"Animal Farm" by George Orwell.

Adapted for the stage by Ian Wooldridge.

Derby Theatre.

Sick and tired of maltreatment under their enslavement from man, the animals of Manor Farm revolt. Released from all chains, there is but one key rule: All animals are equal. Yet, as the story progresses we soon see some animals are more equal than others…

Orwell uses the turmoil faced on the farm by the animals as a metaphor for the Russian Revolution. It shows how a people's fight for freedom can quickly morph into a power play as chaos ensues.

Orwell plants lies, illiteracy and even a head hunt throughout the play to explain the oppression, propaganda and excuses that led to the rise of the Soviet dictatorship.

It's relatively easy for a film to create the feeling of power and fear, but not so easy in the theatre, but both of these feelings are well portrayed here. It takes a talented group to create such an uneasy feeling over an audience but in the second part of this play, the unease of the power pig, Napoleon was apparent.

Napoleon is played by Ida Regan, Napoleon emerges as the leader of Animal Farm after the Rebellion. Based on Joseph Stalin, Napoleon uses military force to intimidate the other animals and consolidate his power. In his supreme craftiness, Napoleon proves more treacherous than his counterpart, Snowball.

Snowball, played by Samater Ahmed, is one from the old school, following the rules of Old Major, but when he comes up against Napoleon and his dogs, he is soon dispensed. The pig challenges Napoleon for control of Animal Farm after the Rebellion. Based on Leon Trotsky, Snowball is intelligent, passionate, eloquent, and less subtle and devious than his counterpart, Napoleon. Snowball seems to win the loyalty of the other animals and cement his power.

Boxer, played by Sam Black, is a solid supporter of Napoleon's, even though there's doubt towards the end, he too is sold down the river by Napoleon. The cart-horse whose incredible strength, dedication, and loyalty play a key role in the early prosperity of Animal Farm and the later completion of the windmill.

Quick to help but rather slow-witted, Boxer shows much devotion to Animal Farm’s ideals but little ability to think about them independently. He naïvely trusts the pigs to make all his decisions for him. His two mottoes are “I will work harder” and “Napoleon is always right.”

Killian Macardle, as Squealer, is Napoleon's right hand pig and helps convince the rest of the farm animals that what Napoleon says is the best way forward. The pig spreads Napoleon’s propaganda among the other animals. Squealer justifies the pigs’ monopolization of resources and spreads false statistics pointing to the farm’s success. Orwell uses Squealer to explore the ways in which those in power often use rhetoric and language to twist the truth and gain and maintain social and political control.

Mollie is played by Amy Drake. Mollie is the vain, flighty mare who pulls Mr. Jones’s carriage. Mollie craves the attention of human beings and loves being groomed and pampered. She has a difficult time with her new life on Animal Farm, as she misses wearing ribbons in her mane and eating sugar cubes. She represents the petit bourgeoisie that fled from Russia a few years after the Russian Revolution.

Polly Lister plays Old Major, the prize-winning boar whose vision of a socialist utopia serves as the inspiration for the Rebellion. Three days after describing the vision and teaching the animals the song “Beasts of England,” Major dies, leaving Snowball and Napoleon to struggle for control of his legacy. Orwell based Major on both the German political economist Karl Marx and the Russian revolutionary leader Vladimir Ilych Lenin.

All other characters that we know from Orwell's novel are played by the cast. The hound dogs are represented by puppet style rods with vicious canine heads that almost glow in the dark, and with the sound effects for the bunch of hounds, almost make you fear for your life, never mind their on stage victim.

Directed by Iqbal Khan, assisted by Jack Clearwater, this production is not the same as any production I've seen before. For one, a lot of the story is condensed and related by the characters; the whole play, with the interval, only lasts just under two hours.

There's a lot of comedy, that I may have missed in other productions, and there's a breaking of the fourth wall as the new animal rules are explained to the audience.

The various animals are differentiated by animal shaped headgear, designed by Sarah Worrall, which leaves the rest of the actor free to act the physicality of their animal character, and to clearly deliver Orwell's chilling script.

At the end when the human farmer from the next farm appears, they are presented as aliens, and we see this through the eyes of the animals, with several red "eyes" and in giant puppet form, almost like some creature from "War Of the Worlds" with a robotic voice.

Set & Lighting Designer is Ciaran Bagnall. With most of the lighting being of a blood red colour, it accentuated the danger and the off-stage animal assassinations. There's a clever use of lighting used to highlight the animal rules and the amendments of those rules.

The set itself is also a clever creation with part of the stage being tore up by the animals at the start; those parts being used to create the windmill that controversially split the animals even more than previously.

Su Newell's costume designs do not distract from the story, nor the actors. While they look like the rags used for painting your house, take a closer look as they also give the hue and feel of the animal that the actors are bringing to life, and the trousers also give a hint to the several characters that the actors take on beside their main roles.

The music has been composed by Dylan Towley. The highlight piece for me is when Moses delivers a piece that sounded like it was being performed in the interval of an American Superbowl. Big and proud, regaling the loveliness of the Sugar Candy Mountain, presenting images of an almost Willy Wonka style paradise.

The sound design, by Gerry Marsden is crystal clear, which it always is at Derby Theatre. There are parts that make you jump if you're not ready for the sound impact.

I'm not a political person, but I love the politicalness Orwell presents, which as everyone knows is the same story that is going on today as was in 1945 when the novel was first published.

Who could not raise a snigger when the animals who were "all for one" and equal became power hungry, promising everything, making rules to live by, and then breaking the rules for their own benefit, and then when the rules are broken, amendments presented until the greed takes over completely creating an animal class system where the rich get richer and the poor....... Almost surprised that one of the characters' names isn't changed to Boris!

I am a fan of Orwell's work and this is certainly one of his best pieces, made even better in this adaptation.

Can I also just add that, as a fan of accents, this production has so many accents for the different characters that it made the production even more interesting and enjoyable to me.

There is an age guidance of 11+ and I can understand that because right from the start there are sections that will make you jump and could rattle the nerves of a younger audience member. But anyone over 11 years of age is going to love this very entertaining production.

"Animal Farm" is at Derby Theatre until Saturday 16 March.

Photography by Pamela Raith.

 "Minority Report" By David Haig. Based on the short story by Philip K. Dick

Nottingham Playhouse.

I've never seen the film, so didn't know the story or what to expect from this play. This production though is based on the original short story and not the three hour long film starring Tom Cruise and Nottingham's Samantha Morton.

In 2050, neuroscientist Dame Julia Anderton is about to launch the next phase of her pioneering Pre-Crime programme, detaining people for crimes before they are committed and getting them off the streets. But when Julia is accused of pre-murder, she’s in a race against time to save herself from her own system.

It's strange just how quickly this production had me changing my mind about the subject matter. After the first five minutes I was all in favour of the chip in the back of the head to detect future offenders. Then after Julia was pronounced a pre-murderer suspect, your mind gets to wander while you watch as to the accuracy of the programme; could the CEO of the programme really fall foul of her own life work? Could there be a flaw in the programme? If there was, how did it occur and who could be responsible? The answers to these questions are provided as the play continues.

Jodie McNee, who never seems to be off stage all the way through the play, plays Julia, in what develops into a really physical role for Jodie. Putting a woman in the central role really turns the whole idea on its' head. You don't see that in many Sci-Fi thrillers on TV or on stage, and definitely not done with this style and technical visuality.

George, Julia's husband, is played by Nick Fletcher. The character, from the start, comes across quite nerdy, but as you get to see more of him, he does become slightly more likeable, but can he be trusted?

Tanvl Firmani plays David, Julia's voice assistant, who magically seems to appear out of nowhere when commanded, almost like a genie from a bottle. the visual effects on her person really create that almost holographic look.

Michelle, the American assistant, who seems to have a thing about nerdy men (no spoilers), is played by Xenoa Campbell-Ledgister.

Nicholas Rowe plays Ralph, the slick-talking politician.

Chrissy Brooke plays Christina.

Ricardo Castro plays Sergeant Harris, a power-hungry policeman who is intent on delivering his target.

Danny Collins plays Fleming and Roseanna Franscona plays Ana, the protesters who end up helping Julia in an unexpected U Turn.

Directed by Max Webster, there is so much more to concentrate on with a technical play such as this, but boy is it worth it!

Tal Rosner's video design is insanely exciting to watch. I have not seen anything like this before; the only thing that seems to come anywhere near it is the video designs for "The Curious Incident Of The Dog In The Night Time".

Nicola T Chang is the Composer and also is the Sound Designer for this production. The sound builds tension and, at times makes you feel quite uneasy. The timing of the sound design with the actor obviously has been synchronised well to the physicality of the play and the actors.

The Lighting Designer is Jessica Hung Han Yun, and compliments the sound design brilliantly, making the show a feast for both eyes and ears

Jon Bausor's set design is quite literally out of this world with sets lowered from the ceiling, sliding in from either side and all over the place. The technology that has gone into the staging of the play, as well as the set designs, is as futuristic as the storyline. You really felt that the driverless car was moving at speed, due to the visual effects. The fluidity of the scene changes are to be credited as well and move the story on perfectly.

The choreography included is great, showing the people on the interim of the story in slow motion, creating quite a cinematic effect. The Movement Director is Lucy Hind.

"Minority Report" is at the Nottingham Playhouse until Saturday 9 March and is such a clever, futuristic piece of theatre, that you really do not want to miss it.

 "Edward Scissorhands" by Matthew Bourne's New Adventures

Nottingham Theatre Royal.

I saw this gorgeous ballet the last time it came to Nottingham's Theatre Royal, back in 2015, so jumped at the chance of seeing this beautiful and whimsical ballet again.

Based on the classic Tim Burton movie and featuring the hauntingly beautiful music of Danny Elfman and Terry Davies.

In a castle high on a hill lives Edward; a boy created by an eccentric inventor. When his creator dies he is left alone and unfinished with only scissors for hands until a kindly townswoman invites him to live with her suburban family. Can Edward find his place in the well-meaning community which struggles to see past his curious appearance to the innocence and gentleness within?

It would be very easy to make comparisons with Johnny Depp's film characterization of Edward, but even though the character and story are the same, you soon forget a certain Mr Depp because Liam Mower, who played Edward here, is instantly hypnotizing.

Every time Liam appears on stage you are drawn to him like a magnet to those sharp, metal hands of his. He has great stage presence and the dancing is en point, but then again Liam has an impressive history of dance and ballet based theatre work in his wake, most notably playing Billy in the original cast of "Billy Elliot".

Edward Scissorhands is a love story at heart and his longing to be accepted and loved for who he is, is portrayed beautifully, drawing comparisons with Mary Shelley's "Frankenstein". After all, both gothic characters were created from bits of other people's body parts, sewn together to make a monster, but with that inner desire to be loved, and being very misunderstood.

It's a large cast and there is always something going on in all four quarters of the stage. The cast are among some of the best dancers in the world because that is what Mr Bourne brings out of them with his imaginative choreography, Creating laughter and sadness through his work and the dancers channelling of his ideas.

The ensemble work is electrifying and at the other end of the scale the solo and duet dances are tender and at times emotional, great shades of black and white. Characterization wise, all the main characters are different and entertaining in various ways. Take the hussy vamp who, as soon as her husband is out of the way, drags in the nearest hunk, and reels in Edward as well.

There is her "theatrically camp" son, all "eyes n teeth" and always performing, the over protective boyfriend of the girl who Edward falls for in a big way, and then the over excitable young son of the family who took Edward into their homes. The gay couple remind me of the same sex couple in American shows like "American Dad" and "Modern Family". So many varied characters all having a story to tell.

The sets are just as magical as you would expect with this fairy tale; swiftly placed and amazingly deceptive, especially the neighbouring houses. The costumes are just as amazing as well, really creating that 1950's fashion vibe. The topiary characters make me want to go out and buy a privet hedge and a pair of hedge cutters.

One section of the set shows three pictures of cheer-leaders on Edward's bedroom wall. One of the pictures suddenly appears to come to life, as if in animation, leading to a dance scene involving all three as they all appear in his bedroom. Both sets and costumes are designed by the incredibly talented Lez Brotherston.

Duncan McLean's projection design creates a 3D effect with the rain and the snow and the horizon aspect, creating real depth to the scenes.

"Edward Scissorhands" features Liam Mower and Stephen Murray as Edward Scissorhands throughout the tour, with Katrina Lyndon and Ashley Shaw as Kim Boggs. Kerry Biggin, Sophia Hurdley, Etta Murfitt and Mami Tomotani as Peg Boggs and Glenn Graham - who I believe is a Bulwell born lad - and Dominic North as Bill Boggs. Benjamin Barlow Bazeley and Ben Brown play Jim Upton with Stephanie Billers, Nicole Kabera and Ashley Shaw as Joyce Monroe. James Lovell, Luke Murphy and Reece Causton as her husband, George.

Completing the cast are Andrew Ashton, Jade Copas, Jamie Duncan-Campbell, Anna Maria de Freitas, Perreira de Jesus Franque, Molly Shaw-Downie, Megan Ferguson, Savannah Ffrench, Christina Gibbs, Aristide Lyons, Xholindi Muci, Barnaby Quarendon, Edwin Ray, Holly Saw, Nikolas Shikkis, Xavier Sotiya and Carrie Willis.

Devised, directed and choreographed by Matthew Bourne. The thing about Sir Matthew is that everything, unless you've seen one of his productions before, is unexpected. The music used is unexpected; definitely not what you'd expect to hear in a ballet. The choreography is not what you'd expect from a ballet. The costumes are a very long way away from tutus and ballet pumps; in fact I didn't see one set of ballet pumps. This shows just how much Matthew Bourne has changed the image of modern ballet, but still retains the beauty, elegance and special story-telling that ballet has at it's core.

For some reason whenever I come out of seeing a Matthew Bourne show, I always feel so incredibly relaxed.

Lighting designed by Howard Harrison, and there's a beautiful lighting moment - among many - where there's a music box with a ballet dancer inside, up lit from below, which creates a shadow that looks life size onto the bedroom wall, making it seem as if there's another dancer in the scene. The Christmas scenes are incredibly colourful and make you feel festive to the core, while the cemetery scenes are gloomy, dark and gothic.

Sound designed by Paul Groothuis; perfectly balanced and at the perfect listening level.

I promise that you will be so enthralled by this production that, like myself, the interval will come far too early for you and will leave you wanting more, anticipating the second act.

If you ever thought that ballet is not for you, you need to see this production because you'll soon change your mind. Matthew Bourne and New Adventures will change your mind!

"Edward Scissorhands" is at the Nottingham Theatre Royal until Saturday 2 March.

 "9 To 5" by Belper Musical Theatre.

Belper Community Theatre, Belper School.

This is my first visit to Belper School as well as my first time of seeing a Belper Musical Theatre production.

Pushed to the boiling point, three female co-workers concoct a plan to get even with the sexist, egotistical, lying, hypocritical bigot they call their boss. Violet, Judy and Doralee live out their wildest fantasy – giving their boss the boot! While Hart remains "otherwise engaged," the women give their workplace a dream makeover, taking control of the company that had always kept them down. Well, a girl can scheme, can't she?

The music and lyrics are by Dolly Parton and the musical is based on the 1980 film, which also starred Dolly. Dolly also pops up during the show.

Mr Franklin Hart, the sexist, egotistical, hypocritical, lying bigot of a boss, is played by Joe Woffinden. The things those women do to him doesn't come cheap in specialist magazines (so I'm led to believe). His "Here For You" is delivered with such an overly sexist tone, I'm surprised that he isn't on some register, Hart not Joe. A fun performance which I imagine is such a great part for any male actor to get his teeth into, as long as you have a strong pain threshold.

Missy Hart, Franklin Hart’s clueless wife is played by Natasha Barney.

Megan Gibson plays Doralee Rhodes, the role that Dolly Parton played in the film. Doralee, the sexy Southern belle becomes the subject of many of the office rumours based purely on what Hart has said to his male colleagues, but has leaked to the female contingent. I was well impressed with her Southern accent and is a great fun part. I love the song "Backwoods Barbie", showing that the fun, blonde character also has a human side. I must mention as well that Megan looks a lot like Jane McDonald in a blonde wig, and I love Jane McDonald.

Violet Newstead, Head Secretary of Consolidated who, while Hart is in charge will never be CEO, is played by Jennifer Lewis. What a voice Jennifer has, and looking through the programme, I can see why as she has been a member of a few societies that have "opera" in their name. A powerful performance that matches her voice with some brilliant comedy lines thrown in the mix.

Violet’s son Josh and Doralee’s supportive husband Dwayne are played by Jaye Turkington and Dominic Osin, respectively.

Judy Bernly is the nearly divorced lady who is an office worker for the first time and is played by Stacey Hyndman. When Stacey sung "Get Out And Stay Out", she showed off that emotion and power packed set of vocal chords that I found that she has. A lovely comedy performance as well which also showed the character getting stronger and more self empowered all the way to the final.

Judy’s soon to be ex-husband Dick, is played by Gavin Brookes.

Every office has a gossip queen or king, and the office gossip queen at Consolidated is Roz Keith, played by Sarah Stone. Sarah also turns in a brilliant comedy performance as Hart's love smitten secretary, Roz Keith. And what a transformation in her big song "Heart To Hart", which raised a few temperatures in the audience, and they in turn, raised the roof!

Isobel Froston (Margaret), Katy Varney (Maria) and Sydney Hemstock (Kathy) are the office's secretaries.

Joe, the nice guy at Consolidated Offices is played by Morgan Hemstock and has just a bit of a crush on Violet. The 1970's costumes and the glasses really make Morgan look like the office nerd. Morgan also gets to show off, not only his fine singing voice in the duet with Jennifer of "Let Love Grow", but also gets to showcase his tap dancing skills.

Talking of which, that tap dancing scene was one of the highlights and featured the male dancers, as well as Jennifer. The male dancers, I must say, really threw themselves into the choreography and looked like they were having the time of their lives. The male ensemble consist of Jake Eyles, Dale Hind, Rob Moseley, Richard Stonier, Ben Thompson and Sam Varney.

The ladies ensemble consist of Gill Hutton, Alison Walker, Jessica Fernie, Steph Hayes, Jess Dolman, Abbie Bowen, Cass Barrett, Ellis Bonsall and Lorna Bramall.

The Chairman of the Board, Tinsworthy, who brings the final twist to the play is played by Matthew Shaw.

Directed by Jennifer Lewis and Megan Gibson, they extract every drop of comedy from these characters via the actors. There's plenty of pace in this musical and the decision to change the set and props behind the actors make the scene changing fast and smooth.

Very well stage managed by Lucy Hassall, assisted by Richard Poole and Henry Pratt with the Stage Crew, Elizabeth Brookes, Charlotte Hanser, Cat Howourth, Mark Jennison and Jake Perry.

Choreographed by Cat Howourth, there are some lovely Hollywood style routines included, especially with the number "One Of The Boys", which opens the second act, and there's plenty of jazz hands on show also.

Richard Hodges is the Musical Director who, with his six piece musical ensemble, created the various music genres required for this soundtrack.

Lighting design and Sound Design are by Paul Frost and Nigel Johnson.

Darren Salt and Mark Jennison operated the Projection backdrop, which, especially in this musical really create that extra sheen, and of course that is how Dolly comes into play and creates interaction in the musical.

Loads of props, thanks to Anne Dunning, Kirsty Williams and Emily Woodward.

Taking everyone all the way back to 1979 with the costumes are Chris Varney, Mary Jackson and Anne Dunning.

This is a brilliant musical because it also delivers messages, as well as a fun and fluffy soundtrack. On the outside light, fluffy bundle of fun, but under the surface there is a relative and serious reminder of issues still rife in the world today. #MeToo. The subject of equality with equal pay for female workers and the way that women are treated in the workplace are to the fore, but the main vibe is one of positivity and being the best "you", you can be.

You have two more chances to see "9 To 5" at Belper Community Theatre at Belper School; a matinee at 1.30 and an evening performance at 6.30 on Saturday.