"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.

 "Seven Deadly Sins" by Niche Artefact.

Revolucion de Cuba, Nottingham.

Not having been able to attend the last two shows by Niche Artefact, I made sure that I was free for this one, named "The Seven Deadly Sins".

Niche Artefact are a creative collective, based in Nottingham. They curate bespoke art shows at different venues across Nottingham - featuring creatives of every medium. Niche Artefact are inclusive to the LGBTQIA+ community and all allies.

The shows are like no other production anywhere, being a cross between cabaret, theatre and performance art, covering several genres of music.

Throw into the mix exclusive artwork created by local artists, only revealed on the night with a chance to buy the art work on the night. This combination make presentations like this very special events.

The evening is co hosted by Founder and Director Robin da Silva and David Beer, both adding a very special flavour of humour and free flowing hosting skills. The evening is split into three sections of live entertainment, sandwiched with the art exhibition reveals with the artists giving background to their works and the creation of the art.

The performers present something very different to anything you might have attended before, unless of course you're a regular attendee and supporter of Niche Artefact.

Dani Magic (Drag Artiste), Priscilla Shona Krakow - The PSK (Drag Queen), Bobbie Dazzler (Drag Thing), Carrie On Love (Drag Artiste), Serena Eadon (Vocalist), Ro De La Monja (Drag Artiste), Jackie Paper (Performance Artist) and Milady Burlesque (Burlesque Artist) take the theme of seven deadly sins and present pieces representing these themes in music, performance and dance.

Opening the night is a Niche full cast performance to introduce the performers to the audience, which seems to get bigger every year.

There follows two wonderful classical sets involving Jackie performing "The Dance Of the Seven Veils" and Serena showcasing that gorgeous operatic voice she owns.

Last time I missed out on the introduction of Flippy The Flamingo, but Flippy made a return tonight in a splash of pink glitter and feathers.

What I love about shows like this is the fact that the show tunes are never quite the very well known ones, and tonight was no different. "Show Off" from the musical "The Drowsy Chaperone" was a perfect choice to close the first section.

"Money Makes The World Go Round" from "Cabaret", performed by The PSK opened up the next musical section and a perfect fit for the "greed" section of the deadly sins.

"If My Friends Could See Me Now" and "Stairway To Heaven" by Led Zeppelin by Milady Burlesque and the Niche cast was a surprise musical collaboration but worked strangely well.

These shows really are an education, as well as being incredibly entertaining and Carrie On Love's next section ticked both boxes with a track that I had never heard before. "For The Gaze" from the musical "Death Becomes Her" was an absolute treat, especially when the word "gaze" was used in a completely different context. Gorgeously over the top - no wonder I loved this performance.

A saucy version of "Whatever Lola Wants" performed by Bobbie Dazzler, and a section from "The Best Little Whorehouse In Texas" started as a performance piece but towards the end of rehearsals for the chosen song, "A Lil Ole Bitty Pissant Country Place", it became a tribute to Dolly Parton as news had broken about Dolly's passing. Great fun and a lovely tribute to the fun side of Dolly's recordings.

An acapella version of the brilliant "Mama Who Bore Me" from "Spring Awakening" and a song that I hadn't heard before sent shivers down the spine.

A duet from Serena and Milady Burlesque of another track I'd not heard before called "And Eve Was Weak" from the musical "Carrie the Musical" added even more to my education. What a blend of voices.

Closing the evening down was another Niche ensemble piece with Sam Smith and Kim Petras' "Unholy", showing that being sinful can create such pleasure.

You can always guarantee an evening of  brilliant and very different entertainment with Niche Artefact's shows, plus you could also walk away with an exclusive piece of art to hang on your living room wall, or wherever you want it hung.

At the end of the show, Robin revealed the theme to the next show on Sunday 29 November, "The Cult Of Judy"; the Judy in question being, of course Judy Garland.

 "Rent" by Jonathan Larson.

Spotlight Theatre.

Squire Performing Arts Centre.

Set in the East Village of New York City, Rent is about falling in love, finding your voice and living for today. Winner of the Tony Award for Best Musical and the Pulitzer Prize for Drama, “Rent” has become a pop cultural phenomenon. with songs that rock and a story that audiences of all ages can connect with.

Based loosely on Puccini's “La Boheme”, Jonathan Larson's Rent follows a year in the life of a group of impoverished young artists and musicians struggling to survive and create in New York's Lower East Side, under the shadow of HIV/AIDS.

The physical and emotional complications of the disease pervade the lives of Roger, Mimi, Tom and Angel. Maureen deals with her chronic infidelity through performance art; her partner, Joanne, wonders if their relationship is worth the trouble.

Benny has sold out his Bohemian ideals in exchange for financial gains, forgetting the bond with his former friends. Mark, an aspiring filmmaker, feels like an outsider to life in general. The way these young bohemians negotiate their dreams, loves and conflicts provides the narrative thread to this musical.

I've seen "Rent" several times before, and as I say quite a lot, a Director can add or take away, or change some of the storyline, which makes watching any show a treat for someone like myself who has seen other productions; this is no different with changes to a couple of the main characters, which I am sure will become apparent later in this review.

The vocals from every single performer are incredibly good. The various ranges of vocals are also excellent, both solo as well as in duets and big ensemble pieces. I do have my favourites but that takes nothing at all away from the power and vocal style from anyone else.

Roger is played by Vivialyn Joynson. The relationship with flat mate, Mark as well as the romance with Mimi were totally believable. Just the sort of person you could take to the pub for a pint. I think the last time I saw Vivialyn was in "The Wedding Singer", where I commented on what a strong rock voice she has. That rock voice is to the fore in this show, a soaring voice that will send shivers down your spine.

Mark is played by David Page. who comes across in his character as someone you can relate to while still being that struggling artist. A magical duet with Joanne in the wonderful "Tango Maureen", and brilliant choreography for this one as well. David's vocal ability is such that whoever he sings with becomes the perfect recipe for a smooth sound.

Tom is played by Patrick McChrystal. What can I say about this man's voice. Every one of that cast can sing. This man can REALLY sing. Absolutely dripping with raw emotion as he sang the reprise of "I'll Cover You". The hairs on the back of my neck stood to attention. Patrick has a large vocal range, which he showcased in this role.

Angel is played by Lu Anthony. I remember seeing Lu play this role previously in Stapleford where she high kicked her way into every audience members' hearts, and in BIG heels at that. She is fun, exciting, their dance moves are incredible, including one in particular that brought a tear to a lot of men's eyes, but Angel will break your heart in their final scenes. Talking of which, the lead up to that scene was very different from what I have seen before.

Mimi is played by Erin Hanby. Mimi is an overtly sexual being, and Erin brought that trait out right from the off with her double entendre laden song "Light My Candle". It wasn't just that candle flame that was hot on stage!

Maureen is played by Eliza Hill. For anyone who has not seen "Rent" previously, there's a scene where Maureen, an artist, performs her show which features plenty of Mooing from an imaginary cow included in the feature song "Over The Moon". This part comic song allows Eliza to showcase the range that she has in her vocal arsenal.

Joanne is played by Laura McChrystal. Loved Maureen and Joanne's duet of "Take Me As I Am", in fact it's one of my highlights in this production because Laura's and Eliza's vocals were out of this world powerful and passionate, oozing raw sex appeal, especially when their eyes met throughout the duet.

Jenny, or to give her full name, Jennifer Coffin III, the hard-nosed owner demanding rent for the property and cutting their electricity, is played by Laura Thurman; it's been an absolute age since I've seen Laura on stage. Every time that I have seen the show in the past, the character has always been Benny, so it made a real difference to see a switch in the gender, in fact the hard-nosed attitude at the start was even more intense and spiteful towards Jenny's former flatmates. It may be one of those roles in the borderline "baddie" category but I love the way this character evolves, and gives Laura a chance to show a different side to her acting skills.

A big ensemble section who invade the stage at times from all entrances, keeping the audience on their toes and providing more meat to this already tasty stew. They consist of Hermione Cumbers, Theo Carey, Madelyne Pritchard, Katie Boswell, Sophie Benner, Scarlett Coleman-Smith, Sophie West, Sophia Goncearenko, Helena Cave, Emily Holder, Preston Nash, Hemi Lewis, Jess Sims, Brogan Haynes, Beth Duffy, Hilary Booth, Daisy Donoghue, Bethany Boswell, Daniel Ivan and Lucy Carey.

Many of the above also gave cameo roles, but there are a few of the ensemble that I'd like to mention, without prejudice to the rest of the ensemble.

I've been lucky to review Preston Nash many times over the last four years or so. This is his last show for Spotlight before he goes down to London. In those years I've had the pleasure of seeing his talent grow, as well as his self confidence and stage presence.

I also wish to mention Brogan, who I first saw and reviewed back in 2019 in "The Sound Of Music". This young man is an absolute all rounder, a very capable vocalist, a natural actor and also a wonderful dancer. He looks so at home with any dance style, but what impressed me this evening was his contemporary and his ballet, He has lovely turned out hands and manages to make ballet look light and easy, which I know is a difficult look for a lot of male ballet dancers.

Daniel Ivan is such a convincing drug dealer; his whole look morphed into a sleazy, shady dealer with ease, his ability to create a dangerous look just by his facial features was quite frightening.

Hemi Lewis is another dancer who you are completely drawn to with her perfect balletic stature.

I think that I have seen and reviewed everyone in this cast over the years, and this show is like watching a collaborative greatest hits of my favourite young actors; the equivalent of a K-Tel collection of chart hits, a "Now That's What I Call A Perfect Cast" for the local musical theatre collection.

The soundtrack is one of my favourites, including the gorgeous and harmonious “Seasons Of Love” as well as “I Should Tell You”, “One Song Glory”, “Cover You”, “Without You”, “Maureen’s Tango”, "Santa Fe" and “Take Me Or Leave Me” being highlights, along with the rousing title song, “Rent”.

Vicky Moroziuk is the Musical Director who gives us some spine tingling moments in the show. Patrick's gorgeous and emotional "I'll Cover You" comes to mind, especially with the choral section part of the way through, as well as Vivialyn's "One Song Glory". "Seasons Of Love" is perfectly arranged and the high notes were all hit with ease. The harmonies sound angelic and have a lovely separation between the various parts. The individual ranges have been really well worked out and fit together like a tasty layer cake.

One thing I did notice in this production though is the gorgeous music behind this score which, without the vocals sound as if they were written by a classical composer, at times the music being quite fragile, strengthened by the lyrics.

The Youth Band members are Isabella Raisin-Moss (Bass), Noah Gamba and Josh Harrison-Bett (Drums), Austin Owen (Lead Guitar), Oscar Lambert-Smith (Rhythm Guitar) and Vicky Moroziuk (Keys). A powerful sound befitting of such a wonderful rock score.

Directed by Liam Petruccio-Hall. Liam has managed to bring out every bit of comedy and emotion from this wonderful musical and his super talented cast.

Choreographed by Bethany Wear. Two scenes in particular really stand out for me; the first being Maureen's performance scene in "Over the Moon" and the other being the full ensemble piece in the long "Santa Fe" scene which has some marvellous choreography. Angel's exciting and athletic choreography, especially in those heels, is breath taking.

The set design looks stunning and hits you as soon as you walk into the auditorium. Created to house the band into the set design with two sets of steps leading to second level. Set design is by Liam Petruccio-Hall and supplied by Oliver Read.

With the stage design being static, there's a fair bit of stage management required with props etc. Stage managed by Nigel Newton, and what Nigel doesn't know about this area of theatre is not worth knowing. Stage Crew consist of Dom Holder and Roman Moroziuk keeping everything running smoothly.

Props, and there are many of them, are sourced by Amanda Hall.

Costumes co-ordinated by Sophie Petruccio-Hall, they create the whole feel of Bohemia, but the piece de resistance being Angel's very eye-catching costumes.

Lighting Designer is Oliver Read. As with the cast, if you use the best, you get the best results, ergo Oliver Read and lighting.

Sound Designer is Rob Ketteridge. At first, I thought that the sound of the band was just a tad overpowering for the vocalists, but then, like Roger's guitar, you soon tune your ears to the overall sound and then realise that it's a tweaking of your ears is what is needed. Bronwen Webster is on Sound 2.

For Rent newbies and Rent-Heads alike, this is one show to see, not least for the incredibly talented cast and the gorgeous score. And if that's not reason enough, check if the 2-4-1 deal on all tickets for Friday evening is still available for you.

"Rent" is at Squire Performing Arts Centre until Saturday 29 August.

 "The Mantrap" by Robert Thomas, translated by Sean Aita.

Tabs Productions

Nottingham theatre Royal.

And just as soon as it arrived, it's reached the final part of this year's Colin McIntyre's Classic Thriller Season, with the thrilling "The Mantrap".

This play is the premiere production of the original play -"Piège pour un homme seul" or "A Trap For A Lonely Man" written by Robert Thomas, sixty six years ago. It was supposed to have been made into a film by Alfred Hitchcock but Hitchcock died before he had the chance to make it. Sean Aita has updated and relocated the basic story to a remote holiday set in Cornwall, but where there is still decent mobile phone reception and has renamed it "The Mantrap".

After an argument at their remote Cornish holiday cottage, Daniel Edwards’ wife, Lizzie, has gone missing. But when she apparently returns, he’s convinced he’s never seen the woman before in his life. Is he suffering from amnesia or is she a fraudster?

Pavan Maru is The Man, aka Daniel Edwards. We first see Edwards in a dark living room, illuminated only by the light of his mobile phone. He's all on edge, worried about his missing wife, who we later discover may be pregnant. As you can imagine, away from everyone they know, his wife missing in a place that is far away from the next neighbour, where neither of them knows anyone, or the area, he is out of his mind with worry, so he calls the local police to report her missing, sending a photo of his wife by email, but after ten days, the Inspector and the local Cornish constabulary are no further finding her as they were after Edwards' initial call.

The Inspector, with a lovely rich Cornish accent, is played by John Goodrum. Throughout the play he feels that Mrs Edwards may have been kidnapped, or even murdered, but why? Suddenly, with the supposed reappearance of Mrs Edwards, he is slowly coming around to the idea that maybe what Elizabeth Edwards is saying, that Daniel is losing his marbles, and with overwhelming evidence that she is who she says she is, the Inspector starts to shift his suspicions.

The Woman, Lizzie, is played by Sarah Wynne Kordas, making this season three out of three plays Sarah has appeared in. Lizzie has been missing for ten days and despite the police's best efforts, remain unfound. Is she missing, or does she not want to be found at this stage? What we do discover though is that she is due to inherit a large amount of money from an elderly Uncle who lives in Paris. Is this inheritance an explanation for her disappearance, or is there something more sinister about Lizzie being missing?

Susan Earnshaw plays the role of Reverand Susan Green and when the Reverand poles up with Lizzie, it seems that the mystery has been solved, as Lizzie had been staying with Rev Green, but this reappearance only adds to the confusion, because Daniel seems to know not this woman who says that she is his wife, despite the evidence stating otherwise. He starts to suspect that maybe the Reverand may not even be who she says she is. Is this paranoia, or is he really as mentally unstable as Mrs Edwards says that he is?

The Visitor, who turns up unannounced, is played by Juliette Strobel, and claims to have met Lizzie in London, and says that she can confirm or deny whether Lizzie is, or isn't who she says that she is. Nat, the hippie, wacky baccy smoking visitor has, literally crashed the party with Ludwig, her van, and that's when the twists really start and Lizzie's real identity starts to be under suspicion, so something, or someone has to go.....

As usual, before the truth is revealed and the plot explained, there are many more twists to come in this finale to what has been another brilliant and thrilling season for Tabs.

Directed by Karen Henson, the mistress of the twisty, turny reveals, keep everyone guessing right to the very ending. With this play being a completely new one, there's absolutely no way that you could work out the ending, and even though I managed to, at some stages, to work out little bits and bobs, I still didn't guess right fully. The pace is excellent, as it always is with Karen in the Director's chair, and that sense of danger and mystery really did keep you, white knuckle on the edge of your seat.

The set is designed by Conal Walsh, who also is the Lighting Designer, creating a thunderous storm of tension and jumpiness. The set, as it always is, is perfection, and looked the ideal place for a quiet Cornish getaway home, the hue being a lovely maritime turquoise, blending spectacularly with the dark blue of the night sky, split only by the dramatic lightning flashes and rolling thunderclaps.

Duncan Hands is the Production Manager.

Deputy Stage Manager is Fran Gardiner.

It goes without saying that the whole cast are fantastic, especially having that ability to evoke such uneasy feelings about these characters and the storyline of their chosen plays throughout the season.

"The Mantrap" is at the Nottingham Theatre Royal until Saturday 29 August. What a way to close the season with something new, but now we have to wait a whole year for the next edition of my favourite murder/mystery thriller performers.

 "Horrorshow" by Chronic Insanity.

1 Fisher Gate Point, Nottingham.

First off, let me say that I hadn't been aware of this venue before, but what a brilliant bijou little place this is. It has a comfy seating area looking out onto the traffic flow, a small bar selling a selection of mouth watering drinks and snacks, and up the stairs there's a performance space that has seen several bands play and for Friday night is home to Chronic Insanity's "Horrorshow"

This is the show that is due to head up to Edinburgh for The Fringe as from 25 August until 31 August at the Summerhall, Anatomy Lecture Theatre (Venue 26).

Written by Doug Deans, what I really liked about this piece, which is just a little over an hour long, is that the story starts at the same place as the story also ends, bringing a complete circle. 

Dan's got a rucksack full of weed that he has stolen from his mother's current boyfriend, and he has a plan that'll definitely work, and also get him out of the family home. There's also something that he has been hiding from his best friend, Ollie. Living on the Isle of Wight, neither have been to the iconic festival that is held on the island and Dan, along with his rucksack, has plans to get them into the festival, and make a bit of money as well. Dan is played by Doug Deans and plays guitars and on vocals.

Ollie's got his A-level reading list and serious reservations, aiming for University and a job in London. They've been mates their whole lives, but they're also becoming strangers, as their lifestyles head off in different directions. Joe Matty, who by the way looks like a young Ralf Little, plays Ollie and also is on keyboards and vocals.

Joe Strickland provides the voices of every other character in the story and is on drums.

Set against the 00s music festival that swallows their town every summer, "Horrorshow" tears into class, nostalgia and masculinity. The musical backing is all by Joe, Joseph and Doug, playing original songs by Anya Pearson of Dream Nails. The songs written for this piece of theatre are incredibly catchy with echoes of The Housemartins, Brit Pop bands and even Chas'n' Dave in a little ditty which revolves around the quantity of beverages at the Festival Bar.

I have my fingers crossed that, maybe sometime in the future, these songs performed in the show will turn up on some streaming site, because they are just too good not to have a lasting record of.

Musical Direction, music and lyrics are by Anya Pearson.

This is such a clever show because it's like listening to a visual audio podcast play, and what I mean by that is that, if you closed your eyes (but why would you) the story is so well delivered that you can picture everything that happens in your mind. This trio provide all the narrative to allow you see, hear and even smell the journey that Dan and Ollie go on.

Directed by Joe Strickland, this is the perfect vehicle for The Fringe, and it's possibly one of the best pre Fringe shows that I have seen. Some short theatre pieces I've seen has left me wanting more; this one didn't because it delivers a story that has a start, middle and end, completing the story that the show has been written to deliver. It's the perfect length with a wonderful storyline that bubbles along at just the right pace. The characters are completely believable, as is the storyline, and with the soundtrack being completely original, this gives yet another big bonus in the show.

There's one more chance to catch this show which is tomorrow, 22 August at Bolton Gate Arts, Stoke at 6.30.

I guarantee that this show is going to be a big success at the Edinburgh Fringe.

 "The Nightmare Room" by Tabs Productions.

Colin McIntyre's Classic Thriller Season 2026.

Nottingham Theatre Royal.

The second of the three plays in this year's Classic thriller season is a play written by John Goodrum, adapted from the 1921 story of the same name by Sir Arthur Conan Doyle. The original story concerned two men, this version switches the genders in this love triangle and updates the story. Tabs last performed this play at the  Nottingham Theatre Royal back in 2018.

When Helen regains consciousness, she finds herself bound and blindfolded in a locked room. Her captor, best friend Catherine, challenges her to a deadly game of Russian roulette to decide which of them will win the handsome film star they both desire. But the game – like the room – is far from what it seems... are they alone in the room... or is there someone watching?

Helen, the mistress and long time best friend of Catherine, is played by Corinne Begluk. Corinne has performed with Tabs in the past, in a time before I discovered what a brilliant theatre company Tabs were, well over a dozen years ago, so this is my first time seeing Corinne.

Sarah Wynne-Kordas plays Catherine, the disgruntled wife. There are echoes of Kathy Bates in the unhinged way that Catherine's mind seems to work, with explosions of anger and jealous rage.

There are flashbacks which give you an idea as to how these two women have ended up in this white room. In contrast with the harshness of the white room, the flashbacks present a warmer glow in ivory, along with a stencilled wall pattern and giant window that you can imagine allowing sunlight to flood in, giving a more pleasant and less claustrophobic feel to the story and atmosphere. These two lighting choices are split by complete darkness in the blackouts.

The timing between the past and present scenes, by Corinne and Sarah, are split second, thanks to the lighting design and operation, as they move back and forth through time, to and from friendlier days. 

These two talented actors keep you right on the edge of your seat, and for just two actors to be able to keep everyone so enthralled is not only an acknowledgement to the wonderful adaptation of the play, the direction and the original story, but to the incredible acting skills of Sarah and Corinne.

Combine the lighting with the sound effects for this chiller thriller, and you'll see just why the sound is so important when you see it, and I can promise that you're in for a white knuckle ride!

After several twists, including one big one to close the first act, you may think you've got it sussed and everything has been revealed, but if that's the case, wait until the second act which has a few more twists in store.....

Directed by Karen Henson, this is an excellent example of how to keep an audience guessing where the story is going, and keeping them on the edge of their seat. The positioning of the bottle of poison on stage reminds us of the ever present danger, but which of them is in danger, and who is the dangerous one? Karen's direction and John's adaptation keep you guessing right to the very end!

The set design, by John Goodrum and Conal Walsh (from an original design by Keith Tuttle). The set is clinical white, almost asylum like in it's look, and it certainly grabs your attention as soon as you clap eyes on it. There is one table, two chairs, a water decanter, two glasses and a bottle of poison. 

Loved the costumes, especially Catherine's power dressing white suit. Helen's black outfit cleverly shows that they are on opposing sides.

Production Manager is Duncan Hands.

Deputy Stage manager is Conal Walsh, assisted by Juliette Strobel.

This is a complete contrast from last week's comical thriller, and again, very different to the final play in the season next week, which is "The Mantrap".

"The Nightmare Room" is at the Nottingham Theatre Royal until Saturday 22 August, but don't have sleepless nights about getting tickets for this brilliant production.... get your tickets NOW!