“9 To 5 The Musical”

Nottingham Theatre Royal

“9 To 5 The Musical” tells the story of three women pushed to boiling point by their sexist, bigoted and egotistical boss. Concocting a plan to kidnap and turn the tables on their despicable supervisor, will the ladies manage to reform their office – or will events unravel when the CEO pays an unexpected visit? Inspired by the iconic 80’s film and brought to you by Dolly herself.

Starring Louise Redknapp as Violet. I will freely admit that I had a bit of a crush on Louise back in the day, and she looks better today than ever. I've never seen Louise in an acting role and I was pleasantly surprised. Louise was at ease on stage, as you'd expect, and we all know that she can sing and dance. Louise showcases her big voice in a brilliant West End style song and dance number called "One Of The Boys".

Vivian Panka plays Judy, and she makes her UK debut in this musical, after starring in various musicals in the Netherlands. Vivian is made for musicals as she has a great voice. One of my highlights of this musical has always been the power ballad "Get Out And Stay Out" which is Judy's big number. She shows tender vocals, power vocals and ends with her spitting out the words in anger at her ex, Dick, who was dumped by Mindi, the twenty-year-old who he left Judy for, and thought he could just walk back into Judy's life. By this time though Judy has become a strong independent woman, so Dick has no chance!

Stephanie Chandos is Doralee, who is based strongly on Dolly herself. I love the song "Backwoods Barbie", as always Dolly's lyrics tell a story and this has a lovely story to tell about not judging a book by the cover, which ties in with Doralee's character in the musical.

Roz is Hart Jr.'s secretary who has a bit of a crush on her boss, is played by Julia J Nagle. Well I say a "bit of a crush", she would go to the ends of the earth for him. A wonderful comic role for Julia and another highlight for me is the amazing transformation Roz goes through in a brilliant fantasy segment of the show. I've seen "9 To 5 The Musical" a few times previously and this part of the show always puts a smile on my face. I am sure that Julia enjoys playing this lovely comic role as much as we enjoy watching her play it.

Playing the big boss man, Franklin Hart Jr is Sean Needham, and like I have said previously, I've seen this musical several times before but I think Sean has got to be my favourite to date. Hed has a great sense of comedy and extracts the proverbial from Hart Jnr's character with ease. He also has a great voice to back up his acute comedy skills and acting ability. Another triple threat.

The supporting cast and ensemble dancers flood the stage with energy, and there is plenty to see, in more ways than one as there is nudity, done in the best possible taste, and high energy levels from everyone.

There are several tweaks to this production and that has given the musical a really fresh feel about it. Even though it is still set in the 1980's, there is a crispness to the script, which has made this even more enjoyable and ever relevant. The line about men and women getting equal pay and that it would not even be talked about in ten years' time drew a reaction from the audience and I loved that, at certain times, the actors broke the fourth wall by turning to look at the audience, just to make sure the comedy and relevant comments hit their targets.

The songs are all the work of Dolly Parton, who has re-recorded her video appearances since I last saw the show and has updated the comedy. I have seen Dolly Parton live in concert and absolutely adore her music and Dolly herself. She has a self-deprecating sense of humour which makes you warm to Dolly the person as much as Dolly the performer. The lyrics are sharp and truthful and deliver serious messages wrapped in brilliant music and with more than a twinkle in her eye. What is there not to love about the incredible Dolly Parton?

The choreography in this show is so full on and combines many dance styles, from street to tango and some classic smooth Hollywood/West End moves. Choreographer Lisa Stevens has earned her money with this show and the dancers also, even though they looked as if they never even broke a sweat. A tribute to their dance skills and stamina.

One thing you notice when you walk in the auditorium is the set, and this again, as far as I can remember is very different with at least 88 old computer modules, you know the big bulky ones used back in the 80's framing the stage and going to the back of the stage. very impressive! Designer Tom Rogers has done an incredible job with these stage sets.

An amazing amount of props are used in this musical as well and a possible nightmare for the props supervisor, Jennie Falconer. This is something that the audience may not notice, or take for granted but this particular job is no easy task with no time to take your eye off the ball!

You really can't beat the sound of a good orchestra and Dean McDermott and the orchestra really made some noise, some would say a little on the loud side, but not me. ok so there were just a couple of times when the vocals were slightly drowned by the sound of the orchestra but I was having fun so i didn't care as I know the musical and I love it loud and proud.

Brilliant wardrobe and wigs for this show, as you can imagine.

Another thing I really must mention is the video design for this show. IT IS AMAZING!! Truly West End standard and gives a wonderful sense of distance and depth to the stage.

It is a brilliant, fun story, with the book having been written by Patricia Resnick, and brought to vivacious life by this wonderful cast and technical team.

Absolutely nothing at all to call out, so I just sat back and let this wonderfully fluffy fantastical show take over for the evening.

“9 To 5 The Musical” is at the Nottingham Theatre Royal until Saturday 30 October, so tomorrow tumble out of bed and stumble to the phone or computer and get your tickets NOW!

 “The Comedy Of Errors” by Royal Shakespeare Company

Nottingham Theatre Royal.

This is the first time that I have seen this particular Shakespeare play. I was due to see it in Stratford upon Avon two years ago and then Covid put a stop to that.

Set in the Greek city of Ephesus, "The Comedy of Errors" tells the story of two sets of identical twins who were accidentally separated at birth. Antipholus of Syracuse and his servant, Dromio of Syracuse, arrive in Ephesus, which turns out to be the home of their twin brothers, Antipholus of Ephesus and his servant, Dromio of Ephesus.

When the Syracusans encounter the friends and families of their twins, a series of wild mishaps based on mistaken identities lead to wrongful beatings, a near-seduction, the arrest of Antipholus of Ephesus, and false accusations of infidelity, theft, madness, and demonic possession.

There are echoes of "The Tempest" and "A MIdsummer Night's Dream" to be seen within this play. Like "The Tempest" the action is set within a 24 hour period and like "A MIdsummer Night's Dream" there are couplets who fall in love with others who are not quite who they think they are, and then at the end everything is revealed.

The action is set firmly in the 1980’s and is presented as a farce, but then Shakespeare wrote the play as such, so that should come as no surprise.

What did come as a surprise to some people around me was the modern setting and approach and attitude of the characters. I love adaptations of The Bard's work as well as the "down the line" presentations. Why? Because Shakespeare's works can be adapted and maintain the comedy, the farce etc because the subjects that he wrote about will always be relevant and entertaining.

A couple of the characters were seen with face masks and sanitisers, giving an even further nod to present day issues, and added to the comic element.

Shakespeare was a great comic, and if he were alive today I am sure that he would be writing some great sitcoms for some of the best comedy talents. This production gave a nod to some fine comedians like Rik Mayall, John Cleese and Russell Brand with three of the characters' physicality.

There is even a short section that could be mistaken for a Shakespearean Glee club performance, complete with mic drop.

This is Shakespeare slapstick, at times reminiscent of Laurel & Hardy with its' stagecraft and timing.

Director Phillip Breen extracts every morsel of comedy from Shakespeare's lines to maximum effect. If anyone who didn't love Shakespeare came to see this as an introduction to the man's works, I am positive that their opinion would be turned around after seeing this production.

Designer Max Jones's set is spacious and well thought out to give several entrance and exit points, the hallmark for any great farce.

In this adaptation there are musical interludes which are used to great effect when there are scene changes. Think Pentatonix, Swingle or King Singers and that is the vibe here.

Every single member of the cast were excellent, and I am not going to name them or pick any of the cast out as they presented as a team and that is how this cast should be acclaimed.

Brilliant costumes, great set, an inspired set of props, all add up to a wonderful visual experience.

One of Shakespeare's best comedies presented by an incredible team of actors.

“The Comedy Of Errors” is at the Nottingham Theatre Royal until Sunday 24 October.

 “ A Day In The Death Of Joe Egg” by Peter Nichols

Nottingham Lace Market Theatre.

The play centres on a couple, Bri and Sheila, who are struggling to save their marriage whilst trying to raise their only child, a small girl named Josephine, who suffers with cerebral palsy. She uses a wheelchair and is unable to communicate. Caring for her has occupied nearly every moment of her parents' lives since her birth, taking a heavy toll on their marriage. Sheila gives Josephine as much of a life as she can, while Bri wants the child institutionalised and has begun to entertain chilling fantasies of killing himself and Josephine. I'm going to try and not say much more about the plot as I would hate to spoil the ending for you.

It sounds a barrel of laughs at first sight doesn’t it? Well it is a black comedy that was made into a film in 1972 starring Alan Bates and Janet Suzman and then again in 2002 with Eddie Izzard and Victoria Hamilton. I watched about ten minutes of the film and then thought, "No!" I wanted to get my first reactions to this story from seeing the play tonight, I wanted no spoilers or surprises, and I was so pleased I chose that option.

Some of the language, which would have been the norm when the play was written in 1967, caused some intakes of breath tonight, especially in the descriptions of Josephine's condition. I will admit I found that part of it uncomfortable, but it is supposed to make you feel that way, so in that case, it did it's job.

We get to see the everyday life of bringing up a child with cerebral palsy, and the way that Bri uses humour to mask what his true feelings are. The humour being his coping mechanism. We see a longing to be closer to Sheila, and possibly revert to a life before Joe came along.

James Pacey (Bri) could well have a side line as a stand-up comedian after seeing him play Bri, school teacher and husband. The play features all of the characters breaking the fourth wall to address the audience to give their side and opinions, and the way James worked the auditorium was quite impressive. He will divide the audience with his actions, and again this is good for a play to cause this reaction.

Sarah Taylor (Sheila) depicts the other side of the tracks, so to speak, as she is 100% committed to Joe and the life that she has with her child. Again wearing a virtual mask to hide from the outside world of Sheila's drama society what she has to go through on a daily basis. But that mask slips! A tender depiction of what must not be an easy role to get into. You feel like giving Sheila, via Sarah a hug for her unwavering dedication to her daughter.

Jonathan Cleaver (Freddie) plays Sheila's drama buddy who drops Sheila off in Act Two. Freddie wants to help but he also wants to put Bri right about a couple of things.

Juliet Brain (Pam) is Freddie's wife, who feels very uncomfortable being around a child like Josephine, quite the opposite of Freddie. Pam does not want to stay any longer than she needs to because of these feelings she has. Pam shows the prejudices that existed back in the 1960's surrounding the issues highlighted in the play.

Hazel Salisbury (Grace) is Bri's Mum, and again typical of the older attitudes, not only towards Joe but towards her son and her daughter in law. A daughter in law we get the feeling was not, and possibly never will be good enough for her boy! A lovely character driven role for Hazel and I loved Grace's monologue.

Michaela Megran Handley (Josephine) could well have had one of the most difficult roles for an actor, as everything that the character wanted to express were through noises, for the majority of the play, as well as physical actions.

The play is wordy, but clever, and I imagine that when this run is over, all the actors will be drained physically, and possibly mentally.

Directed by Bob Wildgust I imagine this was possibly not the easiest of plays to direct, but possibly one of the most challenging but satisfying, seeing the results of the hard work put in all involved.

Set Design by Keith Parkinson, and you really got the feel of the late 1960's here. from the furniture to the wall hangings to the props within the set, everything worked to pinpoint accurately the time that the play was written in.

Sound and light by Simon Carter. Now it may seem that the only changes in the lighting was when it was faded up and down, but listen out for the background sound design in this play.

To sum up, the play is designed to not only highlight what life is like with a child with cerebral palsy. the stress and strain of looking after their daughter and keeping a marriage together, but it shows how cracks can develop. It can be an uncomfortable watch, seasoned with stabs of comedy, but again that is the aim, and the final section of this play will make you go away talking about what you have just seen, and is a great debating rostrum.

I always say that a play has not succeeded in it's aim if you go away not feeling anything, or throw up talking points. This play definitely succeeds in that aim.

“A Day In the Death Of Joe Egg” is at the Nottingham Lace Market theatre until Saturday 23 October.

 “Chicago the Musical”

Nottingham Royal Concert Hall

“Chicago” just has to be the sexiest musical around and it is well and truly back in Nottingham.

Set amidst the razzle-dazzle decadence of the 1920s, Chicago is the story of Roxie Hart, a housewife and nightclub dancer who murders her on-the-side lover, Fred Casely, after he threatens to walk out on her. Desperate to avoid conviction, she dupes the public, the media and her rival cellmate, Velma Kelly, by hiring Chicago’s slickest criminal lawyer to transform her malicious crime into a barrage of sensational headlines.

Roxie Hart is played by Faye Brookes, who any Coronation Street fan will recognise straight away as Kate Connor. I have always found that when you see an actor who is so well known for their TV work on stage, you forget that they have other talents. TV is only one small part of their acting talents. Faye is a real triple threat. She looks absolutely gorgeous and is a wonderful actor. She can dance, and let's face it "Chicago" has a lot of choreography in it.

Remember Faye's musicality on "Dancing On Ice"? And she can sing as well, and what a voice! Faye can whisper a lyric and belt a lyric out with ease and great style. I love it when actors you know from TV really shine on the stage and Faye's star is gleaming as Roxie.

Djalenga Scott plays Velma Kelly. Now Djalenga is a new name to me but what a beautiful introduction to this woman's talents. As with Faye, she is a triple threat with her singing, dancing - love those high kicks - and her acting. What a pair these two leading ladies make. They glitter more than the backdrops they dance in front of. Why have I not heard or seen Djalenga before tonight?

Playing the suave Billy Flynn this time around is the very suave Darren Day. I've been a fan of Darren's TV and recording work for many years now and seeing him perform on stage was just wonderful. You see what a controlled voice he has. As Billy Flynn he oozes sophistication, resplendent in tux and tie and black cane. One of my favourite songs from the show is the Hollywood influenced choreographed "All I Care About Is Love". I have seen several actors play Billy but I think I have found my new favourite.

Matron “Mama” Morton is played by the very sexy Sinitta. Most people will know Sinitta from her big hits but fans of this woman know that she was an actor who can sing with her career starting off on stage, through her hit making career and now right back to where she started from. Her voice takes on a lower timbre, which I loved, and you can really tell she has had musical theatre history just in the way she moves and performs. Sinitta slinks around the stage and while Mama Morton is a sexy character, Sinitta, just by being Sinitta, brings a new level of sexy to the role. It's in the eyes!

Amos Hart is played by Joel Montague and while his character sings about being Mr Cellophane, Joel’s performance is anything but invisible. After leaving the theatre the main song I heard being hummed, whistled and even crooned by fellow theatre attendees was "Mr Cellophane". Joel had the audience on his side with this performance and several "aahhs" was heard when he exited the stage after asking for his exit music and none came. That is the impact this character has on the audience.

Mary Sunshine the reporter on the case is played by the equally delicious Divina De Campo from Rupaul’s Drag race UK and the show that I really remember Divina from "All Together Now" which I loved. Divina has a wonderfully versatile voice, and I loved it when the woman I sat next to was quite surprised when the "big reveal" came in Act Two. that alone shows the power of performance and making someone believe what they see. I am now even more of a fan of Divina than ever before after tonight.

The show is packed full of Razzle Dazzle with so many amazing costumes, many of which seem to have shrunk in the wash as they didn't seem to fit the men or the women. Well, I did say that this is the sexiest show on stage did I not?

The choreography for "Chicago" was so tight - almost as tight as the male dancer's trousers - the synchronicity all round was so sharp, and I loved the glamour of the Billy Flynn sections. The Bob Fosse hallmarks were all there, even down to the way the bowler hats were held, the flicks and the hip thrusts. Just perfect choreography exquisitely executed by the amazing dancers as well as the leads.

The dancers all deserve special credit, as not only do they dance their socks off but they all have additional acting parts. You can really see the work that they all put in on the choreography because of the slickness and timing. they bring the sexy to the party, making this show a visual treat for both men and women audience members.

Love the staging of this show as well. there is nothing complicated and the story is told without the need for scenery or stage sets.

The orchestra fill half of the stage, and what an orchestra. They are almost part of the show's performers and Musical Director, Andrew Hilton was a joy to watch, alongside the orchestra, who also received a massive show of appreciation by the enthusiastic audience.

The soundtrack is also one of my favourites. There are so many songs that will have your toes tapping or clapping along to. "All That Jazz", "Roxie", the brilliantly layered and complex "Cell Block Tango", "Mr Cellophane", "All I Care About Is Love", "Razzle Dazzle", "We Both Reached For The Gun", "When You're Good To Mama" and some lesser-known songs such as the duet between Velma and Mama Morton "Class", and the duet between Roxie and Velma "Nowadays". the musical is just packed with great songs.

Now, my only criticism. the show started about ten minutes later than it should have done. The only reason for this gripe, is because I could not wait for this incredibly entertaining musical to start.

This is one of those musicals that I would see over and over again and never tire of it.

“Chicago” is lighting up the Nottingham Royal Centre until Saturday 23 October. It’d be a crime to miss it!

 “The Lady Vanishes” adapted by Derek Webb from the novel by Ethel Lina White.

The Bonington Players

Bonington Theatre, Arnold.

The play is about a beautiful English tourist, Iris Carr, travelling by train in continental Europe who discovers that her elderly travelling companion, Miss Froy, seems to have disappeared from the train. After her fellow passengers deny ever having seen the elderly lady, the young woman is helped by a young man, Max Hare.

The two proceed to search the train for clues to the old lady's disappearance. As Max and Iris try to find answers to Miss Froy’s disappearance, romance starts to bloom. But why do all the other passengers suddenly deny the existence of Miss Froy?

The classic Hitchcock thriller is brought to life on stage wonderfully by The Bonington Players, with probably one of the best sets I have seen in a long time. The train car itself looks as if it has just been lifted from a 1930's steam train, likewise the dining car.

What I also love about the Bonington Players is the authenticity of the set an d the little details like there being drink in the coffee pot and there is food to be eaten. No empty plates with actors pretending to eat and drink from empty cups. Director Howard Whitehurst has ticked off and used every little detail needed to make everything a reality.

The accents are also well utilised with cut glass British accents rubbing shoulders with the European accents of the Doctor and The Baroness.

Charlotte Cordall, who played Iris was excellent throughout and with great energy.

Miss Froy, played by Karen James, reminded me slightly of a cross between Julia Mckenzie and Geraldine McEwen, both incredible actors, as was Karen.

Kevin Chatten, as the quintessential Englishman Max Hare is so well at ease with this character inserting a lovely amount of English charm and comedy.

Philip Chapman and Lindsey Hemingway play the "honeymoon couple" Mr & Mrs Todhunter, but are they as blissfully married as they would have us believe?

Two of my favourite characters in this thriller are Miss Evelyn Flood-Porter and Miss Rose Flood-Porter, played brilliantly by Val Petty and Gail Tomlinson respectively. Think the physicality and facial gurns of Hinge and Bracket and that is the area you are in. Brilliant comedy acting by both ladies, but why would these sisters also deny the existence of Miss Froy?

Christian King we see in the second act as Reverend Barnes, also the husband of Mrs Barnes who really can't wait for anyone to finish their sentences before continuing to speak. This speedy character played by Helen Holbrook.

Zoe Lander plays a quite bolshy and scary Baroness, who seems to have something to hide; but what? What i loved about Zoe is that when the lights faded to change scenes and The Baroness was not required on stage, she exited completely in character, even in the dark. Now this is something that maybe a lesser experienced actor may not do. Or is it the result of a very experienced Director, again never missing a trick?

Wayne Hill as The Doctor was very convincing with his explanation of the mysterious other train carriage and the human cargo he had in there.

Danny Longbottom played The Professor I found to have more comedy in the role than I could remember. Maybe the script has always been the same but Danny brought out the comic element in this character more than other actors I'd seen play the part historically.

Frau Kummer, as you may remember is the German woman of same size and build as the missing Miss Froy, and I had to look twice here because the physicality between Karen James and Christine Chapman, who plays Frau Kummer was almost mirror like. There was a certain eeriness in this character which Christine brought out really well.

Nick Hill played the Border Official, who we saw at the end of Act Two was authoritive and believable.

The only other minor character role was that of the dining car waiter, played beautifully by Chris Gardner. Minor the part may be but memorable the acting was most certainly.

I mentioned what a wonderful set this play has but bringing the set to life and really making you feel that you were travelling on a train was the video design through the train window, moving from day to night through the carriage windows. that and the movement created by the lighting behind the dining car window blinds was so realistic, there was a possibility of mild travel sickness brought on by the motion depicted by this train.

Tony Tomlinson was the designer and the video design, as well as the lighting and sound design, was by David Goatham.

This play is really water-tight and I could find not a thing to fault it on, so I just sat back and enjoyed the excellent, and well-chosen cast presenting one of the best thrillers from the classic thriller genre. An excellent choice to welcome The Bonington Players back to the stage, and so pleased to see the Bonington Theatre practically full supported by an enthusiastic crowd of supporters.

“The Lady Vanishes” is at Bonington theatre until Saturday 16 October.