"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.

 "To Kill A Mockingbird" by Harper Lee.

A new stage adaptation by Aaron Sorkin.

Nottingham Playhouse.

I love the original book, the film starring Gregory Peck and I love this play, which still has relevance in today's society.

The book is a modern day literacy classic which was first published in 1960 but the content as relevant today as it was back in the segregation days of 1933 - 1935 when the story was set.

Thomas Jefferson had famously stated that all men were created equal but this story of injustice and the fight for what was right in the face of absurdity and humanity, proved his statement to be way off the mark. The story still has a hell of a lot of warmth and humour even though it deals with rape and racial inequality as the core storyline, but it is interesting to see how the minor storylines revolve around the main story.

Such was the power of the written word that British librarians once ranked the book ahead of the Bible as one "every adult should read before they die".

Southern lawyer, Atticus Finch is set to defend Tom Robinson, a black man who has been accused of raping a young white woman, Mayella Ewell. He wants to do what's right by Tom but the whole town of Maycomb, Alabama just knows that he ain't got a chance of getting Tom off due to the deep hatred of "niggers" of the town.

Older brother Jem and six year old Scout befriend a boy named Dill, who visits Maycomb to stay with his aunt each summer. The three children are terrified of, and fascinated by, their neighbour, the reclusive "Boo" Radley. The story is narrated through the eyes of Scout, Jem, and Dill rather than their widowed father, Atticus.

At the trial Tom is found guilty but that is not enough for Mayella's father, Bob, who gains his revenge when Tom is murdered while awaiting trial. Bob though is also mysteriously killed after breaking Jem's arm but who stabbed Bob? Did he really fall on his own knife as told by Sheriff Tate? Or did the mysterious and shadowy "Boo" have some involvement?

Richard Coyle, who has a theatrical and TV CV as long as your arm, returns to the role of Atticus Finch after playing the role in the West End back in 2022. Having played Atticus previously shows because of the comfortable feel around the character and the ease of the delivery plus the naturalness in the court room.

Anna Munden plays Scout Finch and Gabriel Scott plays Jem Finch; both fiercely supportive of their father and his decisions, but they're not afraid to slightly bend their father's rules when they want to.

Dylan Malyn plays Dill Harris, the young man who isn't as educated as the Finch children, and provides much of the comedy, and then near the end the coin is switched when we find out about his past; there's a lovely scene with just Dill and Atticus on Atticus's front porch. This show marks Dylan's professional stage debut, and a more confident debut you couldn't wish for. Brilliant character, wonderfully played.

Andrea Davy is Calpurnia, Atticus's maid and cook. A superb bubbling under scene with Atticus and Calpurnia comes to a head, also on the front porch, which explains the sudden passive/aggressive turn on Calpurnia's part towards Atticus. 

Judge Taylor, who appoints Atticus to represent Robinson, is played by Stephen Boxer. This character made me smile with his very fair way of controlling the court as well as both prosecution and defence.

Aaron Shosanya plays Tom Robinson, the accused. Very measured in the performance, which is obviously a reflection of the fear that Robinson feels in an all white court room. It's no spoiler to say that the weighted white jury deliver a "guilty" verdict, but when the verdict comes in, it stills chills you to your stomach due to the racist slant of it all.

Oscar Pearce is Bob Ewell, Mayella's father. Oscar really brings out everything evil about the character, there are no redeeming features about this character, especially with the scene when he and his kind turn up outside the courthouse with just one aim on their minds. Their costumes make it easy to see which klan they belong to!

Evie Hargreaves plays Mayella Ewell. My feelings for Mayella have always flip-flopped because she is a victim as well, directing her anger at Robinson and Atticus and protecting the real rapist and abuser. Evie delivers a brilliant physicality to the role, especially when she is in the dock to give her evidence.

Richard Dempsey plays Horace Gilmer, Robinson's prosecutor. Like almost everyone in the court scenes, Gilmer has already made up his mind that Robinson is guilty just because of his colour, and gets angry when he doesn't get the answers he wants from Robinson, or when Atticus gets close to swaying opinions.

Sarah Finigan is Mrs Dubose, a widow who lives two doors down from the Finches. She’s ancient and unspeakably mean, shouting abuse from her porch at everyone, even at Scout, Jem and Dill, but loves camellias. When Jem takes revenge on Mrs Dubose's evil tongue by smashing down the flowers, Atticus makes Jem apologise for his actions. 

Phillipa Flynn doubles up as Miss Stephanie, the town's gossip, and Dill's Mother who turns up at the end to take Dill away.

Mr Cunningham, who employs Atticus's legal services and pays in foodstuff and firewood. Atticus insists that although Cunninghams may be poor, they’re honorable. Later, he’s part of the mob that tries to antagonize Atticus for taking on Tom Robinson’s court case, but shamefully retreats after Scout asks him about Walter. 

Boo Radley is a recluse, and his life is shrouded in mystery. At the beginning of the novel, his unwillingness to come out of the house leads to wild rumors. Arthur "Boo" Radley finally comes out on Halloween and we get to find out just who he is and what he is like. Both Cunningham and Radley are played by Harry Atwell.

Colin R Campbell plays Heck Tate, the sheriff in Maycomb. Tate gives testimony in court that supports Atticus’s argument that Robinson is innocent of the charges against him. He later shows that he does believe in justice when he declares that Mr. Ewell fell on his knife, thereby protecting another from unwanted attention or legal trouble.

Simon Hepworth is Link Deas who speaks out for Tom's integrity during his trial and provides evidence that Robinson could not have been the attacker.

Ensemble pieces are played by Paul Albertson, Tom Brace-Jenkins, Cheryl Burniston, Charlotte Luxford, James Mitchell, Tiwal Muza, John J O'Hagan, Oyin Orija and Jonathan Rubin.

Directed by Bartlett Sher with Associate Director being Louisa Muller. Although this production lasts the best part of three hours, they create a piece of theatre that completely holds your attention for every second of this timeless play; and those hours melt away. There's more comedy in this adaptation than I remember from previous productions and that balances really well with the intensity and bias of the story.

The set design is by Miriam Buether, Ed Pierce being the Design Supervisor. This has to be up for an award for best set design somewhere as we seamlessly switch from court room to Finch's front porch. This design shows the full expanse of the Playhouse stage at its' best.

Ann Roth's costume design really take you back to the mid 1930's Alabama with the various costumes clearly showing the class divide between the characters.

Joel Trill is the voice and dialect coach. This is one area that I always take notice of, especially when the dialect is as specific as it is. Every single actor mastered this accent with no deviation giving credibility to the story and area.

The Lighting Designer is Jennifer Tipton and Scott Lehrer is the Sound Designer. 

Kimberley Grigsby is the Musical Supervisor and there's a lovely original score by Adam Guettel which I really appreciated during the scene changes.

This is a long play, coming in at just under three hours with interval, but the story is so captivating, made even more intense and enjoyable with the new stage adaptation by Aaron Sorkin, creating a fresh sheen on this classic American story.

I left the Playhouse feeling that I had witnessed something very special, and I had.

"To Kill A Mockingbird" is at the Nottingham Playhouse until Saturday 18 October.

 "Top Hat" - A Chichester Festival Theatre Production.

Nottingham Theatre Royal.

This is an absolute classic piece of musical theatre. It reminds me of Sunday afternoons on the settee with my parents as a kid.

Set in the same year as the film was made, 1935 and is the story of Jerry Travers, an American dancer, played in the film by Fred Astaire. Travers travels to London to star in a show produced by Horace Hardwick, Travers meets and attempts to impress the glamorous Dale Tremont to win her affection. Dale mistakes Jerry for her friend's husband, Horace, but after some comical interaction with Madge Hardwick, Jerry and dress designer Alberto Beddini, whom she agreed to marry, it all comes good in the end and she weds Jerry and they all live happily ever after.

Phillip Attmore, who reminds me of Gary Wilmott, if I squint, plays Jerry Travers. Phillip is more than a capable equivalent for Wilmott in all areas; dancing, acting, singing, charm and that big smile, and straight away he radiates that Hollywood leading man qualities, to which you immediately warm to. Additional tap choreography is also by Phillip.

Amara Okereke is Dale Tremont. Amara has that voice that dances on your ears and has that beautiful Hollywood glamour that takes you right back to those warm and comfy Sunday afternoons in front of BBC2 that make you feel safe. Beautiful to look at and gorgeous to listen to. Amara and Phillip recreate the glamorous choreography of Astaire and Rogers, with Amara performing some pretty impressive high kicks which highlighted those wonderful long legs of hers.

James Hume brings much of the comedy to the musical and plays Horace Hardwick. Love the confusion that surrounds Horace and the mistaken identity between Horace and Jerry. And yet another strong vocalist, although we had to wait for a while to hear his dulcets.

Sally Ann Triplett plays Madge Hardwick and brings even more glamour, and even more excellent vocals to this show. I did have to smile in one scene when Madge states that she could not hear the person on the other end of the telephone; I did notice that the receiver was not attached to the phone itself, so that may be why. Don't worry, normal service telephony wise will be resumed for the Wednesday performance. well, they do say that every performance is slightly different to any other performance you'll see of the same show!

There are some great comedy lines in the script and are woven throughout the show. There's a brilliant comedy performance from James Clyde, who plays Bates, Hardwick's man servant, who took on several different guises throughout the musical and also provides some wonderful sayings from his various family members.

Alex Gibson-Giorgio is Alberto Beddini, the dress designer and creator. Brilliantly over the top accent for this fiery Italian character, and a really comical performance by Alex.

Bethan Downing is the Assistant Dance Captain and George Lyons is Dance Captain.

The large and very hard working and talented ensemble consist of Lindsay Atherton, Rhiannon Bacchus, Jeremy Batt, Freddie Clements, Pedro Donoso, Autumn Draper, Tilly Ducker, Stuart Hickey, Laura Hills, Connor Hughes, David McIntosh, Jordan Oliver, Emily Ann Potter, Molly Rees Howe, Kirsty Sparks, Joe Press, George Lyons, Maddie Harper and Toyan Thomas-Browne.

Directed and choreographed by Kathleen Marshall along with Associate Director and Choreographer Carol Lee Meadows and Associate Director Cameron Wenn. Who could fault the quality and style of this choreography? Definitely not I. The energy put into all of those marvellous tap numbers, high kicks and smooth, flowing dances just leave you breathless and open mouthed. 

The set, as expected, is as glamorous as the costumes and the revolving central section made changing scenes an easy operation. Designed by Peter McKintosh.

Associate Musical Director is Luke Holman and conducted by Stephen Ridley, and right from that wonderful overture you're transported back in time to those glorious days of Hollywood. Irving Berlin’s classic score includes some of Hollywood’s greatest songs, the immortal "Cheek to Cheek", "Let’s Face the Music and Dance", "Top Hat White Tie and Tails" and "Puttin’ on the Ritz".

The costumes are second to none, and I don't really need to say how much I loved these; just look at the pictures, they say it all. The Costume Designers are Yvonne Milnes and Peter McKintosh. If only my wardrobe was a quarter as glamorous as this. They ooze style and sophistication.

Talking of which, the Hair, Wig and Make Up Designer Mark Marson (for Campbell Young Associates) adds even more glamour and sophistication to the production.

I'm always saying that we don't see enough classic musicals performed in and around the area, but when they do come along they are so worth it. It's magical in every sense of the word.

"Top Hat" the Musical is at the Nottingham theatre Royal until Saturday 11 October.

 "Revlon Girl" by Neil Anthony Docking.

Nottingham Lace Market Theatre.

Set eight months after the Aberfan Disaster of 1966, in which 144 people were killed (116 of them children), "The Revlon Girl" tells the real-life story of a group of bereaved mothers who met every week above a local hotel to talk, cry and even laugh without feeling guilty. At one of their previous meetings, the women looked at each other and admitted how much they felt they’d let themselves go. Afraid that people will think them frivolous, they’ve secretly arranged for a representative from Revlon to come and give them a talk on beauty tips.

The play takes place in a function room above the Aberfan Hotel. June 1967.

There's a lovely balance between comedy and the whole seriousness of the situation and the story, and to tell the truth, it was funnier than I had expected, given the subject matter of the play. That said, when the serious stuff hit, it really did hit home straight away, and quite made you feel guilty about laughing at the previous scene, especially with one particular scene involving Sian when she talks about her husband.

This tight knit cast have obviously worked so well together that this one act, no interval, piece of theatre is a powerful ensemble piece where no one character usurps the others for the spotlight; every character has a personal story to relate about how the disaster affects them, and they get their time to spill.

Charlotte Carter plays Sian who tries to keep the peace and is desperate for another child. Her husband will not even entertain this suggestion due to his embarrassment after Sian caught him crying over the loss of their son. She is counting on the Revlon representative to help her make herself attractive to her husband again.

Marilyn, traumatised and struggling with the reality that her children were taken in the disaster, carries her daughters' drawing around with her in her handbag, hoping and waiting for them to come home from school. She has not visited the graves as this would drive home the reality that they were gone. Marilyn is played by Natalie Webster

Rona is played by Mollie Kneeshaw. Rona swears a lot, is blunt and tells it as she sees it, expressing the frustration felt by many of the bereaved mothers who believe they lost their children because of  the deception and lies of the coal board who had been warned about the dangers. What makes her even more upset is the pitiful compensation given to the bereaved families. Rona is a wonderful character because she is so honest, and you know that the pain is still so raw.

Lucie Conroy plays Jean, the wife of a Vicar. Jean was pregnant and copes with the disaster by believing that God had a reason for taking the children. She lost her son in the tragedy but also has a daughter who was fortunately at home, sick on the day of the disaster, and resents her daughter for being the one still living, and for not being more grateful that she is still there when her son was taken.

Charlotte, the Revlon Girl, is played by Chloe Davie. Charlotte feels uneasy about being there, and had originally volunteered because she thought she could make a difference to the lives of the mothers The women are still traumatised and they often take their frustrations out on Charlotte, who finds herself revealing her real reason for volunteering. 

After some frank exchanges they all came to the conclusion that looking after yourself and putting on your makeup can be an important part of recovery and can make you feel better and easier to face the world.

The voice you hear off stage is for the character Jackie, who is heard but never seen and is played by Linda Hoyland.

Directed by Sharon Philips. With the play being performed in the upstairs studio theatre, the intimacy brings out everything that the writer wants to say, and everything that the Director wanted to show about these women. Sometimes, on the bigger stage, emotions can be diluted due to the distance from stage to auditorium, but every raw nerve, fear and emotion are just feet away from your eyes. As far as I can remember, Sharon is a new name to me, so I know nothing of her skills in the theatre, but as a first view of her directorial talents, this is incredibly good, and creates a "fly on the wall" feel.

Lighting Design is by Esther Warren. There is no need to create a flashy light design for a situation like this, so the design reflects the basicness of the story and the stark lighting reflects the starkness of the story. I loved the timing of the lightning at a certain point in the story which added another laugh and broke the seriousness and the speech for that piece of the play. Effects for just when an effect makes the biggest impact is what I love to see, and Esther's design is spot on for this piece of theatre.

The special effects are thanks to Guy Evans and Linda Hoyland.

Sound Design and music is by Matthew Allcock. One of my favourite things to do is to get in the theatre early to take in the atmosphere and the music, and the music is what creates part of the atmosphere for this play as the music is all traditional Welsh music, and I love that the songs and artists used for the music backdrop are all listed in the programme. Even though I'm not Welsh, you get a real feeling of pride listening to the stirring selection of music.

Sound does play a large part in this play, right from the start and the sound bites and effects open the story with the sounds of the children happily playing followed by the horrific sound of the collapse of the colliery spoil tip which enveloped the school and killed 116 children and 28 adults. This sound effect is played out in complete darkness.

Stage Managed by Linda Hoyland, assisted by Fiona Bumman. There are a couple of scenes that require an off stage reaction and the management of these scenes just add more to the drama that you see on stage. 

Props have been sourced and managed by Linda Hoyland and Sharon Philips. Basic props are required but every prop used is perfect for the situation and set.

Costumes are courtesy of Sharon Philips and there's a lovely comparison between Revlon and the women of the village in the costumes they are dressed in.

Obviously with the story being set in Wales, accents are most important, and I love accents, especially the Welsh accent - it's such a sing-song style. Angela Hogarth has been drafted in as the accent coach to make sure that the accent is accurate and that all of the actors have the same regional dialect.

The show runs until Saturday 11 October but I heard tonight that the whole week is sold out, and after seeing this play, I can see why the tickets have sold so well. You may need to check for any returns if you planning on popping down.

Photography is by Kathryn Edwards.