"Hoovering On The Edge" by Hilary Spiers.

Burton Joyce Players

Burton Joyce Village Hall

Seven British ladies decide to take an educational writing course in Spain under the tutelage of Gareth, who finds these, all bar one middle aged women, more than a handful.

There's Rita, who doesn't mince her words, and not that bothered as to who she takes down in her path, played by Kathy Matthews.

Gwen, who is more rational with quiet sensitivity, played by Avril McCormick.

Moira is a prim and proper character, played by Deborah Craddock. There's a lovely transformation with Moira, and I will freely admit that she is my favourite character due to what evolves throughout the play.

Honor is Moira's flamboyant counterpoint, played by Katy Woolley. She's a woman's woman, always up for a glass or three of vino.

Sue is worldly wise and on the lookout for the next "big thing" in TV, we discover in Act Two and played by Jane Murray.

Chris, subdued, but only to a point, and introspective is played by Keri Kirk.

Clare is a young and pretty earth mother, into yoga, meditation and the arts and often distracted to a point. Clare is played by Sally Panter.

Gareth, played by Ben Bradley, is shrouding the truth from the women regarding his qualifications, which is soon discovered. He is always losing control over the group of women, causing great frustration for him. An explosive final scene for Gareth which took the audience by surprise.

This is a gorgeous, warm story which in a way reminded me ever so slightly of "The Calendar Girls". There are moments where you're laughing along with some of the girls and then the next, you feel slightly embarrassed about why you were laughing.

If you don't understand the play's title, it's explained in Act two and you get a feeling of the penny dropping, but you'll have to see the play to find out the meaning.

Directed by Patrick McDonough, he has created a production which flows so naturally that it's like being a fly on the wall, earwigging on a group of women as they discuss, not only what they want out of the course they are on, but out of life. All of the character's interjections and interruptions are timed to perfection, again creating an incredibly natural feel about the conversation flow.

Set Design is by Chris Mercer and Marilyn Carr. You get the feel of a Spanish balcony, overlooking the warm sea; the plain walls, the balcony, the decorative lights and the vibrant flowers, and you can feel that warmth from the stage. A wonderful design and construction.

Sound Design is by Steve Armstrong and the combined Lighting Design by Jenny Cowan really create that humid Spanish atmosphere.

What makes this play so lovely for me is the naturalness of the performances; it's not like you're watching a play, it's like a feeling of being in on a secret. It's such an easy watch, but with moments that are anything like easy. And that could be the reason why for the second night, the Village Hall was full of people appreciating their local talent.

"Hoovering On The Edge" is at Burton Joyce Village Hall until Saturday 29 April.

 "Little Shop Of Horrors" by Heanor Musical Theatre Company.

Mansfield Palace Theatre.

For anyone who has been living under a stone, or inside a plant for the last several decades, the story follows an hapless florist shop worker, Seymour, who raises a plant that feeds on human blood and flesh.

This saves the closure of Mr Mushnik's flower shop and makes a celebrity of Seymour. Seymour is in love with Audrey, the female shop assistant, but that love cannot be returned as Audrey is in a toxic and violent relationship with a dentist called Orin.

To get fame, fortune and Audrey's love, Seymour has to keep the strange plant alive, and does what he needs to do, and at any cost!!

The musical is loosely based on the low-budget 1960 black comedy film "The Little Shop of Horrors". The musical was also made into a 1986 film but is always a popular choice with local theatre groups because it is one of those shows that everyone loves.

This production though is different to any that you may have seen, which I'll explain why, later.

Seymour is played by Jack Readyhoof, and I'd almost got used to seeing Jack playing unhinged psychopaths, when along comes this role that places him in the role of the hero and romantic lead - with just a hint of psycho. It also means we get to hear Jack's vocals as well, which are always a treat, and he has quite a range if you've never heard Jack sing before. Jack is one of those actors who never fails to hit the spot with his acting, and this role, which is perfect for his physicality, seems to be made for him. Some lovely puppetry technique also.

Audrey is played by Megan Hill and like Jack, this role of the beaten and bullied shop assistant was just waiting for her to accept. Megan also managed to give me tingles with Audrey's big solo number "Somewhere That's Green" as well as her duet with Jack in "Suddenly Seymour"

Mr Mushnik is played by Benjamin Riley, who I can't remember seeing before, but has a really good voice as well as a feel for comedy, especially with the song "Mushnik & Son". A solid performance.

The Ronnettes are played by Katy Gaskin (Chiffon), Alana Moran (Ronnette) and Sarah Bright (Crystal). These three have incredible voices who can really harmonise, and they gave me goosebumps with the power they have in their voices as well as their vocal acrobatics. What a team!

The Shadow Ronnettes are Courtney Bowles, Chrissie Smyth and Emme Gunn. equally as exciting to watch as the above trio.

Orin, the Dentist, is played by Robert Stott-Marshall. I've always loved this character and everyone I see on stage plays the role slightly different, and Robert is no different. There are tweaks with Robert's performance that I've not noticed before in other productions, which makes it seem as if this is the first time I've seen the character. There is a freshness, a new evil and Robert extracts every ounce of sadism from Orin. Add to that a powerful set of vocals and you can't help but love this bad guy.

Audrey 2, the alien, is played by Kheenan Jones. One thing with this role is that, because you don't see Kheenan, you get to concentrate on his vocals. Audrey 2 is a very soulful character and Kheenan has a very soulful voice. I can't remember the last time that I heard Kheenan singing in a main character role, and it's long overdue.

The ensemble are Lianne Sheridan, Charlotte Swindles, Lisa Bottomore and Connor Moore who flesh out the production as well as playing various characters.

Directed by Paul Young, who has created a very different feel to this show. Right from the start with the cinematic element to the final number, "Mean Green Mother From Outer Space", which is not always included in productions, this particular productions holds a few surprises. I've seen many versions of this musical, and just when I thought I'd seen everything, along comes Heanor Musical theatre Company with even more surprises.

Paul was also responsible for the Projection Designs, which really created a fresh image to the stage. I loved the animated projection behind Seymour in "Da Doo", explaining how he and Audrey 2 first associated with each other. The clock in the projection was a great idea, plus keep an eye out for the cinema screening titles for further chuckles. Showing that projection and physical scenery can work brilliantly together.

The Musical Director is Dave Dallard who coaxed all of these wonderful vocals from these wonderfully talented actors. One of the best collections of singers and arrangements for this musical that I've heard.

All of the wonderful tunes that you'd expect are here, "Skid Row", "Suddenly Seymour", "Somewhere That's Green", the brilliant "Dentist", "Da Doo", "It's The Gas" as well as that brilliant finale section.

Choreography is by Cat Howourth and from the very start to the rousing dance ensemble with all the cast members, the choreography was excellent including some nifty footwork for Seymour. Cat was also responsible for bringing Audrey 2 to life on stage.

Lighting Design is by Paul Young and Chris Grantham which again worked very well, especially in the storm sequences, creating even more film noire atmosphere, reminiscent of the original 1960's version of the story.

It's lovely when you see so many versions of the same show, only to be surprised pleasantly with something fresh, in the way that this production has done. So, if you think it's just another production, think again. This re-opened my eyes to the glorious magic of this particular classic and is well worth seeing, that is if you can get a ticket if tonight's opening was anything to go by.

"The Little Shop Of Horrors" is at Mansfield Palace Theatre until Saturday 29 April.

 "The Vicar Of Dibley" by Bonington Players

Bonington Theatre Arnold .

When the old vicar in the sleepy village of Dibley dies, the village are sent a replacement, but who they get causes a bit of an uproar in the tight knit community, as they get a female vicar, Geraldine Grainger; a non-traditional, rock n roll, chocolate loving babe of a vicar, complete with a bob hairstyle and a magnificent bosom. Well, this comes as quite a shock, but it doesn't take long for the residents to come to terms of this replacement, apart from David Horton.

Adapted from the original TV series written by Richard Curtis and Paul Mayhew-Archer, the stage version takes many of the highlights from the TV programme and is presented in a series of chronological sketches.

Geraldine is played by Sheila Millington , who has obviously scrutinised Dawn French's Geraldine because the well recognised nuances and the manner of speech are all there. I do this quite a bit in the theatre, I shut my eyes and listen to the speech and how the speech is delivered, and it could have been Dawn French on stage. It was not long until I saw Geraldine Grainger on stage and not Sheila Millington, and that for me is a massive positive because Sheila's acting skills made that possible.

Alice Tinker is played by Jenny Adams. Lovely and ditsy, and that wedding dress at the end was superb fun. Not sure if the physicality was exactly the same but here is a character totally borne of the late Emma Chambers and that is a big ask of any actor to replicate Alice Tinker. Jenny's job was not easy but, again, I believed in every word and action Jenny delivered. Brilliantly fun to watch.

David Horton is played by Rob Hurst. Overbearing, bossy and an egotist; all of the traits that David Horton has in the TV show were brought out, and the haughty physical side of Horton was there. Gary Waldhorn's slimy, almost snake like delivery of the script isn't an easy ask, but the show is not a tribute show to the TV actors, it's a chance for fanatics of the show to get to see the TV characters, and the brilliantly funny script, come alive before their eyes; and it certainly does that. I've never seen Rob fall flat as an actor, and he continues to deliver as Horton.

Hugo Horton is played by Alex Brimelow. Hugo is very wet behind the ears, forever living in the shadow of his overpowering father, David. Alex actually adds more interest to Hugo's character for me and lifts the original character. I love the scenes with Hugo and Alice, creating a very warm, moist feeling - or was that the lack of air conditioning in the theatre - as a couple, especially with the close of Act One and the start of Act Two, which not only teased "aaahhhs" from the audience but laughter as well. Alex and Jenny were aptly chosen for this pair of love struck puppies.

Jim Trott is played by Wayne Hill, and all we had to hear was Jim's first line trotted out to create an eruption of laughter from the packed theatre. Wayne absolutely smashed the accent and the delivery of all of those "no no no no no no no no yes" parts.

Owen Newitt is played by Adrian Bacon. Owen is the farmer in the TV series who has no social graces at all, but in an odd way was quite lovable, albeit deliciously rude. Only Owen could get away with some of the things he came out with and not insult or shock anyone viewing. I can imagine that Adrian had great fun with this character in the rehearsal process, because he was certainly fun to watch tonight.

Leticia Cropley is played by Karen James. I am positive that Karen is nowhere near old enough to play the role that the incredible Liz Smith made her own, but the culinary crankiness came across well, but I missed that laugh that Liz/Leticia has in the TV series. maybe the character needed to be featured more, but if it's not in the script, what can you do?

Frank Pickle played by Chris Gardner. There are so many wonderful characters in this show and in the TV show Frank always came across as confused and undecided all of the time. Chris delivered these traits well and I enjoyed the back and forth banter as the minute taker. As with many stage versions of TV sitcoms, the physical side of the character will immediately bring to recall the part the actor is playing and this was spot on with Frank Pickles, for me with the bow ties.

That said though, if you were shown just the costumes and props for every character, you'd identify every character. These actors brought the characters to life.

The ensemble consists of Jennifer Chatten, Genevieve Price, Michelle Bellamy, Laura Harding, Michael Luczynski and Rose McCarthy. While scenes were being changed there was a clever introduction of the choir ensemble who sang and danced, and by the way I loved that there was one who sought the heavenly spotlight more than the others, Jennifer Chatten. It gave us something to focus on, just for a minute or so while the scene behind the curtains were re-set. Great idea by the Director to do this, as in other productions of "Vicar" I've seen in the past didn't include this clever choice of entertainment.

Directed by Charlotte Hukin, and it could not have gone better for her, or the cast. Even when there was one small slip, which I only noticed because I've seen the show before and I wouldn't think anyone else may have spotted, it was covered up swiftly by the three actors on stage. It was pacy and the scene changes were on the whole done quickly; again i would not have thought anyone else would have noticed a couple of scene changes that could have been tightened up.

I'm being critical from a reviewer's point of view but covering many of the scene changes were brilliant choices of music which had several of the audience members singing along, so they couldn't have cared less about the timings, they were having an absolute ball singing along to Kylie's "I Should Be So Lucky", Elton's "Crocodile Rock", Rick Astley's "Never Gonna Give You Up" and "Get Me To The Church On Time", and I must admit, the well chosen songs made the show swing, several choices having been used in the TV series.

Sound Design and operator is by Eddie Adams and Lighting Design is by David Goatham, operated by Peter Hodgkinson. There was just a slight missed sound cue, which I know everyone spotted and created laughter. I am sure that after today, audiences will not get the missed cue, so will miss out on this little "Play That Goes Wrong" moment going forward. These things happen, but unexpected gems of comedy like this test the steel of the actors on stage, but was well recovered and the audience showed their appreciation of their professionalism.

The set is designed by Anna Hodkin, using a split set with half being Geraldine's front room and the other being where they had their Dibley meetings, and the sermons depicted by a large lit stained glass window which also came in handy for the out of the ordinary wedding scene.

I've been a fan of the TV show since it started and have seen practically every episode, over and over again. With classic comedy like this you get to know the scripts etc but no matter how many times you see the episodes, they never fail to make me laugh - a sign of brilliant writers.

This show made me laugh at all the favourite scenes that I'd laughed at on TV. The characterisation from all the actors were almost like mirror images of the TV counterparts, and it showed the hard work the individual actors invested to get their characters right. It also showed the hard work put in by the Director to create the right flow. Comedy is by no means easy to bring to life on stage, and even with the greatest script, you have to have a team, on and off stage, to bring the comedy and characters to life. Bonington Players have that team.

Did I love this show? No No No No No No No YES!

"The Vicar Of Dibley" is at Bonington Theatre, Arnold until Saturday 29 April.

 "Abigail's Party" by Mike Leigh

Derby Theatre.

The play, for anyone who doesn't know, is set in 1977 and is about a drinks party hosted by a couple called Beverley and Laurence, attended by guests Ange and Tony, who have newly moved into the street, and Susan, divorced for three years, a neighbour whose teenage daughter Abigail is having her own party at her house that same evening. As with most house party gatherings, it starts off with awkwardness, but as the alcohol kicks in, Beverley starts to flirt with Tony and they all loosen up a bit, which includes their tongues!

Rebecca Birch plays Beverley, the hostess with the mostest who flirts mercilessly with Tony while making sure Tony's wife gets tipsier and tipsier. Having not seen this play for a good few years, you can almost see where Catherine Tate got her inspiration from for one of her characters with how Rebecca plays this part. Southern upbringing trying to appear to be a class higher and loud with it. A wonderful comedy part and Rebecca's drunken acting was superb.

Susan (Sue) is played by Jo Castleton. What I love about the character writing for all five roles is the blatant stereotyping, and this divorcee with a fifteen year old daughter who requested that she is out of the house for the party, shows all the signs of a mother struggling on her own with an underlying anger for the young woman her husband had run off with, knowing that the daughter, Abigail, is heading for the troubled teenager label. She's slightly introvert but having her drink topped up on a regular basis soon reveals a braver woman. All of this shown by the wonderful character acting of Jo Castleton.

Alice De-Warrenne plays Angela, or Ange as she is dubbed by Bev is a wonderful role, and that voice was brilliant, only matched by Ange's choreography. Alice has channelled the original actor in the role, Janine Duvitski, to show the quirkiness of Ange. Ange is also a bit of a rebel, who is obviously punching above her weight with the ex footballer, Tony - I wonder when the term "wag" was invented? With all that drink inside her, she develops loose lips, but soon sobers up towards the end of Act Two! Beautifully played by Alice.

Tony is played by George Readshaw. We discover his fifteen minutes of fame, thanks to his wife, and some other things about him, that suitably embarrassed Tony. He broods and limits his speech and then discovers that someone has other intentions for his sportiness and good looks, and then Bev discovers that he can groove, making her dribbling as good as Tony's football skills. There's a lot of subtlety in George's acting, often there's just a look, an eyebrow raise or an eye roll that shows what he is thinking about his wife, but he's also on full alert when dancing with Bev!

Tom Richardson plays Laurence, husband to Beverley, over worked, stressed to the max and never a million miles away from his job. You get all of this in the first five minutes of his stage entrance. There are lots of comedy moments with this character, maybe because we can all see bits of ourselves in Laurence. He is into his books and his art, wanting to impress the guests with his knowledge, and I love the line regarding reading Shakespeare, because that line just pulls the virtual rug from under his art snobbery. With various levels of anger, ranging from quietly seething to bullying and borderline assault, here's proof of what a marvellous character write Mike Leigh really is.

Directed by Michael Cabot, I've always admired a Director, and/or actor, who can reel in an audience from the start with no speaking parts but get the attention required senza voce. For anyone who has seen this play before, you'll know what I mean because there was laughter even before a word was uttered; a tribute to the writing and physical comedy of the actor involved as well as the Director. It was paced perfectly with ebbs and flows with the characters, but it's the spaces where nothing happened nor words spoken that is the steel of an excellent Director, and this directed perfectly.

Bek Palmer designed the gloriously gaudy retro set as well as the gloriously gaudy retro costumes. The set took me back to my childhood with green, white and grey wallpaper, although we didn't have an orange three piece suite. The soda syphon, the lighting, the record player, drinks cabinet, nibbles and even the Cosmopolitan women's magazines all took me back in time.

The costumes for all five were wonderfully designed, Bev's flowing, Grecian style outfit matched with impossibly high heels, making her walk in the way I remember women doing back in the seventies. Laurence's grey three piece suit and tie. Angela's attempt to be fashionable but falling short, especially when compared to Bev's aoutfit. Tony's brown ensemble complete with polo neck jumper and flares. And Susan's dated, but age appropriate outfit, jarring slightly with those of these hipsters. I also love a good wig! All bringing back memories of growing up in the decade that style forgot.

With the time period being set firmly in 1977, the music is very important, and as soon as I think of this play, one artist springs to mind, Demis Roussos, which was used in the original BBC Play For Today airing in 1977. His hit "Forever And Ever", which was utilised in every stage version that I've seen of "Abigail's Party" is not played, opting instead for Jose Feliciano, (used in the original stage version), Elvis Presley (replacing Tom Jones), Donna Summer's sultry "Love To Love You Baby", and light classics, all of course on vinyl, creating that certain ambience for any "classy" suburban drinks gathering. Beethoven's Fifth Symphony was perfectly placed for the ending.

The play itself is timeless, and that said, when the lights in the theatre go down, it's like you've entered a time machine. It's gaudy, it has class as well as crass, it's one of the most wonderfully crafted pieces of theatre which makes you laugh and then the next moment makes you feel slightly uncomfortable or embarrassed. It's like viewing a piece of history for the first time, and I'd forgotten just how much I love this play.

"Abigail's Party" is at Derby Theatre until Saturday 29 April.