"Shopping And F***ing" by Mark Ravenhall

Nottingham New Theatre

This could be the hardest or the most easiest reviews I've written so far. Hardest because of the content of the play but easiest because of the way the play was presented.

I spend a lot of time reviewing musicals, comedies, classic tragedies, dramas the ballet and opera but this play is in a league of its' own. The cast are very brave for tackling the subjects within the play, but I am so glad they have, because this play needs to be seen.

There are two scenarios which involve Mark, Brian, Lulu, Robbie and Gary. Why the writer used the names of four of the members of Take that and Lulu, who of course recorded "Relight My Fire" with the band, I don't know.

Lulu and Robbie's scenario is built around selling ecstasy for Brian, who Lulu approached for a sales job. After Robbie decided to give the pills away instead of selling them, Brian told them they have one week to deliver the £3000 from what should have been the sale of the drugs. He played them a short film of the last person who failed in the selling task. Spurred on by the film they both took to selling sex over the phone, but they had to find the last £1000 another, more gruesome way.....

Mark has just come off of drugs and has been kicked out of a self imposed drug rehabilitation centre due to him breaking one of the rules. He latches on to Gary and they strike up a relationship which involves money transactions. This is so that Mark believes that there is no emotional involvement.

Through this "relationship" we discover the most harrowing of stories of Gary's past. Mark takes Gary back to his place to show him where he lives and they run into Robbie who was previously in a relationship with Mark. Robbie still has feelings for Mark and is wildly jealous of Gary, who admits that he has no feelings for Mark. During the conversation Gary reveals even more and Robbie sees a way of how to reap back the shortfall of the £1000 they owe to Brian.

The final scene involving Mark, Robbie and Gary is one of the uneasiest I've seen in the theatre.

I've always said that theatre, music, art, books etc should evoke an emotion and this play certainly does that. You feel sick at Gary's history and his future, but he doesn't know any different, which again is just so sad because this sort of situation still goes on, even in 2016. You feel anger at the people who did what they did to Gary.

You also feel anger anger at Brian for using Lulu and Robbie and for the power and the hold he has over them, and just when they, and you, feel they have managed to escape his evil clutches, you and they realise that this is only just the beginning. You feel sadness, anger, horror but there's also a modicum of laughs here as well.

There are few plays which focus on gay lifestyle and the way that gay people are treated in society. "Beautiful Thing", "Priscilla", "Kinky Boots", "Bare" and "Rent" come to mind but this is written with such base reality, the rawness of the script, the language and the content of the play really hammers it home that being openly gay is still not wholly accepted, and abused in today's society. Things still need to change. Attitudes still need to change.

The cast are nothing short than brilliant. They inject the passion and, for them, I can only imagine that this play leaves them totally exhausted, physically and emotionally, But what guts they have for bringing this wonderful piece of theatre to the public forum.

Charlie Jamieson (Mark), Duncan James Mcgillivray (Brian), Lara Cowler (Lulu), Cameron Walker (Robbie) and Ted Marriot (Gary) threw in every ounce of emotion. You wouldn't be able to ask for any more from them, especially Ted with his heart-breaking story of abuse and low expectations was especially outstanding.

Produced by Rory O'Shea and directed amazingly by Liam McLelland. This is Liam's directorial debut for NNT and with the standard being set so high, it makes you wonder where he will go next to better this one.

Clever use of lighting to separate the scenes with the lighting designed by Harry Bridge. This design highlighting the equally clever yet simple set design by Darcey Graham.

This was my third visit this week to the Nottingham New Theatre and I have had the pleasure of seeing an amazing amount of talent from every actor over the three plays this week. The naturalness and rawness has just blown me away, and if this is the measure of the talent coming up through Nottingham's universities, I for one am very excited for the future of drama in Nottingham.

"Shopping and F***ing" is on at The Nottingham New Theatre until Saturday 30 April 2016 with a matinee performance as well as an evening show. Whether you're straight, gay, bi, transgender, or from another planet, I'd urge you to see this play because it is a very humbling and emotional piece of theatre performed by a gutsy group of actors.

"Ladies Down Under" by Amanda Whittington.

Burton Joyce Players.

Written by Amanda Whittington and the follow up to "Ladies Day", this is the story of four ladies, Pearl, Jan, Shelley and Linda who have won half a million pounds at the races and they decide to take the holiday of a lifetime to Australia. It's a voyage of discovery for all four and they all discover something about the others and themselves.

Deborah Craddock is Pearl who has to make the journey and discovers all sorts of new things while down under. She has just discovered something about herself which is the reason why she had to make this particular trip.

Kathy Matthews, as Jan, is due to meet Joe at the airport in Australia and when he doesn't show up, Jan believes that she has been dumped, which couldn't be further from the truth.

Sally Panter is the designer label loving Shelley who's also on the look out for a fella on this trip. She has a complete turnaround by the end of the four week holiday and she has grown into a whole new woman, and there's a surprise for her at the end as well.

Linda also comes away from the trip a changed woman. At the start of the trip she is like a little mouse who wants to please everyone. At the end there is a distinct change to her whole appearance and attitude after meeting Koala Bare and Bondi Bitch!

Gavin Alston plays Bill, one of the airline stewards, along with Tom Mchugh as Ben. Both very camp characters and both actors deliver a gem of a scene before the take off commences. You wouldn't want to fly with them!

Daniel Ison plays the beach bum Shane, as well as donning a set of high heels and frock as Bondi Bitch, And a very convincing drag queen he makes as well! Pair Daniel up with Gavin as Koala Bare and you have a dynamite drag duo, Gavin's outfit is very Kylie "Showgirl" outfit with skyscraper heels making him tower over the other actors. Bondi and Koala do a wonderful version of the camp classic "I Am What I Am" which gets the whole audience clapping along. A real class act!

David Matthews plays Jan's male friend, Joe with Marcus Whybrow playing the dual role of Tom and Danny, the outbacker who befriends Joe and also does a bit more befriending by the end of the play.Charlie is an old "hippie" character who is friends with Shane. played by Patrick McDonough who also just happens to be the director of this very amusing play as well.

A brilliant cast who all deliver every time I see them, as do all of the Burton Joyce Players, and that's what keeps me coming back for more from these talented bunch of actors.

There's a backdrop screen which sets the scene for the different settings and the sound effects and soundscape create an aural delight, making you feel that you were at the airport or by the sea,

A very funny story, some wonderful lines delivered (I loved the quotes from Shakespeare which were matched by Linda with quotes from Madonna's lyrics), Brilliant costumes by Yvonne Wright and Jenny Harwood, especially the drag outfits and wigs, nice scene setting and props, all went to make one of the funniest of plays I've seen of late. The Australian accents could have been a bit stronger but that is the only a minor point. It definitely didn't detract from my utter enjoyment of the play.

"Ladies Down Under" is on at Burton Joyce Village Hall until Saturday 30 April 2016 and I believe that there may be a few tickets left, but don't hang around cobber because the first night was very close to being sold out.

“Electric Nebraska” by Tom Willis
Nottingham New Theatre.

Set in the more intimate studio theatre of the New Theatre building on the University  Campus, Tom Willis has written what could be a future masterpiece in the style of Quentin Tarantino. Tom, in my humble opinion, has a future in writing scripts for plays, films, whatever medium he’d like to work in as this play had me captured from the first scene to the last.

Set in upstate New York, Joe Lastowski, his wife Abigail and daughter Jeannie are struggling because Joe has just quit his job because of the way the boss was treating him. He meets a business man in a bar who gives him a tip on a “dead cert” winner of a horse called Electric Nebraska. After a lot of soul searching as to whether he can afford to gamble the little money he has, he takes the risk and places the bet. The horse doesn’t win and Joe loses the money. Joe’s not happy with this or Cus, the businessman who gives him the chance to win his money back, and decides that if he isn’t going to get his money back, then revenge is on the cards…..

The writing, acting and directing of the play creates a real air of tension and near the end of the play you realise that it could go one of two ways. Added to this the wonderful soundtrack including The Crystals, Billy Swan, Bruce Springsteen, Hank Williams and Dion and the Belmonts. The writing is descriptive and rich, almost poetic at times. You get a rounded image of the characters when each of the three main characters take time out to tell the audience their “journey” to how they got where they are at that moment in time.

Shannon Smith as Joe, the head of the family, is excellent as the father who wants to provide and do what’s best for his family. He has a good social life but when pushed to the edge, Shannon brings a whole new side to Joe’s character.

Rachel Angeli is Abigail, the wife. A good solid performance and what a brilliantly consistent accent, always showing concern for her husband and daughter.

Jeannie, the daughter, played by Natalia Gonzalez, is intelligent, a budding writer and at 15 wants to be like her parents, sneakily grabbing a cigarette and a drink when left to her own devices.
Joe’s best friend and drinking buddy is Sam Kovic, played brilliantly by Aaron Tej. A proper male buddy; drinking. smoking, swearing with a bawdy sense of humour. A brilliant character driven role,which looks very natural for Aaron.

Joe and Sam’s joint friend is Dianna Casey, who also likes a drink in the bar. She comes across as the perfect female drinking partner who you know there’s going to be no sexual involvement, although there’s one piece of the play that hints at something that may or may not have happened in the past with her and Sam. The topic of the one bedroom apartment in Vegas was swiftly glossed over!
And so to Cus, the proverbial cat among the pigeons in the play. Played by Nick Gill with a wonderful devil may care attitude, in fact he could have been the devil personified as he mocked, teased and berated Joe for accepting the tip on Electric Nebraska and blaming him for his stupidity at having lost the money. He knew just what buttons to press and when he pushed Joe to the edge, he didn’t stop there. Small in stature compared with Joe, he didn’t even flinch when Joe offered him outside to settle their differences, even threatening Joe with coming back with more than anything Joe could threaten.

Nick completely enveloped himself in the role and some of his facial mannerisms were wonderful to behold. The almost sneering attitude made you want to punch him, and that’s so good for an actor to be able to make an audience member feel such emotion, as long as it’s towards the character and not the actor. In the same way as you felt for Joe’s predicament, you wanted something bad to happen to Cus.

The end of Act One leaves you wondering what Act two brings with a rather unnerving presence with Cus  covertly watching  the family in the bar.

A simple but effective set consisting of a table and chairs for the Lastowski home which bled nicely into the bar area for the secondary setting of Mike’s Bar

Director Harry Bradley has got together a brilliant cast and managed to create such an atmosphere that made you feel on edge for a lot of the time.

Part of that atmospheric feel should also be attributed to the lighting design of Joanne Blunt. The feel of the era, 1979, was also made the more realistic by the costumes, designed by Laura Jayne Bateman. No mention in the programme for the sound design which, with the sound effects and musical sound bites, which were very well chosen for the era and the feel of the play.

In summary, this is a play which deserves a wider audience due to the excellent writing and acting. In fact everything about it is retro-fresh and there’s definitely an audience for this film-noir style of theatre. I for one can’t wait to see what’s next for the actors and Tom Willis.

"The Rocky Horror Picture Show"

Nottingham Theatre Royal.

The iconic Richard O Brien penned musical returns to the Nottingham stage with a new cast which when I heard of the cast list, I'll admit I was a little dubious, having previously enjoyed the incredible David Bedella as Frank n Furter. How could his successor fill those heels and that corset and be as deliciously sinful, as well as funny?

Well Liam Tamne, who we know from his brilliant version of "This Woman's Work" on The Voice UK, actually did a very credible job as Frank. He managed to look and sound the part and by the end of the show all of my doubts about him filling the role were dispelled. he strutted and flounced in those heels and his voice was dripping with lust and at times really tender.

Brad and Janet, the naive and virginal pair who just happened to break down near Frank n Furter's place were played by Ben Kerr, standing in for Ben Freeman, and The X Factor's Diana Vickers. What a delightfully good looking pair and both actors possessing great voices for the roles, While I was looking forward to seeing Mr Freeman take on Brad, Ben Kerr was just marvellous in this role. I'd be happy to pay to see Ben Kerr as Brad, as opposed to him being billed as the Understudy to Ben Freeman. I was very impressed with both Ben and Diana.

Kristian Lavercombe was everything you could ask for from Riff Raff, but as Kristian has played this role almost a thousand times, you understand why he looks so at home in the role. I love Richard O Brien as Riff Raff but Kristian is as close to the main man himself as you're going to get. A brilliant fun role which he just nails.

Rocky, the "creature" Frank n Furter creates to relieve his tension has changed a bit since the original film. No longer blond and no longer with gold pants, but still rippling with muscles and good looking, Dominic Anderson takes on the role with leopard skin pants replacing the original gold ones. He smoulders through the role and is great eye candy for the show.

Eddie, the biker played by Meatloaf in the film, seems to be just an added on role which has been kept in from the film but seems to have no real relevance to the plot in the way he did in the film. Paul Cattermole, who you may remember from S Club 7, but may not now recognise, plays Eddie with his one song, which again, for me seemed to lack relevance in 2016.

I loved Sophie Linder-Lee as Columbia and Kay Murphy as Magenta. Both very sexy and great fun to watch.

Richard Meek played the wheelchair bound Dr Scott and Steve Punt, from Punt and Dennis fame was the narrator. the narration ever so slightly updated in parts from the last time I saw the show.

A brilliant live band was crisp and powerful and you felt the power of the band hit you in the chest but all the while not drowning the singers, Under the musical direction of Ben Van Tienan this band rocked!

Directed by Christopher Luscombe, an absolute legend of the musical theatre world, he has kept this show fresh and still an absolute blast to watch.

You'll love the set which has a real space age feel about it while combining it with the typical haunted mansion creepiness.

The lighting of the show also had a space age, futuristic feel which worked really well and was designed by Nick Richings.

As you'd expect the costumes for everyone were fantastic, as were the wigs.

Still one of the best fun musicals to see although I felt there was a reduction in the audience participation stakes this time round, although the whole audience got up for "The Timewarp", if not the first time, the second time round. I also thought that there weren't as many people dressed as characters in the audience. Maybe the weather put them off a bit.

"The Rocky Horror Picture Show" is at the Nottingham Theatre Royal until Saturday 30 April 2016. a show that can't be toucha toucha toucha'd for sheer entertainment value and sauciness.

"The Tempest" by William Shakespeare

Nottingham New Theatre.

On the 400th anniversary of the Bard's death, Nottingham New Theatre performed "The Tempest". I had expected that the NNT may have updated the play but I was pleasantly surprised to find that there hadn't been much updating at all and they stayed relatively loyal to the Bard's script.

Director Chris Trueman and producer Emma Kendall may have injected a few modern ideas into the play but on the whole they lovingly kept, what is a brilliant story, an even more brilliant story, getting the balance just about right. I can only imagine that taking on a classic piece of literature and theatre was not the easiest of tasks either. Emma K was assisted in the production stakes by Emma Summerton.

The story is of a wizard who causes a storm to shipwreck his enemies and they end up on a "magic" island with comical outcomes. There are cheeky spirits, a jester, a slave monster and a butler. Combine this with a love story and you have a very entertaining plot.

Maddy Strauss had the daunting task of playing the most well known of The Tempest's characters, Prospero, but she did a brilliant job as the play's protagonist.

Prospero's daughter, Miranda, was played by Felicity Chilver. One half of the love story and naive but loyal. then Ferdinand comes into her life and the two fall head over heels in love, and don't they make a lovely couple.

Ferdinand is played by Thomas Dooner and it's difficult to believe that this is his debut with NNT. He has a real feel for Shakespeare's words and delivered them with such conviction and ease, as if it were his native tongue. Hopefully we'll get to see more of Thomas in future productions as he is a natural actor.

Ariel is always thought to be male but Ariel's form and gender, as Prospero's spirit helper has never been confirmed. Anna Scholes plays the role mischievously and is a real joy to watch the fun element she brings to the play.

The slave monster, Caliban, starts off looking really quite frightening but, after the odd glug of alcohol turns out to be just one of the lads on the magic island, which he really thinks is his. Malcolm Jeunet was great fun to watch play this part.

Emily Sterling played Alonso, father of Ferdinand. Matt Standen played Sebastian, the brother of Alonso and Daniella French played Antonio, who is Prospero's brother. There's a very funny scene when the two are on guard and about to kill Alonso, when he wakes up to see the pair with swords drawn, only to dream up the excuse of chasing off lions.

The elder statesman of the play, Gonzalo, is played by Bernie Kerr, who really got into character as the wise old man who delivered a wonderfully poetic piece in Act One describing the island.

Bringing the true comedy to the play are the characters Trinculo and Stephano, played by Laurence Cuthbert and Josh Mallalieu. A brilliant choice of casting these two. I've seen both Josh and Laurence before in productions and they never fail to raise a smile. Playing a drunk who sings could produce some strange noises but Josh really has a good singing voice; powerful and strong and would love to see him have a go at musicals. Laurence has a natural flair for comedy and between the two characters, they deflate the power struggles and petty arguments of the others.

Really making this play special was the constant soundscape designed by Joanne Blunt and the exciting lighting design by Sam Osborne.

i must mention the make up as well which was fantastic, from the plain white Pierrot faces to the slave monster's demonic look.they were all really effective.The hard work of Sasha Gibson and Emily Sterling.

A great way to celebrate the Bard's 400th celebration of remembrance, and I think that he would have approved, even of the celebratory disco dancing in Act Two.

Wonderfully entertaining and a real pleasure to see actors of these tender years embracing the works of Shakespeare with such obvious love of the work and with total understanding of the script.

"Kings" by Daniel Hoffmann-Gill.

Nottingham Playhouse

I love plays which are different and evoke emotions and this is one play that ticks both boxes. Written by Daniel Hoffmann-Gill and based on personal experiences from working in a men's refuge, This is a gritty and powerful piece of drama which should be seen by as many people as possible. The wonderfully emotive direction courtesy of Fiona Buffini.

The play itself starts with Wayne, played by Joe Doherty, having a fit on the floor, which sets the reality of the play going. He is due to move out of the shelter to a place of his own, but he's nervous about being on his own and away from the family he knows at the shelter. He's only young and this is a big step for him.

Big Dave, played by Tim Baggaley, is a one-armed ex-soldier who lost his arm in The Falklands. He lost his son and since then has tried to commit suicide several times. He even tries to get the local "bike" to try and help him finish himself off, but not in the way she had envisaged; terrified she flees from the hostel. He is angry and has a coarse line in vocabulary, and keeps getting told off by Barry (Chris Lund) for swearing. Also probably one of the best entrances into a play I've seen of late and some brilliant comedy surrounding replacements for Big Dave's arm.

There's a lot of swearing, and I mean proper swearing, but that is what makes this play so raw and real.

Barry has been told by his mum that he shouldn't visit the "island" again and not to mix with the "freaks" at the hostel, but he loves the company of the others and being an important cog in the system that they have going on.

Kirky (Dominic Grove) is the character that drew the most emotion from me. He is the one who takes care of the others, making sure that they are all OK. Sarah (Sophie Ellerby), who is the case worker at the refuge, drops hints that Kirky would be OK to move out of the hostel. He looks after every one else so can surely look after himself, but Kirky feels that the others need him.

There is a very emotional outburst in the second half of the play with Kirky, which really plays with your emotions, and is quite frightening and shocking. A harrowing portrayal by Dominic of a troubled character who isn't quite the "rock" he lets people think he is.

And then there's Elvis, played by veteran actor James Warrior. He thinks he is Elvis and sings at local clubs and bars for pocket money and the odd stuffed animal; Elvis the character that is, not James the actor. He also does the warm up for the show which gets you into the play as you're taking your seat.

It's brilliant to see actors who have disabilities playing characters who have disabilities. You can't get more realism that that, and immediately lends more empathy to the characters, not that these very strong characters would readily welcome empathy because that's the way they are.

So, Wayne is leaving the home and the rest want to give him a send off that he won't forget, so they all record a bit of film to show what he means to them, You can feel the love all the characters have for the lad, and they're not afraid to show that love which again is a brilliant touch. A group of men of all ages and all have different disabilities not afraid to express their love for each other. Sounds soppy but it's not, it's a brilliant show of support and understanding of each other's needs.

There's also quite an emotive discussion about how hospital radio had an effect on two of the characters, which, for me was lovely. This led to another emotive scene when one by one they all joined in to an accapella version of REM's "Losing My Religion"

Among the emotion and passion there is also a lot of comedy involving dinosaurs and strange headgear, which you'll need to go and see to find out exactly what I mean!

A simple set, all revolving around the communal area of the hostel with the simple but effective sound and light design by Martin Curtis. It was ideal for the intimate performing space of The Neville Studios and while I'd love for loads of people to see the play, it wouldn't work as well in a bigger space.

"Kings" is a very special piece of theatre. Special because it will evoke emotions from you, I guarantee, Even if you don't quite understand what is supposed to be happening in act one, this is a grower and in act two it all comes together.

"Kings" is on at the Neville Studios at the Nottingham Playhouse until Saturday 30 April 2016.

“Rock Of Ages” by Heanor Musical Theatre Company

Mansfield Palace Theatre.

Billed as “The Biggest Show In Town”; this could be true as Mansfield isn’t the biggest of towns, this is the first production that I’ve seen from The Heanor Musical theatre Company, and a pretty impressive introduction it was.

“Rock Of Ages” is the story of a club, The Bourbon Rooms, one of the best clubs on Sunset strip. A venue for the rock chicks and rock guys. Run by Dennis Dupree with rock emcee, Lonny and wannabe rock star Drew. Drew bumps into Sherrie, the new girl in town after she was mugged seconds after she stepped foot in the city. Love walked in to Drew’s life.

All does not go to plan though as a German business man is planning to bulldoze the strip which of course includes The Bourbon Rooms. How are they to save the club? Will Drew and Sherrie become more than just friends? Will the dreams created become a reality? All is revealed by the end of the show!

I know, the storyline is a bit lame but it’s a good set of bones to hang a brilliant soundtrack of some of the best rock songs to. And these are delivered with great gusto with a live rocking band, complete with two brilliant guitarists, Richard Shaw and Ian Marshall who rock out at the end with the classic crowd pleaser “Don’t Stop Believing”.

Ben Jones as Lonny, as well as the narrator of the show, brings a lovely comedy element to the show as well as having a very decent rock voice.

Drew, the wannabe rocker, played by Tom Lucking, not only has the rock look but also has a really good rock voice, highlighted more in the second half of the show

Gemma Blake, is the love interest Sherrie, and like all the cast, she looks like she is having an absolute ball doing the show.

Paul Mills plays club owner Dennis Dupree, and again adds a lot of the comedy to the show. There is a brilliant camp section (one of many) where Dennis and Lonny sing to each other Reo Speedwagon’s “Can’t fight This Feeling”, which has to be seen to be believed. Plus a very funny angelic appearance near the end. Heavenly!

The German contingent of the play is represented by Paul Whitworth as Hertz Klineman and his son Franz Klineman, played by Brett Walker. Another brilliant comedy outing, or not as we learn later on in the musical, earning Brett a rapturous and well deserved round of applause.

Al Tandy plays rock god Stacee Jaxx (also doubling as Sherrie’s father and a policeman), and another wonderful performance as the hard rocking, alcohol infused womaniser. A role he looked absolutely at home with.

Aine O’Neill-Mason played Regina (so that’s how you pronounce it!!) and another cracking female voice, so powerful was her voice, she didn’t really need the amplification of a microphone. And what a cracking smile as well.

Running the "Gentleman's club" aka "The Venus Club" was the job of Justice Charlier, played by Katy Freeman. Real soulful voice and while having punters to "satisfy" she kept a heart of gold when she found out about Sherrie's love for Drew. A nice doubled=edged performance by Katy, getting the balance just right.

Quite a big ensemble cast who I’d love to mention all by name but won’t due to space, but be known that you all really swelled the stage vocal wise and talent wise.

Choreography, by Josephine Walker, was typical rock style which looked so good in the ensemble sections.

Directed by Kim Harris and what a great feel good atmosphere he created through the actors and the whole show.

A brilliant live band under the musical direction of Emily Marshall-Sims. At times it was almost like being at a rock concert such was the power emitting form the stage.

Also creating that rock concert feeling was the lighting of the musical. I couldn’t see a credit for in the programme, but a brilliant atmosphere was given by whoever was the talent behind the lighting design. Really good timing on the cinematography backdrop as well.

A brilliant soundtrack, often mashing songs a la “Glee”, including Slade’s ”C’Mon Feel The Noize”, Twisted Sister’s “I Wanna Rock” and “We’re Not Gonna Take It”, Whitesnake’s “Here I Go Again”, Europe’s “The Final Countdown” as well as some brilliant rock ballads like REO Speedwagon’s “Keep on Loving You”, Poison’s “Every Rose Has It’s Thorn”, Survivor’s “The Search Is Over” and Foreigner’s “I Want To Know What love Is” among many other classics.

If you want a good night out with some great rock songs and lovely comic touches, then the beautiful surroundings of Mansfield Palace Theatre is the place to head for, but it’s only there till Saturday 23 April 2016, so go on get your rocks off this weekend.

"Oedipus" by Nottingham New Theatre.

Nottingham Lakeside.

What I saw at Lakeside was not what I had expected. I knew that this Greek tragedy would be a little different in the hands of director Martin Berry, but this play has been picked up and shook up and has been completely revisited in a very novel way.

As you seat yourself down, it's like you've appeared mid way through a rehearsal with some of the cast doing sound checks and looking for props that may have gone walkabout. This immediately gets you into the mood for what is to come and associates you with the players; always a clever move I feel.

And then there's an introduction to the play and what you're about to see and what you can expect, again something unexpected. And so into the action...

There's plenty of drama and several ironic moments, which I won't spoil here. Oedipus is given away at birth, not knowing his parents. He ascends to King status but wants top know about his past and his parents, but what he is told is not what he wanted to hear. He finds out that he has murdered his father and has married his mother; neither parties here realised this at the time, because you wouldn't would you?....especially if you knew? Stricken with grief he takes drastic action after his mother/wife takes her own life.

All this is typical tragedy stuff of course but the way the story is told, with several updates on the story by the cast before getting back into the story, is completely fresh. it makes Grecian tragedy into a very likeable comedy. You could see this style of presentation going down well at the Edinburgh fringe; it has that, almost urgent feel about it while taking the time to make sure that we were all up to date on the progress of the story.

Re-imagining a 2500 year old piece of theatre for today's theatre goer is always going to be a task but Martin, working alongside the very talented Nottingham New Theatre cast, have done just that, and have produced a really interesting take on it which will appeal to anyone who likes their theatre with an edge.

Apart from the exciting cast, interesting costume design by Emma Williams, and novel set design by Lauren Connolly, one other thing that i really enjoyed about this production was the music. This again was eye catching with all instruments being played by members of the cast. Percussion, keyboards, violin and even a full blown electric rock guitar were involved, all played on stage in full view of the "in the round" seating arrangement.

The lighting was innovative, something that I personally have grown to expect at Lakeside; I wasn't disappointed with the work of the lighting designer, Richard Statham.

Martin Berry has again managed to give the "wow factor" with this new play, and while this wasn't what i had expected, I certainly was not disappointed in the least with what i got. A very exciting production with a new and innovative view on the classic tragedy play.

"Oedipus" is on at Lakeside until Saturday 23 April and is well worth seeing in my humble opinion.