs on the back of my neck to tingle.

Britney Spears adds some of the comedy, and with Oz, is responsible for bringing Galileo and Scaramouche to the Bohemians. Playing Britney is Josh Gallagher, who I last saw on stage as Bedevere in "Spamalot" last year. And again, another big vocal style, and what a fun character to play. Britney's outfit looked as if it had been bought from a branch of Ann Summers, and paired with the kilt, probably got quite a few of the ladies in the theatre a  little hot under the collar. Massively fun role played by a man with a big sense of humour.

Kashoggi is similar to the archetypal panto villain as he tries to silence Galileo and Scaramouche, but falls foul of the Killer Queen when he fails, and is played by Ryan Green. Another fine set of vocals that match the rock and soul of Queen's music. Love the musical timing with Killer Queen and Kashoggi in the scene where he tells her that Galileo and Scaramouche have been "lost" as Killer Queen starts singing "Don't Stop Me Now", meeting his downfall as a result of the confession.

Buddy  injects the comedy into this above average jukebox musical and is played by Andrew Hull. There's a very humorous scene where Buddy is telling Galileo and Scaramouche about some of the "old" things like a videotape, a poster, a Harley Davidson but pronounces them all quite phonetically; that scene still makes me smile broadly whenever it comes around. This production seems to have several lines in which I could not remember from other productions and there's one scene where Buddy, Galileo and Scaramouche are all on the Harley Davidson heading off to find the mysterious "axe" - that's a rock guitar to non-muso types like myself - which is quite saucy and really suits Buddy's character perfectly. I won't give any spoilers, you'll have to buy a ticket to find out.

The Ensemble/Supporting cast is made up of a terrific group who also had cameo roles alongside their ensemble roles....

Victoria Adams (Yuppie/Gaga), Amy Beale (David Bowie), Charlie Brend (Yuppie/Gaga), Charlotte Broomfield (Boy George), Carole Bailey (White Snake), Sam Carter (Tina Turner), Pete Etherington (AC/DC), Kate Felts (Yuppie/Teen Queen/Gaga), Hadyn Green (Mick Jagger), Connie Hamer (Gaga/Pink), Bow Heaton (Yuppie/Gaga), JoJo Helstrip (Yuppie/Teen Queen/Gaga), Kiri Humphreys (Teacher/Doctor), Adam Keightley (Lady Gaga), Megan Lowe (Yuppie/Gaga), Cara Pett (Cyndi Lauper), Judy Marshall (Debbie Harry), Thomas Randall (Gaga/Floyd), Zoe Pole (Yuppie/Doctor), Rachel Roberts (Stevie Nicks), John Stewart (Madonna), Maddie Westwater (Yuppie/Teen Queen/Gaga), Emma Weston (Yuppie/Doctor), Melissa Wood (Gaga/Doctor), Becky Woodcock (Janis Joplin) and Flossie Wixey - brilliant name btw (Yuppie/Teen Queen/Gaga). 

Directed by Bernice Rowan, assisted by Dan Atkinson. This is not an easy show to do but Bernice and Dan have put together an incredible cast and have given us all a brilliant night out with some of the best rock music written and, I don't know how it works with a show like this, but have even included some new, and funny lines to keep the show fresh and funny. An undoubted success all round.

Choreographed by Victoria Adams. As with Directing this show, the choreography, with the big ensemble numbers, is no easy ride. The robotic routines were all crisp and the tap section with "Killer Queen" was wonderfully played out. The finale of "Bohemian Rhapsody" actually became quite emotional with everyone on stage as it really seemed like a tribute to Freddie.

Musical Director is Reece Crane. To start with I thought that there was use of backing tracks, but I was only sitting on the second row from the stage and if I hadn't seen the band myself would have swore that click tracks were being used, the sound was so authentic. The band consist of Alex Lamb and Adam Wright (Keyboards), Lex Forrester and Chris Loach, who also got up on stage to provide a sizzling solo (Guitars), Jon Heywood (Bass), Richard Dry (Drums) and Minesh Patel (Percussion). Queen's music for a while was heavy on the bass and drums and that rhythm section tonight sounded awesome.

The Costume Mistress is Charlotte Broomfield, and with a show like this with so many different characters, the diversity of the costumes was incredible, as well as very diverse!

Set supplier is by Dave D Events and looked amazing. I don't know if that also included the video backdrops, but they were, quite literally, out of this world and the timing and operation of this was absolutely spot on.

Theatre Technician is Josh Hammond.

Lighting is thanks to James Pritchard who did an amazing job, making this show an even greater treat for the eyes, at times worthy of concert standards.

Sound is thanks to Neil "Wes" Wesley. As with many large casts, it's an expensive job having everyone on stage mic'd up and with scenes like the "Killer Queen" section, even sitting on B Row, I could hardly hear the ensemble tap dancers singing. The main cast though were perfectly mic'd up volume wise, with just a few missed mic cues; but as I have said, it's a large cast and like I've said in the past in other theatres, the sound operator has to be part octopus to make sure that every mic cue is hit every single time. Volume wise for the main cast was absolutely spot on, which made sure that the audience, wherever they sat, would have heard every one-liner and joke with the greatest of clarity.

Stage managed by Trevor Adams, assisted by Stu Bartram with their crew of Owen McConnell, Stefan Kotarba, Ian Cliffe, Oscar Stephens, Izzy Hand, Richard Hand and Suzie Hand. Well, they do say that many Hands make light work, it also makes for some very smooth scene transitions as well!

There are some fantastic props involved, managed by the Props Team of Jude McNulty-Green, Hadyn Green and Jane Lesley-Cunliffe.

The programme is also worth the price because it's very cast informative and is very eye catching in its' design by Georgie Bladon.

We must also mention those who work behind the scenes and those that are the faces of TMMTC who work as Chaperones, Front Of House Crew and Cast Assistants because they are also the cogs that make a theatre group run smoothly and all do an excellent job in every theatre group in every theatre.

This musical is not just a show for Queen fans, this show is for fans of amazing music, and the story is not too bad either for a jukebox musical. A stark warning to all internet freaks who may just be losing touch with the real world, as well as real music.

"We Will Rock You" is at Melton Theatre until Saturday 18 April. Get a ticket and get rocked!!!