"Swan Lake" Matthew Bourne's New Adventures - The Next Generation.

Nottingham Theatre Royal.

Sir Matthew Bourne's "Swan Lake" was the first proper ballet that I attended back in 2014 when it came to the Nottingham Theatre Royal; since then I have fallen head over heels in love with this art form, and no one does it better than Matthew Bourne's New Adventures. This year celebrates the 30^th Anniversary.

The dance and performance is continually updated, and to say that this only started off as a short term project back in 1995, it's still going stronger than ever today, and with those updates to the performances, each time you watch this ballet, it's just a little different every time. In a way it's the dance equivalent of Shakespeare; every performance you will see something different to the one that you had seen previously.

The Prince (James Lovell) and The Swan/The Stranger (Harrison Dowzell) are just equally hypnotic as they are amazing. The Swan is a beautiful, serene creature but with a very nasty, violent, protective streak. 

The Prince seems to be experiencing bad dreams but his mother, The Queen, doesn't seem to be too bothered. The Prince also seems a little confused because we picture him with a mother fixation, almost bordering on possible incest, until he meets "The Girlfriend". 

The Queen, which is an amazing role for a mature ballerina, was played with such joy by the gorgeous Nicole Kabera, and the Girlfriend by Bryony Wood, which is a great comedy vehicle for any actor. The scene where she is in the Royal Box at the Opera House, is hilarious!

The Queen is against this relationship and so, after The Prince feels he has lost the love of his life at "The Swank" nightclub, he decides to top himself in the lake, which just happens to have many swans swimming on it!

They swans come alive but the leader takes a bit of a liking to The Prince....or is this all in the imagination, or dream of the Prince's. Make your own mind up, but it seems that a feathery bromance is on the cards. The ending gives the answer, leaving no doubt about the doomed romance.

Anyway, the tables are turned when The Queen is attracted to a younger man at a ball, but in the middle of the ball, in comes a very handsome young man and impresses the Queen. Needless to say, The Prince is not as impressed, especially when he realises who this stranger really is!

The Stranger (guess who) keeps teasing The Prince with his lascivious glances while leading The Queen, and every other female at the ball, on with his dance moves. The section where The Stranger and The Prince dance is heady and intoxicating to watch, and you just can't take your eyes off the stage and the two amazing dancers.

The Prince's jealousy gets the better of him, as the Stranger flits and flirts with the Queen and several of the other guests at the ball, and The Prince decides to take things into his own hands with tragic results which leads the Queen to also take drastic action. This action in turn leads to an amazing finale.... which I am not going to tell you but is pretty explosive and involves a King Size bed and many swans. Could it be due to the feather pillows on the royal bed?

The Queen's Private Secretary, who has a bit of a nasty streak about him - he actually received a few "boos" from the audience, spotting that nasty side of the character, is played with great affect by Benjamin Barlow-Bazeley.

Ballet is no longer for "snobs" and Sir Matthew Bourne makes sure of that with his wonderful comic touches. What he also ensures is that ballet is sexy and very watchable.

The dancers are athletes. You only have to look at their bodies to see that. What you will also see is that the dancers are not all small and wiry. There are different body shapes, come on let's face it you have to admire the work that goes into creating all of those abs. Their stamina is endless.

Sir Matthew always uses the best dancers, the best costumes, the best scenery and that is why if you're going to see ballet, you need to see the best, and that is, in my opinion, Sir Matthew Bourne.

The costumes, in particular for the Tree Trolls, were out of this world, as was their make up.

An amazing set by set and costume designer, Lez Brotherstone OBE, made the show a wonderful feast for the eyes. The "Swank" club has a sleazy feel to it with its' red hues, the small hatch in the entrance door to let just the right patrons in, complete with a burlesque dancer which must have been hired on the cheap. The royal ball is the complete opposite with two marvellous giant illuminated flame torches.

Wonderful make up and costumes complete the spectacular visuals.

An incredible group of dancers who will keep you transfixed to that stage. They are also incredible story tellers without saying a word. This art form is wonderfully relaxing to watch but is as exciting as any thriller around.

If you enjoy seeing a whole host of half naked, sweaty men with fantastic physiques, and some very sexy ladies, go and see this production. If you also appreciate the art of dance and love a beautiful story told impeccably, you also need to see this incredible gender-fluid production.

I thought their previous versions of "Swan Lake" were amazing, and I can credit them for creating a ballet fan out of me, but this version is just as wonderful and just as an emotional ending as their previous ones.

If you've never thought of going to see a ballet, please let this be your initiation because if it can bring out the emotional side of this big hairy bloke, then I'm sure it will do the same to you. Be prepared to laugh as well as become emotionally involved with the whole show, but especially the finale.

A wonderful re-imagining of the Swan Lake story and the magical and dramatic music of Peter Ilyitch Tchaikovsky. At times as delicate as a sheet of gold leaf, at other times brash and bouncy.

"Swan Lake" is at the Nottingham Theatre Royal until Saturday 22 February.

 "Alys Always" by Harriet Lane, adapted by Lucinda Coxon.

Nottingham Lace Market Theatre.

Frances Thorpe works on the literary pages of a Sunday newspaper. She's quiet and capable and nobody really takes much notice of her, but is in need of most of the office staff as a dogsbody: the sort of person who is always on the outside, looking in.

One evening, driving back to London, she comes across an overturned car on the side of the road; a car that had only just pulled out in front of her on the icy road. She waits with the injured driver, Alys Kyte, until the ambulance arrives. Later, when Alys's family, who are quite well known in literary circles, gets in touch, Frances finds herself ushered for the first time into the world on the other side of the window. And she begins to wonder: what will it take to belong on this side of the fence?

Charlotte Hukin  plays PC Tina Nagra, a Guest at Alys' memorial, as well as a Waitress. I know that Charlotte has an ear for accents, and while two of these roles are silent, it was nice to hear another accent in Charlotte's accent armoury for the Police Officer who attended the accident, and also followed up on the incident.

Melanie Hamilton plays Alys Kyte - well we hear Alys voice as she lies dying in the car wreck - and also Chalotte Black on stage. Charlotte is a close family friend of the Kyte’s and Laurence’s agent. One of those warm and caring characters.

Jane Pyke is Mrs Thorpe, Frances's mother, who pops up on a couple of occasions when Frances visits the family home. Jane portrays the conventional "mother" character well, making us believe that this character is in her sixties with gentle physicality and image.

Bernard Whelan plays Mr Thorpe, Frances's father and a good match for the mother figure. Mr Thorpe is a kindly and conservative character.

Clare Moss takes the  main role as Frances Thorpe. This is such a wonderful character because there's such an arc in Frances's character throughout the play. Frances also becomes the narrator. You can tell by watching the way that Clare addresses the audience with her looks and the way that certain parts of the script are delivered what Frances's intentions are when she sees chinks in the Kyte armour, or is that amour? You feel Frances's strength in character grow as she sees greener grass, and knows how to get to that grass. Her social climbing also means getting respect from her boss, which also means that her career is on an upturn!

Emma Rayner plays Audrey Cullum, one of those brash journalists, which goes to show what a talented actor Emma is as the role is in complete contrast to how Emma is away from the stage!

Michelle Smith plays Mary Pym. and what a brilliant character this is. Pym is the Book Editor on the paper and is also Frances's boss. She gives all of those jobs that no one else wants to do, like feeding parking meters, going on drinks runs, arranging for things to be dispatched here, there and everywhere. You know the sort; loud, forthright, formidable and completely caustic. Michelle is wonderful in this role, and then comes that turning point when she realises that her office dogsbody may have connections that could bump Pym up the newspaper's professional ladder. But karma is something else isn't it?

Charlie Harris plays Oliver Culpepper, the Deputy Books Editor and another wonderful character who works on the newspaper. Culpepper is that character that can be found in most offices; the one that you can't stand. Loud, extrovert, lazy, displays an oily charm and I expect is a dream character role to play. A new face to me (I think) and a very welcome addition to local stages if this standard of character role playing is what we can expect from Charlie.

Wagner Rulli is Sid, another office work colleague who seems to have a bit of a thing for Frances; an attraction that is not reciprocated by Frances. Yet another new face - this production has plenty of newbies on show - who I hope will be seen in other productions by the Lace Market, and maybe other local groups.

Evangelia Angelinou, like Charlotte has three roles to play in "Alys Always", a Receptionist, a Guest and a Waitress.

Millie Rushworth, who is another new face at the Lace Market theatre, plays Polly Kyte, Alys and Laurence's daughter. What a role to play, and I very much doubt that this is Millie's first rodeo on stage. Polly is a drama student, insecure, fragile, shallow and likes a drink. She attaches herself to Frances and becomes the main inroad for Frances to utilise her entry into this renowned family. There's a lot of anger attached to this character which Millie has no issues with projecting that insecure anger.

Ollie Ennis plays Teddy Kyte, brother to Polly who also seems to have anger issues, especially with Frances being around so much. He's really suspicious of the reason for Frances being around and, after doing some digging around, finds out that Frances may have an ulterior motive for her inclusion into the Kyte family circle. Ollie does menacing really well and you can envisage leading man roles somewhere in the future, especially if there's an element of sly, bad guy character up for grabs.

Gurmej Virk is Laurence Kyte, famous novelist who has now lost his wife in the car accident. he is rich and owns several properties, but from the first scene we discover that, from Alys' comments about Christmas, things at home were not so rosy. Why could that be? Gurmej is one of the recognisable faces in this cast, having seen him last year in the wonderful "Once On This Bridge", so straight away I knew the quality of his character acting, which did not disappoint. At first sight, Laurence puts on a good show of his grief, but there's a scene in this play where you suddenly have doubts on Kyte's character!

Director Helen Sharp has another success on her hands with this production and cast. What I really enjoyed was that, via Millie and Ollie, they had the space and time to show the way that being the children of a well known figure, Polly and Teddy became instantly flawed. Little hints like the items that Frances found in Teddy's bedroom, while she was having a noisy round, and the clinginess and addiction to alcohol for Polly gave us incites on the Kyte kids. The pace was well observed as well to give the audience time to take in all the characters' foibles. There are two sections of intimacy that are not physically seen on stage but are intimated at, and you get those scenes without anything being spelt out to you.

Set Designer Guy Evans has created a very stylish set with eighteen (or there may have been sixteen) large sets of silver blinds which creates reflective flats of light but also brings a stylish cleanliness to the set. Props, in the way of chairs that can be simply covered by blankets, automatically become settees and then back to office chairs.

Lighting Designer Allan Green uses the reflective silver blinds to create colour on stage, bringing warmth to the stage and set, and when not using the silver blinds, you get that feeling of sterility of the office environment. Clever use of blue and red lighting for the arrival of the ambulance, plus various scenes when the set needs to be flooded with colour.

Sound Designer Simon Carter gives a masterclass in effects and soundbites. Everything from ambulance sirens, recorded announcements, the voice of Alys from the car, which needed specific timing to respond to Frances's call and respond scene, the Christmas party scene and several other scenes that require effects and sound. And the use of music from Teddy Swims brings the play right up to date.

Projection Designer Matthew Allcock also uses the blinds to screen the scene settings, which move the various scenes from one section of the play to the next. Images of flower gardens, bookcases, rain-soaked windows all place you at the required area of the story in a stylish and modern method of transporting an audience without ever leaving your seat.

I had never heard of this play before but what a stylish, and at times quite unsettling piece of theatre. It's also a warning to appreciate the people that you work with, because you never know what the future may hold. You may be sat next to a self-assured and cunning sociopath and not realise until it's too late!

"Alys Always" is at the Nottingham Lace Market theatre until Saturday 22 February.

 "9 To 5 The Musical" by Musicality - The Musical Theatre Society.

Nottingham Arts Theatre.

Based on the 1980 movie of the same name, with music and lyrics by Dolly Parton and the book by Patricia Resnick. It’s set in the late 1970’s and is a story of friendship and revenge and even a little romance thrown into the mix.

Three female office co-workers, Violet, Judy and Doralee concoct a plan to get even with their sexist, egotistical, hypocritical, lying bigot of a boss, Franklin Hart. While the boss is “busy”, the trio give their workplace a makeover and take control of the company that had always held them back.

Doralee Rhodes, the sexy Southern belle becomes the subject of many of the office rumours based purely on what Hart has said, is played by Liv Reid. I was well impressed with her Southern accent and is a great fun part. I loved her song "Backwoods Barbie", showing that the fun, blonde character also has a human side.

Violet Newstaed, the office manager who, while Hart is in charge will never be CEO. Played by Grace Fletcher Sorsby, and a really powerful performance. Grace has vocals to match the performance. One of the highlights, among so many in this production, is the big dance number that opens the second act where she shows that she is one of the boys, and what fabulous choreography. There's a lot of trust put into some of the men in this number; it also shows that a lot of practice has gone into this number alone, but boy was it worth it!

Judy Bernly is the newly divorced lady who is an office worker for the first time is played by Jenna Hancock. I'd almost forgotten just what a wonderful voice she has, and when she sung "Get Out And Stay Out", she showed off that emotional and power packed set of vocal chords she has. I might even go as far to say that Jenna's performance of this song is the best that I've heard on stage. A lovely comedy performance as well which also showed the character getting stronger and more self empowered all the way to the final.

Perfectly cast trio, highlighting their comedy, vocal, choreography and performance talents.

Isabel Holt 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".

Playing the sexist, egotistical, hypocritical, lying bigot of a boss, Hart is a brave man indeed, Dave Hass. 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 Dave that is. A wonderful 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. This will be David's final show with Musicality, but with a voice and talent for treading the boards, I hope that he quickly joins one of the local theatre groups, as they all are crying out for male actors with a talent like David has.

The other main male role is Joe, who has a bit of a crush on the older Violet. Played by Thomas Telford who also gets to show off, not only his fine singing voice in the duet with Grace of "Let Love Grow", Thomas also gets to showcase his dance moves in "One Of the Boys", one of the big and glittery dance numbers in this show. Their duet is a smooth blend of voices that shows some lovely harmonies. But is he Violet's knight in a blue suit and is it check-mate between the younger Office Exec and the Senior Office Manager? This is also Thomas' Musicality debut.

Drew Boswell is Dick Bernly, Judy's ex-husband who has taken up with bimbo Mindi - with an "I". It's when Dick follows her to Hart's apartment and discovers what he thinks is going on between Judy and Hart, that Judy delivers that big number "Get Out And Stay Out". I have seen Drew in several musicals over the years and know what a performer he is, and in this show, you also get to realise what very able dancer he is, even going into the splits at one stage. The years of watching Drew on local stages stands him in very good stead for this, his Musicality debut.

Adam Hazell is Josh Newstead, Violet's teenage son who wants her to start having fun again, and provides one way to make her relax! Adam makes his Musicality debut as Josh.

Benjamin George Canning plays Dwayne, Doralee's husband. A brilliant fun role which shows Ben's musical and comedy talents off well.

Will Cartlidge plays Tinsworthy, the Chairman of The Board at Consolidation who appears at the end to promote Hart, as well as finding out much more than he had expected. Will gives a brilliantly character-filled performance full of tongue in cheek appeal.

Hugh Cowles plays Bob Enright, who leap frogs Violet into promotion and is one of Hart's "golden boys".

Emily Hornsey makes her Musicality debut playing Maria, one of the young and fun secretaries at Consolidated.

Eliana Dickinson plays Margaret, the office lush, and the more you see her, the more tipsy she becomes. 

Sarah Prayle plays Kathy, the office gossip and secretary at Consolidated.

Scarlett Sheppy, in her first Musicality production, plays Dolly, the narrator of the piece. Some theatre groups hire in the video backdrop of the real Dolly Parton narrating, but that costs money, but Scarlett does a great job of playing Narrator Dolly.

Leah Hosten-Silva is Missy, Hart's wife who is completely unaware - maybe naive is a better word - of his office shenanigans. Another confident debut for Musicality.

The featured dancers and ensemble consist of Piper McElwee, Olivia Clark, Rosanna Beacock, Ella Gray, Imogen Thompson, Melanie Yates, Emilie Copping, Izzy Seager, 

Making his directing debut for Musicality is Rory Long, and he does a cracking job because this is a very pacy show, and he keeps the pace flowing really well. All of the stage scene and prop changes are also done smoothly and swiftly. It's very clear that his cast have taken all his direction to heart and have carried out his wishes to the "T". A really impressive directorial debut.

Choreographed by Annabella Woodruff. There's a lot of choreography in this show, and a lot of technical choreography with several styles and working with props - a note in the programme lends me to think that the chairography may have caused a few headaches - but if they did, this was in no way apparent on the night. 

The "fantasy" scenes with Judy, Doralee and Violet is a real choreographical highlight, as is the opening of Act two, plus the big ensemble numbers. As I said, this show is packed with some big dance routines, all highlighting the talents of a talented choreographer.

Musical Director is Sam Ashcroft, who conducts the twelve piece band. Assistant Musical Director is Abi Wilson, who is also on the drums. The sound of this band is tight and crisp and easily encompasses the various musical genres. 

What I'll also highlight is the gorgeous harmony work. At times, and especially when the three leading ladies sing, it almost sounds like the piece is multi tracked it's that good. Every person on that stage shows high competence in vocal ability and are one of the tightest vocal casts that I've heard. That, in no small way, is thanks to Sam and Abi for getting the absolute best out of the cast.

Sound design and operation and lighting design and operation is by the College Street Technical crew Evie Webster, Oliver Read, Rob Ketteridge and George Wilson.

Great costumes, hair and make up are the cherries on the top of this perfectly pink production, and are the responsibility of Tara Wynne-Edwards and Kirstin Hyland.

Nifty stage management by William Cox and Riley Halls- Backler and Stage Hands Hattie Miles and Rory Long.

Producer is Josie Fowler, who is also Deputy Stage Manager, and Assistant Producer is Lucy Maynard.       

Okay, so it's not the strongest of story lines for a musical, but who cares? Sometimes you need a bit of fluff with your cheese and this does the job perfectly. It's great fun and the songs are catchy, especially the title track, "9 To 5" and "Shine Like The Sun". And when the cast are having fun on stage, the audience can't help not to.

"9 To 5 The Musical" is at Nottingham Arts Theatre until Saturday 15 February. Don't be a Backward Barbie, make sure you grab yourself tickets for this fun filled show, because the cast and crew are here for you, ready to entertain.