"Confusions" by Alan Ayckbourn

Your Chance Productions.

Derby Theatre Studio.

"Confusions" is a series of five one act plays which link into each other. Previously I'd only seen four of the five plays performed before, so while I knew the quality of four, I was really looking forward to seeing all five; I wasn't disappointed, but then again, I'm an Ayckbourn fan, and love his observational style of comic writing.

The majority of the cast I'd not seen before, so it was lovely to take in fresh faces. Comedy is the hardest form of entertainment to get right, whether that be the timing of a theatre play or stand-up comedy. This cast delivered in the way that Ayckbourn had written the comedy, and even when there are pauses in the script, they were intentionally written in to highlight the visual comedy, everything was timed wonderfully to allow the comedy to breathe, and for the audience to digest the writing style of Big Al.

So, here's a quick teaser for the individual plays, and forgive me for not commenting on every individual character/actor performance, as I normally do, because this septet of actors worked like a well-oiled stage machine, and they all made sure that Friday night kick started my weekend perfectly. Great set of plays performed by a great group.

"Mother Figure"

Lucy is a mother of three, a house-bound wife who rarely sees her husband Harry and has reached the point where she barely bothers to look after herself as so much of her time and attention is centred on the children. Not answering the phone or the door, neighbours Rosemary and Terry come round with news that Lucy's husband Harry has been calling and is worried at not getting a response. So used to dealing with nothing but children, Lucy proceeds to treat her visitors as if they were her children, and I loved how quickly both Rosemary and Terry reverted back into childish behaviour to get what they wanted around Lucy.

Lucy is played by Nicole Graley.

Rosemary, played by Samantha Hempsall.

Terry is played by Darren Taylor.

"Drinking Companion"

Harry is in a hotel bar and returns from trying to phone his wife to talk to an attractive younger woman, Paula, sat on her own. Harry, who fancies himself as a ladies' man, clumsily tries to chat her up, but she deflects his increasingly unsubtle suggestions. They are joined by Bernice, who works with Paula and has been waiting for her in the foyer. Harry also starts hitting on Bernice, whilst offering an insight into his sad life and marriage.

Harry is played by Martin Weston

Bernice is played by Nicole Graley

Paula is played by Samantha Hempsall

The Waiter is played by Madeleine Levy.

This section has to be my favourite because I've been around long enough to spot slimeballs like Harry - played brilliantly by Martin - and you see the embryo of the star of the next playlet in the waiter as they also have seen this scenario so many times working at the hotel. 

"Between Mouthfuls"

In the hotel's restaurant, the same Waiter is serving dinner to a middle-aged businessman Donald Pearce and his wife Emma. As they make their choices, the Waiter moves away and the dialogue between the Pearces fades out; from this point, we hear only what the Waiter hears when he is within earshot of one of the two tables. Polly and Martin enter the restaurant and are seated at another table, despite Martin wanting to go elsewhere as he works for Donald. As the meals progress, it emerges Donald has just returned from a business trip to Italy, although his wife suspects he was doing more than business!

Mr. Pearce is played by Andrew Barlow

Mrs Emma Pearce is played by Phillipa Buchanan

Martin is played by Darren Taylor

Polly, played by Nicole Graley

The Waiter, still played by Madeleine Levy.

Madeleine delivered a blinding comedy performance, and while you were given plenty of jigsaw pieces to piece together what had gone on within the two dining couples, you had that Chaplinesque "sad clown" style waiter keeping the flow going, enabling everyone to get the story via the conversational snippets. One of Ayckbourn's best short plays in my opinion.

"Gosforth's Fete"

A tea tent is being prepared for an afternoon fête into which Councillor Emma Pearce enters and meets Milly, who is organising the tea. Emma notes how the wolf cub pack, meant to be doing a PT display, are currently throwing stones at a caravan. The divorced, local landlord Gosforth enters, also berating the cub pack, who introduces himself to Emma. He is rather pre-occupied with organising the event, particularly the broken sound-system and the ominous thunder clouds overhead. The local vicar arrives and Emma is handed over to him while Gosforth tries to repair the tannoy amplifier. As he attempts to do this, Milly tells him she is pregnant with his child and worries what her fiancé, Stewart, will say. But has the cat been let out of the bag without either of them realising?

Mrs Pearce is played by Phillipa Buchanan.

Milly is played by Nicole Graley.

Gosforth, played by Andrew Barlow.

The Vicar is played by Samantha Hempsall.

Stewart is played by Martin Weston.

This is the one that I'd not previously seen, as far as I can remember, but slots in so well with the others. 

"A Talk In The Park"

Four people are sat on four park benches in a park. Arthur arrives and asks if the seat by Beryl is empty. He proceeds to talk and Beryl moves to the next bench because he won't stop talking. She sits next to Charlie and begins talking about her abusive husband leading Charlie to move away and sit next to Doreen to start talking about the state of his life. Doreen - Gosforth's ex-wife - believing she is about to be attacked, moves to sit next to Ernest and begins talking about her fears and her dogs. Ernest creeps away to Arthur, bemoaning the fact this woman started talking to him and telling an unconcerned Arthur about his life. This turns into a round as each person tries to get the attention of the person next to them.

Arthur is played by Darren Taylor.

Beryl is played by Samantha Hempsall.

Charles is played by Andrew Barlow.

Doreen is played by Phillipa Buchanan.

Ernest is played by Martin Weston.

Now, this short play is one that I can really recognise. Not from sitting on a park bench but with riding buses, but you can't quite escape as easy as these characters.

Every actor gets to play very different characters to the one they played before, which also meant they got to show off several different skills, as well as accents - and you know I love accents! Every actor apart from Madeleine whose role was just that of the waiter. That one role though was so strong, albeit understated.

If you love clever comedy, you will just adore this presentation, directed by Jessica McLean

"Confusions" will be at the Derby Theatre Studio until Saturday 1 July.

 "Pirates Of Penzance Junior" by LEOS Youth Group.

Duchess Theatre, Long Eaton.

I've seen several shows that Long Eaton Operatic Society's Youth Group have staged but this is their first time of tackling a Gilbert & Sullivan operetta. Performing musical theatre songs and performing something like this is very different, and requires a very different way of singing. Some adults may struggle; not this group!

This classic Gilbert & Sullivan comedy boasts one of the most famous patter songs in musical theatre history, "I Am The Very Model Of A Modern Major General". The wit and whimsy of G & S's classic score is blended with a modern sensibility in "The Pirates Of Penzance Junior", a swashbuckling musical journey!

Set on the rocky coast of Cornwall, "Pirates". begins with a group of pirates who are celebrating the birthday of one of their own, Frederic, who has reached his 21st year. Finally, having served the full length of his required time with the pirates, he decides to strike off on his own and become an upstanding citizen – which may even mean bringing the pirates to justice. Thus, turns out to be a tricky prospect indeed, especially when Frederic's freedom is called into question, and all because of his birth date!

This show is a light, comic introduction to the work of Gilbert and Sullivan, and what I like about it is that is gives opportunities for the cast to sing as an ensemble or in small groups, as well as solo parts for those brave enough, and confident enough to tackle the might G&S lyrics and melodies. The singing, whether it be as an ensemble, a duet, trio or just solo was impeccable throughout.

There are not many productions, be it a youth group or adult, at local level or professional, that I decide by the end of Act One that I must give a standing ovation at the finale, but this was one. Everything about this production screamed for a standing ovation, and I made sure that I was first on my feet at the end; I didn't care if I was the only one - a few others joined me, but I was surprised that not all of the audience were on their feet.

Another thing that I did that I'm not known to do very often, is to stay behind and congratulate the cast in person, which I also did tonight.

The Pirate King was played by Findlay Parker, and for just a moment, you would have sworn that a slightly smaller Johnny Depp, in the role of Jack Sparrow, was on that stage. I've seen Findlay before, so I know what a brilliant young actor he is. In this role he has surpassed every other role he has done. He obviously understands the comedy of G&S because he delivers it so well with immaculate timing. His visual comedy is spot on and the rhythm of the words, accented in just the right places was a joy for any G&S fan to behold. His acting is wonderful and so is his singing. Just wait until this young man matures as I think LEOS have a star on their hands. But Findlay is not the only star. If this show was a night sky, then the actors are the constellations.

Frazer Brown plays Frederic. As with Findlay, he completely gets G&S comedy, you can tell by his delivery and physical acting. His singing is soulful and when his voice matures, LEOS will have a sweet soul singer within their midst, and as with many of these young actors, I envisage lead adult roles when they move up from the youth section of the group. there were a couple of times that his mic was not on, but fortunately Frazer has good projection and I could hear him despite the mic issue. He also showed what a capable dancer he is as well, delivering some great footwork.

Ruth is played the lovely Grace Collishaw. Another strong vocalist and with the trio of Grace, Frazer and Findlay they brought out every ounce of comedy from their roles, especially the ageist comments and image shaming, which really shouldn't be seen as comical, but back in the days of Gilbert & Sullivan, everything was game to be written comically about. These three were a complete joy to watch perform.

Samuel, who is one of The Pirate King's right-hand men, is played by Ivan Hager. Great confidence and can swash a buckle as good as any pirate.

Stevie Kirkham gets to play one of the most challenging roles vocally in Major General Stanley. Stanley gets the patter songs, and I was told prior to seeing the show that he was fairly new to LEOS Youth Group. His confidence shone from that stage right from his first entrance. I definitely had my listening ears on as I knew that he had to deliver that famous patter song. I listened and he did not miss a beat and did not miss a word, even with those stuck on mutton chops. His pronounced delivery scored many points for me, showing an understanding of the character and great maturity. I'm sure that this role will stay with Stevie for a long time and I know that when I see him on stage again, I'll always refer back to this performance in my mind. Stevie nailed this wonderful character in both acting and comedy as well as that immense song.

Playing Mabel is Evie Radmore, and what a clear and strong set of vocals she has. She looks great, she is a lovely actor and then when you hear her voice, you just know that she is going to be yet another young actor who you'll remember and look for in the future.

Kate, one of the daughters of Major General Stanley is played by Grace Agius, who brought out the romantic side of Kate really well.

Edith, another daughter, played by Roisin Parker is a bit of a rebel, as Edith is the one who suggests taking off their shoes and stockings to paddle; that is before they knew that men were in the vicinity.

Isabel, played by Holly Brooks is another of the daughters. And let me just state that when these and the female ensemble sing together, they sound absolutely heavenly and just how G&S had written the ladies' ensemble pieces to sound.

The Daughter Chorus consist of Holly Chambers, Lucy Coulson-Jones, Emily Dexter, Lucy Gordon, Niamh Lee, Maddison Woodland, Alice Whitaker, Jess Peel, Chloe Cresswell and Kate Whitaker.

The Police Chorus led by the Police Sergeant, played by Bella Syson - who by the way is another who has a wonderful set of vocals - consist of Kate Whitaker, Chloe Creswell, Jess Peel, Francesca Squires, Quillen Parker and Tom Lightbrown, This group reminded me of the *Keystone Cops with the way they moved and their wonderful facial expressions. * For those not as old as me, The Keystone Cops were from the days of black and white films from the Charlie Chaplin/Laurel & Hardy/Buster Keaton era and were the comedy police force. Brilliant comic acting from every single one of them tonight.

The Pirate Chorus consist of Bella Syson, Charlotte Case, Gracie Foster, Daisy Marsh, Nefeli Fryganioti, Elizabeth Rippin, Gabe Scott, Niamh Syson, Flori Tasker, Tom Lightbrown, Quillen Parker and Francesca Squires. As with all the choruses, keep an eye on them because, even though they are young men and women, they know the importance of not breaking character when the focus is not on them.

It's a large cast but every single one of them were excellent, no matter how big or small the role, I managed to notice them all and they not only brought great fun to their part, they brought a massive amount of professionalism to what they were doing. Gilbert & Sullivan is not easy for some adults to grasp and perform, but this cast looked as if they enjoyed every single moment on stage. the singing was spot on and they wrung every drop of comedy from this show, making this one of my favourite "junior" productions ever.

Directed and Choreographed by Siobhan Parker, who I am so pleased that I managed to tell her in person what an enjoyable evening I'd had. You could tell the amount of work that had gone into this show because the young actors reflected that work that had been put in. You don't get a show this good without investing a lot of time and energy into it. LEOS have set the bar for "junior" shows at a very high level here.

The choreography was not always easy but this lot made it look easy and natural, and once more exhibiting the amount of work put in to get out this standard of choreography.

Assistant Director is Claire Collishaw. I know Claire's work ethic when it comes to the theatre, and only the best is good enough. You get out what you put in and I got a heck of a lot of enjoyment and fun watching these incredibly talented young men and women.

Musical Director is Amelie Turner, and I was told that this was her debut for LEOS. What a baptism of fire but what we got from that baptism was superb heat. Like I said before, you can always tell the standard that goes into areas of a production by what the actors give out and the singing was some of the best junior voices I've heard. With this style of musical theatre, clipped and sharp delivery is important and not that easy to deliver from some young people but it looks like Amelie, who by the way has lovely hair as that's all we got to see of her from the back, sorry I digress. Amelie made sure that this style of singing and delivery was perfected by the cast, perfectly!

I've already mentioned the brilliant "I Am The Very Model Of A Modern Major General" but this show also includes G&S classics like "Poor Wandering One", "When The Foeman Bears His Steel (Tarantara), and the brilliantly rousing "With Cat Like Tread", which we were also treated to as an encore.

I've said that the cast is a large one so stage management will be like a military manoeuvre, and it did not surprise me to know that Katie Bird was in charge of this specific area.

Wonderful stage design, and again this came as no surprise that Roydon Charlesworth was the brains behind it. The cinematic back drop was perfect also.

Lighting Design by Dave Martin was perfect and Sound Design was by Dave Dallard and Jack Clark complemented the production.

I always have doubts about "junior" productions, especially when you've seen the full production of a musical, as sometimes they come across as not relevant for the younger actors - "Fame Jr" and "Chicago Jr" spring to mind - but this is absolutely perfect for a cast of this age. This show is perfect for a "junior" cast, and they all looked to have enjoyed doing this funny and energetic show. I hope other "junior" groups get to try something this different because it certainly paid off big style. No wonder the pirates' flag is called The Jolly Roger, who wouldn't be after seeing this show? Jolly that is.

"Pirates Of Penzance Junior" is at the Duchess Theatre in Long Eaton until Saturday 1 July.

 "Winnie The Pooh - The Musical"

Nottingham Theatre Royal.

This new re-working of A.A. Milne's most famous little bear, Winnie The Pooh, and his friends, Eeyore, Piglet, Rabbit, Owl, Kanga, Roo and of course Tigger, takes me back to my childhood, as I expect every parent who sees this show will attest to. They are characters who have played such a big part in almost everyone's childhood.

A grand puppet fest, controlled by a wonderful group of puppeteers, Benjamin Durham, Alex Cardall, Lottie Grogan, Robbie Noonan, Chloe Gentles, Harry Boyd and Laura Bacon who swiftly, in my eyes, disappeared from view as I concentrated on Pooh and his friends down in the Hundred Acre Wood. A mark of a good puppeteer is when you don't notice that they are there. The puppets themselves are rather marvellous; you just want to give all of them a cuddle and a squidge.

Christopher Robin even makes a couple of appearances, in between his schooling.

The hour-long stage play is a collection of short stories amassed to make up the hour, seamlessly segued from one story to the next.

What the set shows is the natural annual landscape of the wood, working its' way through the four seasons. The set is quite impressive with flowers blooming for Spring through to Winter snow with a "magical" stream which carried the pooh sticks under the bridge and across the stage. We also had the tree where Pooh got stuck in when searching for hunny, sorry honey. There was also Rabbit's garden complete with carrots that leapt out of the ground.

Accompanying the modern narrative is an original score by Nate Edmondson, featuring some of the Grammy award-winning songs written by the Sherman Brothers for the original animated features, including "Winnie the Pooh", "The Blustery Day", "The Wonderful Thing About Tiggers" and "Whoop-De-Dooper Bounce", which went down a storm with the kids in the audience, plus A.A. Milne’s "The More It Snows" and "Sing Ho" with a new arrangement.

All in all this is quite magical to see. A band of puppeteers, who managed to create the voices and made them sound like the ones I remembered from the Disney films, as well as create the character's movements, as per the films. Not only were they in charge of the main characters but there were bees and birds and snowflakes to manage.

The show only lasts an hour, without an interval, so not too long to keep the young ones occupied. For many children, this could be their first introduction to the theatre, so if they enjoyed the magic of puppetry, there's every chance that their parents will bring them back to see other productions; this could be the start of a love for the stage, and who knows where that could lead?

And I also noticed that there were quite a few adults who were just as enchanted in seeing these cuddly, larger than life characters on stage, giving them a chance to relive their childhood literature.

"Winnie The Pooh - The Musical" is at the Nottingham Theatre Royal until Saturday with shows on Thursday at 1pm, Friday at 10.30am & 2pm and Saturday at 11am, 2pm & 5pm.

 "Something Unspoken/Suddenly Last Summer" by Tennessee Williams.

Lace Market Theatre.

Here are a couple of plays from the pen of Tennessee Williams that are not performed that often. His big plays like "Cat On A Hot Tin Roof", "The Menagerie" and " A Streetcar Named Desire" sometimes overlook these two, one act plays go together as a double bill under the umbrella - or should that be parasol - of "Garden District".

"Something Unspoken", written in 1958, is a two-hander featuring Miss Cornelia Scott (Monica Dakin), a wealthy Southern spinster in her 60s. She is waiting nervously to hear about the local elections, which she has an invested interest in. Her secretary/companion, Miss Grace Lancaster (Lowenna Quantick), has been with her for 15 years.

The two women have a complex co-dependent relationship. There is tension between them - something unspoken, and the situation comes to a head in a confrontation between them.

There's a strong relationship shown between these two women, but it's not until near the end of the play that you get that light bulb moment as to what that particular "unspoken" thing is. That something that is unspoken ties the two plays together, and you'll then realise why these two plays are performed in this particular month.

Monica and Lowenna's accents are delivered well and I think the nervousness of Miss Scott is shown particularly well, especially as there was another reason for her nervousness, which when you come and see the play, you'll soon twig.

Lowenna, as Miss Lancaster, gets that build up to the confrontation spot on; nicely paced.

There's a lot of detail gone into this play, even though the two ladies spend most of their time sitting at the breakfast table; well, I assumed it was that time of day as there were grapefruits in the bowls - maybe in the Deep South, they eat grapefruits at any meal. There were drinks in the tea cups, silver cutlery and a lovely old fashioned gramophone player.

I am going to be just a little pedantic though because I have never seen a gramophone player where the arm and needle is on the left hand side of the turntable, as operated by Miss Lancaster.

This first play lasts half an hour.

"Suddenly Last Summer", written about the same time was made into a film in 1959 starring Elizabeth Taylor and Montgomery Clift and is much darker than "Unspoken", so much so that the film is classed as a gothic classic.

The play, again written in 1958, begins in 1936 in New Orleans’ Garden District and is about a group of family members who dispute the story and character of a young man, Sebastian, who died the previous summer. While Sebastian’s mother, Mrs. Violet Venable, glorifies her son, her niece, Catharine, attacks Sebastian’s character. The two sparring women each have their own motives for asserting their account of Sebastian: Violet wishes to protect her son and ruin his attackers, and Catharine wants to gain partial control over Sebastian’s estate. But Mrs V seems to be willing to do anything to protect her son's name!

This is one of those casts that have just got everything together; the pace, the anger, the calm, the Deep South accents, as in the first play, are excellent, and you even get the feeling of that sultry heat when you see them wiping the back of their necks with their handkerchiefs

Cynthia Marsh (Mrs Veneble) was wonderfully dramatic, especially when the truth, or what may be the truth came out.

Matthew Huntbach (Doctor Sugar - or to give him his full name Dr Cukrowicz) maintained the professional stance of a medical man at all times; but do you agree with his final statement? Lovely controlled performance.

Sara Tehrani (Catharine Holly) plays the niece who may have all the answers to what really happened on their Summer vacation when Sebastian lost his life, but that depends on who's listening.

Laura Sherratt (Sister Felicity) plays Catharine's nurse, who is also a nun, who tries her best to apply all of the rules surrounding Catharine's little outside venture from the institution.

Payash Raslan (Miss Foxhill) plays Mrs Veneble's loyal servant, quiet and dutiful.

Donna Scheffki (Mrs Holly). She is desperate to keep the peace with Mrs. Venable so she and her children will receive the money and possessions Sebastian left to them in his will.

David Field (George Holly) looks immaculate in his whiter than white suit and shoes, but there's even a story behind the suit as well! His little explosions of anger throughout show his desperation for that equal share of the estate.

Several new faces to me and apparently someone who is completely new, so I was informed. Well, whoever they were, I didn't spot the one because all the actors in both plays looked to have been doing this acting lark for a while. If any nerves were shown, they incorporated them into their character. This cast is a well-oiled machine who blended well together on stage, and certainly kept me gripped.

Directed by Gordon Parsons, he set about, not only to present two intense plays, but to make sure that the conversation carried on during the interval as well as after the plays finished. There's a lot for an audience member to discuss because these two plays have you, not only watching the action, but also listening to what is being said, because the clues are all there for you to make your own mind up about the disguised subplots. Gordon certainly made sure that my attention was well and truly focused on both senses.

The Set Designs are by Tabitha Daniels. As I said earlier, the attention to detail in the first set was excellent. In the second play, the set is expanded to show the luxurious garden that Sebastian tended, and this is where a lot of suggested information lies in wait for you.

Lighting Design is by Nick Gale, and while the design is simple, it shows and says everything that you need it to show and say. Nothing fancy, but these are plays that do not require special lighting effects; both plays well illuminated.

Sound Design by Matthew Allcock, David Dunford and Aaron Connelly. "Something Unspoken" utilised effects designed for the intimacy of the piece, but I especially liked that there was a voice on the other end of the telephone when it was answered.

There is a greater scope of sound effects in "Suddenly Last Summer" with the use of bird calls to remind you that you are in a garden.

The costumes, as you'd expect are glorious, and are provided by Max Bromley. Plenty of pale colours and I loved the suits complete with bow ties, showing the style of the 1930's, the period that both plays were set.. And I am sure that I don't need to mention the women's costumes depicting their various statures within their community.

Two excellent but rarely performed Tennessee Williams' plays that you may not get to see on stage for many years to come, so take the opportunity to see some very classy performers, performing with class.

"Something Unspoken/Suddenly Last Summer" will be at the Nottingham Lace Market Theatre until Saturday 1 July.