“Father Brown – The Murderer In The Mirror” by Tabs Productions and Rumpus Theatre Company.

Nottingham Theatre Royal

Week 2 of the Colin McIntyre Classic Thriller Season 2021 and it’s another dip into the G K Chesterton vaults for another stylish production, which has been adapted by John Goodrum.

Father Brown, played by the very smooth John Lyons, who every thriller fan will know from his role as DS Toolan from “A Touch Of Frost”, has been invited to a dress rehearsal of a new play in the West End.

Someone is found dead just before opening night, and all is not as it seems as Father Brown has spotted the shattered mirror in the dressing room! At the time of the murder, all of the other actors were on stage, so who could have been the murderer, and why?

John Goodrum plays Mundon Mandeville, playwright and actor, and it's his play that is being rehearsed. Mundon is liked by everyone and takes the time to speak to everyone from his lead actors to the stage doorman, Sam. Mundon has done the lot from panto to Shakespeare and knows the business back to front.

Karen Henson plays Miriam Mandeville, wife of Mundon and flamboyant actor, but this is set in 1927 so everything is supposed to be slightly over the top. Miriam likes things done her way and does not like departures from the norm. She also is the reason why the top Italian actress who Mundon has cast in the main role has locked herself in her dressing room.

Christopher Brookes plays Norman Knight, a dashing, handsome young actor who is set for stage stardom.

Lara Lemon plays Susie Sands, who when not practically stage managing everything, also doubles as an actor, quite different when in costume, bedecked in glamourous 1920's gear. She is intelligent and knows what is going on back stage!

David Gilbrook plays Sam, the lights man as well as the back door man. He also sees everything, and everyone who enters the theatre.

So here we see the suspects but apart from Sam, everyone is on stage. It couldn't be Sam as Father Brown quite rightly notes, he would not have time to commit murder and get back to his lighting booth. Sam did let drop though that there had been a mystery visitor to the theatre shortly before the murder. Could this mystery person have something to do with the murder, or is this a red herring, as we never see this particular person, but there is a connection with one of the cast!

This is very cleverly written but there is one part that all of a sudden makes events fall into place, and suddenly the clues become apparent. These clues are laced throughout the first hour or so, and then quite quickly we discover who, how and why. The penny dropped as loudly as the plops from the under stage watery sound effects, but for me not until Father Brown started to unravel how the murder was committed, why the mirror was a vital clue, and then ultimately by whom.

The costumes are very classy. Think Downton Abbey and that is the level of class we are looking at, and Karen gets to wear some wonderful costumes and wears the best wigs.

John Goodrum not only features as the main character, apart from Father Brown of course, but he also Directs the play and designed the set. Cleverly transporting us from scene to scene by excellent lighting.

As usual the sound design was perfect, thanks to David Gilbrook.

Tabs and Rumpus most definitely put the "class" into Classic thriller in this production, acknowledged by the lengthy applause at the curtain call.

An absolute must for any budding sleuth or fan of classy murder mysteries, or in fact, anyone who loves a good story perfectly told and dressed up to the nines.

“Father Brown – The Murderer In The Mirror” continues the thrilling run at the Nottingham Theatre Royal until Saturday 3 July.

 “Lockdown In Little Grimley” by Riverside Drama Company

Duchess Theatre, Long Eaton.

Riverside are back with a comedy double bill written by David Tristram. The first of the two one-act plays being “Little Grimley Performs Strictly Sex Factor On Ice”. This is a bid by the Little Grimley Amateur Dramatic Society to counter the popularity of Saturday Night TV, in a desperate attempt to lure a TV audience to a theatre audience.

Chairman Gordon has devised another cunning plan to compete head-on with their very own live Saturday night blockbuster, combining the best of all the other formats. All they need now is an audience, some contestants, four judges, a mirror ball ...oh, yes, and some ice.

In 'Lockdown' the Chairman Gordon calls an emergency meeting, complete with social distancing, to discuss his idea for their next production when restrictions ease - a touching ghost/love story set in a hospital, where a Phantom comes back to haunt the Operating Theatre, well you can see where this is going can't you? All profits from Gordon's play are destined for the NHS. But based on their previous efforts, will the NHS actually end up worse off?

Jokes about lockdown, toilet rolls and social distancing all help to keep the audience laughing, but the four actors also ensure a strong story is told over the laughter.

This second one act comedy is actually art reflecting life as David Tristram has confirmed that all profits from these performances will actually be passed to the NHS.

There is no set needed, apart from four chairs, a table and a few other props so all we need to do is concentrate on the actors and the wonderfully comic script. The comedy being both verbal and visual.

Dan Bates plays Bernard, Little Grimley’s prompt and handy man. In the play's description it describes Bernard as "just Bernard" and I can see what that means now. Dan is a brilliant character actor and has great comic timing, which he uses to the max in this role.

Samantha Badman plays leading lady, Margaret, ever so slightly better than the others, a proper diva who you feel has got to be front and centre stage in every Grimley production, but when her front dips, she has a wickedly potty mouth on her! I loved the fact that in Margaret's last play she needed the prompt for her first line, and practically every third line thereafter.

Rebekah Dean plays the secretary of the Little Grimley’s Amateur Dramatic Society, Joyce. This character reminds me ever so slightly of Su Pollard, or is it Rebekah in the way she plays Joyce that reminds me of Su Pollard, I have not made my mind up yet. Joyce is one of those characters who is drafted in to make up the

numbers as she can't reliably take notes and can't remember a script. She can't sing, can just about stand up on skates but is a real tryer, and is extremely funny without meaning to be. Rebekah on the other hand is extremely funny and means to be so, and succeeds.

Phil Whittaker is Little Grimley’s Chairman, Gordon. Gordon has big ideas for the drama group, but convincing Margaret to go along with them is the fly in their dramatic ointment. Gordon could not be more of a luvvie if he wore a smoking jacket and cravat, but he has enthusiasm and wants to enthuse everyone with it.

Directed by Elle Bates this, unlike Little Grimley's Amateur Dramatic Group, is another big success. Riverside are well known for their comedy and this raises their comedic bar another notch. There are no shortage of laughs here, not just giggles, proper laughs, and it is great to see Riverside back on stage where they belong.

On a more serious note, the ending delivers a serious message for the Arts, complete with Queen's song "The Show Must Go On".

“Lockdown In Little Grimley” is at the Duchess Theatre, Long Eaton until Saturday 26 June.

 “All About Murder” by Brian Clemens and Dennis Spooner

Nottingham Theatre Royal

It seems an absolute age since I last saw anything from Tabs Productions in their Colin McIntyre Classic Thriller Season, and it is so good to have them back, even socially distanced.

Two successful thriller writers, Nigel Forbes (David Callister) and Maxine Goodman (Susan Earnshaw) are struggling for inspiration, and their financial resources are rapidly dwindling. Desperately searching for a new idea, they decide to first imagine a victim and then fit the mystery plot around their dead body. “We need a victim the audience would cheerfully hate,”………. enter Nigel's lush of a wife Anne (Susie Hawthorne).

The penny drops quite soon when we see Nigel's very leggy secretary Jill Prentice (Anna Mitchum) as to what the story is going to unfold and throw in Detective Inspector Berry (Jeremy Lloyd Thomas), who is a massive thriller fan and also ex am drammer and the comedy touch paper is well and truly lit!

This is typical Tabs Productions with comedy laced into what would have been quite a dark piece of theatre otherwise. Combined with some clever twists this ends up being a killer comedy with an ending that didn't come as a massive surprise, but was extremely enjoyable getting there.

I could have guessed that Andrew Ryan had some involvement in this particular thriller, mainly due to the comic side of the show, and I was correct as Andrew did a fantastic job as the Director of the play.

The set is, as expected, wonderfully designed by Sarah Wynne Kordas, assisted by Duncan Hands. With all the action taking place in Nigel's study there are no scene changes to complicate anything, and any re setting was done in their usual smooth and simplistic method of bringing the curtain down and dimming the lights. Everything in this play is simplistic, well from a viewer's point of view, and that is what makes "All About Murder" such an easy and enjoyable watch. A lovely opening to another Classic Thriller Season.

One thing that I always know is going to be absolutely spot on with Tabs Productions are the lighting (Michael Donoghue) and the smooth sound design (David Gilbrook)

The writing is very detailed and clever, again expected from these two playwright legends of the thriller genre.

Welcome back Tabs, we have all missed you and can't wait for the upcoming three weeks of being thrilled.

“All About Murder” is at the Nottingham Theatre Royal until Saturday June 26th

 “April In Paris” by John Godber

Nottingham Theatre Royal.

Having read the play version of "April in Paris", I already knew what a clever and funny play this was. Seeing the play script spring to life with the help of two very talented actors was pure magic.

Not only is the play funny, it is also very touching at times as the pair often tear strips off of each other, but we discover by the end that these two characters are well matched, they love each other, and they finally find a common goal in life.

Bet and Al lead a quiet, humdrum life in their small Yorkshire home until Bet wins a 'Romantic Breaks' competition in Bella magazine. Bet has dreams. She has flights of fancy, all fuelled by her love of magazine competitions with holidays as prizes. Finally, after years of Bella, Chat and Woman’s Own, her luck changes; she wins a night away for two to Paris in April, via a luxury trip on P&O Ferries, out of Hull. The mini break represents their first experience abroad and has profound effects on the way they look at the world around them when they return home. They experience French cuisine, getting to grips with ordering meals in French and the humorous results of said meal, especially for Al.

Al's insecurity of travelling on the Metro culminates in an hilarious scene where he fends off would-be muggers in an almost stereo typical depiction of the Brit alpha male abroad.

Bet's longing for culture and the finer things in life are in direct opposition with her partying on the ferry travelling over with their evening entertainment programme.

Joe Pasquale plays Al, recently made unemployed, unadventurous in life but with a penchant for painting as a hobby. To start with Al is a bit of a damp squib, "pooh poohing" all of Bet's hopes of just going for a night out with her sister and brother-in-law to an Abba tribute night, never mind travelling to a foreign country and being on a boat!

Sarah Earnshaw plays Bet, long suffering, admitting later on that she had actually had thoughts of physically smothering Al with a pillow, her marriage was such a let-down to her. Bet has a great sense of fun, as depicted in the "disco" scene.

One thing I love about Godber is his ability to write characters who are "normal". He draws comedy from ennui within relationships. he looks at everyday people and writes what we all, at some time or another experience within this thing called "life". This is what make his plays so instantly relatable.

Sarah and Joe propel two seats around over the stage to depict different scenes, from their living room to a French cafe and the Ferry disco hall. The sound scape helping even more to take you to the various places, like the deck of the ferry, on top of the Eiffel Tower and the jazzy streets of the seedier locations!

Towards the end of the play there is a wonderful scene where Al is doing one of his paintings where he says that he is painting what he sees and is painting the most beautiful woman. This seems to resemble a potato head portrait but something very special then evolves, which I won't tell as it has to be seen to be believed but ends up rather beautiful, and all performed live in front of your very eyes.

At just seventy minutes long, without interval, this show speeds by, making you wish for more.

“April In Paris” is at the Nottingham Theatre Royal only until Saturday 19 June 2021, so if you want to see some clever writing performed by two excellent character actors, then this is the show for you. Godber, Pasquale and Earnshaw at their very best.

 "Rewind" by The Young Performers

Duchess Theatre, Long Eaton

Can I first say that it is wonderful to be back inside an actual theatre, speaking to actual people and watching an actual show. The Duchess is made all the more welcoming by the wonderful front of house staff and everyone involved in this production which showcases the last 36 years of The Young Performers.

The show was a sell-out, and I know 100% that without Covid and having to social distance, the empty seats, required for distancing, would have all been sold as well.

From the opening number "Another Op'nin Another Show" from "Kiss Me Kate" to "Any Dream Will Do" from "Joseph", this production was jam packed with brilliant songs, sketches and dance routines, showcasing the talents of all of the young performers on stage.

I am not going to mention all the performers and all of the pieces performed as there were 29 performers and 32 pieces, crammed into one hour and forty minutes - interval included.

After doing what I do for the twenty odd years and seeing thousands of shows you get to recognise the nerves on stage and there were nerves tonight. Let's face it, these guys have not performed on stage in front of an audience for so long, no wonder there were nerves. the show was not perfect and I did not expect it to be.

That said you could see by the second act that those initial nerves had melted and these performers were starting to enjoy what they were doing. It was also lovely to see in the faces in these young performers, which pieces they were enjoying as they let it show in their faces, which I really enjoyed recognising.

There were some brilliant group performances of "Mr Blue Sky", "Lovely Day" and "Hallelujah" which reminded me of some of the many Rock Choirs that have become so popular over the last few years. Two performances in particular I loved were "Something Inside (So Strong)", which has always been one of my favourite songs, and "You Will Be Found" from "Dear Evan Hansen" were excellent inclusions when you look back at the last 18 months when most of us have all been segregated and at a low ebb.

There were songs from "13", "A Chorus Line" and "Hamilton" rubbing shoulders with classic pop songs like "Walking On Sunshine", "Make You Feel My Love" and "Live And Let Die". Dance routines, poetry performances and comedy segments, all having some link to shows put on over the last 36 years by The Young Performers. These links explained by the MC's for the evening, Vicky Byrne and Zak Charlesworth. Lovely to speak to you both and lovely to see you both again tonight.

I won't mention all the performers, with there being so many, but I have found that I am always drawn to maybe one or two who just seem to stick out, for all the right reasons. Tonight was no different. After the initial first half nerves were calmed, the cast started to enjoy what they were doing, and they were all wonderfully entertaining but I kept being drawn to a young man with blond hair who slowly began to really enjoy what he was doing.

He started to feel the music, he started to show an expression of pure enjoyment for his performance on his face, he danced, he encouraged others to let loose, and it was a real joy to see him enjoying himself on stage. He is a name to watch out for in the future. Drew Boswell.

Drew drew me in and if he applies the same enthusiasm to his future performances as he did tonight, that young man will be drawing in many new fans, as well as people who want to include him in their shows. His brother Finn didn't do too bad either might I say!

There were others in this cast who you could see starting to loosen up a bit and really feel what they were doing but as most of these performers were new to me, there were a few that I had seen previously and noted their advancement, I did not get their names to mention, but I really hope that they continue with the Young Performers as there are quite a few little stars that shone brightly on stage tonight.

Light and Sound tonight were by Dave Dallard and Dave Martin The band also did the performers proud with a clear sound which complemented those on stage.

Thank you to everyone on and off stage tonight for making my return to the Duchess such a delightful and welcoming one. I can't wait to be back there again.

"Rewind" is at The Duchess Theatre until Saturday 19 June.

 "Absent Friends" by Alan Ayckbourn

The "Virtual" Lace Market Theatre.

Colin, a friend who has been absent, comes back to his circle of friends, who are worried about how to approach him over the death of his fiancée, Carol, who has drowned. Diana organizes a tea party for Colin. Ayckbourn's characters are tense, close to bubbling over, due to a secret that two of the group have not hidden very well. When Colin arrives, heightening tensions within the group, they all try hard to be friendly towards him. Colin seems ecstatically happy, despite his loss, while the rest of the party are rapidly approaching breaking point.

Ali Patrick (Diana), who made me do a double-take as I have not heard Ali quite that posh, and Elliot Willmington-Hughes (Paul) both act their socks off as the chalk and cheese couple. But then again the same phrase could be focused on Glenda Plumari (Evelyn) and Tobias Christopher (John). How these pair of Ayckbourn's couples ever first attracted each other is a mystery, but that is the joy of Ayckbourn's writing and characters.

I love the chemistry between Diana and Paul with the snide comments from Diana and Paul's attitude towards Diana. there is one scene in the second act involving a jug of cream which, I am sure Ali would have loved to play out on stage. I won't say what it is but if you know this play, you may just guess what happens.

I use the word "chemistry" and that is what makes a play, a character, a performance, a scene believable. When you are on your own in your own little screen, as the pandemic has forced actors to do, chemistry will not be easy to bring, but all six of these actors created chemistry, and while they were all apart, they brought the characters and the play together.

Glenda's portrayal of Evelyn is wonderfully under-played, very matter of fact which in itself presents even more subtle comedy. All gum chewing, raised eyebrows and "Women's Realm" magazine reading, half the time unaware that she has a young baby, "Wayne", to tend to. You just can't beat a bit of well acted droll.

John is ever the optimist and also likes a bargain which gets on Evelyn's nerves. He is forever trying to win Evelyn's respect but this wears thin throughout the play. he knows the big secret within the play, which makes him come across as a bit of a doormat. I can imagine Tobias had great fun playing John, because it was great fun watching Tobias in this role.

Clare Moss (Marge) reminds me of a cross between Eliza Doolittle's poor cockney flower girl and Sybil Fawlty, strangely delightful, and subtly comic. Just the right mix.

Jamie Goodliffe (Colin) wins the award for the best 1970's look with his sideburns, cardigan, brown, possibly corduroy, trousers and large 70's patterned tie.

All actors manage to bring out the tension and awkwardness of the situation, which also brings out the brilliance and humour of the script.

There has been a lot of work done with the continuity and positioning of the actors and props as you watch this production. The actors face each other when they speak to each other and the passing of the sandwiches are done expertly to make sure that if the plate is passed from the right side of the screen, the plate is collected from the left side of the other screen. A simple thing that makes the fluidity of the production really work.

The technical side of the production has been done really well, creating a smooth visual presentation. With the action being set in real time, this play is also perfect for a Zoom production.

I've seen "Absent Friends" before on stage and love it. This performance was just as good as seeing it on stage. Zoom teaches the viewer to use their imagination, almost like listening to a radio play, and I like to flex that particular muscle when it's called for. It almost forces the players and the viewer to merge to create perfectly the image a stage performance in your own home.

Directed by David Dunford

Technical Director is Simon Carter

Production Manager is Peter Konowalik

Wardrobe Jane Herring and Linda Croston

Props Lesley Brown

A classic comedy performed with style, retaining every droplet of humour created by a master writer. Even though the play is not new to me, it still extracted chuckles and smiles.

"Absent Friends" is available to view online until Saturday 12 June 2021. Tickets are free from the Lace Market Theatre website, but if you do want to make a donation, then any monetary signs of appreciation will always be accepted.