"High Society"

Nottingham Theatre Royal.

Based on the play "The Philadelphia Story" by Phillip Barry, the musical follows glamorous socialite Tracy Lord as her wedding plans unravel thanks to an ex-husband, Dexter Haven, a persistent reporter, Mike Connor, and a cascade of champagne-fuelled complications. It has to be the most glamorous and classy of touring productions.

I have never seen this musical before but what a musical this is! I remember watching the original 1956 film starring Bing Crosby, Frank Sinatra and Grace Kelly with my parents, sat on the settee on a Sunday afternoon, after dinner as a child. so this brings back some lovely memories for me, and the storyline of the musical follows the original film story, with a few additional scenes. The musical is fleshed out with songs from other films and musicals that Cole Porter have written, making this, in reality, a Cole Porter jukebox musical, and let's face it, Cole Porter is one of the masters of writing musical theatre classics, which is why his songs are performed still today.

Tracy Lord,  a Long Island socialite, is played by Helen George, who you'll recognise from one of my favourite TV shows, "Call The Midwife". Helen has a gorgeous voice which does not go unappreciated by the audience on Tuesday night in the duet with Julian of "True Love". Helen is no stranger to the stage, which shows in the confidence she exudes throughout. There's also a love of dance  with Helen, and that shows in this dance heavy musical.

David Seadon-Young plays George Kittredge, who is engaged to Tracy and is Tracy's Father's accountant. A wonderfully geeky performance who was great fun to watch.

Freddie Fox plays the reporter Mike Connor. I've only seen Freddie in dramatic roles on TV, so it comes as quite a nice surprise to hear that he can also carry a tune on stage, and dance remarkably well. A really charismatic performance and really nice to see another side of this talented actor.

Julian Ovenden is Dexter Haven, a well to do and rich yacht designer, who was once married to Tracy. Here is another brilliant character driven role by Julian, who I last saw four years ago in "South Pacific". Julian, like Freddie, really know how to present a character to an audience. Pair that with the triple threat element of acting, dancing and singing, and these two leading men make a musical like this fly. 

Nigel Lindsay plays the party loving Uncle Willie, who brings that joy with the fun "Now You Has Jazz", backed by an onstage six piece band. An exciting and explosive way to close the first act, and what a masterclass in musical theatre choreography for this scene.

Malcolm Sinclair is Seth Lord, the father of Tracy and estranged husband to Margaret Lord. There's a lovely case of forced mistaken identity with Seth and Uncle Willie near the beginning, almost as if in a Shakespearian play, which allows another comedy section between Malcolm and Nigel. There's also another lovely section near the end of the show with Seth and Margaret where they nearly become "un estranged"

Mother Lord, Margaret, is played by Josefina Gabrielle, who is all in favour of her daughter's engagement to George. This is a brilliant character, portrayed brilliantly by Josefina; great fun to watch.

Dinah Lord, Tracy's younger sister who disapproves of the engagement, is played by Naomi Pacquette. Oh what a performance, and I loved the scene as a French mime artist along with Helen. 

Carly Mercedes Dyer is Liz Imbrie, a photographer for a newspaper. What a voice this lady has, particularly well highlighted in "I've Got You Under My Skin", which gave me the tingles again.

James Hume plays Chester, who is the butler of the Lord family. A nice little vocal section for James in "I Love Paris".

This is a big musical, and, rightly so, has a large ensemble made up of Bethany Adamson, David Austin-Barnes, Jabari Braham, George Bray, Andrew Coshan, Jordan Crouch, Frances Dee, Aarn Elijah, Tosca Fischer, Jacob Fisher, Heather Jackson, Aoife Kenny, Nell Martin and Isabel Snaas. 

Imogen Bailey, Maddie Harper, Thomas Inge, Robin Kent and Lucy rise make up The Swing with Thomas and Lucy also being Dance Captains.

Directed by Rachel Kanabaugh this show is a powerhouse of a show. Thanks to the rapid scene changes, this musical rips along at a great pace. All of the characters are really well defined, which makes the story so easy to follow.

The choreography is by Anthony Van Laast. For a musical fan like myself, the choreography is one of the things that I look for, and from the big ensemble opening number of "High Society" to the closing ensemble of "Let's Do It" the choreography zings, it's typical Metro Goldwyn Mayer magic. 

Musical Director is Stephen Ridley with arrangements by Gareth Valentine and orchestrations by Larry Bank. What a joy as well to hear a live orchestra with this show.

With music and lyrics by Cole Porter, the score is truly iconic, including American Song Book classics like “True Love,” “Who Wants to Be a Millionaire?” and “Well, Did You Evah!” from the original film soundtrack. Alongside these are other Porter classics to flesh out the score. Songs like "Be a Clown", "I Love Paris", "It’s All Right With Me", "Just One of Those Things, "I’ve Got You Under My Skin" and "Let’s Do It’ (Let's Fall In Love)" to name just a few.

Set Design is by Tom Rogers and consists of a double staircase that bears a strong resemblance of being marble, leading up to a splendid balcony. This is a static design with various other rooms, and a poolside scene, which is extremely realistic and impressive, shown by amendments of furniture to distinguish the individual settings. the set is the first thing that hits you and makes such an impression, enough to make a jaw drop.

Costume Designer is Jon Morrell. I would not expect anything other than stylish glamour of the period from the costume design, and that is exactly what I got. Gorgeous and colourful costumes for all actors, to highlight the Socialite scene.

The Wig, Hair and Make Up Designer is Helen Keane, another element of this Production Team that shines and takes you back to the heady 1940's. 

Lighting Designer is Howard Hudson and Sound design is by Adam Fisher, the complete package to bring the best visual excitement from this wonderful musical.

It's one of my favourite musicals, a lovely fun story, a classy score where I knew every single song performed, a great fun cast, excellent choreography and one of the best set designs for a musical.

"High Society" is the most swellagant, elegant party that you'll attend and is at the Nottingham Theatre Royal until Saturday 7 November.

 "Pride & Prejudice (sort of)" by Isobel McArthur after Jane Austen.

Nottingham Playhouse.

I first saw this show a few years ago and thought it was an absolute hoot, and still do,  so I'm really pleased it's back doing the rounds again, this time at the Nottingham Playhouse.

The plot follows the Austen novel, in a contemporary setting with modern, and fruity language. The all-female cast play multiple characters, both servants and gentry, re-telling the novel's events through the servants' eyes while also performing well-chosen karaoke songs at pivotal moments.

It’s the 1800s.  It’s party time.  Let the ruthless matchmaking begin.

Georgia May Firth, Eva Hope, Phoebe Marshall, Roxanne Morgan, Julia MurrayEmile Cruz, Grace Farrell and Anastasia Sims-Chin are the collection of multi talented actors who sing, dance, act and play instruments on stage, As you can imagine, by the length of the Austen novel, the action is very pacy.

 It's fast moving, the comedy is incredibly well timed and you can tell that these women really enjoy working together because the chemistry is electric. And for anyone, like me, who love accents, these ladies provide them in abundance, and naturally.

Written and Directed by Isobel McArthur, with Assistant Director being Finlay Glen, they have created a comic masterpiece for the stage from a romantic classic, beloved by so many.  

Set and Costume Designer is Ana Ines Jabares-Pita, a multi levelled set incorporating a sweeping staircase which was purely majestic. Classy set with modern touches, and look out for the in jokes with some of the props. The costumes are fantastic as well.

Lighting Designer is Ryan Joseph Stafford,  and keep an eye on the backdrop because the lighting design for the backdrop alone is rather special. There are also some quick blackouts which pave the way for some very quick changes on stage for the cast members.

Sound Design is by Michael John McCarthy, who is also the Music Supervisor, and Niamh Gaffney for Autograph. They combine karaoke with musical intervention using real instruments, as previously stated, played by several cast members. What versatility! 

Choreographed by Emily jane Boyle, assisted by Tash Holway. There's a lot of dancing in here, most of it typical of what you'd see on the dancefloor at Nottingham's Palais (other nightclubs are available) by a group of hen night members. This in itself provides many comic moments with the moves that are bust. It really is great fun.

If an evening out partly extracting the urine from a classic piece of literature with some classic karaoke songs like "Holding Out For A Hero", "Dedicated To The One I Love", "Every Day I Write The Book", "Lady In Red" and "Young Hearts Run Free", then this show is for you. It was definitely for me because I loved it to bits.

So, if you're in need of  being cheered up, or just want a good night out with the girls (or lads), this is the ideal evening out for you. These ladies, and this show, need to be prescribed for anyone feeling a bit low, or bored of the run of the mill entertainment. Who once said that "laughter is the best medicine"? It may not have been Jane Austen but she sure helps out in this instance. Go see this show; you will not regret it!

Quite possibly one of the funniest historical based shows I've seen, definitely the funniest all female comedy shows I've ever seen.

"Pride & Prejudice (sort of)" is at the Nottingham Playhouse until Saturday 7 November.

 "Fertile Soil" by Grace Deavall. 

Rebel Witch Productions.

Bonington Theatre, Arnold.

"Fertile Soil" is a 60 minute play telling the story of two 17th century women- accused of witchcraft- awaiting their demise on the gallows. The play has been a long time in the brewing with its' roots going back to the days of lockdown. Grace Deavall's script is bewitching with some very down to earth language, and I love the two styles of language, one for the elder woman, Alice, and the more modern language, and way of speaking of Maggie, the younger woman. It's also very natural and conversational.

The music as you enter the dark auditorium is enough to put you on edge, and you see Alice sat in a large circular section marked out on the floor. Maggie enters, or should I say pushed into the circular area and it's then that we see that these two women obviously know each other, and are obviously not friends. As the time goes by we discover that two young boys were drowned, but was it an accident or were they murdered? By the end of the play, it's still not clear what did happen and who was involved, but the one person left in the prison cell left us with a confident smile on their face! Is this because the guilty party got their comeuppance, or was there manipulation at play somewhere?

Grace Deavall plays Maggie, one of the witches while Sue Whyte plays the other witch, Alice Thornback. Two opposites in many ways and both ladies gave as good as they got with the verbal tennis, but I must say I loved the coarseness of Alice, as well her methods of descriptive banter. While Maggie paced around like a caged tiger, Alice gave a slower pace of movement, almost as if monitoring her new cellmate. And we get to learn the meaning of the play's title right before the close of the play.

Directed and Produced by Rebecca Head, this play is a little diamond of a piece. You were drawn into the two way banter very easily and the more you watched and listened, the more you wanted to know what had led up to the incarceration of these two women. It also has that lovely musty feel of Arthur Miller's "The Crucible". I also see from the programme that this is Rebecca's directorial debut in the world of theatre.

The atmospheric music heard in the play has been composed by Jack Fleming, who has also created the sound design for "Fertile Soil". Some great sound effects, which in a couple of places did actually make me jump - only a little - but that was because of my visual engrossment in the story and the acting, and when an aural distraction to the focused sense is introduced, it completely jars the other senses. In my opinion a brilliant use of sound and sound effects. 

An interesting lighting effect which gave the impression of some kind of window up above, and apart from that the set was surrounded with darkness apart from the circled area, and even that became dimmer in parts of the play. The combination of these things gave a really depressing, dank, and small enclosure for these two women; well I suppose it is a 17th Century prison. Great atmosphere created by the collaboration of the sound and light teams.

The set design is an interesting one as there doesn't seem to be that much on stage at first glance, but on taking a closer look, especially at the components of the circle, plus a very rustic stool, a couple of candlesticks and a typical looking broom, which is used in the fight section

This is the play's first outing in a theatre, but I do know that there are hopes to take the play out to tour in "site specific locations", but first the company need to raise the funds to be able to do this, which as anyone who knows anything about theatre and putting on a production, is not cheap. I really hope that "Fertile Soil" gets the chance to reap rewards for everyone involved and the money is raised to allow this captivating piece of theatre to be seen by an even wider audience. It's Deavallishly good!

"Fertile Soil" was at the Bonington Theatre, Arnold for one night only on Friday 30 October.

 "Once Upon A Time In Sokoto" by Inua Ellams.

Nottingham Playhouse.

"Once Upon a Time in Sokoto" explores the historical events shaping Nigeria's formation, giving an opportunity to show an important period of African history through the lens of personal narratives and family relationships. It tells the story of a friendship forged between a formerly enslaved woman, Nafisa Sarauniya, and her former master, Zinari Zangina from 1865 to the British conquest of 1903. This relationship though didn't start off on the best of terms due to them both being married to the same man.

Once the actors took to the stage, they introduced themselves and taught the audience a traditional “call and response”, called a Hausa. The show is performed using traditional storytelling, so there are often switches between the action, addressing the audience to explain various changes in times, location etc.

The actors all play multiple roles, which are all really well defined, pushing the story, and the traditional style of story telling on. The difference in the secondary characters are defined by costume changes and the storyline that leads up to the various characters, so don't worry about understanding who is who in the story.

Nafisa Sarauniya is played by Adeola Yemitan. Nafisa is the real feisty character, especially the way that she makes sure that her lovers keep her satisfied. The relationship between her former "owner", who actually saved her life, and is now the fellow wife, is less than friendly but a change comes about when politics change.

Zinari Zangina, a wealthy, Muslim entrepreneurial noblewoman, is played by Antonia Layiwola.

Hadiru Zhango is played by Bayo Gbadamosi. Hadiru was originally selected by Zinari’s father to protect her, but later became Zinari’s husband.

Yusef Dawdu, Zinari's father, is played by Will Atiomo.

What I especially love about this piece of theatre is the glorious story telling, and there were times when I closed my eyes, just for a short time, to take in this talent, because not everyone can relate a story and keep you gripped just by their voice alone.

The timeline of the events is given  so you know exactly at what stage of the story you are up to. History has never been so interesting and I love a show that entertains me as well as educates me, and this is one show that ticks both of those boxes. The depiction of slavery and the way that the women are treated in slavery is quite horrific, without showing too much, but it needs to told in an accurate manner. The timeline also creates an historical record of major events in the UK as well as abroad.

There's plenty of comedy in the script as well. One particular phrase that is in use even today is "many ways to skin a cat", which caused quite a stir with the Egyptians, who we all know treat cats as Gods.

Directed by Roy Alexander Weise.

Set Designer is Amelia Jane Hankin. This is an interesting one because when you walk into the theatre there's a large circular construction, almost like a mini circus tent, which we then see being deconstructed to create settings for all of the other scenes. Combine that with two pairs of wooden steps leading to two other platforms, all of which can be moved around for some of the other scenes. A very clever use and reuse of just a few sections of a set.

Movement Direction is by Coral Messam.

Set and Lighting Design Neill Brinkworth. 

Costumes  are by Jessica Cabassa. 

The music is composed by Femi Temowo and is as rich as the story the actors relate. As soon as you walk into the theatre, the scene and mood is set with the original music, which plays through most of the show and the interval. It's almost a sensory experience.

If only my history lessons at school had been this exciting, I may have paid more attention in class.

"Once Upon A Time In Sokoto" is at the Nottingham Playhouse until Saturday 31 October.

 "Chess the Musical"

Nottingham Operatic Society.

Nottingham Theatre Royal.

What could possibly be interesting about a musical about politics and the game of chess? If you've never seen this musical before, that may be a question that you may ask yourself. This is a musical which is based around a chess board and may be politically motivated, but this is also a musical about falling in love, as I’m sure you’ll find out by coming to check it out.

The story involves a politically driven, Cold War–era chess tournament between two men—an American grand-master and a Soviet grand-master—and their battle over a woman who manages one and falls in love with the other. “Chess”, although political in its plot, at its’ heart is a love story.

Written by Benny and Bjorn from Abba with Tim Rice adding lyrics you are guaranteed on an amazingly good soundtrack. But a soundtrack that is intricate in its' composition and not easy to sing, which is why it's not performed that often, especially by local theatre groups.

Several of the songs you will already know as “Nobody’s Side” was a minor chart hit for Elaine Paige, “One Night In Bangkok” was a massive hit for Murray Head and “I Know Him So Well” went to number one for Barbara Dickson and Elaine Paige”. But the cherry on the cake with this soundtrack is the gorgeous “Anthem” and the powerful and emotive "Pity The Child".

Right, let me start off by saying OMFG!!!!! This production is  as if the Heavens had opened and a heavenly choir had descended to earth via the roof of the Theatre Royal, the vocals and orchestra were that good! The power, the drama the everything.... Now allow me to elaborate and dissect the four letters of OMFG, and I don't apologise for the "F" either.

I came out of the theatre at the end and was talking to a lady I'd met a couple of times before at the theatre and she was absolutely flabbergasted when I told her that this was not a professional touring production; never had her flabba been more gasted! In fact I've now seen three big musicals in two days and any one of them, in fact ALL of them could have been mistaken for professional West End productions, the area, and myself, have been spoilt for talented performers this week.

Anatoly Sergievsky is played by Kirt Hammonds and brings out the steely Russian brilliantly. Anatoly is at the top of his game on the world’s game stage. Driven by his ambition to be the best but unwilling to show the man behind that hardened exterior. That though starts to change when he meets and falls in love with Florence, and what happens out of Russia, stays out of Russia, until his wife and family are used in the political game of Chess. Kirt shows the push and pull of Anatoly’s personalities with great intelligence. His version of "Anthem" was spine tinglingly good, in fact every song he sang was spectacularly good. The passion and the power from that man's body just rocked my tingle meter. And guess what, he looks like a Russian and his accent is as if he had been brought up in Russia.

Playing Frederick “Freddie” Trumper, the American Chess champion, is Ollie Last. Ollie's vocals are also spine tingling and countered Kirt's deep tones with a clear higher register that could cut glass. His version of "Pity the Child" was so packed with emotion, I was half way to a standing ovation when he had finished. Trumper is fiery, exploding on stage, but clearly shows by the end of the show just how far he had come with quelling his temper. The opening of Act Two, which featured Ollie singing "One Night In Bangkok" was probably the best staging of that piece that I have seen, so awash with colour and energy, and combined with Ollie's excellent vocals which brought out the sarcasm of the lyrics. And what a great wig!

Florence Vassy is played by Lucy Haigh. Lucy has a belter of a voice that just gives you tingles when she lets fly with some of her notes. Florence isn’t your usual musical female parts. An intelligent, strong female character who is at the centre of this love triangle. I have always been a fan of Marti Webb's voice and Lucy's voice sounds so similar to Marti's; I'm also a massive fan of Lucy's voice, who wouldn't be?

Cat Perry plays Svetlana Sergievskaya, Anatoly’s estranged wife. You don't get to see that much of this character but as part of the duet, "I Know Him So Well" with Lucy, they set the hairs on the back of your neck rising, their voices blend so well. The duet between Cat and Lucy in "I Know Him So Well" was another one that sent the tingle meter going again.

The Arbiter, the man in charge of the Chess matches is played with authority by Chris Heeley. Chris opens the whole musical with "The Prologue/Story Of Chess", which I couldn't remember in the productions that I had seen before. Part of the Ensemble came onto the stage dressed as the chess pieces and made for a very different show opening. Chris has one of those very recognisable voices that really stood out, even in the ensemble. There's a steely calm about The Arbiter which comes across so well with Chris.

Simon Theobald plays Alexander Molotov, Anatoly's conniving second who is apparently also a manipulative KGB agent! Simon has such a command of voices and accents and, like Kirt, delivers the perfect accent. His vocals are full of power and his stage presence commands you watch and listen to everything that he says and does on stage. Another top class performance from Simon, but then I expected nothing less from such a legend.

Walter de Courcey is a member of the American chess delegation, a representative for Global Television, and a covert CIA agent, is played by Daniel Bogod, who I last saw in "Guys n Dolls", and has a marvellous voice for this role.

The Reporters are portrayed by Nathan Curzon, Kate Taylor, Nathaniel Halls, Emily Trappen, Oliver Wheddon, Joanne Lale and Rosie Poesl.

The TV Presenter beamed onto the suspended piece of scenery is played by Owen Patten.

The Civil Servants, who have a brilliant comedy scene are played by Jarrod Makin, Owen Patten, Andrew Rushton and Jack Lawrence.

Leonid Viigand, Anatoly's final chess challenger, is played by Shaun Hanrahan.

An excellent ensemble made up of  Adele Lee, Alexandra Hazard, Amanda Dixon-Smith, Andrew Rushton, Christine Boothe, Danniella Anderson, David Hails, Emily Trappen, Emma Shute, Emme Gunn, Evie Midgley, Hannah Haywood-Cupitt, Ian Pottage, Jack Lawrence, Jarrod Makin, Joanne Lale, Kate Evers, Kate Taylor, Kate Williams, Laurel Jones, Louise Fiddes, Louise Grantham-Lang, Louise Johnson, Marcia Wood, Nathan Curzon, Nathaniel Halls, Neil Ledward, Nick Smith, Oliver Wheddon, Owen Patten, Paul McPherson, Ray McLeod, Rosie Poesl, Ruth Greaves and Shaun Hanrahan.

This Ensemble take on so many various roles and choreography styles, as well as some very acrobatic tumbling (I think this was Nathaniel).

Directed and Choreographed by Justine Lee. What can I say, it's the perfect production, there's absolutely nothing at all to fault with this show. It's perfect. The choreography is also perfect and I loved the opening and everything else choreography wise right up to the final bows, which I am really proud to say I started, and it wasn't just to show off my black and white chequerboard jacket, black and white tie, white shirt and black trousers either - I do like to dress appropriately for the theatre. In all seriousness though, how many times and how many superlatives can you outdo "PERFECT".

Musical Director is Jonah Williams. Everything Jonah does, and is associated with, is the equivalent to calling him King Midas. It is so lovely to hear these lush arrangements being played live by this twenty-six piece orchestra. And listen out to some of these pieces to spot a few "borrows" from other Tim Rice pieces from "Jesus Christ Superstar" - I spotted chords and melody from the song "Everything's Alright", as well as a couple of other numbers.

Costumes thanks to Wardrobe Manager Marion Fisher with Wardrobe Assistants Adele Lee, Emma Shute, Kate Williams and Linda Croston.

Excellent wigs thanks to Nottingham Operatic Society Wig hire and Lucy Haigh and Joanne Lale.

Set design is not mentioned in the programme, as far as I can see but is on a triple level, and with the size of the cast would need to be a multi-level staging to accommodate them all, when they are all on at the same time.

Stage Management is really important with this being such a big show and there are four Stage Managers listed. They are David Price (Theatre Royal), Matt Allcock (Company), Nigel Newton (Deputy) and Alison Hope (Assistant), all ensuring the smooth running of the stage.

Props are thanks to Caroline Harper and Ray McLeod.

Sound is by Rob Ketteridge. Sometimes the sound at the Theatre Royal can be slightly disappointing, but not when you have a superb soundman like Rob at the helm. Crystal clear and best of all punchy and ballsy, which is what a musical of this status needs, but sometimes the sound engineer may be a bit shy at giving it the punch it requires, Not with Rob. The music is dramatic and volume adds to the drama. Thank you for that fearlessness where the volume was concerned.

Lighting Design, which is absolutely spectacular, is by Tom Mowat. Follow spotters are Cathy Bodman and Simon Carter.

The Video footage we see in this show is by Matt Powell, again another busy man as he is also performing each night this week at the Duchess Theatre in another musical banger "Sweeney Todd". Talent will always be in demand by people who recognise it.

Production Manager is Vicky Johnson.

The charity that Nottingham Operatic Society are supporting this year is Young Lives Vs cancer and £1 from every programme sale will go to the fund, so please buy a programme when you come to see the show, and there's something for everyone in this one.

"Chess" is at the Nottingham Theatre Royal until Saturday 31 October. At these prices you won’t need to pawn a thing to be able to afford the ticket price, You’ll feel like a King with your Queen, you’ll have a great (K)night out, but the way tickets are going you may need to check, mate, that there are some available.

Photography by Martin Holtom and Stuart Reekie.

 "Sweeney Todd - The Demon Barber Of Fleet Street".

Beeston Musical Theatre Group.

Duchess Theatre, Long Eaton.

Set in modern day England, this supply and demand musical details the return of barber Sweeney Todd, previously known as Benjamin Barker, to London after 15 years of exile, He's back to take revenge on the corrupt Judge Turpin who banished him, and by conspiring with a local baker, Mrs. Lovett, who is in desperate need of fresh meat for her pies, he wreaks his bloody revenge, but not without some heartache for Todd along the way.

Tim Yearsley as Todd, has an air of menace about him from the minute he strides on stage, and that menace stays with him right to the grisly end. He's angry and his tunnel vision of getting his revenge on Turpin and Beadle Bamford is quite frightening. His distorted features often staring out to some unseen victim really makes you feel on edge. Great to see Tim back on stage in such a strong and powerful role and also wonderful to hear those rich operatic vocal tones, delivering some of Sondheim's finest words.

 Sara Evans is Mrs Lovett and, paired with Todd , they make a formidable pair, as dangerous as Bonnie & Clyde but with some lovely comical segments, especially in the song "A Little Priest" where they are comparing the tastes of the pies with various professionals as the fillings. Again, a wonderful voice and a lovely comedy character role, and that laugh is irresistible.

The young sailor, Anthony Hope, who befriends Todd at the start and falls in love with Johanna, who is really Todd's daughter, is played by Jordan Silver. His voice has got stronger since the last time I had the pleasure of seeing and hearing him on stage in "Rent" and as a leading role in "Footloose" a couple of years ago, and is showcased on the song to his love "Johanna". A lovely clear, strong timbre to his voice which is very pleasant to listen to and just right for this style for musical theatre. This is Jordan's debut for Beeston Musical Theatre Group.

Johanna, played by Harriet Campion, has an amazing strong operatic voice and whether in her solo number or complementing  Jordan's voice when duetting with Anthony, Hattie has been perfectly cast in this vocally challenging role.

Judge Turpin is played by a master of theatre, as well as musical theatre, and plays a mean invisible typewriter as well, but not in this. Adam Guest steps into the role late on in rehearsals, but he is no stranger to this musical. Adam is so far removed from the character of Turpin, who is so sinister in his controlling relationship of his ward, Johanna, even punishing himself over his sickening thoughts of her. Adam is also Assistant Director for the show.

Jonas Fogg, who owns the asylum where Johanna has been placed by Turpin, is played by Andy Bulmer, a small part but makes up for it as part of the Ensemble.

Tobias Ragg, who has Pirelli as his master is played by Arden-Caspar Jennison. Arden is another actor who has a strong voice, especially with those big notes, and at other times sings with such innocence, showing the versatility in his vocal technique. I've said it before but Arden has one of those faces that allows him to play parts much younger than his actual age, and what a boon that is for any actor. He shows that ability in this role and you can believe he is of a younger age character wise, all the while making the character of Ragg completely believable and innocent.

Adolfo Pirelli, the comedy character of the musical is also quite the deceitful one as his role switches from Italian barber to Northern blackmailer. This dual nationality is pulled off with a wonderful comedic element by  Craig Arme. Craig, like Tim has a wonderful operatic range and is put to excellent use as Pirelli.

Eleanor Carty plays The Beggar Woman. Even though the role is quite a flirty fun role, Eleanor also shows the sad, desperate and lonely side of the woman, and I won't spoil it for anyone who doesn't know the story, but she has a secret that is revealed at the end, but only after her death.

Thomas Telford is Beadle Bamford, again a pleasure to watch because not only does he have the element of being one of the villains of the show, he brings a certain amount of comic relief to the musical, especially in one scene that he shares with Sara and the organ, showing off some quite high vocals. This role marks Thomas' debut performance with Beeston Musical Theatre Group.

A tight ensemble who produced a wall of sound when all singing together. The Ensemble are made up Thomas Judt, Elsa Kitching, Jess Liddle, Arran McKay, Ruth Maddison, Robert McAuley, Maisie Cutts, Charlotte Gerlernter, Jake Gerlernter, John Hand, Mina Holtom, William Howarth, David Artiss, Naomi Batley, El Brown, Chris Bryan, Alice Cammell and Jane Cottee.

Technically, this can be quite a difficult show, mainly due to the disposal of the bodies but among the various changes in this production, this is carried out using a different approach.

Directed by George Lamb who has turned the visual side of this musical on its' head. I've seen traditional and Steampunk versions of "Sweeney Todd" but this is a very modern version with laptops, mobile phones, electronic payment methods for shaves and the pies etc, and when I saw the photos, of the modern attire, I didn't know if I would enjoy the musical as much as I wanted to but the modern clothes approach and modern technology has taken absolutely nothing away from the sinister storyline, and in a way even adds to it, showing that set ups like this could happen today, and possibly does! And all done in just FIVE months, among the other projects that George has had on the go is a testament to the hard work and commitment that George injects to all of his projects.

The Movement Director is Charlotte Drewett-Holden. Charlotte describes this show as "deliciously dark", a phrase that I think sums this up perfectly and the movement side of the show is extremely importan to showcase some of the characters. take for instance the Beggar Woman who has a very distinctive, almost macabre like way of moving about. This in complete opposition to Todd who always extends himself to his full height to show the power and importance of the character. Very often the way that a character moves around the stage and the theatre is as important as the script the character has to deliver, and when both areas come together as it did in this story, the results are magical, as well as deliciously dark.

Musical Director for this production is Sam Griffiths. Sondheim has a knack for creating atmosphere in his music and bringing the fun, or darkness out of the music is something that Sam is completely at home with. I've been present when Sam has been MD for previous "Sweeney" productions, and every time I manage to spot something new in his arrangements of the music and/or vocals. A Musical Director has the ability to keep someone like myself on their toes with these changes, and Sam is one MD who never fails to do that. That said, Sondheim is notorious for his complexity in his music, and it's no easy job to deconstruct one of his many layered pieces and put it all back together and still make it sound fresh to the ear, and succeed in the beauty of the score. The thirteen piece band sounded absolutely lush.

Set Construction is by Damon Pipes and brings that modern feel of the story, as well as the darkness of the story to life with Mrs Lovett's massive oven where all the pies are created and baked. the Rostrum hire is from A Stage For Hire.

Wardrobe isn't mentioned in the programme. This is a very modern costume design which brings the story visually into the modern world so I presume that the majority of the costumes have been provided by the actors themselves

Sound Production is by Dave Dallard who mixes everything perfectly. I was sat in the balcony section of the theatre and heard every word spoken and sung.

Lighting design is by Steve Greatorex, who is a very busy man this week with lighting design. A wonderfully dark design that brings out the danger and sinister feel of the modern day revenge and cannibalism storyline, and really makes you feel the heat from that oven via the lighting at the back of it.

Katie Bird is Production Manager and part of the Backstage Crew, who also consisted of Fiona Elias, Paolo Elias and Beth Yearsley.

This is a very modern, but extremely classy production, and just because you've seen previous productions, don't let the modern clothing etc put you off because the style and excellence is all there, as well as a superb soundtrack.

Beeston Musical Theatre Group are supporting BANA UK (British Acoustic Neuroma Association) throughout the run.

"Sweeney Todd" is at the Duchess Theatre, Long Eaton until Saturday 31 October, and an ideal run up to Halloween.

Photography by Martin Holtom.