"The Curious Incident Of The dog In The Night Time" by Melting Pot and Birmingham Rep.

Adapted by Simon Stephens from Mark Haddon’s novel.

Nottingham Theatre Royal.

I first saw this play over a decade ago, and it's since become a firm favourite of mine. I even sought out the book to read.

This production is different to any other version of the play that I have seen as it shows Christopher Boone, as Christine Boone, apart from the gender swap of the main character, the story is practically the same, although the adaptation is different in parts.

The book was written by Mark Haddon and the story, told through the book and through the eyes of Chris Boone, a 15-year-old girl who describes herself as "a mathematician with some behavioural difficulties" living in Swindon, Wiltshire. Although not confirmed in the play, or book, Chris suffers from Aspergers Syndrome, but the play does not focus on this but Chris and how she deals with the curveballs that life throws her, starting with the killing of her neighbour's dog, Wellington, after which Chris makes it her job to turn detective to solve the murder. This is done by the end of Act One which leaves the unfolding of Chris's personal life and the affects her family's actions have made on her.

The play highlights not only Chris's personal lows and triumphs but catalogues the difficulties of being a one parent family, from her father's point of view as well as the mother's, creating a well balanced viewpoint.

It shows Chris's school mentor and teachers, Mrs Shears, who was Wellington's owner, Mr Shears who was the reason, or one of the reasons that Chris's mother decided to leave the family home, and Mrs Alexander, who through Chris's stubbornness to bring the dog's killer to justice, unveils more of the mystery of why Chris's mother left home.

Chris has logged all of these developments in her book and when her father discovers the book and hides it away from Chris, she decides to retrieve her book and discovers more of his past, and that her father has not been altogether truthful about a certain area of her life.

The story could have turned Chris's character into an object of pity, but instead  shows her as the unwilling hero of the piece who gets everything that she had wanted at the start, and all with a happy ending.

Alex Keenan takes on the role of Chris and brings a real visual realisation of a person of neurodiversity via the physicality of Chris. In the past Chris has always been played, or at least the productions that I have seen, by a male actor. Alex brings a new feel and a more delicate understanding of the role I felt, even changing the policeman to a police woman who initially was called to the scene of the dog murder. Both Alex, and Imi Price who shares the role of Chris, are neurodivergent, again adding a realism to the character.

Judy Boone, Chris's Mother, is played by Charlie Brooks, who audience members will know from playing Janine Butcher in "Eastenders", but has also carved a varied career on stage with many wonderful parts, none less the brilliant role in "Beautiful Thing" at the Nottingham Playhouse a few years ago. 

Ed Boone, Judy's estranged husband and Chris's Father is played by Joe McFadden, who people will also recognise from many TV and stage roles.

Completing the cast are Bridgett Amofah, Alex Murdoch, Matthew Bulgo, Jerone Marsh Reid, Carla Garratt, Tom Clegg, Robert Penny and Sera Mustafa, who play several roles each and make up the Ensemble.

Directed by Ned Bennett, the play is fast moving, in parts almost cinematic; it's like watching one scene of a movie changing to the next on a different location, there is literally no time to blink at times for fear of missing something. I'm not sure if it's the adaptation or the direction, but there seemed to be a lot more blaspheming throughout the story, which in parts I thought were not warranted. It also reminded me in parts of a more adult version of "Sesame Street" in the way the story was set out as an educational tool.

Set and Costume design is by Eleanor Bull. It used to be a very technical piece of theatre with a backdrop like an electronic motherboard which throws up lights, images and effects, as well as doubling as storage cupboards for the minimal props. This has changed and has become a more simple affair but with a backdrop of a videography, which worked just as well to tell the story. The video work and Lighting Effects were courtesy of Paul Coxon and Jordan Williams. The Video Design, which was excellent by the way, is by Hayley Egan.

Costume Supervisor is Izzy Pellow.

Lighting is so important in the above, and lighting designer, Laura Howard, did an amazing job with the complicated and technical light patterns and sequences.

Sound Designer and Composer is Giles Thomas. The sound design adds a lot to this production, as well as the original compositions by Giles.

The choreography of the play was almost a showcase of contemporary dance and would have been a joy to watch without the story that wove between the choreographed pieces. Jennifer Jackson is the genius Movement Director. It was magical and hypnotic to watch.

Eve Hall is in charge of the multitude of Props. Here's another big change I noticed as well. There are different props in this production like giant dominoes and large inflatable yellow balls. Loved the way that the letters descended from the roof in an almost flood of correspondence, almost in the same way as in "Calendar Girls".

It's a wonderful story where the title gives nothing away and is only a springboard to the events that follow for Chris and her parents. There is a lot of comedy and some great one liners as well as some excellent choreographed parts, wonderful technical showcase which brings a fresh and extremely modern piece of theatre to the stage, but on a personal level, I just felt that it didn't quite match up to the other shows I'd seen. That said, it's still an excellent piece of theatre with a brilliant cast who really covered the stage, and at speed.

"The Curious Incident Of the Dog In The Night Time" is on at the Nottingham Theatre Royal until Saturday 17 October.

 "Animal Farm" by George Orwell (adapted by Tatty Hennessey)

Nottingham Arts Theatre Youth Group.

Nottingham Arts Theatre.

Earlier this year I had the privilege of seeing a small section from this production when I was asked to be the Adjudicator for NANDA. Tonight I had the pleasure of seeing the whole production.

Sick and tired of being maltreated under their enslavement from man, the animals of Manor Farm revolt. Released from all chains, there is but one key rule: All animals are equal. Yet, as the story progresses we soon see some animals are more equal than others…

Orwell uses the turmoil faced on the farm by the animals as a metaphor for the Russian Revolution. It shows how a people's fight for freedom can quickly morph into a power play as chaos ensues.

Orwell plants lies, illiteracy and even a head hunt throughout the play to explain the oppression, propaganda and excuses that led to the rise of the Soviet dictatorship. Although routed in the powerplay of the Soviet Union, you can very easily see comparisons with Putin, Trump and Burnham in this story, just showing that although first published in 1945, is as relevant now as it was back then.

It's relatively easy for a film to create the feeling of power and fear, but not that easy to do convincingly in the theatre, but both of these feelings are well portrayed here. It takes a talented group to create such an uneasy feeling over an audience but in the second part of this play, the unease of the power pig, Napoleon was apparent.

Young people are so in tune with politics currently, and this powerful, political novel and piece of theatre is ideal to show that they understand what Orwell was saying, and predicted, and it's their understanding that gives this show the bite and attitude that is left on that stage tonight.

Let's head to the Pig Pen....

Napoleon, who becomes the tyrannical dictator of the farm, is played by Andrei Morris, a rare commodity in local theatre at the moment. He is young, male and black, everything that local theatre is short of, and has been for a while. And boy, can he deliver a powerful speech. You see the confidence of Napoleon rising with every speech and his importance on the farm is mapped out by the clothes Napoleon wears throughout.

Squealer is Napoleon's right hand, silver tongued pig, he helps convince the rest of the farm animals that what Napoleon says is the best way forward. Played excellently by Oliver Sheard. I've seen Oli on stage many times over the years and this role has leapt to the top and overtaken my previous favourite Oli role of Beadle Bamford in "Sweeney Todd". There's a feeling of Batman's Joker the way that Oli plays this, and I'll tell you why I thought this. Oli ends every sentence in a very precise way and then, most of the time breaks into an almost sneer; you know the way when a cunning plan is coming together and you just can't help to almost smile to yourself. So, is Squealer the puppet master?

Snowball, the pig who designs the windmill and champions Animalism, is one from the old school. He follows the rules of Old Major, but when he comes up against Napoleon and his dogs, he is soon dispensed. Snowball is played by James Cragg, again an actor I've seen on stage in several roles in the past.

Nutmeg, who heads up the leadership among the pigs and challenges the revolutionary changes on the farm, is played by Darcey Orwin.

Old Major is the prize-winning Middle White boar whose vision of a Utopian, rebellion-driven society sparks the revolution. Played by Zach Silcock who adds another brilliant role to his already extensive theatrical CV.

Minimus is a poet character who writes the poem "Comrade Napoleon," praising Napoleon as a god-like figure, provider, and protector. The role is played by Lizzy Rhodes, who also gets to air her vocals solo in the non rhyming ode to Napoleon.

And so on to the stables and the horses.....

Boxer, the cart horse with immense strength, is a solid supporter of Napoleon's, even though there's doubt towards the end, he too is sold down the river by Napoleon where Boxer comes to a sticky end. Played by Elizabeth Fitzgerald, who shows us that working harder and longer doesn't always pay dividends. You see, not all the commentary is of a political nature, we can take a lot from what Orwell wrote and incorporate it into our everyday life.

Clover, the gentle, motherly cart-horse and Boxer's close companion, who often suspects the pigs are breaking the Seven Commandments, is played by Eliza Szejda. You can feel that close bond between Boxer and Clover, especially so in the latter part of the play.

Playing Molly, the vain, foolish white mare who loves ribbons and sugar cubes, eventually abandoning the farm for human attention, is Mia Woodward.

Lenny Brady plays Benjamin, a cynical, long-lived donkey who refuses to get enthusiastic about the rebellion, believing that life will always remain hard. Benjamin is the clever one who can read and this comes in handy in the second part of this play. Another great character driven role for Lenny.

In the Farmyard there's Blue, the dog, played by Harry Merrick. Blue is taken in by Napoleon's power and whatever Squealer tells him, and joins the ranks, following their orders and policing the farm, which ends drastically for some of the characters who are in danger of standing in the way of Napoleon and Squealer's plans.

Clara, the hen, is played by Tilda Hatton. A rebellious bird who shows that her feathers have been ruffled in a sad and personal way in the second act. Tilda brings out the maternal side of the character in the first act which shows just how strong her feelings are about a certain decision that Napoleon had later set in place.

Milo, the gossipy pigeon who flutters in every now and again to spread the gossip on what she sees in and around the farmyard, is played by Abigail McGregor.

Mr Jones, the drunken, neglectful owner of Manor Farm who is overthrown by the animals, and Mr PIlkington, the easy-going owner of the neighbouring Foxwood Farm, is played by Connie Tegerdine.

A mindless flock of sheep that drown out dissent by bleating slogans like "Four legs good, two legs bad" are played by Sophie Murphy (Minty) along with the ensemble, who cover all the other characters down on the farm, played by Lizzie Kenny, Bethany Winter, La-Mai McKenzie and Polly Sibley. Zach Silcock and Lizzy Rhodes also join the Ensemble.

The show is an Ensemble piece and this production shows just how good a cast of this size work so well with each other.

Directed by Keira Dormer-Hazell who really helps to bring the characterisation of the animals via the cast alive. The snorting and sniffing, baying and barking of the animals, even when not centre stage brings the reality of a farm alive. Keira gets the protagonists to spread doubt and fear throughout the other animals in such a convincing way that you can smell the fear from the auditorium. The pace is held up brilliantly which results in the length of the show coming in at two hours, with interval. As with my preview for NANDA, it left me wanting more. Assisting Keira was Jack Kent.

Stage managed by Cathy Bodman who encouraged the slickness and smooth running of the story and performance. Rosa Lymer was Deputy Stage Manager.

The set design was basic but that was all that was needed because the story itself shone in the hands of this cast. Nothing was needed to distract on stage, but the several props that were required were all relevant and used well. I imagine that the design may also have been in the vision of Keira's mind, to keep the staging simple and effective.

Wardrobe is not mentioned but I felt this played a very important part in the play and the story. As you'd expect, being on a farm yard the basic costumes, T Shirts, dungarees etc were mud stained to show the work that the animals do. But as I mentioned earlier the rise of importance was also depicted by the upgrade of the costumes with Squealer and Napoleon moving from vest and pants to suits and ties.

I loved the music used in the show; a style of industrial music, imagine New Order and Factory records style and that's what you got. Another thing I liked as well was that Sound Operator George Wilson was not afraid to use the volume button, and this in itself created that oppressiveness felt by the animals and it injected fear.

I also loved the contemporary choreography, which in a way reminded me of another George Orwell piece, "1984" with the struggles involved and Big Brother watching everything and ruling what you think, say and do. Just another gorgeous piece of a gorgeous jigsaw.

Lighting design is by Oliver Read. This design also created the perfect atmosphere needed for the story.

I've seen a few productions of Orwell's "Animal Farm" and this is right up there with some of the best. This though had a strangely modern feel, maybe it's because of the state of the UK and the world at the moment with someone trying to make the majority believe in something that maybe isn't quite as honest, where rebellion may just be around the corner.

"Animal Farm" can be seen at the Nottingham Arts Theatre on Sunday 11 October at 2pm. Saturday evening was very well attended and I am hoping that Sunday will be just as popular because this cast and crew deserve your attention of this classic story.

Photography by Martin Holtom

 "The Sound Of Music"

ESNA Theatre.

Loughborough Town Hall.

Based on Baroness Maria Von Trapp’s 1949 autobiography, this wonderful staging of The Sound Of Music tells the true story of nun Maria Rainer, who is sent to be a Governess to Captain Georg Von Trapp's seven children, Liesl, Friedrich, Louisa, Kurt, Brigitta, Marta, and Gretl, who she managed to win over with her attentiveness and kindness.

This isn't just any family though, these are the world-famous singing Von Trapp family. Music saves the day after he hears the children singing, which brings back memories for the Captain. Things don't get off to the best of starts though and the Captain orders Maria back to the Abbey.

After Maria returns to the villa, she learns about the Captain's engagement to the Baroness Elsa Schraeder and agrees to stay only until they find a replacement governess. The Captain though has feelings for Maria which are now stronger than those for the Baroness, so calls of the engagement and marries Maria instead.

From their romantic beginnings and search for happiness, to their escape to freedom over the hills as their beloved Austria becomes part of the Third Reich at the start of World War Two, it's all here.

I must say that this week I have been completely spoiled theatre wise, and here is another one of my favourite things to see on stage.

Maria is played by Hannah Oxspring, who I don't remember seeing on stage before, apologies if that is not the case. Hannah has a voice made for musical theatre, powerful, tender, controlled, strong, she has everything in those vocal chords, and she makes it sound so easy, as well as beautiful.

Captain Von Trapp is played by Darryl Clarke. You need to have a powerful voice and stage presence, showing authority, for this role and Darryl most certainly has both requirements for this role.

Mother Abbess is played by Emma Adcock. One of the standout songs in this musical is of course "Climb Ev'ry Mountain" and Emma gave me the tingles with her powerful and emotional performance of this showstopper.

Elsa Schraeder, the fiancée to Captain Von Trapp, is played by Jenny Stuttle. Elsa has a staid disposition, which is probably why Georg is attracted to her, but I always felt that Elsa gave up on the Captain just a little too easily.

Max Detweiller, the family friend who arranged the music festival and tried to convert the Captain to follow the predicted German route, is played by Gareth Busson. Gareth I have seen on stage before so I knew what an excellent character actor he is. You have to feel for Max, and Gareth brings that emotion out of the character, because he is torn between what he has been ordered to do by his superiors, and the Captain's patriotic feelings.

Rolf is played by Jude Bruton-Lang. I love the innocence of the song "Sixteen Going On Seventeen" which Rolf duets with Liesl on. If I remember correctly, it's been ten years since I last saw Jude on stage in "Little Shop Of Horrors". He has matured well since then and he has a lovely voice for musicals, and he has turned out to be an excellent dancer.

I loved the change from quite a frosty character to a warmer Frau Schmidt, the Von Trapp housekeeper, played by Liz Bristowe.

Franz, the male servant at the Von Trapp residence is played, with authority, by Simon Page.

Sister Berthe is played by Clare Hazeldine, Sister Margaretta is played by Beth Dring and Sister Sophia is played by Alex Hayter.

Herr Zeller, the antagonistic German Official, is played by Josh Hill and Frau Zeller is played by Naomi Dring.

Baron Elberfield, who we see getting into a bit of an argument with Herr Zeller at Capatain Von Trapp's party, is played by Martin Tailby and Baroness Elberfield is played by Janette de Voil.

Philip de Voil takes the role of Admiral Von Schreiber, a high-ranking officer in the German Navy who chases up the Naval position presented to Georg.

There are two teams of children, Team Rodgers and Team Hammerstein, Friday night's team was the latter. The children on Friday night were played by the following..... Anna Mitchell (Liesl), Austin Parker (Friedrich), Eliza Fardell-Wilson (Louisa), Rio Hatcher (Kurt), Dotty Dakin (Brigitta), Violet Coxon (Marta) and Sienna Hubbard (Gretl).

This team, and I am sure that Team Rodgers are just as wonderful, just ooze talent and confidence. The choreography is executed by them to an extremely professional standard, the hands turned out and all toes that should be pointed were just that; it was clean and precise. The choreography for "So Long, Farewell" was original as well.

All seven youngsters brought out the character of the roles brilliantly, and I loved the cheekiness of Rio and Sienna. This could have been a group of the like I see on Nationwide professional tours, in fact the whole cast and the production could match any professional touring show.

Whoever says "never work with children" should work with this lot because the talent and confidence is off the scale and their energy is completely infectious.

There's a big Ensemble who consist of Ruby Armes, Kirstie Bennett, Louisa Chadwick, Julie Dean, Nicola Dexter, Chris Dimelow, Lewis Fenn-Griffin, Clare Malpass, Becca Newton, Jo Pack, Sharavan Rosh Rajendran and Martin Tailby, all of which bring energy into their scenes.

Directed by Sally Burton this show is really special, and that's what Sally brings out of the story and the cast, that special element. It's a large cast but the flow of those characters throughout makes the show look and feel unhindered. It's also a longer than average show, but with sally at the helm, it didn't seem as long as it is, and I also liked the new elements that I can't remember seeing in other productions I'd seen, like the puppetry at the start of the second act. These things keep a show fresh.

Musical Director is Hazel Needham. This is the first time that Helen has worked with ESNA. The score for the show is iconic; many of the songs were Sixties chart hits for some big names like Vince Hill and Shirley Bassey. Helen and the seventeen piece orchestra deliver the lushness of the music while the harmonies are excellent, especially those that include the children as well as the nuns' sections. I was half expecting the roof of the Town Hall to open and a heavenly shaft of light to illuminate the stage. Hazel's arrangements for these songs also sound fresh.

The soundtrack includes many, many well known songs, "Maria", "Climb Ev'ry Mountain", "Do Re Mi", "Sixteen Going On Seventeen", "Edelweiss", "The Lonely Goatherd", "So Long Farewell" and of course the title track. Some clever lyrics from Oscar Hammerstein II in many of these songs; just listen out for the way he uses the word "mercedes", and of course some lush music from Richard Rodgers.

Choreographed by Nicola Scoggins. This is one area which has a very traditional structure and Nicola creates a really faithful set of choreography, as well as a variety of dance styles, all very stylish and classy. Again, taking in mind the size of the cast, especially in the ballroom party, there's a lot of work put into this show, and it all looks so sophisticated. The children in the cast are a real credit to Nicola because their choreography is as classy as the dances for the adults.

The costumes are from Costswold Costumes and Liz Bristowe and are as fabulous as you'd expect them to be for such a classy show.

Stage managed by Duncan Gadsby. Every aspect of this show smacks of professionalism and that includes the smoothness of the scene changes and management of the cast and set, supplied by Scenic Projects. The set looks fantastic, especially the ballroom scene.

Props are supplied by Julie Dean and Jenny Stuttle.

Technical Manager is Simon Pack.

Lighting is by James Cladingboel with sound by Melissa Underwood and Andrea Simpson. Together both areas of production added the final layer of sheen to what has proven to be a gorgeous piece of theatre.

"The Sound Of Music" is one of those musicals that we seem to recall from the film they put on at Christmas and being just a bit twee, but with the great score and also the emotional content, plus, depending on which way you view the ending, is neither a happy one or a sad one.

You can see "The Sound Of Music" at Loughborough Town Hall until Saturday 10 October.