"Andy Quinn - Broadway Swings"
Derby Theatre

When you have the confidence to open a show with "The Greatest Show", you know that the star of that show oozes the confidence to deliver The Greatest Show or they will fail miserably. I knew from that start that it would be the former result.

Kicking off with the Chesterfield Studios Academy of Performing Arts with Andy gave a big impact and set the tone for the rest of the show. Straight away I'm sure that I recognised some familiar faces in the Academy.

Part one of the show provided us with some brilliant Big Band classics with that Buble feel as well as introducing us to his guests Hilary Leam and Helen Perry, who stood in at the last minute for a poorly Sara Evans-Bolger, as well as four young dancers, Grace Quinn, Gabriella Bonsor, Mila Quinn and Evie Than. These four looked like mini Strictly professionals and were an absolute delight to watch and their technical dance skills were incredibly polished.

Hilary has a wonderful blues and jazzy feel as showcased in "Summertime" from Porgy & Bess as well as a brilliant fun duet with Andy in "I Wanna Be Like You" from The Jungle Book.

Helen treated us to a sublime version of Norah Jones' "Come Away With Me" and in Act Two, a really emotional rendition of "On My Own" from Les Miserables plus a gorgeous duet with Andy on Cyndi Lauper's "True Colours".

The orchestra was one of the best that i have heard. Musical Director, Jonathan Francis not only arranged, conducted and played piano for Andy but also provided some lovely lighter comedy moments.

Chesterfield Studios Academy of Performing Arts returned throughout the evening and gave wonderfully showcased performances of "Electricity" from Billy Elliott and "Matilda". I absolutely love the passion that they all showed. they all looked excited to be performing and that is what I love to see.

Act One closed with Andy singing Billy Joel's "Piano Man" with Jonathan playing piano and harmonica. This left us wanting more but we had to wait 20 minutes for Act Two.

Act Two was the musicals section and I was in my element as Andy's choices were spot on. A collection of new and old musical numbers including lesser known songs from the soundtracks of "Godspell", "Company", "Dear Evan Hanson", "Ragtime" and storming ballads from "Les Miserables", "Jekyll & Hyde", "Miss Saigon", "Evita", "Chess" and Hilary returned to belt out the sexy "When You're Good To Mama" from Chicago.

The evening concluded with a rousing version of "You Raise Me Up" with everyone on stage.

I've known Andy for only a couple of years but know that his easy going nature and natural comedy worked in his favour with the chat on stage. His love for these songs and musical theatre is evident, and so is his passion that he delivers through these songs. He sells the songs and lives the story and emotions of the characters he takes on when singing, knowing how to perform, and not just sing these songs.

I've always been a fan of Andy's voice and recordings, but hearing and seeing him live has added an extra sheen to him and makes his performances more of an experience than just a show.

His CD is entitled "Unexpected Star". For me "unexpected" is not a phrase I would now use but "star" is one label I would truly plant on this man.

“Inhabitation” by Nat Henderson
Nottingham New Theatre

Another new piece of writing from my favourite student run theatre group (the only totally student run theatre group) and Nat Henderson has based a lot of the story on her own experiences with friendships, the creation and waning of them.

This is one of the craziest plays that I have seen in a long time. It's a play within a play and as soon as you walk into the performing space, this is apparent with "producers", "directors", "back stage crew" and extras all over the place and then it settles down to the main story about two women. Morgan and Evelyn, their friendship, at times strained, but one that grew to be quite close.

The play flips to the present day and back with the present Morgan visiting the property and recalling her memories in flashback.

Just as you really become enveloped in this quite touching story, we are brought back down to earth and back to the "play" within the play that we are watching, and while there are comic moments within the inner play, it was, for me the cast performing the play of the play that really made me smile.

Ellen Schaffert (Younger Morgan) and Nadia Elalfi (Older Morgan) have really studied either each other or the characters they are playing because, when you look at these two closely, there are a lot of traits and mannerisms they both share, which as they are the elder and younger same character, you'd expect that.

Yasmine Dankwah (Evelyn) was brilliant as the neighbour who becomes Morgan's friend. loved the light and shade of the character.

Abie Whitehead (Alex) is Evelyn's partner, Cameron Brett (Tony), a wonderfully down played, matter of fact, and brutally open character which at times slightly shocks with what he says, especially with elder Morgan being a stranger to him in the play. Tobi Bambi ( great name for an actor by the way) found his feet as the Stage Manager in the play, but it was Jack Lahiffwho stole the scenes for me as the just slightly effeminate Director of the inner play. Where do they get their character images from?

Along with these there were several other actors as the extras .

Written and Co-Directed by someone who is either a complete looney or a comedy genius in the making, Nat Henderson has created a bit of a modern gem, and while there were times when I was wishing that the pace could speed up a tad, when it did, it was well worth the wait. There are some lovely characters Nat has written and I love that she has lovingly lambasted the archetypal theatrical character roles, who at times forget to laugh at themselves. Co Directed by Essie Butterworth and Produced by Sophy Baxter.

Loved the set - designed by Joe Strickland - and I'm not sure if the grass was the real thing but it looked and smelled like it, which gave a real feeling of being outside sitting outside someone's back garden.. Washing lines and fencing complete the picture.

Also loved the lighting which was cleverly designed to make the time lapse look like one of those speeded up nature films - you know the ones where the clouds speed by or a flower bud opens - well that's what it felt like to me. Designed by Tara Prasad.

The sound also needs mentioning as it really made you feel that there was a party going on behind that door. Sound Designer was Zoe Smith.

There are many things to make you think about with this story but after giving you that thinking space, delivers some fine comic moments. And I sat there at the end wanting to see the next day's filming schedule, which also meant that there was a novel way to close the play, and until I checked the time, realised that it really was the end of the play.

Clever, very novel and really entertaining piece of new theatre, delivered by a talented cast. Everything I've grown to expect from the NNT.

“Inhabitation” is at the Nottingham New Theatre until Saturday 16 March.

“Here, the World Entire” by Anwen Kya Hayward
Nottingham New Theatre.

Adapted by Sam Osborne, “Here, The World Entire” is a retelling of the Perseus myth, the part where he's tasked with retrieving Medusa's head. It's told from Medusa's perspective.

Medusa had a life before she became the snake-headed woman of legend, so ugly she turned men to stone. At least, in many versions of the myth, she does. The God, Poseidon, had taken an interest in her and she was betrayed by her Goddess because of this and cursed with turning people who lay eyes on her to stone.

Medusa self-exiled herself because she can't stand turning people to stone. She warns people away, begs them not to look at her, and is heartbroken when they succumb to her curse. Medusa is no monster, bent on revenge against all men for what one God did to her. She's a human, cursed by the Goddess who was supposed to protect her.

Perseus arrives and despite her trying to make him leave, he stays, and throughout these days that he is with Medusa, he discovers what had led up to her exile.

Medusa then has to make a choice as to whether she stays safe in her cave or leave to help Perseus. One question though; why is Perseus so adamant to stay, and what does he really want?

The story is brilliant and I really want to read the book now that I have seen the play.

Sam and the cast and crew put this together in just two weeks, and I feel that with just another week, this play would have had even more of an effect than it did.

The script is lengthy and Laura Wolczyk who played Medusa had the majority of the lines, Even a professional actor, I feel may have had problems remembering the swathes of script she had to recall in the two weeks given.

I could see in her eyes that she may have felt a bit disappointed, maybe angry even, but she has no need to reproach herself because those inner feelings may just have worked in her favour with the character and made her performance an emotional one.

Rohan Rakhit played Persues. To create that feeling of him being outside the cave, he was in silhouette behind one of the canvas sails. This meant that his acting was through his vocal talents alone, which is not as easy as it sounds.

This also meant that you were putting yourself in Medusa's shoes because we were hearing what Medusa heard, not seeing Perseus meant you took what was said by him at face value. Nothing else was given away by Rohan.

I totally get why Sam set this play outside because Medusa's home is in a cave. Caves are cold places where the wind whistles through. Setting this externally made you experience what Medusa was going through, and also with Perseus' determination to hang around for Medusa, you could feel that he was there for something, and he was not going to leave without what he came for.

This is Sam's Directorial debut, and Skylar Hurd's debut as a producer, and they did a really good job. The play was not rushed and the story rolled out in such a way that you were learning everything from Medusa's view point, so different from Perseus' image and the historical accounts.

Lighting for this external performance was designed by Nathan Penney.

This play is really worth a viewing and these actors tell the story well. Just make sure that you wrap up really well; it's cold in that there cave on Djanogly Boulevard!

“Here, the World Entire” is on at the Nottingham New Theatre until Tuesday 12 March 2019

“Aida” by Erewash Musical Society
Duchess Theatre, Long Eaton.

Written by Elton John and Time Rice, this is not the opera, as you’ve already guessed!

I applaud the fact that Erewash have gone for a musical that is not performed often, well I’ve never seen it advertised or performed around the area before, and that it is a modern piece of theatre. Local theatre sometimes play it safe, because they have to in order to get bums on seats which pays for the theatre group to survive, so it’s nice to see a production that is new to the local stage, not only to me but I’m sure to a lot of local theatre fans.

In the Egyptian Wing of a major museum, we find a group of contemporary museum-goers admiring artefacts of a time long ago. The crowd is gathered around the most mysterious of the objects; an ancient burial chamber.

Soon, two of visitors, a handsome man and woman, begin to move toward the burial chamber as if they know of its secrets or as if they have seen it somewhere before. The man is Radames; the woman Aida. Their eyes meet as the powerful voice of Amneris explains that “Every Story is a Love Story” leaving the stage empty, with the exception of the two lovers, allowing their ancient Egyptian love triangle to unfold.

Directed by Mark Perry, this really was a labour of love which showed in the way that he has managed to make every actor bring out the passion of their character.

James Bowden was the MD for this production and not only did I love the sound his band created, I also loved the intricate harmonies delivered by the cast. I’ve had the original soundtrack for years and hearing the songs I had only heard on CD come to life on stage refreshed my appeal for the songs.

The songs are written by Elton John and Tim Rice, and you can hear echoes of both artists in separate songs, with several harmonies reminiscent of "Jesus Christ Superstar", and that is in no way a negative for me.

Carol Lawson choreographed the musical, which showed off the various genres of music and showcased not only Carol's skills but also of those the wonderful ensemble, who had clearly paid very close attention to Carol's instructions.

Tracey Renshaw (Aida) is an actor I can't recall seeing before, I may be wrong, but I would not have forgotten that amazing voice. So controlled and sweet and sung with such passion.

Zak Charlesworth (Radames) – Richard Dawson also played the role on alternate performances – but it was Zak that I saw this Saturday evening performance. I've known Zak for many years now and know what he is capable of, but of late he has managed to impress me every time I've seen him. he did it again here as he performed, like Tracey, with such passion and nice to see his range of emotions within his role. His voice is faultless.

Kathi Ludlow (Amneris) has such a sweet, delicate voice which portrays every emotion the Princess feels. She makes you really feel for her character's betrayal.

Tom Phipps (Mereb) is another actor who I can't remember seeing before but here is a man who has a great deal of talent acting wise as well as singing. he has one of those voices that is really easy to listen to and full of emotion. A great voice for musical theatre.

Martin Briggs (Zoser) is so good at this baddie role and has a really good rock vocal style.

Sue Hagan (Nehebka), Martin Lewis (Pharoah) and Nick Buckthorpe (King Amonasro) also deserve merit for their passionate performances as well as all three delivering emotive speeches.

The ensemble was made up of Natalie Austen, Barbara Bostock, Gill Cooke, Jonny Cox, Anna Fitzpatrick, Clare Kay, Andrea Kemish, Maria Lawrence, Karen Robbins, Ellie Simmonds, Laurie Trott, Louisa Ward and Anna Hope.

There is an increased use of projected scenery and while sometimes this doesn’t quite work, here I think it fitted in really well with moving the action on and from location to location. Strangely enough I didn't pay too much attention to the projections as I was so taken with the actors.

The wardrobe team created a bright and colourful set of costumes which was in keeping with the set eras.

Lighting and Sound design by Dave Dallard, Harvey Tavener, Dave Martinand Matthew Cook. An excellent job throughout by this team; which is something I have come to expect and is always delivered.

Having never seen this musical performed before I can say that I was very impressed with the story and the way that this talented cast presented and performed the piece with some wonderful harmony work, especially in the intricate "A Step Too Far".

OK, now here comes my only niggle. having dancers behind Radames and Aida's big duet "Written In The Stars". This is a big number, packed with emotion and I felt that the three dancers didn't need to be there because the concentration should have been focused totally on the two doomed sweethearts.

That said I absolutely loved this show. It was a theatrical risk that proved to be a good one, and I for one was so pleased to see The Duchess practically packed on the final night.

“Glassy Ceiling, Concrete Flaw” by Rachel Elphick
Nottingham New Theatre

I have been so looking forward to the new season from the Nottingham New Theatre and from the looks of what is to come, In House and Fringe, I am in for yet another educative season with classics and the not so well known. This falls into the latter for me.

Hannah and Lia are best friends, or so they think. They have a lot in common, including a similar ambition to be writers. When they are both offered jobs with the same newspaper, it’s a change that will affect their lives, but not necessarily for the better!

There are several reasons why I love new writing, which this is. First that it is new and that I am coming to this with the same knowledge as anyone else in the theatre, and of course it's exciting!

The story is of office politics and how a friendship can change through jealousy and over ambition and the damage this can cause to a person.

The story is well written and well observed and could have been a bit longer with a slow burn. At just over an hour long, it left me wanting more because the two main characters Hannah and Lia were an interesting pair.

Chrisa Roma (Hannah) played the more dominant and power hungry of the two friends; the concrete flaw of the title, and for me one of the more confident of the cast, with really good projection.

Jaime Wynn (Lia) was just as career minded as Hannah but the more successful, and you could see why through the various conversations in the interview sections of the play. I was so glad when near the end she started to show a more passionate and angry side with Hannah, and that's when she started to come alive for me.

Along with these two the supporting cast were Alyssa fay Hills (Sadie), Laura Sherratt (Esmee), Matt Haines (Alex), Alice Walker (Bob), Emi Thackray (Jonathan), Gabriella Teriaca (Theodore), Yahya Ali (Charlie) and Laura Finckh (Mr Knutson).

These characters were the office staff and there's an interesting look at office politics, in and out of the work place highlighted in this play.

Many of these actors are NNT first timers, and you can tell, now whether this was NNT first timers or first time acting, it's difficult to tell that. This may seem a negative but it really is not because with the standard of acting I have had the pleasure of seeing at NNT over the years, I'm making comparisons,and it will be nice to see how this cast grow with more experience. and as I said before, they certainly left me wanting to see more of them and the story.

Written and Directed by Rachel Elphick, I love the idea of this situation she has placed her two main characters in, and also the interesting office characters. I loved the comic relief of Mr Knutsford, and I also loved, and this may seem an odd thing to say i enjoyed, but the Theodore story, because this is a very definite role reversal situation, and I liked that twist. I also liked that Rachel made the gay character in the play someone who by their actions, look and speech would never have been noted as a gay character, again, breaking stereotypical images. Very clever writing.

Produced by Penelope Weir, who also is an NNT first timer.

The play is one of those "rough round the edges" plays that i enjoy because much as I love a smooth, sheen covered presentation, this kind of play is griity and a bit of rawness suits it well.

Loved the scenery and the placement of it by the whole cast, covered by some interesting music which, being quite a mechanical sound, also fitted in well with the mechanics of the office environment.

I noted just one particular spot that could have been tighter and that was either due to a forgotten line or by a late music drop, either way it left embarrassed looks by a couple of the actors. Sorry, probably no one but me noticed that, but I had to mention it because NNT are such a driven collection and they have a history of excellent theatre work.

As usual the lighting design was great (Laura Wolczyk) and the sound also (Joe Strickland).

You know, on the whole this play has legs and it would be lovely to see this revisited as a longer theatre piece. The characters are well perceived and the play subject matter is well observed and gives you something to think about on many levels.

A worthy start to the season and I hope to see all of these actors, now that they have broke their duck at the NNT, in future productions. I see plenty of potential with this group, and I love to be proved right.

“Glassy Ceiling, Concrete Flaw” is at the Nottingham New Theatre until Saturday 9 March 2019

“Cranford – A Radio Play”
Nottingham Arts Theatre.

There is something very special about radio plays. It's that magic of receiving everything through the power of the voice. Every emotion and nuance is through the voice and when an actor is used to acting with their whole body, this kind of acting pushes an actor's boundaries if they are not used to radio plays.

This cast may have been pushed boundary-wise but they rose magnificently to that challenge.

Having a grounding in radio, I've loved catching up over the years with the great radio "soap operas" like "Hancock", "The Archers", "The Goon Show" and even "Little Britain" started as a radio show. This sort of entertainment allows the audience to re-tune their brains to listen more to the script and take in the lyrical comedy as opposed to any physical humour in the theatre.

Premiered at Nottingham Arts Theatre as part of its 60th anniversary season, The Nottingham Arts Theatre presents a radio play version of Mrs Gaskell's “Cranford” dramatised by Nottingham playwright Campbell Kay.

“Cranford” depicts a society dominated by an older generation of eccentric, petty and snobbish women who despite their quaint and old-fashioned attitudes, live life according to a strict moral code which puts a strong emphasis on humanity, loyalty, kindness and good neighbourliness.

Their society is also in transition; beset by financial crises, rising crime and the encroachment of industrialisation. Against their situation is movingly portrayed in this charming costume drama which captures all the delicacy, humour and sentiment of Elizabeth Gaskell's famous novel.

The room, which is the studio room at the back of the Arts Theatre, is set out like a cabaret show with tables and chairs along the side of the studio and straight away creates a very special atmosphere with everyone being able to see the stage.Plus there was table service included.

The cast are mainly the more mature actor,and is lovely to see these wonderful seniors showing what they can do - there really ought to be more complete plays for the mature actor.

Coleen Bee (Mary Smith), Kay Taylor (Miss Deborah Jenkins), Gill Cook(Miss Matilda Jenkins), Shelagh Hubbard (Jenny/Ladt Glenmire), Margaret McCarthy (Miss Pole), Marie Rogers (The Honorable Mrs Jamieson), Glenise Ellis (Miss Jennie Brown/Martha), Mike Newbold (Captain Brown/Mr Peter Jenkyns), Barbara Calvert Benner (Housekeeper/Fatima), Barry Hobbs (Mr Thomas Holbrook), and Rob Suttle (Signor Brunoni/Jem Hearn) are the wonderful cast who, while standing in front of us, painted the pictures in our minds with their talents of story-telling, and yes, there were accents as well. And you know I love a good accent!

I was told that some of these ladies involved were tempted back to the stage because of this play and Margaret Mccarthy was also in the original 2009 production at the Arts Theatre, so it shows what a special play this really is.

Providing the sound effects for the radio play were the equally talented Christine Boothe and Mike Pearson, who not only provided the sound effects bit were also as much a part of the play as the on stage actors.

Beautifully directed by Jane Crich, she made sure that this band of actors brought out the gentle comedy vocally, so much so that if you'd listened without watching, you'd still have got every scrap of comedy from the play as if you were seeing it performed as a stage play.

Campbell Kay really should dramatise more of these kind of plays for the same format because it's a breath of fresh air, especially in the intimate setting of the Arts Theatre Studio, where last I saw a play called "Blink" many years ago.

The Arts Theatre should utilise this space more because the atmosphere, acoustics and intimacy of the space works very well, especially with plays like this

“Cranford” is at the Nottingham Arts Theatre Studio until Saturday 9 March 2019.

All proceeds from this production go to support the work of Nottingham Arts Theatre and you can also buy a copy of the play in book form, which means that even after enjoying this experience, you can revisit the magical script again and again, and paint those pictures in your mind at any time.

Support your local theatre.

“The Producers” by Loughborough Amateur Operatic Society (LAOS)
Loughborough Town Hall

Max Bialystock, the one­-time king of Broadway producers is hungry to strike it rich, and Leo Bloom, an accountant with dreams of someday becoming a theatre producer, discover that they could get richer by producing a flop than a hit and start by finding the worst show, worst director, and worst actors. When their new production, “Springtime for Hitler,” turns out to be a smash success, the plan is thrown off and the partners lives are thrown into chaos but with much hilarity.

This is one of my favourite musicals for so many reasons; the absurdity, the politically incorrectness, the wonderful soundtrack, the comedy, the glitz, the glamour and those incredible characters created by Mel Brooks.

Directed by James Nelson, I know that this was a dream piece of theatre for him because his love of this musical shines throughout, and he still manages to add his own sparkle to an already wonderful entertainment piece; watch out for nods to several other musical theatre favourites.

In charge of the brilliant orchestra and the clever and comical soundtrack is Musical Director Kate King. Forget that you are in Loughborough because this glorious sound could come from any of the big London theatre stages.

There are so many brilliant dance sections in The Producers which smack of Hollywood glamour and that is brought out by Harriett North who has choreographed this show.

The ensemble dancers work their socks off, and all with smiles on their faces and looking as if breaking into a sweat was something alien to them. the energy in these routines, and there are many different styles, is incredible. This team also include several of my favourite local dancers; I'm sure that they know who they are so i don't need to list them all, but what a wonderful and professional team this really is.

Jez Malpas (Max Bialystock) makes a brilliantly animated King of Broadway and the pairing with Josh Hill (Leo Bloom) is a dream couple. There is a great song in this musical called "That Face" and Josh is one of those actors who can convey anything with the face that he has. Both these actors have a great feel for comedy, the technical side and the delivery and riming of it.

Sarah Heptinsall (Ulla) definitely has "it" and she flaunts "it" well and to quote another musical she is lovely to look at. Oh and that accent is perfectly delicious. Sarah and Josh's duet of "That Face" has a wonderfully timed musicality in every movement.

Matt Leeson (Franz Liebkind) makes you smile as soon as he appears on stage and his section with his pigeons is absolutely hilarious.The trio of Max. Leo and Franz's "Der Guten Tag Hop Clop" is wonderfully choreographed and well timed.

Mark Chinnery (Roger DeBris), doe me reminded me of a taller Matt Lucas and just as funny. the scenes with mark and Cameron Sim (Carmen Ghia) are another lovely theatrical pairing. Wonderfully camp and their scene with James Daw (Brian the Set designer), Kevin Clarke (Kevin – Costume designer), Adey Greasley ( Scott – Chorographer) and Gemma Baxter ( Shirley Markowitz – Lighting designer) in "Keep It Gay" is one of many highlights to be found in this musical.

The play is absolutely crammed with various strange and wonderful characters, played by Lins Adlam (Hold Me – Touch Me), Alix Ashurst (Lick Me – Bite Me) and Clare Proctor (Kiss Me – Feel Me), Nicole Ray, Joanna Hayes, Kirstie Bennett & Sarah Wilson (Usherettes), Adrian Dobson(Stormtrooper), and Richard York (Mr Marks),

Many of the above also double up in several roles and sometimes the costume changes are so quick you almost wonder how they do it

And talking of costumes (Gemma Baxter), this is one musical that favours the outrageousness of the wardrobe department. One looks decidedly rude! But all are a delight for the eyes, as are the wigs (Natalie Littlewood).

Great sets and a rapid, and smooth turn around of sets, well managed by Ash Moulton and his crew.

Great lighting design (Kevin Cutts) and on the whole a well managed and clear sound design (Rob Temperton).

A well deserved standing ovation for a wonderfully funny musical and talented and hard working cast. Be prepared to have your chuckle muscles well and truly exercised.

“The Producers” is at Loughborough Town Hall until Saturday 9 March 2019