"Alicia" by Beyond Theatre

Colwick Hall

This is a bit of a strange one which you may need a few songs in to actually "get" what is happening, but once in, the story isn't too hard to follow. Set in Cornwall in 1565 Alicia has been brought up in a village where fear and the supernatural is practically the law, a bit like "The Crucible" in its' feel. There is an atmosphere of evil, echoed by the first few songs, "Season Of the Witch", "I Put A Spell On You" and "Fire". Ignisium acts partly as the narrator and throughout Act One we feel the darkness of the life that surrounds Alicia and her village.

Come Act Two, Alicia has fallen in love with Validus and there seems to be ripples of light, and a distinct lighter feel to the music with Alicia letting Validus know her feelings for him in the song "The Power Of Love". Alicia seems to be breaking free from Tenebris's clutches and influence and the evil feel ebbs away. A feeling of positivity and love also seeps into Tenebris, the Witch character as well as the equally nasty persona of Mallum, who seems to be infatuated with Tenebris, and all five characters join as one in the finale of "A Whiter Shade Of Pale"

This is a really interesting concept but without the free programme, some people may just have a problem working out who the characters are and their relationships with each other. Thank Goodness for the programme which explains the characters and how they all fit in.

I know that the definition of a "rock opera" is practically continuous flow of music throughout, and so this does fit that description, but I'd also describe this show as a gothic jukebox musical because, apart from some original chants, all the songs are well known pop and rock songs.

What i loved about the way that they were used was the arrangements of these songs. Most were stripped back, some with lush orchestral arrangements. I adored the slower arrangement of "Black Magic Woman" and especially the quasi-classical arrangement of "Paint It Black" as a duet with Tenebris and Mallum, a merging of the male and female evil and powerful characters.

AJ LeRoy played Ignisium, and the joy of immersive theatre is that it allows him to pop up at various points within the marquee. His voice is unique and his look memorable. AJ's version of "Fire" was so different to any that I heard by Arthur Brown, and loaded with warning!

Marie Nelson is Alicia, and this is her leading debut. Marie looks comfortable on stage and has a strong powerful voice. She needs it with some of these belters that she has to sing. from the gentle, and quite eerie "Ring Around The Rosie" to the soaring "I Believe I Can Fly" and the duets with Validus in "Power Of love" and the beautiful "You're The Reason".

Hayley Maria gets to play the nasty Tenebris. She is intense as she slinks around the stage and outer performance area, making occasional eye contact with audience members as she sings "I Put A Spell On You", making your blood chill with the intensity of her character. Hayley has a couple of brilliant duets within this show, the first I mentioned was the haunting "Paint It Black" and the second was a duet with Alicia with "Feeling Good" which really highlights bot incredible and powerful voices. You can really tell that Hayley is classically trained form the control and power in her vocals.

Thomas Morris, who plays Validus, at first glance bears more than a passing resemblance to James Arthur, but Thomas' voice is so versatile, and although a respected tenor, his falsettos are chillingly good. This also shows a certain vulnerability within his character. his version of "The Sound Of Silence", in the style of The Disturbed, spreads an air of unease around, and as mentioned before, his duets with Marie are simply sublime.

The final main cast member is Victor Michael, who plays the powerful and nasty Mallum, who also finds a melting of his heart in Act Two. Another classically trained singer who excels in the dramatic delivery of a lyric. His stage stalking performance of "Black Magic Woman" gives you the creeps, but in a nice way. His other main number "White Room" also delivers the drama.

When all five team up for the final piece "A Whiter Shade Of Pale", along with the choir, it is like a tsunami of sound hitting you, the power created by these performers is like G Force body blow.

The Musical Director, Tim Duncan, did an amazing job with these songs, really bringing out the drama within the lyrics and presenting them in a completely different way. You just have to listen to "We Gotta Get Out Of This Place" which really shows the longing to escape where these characters are at. The arrangements would make a brilliant soundtrack album for this show.

Great costumes, a powerful sound design and production, atmospheric lighting, and with the rain and wind outside rattling the marquee, we had a natural sound addition to the whole show, which all added to the creepiness of the tale.

This production grew on me the more I was drawn into the story and the song lyrics. Lyrics I had heard many times over the years but tonight took on a more sinister feel.

The production was a one night only chance to see "Alicia" but is now touring, and I am really pleased that I was asked along as part of the eerie love story ride.

 "Merlin" by Northern Ballet

Nottingham Theatre Royal

Ballet is theatre of a different kind. It's like Shakespeare, it has a language of it's own. Like theatre it is dramatic and conveys all emotions but through dance and has its' own kind of magic, quite literally in the case of Northern ballet's "Merlin".

"Merlin" is a blacksmith who has to hide his powers and on the eve of Merlin's 18th Birthday Morgan arrives. Morgan is a Senior General in the Solar Kingdom's Army, and Merlin has deep feelings for her. merlin is to be drafted into the army but does not fit in. Merlin has flashbacks to his birth mother and father and this gets him angry which is where he is introduced to Excalibur. the anger builds and results in him slaying everyone around him. This is witnessed by Morgan.

Merlin encounters the Lady Of the Lake as well as a fierce dragon, who he frees and befriends.

Back in Camelot celebrations are under way and Morgan is offered as a bride to Uther, the King's son, but Uther has his eye on Ygraine, the Princess of The Kingdom of the Tides, but this love is forbidden.

Morgan has followed Uther and witnesses the meeting and is not to happy about this and summons the Solar Warriors. Merlin flees with Ygraine after being saved by his new dragon friend and hides Ygraine at his home with the Blacksmith. Returning to the forest to seek out the dragon, Merlin is captured by the warriors and is thrown into jail.

Will Merlin get Morgan? Will Uther get his Ygraine? Is there an happy ending for both? What happens with Excalibur? Where does King Arthur fit in all of this?

There is so much drama in this story and I could not tear my eyes away from these dancers and the stage.

The dancers are athletes, they make everything seem so effortless, and you just have to admire the pure physicality of the dancer in conveying the story. It has taken years for them to reach the physical peak that we see on stage and you are left in absolute awe with their control, not just of limbs and body but the fact they never seem to show any accelerated breathing in the slight. As I said, these dancers are athletes of the stage.

The sets are incredible. From the initial scene of the giant golden ring that rotated slowly and slowly rose into the ether, to the amazing tree that Merlin lit up with Excalibur. From the palace scenes to the forest, the scenery was as magic as the whole story.

Talking of magic, we experience fiery globes that appear, rise into the air and vanish, a sword that looks as if it is burning that leaves Merlin's hand to float in the air, and several other wonderful illusions.

There is puppetry with the vicious dragons complete with smoking nostrils, all expertly handled so that you are watching the dragon and not the puppeteer (Ashley Dixon). There is so much to watch that your eyes are deliberately drawn to one part of the stage so that illusions can appear just out of eyeline, creating a truly magical experience.

The music lifts you up and sweeps you along the magical journey. from the very first note to the final chord, it does not seem that you are in the theatre for just under two hours. The whole mixture of the wonderful story, the beautiful music and the incredible performers just make the minutes disappear.

Directed and choreographed by Drew McOnie. So many wonderful scenes but I especially loved the scenes with The Lady of the Lake. you really got the feeling of water with the fluidity of the choreography.

The gorgeous music is composed by Grant Olding, whose name may ring a bell as he trained as an actor at Central School of Speech and Drama. The Northern Ballet Sinfonia was conducted with great gusto by Jonathan Lo.

The wonderful set, as well as the costumes were designed by Colin Richmond.

Lighting of this production also creates a special feel and is the work of Anna Watson.

I mentioned the illusions for this piece were literally quite magical and these were produced by a man who really knows his art as he is a member of the Magic Circle and was the Magic associate for Harry Potter & The Cursed Child, Mr Chris Fisher.

Rachael Canning was the lady behind the amazing puppets we see on stage.

And so to the incredible team of dancers who are also wonderful story-tellers and athletes.

Kevin Poeung (Merlin), Antoinette Brooks-Daw (Morgan), Lorenzo Trossello (Uther), Rachael Gillespie (Ygraine), Javier Torres (Vorligern), Minju Kang (Blacksmith), Abigail Prudames (Lady of the Lake), Greig Matthews (Helios), Heather Lehan and Sarah Chun were the Princesses. These were the mains and then there were the male and female warriors flooding the stage.

I can't really put into words just how much I love ballet; I've not seen a ballet that I have not loved or would not see again. As I said, there is a special kind of magic of being in a theatre and letting the music wash over you while following a story without words, and marvelling at the special talent of telling stories through dance. The beauty of the whole experience is simply awe inspiring and breath taking.

If you think that ballet is not for you, go on, take a risk because, like Shakespeare, it has a special language that you will love and become hooked on. All it takes is that one step into the unknown. Why not let Merlin bewitch you into taking that step.

"Merlin" is at the Nottingham Theatre Royal until Saturday 2 October.

 “The Glad Game” by Phoebe Frances Brown

Nottingham Playhouse.

Phoebe is an actor. Phoebe is an actor from Nottingham.

From her early days in the Television Workshop in Nottingham to grown up roles at the National Theatre, the Donmar Warehouse and New York Theatre Workshop, acting has defined who and what she is.

In November 2018 Phoebe was diagnosed with an incurable tumour in the area of her brain that controls speech, language and memory. How cruel fate can be when all you want to be is an actor where the tools of the trade are that of speech and memory to be targeted by a tumour that decides to settle right on those very areas that an actor depends on. Thankfully Phoebe F***ing Brown did not let this little thing called cancer stop her from doing what she loves. Of course I am joking, this is no little thing. It's a frightening thing. It's a life changing thing and Phoebe lives with this every day.

Finding a new way to talk about cancer can’t be easy but Phoebe tells it as it is with warmth and humour, and gives a wonderfully descriptive breakdown of what it is like living with Cancer, especially when you are so young, just 28 years old. This is ongoing for Phoebe, it’s her life.

“The Glad Game” is Phoebe’s Story: of finding herself in the bleakest of times, of discovering gladness in the saddest of moments and about how who and what you love can pull you through. Phoebe gives you permission to laugh and she also gives you permission to cry, because in the story she tells, you get the opportunity to express both ends of the emotional spectrum.

I loved the descriptions of her family and friends, the people she meets and works with, all being painted in your mind, creating pictures that you can build up to make an image of these people so important in Phoebe's life.

There is plenty of music as a backdrop to how she is feeling at that time of her life she is describing, and you can be feeling on a happy high only then for Phoebe to deliver a hammer blow, knocking you off kilter. The intense joy of bagging the acting job she had wanted so bad, only for the tumour to rear its' ugly head just at the wrong time, almost jeopardising her chances. But this is Phoebe Brown and she is a badass. She ain't gonna let this get in the way of her dream job. And you know what? It doesn't.

Her descriptions of what was happening inside her head, the six hours in the Queen's Medical Centre waiting areas, the sights and sounds that maybe we would not notice so much, so clearly relayed to the audience. the noise and feelings of being inside the bowels of the brain scan machine, and of course the horror of what Phoebe was experiencing inside her head when the tumour decided to strike.

I found Phoebe's recollections inspiring, as well as humbling, and a lesson that we should all take on board. I, like many people, may let something trivial stop us in our tracks, but after tonight, seeing and hearing Phoebe, I'm going to rethink certain actions when they arise and work around them.

Listening to Phoebe reminded me a bit of how Victoria Wood delivered her pieces in a humorous but very down to earth way which reached out to everyone, and I love that.

I had expected something just a wee bit depressive, but came away feeling enriched, humbled but also educated and with much admiration.

The tour starts in Nottingham, which is Phoebe’s home town gig and will tour in Autumn 2021 and Spring 2022 supported by charity partner Brain Tumour Research. It will also be available as a made-for-film digital edition streamed from each venue.

“The Glad Game” is Co-Produced by Nottingham Playhouse and Pippa Frith, Sound Design by Iain Armstrong and directed by Tessa Walker.

“The Glad Game” is at the Nottingham Playhouse until Saturday 25 September.

 “How To Date A Feminist” by Samantha Ellis

Nottingham Lace Market Theatre

Can I say that it is lovely to be back at the Lace Market Theatre again after an absence of over eighteen months, not only is it lovely to be back, it’s lovely to see you back on stage. Keeping the name of the theatre in everyone’s mind, and keeping actors going, the Lace Market theatre have been producing on line productions, and while they have been great to watch online, it’s even better to be sat in the seats and to experience the smell, and the whole ambience of being at the Lace Market Theatre yet again.

Samantha Ellis’s play “How to Date A Feminist” is a comedy that rubs shoulders with the Hollywood romcom as it explores the difficulties of finding true love amidst the complexities of modern dating etiquette and gender roles.

The play was written to be performed by a cast of two doubling all the parts, but Director Alison Hope has made sure that all the different characters are played by a different actor, which I think is a good choice. Not only does this make it easier on the two main actors, which would have had to play all the other roles, but it simplifies things for the audience. Not only that but as the first play back in the season, it gives more actors the opportunity to get back on stage again.

Kate is a thirty-year-old journalist who, in the opening scene, is surprised to be proposed to by her boyfriend Steve, also thirty, a baker. Steve is a committed feminist (his mother, Morag, instilled feminism in him from an early age, taking him with her to the Greenham Common protests), and his proposal of marriage is accompanied by a clumsy apology on behalf of the patriarchy.

Kate, who feels she suffers from a fatal attraction to bad men, is less than enchanted, and the proposal sparks a crisis in their relationship that is only to be resolved through a series of arguments, misunderstandings and infidelities.

From the off let me say that this play, which until a few weeks ago I had never heard of, is very funny. The writing flows really well and the delivery from all is natural, especially between the two main characters, Kate and Steve. it is almost like eavesdropping on conversations of their life.

Charlie Osborne (Kate) and Harrison Lee (Steve), gel so well together and you can feel that these two characters are meant to be together, a tribute to both Charlie's and Harrison's acting abilities to make us believe this.

Emily Kelsey (Carina), plays Steve's former fiancée who we discover may not be quite the tough cookie, we are first led to believe. You don't get many female stone gargoyle carvers do you?

Malcolm Todd (Joe), Elaine Garrod (Morag) play Kate's dad and Steve's mum. Both characters at opposite ends of the spectrum, or are they? Gradually they discover that they may have more things in common than first thought! Both actors great fun to watch, and both seasoned character actors.

Simon Aitchison (Ross). returns to the stage and am-dram after a thirteen year hiatus to play Kate's boss, who just happens to like mixing business with pleasure. A bad man and just the sort of man Kate has a penchant for, but not quite Heathcliffe.

As a whole the cast are really comfortable, not only in their characters but as a unit cast, and they make you believe the people they are playing and make you forget that you are watching actors on a stage.

Set Design is by Linda Croston who is also in charge of the wardrobe department. A minimal set that worked to the play's advantage as apart from a table and chairs and three boxes, used as seats and two florescent signs, there was just a part of the scenery to have the projections beamed onto.

The costumes are wonderful, as well as fun, and a lot of sourcing or creating has gone into the costumes for this production

The Lighting Design, Sound and Projection Design is all by Matthew Alcock. The lighting was a simple, but again effective affair and the sound was a varied soundtrack covering sixty plus years of music drops. From Elton John, Pharrell Williams, Bryan Adams and Ed Sheeran to The Five Satins ("To the Aisle" was not a song I'd heard before but now love it) and the Dixie Cups, to party classics from Kool & The Gang, Abba and Nena. What a brilliant soundtrack to a play.

The projections were great as they moved the play on without the actors having to do anything. Great photography and if you are not going to have an actor to look at on stage, this is the perfect way to fill in the gaps, complete with more of that wonderful soundtrack and keeping the audience's eyes fixed on the stage.

Alison Hope directed this little gem and Alison has omitted nothing. I love the fact that when the pair were eating chips, they had polystyrene containers with chips in. When Kate and Joe were having coffee, from what I could gather, there was liquid in the cups. It is little things like these that, for me, show that reality in a play is uppermost, as some directors may ask their actors to mime eating chips, putting sugar in the coffee etc. The play was kept pacy throughout, and I was pleasantly surprised when the interval came around and was eager for Act Two to resume.

I started off by saying that this play is very funny, as well as poignant. This may be an understatement on my part. It has a brilliantly entertaining storyline, a great script, and a stage full of excellent actors, showing us all what we have been missing from the Lace Market Theatre. We now just need to get those bums back on those new, and very smart and comfortable, red seats, and selling out the rest of the week. This is one play that welcomes you back to this theatre and a brilliant start to the Lace Market theatre's new season.

“How To Date A Feminist” is at the Lace Market Theatre until Saturday 25 September.

 “Joseph & The Amazing Technicolour Dreamcoat”

Nottingham Arts Theatre.

The classic Andrew Lloyd-Webber/Tim Rice musical gets given the more traditional treatment. I think it is great that you can see two different productions of the same musical, both different and both so enjoyable in their differences, and that is the sign of the quality of local theatre we have in the East Midlands.

I’m not going to give you a precis of the story as everyone knows the story, so I’m just going to go for the performance.

Playing Joseph is seventeen year old Louis Barnes-cupit in his first leading role that I've seen Louis in. Louis is a very confident performer who shows that he enjoys being on stage and being the leading man. He has strong vocals which will be more powerful, the bigger singing roles he gets. He is good at the comedy parts and even shows a penchant for choreography, including tap. Louis is a very likeable actor and that likeability shines through in his performance.

Ably supporting Louis in the roles of the brothers are Sophie Benner (Isaacher), Zach Silcox (Asher), Bertie Solbe (Levi), Xenia Smith (Dan), Carys Davis (Judah), Jason Thompson (Gad), Bria Spencer (Benjamin), Lily Palmer (Napthtali), Abi Skinner (Simeon), Amy May Beach (Zebulun) and Dom Mills (Reuben). Playing Jacob was Emma Pettiford.

Two young actors really stood out for me in this production. Mason Hart (Pharoah) really embodied the role of the "King" and delivered a wonderfully entertaining version of "Song Of the King", and I think Mason is a young actor to watch out for as I think he could turn out to be a very versatile and entertaining asset to many productions and roles. And how he managed to walk in those boots I will never know!

The second young man was wonderful William Woolley who played Potiphar. Bursting with confidence, and for a such a young actor, he stamped his mark on this role. William is only about three foot tall but stood tall with his confident delivery and star quality. What made his part even more comical was Mrs Potiphar was played by Bertie Solbe who looked to be about six foot tall! A wonderfully off the wall casting of the pair. By the way I also loved William's final costume which resembled something like the suit Austin Powers wore; blue crushed velvet and frilly white shirt baby!

Now, why have one narrator when you can have five. Holly Jewitt Maurice, Hattie Campion, Chloe Chapman, Jasmine Warder and Francesca Lewis. What a gorgeous sound this quintet made when they all sang together, as well as some equally gorgeous solos.

The whole cast delivered an energy packed performance.

There were touches of panto with the equivalent of the pantomime horse, this time though with the camel, who for some reason did a tap duet with Joseph, which I assume was to cover for a major set change, as I've never seen a tap-dancing camel and Joseph and wasn't quite sure why it was there until I saw the set change and then the penny dropped.

Now I know that a band is not cheap to hire and pay for, and I am not a massive fan of pre-recorded "karaoke-style" backing tracks for several reasons. One that they can come across as clipped at start and end and also you can sometimes hear the musical cues to the actors, which we did tonight. That said, this is the first proper show performed inside the Arts Theatre for what must be nigh on eighteen months so there has been no revenue coming in to fund the shows so you do what you have to do to get those actors on stage, those bums back on seats and the money rolling in again.

Musical Director is Ray Samuel Mcleod, the production was Directed by the now almost legendary Maggie Andrew, along with her son, Gizmo. Loved the choreography from Xenia "Miss" Smith. The Lighting and Sound by Oliver Read and Sam Windle. The sound on the whole was really good but there were just a few moments , like in the "Close Every Door" scene where I could only just hear the backing choir behind Louis' vocals, and a section where I could see Louis singing but couldn't hear him.

My only other bugbear is when there are gaps on stage and the audience is left wondering what is happening and there were a couple of these "empty" spots which could do with tweaking and tightening up, but maybe I notice these more than anyone else because I am looking out for them. After all it's a big cast and not an easy job for the stage managers to make sure the kids are on stage or where they should be at any particular time. Not a job I'd like to undertake given the volume of the cast.

The costume team of Maggie Andrew, Jennie Klyman and June Andrew excelled themselves with every costume. I loved the long flowing multi coloured coat for Joseph and Pharoah's costume especially.

I've mentioned some of the really strong singers earlier and even more emerged in the song "Benjamin Calypso". I apologise for not having the two lead singers' names who started this song, but they really surprised me with their great tone and power. Cracking job done there lads!

Can I also just mention, as a final note, that I love the eye-catching programme, designed by Mike Pearson. Even though it's a freebie, please donate, even if it is just £1, just to boost the coffers. Think how much extra this company would get if every single person who saw the show gave just £1 for the programme alone.

This show is great fun, it's frothy, it's high energy and it's just great to be back at the Arts Theatre again, and lovely to see that stage full of shining stars again. A massive "well done" to everyone involved. It's good to be back!

“Joseph & The Amazing Technicolour Dreamcoat” is at the Nottingham Arts Theatre until Saturday 18 September.

 “Joseph & The Amazing Technicolour Dreamcoat” by Gatepost Theatre Company

Duchess Theatre, Long Eaton

This has always been one of my favourite Lloyd-Webber/Rice musicals and this week I get to see two productions of this show.

It's a brave decision to go ahead with a production where ten of your cast have been affected by Covid and isolations, but Director Christopher Collington and the cast decided that the show must go on, and on it went....

I am sure that I do not need to tell the story as it has been engrained in everyone’s musical theatre memory since time began, or the late 1960’s when the show was first performed. Joseph, The Dreamer is sold by his brothers, who were jealous of him being the “favourite son”. Thinking they had seen the last of him, years later they have to beg Joseph for food, and his forgiveness for them selling him down the Nile.

Dan Collington (Joseph “The Dreamer”), Phil Deakin (Dan “The Confused”), Simon Owen (Zebulin “The Muscle”/Potiphar), Jarrod Makin (Reuben “The Oldest – But Not The Wisest”), Christopher Collington (Simeon “The Schemer”) who also directs the production, Rhys Lodge (Levi “The Mover”), Josh Birchall (Asher “The Idiot”), Kheenan Jones (Judah), Richard Whitehorn (Jacob “The Father”), Steve Wood (Issachar “The Thinker” as well as Benjamin “The Youngest”)

"The Boy", which is a new character for this musical, is played by William Hall. William oozes confidence and I think we all loved his facial expressions, especially near the start of the musical where his eyes seemed to pop out of his head, and then there is his amazing dance skills, especially his signature move, The Floss! This young man is a real find.

Claire Rybicki is one of the ten who unfortunately could not appear, but standing in as “The Narrator”, at very short notice was Lottie Lodge and to say she cracked this pivotal role would be an understatement!

This production is really fresh with loads of bits that I had, either never noticed in other productions, or had been introduced by Gatepost. It makes you sit up, especially with so many comic moments, and there is so much to see with everything going down on stage. I absolutely adored Gemma Hall as Mrs Potiphar and her cougar-ish seduction of Joseph. Potiphah bore a striking resemblance also to a certain windswept and bumbling Prime Minister, which immediately gained a massive reaction from the adoring audience.

The choreography (Lottie Lodge), especially for the male members, was incredibly camp in parts which again added so much comedy to the show. Kheenan Jones, I have never seen so camp, cementing the fact that I have always known, that Kheenan is so at ease with comedy. Christopher Collington's Pharoah was milked within an inch of the character's life, and the audience loved it.

The soundtrack is packed with singalong classics “Any Dream Will Do”, “One More Angel In Heaven”, “Go Go Go Joseph”, “Close Every Door”, "Benjamin's Calypso" and I love the melancholic “Those Caanan Days”, performed in a way that I have never seen performed!

MD'd by Martin Lewis and containing some of the best musicians around, the sound was incredibly well balanced, and every note and every word was heard with crystal clarity, thanks to sound man, Stephen Greatorex.

It's no surprise that the spot-on lighting is the work of Dave Martin.

I feel that I also need to mention the costumes, which even at first glance, you could tell so much work had been put into them. I think a large pat on the back is due for Laura Stone.

This is a production that, under the direction of someone who is not afraid to add to the ingredients of a successful recipe and create something even better than the original concept, has actually been enhanced in my opinion with an additional injection of comedy. The story, even from the start has an added touch of magic which is weaved throughout the show.

This in short is a production that I have never seen performed quite in this way, and I absolutely loved it. If you are going to mix things up with such a well-known piece of theatre, then this is the way to do it because it certainly worked out. Gatepost seem to be no stranger to making brave decisions, never shying away from doing something slightly different, and making that gamble pay off. The proof of that was in the incredible audience reaction the cast received. Nuff said!

And of course,we also must wish speedy recoveries to all of the cast who missed out on being able to perform this week due to Covid.

“Joseph & The Amazing Technicolour Dreamcoat” is at the Duchess Theatre in Long Eaton until Saturday 18 September. Go Go Go get them tickets!!