"Once Upon A Bridge" by Sonya Kelly.

Nottingham Lace Market Theatre.

This play was inspired by a real incident: in 2017, a jogger, racing across the city and up the corporate ladder, pushed a woman, an Irish barrister heading for a prominent career, into the path of an oncoming bus on Putney Bridge in London. After the push, the jogger kept running and didn’t look back. The quick-thinking bus driver managed to swerve and narrowly avoid the woman. CCTV footage of the incident was released at the time, but the jogger was never found.

"Once Upon A Bridge" unravels a life-changing moment and its aftermath through three completely different perspectives, building up to an exciting and shocking climax where tensions collide with human decency, and highlights how a split-second decision can alter a life forever.

An added bonus to this production is a short film, just before the play itself, shows the original shocking footage plus gives a background to the incident and also shows sections of the newsreel that reported the incident, also confirming that the jogger never came forward after the event.

The three characters involved in the play are known only as The Woman, The Man and The Bus Driver.

The Woman is played by Clare Moss. The Man is played by Luke Willis. The Bus Driver is played by Gurmej Virk.

Most people know that I love accents and between the three actors, they present a plethora of accents as they tell of other characters that intertwine their lives at this time, as well as the characters own accents.

All three actors give us background to their characters via monologues, enabling us to paint picture in our minds. They also give us their version of the events, where they were heading, what was on their minds and how that push affected their lives after the event. Obviously because The Man never came forward and The Woman did not want her name to be disclosed, what is shown in the play is all from the mind and the pen of the writer.

From start to finish this is a play that tells a story, and makes you wonder what happened to all three of the people involved. It is a definite conversation starter and you'll leave the theatre discussing what you've seen and heard.

Directed by Beverley Anthony, "Once Upon A Bridge" is performed in the upstairs performance area. For anyone who's seen a play upstairs will be pleasantly surprised at the seating layout this time around. It looked like there may be more seating space the way that it was arranged for the play, which is good news as every show is sold out; something that is becoming quite the norm of late. Possibly as more people are discovering the Lace Market Theatre and the range of theatre they offer.

Lighting design by David Billen and sound design by Phillip Hogarth. Both executed timely with the lighting spotlighting the character the story is focused on, at that time. The sound design again is operated timely with sound effects and music inserts helping to bring the play even more colour.

Matthew Allcock's projection design also adds to the story visually.

The play is a one act play, with just a short interval between the short docufilm and the main event, and coming in at about ninety minutes. A ninety minute cerebral and visual treat.

"Once Upon A Bridge" is at the Nottingham Lace Market Theatre until Saturday 3 February, but you may have to add your name to the returns list as currently all shows are sold out.

 "Noises Off" by Michael Frayn.

Nottingham Theatre Royal.

The idea for "Noises Off" came in 1970, when Frayn was watching from the wings a performance of "The Two of Us", a farce that he had written for Lynn Redgrave. He noted that it was funnier to see the play from behind the set than as an audience member and thought that one day he would write a play from that perspective, "Noises off" is that play and takes its title from the theatrical stage direction indicating sounds coming from offstage.

Each of the three acts of "Noises Off" contains a performance of the first act of a play within a play, a poor farce called "Nothing On". Act One is the dress rehearsal where we see the cast hopelessly unprepared and having issues with entrances and exits, missed cues, missed lines, doors that won't open or stay shut and bothersome props, including several plates of sardines.

Act Two shows a matinee performance a month later but this time from backstage which shows the deteriorating relationships between the cast and director and falls into disorder before the end of the play.

In Act Three, we see a performance near the end of the ten-week run and the relationships have got even worse. The actors remain determined at all costs to cover up the mounting series of mishaps, but it is not long before the plot has to be abandoned entirely and result to ad-libbing their way to the end of the scene.

I absolutely love slapstick, having been brought up on a diet of Laurel & Hardy, The Keystone Cops, Abbott & Costello and Buster Keaton by my Dad via cine film screened on to a small screen or on the living room wall. Slapstick is all to do with timing, and this show, and the actors' timing is impeccable, and that is one reason why this play is so funny; the roars of laughter from the audience proved that.

I'd seen "Noises Off" a few times previously, so knew exactly what the play was about and what was to come. That said, the play was as funny as if it were my first rodeo.

All of the actors play another actor, as part of the theatre troupe in the play, Otstars Productions, who have their own roles; you'll get the hang of it, love! I'll put the actor's character role's characters in brackets to simplify everything.

Liza Goddard plays Dotty Otley (Mrs Clackett). Dotty has a very interesting life behind the scenes which is every bit as dramatic as what is seen onstage. Mrs Clackett is a Cockney Housekeeper for the Brent's home in England who has a penchant for sardines.

Paul Bradley, who Eastenders fans will remember from playing Nigel Bates in the soap, plays Selsdon Mowbray (Burglar). Selsdon has a vice which does not bode well for an actor in a touring production, and there's a brilliant scene, in the second act, that relies on timing alone, which is performed beautifully.

(Sir) Simon Shepherd (fans of "Gimme Gimme Gimme" will know why I've added the title before Simon's name), plays Lloyd Dallas (The Director), who is trying to keep all the balls juggled in the air; it's not just the up in the air balls that he has trouble juggling either!

Lisa Ambalavanar is a local actor who I've had the pleasure of reviewing several times locally, so it is great to see her sharing the stage with people like Liza Goddard and Simon Shepherd. Lisa plays Brooke Ashton (Vicki), and I think I can truthfully say that I've never seen Lisa play a role quite like this one! Lisa though is not the only local actor highlighting the talent from this area, in this play. Brooke is wonderfully hammy with over the top acting who also keeps losing her contact lens.

Simon Coates plays Frederick Fellowes (Phillip Brent). Frederick has an allergy to violence which brings him out in nosebleeds, which is not a good thing with all of the backstage repercussions that happen.

Dan Fredenburgh plays Garry Lejeunne (Roger Tramplemain). Roger is a real estate agent who is attempting to rent Flavia's and Phillip's home, but uses it for his own personal benefit. Garry is dating Dotty, but is really jealous.

Nikhita Lesler plays Poppy Norton-Taylor (Assistant Stage Manager). She is emotional and over-sensitive, and envious of Brooke, whom she understudies. I wonder what could be making her over-sensitive and emotional?

Lucy Robinson plays Belinda Blair (Flavia Brent). Flavia is Phillip Brent's wife, Belinda may have feelings for Frederick though.

Daniel Rainford is the other local actor in this play. Dan plays Tim Allgood, the over-worked Assistant Stage Manager. Understudies Selsdon and Freddy. Daniel really seems to have a real grasp on the physical comedy required for this play and the role, and that comedy is well represented in his facial acting.

The set design, by Simon Higlett, is brilliantly constructed, allowing us to see both sides of the set, the reason why there are two breaks in the show, the second just a short one to allow the set to be reversed. I have been lucky enough to have seen backstage at some productions, but for anyone who does not know what this looks like will be in for a treat, or maybe a surprise!

Director Lindsay Posner has made sure that the pace is the speed of a train - maybe that isn't quite the apt comparison, especially this week, but you know what I mean. It steams ahead at pace, which is thanks to the verbal and physical timing within, and the ability of the actors. They definitely do not need to get a gym membership after this run.

If you love shows like "The Play That Goes Wrong", you'll absolutely love this show. If you love old fashioned slapstick, likewise, you'll love this show. If you like a quality cast who know how to deliver comedy, you'll love this show. It really is one of the best farces on stage at this time.

Right, that's me done for another show, I'm off to seek out some sardines for my toast!

"Noises Off" is at the Nottingham Theatre Royal until Saturday 3 February.

 "Twelve Angry Men" by Reginald Rose.

Derby Theatre.

The 1957 film is based on a 1954 play made for television. The play begins during the summer sometime in the 1950s. Twelve men have adjourned to the jury room to begin deliberating their verdict.

The judge has instructed them that their decision must be unanimous. As it is a first-degree murder trial, a guilty conviction could probably mean the death penalty. The defendant is an eighteen-year-old boy from a poor area of New York City who is accused of murdering his father with a knife. Almost all the jurors seem convinced that the teenager is guilty. When they do their first vote, surprisingly there is one ''not guilty vote.''

I have never seen the film so had no idea what eventually happens. I now want to see the film.

I'll admit that I have never concentrated on a piece of theatre as much as I concentrated on this play. Not because it was difficult to follow, because it wasn't, but because of the script, the incredible performances and the unravelling of the initial decision.

It was like taking your Christmas lights out of the loft and finding them all knotted and entangled, and then slowly unknotting everything, untangling the mess to end up with a more simpler thread.

Every turn picked apart every bit of evidence to show another option. But was this unpicking, presenting another viable option enough to swing the decision? Well, if you know the film, you'll know what the outcome is. I did not, so was completely intrigued and fixed on taking in every word from every character.

I've never been called up for jury service, and again looking behind the locked doors of the jury room and hearing the arguments, the alternative explanations as well as the dissection of what evidence had been presented, and the logic of what could have been the true story, just filled me with wide-eyed glee as the story was told, and re-told in a different light.

The jurors are listed just as Juror 1 to 12 with no character names given.

Juror 1, The Foreman is played by Jeffrey Harmer.

Juror 2, The New Guy, is played by Paul Lavers

Tristian Gemmill plays Juror 3 - The Father.

Juror 4, The Broker is played by Owen Oldroyd.

Juror 5, The Nurse, is played by Samarge Hamilton.

Gary Webster plays Juror 6, The Painter and Decorator.

Michael Greco is Juror 7, The Yankee Fan.

Jason Merrells is Juror 8, The Architect.

Juror 9, The Pensioner is played by Paul Beech.

Gray O'Brien is Juror 10, The Deal Maker

Juror 11, The Watchmaker is played by Kenneth Jay.

Ben Nealon plays Juror 12, The Ad Man.

Adam Phillip Bloom plays The Guard.

As a cast they were all fantastic; all with very different personalities, but none of them out-playing the other. With any group of people, thrown together by a third party, as in a bench of jurors, there will be the inevitable clashes, and the quieter ones will be picked on by the more belligerent characters.

Tristian Gemmell, as the protagonist, succeeded in winding most of the team up, but the reason for his bullish attitude and opinions come to the surface at the end.

Jason Merrells, at the opposite end of the scale, presents a calm collection of alternative attitudes.

Directed by Christopher Haydon. The Associate Director is Tim Welton, with Design by Michael Pavelka, Lighting Design by Chris Davey, and Sound Design by Andy Graham.

The play is staged by Michael Pavelka. One room with a twelve-seater table in the centre which slowly revolves as the play progresses. This you may not notice because it revolves so slowly. This could be subliminal to reflect the speed at which some of these angry men's opinions are turned. Maybe I am thinking too deep!

Here is a play that comes around rarely. A play that makes you think just how fragile a life can be when it's in the hands of twelve angry men; an anger that could overcome and cloud a judgement without the calmness of common sense and logic.

You too will be as transfixed in your seat as I was, especially if this is your first experience of this piece of theatre.

"Twelve Angry Men" is at Derby Theatre until Saturday 3 February.

 "Puss In Boots" written by Christopher Mercer.

Burton Joyce Players.

Burton Joyce Village Hall.

This is a completely new version of "Puss In Boots" where the only thing paved in gold are the performances. The Princess still gets her man and there's still help from Puss to bring this result around.

Christopher Mercer has written a cracker of a panto, with some new jokes mixed in with a smattering of classic panto jokes and some really strong new characters. It's a real blend of traditional panto and a fresh new feel.

Greg Nicholas makes a great Dame in Dame Wendy Wellington with the obligatory multitude of costume changes and wigs. These got more and more flashy until the final one which really does sparkle. Greg just needed to slow down a tad in his duet of Human League's "Don't You Want Me" as he was singing ahead of the music, but apart from that timing issue, his comic timing was all in line with being a classic Dame.

Charlie, who falls for the Princess Penelope, is played by Isla Hilton. With Charlie's talking Puss, they make a lovely thigh slapping duo.

Vic Jones is Puss, and one of the best Puss's I've seen, and I love her red hair. Puss is very streetwise which is where that blend of traditional and the more modern works so well. Watch out for the very funny scene where Puss wants to go to the toilet. As a cat owner, this particular section struck a chord with me. A lovely acute observation. I imagine that Vic is feline extremely pleased with her performance, and so she should.

Any panto is built on pairings and there's a lovely pairing in King William and Queen Katherine - where does that ring a bell I wonder? Played by David Matthews and Kerri Kirk respectively they play the typical panto strong wife/under the thumb husband duo. I loved the use of Joan Jett's "I Hate Myself For Loving You" section, sung by Kerri with both King and Queen donning leather jackets.

Another lovely duo are Block and Tackle, henchmen to the deliciously evil Lord Rottenberry. Block is played by Molly Fitches and Tackle by Hannah Smith. Not so much the bumbling pair, which is how most pantos represent the baddie's henchmen, just not the sharpest knives in the cutlery drawer. A lovely comic double act.

Lily Musson plays Princess Penelope, who you could tell was loving playing Penelope because you could see on her face, especially in one of the duets with Charlie. there's also a nice modern "hen party" scene which got a lot of the audience - mostly the women - singing along to an Abba classic, but maybe not the one that first comes to mind - she's not Queen just yet!

Christopher Mercer has written himself an absolute gem of a character in Lord Rottenberry. It's not often enough we see Chris play someone as nasty as this character, and he plays nasty so very well. Looking like a cross between a vampire - with the dark ringed eyes - and Erik from "Phantom Of the Opera", the audience loved to hate this Lord, and Chris completely played up to their booing and hissing. Chris also takes Directing credits as well.

During the fight scene with Puss, which was done with swords that actually sounded like metal swords, which meant the fight choreography, by Rob Howarth and David Brockhouse, looked and sounded brilliant. Here was a twist that I can't remember seeing utilised in any panto I've seen. I won't give away this twist but it was the most unexpected twist I've seen in all of this Winter panto season.

Two other cameo performances which left another big impression with me came from Rob Howarth who doubled as Bear and Fernando. "Bear" you could probably guess where this role appears, and Fernando, well, I'll not spoil the entrance and involvement of this role. Even the sound man, David gets to be involved on stage!

The other performance which I thought was extremely mention-worthy is by Austin Kirk as Hogrot the Horrible. Austin is a star in the making with his confidence and characterisation of this character. And he obviously loves being on stage because it shows.

The ensemble are Charlie Caudwell, Henry Chaloner, Thea Evans, Kay Faulks, Nikki Lever, Kathy Matthews, Avril McCormick, Jessie Murdock, Robyn Stevens, Isabelle Williams and Amelie Wyvill.

Choreographed by Jeanette Glover and Vic Jones. I noticed that at the start some of the younger ensemble had that "rabbit in the headlights" look while in the larger choreographed pieces, but they got through it and, as the panto commenced, that look diminished and it looked as if they were more comfortable with the dance moves. By the time we got to the final dance set it looked as if all nerves were gone and they were all living the good life.

Burton Joyce Players sets are always a high point for me and this panto maintains this reputation with several set changes, sometimes a bit noisy during the changes. The set design is by Marilyn Carr.

Lighting design is by James Caudwell and sound design is by David Brockhouse. We started off the panto with mic packs but after a few minutes these seemed to pack up. This in itself was not a massive issue because the projection by all on stage was really good.

The costumes are excellent thanks to Jenny Harwood, Kathy Matthews, Gwen McCormick, Molly Fitches and Lesley Hutchinson.

All in all this is one of those shows that is always fiercely supported by the community and always sells well. It's no surprise because every show Burton Joyce Players put on gets better and better. Well written and well performed, and even the rare prompt gave rise to some lovely comical ad-libbing by a couple of the cast. A nice mix of songs and that brilliant twist near the end makes this New Year panto a gem of a show.

"Puss In Boots" is at Burton Joyce Village Hall until Saturday 27 January.

 "Everybody's Talking About Jamie - Teen Edition" by Kristian Thomas Senior Youth Company.

Duchess Theatre, Long Eaton.

This musical has everything I hate; sexism, racism, bullying and homophobia. It also has everything that I love about a musical based on a real life story.

"Everybody's Talking About Jamie" is a coming-of-age stage musical with music by Dan Gillespie Sells and book and lyrics by Tom MacRae. The musical is inspired by the 2011 British television documentary "Jamie: Drag Queen at 16". The musical follows and is based upon the true-life story of 16-year-old schoolboy Jamie Campbell, as he overcomes prejudice and bullying to step out of the darkness into the spotlight and become a drag queen, and also gets to go to the school prom dressed how he wants to dress.

You have to admire a young person who wants to change the way people see certain things and fights for what they believe is right, breaking down prejudices along the way.

The "Teen Edition" is a full-length adaptation of the musical, modified for performance by teen actors. Specifically, vocal ranges and some elements have been adjusted for younger performers, but when it comes down to it, I couldn't think of anything that was omitted from the non teen edition.

I have come to expect that any show put on by Kristian Thomas Company is the canine's appendages - Sandra knows what I mean - and yet again, they have proved me to be correct - I'm not often wrong; the last time being March 10 2016. This show is a match for both touring versions of "Jamie" that I've seen. The energy is boundless and catching, the singing is practically perfect, the emotions bounce from one end of the scale to the other, and I revelled in every single moment of this production. Okay, that's the short version, and now here's the long.......

The role of Jamie New is shared between two young actors Kole Darby and Max Fuller. On Wednesday night I saw Max, who has gone from being part of the ensemble in KTco's last show "Sweet Charity" to being the main man - who sometimes likes to be a girl.

This is a massive role that shot Layton Williams to superstardom, and Max just made this role his own, as he did when he played Angel in KTco's "Rent". The singing, the attitude, the character, the swag and those heels! I have a pair of cowboy boots with a two inch heel which I can just about walk in a straight line in. Max, and I imagine Kole as well, have put in quite a few hours wearing those killer heels we see in the show to make sure that they are able to strut around the stage in, and look FABULOUS in them.

Jamie's Mum, Margaret, is played by Sylvie Cole, a young actor who I've not seen on stage for about seven years if I remember correctly. Oh, where have you been hiding that voice? So full of emotion and control. I absolutely adore the song "He's My Boy" and Sylvie's voice, when she sung this, just gave me tingles and brought a tear to my eye. An emotional and very human performance throughout, so please don't leave it so long until I get to hear that voice again, Sylvie.

Ray is Margaret's best friend and supporter of Jamie and his life decisions, and is played by Mia Matthews. There is a visible chemistry between Ray, Margaret and Jamie which I love; always there for both mother and son, especially when the call from school came through regarding prom night.

Pritta Pasha, who is Jamie's bestie, is another shared role, played by Grace Collishaw and Isabelle Bambrick. I saw Grace on Wednesday night. Grace I've seen before so I knew what a class performance I was in for. Grace has been in many of my favourite shows over the last few years and this role just raised the bar another notch. I've commented in the past about Grace's voice being one I could listen to forever, and when she sang "Beautiful", she cemented that feeling once more for me. Pritta is picked on by the school bully and receives some extremely nasty comments, but she gets her own back in the second act, and you should have heard the reaction from the audience when that happened.

Miss Hedge, the career teacher at school is played by Hannah Pettit. I don't think I've seen Hannah previously, and I apologise if that is not the case, but she fits in perfectly with this ridiculously talented company. Not only is she a wonderful actor but hearing her rapping in "And You Don't Even Know It" was brilliant.

Hugo/Loco Chanellle is played by Harrison West, another new name to me, and another young star that made my jaw drop with his singing. He has just the right amount of vibrato and control, and his story telling in "The Legend Of Loco Chanelle" is hypnotic. When in drag, he looks amazing and very comfortable for one so young.

Dean Paxton, Jamie's bully is played by Jake Lightbown, who I last saw onstage in "Rent". Dean is an obnoxious human, the sort you want to punch. Jake, on the other hand, is a very talented actor and to evoke these feelings for a character is a tribute to this young actor's talents. Dean was never gonna win an argument with Jamie because the characters are on a different cerebral level.

Jamie's Dad is disgusted and disappointed in how Jamie had turned out and made no bones about telling Jamie so. He is played by someone who I have a lot of time for, Louis Barnes-cupit. This is a change in role for Louis as I've only seen him play nicer characters, but he really gets into the role and creates the same feelings for Jamie's absent parent as you get for Dean. Louis also doubles up as Mickey, one of the pupils.

I absolutely loved the roles of Becca and Bex, played by Lydia Gajic and Felicity Holman respectively. The characters are fun and cheeky and Lydia and Felicity brought that out brilliantly.

A special mention must also be given to Ben Hale (Laika Virgin), Will Matthews (Sandra Bollock) and Harrison Ince (Tray Sophisticay), the three, not so lady-like, Drag Queens at the Legs 11 Club, and Libby Taylor (Vicki), Miles Potter (Levi) and Lola Wania (Frankie).

The large ensemble who helped create that special energy on stage are Billie-Jo Neale, Eve Lumley, Freya Thomas, Grace Kolasa, Hannah Ford, Hannah Pattinson, Holly Brownhill, Izzy Gallagher, Joe Stewart, Katie Freer, Lottie Ludlow, Lucy Shuttleworth, Macie Barrington, Maisie Denney, Meagan Hadfield, Nora Welham, Pip Blackman, Scarlett Williams and Tessa Clover.

Directed by Katy Maclaughlin. There is nothing more Katy could possibly have done to make this production any better. Perfection in every way.

Musical Director is Sam Hedley. The cast and their vocal performances pay enough tribute to Sam's role as an MD. They were emotive. They were fun. They were energetic. They were perfect. Sam did the perfect job.

The soundtrack holds so many brilliant and catchy tunes, and credit for the cast because it's not the easiest to perform, the title track being a perfect example due to the various parts for various actors and the speed of the song. As I've said, my favourite is "He's My Boy" but I also love "If I Met Myself Again", "The Wall In My Head", "Spotlight", "Limited Edition", "Ugly In This Ugly World" and "Out Of The Darkness".

Choreographed by Kristian Cunningham. There are some big choreographed pieces in "Jamie" but every one was as impressive as the touring productions I've seen. As with the singing, the cast exhibit their agility in the dance department, which is a fitting tribute to their choreographer.

Sound design is by Dave Dallard and Jack Clark. They both match the above creatives' work because the sound was perfect. I'm sorry I couldn't find anything to moan about in this area. Dave and Jack, you have defeated my often negativity in this department and delivered the perfect sound design.

Lighting design is by Stephen Greatorex and is absolutely spectacular. Perfect seems to be the word for this show, and I do not use that word without real intent, but in all areas of this production "perfect" is the word that sums everything up.

Another thing that sets this show apart from many is the staging, and I have not seen this done in the way that it was staged tonight. From the main stage there is a catwalk section leading into where the raked seating is normally. Seats are arranged on both sides of the catwalk so as to not lose the seating capacity, and let's face it, they need all the seats they can because every night is a sell out. This staging, by A Stage For Hire, means that the cast have a greater performance area and creates a new, exciting vision for the Duchess Theatre audiences this week.

There's a scene where Jamie is attacked, and I must commend the fight choreography because it looked and sounded very real, it actually made me wince when Jamie took a punch to the face.

I love it as well when accents are used, and the Sheffield accent was - and here's that word again - perfectly delivered. There was no straying from the regional accent and every actor was strong in its' delivery.

And finally, the costumes, wigs and make up. I think I can sum that area up with one seven letter word. Perfect.

It's a show with mature themes, performed by a very mature and talented cast, and if you can get a ticket for this show, I strongly recommend you get one because the entertainment and emotional value of this production is through the roof. Everything you'd expect for a Kristian Thomas production.

"Everybody's Talking About Jamie - Teen Edition" is at The Duchess Theatre in Long Eaton until Saturday 27 January.