“Final Twist” by Tabs Productions

Nottingham Theatre Royal

I can’t believe that this is the final play in the Colin McIntyre Classic Thriller Season for this year. Where has the last three weeks gone to?

Written by Ken Whitmore and Alfred Bradley and the action is set in the luscious living room of Mozart loving, classical actor Merlin Foster’s country cottage.

Sir Merlin Foster (Andrew Ryan), a vain, pompous and self-regarding actor, with a recent string of flops and ex-wives behind him, hires a struggling playwright, Charlie Nicholson (David Martin) to come up with a plot involving wife murder.

Eden Dundee (Sarah Wynne Kordas) is the wife who is a bit part actress who had recently help fund Foster's recent run of flop productions. There seems to be a connection between Eden and all of Foster's previous rich and beautiful wives.

Nicholson has writer's block to start with but slowly a story for the play evolves which evolves from Foster's Mozart Symphony No. 40 door chime and a particularly violent killing. Nicholson starts to get just a little bit suspicious after spending time at the cottage with Eden, where she lets slip a few details about her and Foster's marriage, and especially their Californian pre nup arrangement!

As Nicholson's perfect murder scenario is revealed, there is a sudden feeling that life is about to imitate art, and especially with what Nicholson has discovered from his time spent with Eden.

Are things about to go horribly wrong for Nicholson while going absolutely perfect for Foster, maybe not so for Eden! But dear reader, do not forget the title of this play, "Final Twist", and just when you feel that Foster has carried out the perfect murder, Eden walks through the door, alive and well. Could this be the final twist? Or could there be another twist to this comedy thriller? If so, what is in the Sainsbury's carrier bag that Nicholson now holds in his hands?

Andrew Ryan plays a blinder or two, or maybe even three or four as Foster's acting roles take on a whole realm of personalities. He has so many great lines including "I’m not unreasonable. All I ask for is total control" among them! In his long silky cape, he could also be a dead ringer as Nosferatu. Ryan is one of the best comedy actors on stage at the moment, but I've also seen him in some brilliant seriously creepy roles as well.

David Martin is transformed from the nervously excited devotee of Foster to being nervous for another reason, a totally believable down on his luck writer.

Sarah Wynne Kordas reminds me just how different an actor can look with just the aid of a wig. Every part I have seen Sarah play you get the feeling that she completely lives and breathes the part she is playing and the deception that is shown in this role is beautifully played out. You come to realise what Foster is up to but you do not suspect that Eden could actually be part of the plan. But what is the plan? A wonderful character actor, as are the other two.

Directed by Jeremy Lloyd Thomas, the pace of this play is kept fast with the comedy being delivered snappily and the twists executed just when you did not expect them to come around.

Designed by Sarah Wynne Kordas, the set was one that, if in reality would be one that I would feel most comfortable in. Homely in cream, peach with luscious red leather sofas. Very nice.

Sound design by David Gilbrook, and as I have maintained throughout the run, every sound effect was hit spot on. You feel comfortable knowing that if a sound effect was expected it would be there.

Lighting design by Michael Donoghue. Simply a perfectly executed job with every lighting effect.

I also loved the music choices used in between the scene changes. A lot of thought has gone into these choices and all connected with murder if you listen very carefully. Someone said that if music be the food of love, then I loved the music used for the snacking. It kept the mood light and bouncy and well matched with this final production for 2021 from Tabs Productions.

One thing that remained a mystery though is, who is Morton Rifles? Could this be the final twist?

”Final Twist” is at the Nottingham Theatre Royal until Saturday 17 July 2021.

I'm missing you all already and look forward to the thrilling productions that come in 2022.

 “Cats” by Copper Studios

Bonington Theatre, Arnold.

“Cats” as we all know is a sung-through musical composed by Andrew Lloyd Webber, based on the 1939 poetry collection Old Possum's Book of Practical Cats by T. S. Eliot. It tells the story of a tribe of cats called the Jellicles and the night they make the "Jellicle choice" by deciding which cat will ascend to the Heaviside Layer and come back to a new life. Each cat presents itself and explains in song why they should be chosen to enter the Heaviside Layer.

This production has been a year in production and in that year the cast have transformed themselves in many ways. "Cats" is technically quite a difficult show to perform, and especially for youngsters. While they have the elasticity, the choreography is based a lot of the time on balletic movement with plenty of control. From the performance tonight, I think that they have cracked it.

Choreographed by Megan Hindley, who also directed this show, I can tell that she chose exactly the right people for the heavily choreographed parts and played to all of their strengths.

I am going to choose to mention some of my stand out performances from tonight, but let it be known that as an ensemble, they looked wonderful.

Will Horner as Rum Tum Tugger was brilliant, oozing confidence as the feline equivalent of, say, Harry Styles - or whoever the latest pop heart-throb is that the girls swoon over nowadays.

Louis Chadburn as Bustopher Jones really got under the skin of the character. William also played the role of Old Deutronomy, two very different roles. He has a really strong, mature singing voice that I could hear right at the back, even when the mics weren't working! Both William and Louis have "leading male" roles written all over them.

Evan Fretwell is a young man whose future really lies in musical theatre as this boy can dance. As Mr Mistoffolees, he was dressed in a similar way to Michael Jackson, and Evan has that Michael Jackson touch. I noticed the way that he held himself and his armography was excellent. Here is one young man who could be a future Billy Elliott with his poise. I do not know if the two young ladies sat on my row knew him but they went crazy when he took his bows at the end.

I loved the fun that Mungojerrie, played by Ashlei-Mai Domleo and Rumpleteazer, played by Isabella Steets brought to the show. It was a shame that both mics failed half way through their piece, but their dancing was wonderful.

Grizabella, the Glamour Cat, well in her day anyway, was suitably mournful, nay wistful as she sung "Memory" after being scorned by the other cats. Grizabella also played by Isabella Steets

I also loved Gus The Theatre Cat with his reminiscing of his heyday, played brilliantly by Jude Forsey

The soundtrack includes some great songs, “Magical Mr Mistoffolees”, “The Rum Tum Tugger”, “Macavity The Mystery Cat” and of course “Memory”. Musically Directed by Harry Hindley.

There was no mention in the programme of who the Lighting Design was by, but the results were wonderful.

The set was scaled down and where the size of the items in the scrapyard setting are normally larger than the cats, this time they were smaller, but I am nit picking here. I did notice that the props were very good though, especially the food props for Bustopher Jones' section.

The make up was amazing, so much so I had problems matching the young actors to the roles, but then again, the photos of the cast were taken about a year ago and some of these actors have shot up and matured since the photos were taken for the back of the programme.

The costumes were wonderful and varied, showing the many different cat styles, shapes and sizes.

The only thing that let this show down was the sound. There were several issues with the sound. Mics not working, some turned up louder than needed and others not switched on at all, some turned up mid song. There were loud crackles which cut out the mics, but what really bugged me more than any of these issues was that the sound desk was right behind me in a small booth which I really think should have some sort of screening. I could hear the sound operators talking all the while, and not in whispers. I also did not need to know that there were "only two mics muted and they couldn't work it out why the others weren't working". That was fairly obvious. The booth really does need screening off so we couldn't hear them. I say "we" because I was not the only one who noticed this. The lady in the row in front of me also turned around, as did the woman two rows in front of me when we could hear the talking from the booth over what was on stage.

On stage there were some real stars and I hope to see their names in future productions for a long time to come because the talent is out there. When you know the hard work that is put into a show such as this, by every actor on stage and behind the scenes, you really appreciate the blood, sweat and tears and the resulting performance. They should all feel extremely proud.

Now before you try and get tickets for this production, let me stop you right there, because all performances are sold out, unless you wanted to check for cancellations, but I very much doubt that anyone will be giving up their tickets for this show.

“Cats” runs at The Bonington Theatre, Arnold until Saturday evening.

 “Camp Rock” by Erewash Musical Society Youth Group

Duchess Theatre, Long Eaton.

I’ll admit that I have never seen this musical before so I had no expectations of what to expect, although I have listened to the soundtrack. I deliberately did not watch the film or seek it out on Youtube as I wanted this production to be what I base my first experience of the show on. And I was pleased that I did

Camp Rock is the ultimate camp for aspiring musicians. This summer at camp was supposed to be all about the music and having the time of their lives, but the new, flashy Camp Star across the lake now threatens Camp Rock’s very existence. To keep the doors open, Michie steps up, rallies her fellow Camp Rockers, and gets them into top shape for the ultimate showdown!

Throw into the mix a rekindled love story between Mitchie Torres and the lead singer of hit boyband Connect Three, Shane Gray, plus deep rivalry between Brown Cessario and ex band mate Axel Turner, who has set up Camp Star, plus two singing divas Tess Tyler and Luke Williams, and this show becomes an explosion of music and lights... and a few fireworks (not literally).

I think that I can honestly say that for such a young cast, the singing was spectacular, and I don't know if that is because the show and soundtrack is aimed direct at this particular age group or what. That said, some of these songs were complicated with some of the key changes and ranges and everyone stepped up to the mark vocally. the vocal acrobatics were kept to a minimum which kept the singers in tune.

Francesca Foster (Mitchie Torres) has a really strong voice and these songs suit her down to the ground. In a few years time, she is going to have an amazing singing voice. When she duets with Gabryl Oleshko (Shane Gray) they sound really good together. That said Gabryl has a very strong voice himself, and I can see the same for Gabryl as I foresee for Francesca, especially with the proper vocal training.

Making up the trio of Connect Three are James O Boyle (Nate Gray), who's highlight for me was "Introducing Me", which would not sound out of place on a McFly album, and the other Gray was played by William Robbins (Jason Gray). Together they make a convincing boyband who sound good together.

I adored the fierceness of Rosey Mallins ( Caitlyn Geller), she has sass by the bucketload!

Alice Renshaw (Tess Tyler) makes the perfect diva who reflects her male counterpart diva in Joel Dawson (Luke Williams)

Sky Stacey (Brown Cessario) is wonderful as the Camp Rock leader and Amelia Kram (Axel Turner) makes a worthy rival in the separate camps, both determined to win as the bitterness from the split from the band 15 years earlier reared its' ugly head.

I also loved the cheekiness of Harry O Boyle (Barron James).

The whole cast worked as a whole and looked like a well-oiled machine. The rest of the cast were Amy Dawson ( Margaret Dupree), Emma Foster (Ella Pador), Eleanor Cooper (Rosie Day), Ewan Hoole (Sander Loya), Katie Fitzpatrick (Andy Hosten), Elin Haycock (Lola Scott), Sinead Walsh (Dana Turner) and Niamh Massey (Georgina Farlow). All worthy of a mention.

It was also great to see Gabryl, James and William playing guitars and drums on stage. Kudos to all three.

The live band, also on stage sounded great, Chris Renshaw (MD and guitar), Dave Dallard (Keyboards), Rob Holsman (guitar), Kev Maltby (bass) and Phil Holland (percussion/drums). The mix between the band and vocalists matching most of the time, as there were a couple of moments when the mics for the vocals needed upping just a tad, nothing to detract from the all-round mix though. The sound guys were Dave Dallard and Harvey Tavener.

The soundtrack has several incredibly catchy tunes and you will not leave that theatre without having some of them going around your head. Songs like "It's On", "Can't Back Down", "Tear It Down" and "Introducing Me" will be your new earworms for the next week or so. I defy you to keep your feet still to this music!

The lighting (Dave Martin) was possibly one of the snazziest I have seen for a while, not only on stage but the length of the steps leading up to the stage. It gave the feeling of a concert performance.

The choreography was sensational, and I am so pleased that choreographer Abigail Lagou didn't go down the easy route, because some of these pieces were not as easy as they looked. A job well done and I can bet she was a very proud lady after tonight's show.

And finally we come to the Director. This was the debut as solo Director for Hayden Fletcher and he did a wonderful job. I have been watching Hayden on stage for quite a few years now and love chatting to him, as I did after the show tonight, and knew from when I first saw him perform in "Out There" years ago, that he was going to have a future on, and off stage. It's his passion for what he does, and that passion spills out in this production. I know that he also is a very proud young man tonight, and he deserves that pride because his cast and crew have not only done themselves proud, they have done Hayden proud.

There was only one thing that I could mention, and that was that a couple of times there was a bare stage where the stage managers could tighten up on entrances, but I know how small the wings are at the Duchess and with such a large cast, I'm putting it down to that. We are talking seconds her by the way and possibly went un-noticed by the rest of the adoring crowd.

Many people will draw similarities between "Camp Rock" and "High School Musical". Let me tell you, this is the better of the two as I found HSM slightly twee. This has more substance and better songs.

A brilliant, feel good musical that welcomes EMUS back to the stage, and I loved one of the first lines spoken mentioning that it was good to be back after the last year. How apt was that for an opening gambit? Oh and we also get to see some of the rehearsals via the big screen on stage.

To gauge a reaction on how well this musical was received, you just needed to listen to the roars of the applause during "Camp Rock Megamix" which closed the show.

“Camp Rock” is at the Duchess Theatre, Long Eaton until Saturday 10 July.

 “Piaf (In Person)” by Pam Gems

Nottingham Playhouse.

I have waited so long to see this show as it had already been postponed a couple of times due to the Covid pandemic, and now here it was.

The show follows the amazing rise from the gutter, selling her body and singing in the streets of Paris, to reaching the dizzy heights of being one of France’s biggest and most loved singers, and back to the gutter, practically begging her agent to get her gigs in cinemas and holiday parks. Her music is still played today and used in TV adverts, such is her long-lasting appeal. Her singing voice was powerful and emotional. Her life matched her singing voice.

I knew a lot of the Piaf story, but there were quite a few parts of the jigsaw that, since seeing this show, have now completed the full Piaf picture.

Many of Piaf’s best loved songs are included in the show, “La Vie En Rose”, “Hymne a L’amour”, "Milord" and of course “Non Je Ne Regrette Rien” aka “No Regrets”. The songs depicting her life including her prostitution, her many young lovers, her drink addiction, through to her drug induced death at the mere age of 47 years old. The songs are performed in a mix of French and English. I think they sound better in French to be honest.

I was a little puzzled as to why we were listening to Piaf from Walford, and then it struck me that Piaf came from the common, most down-trodden part of Paris, and how would we recognise a "common" Parisian accent if not an equivalent was brought into play! Clever. I can only imagine that a Welsh sounding Charles Aznavour equalled a voice from the Valleys!

The language is really ripe with just about every expletive being used, so if you are easily offended by swear words, you won't like this play!

I loved the boxing scene, featuring yet another young, fit, good looking beau for The Little Sparrow, as parts of the action was done in slow motion which worked really well, accentuating the excitement of the boxing match.

Jenna Russell is incredible in the role of Piaf, ooh but what a mouth she has on 'er! But you can see that Jenna has really studied La Piaf in the way she sings and how she sings as well. Such emotion. The physicality of the character as well was well adhered to; walking like a woman twice her age, she shuffled around the stage, ending up in a wheel chair. Brilliantly brought to life by Russell.

Directed by Adam Penford, which I imagine was a labour of love for Mr Penford. The show packed as much punch as the boxers in that ring, but left breathing spaces for the more emotional sections. Well paced for the maximum effect.

The Parisian atmosphere was not only contained to the stage area as tables and chairs were arranged for the public next to the stage, creating that Parisian Cabaret feel to the show.

The rest of the cast are Louis Gaunt (Theo/Marcel/Jacques), who will be a big hit with the ladies as he can sing, dance, act and look good in a pair of boxer shorts, Samuel James (Bruno), Laura Pitt-Pulford (Marlene/Eddie/Madeline), Joseph Prowen (Louis Barrier/Little Louis), Gerry Robson (Leplee/Butcher/Vaimber).

Sally Ann Triplett (Toine) who played an absolute blinder as Piaf's lifelong friend, and the opening scenes with Toine are very funny - and incredibly crude at the same time, Matthew Woodyatt (Raymond/Inspector/Charles) and Xheng Xl Yog (Lucien/Emil/Boxer/Georges), who will also be a visual hit with the ladies.

The set design is by Frankie Bradshaw and as you can see from the pictures of the set (Marc Benner), it visually transports you from the streets of Paris to the most respected Parisian nightclubs.

MD, arranger and orchestrator is Gareth Valentine, who I am sure was on stage all night, apart from the interval. The cast also play instruments bringing such a wonderful Parisian flavour to the show. There is also a gorgeous version of "Les Trois Cloches" (The Three Bells) by Les Compagnions de Chanson performed accapella style. And I never knew of Piaf's involvement in that song, nor did I know of her hand in Charles Aznavour's rise to fame.

Lighting Director is Jack Knowles and hand in hand with the Sound Design by Ella Wahlstrom, they make a perfect combination, adding to this production.

Wardrobe is by Emma Waugh and there are some very classy costumes, but also a reflection of the lower life clothes worn on the streets in Paris for this period.

The show is everything that I would have wanted to see from such an iconic, but tainted chanteuse, and more than met my expectations. Entertaining as well as educational. An absolute must see.

“Piaf (In Person)” is at the Nottingham Playhouse until Saturday 17 July.

 “Kiss of Death” by Simon Williams

Nottingham Theatre Royal

Week number three of the Colin McIntyre Classic Thriller Season, performed by Tabs Theatre Company and this is very different to what we have seen before, very "Line Of Duty".

Actress Zoe Lang, attends a quite unusual improvisation workshop and finds herself auditioning to be the bait for a real-life serial killer. Taking on the role of a young runaway, Natasha Campion, Zoe meets the sinister and manipulative John Smith. Layer upon layer of twisted unreality is stripped away as Zoe and the police home in on their target. But what is the truth and who is not as they seem to be?

“Kiss of Death” is a very modern thriller, set in 2000, with plenty of dark humour and literature quotations to punctuate its menacing atmosphere.

Bernard (Jeremy Lloyd Thomas) starts out very mono syllabic when we first meet him as the welcome committee for Zoe, but it's what he says that you need to cling to as there are several clues that make you think that all is not as it seems, as we get into the story and discover the characters. And watch out for why he wears those shades indoors!

Brocklebank (Cameron Johnson) turns out to be a complex character. Like an onion, he has many skins and at well over six foot tall and broadly built, Cameron presents a police officer that you'd feel safe with. He is the leader of the operation to snag "The Surgeon", a psychopathic serial killer who carves up his female victims.

Lang (Anna Mitchum) is a streetwise and extremely smart woman who takes on the role of a street living Uni drop out, living on the streets, vulnerable and fitting the ideal target for The Surgeon. But is Lang too smart for her own good? Campion is given a whole back history, but The Surgeon also seems to know about dark secrets that Zoe keeps. How does he know that when her medical records are private? What access has this serial killer got to his victims' private lives?

Smith (Andrew Ryan) is the ultimate in creepiness as he appears to Lang. Campion dressed in black, complete with black ski mask. He is creepy and has written out the opening meeting for them both to act out when he gets Zoe in his dingy flat, door locked, and no escape. If he is as dangerous as we are led to believe though, why did he let Zoe go, only to reel her back into his den. Like catching a prize fish, only to be let go to be caught again!

Directed by Karen Henson, she has really created an atmosphere with this play. It is creepy, uncomfortable and it's not until the last ten minutes or so that you actually cotton on to what is happening and who The Surgeon really is.

The set design is by Sarah Wynne Kordas and is mainly set in an old lecture theatre and within John Smith’s derelict flat, complete with peeling walls, flickering lights and damp. Just the sort of place a serial killer might hang out!

Lighting design is by Michael Donoghue, and this plays a big part in creating the atmosphere and uncomfortable feeling. proper edge of the seat stuff!

Sound design is by David Gilbrook. Well, David always delivers where the sound design is. Every sound effect is spot on. So natural that it's like you are a fly on the wall with everything you'd expect to be hearing, when you'd expect to hear it.

This really is one of the best plays that Tabs have presented, and that is hard for me to say as every play is a sure-fire hit, whether it is a comedy thriller or be it, like this one, a proper psychological, white knuckle, edge of the seat piece of theatre.

“Kiss Of Death” is at the Nottingham Theatre Royal until Saturday 10 July.

 "10" by LEOS Youth Group

Duchess Theatre, Long Eaton.

This show is like having an injection of energy, a vaccination of vivacity. The energy from these young people on stage would be enough to supply the National Grid for the evening. I actually felt invigorated when the show ended as if my batteries had been put on charge.

Celebrating 10 years of LEOS Youth Group 27 very talented people took to the stage to present a blistering look back at some of the shows and musicals they had put on, many of them award winning productions, and taking us into next year with tasters of what was to come with "Grease" and "Madagascar" to round the evening off.

Split into two teams, for social distancing purposes, "Broadway" team and "West End" team took us through high energy performances like the opener "We're All In This Together" from "High School Musical" and "You Can't Stop The Beat" from "Hairspray" through to ballads like "Memory" from "Cats", "Tomorrow" from "Annie" and the title song from "Beauty & The Beast".

I loved the light hearted show tunes such as "Good Morning" from "Singing In The Rain", "Fat Sam's Grand Slam" from "Bugsy Malone" and the big highlight for me "Agony" from "Into The Woods"

The choreography was created by many of the Youth Group themselves, and I can see there being some budding choreographers within this group.

I must also mention the costumes as well. They were brilliant, and I also marvelled at the very quick costume changes. The stage managers and dressers must have really had their work cut out for them, as well as the performers of course.

Local theatre is notoriously more of a female thing than a male past time, the times that I have heard of societies and Youth Groups crying out for male members, but it was great to see that the lads were out in front with this production, and really giving the ladies a run for their money in both singing and dancing stakes. Don't get me wrong the female contingent held their own and sang and danced their socks off, but it was great to see such confidence and talent from the young men in the group.

Matt McAuley and Jude Yellop gave us "Agony", which was my guilty pleasure of the night, Max Fuller performed, not just sang, "Sit Down You're Rocking The Boat" from "Guys n Dolls", Grace Collishaw, Matt McAuley and Billy Sweet in "Good Morning" was excellent, Darcy Boyd and Roisin Parker really put a smile on my face with "Zip A Dee Doo Dah", Ella Charlesworth gave me goosebumps with "Tomorrow", as did Lilly Simons-Clark with her rendition of "Memory" - the correct musical version, not the Elaine Paige single version - from "Cats", Kate Whitaker's version of "Friend Like Me" from "Aladdin" was great fun to watch as well. So many highlights in such a short period of time.

Closing down the show was "I Like To Move It" from "Madagascar" and from the looks, and the smiles, on LEOS Youth Group's faces as they took their bows, they could not have picked a more perfect song to close on, because they certainly all did like to move it, whatever "it" may be.

There are so many people who worked incessantly hard to get this show on stage that I could not name them all but you all know who you are and you should know what a massive success the show is, has been and will still be as there is Saturday's performance to come.

The Sound and Light Dream Team of the two Daves, Dave Dallard and Dave Martin added to the visual splendour of the evening. Already an explosion of colour and glitter with the costumes the lighting highlighted every sequin and satin and the sound was just right to make for an enjoyable aural experience. As the Kinks once said "Thank you for the Daves", or something like that...

Every single person on that stage tonight should feel incredibly proud of their performances. The energy, the wonderful choreography, including a brilliant tap dance number, the confident vocals, all take time and practice, and I can only imagine that as we are still under the Covid cloud and social distancing, this was not the easiest experience for all involved, but the result was a fast moving and very slick production. And I haven't even mentioned that in between the singing and dancing, various members also acted as MC's to let us know what was coming up. Is there nothing this bunch can't do?

Parents and family members will be extremely proud, the performers should be very proud, and I felt proud to have experienced this group's work, past and present, and hopefully future as well.

"10" is at the Duchess Theatre, Long Eaton until Saturday 3 July, but you'll be lucky to get tickets I warrant you!!