"Hot Mikado" by Erewash Musical Society.

Duchess Theatre, Long Eaton.

As soon as Erewash Musical Society (EMUS) announced that they were performing this show, I just knew that I had to see it, I am a fan of Gilbert and Sullivan's light comic operas, and I also like jazz music, so the combination of the two genres, for me, was going to be an interesting watch. I already had the soundtrack, and love the blending of the two styles of music, and as always, seeing the production would only enhance the soundtrack experience.

So, what's it all about you ask......

"Hot Mikado" takes the classic Gilbert and Sullivan tale and updates it to 1940s-style. Young Nanki-Poo, the Mikado’s son masquerading as a Second Trumpet player, arrives in the town of Titipu looking for the beautiful Yum-Yum. After bribing various officials he learns that she is still going to be marrying a former tailor turned Lord High executioner, Ko-Ko. Meanwhile, the Mikado demands that Ko-Ko execute one person within the next month. Nanki-Poo agrees to be executed as long as he can spend a month as Yum-Yum’s husband. However, the plan goes awry when the Mikado makes a surprise visit to Titipu and brings with him Katisha, an older woman who is pursuing Nanki Pooh. Luckily, Nanki-Poo is not executed because he is the Mikado’s long lost son. Further, Ko-Ko and Katisha fall in love so Nanki-Poo and Yum-Yum can stay married.

Nanki Poo is played by Hayden Fletcher. The son of the Mikado, and heir to the Japanese throne, when he was betrothed to Katisha against his will, he ran away and disguised himself as a (less-than-talented) trumpeter for the Titipu orchestra. A naive and hopeless romantic, he will do anything to be with Yum-Yum, even be beheaded. This is a role made for Hayden. It has oodles of wonderful choreography, and anyone who knows Hayden will know what a talented dancer and choreographer he is. He also knows his way around a tune, and while this soundtrack may be very different to any that this cast may have done in the past, Hayden, and every one else just smashes every song. 

Yum Yum is played by Nicola Tuxford. The sweet, bubbly, middle child. She is betrothed to Ko-Ko but in love with Nanki-Poo. She is emotional and at times self-absorbed, as she wonders why she is "more attractive than anybody else in the whole world." A dark wig almost camouflages her - well the wig has very good volume - almost like Nicola's vocals. You heard every single word of these songs, and when she teams up with her other two little maids, the harmonies are akin to listening to girl trios like the Andrews Sisters, beautifully synced.

Katisha is played by Louise O' Boyle. Nanki-Poo's "just a teeny weeny wee bit bloodthirsty" bride-to-be. Although plain of face, she has "a striking left shoulder blade, fascinating right elbow, and stunning right heel". She comes to Titipu to claim her "prey"... er, fiancé. She is fierce, but quickly won over by Ko-Ko. Louise has a powerful weapon in her arsenal; her voice. There's a song in the second act called "Alone And Yet Alive", and with this arrangement it's a heart rending torch song, and Louise's rendition of this would make the eye of a needle weep. Katisha's costume is also a powerful weapon. Cut to accentuate Louise's figure, it clings and is slit to the thigh in the most vibrant of colours, and straight away cements the cougar vamp personality in your mind.

Pitti Sing, Yum Yum's elder sister, is played by Grace Deakin. The oldest of the three little maids. She is sarcastic at times but always speaks the truth. Grace is another actor whose voice has such power and control. Just before the big finale in the first act, there's almost a battle of the big voices between Katisha and Pitti Sing and I could feel the hair on the back of my neck start to rise, the vocals from both Grace and Louise were tingling.

Hayley Wood completes the three little school maids, and plays Peep Bo, the sassy, youngest little maid. She has a big voice, but tags along with her older sisters. And as I mentioned earlier, these three voices sound perfect together, especially in "Three Little Maids" which was given a harmonious boogie feel about it. Hayley has a lovely richness to her voice which also makes her stand out vocally.

The Mikado is played by John Fletcher. The Mikado is the "J. Edgar Hoover of Japan." Carefree and relaxed, he just wants every criminal's punishment to serve as entertainment, and he loves a good joke. Although his demeanor is never serious, he is very strict about following the laws of Japan. A while ago John told me that he had worries over the choreography for this role, especially the tap routines. Well Mr Fletcher, you must have worked hard on those dance steps because you smashed them, especially the tap number. The vocals were not bad either, and whoever would have thought that you and Hayden would have been cast as Father and Son in a musical eh? Natural built in chemistry and inherited talent. 

The Lord High Executioner, Ko-Ko, is played by Phil Deakin. Ko-Ko is the most unlikely candidate for his post of Lord High Executioner. He takes great pride in having power, but can't actually bring himself to execute anyone. He is Yum-Yum's fiancé and guardian. What I like about Phil is that he can play serious roles and then he can play brilliantly comical parts such as Ko-Ko and still look so comfortable in each and every role. Phil also has a nice line in facial comedy as Ko-Ko and uses that talent to his advantage, especially in his rendition of "Tit Willow". I love that suit as well.

Pish Tush, the coolest gentleman in all of Japan, is played by Evan Hagan. Pish Tush knows everything that is going on and has an opinion on it all. Evan has moved up from the Youth section of Erewash Musical Society to become one of the adult section actors. I last saw Evan in "Annie Get Your Gun" as Chief Sitting Bull, where he gave a solid performance. As Pish Tush he shows what a very strong voice he has, and just right for this type of music, especially when he has that growl in his voice. Evan is going to be a very useful addition to this group of actors with a voice like he has. I quote you "solid" and raise you both "talented" and "memorable".

Pooh Bah is played by Richard Dawson. "Lord High Everything Else," from the Archbishop of Titipu to the chief of police. He gives matter-of-fact advice from any of his many points of view, and will say anything (even state secrets) for a bribe. He is pompous and loves to show off, so far away from Richard Dawson the person which shows what a cracking actor Richard is. I loved all the "asides" to the audience, as if he was letting us into a secret all the time - a secret that we didn't have to pay extra for as well. It is no secret that Richard is a showman at heart - you must have heard his shows on Erewash Sound? - and his song and dance man persona rises to the top as Pooh Bah.       

Toby Wykes is the second young man to rise from the Youth Group into this musical, and he really makes an impression, especially with his dancing ability. I know that I have highlighted Toby for this talent in previous reviews and still he comes back with even more. His fluidity in the choreography is an absolute joy to behold and the constant enjoyment of being on stage from him just radiates. This young man, like Evan, shows the quality that comes from Youth teams in drama groups, ready to ascend to adult drama groups, and we all know just how important it is to be able to count talented singers and dancers who are male in drama groups. He makes you feel happy watching him dance.

Martin Briggs and Jonny Cox complete The Gentlemen of Japan, and I must mention the gorgeous costumes that Martin, Jonny, Evan, Richard and Toby wear throughout. I am so jealous. If I was involved I'd try and sneak those amazing suits out at the end of the run for my own wardrobe.

Playing The Ladies of Japan are Laurie Trott, Alex Tavener, Sue Hagan, Chrissie Oakden, Jane Freeman, Kathi Ludlow, Kaye Buck, Laura Dawson, Anna Fitzpatrick, Andrea Kemish and Karen Robbins.

Laurie Trott also plays The Cleaner. This section was pure comedy gold. Laurie, complete with fag drooping out the corner of her moth and pinny walked on and without even saying a word created laughter from the audience in a wonderful display of physical comedy. Who'd have thought sweeping up torn bits of paper could be so funny?

Directed by James Bowden, who is also the Co Musical Director with Martin Lewis. When a show is as perfect as it's going to be, there's no need for me to add anything else on either the Direction or the Musical Direction. This pair have so much experience in almost every aspect of musical theatre that when you see their names on a production team, you just know the show is in the very best of hands.

The on stage band itself produced some absolutely stunning swing/boogie/jive/lindy hop style music and while as a band they were incredible, I must mention Dave Shipley on drums; I'll be surprised if there's any skin left on those drums after another two shows on Saturday.

There are some brilliant songs in this show, and anyone who has seen the Gilbert and Sullivan version of "The Mikado" will know that. Most light opera devotees will instantly know "A Wanderin' Minstrel, I", "Three Little Maids", "Here's A Howdy Do", "Tit Willow", the very clever and lyrical "I've Got A Little List" and "Swing A Merry Madrigal" which starts off with four way accapella and then starts to really swing. The harmonies are joyful to hear.

Choreographed by yet another person who, when their name is in the programme, you just know is going to be of the highest quality, Ann Colgan. What Ann does not know about dance is not worth knowing. The choreography is as exciting as the jazz arrangements for this Gilbert and Sullivan show. There are glints of "West Side Story" and ballet alongside the tap routine and the jazz moves, all infused with such high energy levels.

What I must say though is that the male dancers in this show are on a par with the female dancers. I say that because often you see that the women dancers are slightly better at the choreography, but in this show, the lads really look to enjoy the choreography they are given and are really, really good at executing the choreography. That is a joint effort, I believe, between a choreographer who instills confidence in their dancers, and the dancers who are enjoying the rehearsal process of dance.

Set design is all thanks to Mark Robbins, Bill Robbins and EMS.

I have already raved about the wonderful costumes in this show but I couldn't see in the programme who was responsible for them. Every single costume stood out, and even though Hayden said that he looked like an ice cream salesman in his white suit, black shirt and white dickey, I'd have stopped him and bought one! Another super smart suit for The Mikado (John) and some gorgeous outfits for the ladies of Japan. I also couldn't see any credits in the programme for make up, wigs and hair but these also were stunning.

Lighting is by Steve Greatorex and the stage was awash with pastel shades creating a visually exciting lighting design.

Sound is where I usually have something ever so slightly negative to comment on at The Duchess Theatre with missed mic cues and the like. I am so sorry to report that I could not find anything even the slightest bit negative tonight because the sound was absolutely perfect. Every cue was spot on, I heard every word, it was perfectly balanced with the band on stage. Okay, I'm not sorry at all, I love it when perfection shines through in whatever field of production. All this perfection thanks to Dave Dallard

"Hot Mikado" is the hot ticket in town to get, but you've only got until Saturday 5 October to see this show when there's a matinee and an evening performance.

 "A Murder Is Announced" by Agatha Christie.

Ravenshead Theatre Group.

Ravenshead Village Hall.

An ad in the personal column of the local newspaper announces that someone will be murdered on Friday 13th October at 6.30pm at Little Paddocks, the home of Letitia Blacklock. The lady of the house is convinced that it must be a joke but the village of Chipping Cleghorn, including Miss Marple, turn up to see what all the fuss is about.

Set in the 1950's where afternoon tea and servants are the norm for a well to do lady, everything takes place in just the one setting, so there's no scene changes, which keeps everything simple for the audience.

Now I am not going to give anything away here because I love the books, films and plays of Agatha Christie, but have never been any good at working out whodunnit. This is no different, thanks to the many twists and red herrings in the storyline. Within the first twenty minutes or so we get a body and a murder, so the advert came true. But all is not as it seems as we try and discover who the murderer is, and why the person who was murdered, was murdered.

Miss Marple is played by Karen Hall. It is uncanny just how much Karen resembles Geraldine McEwan as Marple, and she has all the looks, smiles and twinkles that McEwan gave us in the role.

Rob Hurst plays Inspector Craddock. As usual in these stories the Inspector always comes up second to Miss Marple, and here it's no different but there is great respect shown by Craddock for Miss Marple at the big reveal.

Sergeant Mellors is played by John Birch. This is only a minor role, and we only see John a couple of times throughout the play, but where would Craddock be without his sidekick?

Sarah Tryner plays Letitia Blacklock, owner of Little Paddocks. Letitia could be in line for a pretty tidy sum of money, and while we aren't 100% sure that she could be the victim, there is motive to bump her off for monetary gain.

Dora "Bunny" Bunner is played by Helen Brailsford. Dora is a wonderfully nutty character - which I mean in the nicest of ways - who keeps getting things confused, dates confused, people confused and names confused...or does she? Helen also provides some very comical facial expressions that evoke lots of response from the packed audience.

James Disney is Rudi Scherz, who gets a quick entrance, and an even quicker exit. More than this I'll not expand as we discover more about Rudi as the play unfolds!

Julia Simmons is played by Rachel Gascoigne. Julia who resides at Little Paddocks and is the sister of Patrick Simmons, but these siblings seem to be very close, when they are not bickering!!!

Patrick Simmons is played by Daniel Andrews . Patrick we soon discover has a secret of his own, but where does the secret fit in with the murder plot, if at all?

Helen Berry plays Mitzi, the maid and cook. Mitzi is described as a Mitteleuropa refugee who resides at Little Paddocks. Mitzi manages to get a few phrases wrapped around her neck, like being a "bucket-washer" as opposed to "bottle-washer" and when she was going to walk out advised Letitia that she was "giving her the sack". Mitzi provides quite a bit of the comedy, as well as a some of the twists! Wonderful accent which is kept strong throughout the whole production.

Phillippa Haynes is played by Lucy Johnson. Phillippa we find out works as an horticulturist (gardener) at the nearby Dayas Hall, and also is a resident of Little Paddocks. Listen carefully throughout this play as there is a hint or two about what secret Phillipa may be keeping from the rest of them.

Hazel O' Connell is Mrs Swettenham, who is just a little interested in the ad in the paper and wants to find out what it's all about. Well it's only a small village so she has to show an interest, hasn't she?

Eddie Gray plays Edmund Swettenham who is a writer of some intellect, who accompanies his mother, Mrs Sweetenham to the 6.30 appointment at Little Paddocks. Now we all know that by a certain age, no son wants to accompany their mother to an evening soiree, unless there is some reason for him to be there. Is he just being a good son, or is there another motive?

I've seen this play previously, a couple of years' ago, and being a massive Agatha Christie fan, knew it to be full of twists and turns; so many in fact that i couldn't quite remember just who did kill who and why. Ravenshead kept these secrets tight to their bosom, and even though I started to remember bits of the breakdown, it wasn't until the final twist did it all fall into place. This is why I've not gone into too much detail on the above character and actor descriptions, as I didn't want to reveal the whole plot.

Directed by Ann-Marie Butler. It states in the programme that this was a labour of love for Ann-Marie, and that really shows. it's not that hard to telegraph twists and turns but Ann-Marie, and her cast, made those twists and turns come at you out of the blue, and you really didn't know who to believe to be telling the truth. It's a tight production and even the scene changes were done with speed, also thanks to the Stage Manager, which also happens to be Ann-Marie, and her crew consisting of Rojin Altuntas and Aayla Broughton.

Set Design is by Martin Butler. Now this hits you square in the face as soon as the curtains open as it's so close to the front of the stage, making the area for the actors feel almost claustrophobic. If that was the intent of having the stage set as close, it really worked well. Everyone got a really good view of everything on stage. Not a criticism, by the way.

Lighting was by Iain Walton, and they do say "if it ain't broke, don't fix it"; well the lighting has never been broke with this man, so why "fix it", another classy lighting design and operation.

Sound by Andy Cook. Now what i really enjoy about Ravenshead Theatre Group is that there's no need for any of the actors to be mic'd up as they all project brilliantly. So, that leaves the sound effects used in the play. This area was timed perfectly. I paid particular attention to the telephone, as some times a sound man may leave the "phone" to ring, maybe just a second over, but not in this show. As soon as that phone was lifted from its' receiver, the ringing stopped, and that went for every sound effect used in this production.

Costumes were provided by the cast themselves, and all I need say on that front is that this cast are a very well dressed bunch of actors; very stylish.

I don't think I've ever seen a production from Ravenshead Theatre Group that I've ever had to say anything even slightly negative about, and I won't be starting with this one. A wonderfully classy Christie crime thriller that has been created with the love that Ms Christie's novels deserve.

"A Murder Is Announced" is being performed at Ravenshead Village Hall until Saturday 5 October.

 "Welfare" by Abi Zakarian.

Derby Theatre.

Derby Theatre has transformed into the site of The Derbyshire Miners’ Holiday Camp in Skegness, where miners went to convalesce, and later to holiday, as it was turned into a holiday camp for Derbyshire miners and their families.

The camp at Skegness was opened in May 1939, to provide an annual holiday for Derbyshire coal miners and their families. It was seen as a pioneering venture and was part of a broad range of welfare benefits provided by a national Miners' Welfare Scheme established in the 1920s. The camp enabled miners and their families to have a week's holiday by the sea, many for the first time. Its creation owed much to the campaigning work of the trades union, the Derbyshire Miners' Association and, in particular, to the inspiration of Henry Hicken, one of the Derbyshire Miners' leaders. The Skegness camp finally closed in the late 1990s, coinciding with the demise of the British coal mining industry.

For many of the miners and their families, a week at the camp at Skegness was their first holiday away from home and, for some, the first time they had seen the sea.

As you walk through the doors of the theatre you're greeted by a brass band ( The Derwent Brass ) as well as other performers roaming around the theatre telling jokes and handing out bingo cards and pens, and showing people to their seats. The chairs and tables right at the front complete with table cloths and lamps ready for customers to get up close and personal with the performers and entertainers, cabaret style.

The show was completely different to what I'd expected. It started in a dilapidated hall at the entertainment centre at the holiday camp.  Kat, a young girl with a camera, has broken in and is taking pictures, the reason for this is explained further down the line. But she is not alone. 

Enter Bob, who used to be known as Bingo Bob, one of the camp entertainers and resident Bingo Caller. They strike up a friendship after Bob discovers the real reason that she has broken in, and from there on, we are taken on a trip back in time, which is also where the game of bingo comes in, and lasts for the whole show.

Through flashbacks we are told the story of the Welfare with scenes and musical numbers.

This is another fantastic ensemble piece of theatre with the actors all taking on different roles to tell the story from 1934 to the present day. As you'd expect, with the thread running through being of an entertainment theme, there are some wonderful sing a long moments, energetic dance sections, from Jive, Charleston, Boogie through to The Hustle and an entertaining take on Frankie Goes To Hollywood's "Two Tribes", but instead of the fighters being Reagan and Gorbachev, it's a battle between Thatcher and Scargill, represented by a pair of pugilists.

As well as this style of entertainment, the play also touches on the racism that was rife in the 1970's that crept into the dancefloors and entertainment centres of the time.

Olivia Egbunike (Everine), Mya Fox-Scott (Angelica), Oraine Johnson (Fitzalbert), Andrew Westfield (Joseph), Hanna Winter (Zofia), 

Tiana Maria Harrison (Kat), comes from a local mining family, makes her professional debut in this show. This is a big role for a professional debut, but you would never have guessed that this was a debut performance due to the passion in her performance.

John Holt-Roberts (Jack/Henry), who I can remember being in the stage production of "Kes", one of my favourite books, at Derby Theatre.

Jo Mousley (Patty), who Derby Theatre attendees will remember from "Brassed Off" last year.

Bingo Bob is played by Ivan Stott. This role is that of the narrator as well as dashing around entertaining the characters onstage and the audience offstage, as well as revealing the bingo numbers that have so much more meaning than anything you'd hear in a modern day Gala establishment. Being a former mobile DJ of the 70's/80's/90's and Noughties, I obviously have to mention Ivan's role as the mobile disc spinner. Oh yes, I was loving his emphasised DJ style.

Local lad Rhys Wild doubles up as Thomas and Danny. A very credible lead who can bust a retro groove into the bargain.

The main actors interact with each other over the ninety years covered by this story in several guises and many costume changes.

There's also a big Community Ensemble employed in this production which really gives you the feel of being part of a working holiday camp, often lining the steps of the theatre leading down to the stage, dancing, singing and encouraging people to have the best times of their lives.

The Ensemble are Charlotte Bennett, Samantha Bosworth, Ali Bramwell, Gregory Butler, Bwalya Case, Philip Cox, Kal Singh Dhindsa, Hermoine Fowell, Drew Green, Bry Griffiths, Alfie Handford, Abena Halliday-Fox, Adrees Hussain, Shannon John, Libby Kenyon, Andi Parkin, Heather Slonimski, Iyisha Williams and Kirsty Williams. There's also a Young Company of Esme Carpenter, Jennifer Salt, Candice Condon and Georgia Snyders.

The wonderful sound of The Derwent Brass provide that evocative feel of Derbyshire and the mining community through the ages.

Directed by Sarah Brigham and any regular theatre goer at Derby Theatre will know Sarah's work as a Director. Sarah is assisted in Directing duties by Laura Ryder.

The Musical Director and Sound Designer is Kelvin Towse. In the second act there was a lovely slice of Billy Bragg style union song, also backed by The Derwent Brass, but bringing the feel of the 1980's back to life

The set and costumes have both been designed by Neil Irish. There are some great costumes that immediately show the era depicted at the time and the various family generations. The stylish suits of the 1930's/1940's and those retro 1970's disco outfits, big moustaches, big wigs and big heels, and that mobile disco unit all looked fantastic; you could almost smell the Seventies from the auditorium.

Arnim Friess is the Lighting Designer. Creating many moods, from the dark and dusty initial scenes via the big band brightness to the colourful Saturday Night Fever style atmosphere.

Jon Beney is the Movement Director, which worked really well, especially in the slow motion boxing scenes as well as that wonderfully choreographed mass for "The Hustle", where some of the audience were also invited up on stage for a boogie to Van McCoy.

Helping get the accents spot on is Voice Coach Anita Gilbert. Oh yes, I love an accent or two in a play, and I know just how difficult the Nottinghamshire/Derbyshire accent is to pull off, especially for actors not from our area. I found it really hard to spot actors who are not local to the area because the accents were excellent, as were the non local dialects.

This show is more of an experience than a theatre show because you can book a table at the front of the stage, almost like a cabaret, and gorge on fish and chips and pub snacks and drinks while doing so. these though do need to be ordered separately prior to the show starting.

As I mentioned earlier, this production was very different to anything that I had expected, because I had not expected a history lesson like this. It's brilliant fun, entertaining as well as an education. Great live music performed on stage and some excellent character acting.

"Welfare" is at Derby Theatre until Saturday 12 October.