"Bette and Joan" by Anton Burge.

Nottingham Lace Market Theatre.

"Bette & Joan" depicts the two stars, Bette Davies and Joan Crawford, in adjacent dressing rooms, between takes on the set of "Whatever Happened To Baby Jane" over a period of one day in 1962. While Joan manages her anxiety by lacing her Pepsi with vodka and signing photographs for her beloved fans, Bette chain smokes and muses on her love life, and her ability to pick a decent script, never a decent man.

Behind the bitching and the practical jokes we see each woman's insecurities and regrets, and their rivalry is revealed to be underpinned by grudging respect as they attempt to identify their new roles in life as well as in their careers. The two chain-smoking Hollywood legends don’t hold back with their verbal attacks, finding faults to cause the most hurt to the other. 

Bette Davies is played by Dawn Gutteridge. Dawn really looked to have had the most fun in this play as Bette comes across as the most spiteful, malicious character, but loves every moment of winding her dressing room neighbour up. In contrast, there are some quite mellow and morose moments with Bette as she recalls her regrets, especially within her marriages. there are some excellent lines in the script for both actresses, including one for Bette when she compares husbands and men with dogs, stating that she has never met a dog she didn't like. The bitterness just spills from Bette's lips, but it's delicious bitterness from an audience point of view.

There's also that very different image that both Bette and Joan cultivated for themselves. Bette's goth like white plaster make up and bright red lipstick, possibly an inspiration for Robert Smith of The Cure, as well as iconic costume for Jane Hudson, the aging child star in the film, and the blonde, ringletted wig. Davies' snarling lip and fiery eyes completed the image with perfection. Dawn herself may not have Bette Davies eyes, but that's what we got on Monday night's opening.

Joan Crawford is played by Sarah Taylor. Joan acted the star, whereas Bette was the working actress straight down the line. There are several lovely lines for Crawford in this play; one being that when she goes out in public, she wants her audience and fans to see Joan Crawford, as in her films, and a brilliant one that will stay with me forever is when she described all of her ex husbands by saying that she kept friendly with them but made sure that when they had left she "changed the locks and the toilet seats".

As with Dawn, Sarah completely morphed into the character, especially with the wig, and again with her eyes. The clothes were classy throughout and there were several things that were highlighted that I didn't know before. Joan apparently was a clean freak, wiping the phone receiver every time she answered it or made a call, even though she was the only one who used it. Bette had obviously clocked this when she disposed of one of her half smoked cigarettes in a place that horrified Joan.

Another thing, which made this pair not only rivals but a good match, was their attempt at winding the other up with pranks and jokes. Bette changing scenes and schedules with the Director, and Joan getting her own back with one scene where Jane Hudson had to lift her wheelchair bound sister, Blanche, out of the wheelchair. I won't give any spoilers!

Two quite opposite women who were brilliant jokers and rivals on and off screen. And you could see that Sarah and Dawn were enjoying performing as these legends with the look that they gave each other at the final bows.

There are a couple of voices heard off stage belonging to Charles Haley and Debra Haley.

Directed by Gill Scott, this really must have been a labour of love to bring these two screen icons to the studio stage at the Lace Market Theatre. the balance between educational and entertaining was very well balanced.

• Lighting and Sound Design is by Matt Alcock. Both areas were spot on, especially with the telephone sound effects, cutting off the split second that either of the two actors picked up the phone. That may sound a simple thing to get right, but you have to have concentration to get the timing right. The lighting dimmed for whenever either Bette or Joan left their side of the stage, focusing attention on the other stage dressing room, both sound and light guiding the audience as to where they needed to concentrate on. Again, these actions may sound very simplistic, and if it were that easy, we'd all be sound and light technicians, wouldn't we?

  

  
  
• Stage Managed by Chloe Murcott, assisted by Vivien Brierley.
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• Costumes for the show are courtesy of Melanie Hamilton, Maddie Gould, Linda Croston and the company. All very stylish with just the right amount of retro look and feel.

Set Designer isn't mentioned but I will mention Hugh Philip who is named for the carpentry. Both sides of the dressing room have an area for the two stars to do their make up with the famous lightbulb lit mirrors. We immediately got that impression without there being any mirrors there, but when you see the design, you'll know what I mean, it's a clever one. The carpentry is the glam looking make up area. Black for Bette and white for Joan, again highlighting the differences in them both and also showing the darker side of the relationship points towards Bette again.

Every show will have a prompt somewhere hidden away. Julie Hughes was in one corner and had minimal work to do with these two class acts, but again, think of the amount of concentration and following the script for both is needed by Julie throughout.

Having never seen the play before tonight I couldn't wait to watch it, especially as I love the film "Whatever Happened To Baby Jane" and the legendary spitefulness that the press had fed reported. Were Joan and Bette just living up to their media image or did they really enjoy the spats to keep them both in the media spotlight. There may have been a clue about this near the start of the play, but it's one of those topics that I am sure will divide conversations after the play has ended, at the bar.

One advisory though, there's quite a bit of bad language in the play, and especially one particular word right at the end, which left my jaw dropped, but given which character delivered the word, came as no surprise really.

It is however an extremely lovable play with a lot of fun and laughter attached, and just a soupcon of melancholy, delivered by another two excellent actresses who are legendary ladies of the stage.

"Bette & Joan" opens this new season at the Lace Market Theatre and is on until Saturday 12 September.

 "Dear Evan Hansen" by Brightlights Theatre School.

Mountsorrel Memorial Centre (MMC Venue).

If anyone has told you that this musical is one of the best things they've seen, I have news for you! Believe every single syllable they tell you, because it is, and this production will back that up.

Evan Hansen, a bullied 17-year-old with social anxiety, depression, and a recently broken arm, is assigned by his therapist, Dr. Sherman, to write letters to himself, starting with "Dear Evan Hansen......", detailing what will be good about each day. Evan's overworked mother, Heidi, suggests that Evan ask people to sign the cast on his arm to make friends, although that doesn't always work with some of the people at his school.

One of Evan's letters, which he had left on a printer at school was picked up by another boy in school, Connor, who is also depressed and a drug user. Days later Evan is told by Connor's parents that Connor had committed suicide and, having found Evan's letter to himself in Connor's pocket, and jump to the conclusion that Connor and Evan were close friends. This results in Connor's parents inviting Evan over for dinner and him telling them what he thinks that they want to hear in order to make them think that Connor was more popular than he really was. 

As the untruths grow, Evan and some of his school friends set up The Connor Project and raise funds to restore an apple orchard, which ties in with one of the fibs that Evan has told, but soon the truth is out, thanks to the power of social media, and Evan's image of friendship is not quite as rosy, or believable, as first believed.

One thing that I love about productions like these is that I know the story, and know what it should look and sound like, as well as any new things that the Director may have added, or even taken away. Another thing I like about productions like these is the possibility of experiencing these songs and roles performed by people of whom I have no prior knowledge of, as in this case.

Evan Hansen is played by Dylan Kelvey, a name I have not had the pleasure seeing on any playbill before, but what an absolute treat. This young man really knows how to sing, and how to perform a song with real emotion. The vocals just seem to flow from him without any effort at all and he has a voice perfect for musical theatre. The emotion behind the words also come across as natural and combining these two talents make for a brilliant watch. There was something that Dylan brought to the role of Hansen that I had not seen, or at least can remember seeing in any other production I've seen, and that is the nervous pinching of Evan's shirt, showing when Evan's nerves got the better of him. At the final bows Dylan looked quite overwhelmed at the reaction and standing ovation he, and the cast received.

Heidi Hansen, Evan's mother, is played by Nicky Hignett. Heidi is a hard working mother who never seems to find quite enough time for her son, feeling guilty about this, especially as she is all that Evan has at home. There's a particular heart-breaking scene when she finally discovers the extent of the emotions Evan has been experiencing while she has been hard at work keeping the family home running and earning a wage. Nicky gives so much emotion. especially in the song "So Big, So Small" and that whole scene.

Any parent will always worry over their kids and want to protect them from hurt, and we often don't see the red flags that kids show, or don't show in some cases, and Alice's performance of that realisation of Evan's hurt is something that all of us parents ought to think twice about when we look at our kids; no matter what age they are. Just listen to the words of "So Big So Small" 

Connor Murphy is played by Thomas Hibberd. Even though Connor is a depressive druggie with no mates, there are some great scenes, especially with Evan and Jared that are really light hearted and immense fun, especially in the song "Sincerely Me".

Zoe Murphy, Connor's sister who Evan is infatuated with, is played by Edith Milsom-Hughes. There's a full and complex gamut of emotions that is run from start to finish with Zoe. There are two beautiful duets that Edith performs with Dylan in "If I Could Tell Her" and "Only Us" that send tingles everywhere a tingle can travel to, thanks to the melting of their two gorgeous voices on these songs.

Cynthia Murphy, Connor's mother, is played by Jodie Pearman, who I have actually had the pleasure of seeing and reviewing before. You really feel the belief and relief in this mother that her son, who she thought did not have a friend in the world, actually had such a close friend in Evan, only for those emotions to be dashed in the second act. This is Jodie's debut for Bright Lights Theatre School.

Larry Murphy, Connor's father, is played by Chris Warmington. Larry shows that he feels that Connor has wasted everything that has been given to his late son, and there's a sadness that you find when he almost becomes a replacement father for Evan. This is no more evident than the beautifully touching scene when the pair are together talking about baseball and the way to break a baseball glove in. Another smooth sounding blend of voices with Chris and Dylan in the bonding duet "To Break In A Glove". I've also seen Chris on stage before and his version of "Gethsemane" from "Jesus Christ Superstar" will stay with me forever.

Jonah Robinson plays Jared Kleinman, Evan's sarcastic and droll friend who helps fabricate the relationship between Evan and Connor. He also helps Evan and Alana found The Connor Project. This is where we get the lighter side of this musical with this character. Jonah's stage laughter is infectious, the character is blunt as well as course in his language, but you will love Jared, and you will love Jonah's portrayal of him as well, especially in the hilarious three way "Sincerely Me", which also has a fabulous piece of choreography to go with it.

Isla Greasley plays Alana Beck, one of Evan's classmates and one third of the triangle that makes up The Connor Project. Alana is also the one who spots the irregularities in Evan's stories and eventually brings down the web of lies, turning Evan the hero into a zero commodity. This results in the emotive "Words Fail", sung by Evan.

The ensemble consist of Jacob Coates, Serge Flitton, Jessica Marriott, Lillian McFerran, George Moore, Naomi Sandford and Michael Whelton. This musical shows just how important an ensemble is for a show, especially when it comes to a song like "You Will Be Found", and also for stage setting. The combined voices of main cast and ensemble is as uplifting as hearing a choir.

Direction, Musical Direction and Staging are by Sophie Kandola and Nick Sutcliffe, and I am sure that Choreography should also be added to this list as I couldn't see it mentioned in the programme. I think all the comments above show what a great production this show is and Sophie and Nick will be feeling extremely proud of their cast, as well as probably feeling quite drained because this show is no easy ride for anyone involved in it.

Scenery and Props are by Brightlights Theatre School and involved pieces of furniture, tables, beds etc effortlessly moved on and off stage by the ensemble.

The Video Design for the back wall of the stage is by Hybrid AV Ltd., and this is one area that I was looking forward to because I have never seen the same video wall twice. This looks a more technical design than some of the others I'd seen which almost created an additional role in the story of Evan Hansen.

There are some gorgeous musical theatre songs in this piece of theatre, the most well known being "Waving through A Window", "Sincerely Me", "For Forever", "Words Fail", "If I Could Tell Her" and "You Will Be Found", which is a really big production number in the show. I just know that if you don't already have the soundtrack to this show in your collection, you will want to remedy that after seeing this show.

Lighting design is by James Cladingboel. I love the lighting for this production because it makes you focus on the performer on stage with some bold square shaped lighting blocks for the individual performers. This is in complete contrast to the other style of lighting we see throughout the production.

Sound Design is by Core Production Services, and apart from a few mic cue issues with individuals, the overall sound is crisp and clear, making the clarity of the ballads perfect in order for you to hear every word, getting the most of these gorgeous songs. The volume of voices in the big number "You Will Be Found" was wonderfully balanced so that we could hear the individuality of all the vocalists without any muddiness.

Costume Design is by Kathy Ward and supplied by Brightlights Theatre School, and while Evan's top not being quite the correct shade of blue, a minor thing like that is insignificant when everything involved in this production is practically perfect.

Anyway, I'll round off by reiterating what I said at the start. If anyone tells you that this piece of musical theatre is one of the best thing they've seen, believe every syllable, and let's face it, would I lie to you? 

"Dear Evan Hansen" is at the MMC until Sunday 6 September. Prepare yourself for tingles and a possibility of tears as well.

 "American Idiot" by LEOS Musical Theatre Company.

Duchess Theatre, Long Eaton.

“American Idiot” is the story of three boyhood friends, Johnny, Will and Tunny, each searching for meaning in a post 9/11 world. The show features the music of Green Day with the lyrics of its lead singer Billie Joe Armstrong and book by Billie Joe Armstrong and Michael Mayer.

I'd read a couple of reviews of this production, something I don't normally do, and some of the things mentioned in the other reviews weren't that good. I can honestly say that whatever issues with sound and light occurred over the last two days have obviously been sorted out as I really enjoyed this production of the show.

I've seen the show several times before and have enjoyed every production I'd seen, and this one was not the one to make me change my mind.

For me, there have to be a couple of prerequisites to make it a success, and they are that it has to be loud and also to have raw energy. Well, that's two boxes ticked right away from the opening number, the title song. The show doesn't open, it explodes into life!

Johnny, played by Jack David, is the main protagonist of the story. On his journey, he experiences nihilism, drug abuse, and lost love with Whatsername. Jack just happens to be a singer in a rock band, away from the stage, so this role is tailor made for him. He looks like a rock star, he sounds like a rock star, he is a rock star (where have I heard that before?). What he also has is the ability to bring out the emotion in rock ballads like "Wake Me Up When September Ends", and Jack can play the guitar as well.

Tunny, played by Rhodri Denton, accompanies Johnny to the city, but soon joins the military and is sent to war. Tunny suffers serious injuries and during his rehabilitation, he falls in love with his nurse Extraordinary Girl, and she returns home with him. 

Will, played by Sultan Chaudhury, plans to leave town with the group until his girlfriend, Heather, reveals that she is pregnant with his child. Will stays at home in an alcohol and drug-infused depression, gradually spiralling to a very dark place.

All three main male leads have very different voices and that's what makes this show such a diverse project. Rock, and especially punk, doesn't suit everyone's voice, but it's that diversity that makes this musical such an interesting creature. The diversity of the voices really blend well and that creates even more emotion and passion from that rock base.

Whatsername is played by Megan Hill, Extraordinary Girl is played by Zoe Davey and Heather is played by Alice Goodall. This trio give brilliantly powerful performances, matching the attitude and passion of their male counterparts. Needless to say, their vocals are also powerful and, when required, full of attitude.

St Jimmy in this production is female, but of course this is a character who could be either gender, is played by Tessa Raum. In other productions St Jimmy has been overtly demon like in their attitude to temptation of sex and drugs and rock n roll, but Tessa has given the role a more human vision, which is probably an even more dangerous character.

Theo is another interesting character with a slightly devilish image, and played by Matthew McAuley. Matt has always had a really strong voice but has that tenderness in his vocals when called for. Both strengths are on show with Theo and the ensemble voices. 

Alysha is played by Carrie McNabb, who I can't remember seeing before on stage (apologies if that's not right), but what an impression Carrie made in this role.

Favourite Son is played by Andy Cattanach. This is a character that really exists in Tunny's imagination after watching TV ads and develops into an all singing, all dancing American soldier. There's a real glitz and glamour scene involving Favourite Son, complete with full on choreography for Andy and his backing dancers.

Something that is new, as far as I could remember, in this production is the introduction of the Seven Deadly Sins as an alternative ensemble set of characters. The Seven Deadly Sins are made up of Pride (Tassia Sissins) Envy (Nicola Adcock), Greed (Hayley Wood), Lust (Molly Parkinson), Gluttony (Joshua Read), Wrath (Charlotte Buchanan) and Sloth (Sian Hooton).

The ensemble consists of Laura Lawless, Eleanor Harvey, Mike Harvey, Tracy Hooton, Dan Bates, and Giacomo Ciccognani, fleshing out the stage perfectly and giving that extra vocal power.

Directed by Elle Bates and Assistant Director Becky Morley, they have slightly updated the period by setting the story in Trump's America. Along with only a few new touches, the story remains as powerful, raw and energetic as it ever was. Becky is also the Producer and, along with Elle and the rsst of the cast, responsible for the array of props used in the show.

Choreography by Sarah Lim Smith who really injects energy into these choreographed pieces. With this story being completely sung through, that also means that there is also a lot of choreography to go with the score, even the ballads. The choreography though is shared with various songs crediting other choreographers in the group like Tessa Raum, Meg Hill and Alice Goodall.

Musical Director is Ada Galen, who headed up the live band on  keys. The rest of the band consists of Ben Henderson (Bass), Herian Egan (Violin), Tim Yearsley and Tom Wakeley (Guitar) and Jack Hose (Drums). Green Day are a brilliant and exciting live band and that comes across on their recordings, and this band faithfully replicated that Green Day feel, and with Ada as MD also managed to strip back some of the musical pieces to create a simplistic and emotive score, which in turn really highlighted the lyrical value of Billie Joe Armstrong's songs.

The costumes have mostly been sourced from pre loved pieces, which is a great idea for a theatre company, cutting down the costs as well as recycling items that may have ended up in landfill. Sustainability is a core value for LEOS. They also match the feel of the era as well as the rawness of characters.

Sound is by Matt Haslam and was absolutely how I wanted to hear a rock jukebox musical, powerful and in your face rebellion style. The mix between the band and the vocalists was just right, even when you think back to the 1970's, with the birth of punk, the production of some of the records back then had the vocals slightly lower in the mix to get that rawness into the sound of the records. Take it from someone who was just a teenager when punk exploded.

The show includes the hit songs “Boulevard of Broken Dreams”, “21 Guns”, “Wake Me Up When September Ends”, “Holiday”, “Give Me Novocaine”, " Good Riddance (The Time Of Your Lives)" and the blockbuster title track “American Idiot”. Also included are several songs from Green Day’s 2009 release 21st Century Breakdown, and an unreleased love song, “When It’s Time”.

Lighting Design is by David Price and this was another exciting design and operation from David. The artist's palette of colour was splashed all over the stage at one point, almost taking on the image of a nightclub setting, raising the audience, and cast from the dark underbelly story of this show to a joyous and celebratory party.

Set hire is thanks to another theatrical legend from behind the scenes, Roydon Charlesworth. A triple tier stage set which allowed cast members to be above the stage floor, making the choreography look even more spectacular, and then on the top level, the band were situated.

Stage managed by the Queen of Stage Management, Katie Bird with Stage Crew of Vicky Palmer and Anakin Thain. Just having Katie on board promises to make scene transitions as smooth as silk.

Making theatre completely accessible is something that LEOS feel strongly about and there are several "helping hands", including a QR code in the programme to access the audio side of the programme and closed captions at every performance. There's also a touch tour and BSL Interpreted performance on the Saturday matinee, among other accessible things in place.

Throughout the run of "American Idiot", LEOS are also raising funds for their chosen charity, which is The Will Garvey Trust Foundation, a local charity based near Ilkeston (or Ilson, depending on where you hail from). The charity's aim is to prevent young suicide, and as September is Suicide Awareness month - why there is a month to highlight this I'll never know as it's something we should all be aware of 365 a year. So please give what you can to help such an amazing cause.

I'm not sure if Thursday was a special day, but as we walked into the auditorium, we were treated to an acoustic performance of some songs, not from the show, but a lovely way to ease the audience into the feel of the show, also to highlight the charity's cause.

"American Idiot" is at the Duchess Theatre, Long Eaton until Saturday 5 September with a matinee and evening performance on the final day.

Photography thanks to Ali Langton.

 "The Last Laugh" by Paul Hendy.

Nottingham Theatre Royal.

"The Last Laugh" is a fairly new play which started off at the Edinburgh Fringe and imagines three of the world's best comedians, Tommy Cooper, Bob Monkhouse and Eric Morecambe, together in a dressing room chatting about the secret of life, death, comedy and what it means to be funny. The play started off as a short film.

Looking at the three actors playing these iconic comedy stars, you probably wouldn't be able to guess which of the trio they play, and that is where the wigs and make up shine, because after the make up goes on and the transformation is complete, they really do resemble Cooper, Morecambe and Monkhouse, especially with those facial nuances and the voices in place, the transformation was spectacular, as well as spooky.

I grew up watching these legendary comedians on the box and they still are funnier than most of the comedians that are around today. Funny is funny, no matter how old the gags are. Christmas was not Christmas without the Morecambe and Wise show and their ultimate celebrity guest list. Who can forget Andre Previn, Shirley Bassey, Glenda Jackson and Angela Rippon?

Bob Monkhouse's list of TV gameshows; I loved watching "The Golden Shot" and "Celebrity Squares", classic Saturday night TV where the whole family gathered around the box, trying to answer the questions. Bob's ability to create a gag from any given subject left his audiences, from Grandparents to University students, rolling in the aisles.

Tommy Cooper's TV shows also provided an opportunity to show what a one off comedian he was. His magic was cleverly shown to be a disaster, but behind that image, Cooper was a master of the art and a member of the Magic Circle. I can remember watching his final appearance in 1984 on "Live From Her Majesty's".

I also grew up watching Paul Hendy on TV, and it was a big surprise to find Paul in the audience. Another surprise was to come in the Q&A section after the interval when Gary Morecambe, Eric's son, was involved in the Q&A, completing what was a very special night.

Damian Williams is Toomy Cooper, the comedian who all he had to do was walk onto a stage to get a laugh, even before uttering his first word, and sometimes even not leaving the dressing room for about twenty odd minutes, getting his son to prod the stage curtain while Tommy was getting ready and talking from a microphone in the room. All three of these legends are embroided into my childhood, my parents were massive fans of all three. Damian is a tall man and he is the first on stage, towering over us all, unmistakably Tommy. His alcohol weakness played out, as well as his obvious health issues, but joking all the way through. His infidelities are also highlighted. Damian, via Tommy's unbeatable and clever wit was explained in several backstage secrets, who else could make walking through a white gate comical?

Simon Cartwright is Bob Monkhouse. I've always been a fan of clever comedy, and Bob was an incredibly intelligent and prolific comedy writer; his jokes are honed, or as Monkhouse described it, "chiselled" to perfection. His timing has always been impeccable, and then there's his encyclopedic knowledge of comedy and rapier sharp memory. He could recall who were the authors of all the jokes and where they were first aired and by whom. What is just as impressive though was Simon's ability to look like Bob's twin, and that voice was like having Bob there himself; it was quite unnerving just how much he looked and sounded like Bob Monkhouse, and he had all the physical nuances.

Steve Royle is Eric Morecambe. Like Simon, the physicality is amazingly accurate, and of course we had a selection of some of Eric's classic lines and memories, especially from working with Little Ern. There were a few things that were brought to life that I certainly weren't aware of Eric Morecambe's hidden talents. One was that Eric played the ukelele, something that Steve had to learn for the role.

The evening is one of comedy and happiness but throughout there are slivers of darkness which also has a supernatural twist at the end, made all the more eerie by some spectacularly clever lighting effects, designed by Johanna Town.

The Q&A was hosted by Richard Hodder, who is also the Understudy for all three characters.

Directed and written by Paul Hendy, who as I mentioned earlier was in the audience. It must be lovely for the Director/Writer to actually see the reaction from an audience, a reaction that showed the love for all three of these legends of comedy and entertainment. It wasn't like watching a play, more like eavesdropping on three pals chatting away with a common denominator being bringing happiness to the people.

The Set Designer is Lee Newby. A static set which shows a dressing room from days gone by. One wall shows a plethora of old playbills, depicting shows gone by; the other a portrait gallery of comedy stars from their career peaks; stars like Tony Hancock, Sid James, Max Miller, Arthur Askey etc. I wonder whose picture has been removed, as shown by a cleaner square of wall where once a picture had been hung; well that question was answered at the close of the play.

Lighting Design is by Johanna Town with Sound Design by Callum Willis. As mentioned earlier, the lighting played a big part in this show which also dropped certain hints, and created the supernatural feel of the play. No spoilers though, but is incredibly affective visually. The sound levels and mix was perfect.

The Composer and Musical Arranger is Ethan Lewis Maltby. Four songs are featured in the show, which also highlighted Steve Royle's ukelele skills. George Formby's "Little Stick Of Blackpool Rock" brought the trio together for a rousing rendition of, "Following You Around" and the Tony hatch/Jackie Trent penned song, "Positive Thinking", as well as "A Funny Way To Be A Hero", which is an original song penned by Paul Hendy, Jemma Donnelly and Ethan Lewis Maltby.

Craig Forrest-Thomas is the Wig Designer and the creation of Simon Cartwright's Monkhouse wig was perfection, along with the make-up and those eyebrows. When all three of the cast came out after the interval, out of costume, you really could appreciate just how much wigs and make up can make to an actor, especially when portraying a person as recognisable as these three.

Costume Designer is Amy Chamberlain. The dinner jackets at the end of the show were typical class, which matched the class of the performers. Tommy Cooper's initial costume immediately brought guffaws of laughter without uttering a word, reflective of his stage shows of course.

This show is a beautiful homage to three of the most iconic and intelligent comedians the world has ever known. There have been no comedians that have come within miles of this trio for class, style and comedic value, and I don't think there ever will. They are all one offs who all deserve the label of "genius", and thank goodness there are people like Paul Hendy, Damian Williams, Simon Cartwright and Steve Royle who keep their joy and cleverness alive, giving us all who were not lucky enough to see any of them live on stage the opportunity to do just that.

"The Last laugh" is at the Nottingham Theatre Royal until Saturday 5 September, and then they'll be gone, just like that!

Photography by Pamela Raith.

 "Annie"

Nottingham Royal Concert Hall.

Annie has been left at an orphanage and is still confident that her parents are coming to collect her, one day. The orphanage is run by the nasty Miss Hannigan who sets them to work, sewing and cleaning from the early morning till late at night and feeds them "mush". Annie's life changes forever when she is chosen to spend Christmas at billionaire Daddy Warbucks mansion, something he does every year for one lucky orphan. Warbucks tries to find Annie's real parents for her by a radio appeal and that's when the greedy worms come out of the woodwork. Enter the nasty Rooster, fresh out of prison and looking to lay his hands on some easy money to allow him, his latest squeeze Lily, and Hannigan to live on "easy street". But we all know that in musicals, the bad guys never win!

Claire Sweeney stars as Miss Hannigan. I have seen several Miss Hannigans over the years and every actor brings just a little something different to the role. Aggie Hannigan is a real lush who is always just a little too merry to cause any harm to the orphans, mainly because they are all too quick in getting out of her way. Bring a man into the equation though and Hannigan turns on her womanly charm, putting her best assets out front and on show! 

I have been a big fan of Claire's for a very long time now and interviewed her about 21 years ago when she was in panto in Nottingham. Claire always has a twinkle in her eye, whatever role she plays, and it was there again tonight. She has a great voice, just listen to her album, and shows that she can hoof it with the best of them, especially in the reprise of "Easy Street" in the second act. In my eyes, whether on TV, in the recording studio or on stage, she can do no wrong.

Alex Bourne plays "Daddy" Oliver Warbucks, who I've seen in this role previously, and what a class act Alex is. The air of authority shines through the performance, and the way his character comes round to the idea that not all orphans are boys and warms to Annie is lovely to see. His singing and dancing talents are obvious and carries an air of Hollywood glamour with the role. I am so pleased that they eventually found him a phone, as in part of the show, a phone rang and he had no phone on the desk to answer, but carried on with the telephone conversation, almost as if ear-buds were around in the 1930's. A classy professional will overcome anything thrown at him in live theatre.

Annie is played by four young ladies, Sophia Saravanan, June Young, Victoria Alsina and Bibi Blossom Stockley-Webster.

Tuesday night's little star was June Young. This young lady has a belter of a voice and a great personality. Her choreographed pieces are spot on, it's always difficult waltzing with someone so much taller than you are, but June made it look like an everyday thing. I am positive that whichever Annie you see, they'll all be as good as June.

There are three groups of orphans:

Team Chrysler, who were Marnie Rae Warren-Baker (Duffy), Thandie Lalji (July), Dolly Ismail (Kate), Jemima Lown (Molly), Amber Koduah- Hutchison (Pepper) and Maddy Collings (Tessie).

Team Rockefeller, consisted of Myla Park (Kate), Rachelle Bonfield-Bell (Duffy), Blossom Rolston-Williams (July), Mollie Loran (Molly), Anna Deikalo (Pepper) and Khit Thakin (Tessie).

Team Empire who were Coco Chapman (Pepper), Olivia Brooks (Tessie), Sienna Culm (Duffy), Kennedy Mae-McLeary (July), Chloe Angiama (Kate) and Freya Beer (Molly).

The team on show on Tuesday night was Team Rockefeller and an explosion of energy they caused on stage, especially in numbers like "Hard Knock Life" and their version of "You're Never Fully Dressed Without A Smile".

Warbucks' personal secretary, Grace Farrell, is played by Tanisha-Mae Brown. Her voice is as beautiful as her face and as soaring as her personality, and can I also say that Grace's green outfit was simply stunning.

Elliot David Parks is Rooster, Hannigan's wayward kid brother in tonight's performance, replacing Christian Cooper. There's not a nice bone in Rooster's body, well it obviously runs in the family. A brilliant confidence-oozing performance who, if it were panto, you'd be booing whenever he appeared on stage, there were a few well meant ones as Elliot took his final bows. Once again, any scene that he was in with either Claire or Amber, or with both were sleaze filled but with some classic Hollywood style choreography.

Rooster's latest girlfriend is Lily, played by Amber Kennedy. Amber is a wonderful character actor and boy can she dance. Her high kicks are stupendous; I'm surprised her feet don't have acrophobia - fear of heights - they go so high. 

Michaela Stern plays Mrs Pugh, Warbucks' wonderfully over excitable chef/cook.

Harrison Burley plays Bundles, the man who collects the laundry from the orphan house.

Bert Healey, the radio presenter who gives airtime to Warbucks and Annie to help find her parents, is played with great charisma by Matthew Sweet.

The Boylan Sisters, the trio of backing singers on the show are played by Sophie Elmes, Zoe Canham and Issy Khogali.

Issy also plays Warbucks' Head Housekeeper, Mrs Greer.

Sophie plays The Star To Be, a young, aspiring Broadway actress takes centre stage during the big dance number "NYC" with some attention-grabbing choreography and vocals.

Zoe also plays Cecile, a French Maid, along with Sophie as Annette.

Drake, Warbucks' very British Butler is played by Luke Harley. This isn't a major role, but Luke's charisma in this role makes you take notice of this Butler.

Yujin Park play several roles including the Apple Seller, who can't sell an apple in The Big Apple.

Carl Sanderson is President Franklin Roosevelt, as well as Lt. Ward and Jimmy Johnson. As Roosevelt he delivers a pretty powerful version of "Tomorrow" sat down in his wheelchair, which when you think that it's always best to expand the lungs and abdomen, sitting down is not ideal, but a splendidly powerful voice Carl has.

The Ensemble are made up of Carl Sanderson, Sophe Elmes, Harrison Burley, Elliot David Parks, Issy Khogali, Michaela Stern, Yujin Park, Luke Harley and Zoe Canham.

Swings are Jack Buchanan, Jessica WrightBelle Kizzy Green and Matthew Sweet - Matthew and Kizzy are Assistant Dance Captain and Dance Captain, respectively.

Annie's dog, Sandy is played by two four-legged stars, Amber and Dizzy, and on Tuesday night it was down to the responsibility of Dizzy, who looked as if he/she were having the time of their lives, especially with that tail wagging in overdrive.

Directed by Nikolai Foster, and anyone who has seen productions at Curve Leicester or any of their touring shows will know just how good Nikolai is. It's pacy, no hanging around; for example, when we usually see Annie escaping in the laundry trolley near the start, we don't see this due to being diverted by the flagrant flirting by Miss Hannigan with Bundles. We only realise that she has gone when the orphans give the game away.

Set and Costume Designer is Colin Richmond, who did the same for the 2023 UK Tour, looking like a giant jigsaw which could also represent that the pieces of Annie's life are all coming together.

Choreographed by Nick Winston. From the wonderful "Hard Knock Life" buckets and mops choreography for the child actors to the high kicking "Easy Street" and the classy "NYC" routine, for anyone with a love of dance, they will be completely enthralled by this area of performance.

Orchestrator, Arranger and Musical Supervisor is George Dyer. Everybody knows "Tomorrow" from the soundtrack, but there are loads more earworms like "Maybe", "You're Never Fully Dressed Without A Smile", "Easy Street", "I Don't Need Anything But You", "Little Girls" and of course "It's A Hard Knock Life". Hannigan may be a lush but so are the arrangements and orchestrations for this show.

Lighting Designer is Ben Cracknell and Sound Design is by Richard Brooker. 

Wigs, Hair and Make Up Supervisor is Betty Marini.

Costume Designer is Chris Cahill. 

I love this musical; I am an utter fannie (fan of Annie) and every time I see this show, I love it more and more, whether it be a local production or a big, shiny touring production. You can see that everyone involved in this also loves it, and let's face it, what's not to like. The age-old triumph of good over the Hannigans. This show, if you've never seen it before, and believe me there are some rare specimens of audience member who has not, will leave you with a warm, fuzzy feeling in your middle regions as you exit the Concert Hall singing "Tomorrow, tomorrow, I love ya tomorrow" at the top of your voice. Or like me, just in your head on the bus home.

It still feels remarkably fresh, it's still funny and still retains the classy dance routines (I do love a good bit of hoofing). Whoever said never work with children or animals never envisaged "Annie" and I for one am pleased to say that this saying was completely ignored.

"Annie" is at the Nottingham Royal Concert Hall until Sunday 6 September.

Photos by Paul Coltas.