"Wish You Were Dead" by Peter James

Nottingham Theatre Royal.

Roy Grace and his wife, Cleo and their new baby Noah, have left work and home behind for a week’s holiday in France. The website promised a grand house, but when they arrive the place is very different from the pictures; we've all been there. And it soon becomes clear that their holiday nightmare is only just beginning.

An old enemy of Roy, a lowlife criminal he had put behind bars, is now out of jail – and out for revenge. He knows where Roy and his family have gone on holiday. Of course he does – and they are in the perfect spot for him to pay Roy back . . .

Peter James has been lauded as the most successful modern day crime writer since Agatha Christie, and this is the sixth and latest in the stage adaptations of his best selling books.

George Rainsford plays DSI Roy Grace. Grace, as we all know, is never really off duty; his mind never switches off from work, even on holiday. It's Grace's history and friendship with Glenn Branson that eventually saves his, and his family and friends' lives.

Giovanna Fletcher plays Cleo. I loved Giovanna on "I'm A Celebrity", but, and this was just me, I found she needed just a bit more projection in her voice. Once I realised this though I did train my ears to tune in a bit more to Giovanna's bits, and this made it easier. That out of the way, I enjoyed the performance and there was a certain amount of chemistry between Cleo and Roy.

Kaitlynn Carter is the "nanny" the Grace's have taken on holiday with them to look after Noah. Kaitlynn's partner, Jack, is late arriving to the party; or is he there already? Loved the American accent and thought that Gemma Stroyan, who plays Kaitlynn was actually from over the pond, but no! Gemma is from Scotland but has that talent of mimicry that I admire so much. There is a bit of a shock moment with Kaitlynn, but that's for you to find out.

Alex Stedman plays Jack Alexander, who doesn't have that much of a script, but neither would you if you spend the majority of the play bound and gagged, locked in a secret room, somewhere in the chateau.

Clive Mantle plays Curtis, the patriarch of the gang who is out for revenge. I've been a distant fan of Clive's work, all the way back from the film "Party Party" through to "Casualty", so i really enjoyed his nasty side. The part could have been even nastier, character wise, but then I thought, well it doesn't need to be because he was under the impression that he had his fly in the spider's web, so nothing could go wrong, and that he was in charge. Well, we all know what happens when a baddie is in that frame of mind, don't we?

Rebecca McKinnis plays Madame L’Eveque, who welcomes the holiday makers, but one little foreign slip up, picked up by Cleo, casts suspicion over their host. I loved Rebecca's character play as Madame and Rebecca's other role, which I will also leave you to discover.

Madame has explained away her father in law as being in a wheelchair and practically helpless. we see Vicomte L'Eveque once when he warns Kaitlynn to leave. This character is played by Vince Mallet, but could this be a little extra mystery as Vince Mallet is an anagram for one of the others!!

Arriving late to the party is Brent, Curtis's son, who Curtis has invited in to do his dirty work for him. Brent is played by Callum Sheridan-Lee, who has only just graduated from the Liverpool Institute of Performing Arts. What a way to show his worth with a character like this. Plenty of menace with just the right amount of unhinged maniac.

Leon Stewart reprises his tole of DS Glenn Branson, coming in at the end to save the day as the cavalry, complete with gendarme.

The set design, comprising of a rustic multi level French chateau, is the work of Michael Holt. Brilliant set which also has a few clues peppered around, and what I also love about this is that you have access to see in all the rooms on show, including a gauze wall where we can see where Jack is being held.

Directed by Jonathan O' Boyle, he has set the tension level high, but managed to drip feed us certain clues, which I am quite chuffed about as I picked up on them and could see what was to happen. For some that may spoil the enjoyment. For me it created even more excitement knowing that I had managed to foresee the inevitable.

The Lighting Design by Jason Taylor helped to create the tension with flickering lights and shadows, slowly revealing more clues.

As always, for me, the sound and light designs work hand in hand, especially for plays such as this. Max Pappenheim is the composer and sound designer, and with the crashing thunder, sweeping rain, classical music - which is always a sign that something will be soon going awry, both aural and visual senses were treated to a neve tingling sensory treat.

If there was something that always niggles me when there are "babies" involved, is that we get the sound of the baby crying or cooing, but when the baby is picked up, it's always lifeless. I know, it's only a doll, and I know that they can't use real babies but it detracts from the reality for me. There is no solution to this unless there are robotic babies available which will move and wriggle at the push of a button by the actors. If they don't exist, then they should do... maybe I could invent one!

That aside, I love a good murder mystery, and anyone who is being compared to the wonderful Agatha Christie is fine by me. I enjoyed it even more because I was able to pick up on the clues and use them to get ahead of what was happening at that time. Some wonderful tense moments and a couple of jump scares, so I was a very happy bunny. if you love this kind of play, then this is a class production you need to see.

"Wish You were Dead" is at the Nottingham Theatre Royal until Saturday 4 March.

 "The Government Inspector" by Nikolai Gogol

Nottingham Lace Market Theatre.

"The Government Inspector" also dubbed " A Little Local Difficulty" is a play that I've seen several times over the years, but this particular production is just a little different as it's been adapted especially for the Lace Market Theatre, bringing the alternate title into play and localising the script, as well as the accents.

As I say, I've seen the play several times, the last time I think was eight years ago. I've not seen it performed this speedily, or with so much comedy. It was quite exhausting watching the pace that this cast worked at.

This play was first performed in 1836 and it still stands the test of time. Once controversial, now not so, but still very topical in 2023.

The Mayor is in a cold sweat. News has reached him of an imminent visit from a Government Inspector. His fears are well-founded as he has let his official duties slip just a tad. The hospital’s a health hazard, the school’s a war zone, the soldiers don’t have trousers to march in and he never quite got around to building that church either!

In the past bribery has resolved all of his issues, so surely, they can resort to the old standby with this one? Not so simple this time though because a case of mistaken identity leads to further complications and situations start to spiral out of control!

One thing I like about this cast is that there's a mix of new faces as well as seasoned Lace Market Theatre regulars, and some not so regular, but great to see them back on stage again.

In this version the first two characters we see are the stagehands, Sid (James Whitby) and Jack (Micah Damola) who reveal the wonderful set by opening the stage curtains; I can't remember the last time the Lace Market Theatre used stage curtains. They are also the last ones we see as they close the curtains.

It's a large cast; a large and wonderfully manic cast consisting of the following; Louis Street (Petty), Jamie Goodliffe (Mayor Wyndham-Pitts), Chloe Mckiernan (Maria Wyndham-Pitts), Amanda Pearce (Anna Wyndham-Pitts), Charlotte Thomas (Phyllis Stein/Mrs Robson) - there are some lovely comic moments used to explain when both Mrs Robson and Phyllis are supposed to be on stage at the same time - Jonathan Cleaver (Joseph/Postmaster Piers Prior), Richard Young (Mr Robson), Emma Raynor (Rose Quigley), Melvin Rawlinson (Young Willy Wilson/Smithee's Wife), Micah Damola (Police Officer/Sergeant's Widow/Hadan/Stagehand Jack), James Whitby (Albert Markham/Tanner/Stagehand Sid) and Matthew Hunt, slipping in a cameo as the Government Official. A brilliant ensemble presentation.

Among many wonderfully comic scenes is one involving Young Willy Wilson, Petty and Joseph involving the delivery of a meal. Melvin delivers, not only the meal but a brilliant lesson on how to character play an aging waiter with shaky hands in a scene that reminded me of the one from " One Man Two Guvnors". Paced perfectly that had me almost holding my breath, uncertain that the meal was actually going to make it to the table.

I need to address the physical comedy talents of Louis Street. This man is a comedy master with his visibly physical comedy prowess; from his face to his gangly legs; he reminded me of a comic grasshopper with his physical stature. Louis is a real discovery; I've certainly not heard or seen him before, and I hope that I get to see more of this young comedy actor onstage in the future.

Jamie Goodliffe's performance also shows what a good comedy and character actor he is. The script, which was not always an easy ride was delivered, as with all the cast, with ease and perfect timing.

Directed by Matthew Huntbach, and assisted by Becky Gray, he made sure that there were no gaps anywhere at all, and if you blinked, you'd miss something, the pace was so fast. It was like watching your favourite Monty Python/Blackadder style comedy; it was manic with a sense of panto stirred in for good measure. Pure farce without all the doors.

The set design also added a cartoon feel to the absurdity, brilliantly designed by Nik Hedges.

The Lighting Design played a big part in this play, as did the timing of the application of the design. David Billen was spot on with this area of the technical team.

Darren Coxon's sound design was also applied with excellence with the off-stage sound effects and soundscape.

The play is set in the Victorian era and the clothes reflected this perfectly, thanks to Max Bromley's eye for a period costume.

There is so much in this wonderfully funny play that, if I mentioned every bit I found funny, I'd be here for a very long time, so I do urge you to get a ticket - and from what I have been told, they are very, very rare - if you can. If you like the manic comedy of Monty Python or Blackadder, you'll adore this production.

"The Government Inspector" is at the Nottingham Lace Market Theatre until Saturday 4 March.

 "The Swearing Jar" by Kate Hewlett

New Perspectives

Squire Performing Arts Centre, Nottingham.

Carey and Simon are an otherwise-perfect married couple with a bit of a swearing problem. They're determined to kick the habit by the time their baby is born. Carey introduces a swearing jar, you know the sort of thing where if either of you swear, you put money in the jar. The swearing though isn't their only issue. Simon has a secret. And Carey has a new friend – a musician named Owen that she met at a bookstore, and whom she has asked to throw a concert for Simon's birthday.

This play is one of two halves, and is possibly one of the most emotional plays that I've seen. If you go and see this play, no, when you go and see this play, because you should go and see this play, take some tissues.

I'd not read anything about the play, I've not seen the film that was made, so went into this play with a complete blank canvas as to what to expect. All I knew was that it was billed as a rom-com with music. That description grossly under values this play.

In Act One Carey and Simon are the typical loved up pair with all that silly banter that loved up couples have. Carey and Simon have something to tell each other, so Caret goes first and tells Simon, in her own banterish way that they are going to be parents. We never get to hear what Simon has to tell Carey as the news delivered about the baby takes over. By the end of Act One though we surmise what that possible undelivered news may have been.

Act Two sees Carey and Simon's mother, Bev, going through emotions about their loss, and that is when this play really kicked in, on a personal level for me. Carey sniffs at Simon's clothes because they still smell of her husband, and Carey then finds out something else, a secret which causes a rift between her and Bev.

We see Carey's way of dealing with her loss and we also see her attempt to be happy after a while with Owen as they plan the concert for what would have been Simon's 40th Birthday. The emotions that Carey feels about the man she loved, and still loves are visibly raw, even after years that have passed. It really shows that when you have found the love of your life, your soulmate, that no one can replace them, ever. It also shows the guilt you feel over being happy as well as the guilt over rash decisions made in the heat of the emotional moment.

Paige Round plays Carey. She poured such emotion into the part and her singing voice is superb and heartfelt. You know when you first hear "Without You" from the musical "Ghost", and the hair on your neck stands up and you go cold? That is exactly how I felt with these songs and Paige's voice.

Joe Wiltshire Smith plays Simon. Simon is the kind of bloke you want to go out for a pint with and a bit of banter, and Joe brings that character to Simon. I loved the playful teasing between the characters. There is so much chemistry here between the two that it was like being a fly on the wall of most young couples who have just found out that their love has been cemented by the expectancy of a baby.

Stanton Wright plays Owen. Owen is attracted to Carey as soon as she walks into the library where he works, but Carey omits to fill him in on a few areas of her life; like being married, when she kisses him. This causes a conflict of emotions for Owen, which is carried over the years. Stanton is a wonderful guitarist, as we discover when he plays live in the play, and when Stanton and Paige duet, it's pure magic, especially for me on "Forgetting Your Face".

Tanya Myers, who I've known for many years now, plays Bev. I've seen Tanya in only a few plays because I know that she picks her roles carefully, and I am so glad that she picked this one. Bev, in some ways, remind me of the role that Maureen Lipman plays in Coronation Street; a bit of an acid drop but when you get past that acidity, you taste sweetness. I have always loved Maureen Lipman's character acting, likewise I've always loved watching Tanya on stage. There is joy and there is desperate emotion, as well as anger and love in this role and Tanya can do it all.

Directed by Angharad Jones; this is the UK premiere of this play with music. and to make sure that this level of emotion hits right where it should do takes a very special talent, and Angharad has that talent. I also loved the unsure opening for the play, making you wonder what was happening. Straight away, I knew that I was in for something different. I was not wrong. A Directorial delight that made you want to sit up and watch.

The set design is by Gemma Caseley-Kirk, and this made for an interesting stage set where the library is wrapped around Carey and Simon's home. With just a movement of the couch in Act Two though, it depicted how change had affected Carey. Very clever.

Alexander Stafford is in charge of the lighting design. Simple fades to depict time movement and the end to Act One really creates the mood. I won't say why, but when you see it, you'll know what I mean.

The Musical Director is Joe Danks, who helped create one of the most moving soundtracks that I've heard in a very long time. the musicianship and singing were spine tingling.

As I said earlier, this is the UK Premiere of this play, and in my opinion, it's one of the best new things that I have seen and urge you to see it when you can. I had no idea of the emotional re-awakening this story would have on me, and it hit me like a sledgehammer. If emotion equals good theatre, then this is great theatre. Absolutely unmissable.

This is the final performance at this venue but please go to the New Perspective website, https://newperspectives.co.uk/?idno=1184&s=96, to get more details of the forthcoming tour of "The Swearing Jar".

 "We Will Rock You – Young@Part" by Centre Stage Theatre Arts

Landau Forte College, Derby.

"We Will Rock You Young@Part" is the authorized 70 minute edition of the musical for elementary and middle schools, and youth theatres. The song keys are changed where needed, songs and scenes are edited for time and content, while keeping the spirit of the original show.

Featuring Queen songs “Another One Bites the Dust,” “Bohemian Rhapsody,” “Killer Queen,” “We Will Rock You,” “Somebody To Love,” “We Are the Champions,” and many more. It follows two young rebels, Galileo Figaro and Scaramouche, as they restore rock ‘n’ roll to the iPlanet in a post-apocalyptic world by locating the only musical instrument in existence. They have to battle Killer Queen and her lackeys though to start with!

I've seen the young@part version before but this opening video backdrop was slightly different, as was the location of the missing musical instrument, so if you've seen another version, pop along to see this version as well.

It's a strong cast and all actors are under the age of 18, but I did have my favourites, and you know I love future star spotting while watching shows with a younger cast.

The two leads, Leo Fox-White (Galileo) and Poppy Harris (Scaramouche) were wonderfully cast and you could tell that this pair are friends off stage because the chemistry they have onstage can't be taught. Their arguments on stage were believable and so was the increasing friendship that ensued throughout the musical. You have to be comfortable in each other's presence away from the stage to create what I saw on stage. Great attitude from both young people.

Both have really good voices and when they harmonise they sound just as good as when they sing solo. There's a real difference between reciting the lines of a play and singing musical songs, but both perform the songs and embody the script, which make both songs and script delivery sound like they mean what they say and sing.

Another pair of characters I really liked as well were William Fleming (Brit) and Harriet Blackwell (Oz); again very strong actors and future character actors in the making.

Adam Patten (Buddy) was another who delivered his lines with comedy and conviction, making you feel that you were watching the character and not Adam, the actor. That is, for me, a very important talent to own, being able to make an audience see past the actor and believe in the image that actor is portraying. Loved the delivery of his comic lines.

Molly Wileman (Killer Queen) certainly did not need a microphone as she has such power in her vocals and script delivery and she also made sure that the audience took notice of her as she commanded the stage when she appeared.

Lily Osvath (Khashoggi) also made sure that she was noticed in character, turning Killer Queen's right hand woman into a panto-esque villain complete with villainous laugh.

A massive ensemble supported these main roles, but you know when there is always one person who just catches your eye with the passion and energy, and more often than not cheekiness, that they bring to the production and the stage; well there was one that I spotted. Arun Misty looked to be having an absolute ball on stage. He had several roles which he delivered with gusto, and it's that energy that he invested in his performance that caught my eye. Great job Arun!

I can imagine that there were a lot of nerves before the curtains opened, that's natural, and everyone came out and did exactly what they were supposed to have done. What may have made some of the cast nervous though was waiting for the music tracks to come in. I noticed one of the mains deliver the cue for one of the tracks which then took about five seconds for the music track to appear. Five seconds when you're on stage waiting for the track can seem an eternity, and that nervousness was telegraphed in that actor's eyes.

Probably went unnoticed by the majority of the audience, but that actor was left waiting. That actor didn't allow that wait though to affect the rest of their performance which shows real professionalism, but I imagine their nerves were rocked ever so slightly as all eyes were on them.

I mention this because some of the music cues were late and needed tightening up. I do however appreciate that when I saw the show on Friday night, that this was their first show and normally find that this is picked up by the Director, and by the following performance (Saturday), all squeaky bum cheek moments are ironed out.

Love the set and staging (Roydon Charlesworth) which allowed multi level exits and entrances for the young actors.

What i also enjoyed were the costumes (Ariel Costume Hire). The GaGa Girls all had the same costumes and the same wigs and that uniformed look really paid off, showing the GaGas as clones. This also created a visual image difference between them and the rebels, creating even more of a divide between "them" and "us".

Everybody loves the music of Queen, even though the songs are not as easy to sing as a lot of people may think; there are some really good singers here in Centre Stage Theatre Arts. What makes it even more difficult is that some of the lyrics are changed for the musical, so even if you know and love the hits of Queen, here the cast have to re-learn the new lyrics, which they did with great aplomb.

The production team of Lucy Cadney, Paul Hudson, Josephine Walker and Louise White should be really proud of this cast and the production because these actors managed to get their Friday night audience's weekend kick started brilliantly, especially with a storming version of "We Will Rock You" and the ensemble version of the classic "Bohemian Rhapsody".

"We Will Rock You young@part" is at Landau Forte College, Fox Street, Derby until Saturday 25 February. Get rocked this weekend!

 "Dr Dolittle" by Central Musical Theatre Company

Duchess Theatre, Long Eaton.

Local theatre is really on a roll at the moment with producing excellent theatre, and here is another wonderful musical. This time around though it's one of those musicals that isn't seen often. In fact I believe that this is the first time that this musical has been produced at local level in the East Midlands. Across the area as well, the music of Leslie Bricusse is well highlighted.

Based on the stories by Hugh Lofting, the musical concerns the classic tale of a wacky but kind Doctor who can talk to animals.

The Doctor, his human companions and his exotic menagerie of animal friends on an extraordinary adventure from the English village of Puddleby-In-The-Marsh to the far corners of the world. The story starts with Dolittle being wrongly accused of murder and once pronounced innocent, he continues his search to find the Giant Pink Sea Snail which holds the secret of life and making the world a happier place. With help from the Pushme-Pullyou and his trusty sidekick Polynesia the parrot, the larger-than-life Doctor Dolittle teaches us not only to talk to the animals but to listen to them as well! Oh and there's also a bit of a love story going on as well.

Chris Grantham plays the Doctor, and really channels Rex Harrison, who starred in the original 1968 film, with the phrasing of the script as well as the songs. Wonderfully clipped delivery, which also enhances the eccentricity of the role. Lovely delivery of the songs, especially in one of the most beloved of the soundtrack songs, "Talk To The Animals", and great comic timing too. Everything you would expect, not only from the Doctor, but also from Chris.

Gary Heap plays Matthew Mugg, and here we have another wonderful character actor, thsi time with a gentle Irish brogue. This is by no means a criticism but I got a feeling that Gary was at times holding back with his vocals; whether he had a bit of a cold or something, I'm not sure. Even so, nothing could stop those vocals from hitting their mark, especially in the song "Beautiful Things". It's only because I've heard Gary's singing before did I think he may have had something only slightly awry vocally. Maybe my ears need a retune! Gary is one of those actors, like Chris, who has a gentle stage presence and you have to watch whenever he is on stage. That also makes this pairing an excellent choice.

John Wedgwood plays General Bellowes, the judge who puts Dolittle behind bars, and is also the uncle to Emma Fairfax, and this is where the family conflict comes into play. John really looks the part of the judge and gets into character as the law upholder with great ease.

Sara Towle plays Emma Fairfax. She looks beautiful and sings like a songbird; no wonder the Doctor was attracted to her, eventually. Loved the costumes for Emma, enhancing the class and breeding of this judges' neice.

Ted Osborn and James Breen share the role of Tommy Stubbins; I saw Ted play the role tonight. He oozed confidence and looked at ease on stage with all of these adults.

Adrian Redfern plays Albert Blossom, the owner of the circus to whom the Doctor went to sell the Pushme Pullyou. I can't remember seeing Adrian before; forgive me if this is not the case, but Adrian has the most wonderful singing voice for this character. When he and the Doctor sang "I've Never Seen Anything Like It", it was like something from a professional touring company. Bucketfuls of character from Adrian.

Kathryn Fitchett plays Gertie Blossom, Albert's wife, and you know that I am a sucker for accents, well Kathryn gave me one to love. Another character filled performance.

Rex Portillano plays Straight Arrow, who is in charge of Sea Star Island, the island where the Doctor and his crew were washed up, and home of the Giant Pink Sea Snail. Again I loved the costume and characterisation.

Lorna Kirkland voiced and operated Polynesia, Doctor Dolittle's pet, due soon to celebrate her 200th birthday. Puppetry is not the easiest addition to a production, especially when you have to match the actions and vocals to what you, as an actor deliver. The aim for any puppeteer is to make the audience centre on the puppet character and not the person behind the puppet, and Lorna convinced me of the reality of Polynesia. At one stage, Lorna took a fall exiting the stage, but returned unscathed (hopefully).

Loved the puppet characters in this musical; all of which were created especially for this production. Such a clever set of constructed animals and watch out for that giant snail near the end, plus a flying doctor on a giant moth!

Sarah Rosental (Gub Gub The Pig), Richard Stokes (Chee Chee The Monkey); for some reason I couldn't take my eyes of Chee Chee steering the ship, Maria Banks (Jip The Dog). Jip is another character I couldn't stop watching as Jip's actions and movements were just like watching a real dog with its' playfulness and cocked head. Liz Willgoose (The Goat), Helen Oldham (The Sheep). Apologies that I didn't pay attention to these humans but I was so invested in the puppets, which shows that they all did their job perfectly.

The ensemble consists of Gabryl Oleshko, Carrie-Anne Corner, Laura Bigland, Charli Twyford, Dean Osborn (Who also played a Policeman and Sir Aubrey Dymwitt), Bridget Wyatt (Who also played Push-Me), Stefan Osvath (Who played Pull-Me and the second Policeman).

Directed by Nigel Taylor, he made sure that all eyes were kept on stage and the magical characters. It was well paced and I also appreciated the fact that the set changes were done swiftly and smoothly keeping the flow of the show.

Musical Director is Morris Fisher. Morris is one of those people that when you look at the show programme, you know that this area will be in the best possible hands. It was indeed and the music complemented the actor's voices, never once detracting from the velocity of their individual voices.

The soundtrack is not a well known one, but "Talk To the Animals" and "I've Never Seen Anything Like It" bounce along nicely with some new earworms like "The Vegetarian", "Beautiful Things" and "My Friend The Doctor", which will be bouncing around your head for a good few days.

Choreographer for this musical is Anthony Beaumont-Mills. Working the puppets into the choreography was probably not easy for both actor or choreographer, but both cast and choreographer brought their A Game in this one. Absolutely loved the dances for the circus section as well as the courtroom scenes plus that dance for the residents of the island. A varied set of skills needed for these different dance styles, but you can see all of the hard work has paid off 100%.

Sound Design is by Harry Greatorex. Martin Curtis operated the design resulting in a perfectly balanced mix of sound to actor vocals, and there were no missed mic cues either.

Lighting Design is by Stephen Greatorex who created a magical visual treat.

Set Design is by Chris Margett, who was also responsible for those amazing puppets, and stage managed the show. Not only donning these caps, Chris, along with Alice Margett created the wonderful background projections which brought us into the story and kept the story, and settings rolling on.

"Dr Dolittle" will be at the Duchess Theatre until Saturday 25 February. A fabulous and magical place to go for all the family!