"Chess In Concert" by BJW Productions.

The Grand Pavilion Matlock Bath.

What a beautiful venue this is going to be when it's all been done up. Don't get me wrong, it's very atmospheric as it is, but when everything has been completed, Wow! what a venue for bands and theatre shows like this it's going to be.

"Chess" is not the easiest of musicals to perform, with the chord changes of Benny Anderson and Bjorn Ulvaeus from Abba and the expertise of Tim Rice, together it sounds exquisite, but I can only imagine a nightmare for anyone having to perfect these songs, that are more operatic than rock opera. BJW Productions perfected everything about this production.

To roughly let you know what the musical is about, in case you didn't know, it is based around a chess game which is politically motivated, but also about falling in love, as I’m sure you’ll find out by coming to check it out, mate. The story involves a politically driven, Cold War–era chess tournament between two men—an American grand-master (Freddie Trumper) and a Soviet grand-master (Anatoly Sergievsky)—and their battle over a woman (Florence Vassy) who manages Freddie and falls in love with Anatoly.

Performed without sets, which is why it is billed as "In Concert", it really highlights the wonderful music, and the vocal abilities of the cast, all equally as talented as each other, so there is no need for me to specifically highlight anyone, but I probably will anyway.

Sara Evans-Bolger (Florence Vassy) really brought out her inner Elaine Paige for this performance. "Nobody's Side" has always been a favourite of mine from "Chess", and nobody can do the song justice like Elaine, well until Friday night that was. Sara's duet of "I Know Him So Well" with Emily Knight (Svetlana Sergievsky - Anatoly's wife) was an absolute dream to experience, their voices blended so beautifully. And Emily's blood red outfit was spectacular.

Harmony, in however many parts you wanted, was boundless in this musical, it's like I had discovered surround sound for the first time. Musical Director Ben Ward waved his magic baton over the wonderful 14-piece orchestra and vocalists and created musical magic.

The two chess players in this show, Max Hoffman (Anatoly) and JoJo Meredith (Freddie) certainly matched each other with vocal ability, with JoJo exhibiting a massive range so suited for rock opera, while Max brought a lovely softer edge to the songs.

Eoin Callaghan (The Arbiter) is another whose vocals were so well suited to this kind of musical, his enunciation of every word hammered home his power and intent over the game and made sure we heard every single word that he sang.

Joe Woffinden (Alexander Molokov - Anatoly's second, as well as a secret KGB agent) has a very convincing Russian accent, even when singing; and when he does sing, what a voice this man has. The tone and richness of that timbre is wonderful.

Phil Simcox (Walter De Courcey - Trumper's equivalent to Molokov) also has one heck of a voice, again blending well with Joe's.

There's also an ensemble to flesh out that choiristic sound to the production, making the rafters of the Grand Pavilion tremble. Beth Bennett, Niamh Canning, Georgia Davis, Katie Hathaway, Samantha Hedley, Morgan Hemstock, Emily Hunter-Welling, Stacey Hyndman (who was also the Production manager), Sarah J. Kolb, Chrissie Smyth and Lauren Stocker. One male and ten females, and if truth be told, I'd have loved to have had that male vocal elevated by a mic to match the force of that wonderful female collection of voices.

The staging of the production, as well as the choreography was by Cat Howourth, who was also the Deputy Stage Manager, with the Company Stage Manager being Heath Parkin.

While not in need of a full lighting design, the lighting for this show, which was as good as any music stage show that I have ever seen, was designed by Jamie Vella.

The Sound Design, allowing us complete crystal clarity in a wonderful acoustic space, was by Harry Greatorex, with Martin Curtis billed as Sound 1.

I touched on the soundtrack a little earlier, but when it contains such hits as "I Know Him So Well", "One Night In Bangkok" - lyrically such a brilliantly clever song, "Nobody's Side" - all chart hits - as well such beautiful musical theatre songs as "Anthem" and "Heaven Help My Heart", this really is an evening full of joy, as well as political intrigue.

"Chess In Concert" is at the Grand Pavilion, Matlock Bath for two more performances, Saturday matinee and Saturday evening, so make sure you get there early enough to get a parking space - they are limited, but after 6pm it's only £1 until 8am in the morning. Tickets are going fast, especially after word gets around from Friday's performance, so I'd check, mate just to see if they have any left!

 "The Book Of Mormon"

Nottingham Theatre Royal

Hello, it's finally here; the musical that I've been looking forward to for the last few years! And let me tell you, it was so worth the wait, and the experience.

Written by Trey Parker and Matt Stone, who are responsible for "South Park" and Robert Lopez, who co-created the musical Avenue Q and co-wrote the songs for Disney’s Frozen and Coco. Since its' debut back in 2011, this has been THE musical that everyone wants to see, which explains the reason why the run at the Theatre Royal is until Saturday 10 September.

The musical follows a pair of Mormon boys sent on a mission to a place that’s a long way from their home in Salt Lake City, Uganda!

As expected, this musical breaks every taboo going, possibly insulting everyone who has no sense of humour. there are several parts that even I felt my jaw dropping open and quietly saying to myself "did they really say that?". Even so, this is possibly one of the most un-PC pieces of theatre, but one of the funniest, and naughtiest things I've seen on stage....possibly ever!

Elder Price is the top Mormon student, the one most likely to get a gold star for his conversion technique. He is full of confidence, and wants to preach the Mormon word in....Orlando! He is teamed up with Elder Cunningham, who is the complete opposite, and tends to make up parts of the scripture. When both find out that they are being sent to Uganda, and after being in the country for five minutes and having their baggage stolen, they both receive a reality check!

Conner Peirson as Elder Cunningham is, for me, the top billing in this musical, followed only slightly by his Mormonic foil, Robert Colvin as Elder Price. Both excellent comic actors with wonderful voices and so much energy. Many audience members were overheard to say that these two made the show for them. I disagree because the entire cast were fantastic, with Conner and Robert as the cherry on top.

Aviva Tulley as Nabulungi, the young village girl who has a dream of Salt Laker City and moving there. She believes what Elder Cunningham is preaching and decides to get baptised by the Elder, and then changes the opinions of the village to revert to being Mormons and to get baptised. Nabulungi is the first person to ever be baptised in the village since the Mormons, prior to the current Elders, were dispatched. There is a wonderful running joke with Nabulungi's name throughout the show. Oh and what a sublime voice Aviva has.

Elder Mckinley, the Elder who was in charge before Elders Cunningham and Price arrived, and is a wonderfully camp character, in the most wonderfully camp musical, since the last wonderfully camp musical I saw. Jordan Lee Davis is brilliant in this part.

The whole cast, as I said previously are just perfect in their roles. From an illuminated Jesus to an amazing Satan, and even the odd character from Star Trek and Star Wars, the costumes are wonderful, especially in the "Hell section".

I must mention the harmonies because these were just one section of the musical that I really loved and appreciated the work that had gone into the production. An absolute aural delight!

The set designs ranged from the Utah Mormon Headquarters, through to a fake Orlando which transformed into Hades, to an African village, all changed with smooth transitions.

Directed by Casey Nicholaw and Trey Parker, with choreography by Casey Nicholaw, set design by Scott Pask, costume design by Ann Roth, lighting design by Brian MacDevitt, sound design by Brian Ronan, orchestrations by Larry Hochman and Stephen Oremus and music supervision and vocal arrangements by Stephen Oremus.

I don't feel that I need to carry on about just how funny, and shocking, this show is, because anyone who has seen South Park will know just how funny, and shocking, the work of Parker and Stone can be. This musical may not change your life, but it will give you a brilliant night of naughty fun, and is definitely one not to be missed!

"The Book Of Mormon" is at the Nottingham Theatre Royal until Saturday 10 September and there is an age restriction of 14+ due to the language used.

 "Annie Jr" by Arts Theatre Summer School

Nottingham Arts Theatre.

Every year, Nottingham Arts theatre run a three-week Summer School where kids who enjoy singing, dancing and acting attend a week's training. On the fifth day, they perform the show that they have been learning and rehearsing to show parents and family, as well as anyone else who would love to see the show.

What these young people achieve in just five days is incredible. They find out the show they are doing, learn the script, choreography and songs, as well as stage craft and put on a show, something most adults may have trouble with.

"Annie Jr" is the perfect vehicle for this kind of thing, mainly because the age of the characters are close to the actors own age - well apart from the adult roles of course. I've seen "Grease Jr", "Fame Jr" and even "Chicago Jr" and have felt that they don't quite fit into the age range for a junior production, mainly due to the content in the full-blown version of the musicals, and by cutting out some of the scenes from them, felt like chunks of the story were also lost. Not so with "Annie Jr".

Everyone knows the story of the little orphan Annie who is adopted by the richest man in America, Daddy Warbucks, and the conniving scheme to get their hands on the reward money offered by Daddy Warbucks to locate Annie's real parents by Rooster Hannigan, Miss Hannigan and Lily, Rooster's latest squeeze. 

So now let me get to the part I really love......

The Orphans were played by Sophia Rees (Molly), Lorelei Allen-Betts (Tessie), Cait Phelan (Kate), Charlotte Simmonds (July), Heli Lewis (Duffy), Esme Allen-Betts (Salt), Sydney Adams (Pepper), Emily Dexter, Evelyn Hornsby, Juliet Morgan, Rhys Phelan, Tayana Davis-Betani, Sophie Dexter, Jasmine Smalley, Jacob Smalley, Bethan Styles, Annie Lucia and Mowbray Rees. What a brilliant and tight chorus of voices they made.

Annie was played by Caitlin Robinson, who was bursting with confidence, and what a lovely voice she has. I was expecting a voice that was quite twee, but what I got was a really distinctive and quite mature voice which was note perfect.

Neave Kielty (Miss Hannigan) also oozes confidence and another wonderful voice. I could imagine her singing in shows like "Bugsy Malone" or "Bonnie & Clyde".

Neave's brother Billy Kielty shows that the acting talent runs in the family as Rooster, and I loved his shoulder choreography.

Kate Russell looked the part as Rooster's latest moll, Lily.

George Young, who I've seen on stage before so I knew that as Oliver Warbucks, we were in for a reliably good performance, and his vocals have really come on from when I last saw him on stage.

Scarlett Coleman-Smith gave a very mature performance as Grace Ferrell, Warbucks personal secretary.

Daddy Warbucks' staff were played by Harry Smith (Drake), Harriet Campion (Cecile), Eloise Rees (Mrs Greer), Stephanie Booth (Annette) and Caitlin Young (Mrs Pugh).

Arlo Perrons (Bundles McCloskey - the laundry man), Harry Smith (The Apple Seller), Rhys Phelan (Dogcatcher/ President Roosevelt), Se Phelan (Officer Ward/ Bert Healey), Bethan Styles (Sandy - the dog - who must have been sweltering in that costume), Caitlyn Young (the Usherette), Jessica Healey (Mrs Healy), Sophie Benner (the Star To Be), Jacob Smalley (Louis Howe) with various adult roles played by Angel Coles, Arlo Perrons, Caitlin Young, Connie Armstrong, Hermione Cumbers, Jessica Healey, Se Phelan and Sophie Benner.

Produced, Directed and Choreographed by Amy Rogers-Gee, who does an incredible job with these Summer Schools and heads a talented team of Jessica Royce (Musical Director), Daisy Donoghue (Production Assistant), Rowan Arnold (Stage Manager), Esther Coleman-Smith (Costumes).

Something that the kids have to learn is timing, especially when the music is on a backing track, so they have to hit their cues first time, which they all did, and while there were only a few missed sound cues (I was told that there had been issues with the sound desk), the technical side of the show was as good as it gets.

Peter Hodgkinson was the sound man and lighting by Evanne Webster.

As mentioned previously, the performances were very confident, and you could tell that the young actors had really enjoyed the week and the show that they had just performed.

"Annie" is a favourite of mine, it's just a lovely story, and this production proves that in just a short space of time (four and a half days) a quality performance can be achieved with lots of hard work, and love of performing, from both the pupils as well as the teachers.

A wonderfully entertaining start to the weekend.

 "Night Must Fall" by Emelyn Williams

Tabs Productions at Nottingham Theatre Royal.

This thriller dates all the way back to 1935 when it was written by Emelyn Williams and concludes Tabs Productions run of the Colin McIntyre Classic Thriller Season 2022.

When Mrs. Bramson learns that her young maid Dora is pregnant, she summons the child's presumed father to her bungalow. The young man, Dan, is charming but mysterious.

Could he be responsible for the recent murder and beheading of a local woman, and could Mrs. Bramson be his next victim? Skilfully, Dan insinuates himself into Mrs. Bramson's affections and attempts to seduce her sceptical niece, Olivia. Despite strong suspicions of Dan's diabolical intentions, Olivia finds herself attracted to, and fascinated by, the young man.

I'm never any good at guessing who done the dastardly deed normally, but this thriller lays it all on a silver serving platter for you. What is interesting though is watching the gradual layer-peeling of the killer.

John Goodrum (Lord Chief Justice) creates the atmosphere at the start of this play with his opening speech. Even though John is not seen, his vocal acting talents send a shiver through the old bones!

Karen Henson (Mrs Bramson) has a slight air of "Nan" from the Catherine Tate Show, crossed with Downton Abbey's Dowager. Wonderfully bossy, unafraid to show who's in charge but with that naughty sense of humour. Mrs Bramson is completely taken in by Dan and performs a complete U turn of opinion thanks to Dan's Welsh charm.

Sarah Wynne Kordas (Olivia Grayne) had me flip flopping as to whether Olivia was actually involved with the murder, and even at the end of the play there could have been a possibility, or is that just me? Wonderfully cool towards Dan but was she just swept along with that charm herself?

Andrew Ryan (Hubert Laurie) gets to look very different from the last thriller, thanks to a hairpiece which, as in the past, always completely changes his character acting. Hubert is trying his hardest to woo Olivia into marriage, but what is the real reason that she turns Hubert down? Am I reading too much into this Olivia character?

Susan Earnshaw (Mrs Terence) plays another servile character, which Susan always does so very well. Mrs Terence gets some wonderfully dry comic lines to deliver.

Juliette Strobel (Dora Parkoe) morphs again from last week's troubled teenager Pippa, into the young maid Dora, who encountered Dan and ended up in the family way, and is the reason to Dan's introduction to the household. Juliette really is quite chameleonic in her roles, and as always great fun to watch on stage.

Jeremy Lloyd Thomas (Inspector Belsize) appears at the start and then at the end, in the way that all good detectives do in these kind of plays, but as ever, the Inspector always gets his man.

David Osmond (Dan) gets to show off a full gamut of emotions; comedy, cheekiness, caring through to manic anger with a possible personality disorder, bordering on bipolar, with just a touch of narcissism thrown in for good measure. There is a scene in Act Two where Dan enters an empty stage and the whole atmosphere seems to change, which gave me goosebumps. His change of

moods at first came as quite a shock and was unnerving. The thriller is driven completely by this baby-faced character. Last week David was hardly on stage, this week he is very rarely off stage, and also gives us a chance to hear another accent as opposed to the RP of last week.

Directed by John Goodrum, and like Karen, knows exactly what to do to create the required feeling for a play like this. Lulled by comedy and then chilled by just a slight staccato of music and a dimming of the lights. What these two don't know about direction of thrillers is not worth knowing.

Designed by Matt Sykes-Hooban, the set has one door short of a farce without counting the double entrance and exit points past the exit door. What I love about all of the Classic Thriller sets is the attention to detail and just moving your vision from left to right, nothing has been missed to replicate the perfect setting for the period and style of the play.

The Lighting Design by Michael Donoghue and Sound Design by David Gilbrook yet again enhances the look and feel of the Thriller genre, especially with that staccato violin to build the tension and the gradual dimming of the lighting showing the ebbing of daylight and bringing on the required feeling of creeping menace.

The Costume Design is by Geoff Gilder and really places the play in the 1920s, if I am not mistaken. Extreme class.

Tabs Productions have yet again brought with them three different thriller genres for this season, and revealed that next year they return to the four play format, so we get back to pre 2020 with four weeks of excellent thrills, chills and mirth making fun. And already, I am missing them and can't wait to discover what the Colin McIntyre Classic Thriller Season delivers.

"Night Must Fall" is at the Nottingham Theatre Royal until Saturday 13 August.