"It's Never Too Late" by Ron Aldridge.

Bonington Players.

Bonington Theatre, Arnold.

What happens when your husband leaves for a younger woman? How do you kick-start your life when you’ve never had to work?
How do you cope with the realisation that time is not on your side?

Susan Shaw at 58 finds herself in exactly this position. She’s run the home, brought-up her daughter, and had a very busy life involved with charities, village-hall committees etc. So what does she do now? Cry all day?

The play opens near the end of a meeting of the committee when she is told over the phone that her husband, Richard, wants a divorce. Fellow committee members offer all kinds of advice;  think of yourself for once, resurrect an old flame, get a job, get fit, get a toy-boy?

Susan decides to take action, and this very funny, and at times quite tender play follows Susan as she attempts a new start in life in the belief that "it’s never too late", and finds herself presented with a most surprising choice to make.

Sheila Millington plays the lead character, Susan Shaw. I mentioned that as the curtains go back there's an almighty argument happening on the phone, and straight away we see Sheila in power mode, even taking that anger and energy to another level with one of the glasses she is slamming down on the table. From that moment we see a gradual U Turn in Susan's appearance and attitude. 

Zoe Lander plays Linda Bridges, a keep fit guru who helps Susan build her confidence, advising her that what she needs to take a "toyboy" to get the juices flowing again, especially as Susan's husband has cheated with a young woman called Lisa. Every time Lisa's name is mentioned there's a spitting moment (think Bob Carolgees and Spit The Dog from the TV show "Tiswas" - look him up on Google or YouTube). Susan's floor must've been quite sodden by the end of the evening! There's some great script for Linda and I loved the line about a "mistress being a person between a "Mister" and a "mattress", highlighting the really clever and funny script.

Eddie Januszczyk plays Linda's husband, Peter Bridges, who always manages to put his foot in it with his filter free brain. Eddie is an excellent comedy actor and when he has a script as funny as this to play with, the results are just wonderful.

Wayne Hill plays Henry, a married man who has been holding a torch for Susan for a while now, and seeing an opportunity to relieve himself of his torch, throws his hat into the ring to replace Susan's husband - but does Susan want a replacement so quickly. There's a lovely confrontational scene between Henry and Richard in the second act.

Billy Bamberger is a new member of Bonington Players and makes his debut for them playing Thomas, a shy, geeky character who is part of the committee. Susan's character is not the only one to dramatically change as we see Thomas, with a little advice from Linda, emerge from his shell and take on Richard in quite an explosive argumentative scene which is broken up by Susan. I've known about Billy for a few years, but strangely enough, this is the first time that I have seen him acting. Billy has a lovely feel for comedy and I love the way that his character grew throughout the show.

Des Fitzpatrick is another newcomer joining Bonington Players in the role of Susan's husband, Richard. Des is another welcome addition to Bonington Players and the local stage, having moved up country he continues his love for acting with this brilliant debut. Even though Richard's presence is felt from the first scene, we don't physically see Richard until the second act. I've alluded to a couple of dramatic and explosive scenes involving Richard, and what I really applauded in Des's acting is that you actually believed the anger coming from Richard in Des's physical performance. Sometimes an actor may hold back in anger scenes, but not this one and it seemed as if this comedy was to take a darker turn - but not for long!

Directed and Designed by Jeff Casterton the pace was kept up throughout and the balance between serious and comedy was well observed and executed by all actors. While some comedy plays can dissolve into farce, the comedy here looked over the farce edge but retreated to the believable side of humorous theatre. Even to the very last gag, coming in the last piece of script, and from the very first scene, this comedy is rammed with laughs.

The set is another hit for me and looked as if the room where all the action takes place had been air lifted from someone's living room straight into the theatre itself, and reflected the status and lifestyle of the well established Shaws. Nine people are credited in the construction of the set, and I can believe it with the quality of this design. The lavish set dressing is by Linda Whitehurst.

The costumes reflect perfectly the characters we see on stage; for example, Henry's quite dull looking outfit reflects the banal but steady lifestyle he seems to have with plenty of browns and beiges. Thomas's sensible but boring outfit fits the geeky image perfectly with the addition of a boring tie for Thomas to wear in his "dressed up" party outfit. The keep fit outfits for Linda and Susan also reflect the two characters, but the standout costume is Susan's party outfit, which Susan keeps adjusting - if you know what I mean! The costumes have been sourced by Gail Tomlinson.

Stage managed by Robin Davis, assisted by Nigel Kenton and Luke Richardson.

The Light and Sound Design is by David Goatham; operated by Nick Hill for the sound and Peter Hodgkinson on lighting. 

"It's Never Too Late" is at the Bonington Theatre in Arnold until Saturday 18 October, so it's not too late to see this wonderfully funny piece of comedy theatre.

 " Monty Python's Spamalot - The Musical" by Eric Idle and John Du Prez.

Melton Musical Theatre Company.

Melton Theatre.

It's been seven years since I last saw this musical and Melton Musical Theatre Company reminded me tonight of just why I love the bonkers comedy of Monty Python. For those who may not have heard of this musical, seen the musical or may be too young to know anything about Monty Python - there were several young children in tonight who absolutely loved this style of comedy - this is what it's all about....

Based on the 1975 film "Monty Python and the Holy Grail", the musical follows King Arthur as he travels with the Knights of the Round Table in search of the Holy Grail, which they eventually find in the strangest place! On their way they encounter some strange people and a crazy rabbit!

Winner of the 2005 Tony Award for Best New Musical, “Spamalot” was written by Eric Idle and John DuPrez and features "Always Look on the Bright Side of Life", “Not Dead Yet”, “I’m All Alone”, "The Song That Goes Like This", "His Name Is Lancelot" and "The Diva's Lament".

Having seen “Spamalot” several times now, I knew the comedy and the Python style, but a show like this is constantly updating with topical humour, so no two productions are ever going to be the same. Whether you’re a Monty Python fan or not, you can’t deny that the writing is very funny, even after all these years and has stood the test of time. Silly comedy hardly ever ages and is mostly very cleverly written.

King Arthur is played by Paul Mills, who I've had the pleasure of seeing in various roles over the years. As Arthur he is possibly the most laid back I have ever seen him on stage.

Lady Of The Lake is played by Katherine Vernon and from her first appearance on this stage, Katherine became the Diva, and reminded me just a little of Celine Dion, especially in some of the costumes Katherine gets to wear. There are a few "4th wall breaking" incidents which are brilliant and draw the audience in.

Patsy is played by Jason Wrightam who looked right at home with this character, a perfect piece of casting, who gets to sing the BIG song from this musical "Always Look On The Bright Side Of Life" which develops into a full blown ensemble number. If you buy a programme, you'll also get the lyrics for this song for you to sing along to in the finale! (The think of everything, don't they?).

Sir Lancelot is played by Andrew Hull, and is quite a "revealing" role. Lancelot gets to rescue a "damsel" in distress and becomes the feature of one of the campest songs in a musical with "His Name Is Lancelot", and it looks like comic roles suit Andrew well.

Sir Galahad is played by Ryan Green. I almost didn't recognise Ryan as the be-wigged Galahad and his character voice 

Galahad's Mother is played by Carole Bailey who laps up the silliness involved in this part.

Sir Robin is played by Sam Carter. Here's another brave knight who has his own song sung about his "bravery". This musical really highlights comedy, as you'd probably guessed, and this cast hit the mark every time. Whether the songs are not quite PC, as in "You Won't Succeed On Broadway" or "Brave Sir Robin", Sam delivers the comedy.

Sir Bedevere is played by Josh Gallagher, and along with all of the other knights in Arthur's army make up an extremely comical band of men, who also bring a very harmonious sound when carousing together.

Prince Herbert is played by Jak Beasley. At first sight Jak is very similar to one of my heroes, Kenny Everett, and as Prince Herbert is as comically camp as the great man. Massive fun. Jak also plays a Swallow Knight as well - and if I tried hard enough there's another Prince Herbert joke in there somewhere!

Pete Etherington is The Historian who opens the acts in this musical, and also plays one of Herbert's guards, who along with Mark Hopkinson perform a wonderfully confused comedy sketch. Mark is also on of the Mayors of Finland in the opening number with John Stewart, who also doubles as Brother Maynard.

Charlie Harris plays The Black Knight, who has a bit of a run in with King Arthur and Excalibur, plus Kevin, who I did notice was really getting into all of the choreography and singing; he was having a real ball in this show.

Elliott Paulson is Herbert's Father, who doesn't quite understand his son, nor see why the arranged marriage for Herbert isn't quite Herbert's cup of tea! Elliott is also a Chanting Monk.

Cara Pett plays Frenchie and the extremely tall Head Knight of Ni.

Amy Beale is Not Dead Fred, the character who denies being deceased plus Concorde who also almost finds themselves practically dead!

Nick Watts is Tim The Enchanter, who introduces us to one of the evilest bunnies in history, as well as a being a Chanting Monk and a Popcorn Guy.

There's a big ensemble so here goes with the ensemble performers and their roles....

Kiri Humphreys (Frenchie, the Killer Rabbit and a Knight of Ni), Kate Felts (Dead Dancer and a Minstrel), Stacey Priestley (Dead Dancer and a Minstrel), Keran Turakhia (French Taunter and a Chanting Monk), Karen Peters (Frenchie), Charlotte Broomfield (Swallow Knight), Leanne Thornton (Knight of Ni, Frenchie and Sir Bors), Zoe Pole (Dead Dancer and a Peasant), Joanne Coombe (Dead Dancer and a Peasant) and Emma Weston (Dead Dancer and a Peasant).

The Principal Dancers are Vikki Taylor, Victoria Adams, Tash Bailey, Megan Lowe, JoJo Helstrip and Jasmine Purll. This team show a wide variety of dance styles including tap, cheer-leading and jazz style, and watch out for some pretty nifty costume changes as well.

One thing that has been introduced into this production by the MD, Lisa Mills, is a choir, dubbed The Spam Singers. This is to swell out the sound as well as to try and include as many members of the Company as possible; let's face it who wouldn't want to be involved in this show? The Spam Singers are Hadyn Green, Becky Woodcock, Lauren Cressey, Margaret Dorn, Sandra Stewart, Judy Marshall and Georgie Bladon.

Directed by Jennifer Butlin. This is one hell of a way to debut as a Director for Melton Musical Theatre Company for Jen, and from what I could see, this would have been a labour of love for her. I don't know if it was because I had not seen this show for a few years or Jen has sprinkled some of her theatrical glitter over the musical, but there were several parts that I either couldn't remember or had been added by Jen. Either way, this is a very fast paced and bonkers piece of non-stop fun.

Musical Director for this show is Lisa Mills, who I couldn't wait to give a hug to before the show as I'd not seen her in absolutely ages. Melton Theatre has beautiful acoustics which also means that you could hear every instrument played and the vocalists on stage were as clear as a bell. Brilliant arrangements and production of the songs all go to enhance the pleasure of this musical.

Choreographed by Dawn Partridge (act one) and Katherine Vernon (act two) with Movement in both acts by Jennifer Butlin. Big cast and big choreography. From the zany "Not Dead Yet" number to the big "Bright Side Of Life" ensemble piece and the tap and cheer-leading pieces, choreographically, this show is brilliant fun to take in.

When you think of all of the character roles, plus ensemble, plus dancers etc, and the amount of costume changes, the number of individual costumes soon mount up. Thanks go to St. Paul's Church near Preston, Mina and Martin Holtom, Charlotte Broomfield, Lisa Mills as well as the sewing skills of Georgie, Joy, Jane, Becky and Judy for some amazing costumes in this show.

Someone else who has obviously worked immensely hard is the Stage Manager, Trevor Adams, making everything run smoothly with Stu Bartrum and the Stage Crew

Set Design is by Scenic Projects, and has everything that you want from the scenery and set for a musical of this quality, including a great big hand pointing out where the Holy Grail was secreted at the end.  The sets are like an additional cast member.

Lighting is by Richard Chamberlain and Sound is by Neil "Wes" Wesley.

For anyone who has never been to see a show at Melton Theatre, I urge you to see something there because, as I mentioned earlier, the acoustics are wonderful and every seat has a great view of the stage. There are so many different shows coming to this theatre, along with some big names, as well as a place for local theatre groups like this one. 

Unfortunately, this venue may not be around this time next year as a venue for the arts, so please lend your support, whether it's from inside Melton, or outside the area. You can find out more about this cause and sign a petition to save the venue by going to Melton Musical Theatre Company Facebook page. #SaveMeltonTheatre.

To close with, I have a fact for you that I hadn't been aware of until Thursday night. One of the Monty Python team has connections with Melton. The late Graham Chapman was a student of Melton Mowbray Grammar School and there are two plaques in Melton commemorating the star. A blue one in the town centre and a green one at his former home on Burton Street, which was unveiled by another Monty Python legend, Michael Palin.

"Spamalot" is at Melton Theatre until Saturday 18 October so grab yer coconuts and gallop on down for a wonderfully fun night, and don’t say “Ni” or the rabbit may get ya!

 "Merlin" by Northern Ballet.

Nottingham Theatre Royal.

"Merlin" is a blacksmith who has to hide his powers and on the eve of Merlin's 18th Birthday Morgan arrives. Morgan is a Senior General in the Solar Kingdom's Army, and Merlin has deep feelings for her. Merlin is to be drafted into the army but does not fit in. Merlin has flashbacks to his birth mother and father and this gets him angry which is where he is introduced to Excalibur. the anger builds and results in him slaying everyone around him. This is witnessed by Morgan.

Merlin then encounters the Lady Of the Lake as well as a fierce dragon, who he frees and befriends.

Back in Camelot celebrations are under way and Morgan is offered as a bride to Uther, the King's son, but Uther has his eye on Ygraine, the Princess of The Kingdom of the Tides, but this love is forbidden.

Morgan has followed Uther and witnesses the meeting and is not to happy about this and summons the Solar Warriors. Merlin flees with Ygraine after being saved by his new dragon friend and hides Ygraine at his home with the Blacksmith. Returning to the forest to seek out the dragon, Merlin is captured by the warriors and is thrown into jail.

Will Merlin get Morgan? Will Uther get his Ygraine? Is there an happy ending for both? What happens with Excalibur? Where does King Arthur fit in all of this?

The dancers are athletes, I've always said this of ballet dancers,  they make everything seem so effortless, and you just have to admire the pure physicality of the dancer in conveying the story. It has taken years for them to reach the physical peak that we see on stage and you are left in absolute awe with their control, not just of limbs and body but the fact they never seem to show any accelerated breathing in the slight. As I said, these dancers are athletes of the stage.

The sets are incredible. From the initial scene of the giant golden ring that rotated slowly and slowly rose into the ether, to the amazing tree that Merlin lit up with Excalibur. From the palace scenes to the forest, the scenery was as magic as the whole story.

Talking of magic, we experience fiery globes that appear, rise into the air and vanish, a sword that looks as if it is burning that leaves Merlin's hand to float in the air, and several other wonderful illusions.

There is puppetry with vicious dog-like creatures complete with smoking nostrils, all expertly handled so that you are watching the Merlin's dragon or the dogs and not the puppeteer. There is so much to watch that your eyes are deliberately drawn to one part of the stage so that illusions can appear just out of eyeline, creating a truly magical experience.

The music lifts you up and sweeps you along the magical journey. from the very first note to the final chord, it does not seem that you are in the theatre for just under two hours. The whole mixture of the wonderful story, the beautiful music and the incredible performers just make the minutes disappear.

Directed and Choreographed by Drew McOnie. So many wonderful scenes but I especially loved the scenes with The Lady of the Lake. you really got the feeling of water with the fluidity of the choreography.

The gorgeous music is composed by Grant Olding, whose name may ring a bell as he trained as an actor at Central School of Speech and Drama. The orchestra, not sure if it is the Northern Ballet Sinfonia, was conducted by Daniel Parkinson and was recorded. The last time that Northern ballet were at the Theatre Royal, they made us aware of the financial issues of travelling with a large orchestra, so for this show the music was recorded. Sounded superb, but I do miss seeing and hearing a live orchestra playing.

The wonderfully magical set, as well as the costumes, were designed by Colin Richmond. Julie Anderson is the Assistant Costume Designer.

Lighting of this production also creates a special feel and is the work of Anna Watson.

I mentioned the illusions for this piece were literally quite magical and these were produced by a man who really knows his art as he is a member of the Magic Circle and was the Magic associate for Harry Potter & The Cursed Child, Mr Chris Fisher.

Rachael Canning was the lady behind the Design and Direction of the amazing puppets we see on stage.

And so to the incredible team of dancers who are also wonderful story-tellers and athletes.

Harris Beattie (Merlin), who has been dancing since he was ten years old, doesn't look as if that wasn't that long ago, but what an incredible dancer this young man is.

Sarah Chun (Morgan), Jackson Dwyer (Uther), Saeka Shirai (Ygraine), Miguel Teixeira (Vortigern), Heather Lehan (Blacksmith), Gemma Coutts (Lady Of The Lake), Bruno Serraclara (Helios), Archie Sherman (The Dragon), Helen Bogatch and Alessia Petrosino (The Princesses).

Albert Gonzalez Orts, Harry Skoupas, Antoni Canellas Artigues, George Liang, Noah Benzie-Drayton, Stefano Varalto (Male Warriors).

Sena Kitano, Julie Nunes, Nida Aydinoglu, Kaho Masumoto, Kirica Takahashi (Female Warriors).

With a company like Northern Ballet, you have to be the best of the best to perform with them, so I don't need to convince you or heap praise on this company for their excellent dancing, performing and characterisation. It goes without saying that you're in for a magical evening's entertainment.

This show should be on the NHS because by just watching it, your everyday stresses and worries just seem to melt away... or is that just me?

If you think that ballet is not for you, go on, take a risk because, like Shakespeare, it has a special language that you will love and become hooked on. All it takes is that one step into the unknown. Why not let Merlin bewitch you into taking that step.

"Merlin" is at the Nottingham Theatre Royal until Saturday 18 October.

 "Top Hat" by Erewash Musical Society.

Duchess Theatre, Long Eaton.

It doesn't matter that much that "Top Hat" is also being staged in the very same week at Nottingham Theatre Royal, because I saw and heard different things in this production in comparison to the professional touring production.

The musical is based on the 1935 film of the same name, with music and lyrics by Irving Berlin. In “Top Hat” we follow Broadway superstar Jerry Travers as he arrives in London to appear in a stage show from producer Horace Hardwick. But this being a screwball comedy, things do not go according to plan and pretty soon a case of mistaken identity and romance sends things off course. Travers attempts to win the heart of society girl, Dale Tremond but she mistakes him for Hardwick – a married man – meaning that his advances horrify her as he attempts to gain her hand in marriage.

 Irving Berlin’s classic score includes some of Hollywood’s greatest songs, "Cheek to Cheek", "Let’s Face the Music and Dance", "Top Hat White Tie and Tails" and "Puttin’ on the Ritz".

Jerry Travers is played by Gabryl Oleshko. I have reviewed Gabz for about eight years now and have seen him really grow as a performer and this show really charts just what a good performer he is. His dancing is superb, his side by side work with Louise is dreamlike, his tap dancing is awesome, his voice perfectly suits the songs in this musical and his cheeky side comes out as Travers. I must also complement Gabryl on the ability to carry on unruffled in the face of props misbehaving themselves, like the cane and the coat stand. One extremely cool character played one extremely cool actor.

Dale Tremond is played by Louise Potter. I couldn't remember if I've seen Louise before, and if I have, I apologise, but if I've not, why not? Dale is a classy role and Louise brings that class and style to the role. I've mentioned above about the side to side work, and you can tell that both Gabryl and Louise have worked hard at this pairing and that chemistry comes across really well. One thing that I loved more in this performance to the professional touring one was the scene where Dale slaps Jerry. I really believed that slap this afternoon and winced myself. Not sure if the slap connected but it felt like it did. In the Theatre Royal version the choreographed slap was miles out. 

Horace Hardwick is played by Martin Lewis. In the programme Martin says that one thing that he and Horace have in common is that they're both bumbling idiots. I disagree; Horace may be but Martin is neither bumbling, nor is he an idiot. Martin is one of the most savvy theatre people I know and every time he takes to the stage it's for a role that he knows that he can bring the most out of, and have fun with the character, and that's what we see in Martin's version of Hardwick. It's also not that often we see Martin's dancing ability, and especially in tap, which this show is full of.

Madge Hardwick is played by Kathi Ludlow. Horace's wife has a very dry sense of humour and Kathi brought out that humour brilliantly. Another classy performance in this classy production.

Bates, Horace's man servant, is played by John Wedgwood, who I last saw playing the role of Mr Brownlow in "Oliver". This role allows John to show off his comedy skills as well as his ability, or should that be Bates' ability to disguise himself, even as a woman, complete with moustache.

Alberto Beddini, Travers' over the top dress designer, is played by James Christian. I think that the first time that I reviewed James was in 2017 when he was in "Boogie Nights", which by the way is Erewash Musical Society's next production in March 2026. Like Gabryl, I've seen James play several very different roles in the last eight years, but I truly believe that this is the best role I've seen James play. I love the accent, I love the campness, I love that white suit Beddini wears, I love James' comedy skills, with just the right amount of sauce, as well as his vocals. If truth be told, I prefer this version of Beddini to the touring version I saw earlier this week.

The Chorines, who sounded fantastic and looked even better consisted of Louise O'Boyle, Hayley Wood, Jane Freeman, Megan Asher and Andrea Kemish.

This is a big musical, so there has to be a big ensemble, all of which playing several roles each, consisting of Evan Hagan, who has one of the most distinctive voices and why I've not noticed this previously I don't know, maybe because in this musical, we get to hear him sing solo. Karen Robbins, John Fletcher, Laurie Trott who also gets to do a little solo Shakespeare which is so comical the way that Laurie does it. Anna Fitzpatrick, Martin Briggs, Emma Barnes-Marriott, Barbara Cole, Louise Waters, Katie Fitzpatrick and Sue Hagan. What an ensemble!

Co Directed and Co Choreographed by Vicky Byrne and Abbi Burns, this pair made the stage burn with their wonderful choreography, at times almost dreamlike, at other times with enough energy to light up the National Grid. Perfect casting for all roles, but what would you expect from a pair of perfect Directors.

The Set Design is never going to compare with a touring production, and I apologise for keep harking back to that, but this production also looked classy and the props used made the scenes look glamorous and exotic, whether that be in Italy, London or America. I loved the lift construction and the glittery showbiz luggage cart used by the bellhop. 

Musical Director is Jonah Williams. Nottinghamshire, Derbyshire and Leicestershire are so blessed with talented MDs and Jonah is one of those people who knows everything about creating a great score that sounds epic. Just looking at the MD work that Jonah has coming up in the future is proof enough of how many drama groups want Jonah working on their shows. Groups want to work with the best, and that's why they want Jonah. A brilliant score with which Jonah has worked his magic on.

The wonderful costumes are by Abbi Burns, Darley Dance, EMS Wardrobe and Triple C and oozed class, elegance and style in every costume

Sound is by Granite AV Solutions, and despite only a couple of missed mic cues in the second act, the sound was superb.

Lighting is by Steve Greatorex, and is everything that I expected from a lighting legend like Steven.

This cast can hold their heads high with this production and compares extremely favourably with the other version in town.

"Top Hat" ends its' successful run on Saturday 11 October.

 "The Producers" by ESNA 60

Loughborough Town Hall.

ESNA celebrate their 60th Anniversary by staging Mel Brooks' comedy musical "The Producers".

In New York in 1959, Max Bialystock opens "Funny Boy", a musical version of Hamlet. It is terrible, and the show closes after one performance. The next day, Leo Bloom, a mousy accountant, comes to Max's office to audit his books. He tells Max that if he produces a musical which flops, it is financially better for him as he wouldn't have to pay back his investors. After a bit of trepidation Leo decides to help Max with this plan because Leo has always wanted to be a Broadway producer. They find the perfect "flop" and set about getting it staged, but all does not go as planned for the pair....

Max finds the sure-fire flop that would offend people of all races, creeds, and religions: "Springtime for Hitler: A Gay Romp with Adolf and Eva at Berchtesgaden" written by Franz Liebkind, which Max describes as "a love letter to Hitler". And so to getting a director on board and that is the job of the very camp Roger Debris and his sidekick Carmen Ghia.

Leo is worried, and by the looks of Debris gang, so he should. But worry not, because in steps the uber sexy Swedish bombshell, Ulla Inga Hansen Benson Yansen Tallen Hallen Svaden Swanson, or Ulla as she is referred to in the show. Ulla just happens to have a beautiful voice and an equally attractive body as well, which does not go unnoticed by both our red-blooded Producers.

All Max needs now is a bevy of backers to pump money into the show, and enter a whole host of elderly ladies on sticks and zimmers!

What could possibly go right?

Max is played by Gareth Busson and I wouldn't be surprised if in the wings there's some kind of oxygen tank on hand because Gareth very rarely takes a breath throughout, especially in the scenes with the old ladies in Old Lady Land and the scene when in jail and he gives a run through of everything that happened in the first act, complete with a nice up to date touch referring to the interval. 

Leo is played by William Evans-Ramsey, who I last saw two years ago in "The Assassins" is an absolute diamond decision of casting as the over nervous and excitable Bloom. the role is an extremely energetic role and Will not once appears ever short of breath. The pairing of Gareth and Will is perfect as they bounce off each other, sometimes quite literally. The slapstick element of the part comes naturally to such a wonderful character actor like Will, and his voice reminds me at times of the late Jerry Lewis. His vocal ability has only got stronger since the last time I heard him as well. You can see that this role is a labour of love for Will.

Ulla is played by Hannah Oxspring. Mel Brooks really knew how to write characters and Ulla is another great example of this in this show. A saucy performance but don't let that distract you from her voice and dance skills because these are on fire as well! She's got. She flaunted it!

Roger De Bris is played by Rowan Dixon. There may be a tendency to go slightly over the top with this camp Director, so why not go, just slightly over the top as Rowan does, but what a joyful performance. The decision to have him leading some of the cast in a conga style chain in front of the front row of the audience was brilliant, and his Hitler performance was wonderfully camp.

Carmen Ghia is played by Jack Cooling and he managed to make me smile as soon as he sashayed his way on set to open the door to Max and Leo; the fun simply escalated from there with Carmen's facial expressions and the physicality of Carmen.

Franz Liebkind is played by James Daw. Brilliantly nutty, and I love the scene with the pigeons, who just seemed to have minds of their own! Brooks loves slapstick and the amount of slapstick in this musical is plentiful especially in the scene with Franz, Max and Leo and the song "Der Guten Tag Hop Clop" where timing was perfect.

Aaron Murray played the commanding role of the Stormtrooper, and like many of the others also popped up various guises throughout the show.

Liz Bristowe was Hold Me, Touch Me, one of Max's main show backers who likes to act out various "scenarios" with Max in payment for her "payment". Great fun.

The ensemble consist of Danielle Aley, Matt Barton-Ashcroft, James Bennett, Natasha Bryan, Janette De Voil, Philip De Voil, Becca Dobson, Jo Dring, Naomi Dring, Maisie Evans-Ramsey, Lewis Fenn Griffin, Clare Hazledine, Jarrod Makin, Rachel McLaughlin, Harriet North, Owen Patten, Dan Robinson, Nicola Scoggins, Jenny Stuttle, Martin Tailby, Alice Taylor and Holly Wilson.

Directed by Emma Adcock, every single one of this cast could not have been better cast in their character roles; it's obvious that Emma knows these actors well and what they are capable of, especially to bring out performances of the quality seen on stage at Loughborough Town Hall. Perfectly paced with the comedy well and truly centre stage.

Choreographed by Bronte Heller. There are some massive ensemble dance numbers in this show and the timing of the choreography, especially in the aforementioned numbers, only enhance the comedy within those scenes. The big dance numbers are of Hollywood style proportions and make you feel as if you're watching a touring production where this area of the production is concerned. Jenny Stuttle is Dance Captain and what a job she has done to help create these results.

The set is courtesy of Scenic Projects and looks fantastic. Those who made the set work as well as it did are Simon pack (Technical Manager), Duncan Gadsby (Stage Manager) and Dave Warren (Flying), all adding to the smooth look and operation of the scene changes. 

Musical Director is Vicki Hing, so straight away I knew from the moment that I opened the show programme that the sound was going to big and powerful; I was not wrong. As with the choreography the sound and close harmonies of the vocalists in the ensemble numbers reminded me of those big West end touring shows where the volume and clarity of the vocals hit you tsunami style. The sixteen strong orchestra sounded nothing short of amazing.

Sound is by Ryan Heath Audio. I really can't remember a time when the sound design and operation at Loughborough Town Hall was not short of brilliant, and this evening was no different. Crystal clear with cut glass clarity and at a perfect volume.

Lighting is by James Cladingboel and was perfectly operated.

The amount of props in this show is incalculable from the audience. Props Queen Sally Bruton.

The costumes are all incredible and included everything from the glamour of an Esther Williams Hollywood musical all the way down to the Village People outfits. Liz Bristowe and Leo's Theatrical Costumiers did ESNA proud.

The rest of the Production Crew consist of Hannah bailey, Lynn Bailey, Kirstie Bennett, Ed Dring, Adam Green, Josh Hill, Malcolm Nurcombe, Jo Pack, Cameron Sim, Richard York and Colin Wilson. Without this group, would the show be as smooth and successful?

The last time I saw a production of "The Producers" was six years ago. Oh how I've missed this fantastically funny show. Thank you ESNA.

"The Producers" is a sure fire hit and is on at Loughborough Town Hall until Saturday 11 October.

 "The Great Gatsby" by F Scott Fitzgerald.

Adapted by Elizabeth Newman.

Derby Theatre.

In West Egg, newcomer Nick Carraway encounters his enigmatic neighbour, Jay Gatsby, who hosts lavish parties in a bid to impress the elite. Gatsby, a self-made millionaire with a mysterious past, longs to reunite with his lost love, Daisy Buchanan, who just so happens to be married to Tom Buchanan, who is cheating on her with Myrtle.

As Nick and Gatsby grow closer, a poignant story of unfulfilled dreams and the relentless pursuit of happiness begins to unfold. Daisy, torn between Gatsby and her unfaithful husband Tom, is forced to make heart-wrenching choices that lead to a devastating conclusion after a boozy afternoon out with Tom, Gatsby, Carraway and Jordan.

David Rankine plays Nick Carraway, the easy going Narrator of the story and a writer. Carraway opens the show and we see him sitting in a bar trying to find a conclusion to the story that we then see unfolding on stage. Carraway concludes the narration in the final scene and confirms the ending to his story.

Celeste Collier plays Myrtle, desperately seeking a better life than the one she has. She feels imprisoned in her marriage to George so leads a secret life as Tom Buchanan's mistress. 

Tyler Collins is Tom Buchanan. Wonderfully imposing and arrogant and ready to step outside to fight for the love of his wife, Daisy, against Gatsby. He doesn't have to get physical with Gatsby though as he discovers something that resolves his solution. Buchanan is a bully who uses his fists on his wife, especially when she calls him to order after seeing him getting cosy with Myrtle at one of Gatsby's soirees.

Fiona Wood is Daisy Buchanan, the torn between two lovers Debutante flapper and Carraway's cousin. We see a lovely feeling of mixed emotions once she has been found out by husband Tom, but who will she choose? Well, she doesn't have to choose as something happens that takes that option out of her hands.

April Nerissa Hudson plays Jordan Baker, Carraway's gorgeous girlfriend. Here lies another sad ending for this relationship, but not as tragic as other relationships in this story.

Leah Jamieson plays Catherine, a minor character, she is the sister of Myrtle Wilson, Tom Buchanan's mistress. 

Oraine Johnson plays Jay Gatsby, a cool character but with shady business connections, obsessed with Daisy whom he had met when he was a young military officer stationed at the Army's Camp Taylor in Louisville during World War I. Gatsby may be cool but Oraine has some pretty cool moves himself in the choreography department.

Jerome Lincoln is Wolfsheim Jnr, which seems to be a new character in this adaptation as in the original book Wolfsheim was Gatsby's business associate who was involved in shady deals.

George Wilson owns a run down garage and is completely unaware of his wife Myrtle's infidelities. He is disliked by both his wife, Myrtle, and Tom Buchanan, who describes him as "so dumb he doesn't know he's alive". Wilson is played by Louis Newman.

The majority of the cast also provide the live jazz music and vocals overlooking the stage. They also play all the interim characters that revolve around this classic story, which involves a few quick costume changes, especially for Louis Newman.

Directed by Sarah Brigham with Associate Director being Laura Ryder. I last saw "The Great Gatsby" about nine years ago - I've also seen a ballet version of it - and this adaptation brings a real fresh and enjoyable feel to the story.

Musical Director is Shonagh Murray and while this isn't a musical, it's a play with plenty of brilliant 1920's style music in it, including some music not from the specific era, but played with a 1920's jazz twist.

The set and costume design is by Jen McGinley. Two sweeping staircases at either side of the main stage section provide elegance, as well as allowing the actors to make their way up to the area where the instruments are played. The back section of the set cleverly opens up to allow Gatsby's car to emerge, as well as giving depth for the Buchanan's home. And all designed in the best possible taste for the era. Needless to say the costumes are absolutely gorgeous, oozing with style.

Lighting Designer is Emma Jones and Ivan Stott's sound design all add to the atmosphere and creates style.

It has been a long time since I've read the book or seen the play version of this F Scott Fitzgerald classic, and this adaptation and design makes it feel like this was the first time that I'd seen this on stage. Even though I know the story, what happens, the characters and the ending, it still left me completely engrossed in the story all over again, especially with the added music and choreographed 1920's dances.

"The Great Gatsby" is at Derby Theatre until Saturday 25 October.