"Made In Dagenham" by West Bridgford Operatic Society.
The Space, Nottingham Girls High School.

The musical documents the Dagenham Ford Motor Car uprising of 1968 when the women at the plant went on strike to, initially gain equality. This then escalated to an issue over pay equality.

Apart from this, Rita also has to manage her husband, home and kids. Her son, Graham, is being caned at school, so she has this to deal with as well. This also brings her into contact with another parent, whose son is also being caned, and turns out to be a useful ally for work.

Rita O Grady, a fictional character, spearheads the dispute which almost ends her marriage, but manages to get equality on many levels after addressing the TUC conference. While there is cause for celebration, by the end of the fight, there is loss as well.

Cat Tuckey (Rita O Grady) is on fine form in every sense and brings the feisty out of Rita. Her vocals are superb, especially highlighted in the Act Two song "Nearly Had It All". The TUC speech is delivered with passion and emotion.

Rob Holsman (Eddie O Grady) is the husband pushed to the end of his tether, forcing him to make drastic decisions. You get to see a change in Eddie as the play progresses,and Rob's vocals in another emotion packed song, "The Letter", are also superb.

Jacky Tivers (Connie) plays the Shop Steward for the women who gives Rita the platform to represent the girls. When her medical condition worsens she tells Rita that she has to go to the TUC conference, a job that Connie was supposed to be doing. A lovely strong, principled character which provides Jacky the chance to show her vocals off in "Same Old Story"

Jo Hooper (Beryl) is wonderfully foul-mouthed, well the character is anyway. Much of the comedy is from Beryl just by having that common touch and being down to earth.Ballsy, bolshy and inappropriate, but with a heart of gold.

Sarah Walker-Smith (Barbara Castle) nails the accent and the fiery character - just like her hair. Love her solo in "An Ideal World".

Diana Ives (Lisa Hopkins) plays Rita's ally, and is also the wife of the Ford Plant's Managing Director, played by a smooth faced Gareth Morris. These two characters are opposites with Hopkins well and truly treating the educated Lisa as the stereotypical 1960's stay-at-home housewife.

Richard Ives (Harold Wilson) plays the lampooned PM as a clueless, sexist buffoon. Richard does comedy well, as proven in this role.

Martin Thomas (Monty) is the Shop Steward in the play who has history with Connie.

Ian Pottage (Tooley) is wonderful in his role as the American Ford Motor Company Executive. His OTT, stereotypical American, "everything is bigger and better in the States" persona extracted some booing from the audience, but only in a panto style at the end of the show. He did a cracking rendition of "This Is America", which opened Act Two.

This show has a massive male and female ensemble, doubling as some of the minor characters.

Natalie Hemington (Sandra), the dolly bird who accepts an offer to promote the new Cortina. 

Sarah Shields (Clare) who could never find the right words for what she wanted to say, Courtney Kelham-Giddy (Cass), Sean Collins (Sid - The Shop Steward), David Gyles (Bill - A Shop Steward), Alasdair Maughan (Stan), Chris Heeley (Barry/Cortina Man), Bill Cooper (Ron Macer - The Production Manager), , Chris Hollins (Gregory Hubble - Personal Director), Julie Fowler, Becky Kirkham and Danielle Rodgers (Aides to Harold Wilson), Jill Hemington (Personal Assistant to Barbara Castle), Emily Wright (Graham O Grady), Georgia Williams (Sharon O Grady), Malcolm Cocking (Mr Buckton The Schoolmaster) and James Crabtree (Chubby Chaff - the sexist club comedian).

There's then another eighteen cast members playing un-named roles.

Directed by Tom Parry, he kept the show running at a fast pace throughout. This is also thanks to the stage management by Amy Rogers-Gee, Nigel Newton and Robert Keighery.

Choreographed by Sarah Shields,and with such a large cast and ensemble, I can only imagine that this was no easy task to choreograph. the results stand up for themselves though.

Musically Directed by Sam Griffiths,so it goes without saying that the music is going to be of the highest quality. He manages to bring the best vocals out of the actors and the ensemble sections are like listening to a wall of sound, such is the power.

It's always a good sound quality at The Space, and in charge of this area is Rob Kettridge.

Lighting Design is by Nick Gale, which was executed perfectly. Now, I've never really noticed, but are there no follow spots at The Space? There were a couple of times that I thought could have benefited from having a spot on a couple of the actors, but were left in the shade.

I love this musical, mainly because of the characters and being based on true events, but for me the second Act seemed to be stronger than the first. There seemed to be more gusto and energy in Act two and that is when the production seemed to get going, and I don't know why that is.

The singing was stronger, on the whole, in the second Act, but I did love the title song, "Busy Women", "I'm Sorry I Love You", and the rousing "Everybody Out" closing the first Act. There's another big crowd pleasing anthem to close the show as well in "Stand Up".

This show, and the production of the show, will leave you with a lovely warm, fire in the belly feeling when you leave the theatre, and these songs will become ear-worms to you over the next few days, especially if this is the first time of seeing the show.

"Made In Dagenham" is at The Space at the Nottingham Girls High School until Saturday 22 February. Can you af Ford to miss such a brilliantly entertaining and strong female focused musical this week?

Pictures by Gavin Mawditt

“A Monster Calls” by Patrick Ness
Nottingham Theatre Royal.

Directed by Sally Cookson.

Thirteen year old Conor has the same dream every night, ever since his mother first fell ill, ever since she started the treatments that don't quite seem to be working. But tonight is different. Tonight, when he wakes at 12.07am, there's a visitor at his window. A monster has come walking. It's come to tell Conor tales from when it walked before. And when it's finished, Conor must tell his own story and face his deepest fears.

His father has remarried and lives in America and, seen through Conor's eyes. is second on the list of priorities, after his new wife and family.

His Grandmother treats him like a servant and her home is like a show home which Conor does not feel at home in.

He is being bullied at school, but he has a friend who does stick up for him, and a teacher who is on his side, but only because of his situation with his ill mother.

This is one story that I've not read, nor have I seen the film, so I knew very little about the story, and I'm pleased that I didn't because I don't think this play would have had the same impact on me as it did.

For many people seeing this, it will be an emotional viewing, but even if you've not been in the exact same situation as Conor finds himself in, it is not the easiest of watches emotionally; especially when you remember that Conor is just thirteen years old.

Ammar Duffus (Conor), who we last saw in Nottingham in the Nottingham Playhouse production of "Holes" in 2018.The whole play is very physical and Ammar the physicality of the role comes naturally to Ammar. He gives a lot of emotion to the part, especially so at the end.

Maria Omakinwa (Mum) gets to show us the decline in the character, and while we can guess what the outcome will be, it still comes as a bit of a punch to the guts.

Kaye Brown (Grandma) tells an unfurling character story as we think one way about the character at the start and by the end, we see someone different.

Ewan Wardrop (Dad) plays a torn character, not sure what to do for the best and trying to keep everyone happy.

Keith Gilmore (Monster) has the most physical of roles,and does come over as the things that nightmares are made of, but as the play goes on, we discover the meaning of the three stories and how they connect with Conor's situation, and also why the monster was called by Conor. But is the monster real or just what is inside Conor's troubled mind.

Greg Bernstein (Harry) plays the bane of Conor's school life, along with Jade Hackett (Sully). They bully him relentlessly but it's what Harry says towards the end that really pushes Conor over the edge.

The rest of the cast are Cora Kirk (Lily), Kei Matsena (Anton),
Sarah Quist (Miss Godfrey) and Paul Sockett (Mr Marl), all of which also operate the ropes and stage manage the props.

The Set Design by Michael Vale to start with looks pretty stark, but then we see just how clever the set is with ropes to create the tree. It allows us create pictures in our head.

With the ropes there is aerial work, and this adds another dimension to this play, placing the monster on high, making him seem larger and more terrifying than if he had been at stage level.

Creating the nightmare images from Conor's head, and positioning us where we can experience this nightmare is done by video and projection design (Dick Straker).

Music is by Benji Bower,and we get to see the musicians in an open square up in the scenery. The music really creates atmosphere, and the inclusion of Khachaturian's Adagio of Spartacus and Phrygia - also recognised as the 1970's theme to "The Onedin Line" - is emotive and beautiful. The original music is also atmospheric and well placed.

Lighting Design by Aiden Malone and Sound Design by Mike Beer both add to the feel of this very special piece of theatre.

I overheard another theatre goer stating when they came out that they didn't understand it and they were confused. I'm not sure if they saw the same play as I did because the play, while it could be seen by some as a tad depressing, was very beautiful. It also makes us think about mental health issues within the play.

The inclusion of circus skills and the choreographed dance pieces were wonderful, and the singing was both angelic and euphoric, with the ability to send shivers down the spine.

“A Monster calls” is at the Nottingham theatre Royal until Saturday 22 February.

“Flight” by Darkfield
Nottingham Lakeside

Here is something completely different to what I have attended before. Held in a 40 foot metal shipping container. The inside is a replica of a plane’s interior complete with seating, seat belts and headphones. What follows takes place in complete darkness and isolated from your fellow passengers by the headphones and the black out.

I was really surprised because from the outside, the container looked quite small, but once inside this tardis of a container, it seemed a lot bigger. The seats were comfortable and you really felt at home.

This piece of theatre though is completely mind boggling and the sounds, which seem to come from every angle really have the ability to bend your mind. Now, I'm not going to tell you anything about what happens because this is something that you need to experience to get the full sensory experience.

The take off, the turbulence, even the kicking of the back of the seat and the feeling that there are people moving around in the dark, and then there is what you get to hear through the head phones. And it also plants seeds in your brain as to if everyone else is actually hearing and experiencing what you are.

Now, if you have a fear of the dark or have claustrophobia, this may not be for you, but if not, you will love this sensory trip. Go with a friend or friends and you'll have plenty to talk about when you finally get back to earth.

It lasts around 25 minutes but the time seems to, and if you'll pardon the pun, fly by. You may never get the same experience again, so give it a go.

“Flight” is at Lakeside in Nottingham until 23 February but at various times so please check the Lakeside arts website for bookings.

“Chicago” by Musicality
Nottingham Arts Theatre

One of the most stylized musicals ever created is taken on by Musicality from the University of Nottingham students. They have a rich history of producing quality musicals, and this is no different, adding to their growing list of theatrical successes. I could just sum this production up in three words I LOVED IT, but why use three words when 1003 would suffice?

Everybody who loves musical theatre will know the story of Roxie Hart who kills her lover, Fred Casley, and is sent to jail for her crime. There she meets Velma Kelly, who is to become her rival inside, but with the help of Matron Mama Morton, who can arrange just about anything for her girls, at a price, which is where hot shot lawyer Billy Flynn enters the scene.

Billy takes the case on and Velma’s trial gets pushed down the pecking order, which causes friction between the two jail birds. Throw into the mix the nerdy, down trodden, sad but sweet husband Amos Hart and the comedy and drama is all ready to provide plenty of razzle dazzle, sex and sizzle,and all that jazz.

Catherine New (Roxie Hart) is a new name to me and this is her first show with Musicality, but no way will i believe that this will be her last. What a debut. This woman acts with every inch of her body. The smirk, the eyebrow raised,the strut and the pout, all bringing the wonderful character of Roxie to life. After tonight one of the names on everyone's lips is definitely going to be Catherine.

Jack Matthews (Amos Hart) really teased every ounce of sympathy from this audience, a real ladies' favourite. But what belies this doormat of a character is Jack's singing voice. the simple "Mr Cellophane" grew and grew and we got to experience this powerful and controlled set of vocals that Jack has. The same vocals that I regaled about as Eddie in last year's Musicality production of "Made In Dagenham".

Sam Hook (Fred Casely) also makes his Musicality debut,and while Casely gets bumped off at the start, Sam gets the chance to show off his choreographic skills as part of the ensemble. Another excellent Musicality debut performer with an extensive theatrical CV to bring to this already ridiculously talented group.

Lucy Avery (Mama Morton) always promises a great performance, and she never breaks a promise. I loved the way that she brought a vaudevillian feel to "When You're Good To Mama", making this song seem fresher than I'd heard before. Lucy also duets with Katie Dart in the song "Class" and what a pairing these two make; perfectly blended like a fruit smoothie.

Katie Dart (Velma Kelly) is another first time Musicality discovery. What an amazing voice this young woman has, and what stage presence. Just everything about this performance was spot on, and how she managed to dance as energetically and athletic as she did, as well as deliver those vocals, I'll never know; she never stopped to catch her breath.

Robin Ramsay (Billy Flynn) made this smooth but arrogant character his own. Robin delivered some brilliant, and controlled, vocals, especially in his big numbers "Razzle Dazzle" and "All I Care About" and "They Both Reached For The Gun". He demanded your attention whenever he stepped on stage.

Paolo Elias (Emcee) is one of those actors/dancers/singers who just seems to give 110% in everything he does. I never really realised that this character of Emcee was such an important role until this production, and Paolo really managed to shine a spotlight on the role. He's also a very good dancer, hitting every beat, and like many other character actors, he really brings everything out in his face. I thought he was great as Harold Wilson last year in "Dagenham" but his talents have hit a new high for me in this production.

Siska Greene (Mary Sunshine) is yet another actor who I've had the pleasure of seeing their star continue to rise. Her vocals reminded me of a young Julie Andrews with her wonderful RP version of Mary Sunshine. Oh and what a voice, quite operatic and incredibly controlled.

The ensemble Joseph Straw, Fiona Cook, Lucy Boardman, Ellen Steel, Meghan Borg, Elly Hassall, Sophie Clark, Isa Alkhalifa, Charlie Greene, Andrew Whitaker, James Warner, Isabella Chapman, Alice Humphrys, Carla Davison, Eliza Wappat, Ewan Waddell and Ulysse Abbate just go to show how important a great ensemble are to a show, several of them making their Musicality debut.

Directed by Adriana Dvorakova, this show is everything I could ask for. It is tight, pacy when needed and completely captivating

Produced by Rowena Fry and Meg Clerments.

This show would be nothing without the amazing choreography and Hattie Rothwell-Inch has done an amazing job in this field. Choreography wise, I think this is one of my favourite musicals because of the sass, the class and the sexiness.

Matt Talbot is the show’s Musical Director, but not only is he the Musical Director, he is one of the few MD's who is a showman in his own right. Just watching him up there conducting this amazing orchestra, he is performing as much as any other actor on that stage. He brings the drama out of the music and his orchestra. This is proven in the opening of Act Two's Entr'acte, extracting an exciting appreciation from the audience. His arrangements of some of the pieces also bring freshness to songs that I have heard performed many times, but here, sounding new.One of the best sounding local orchestras I have heard, and that muted trumpet is a dream to hear played so well.Matt was ably assisted with the Musical Direction by Annabel Jeffries.

Amazing costumes (Megan Pavey), hair and make up (Sophie Mitchell, Josie Parry and Lucy Taylor), and without these specialist areas, the production would not have looked as totally professional as it does.

Even down to the stage management which kept this show rolling, everything about this production smacked of class and professionalism. And when the quality of a show is of this standard, it puts some touring shows I've seen in the shade.

I now have an apology to give. The seats at the Nottingham Arts Theatre are such that you sink into them, making them not the easiest to release yourself from. Now with that in mind, plus the fact that someone had spilt a drink on the floor which then caused a river under my seat, making me recreate something from Dancing On Ice, I was unable to get to my feet to give you all the standing ovation you all so richly deserved.

Wonderful lighting and the sound is one of the best that I have heard at the Arts Theatre. I heard every single word of every single song,and every section of the script.

Every singer was perfectly in tune. every dance step was executed with great elan, and the energy from that stage was mind blowing.

Look I could go on forever stating what a brilliant show this is and what talent Musicality have fostered, but don't take my word for ( yes do take my word for it ), go and get your tickets because this is the show to see this week.

I've seen this show about four times in the last year or so, and even though it has not yet usurped "Blood Brothers" as my all time favourite musical, "Chicago" is snapping at its' heels, thanks to productions such as Musicality constantly give.

“Chicago” is at the Nottingham Arts Theatre until Saturday 15 February. it would be a crime to miss this particular show.

“An Inspector Calls” by J B Priestley
Nottingham Theatre Royal

“An Inspector Calls” is a play that revolves around the apparent suicide of a young woman called Eva Smith.

In the play, the unsuspecting Birling family are visited by the mysterious Inspector Goole. He arrives just as they are celebrating the engagement of Sheila Birling to Gerald Croft.

The Inspector reveals that a girl called Eva Smith, has taken her own life by drinking disinfectant. The family are horrified but initially confused as to why the Inspector has called to see them. What follows is a tense and uncomfortable investigation by an all-knowing Inspector through which the family discover that they are all in fact caught up in this poor girl's death.

But is everything we see and hear, all that it really seems? The clues are there, but can you spot them?

A wonderfully melodramatic production of a classic thriller which, as soon as I saw the set, reminded me that I had seen the production previously, and knew what was in store. That said I lapped up the melodrama.

Liam Brennan (Inspector Goole), Christine Kavanagh (Mrs Birling), Jeff Harmer (Mr Birling),Chloe Orrock (Sheila Birling),
Ryan Saunders (Eric Birling), Alasdair Buchan (Gerald Croft) and Emma Cater (Edna) performed wonderfully and the cast were completed by Jerome Aldworth, Beverley Graham, Huw Ab Jones, James Jordan, Donna Osmond, Pat Tutty, Jane Webb and Samantha Whitworth.

The children were played by Rowan O Driscoll-Besh, who started the production, a massive task for one so very young, Felicity Holman and Mustafa Bukhari.

It's always good to see productions who use the local actors and in this production they are from Nottingham Stagecoach.

Lighting Design is by Rick Fisher, who gave this show quite an eerie feel from the start with the mood lighting.

Sound Design by Sebastian Frost, helped to also give those spine shivers a nudge. The atmospheric music for the show is by Stephen Warbeck.

The complex set design is by Ian MacNeill, and what a great technical set it is.And it's not many sets that can dramatise and reflect the family situation in the way that this one does. When you see it, you'll know exactly what I mean.

Skilfully directed by Stephen Daldry.

The costumes are wonderfully classy for all, and easily takes you back to 1912, the year that the play is set.

Priestley's classic still has the ability to entertain and thrill, and when presented as good as this show, will always be a theatrical must see. Great writing will never go out of fashion, and the proof is here.

“An Inspector Calls” is at the Nottingham Theatre Royal until Saturday 15 February.

"Snow White & The Seven Dwarfs" by Erewash Musical Society Youth Group.
Duchess Theatre, Long Eaton.

I have been accused of attending the opening of an envelope, but when the envelope is a golden one like this, it's worth the attendance.

It's not often I see a panto presented by a youth group, but I was really pleasantly surprised by this show, and I think that is all to do with a very clever and fresh script and an incredibly confident and youthful cast.

Written by James Bowden, this includes many topical and cheeky remarks about Prince Harry and Trump, Love Island and The X Factor, which put a grin on my face. And the jokes were mainly new ones to me. Writing for panto is possibly one of the most difficult forms to get right, but James has done a smashing job of it. I don't know if this is his panto writing debut, but if it is, he has a flair for this style of comedy.

The style is mainly traditional but there is a fresh approach to several sections, and that is what makes this production a joy to watch. It's not easy for a young cast to deliver panto with the confidence and ability needed for panto, and I've seen enough to know, but, apart from just a couple of stumbles, they really pulled this off. This I would put down to their obvious enjoyment of this particular theatre genre as well as their exuberance.

Directed by Clare Toska, and this is her first time directing the Youth Group, but she did a really good job. There were a couple of times that the stage was bare, which just needs tightening up, with the help of stage management, but when you think of the amount of people in this cast, and the size of the stage and the wings, on the whole this panto ran very smoothly.

Absolutely no issues with the sound by Dave Dallard, Phil Holland and Harvey Tavener, and the musical side of this, but then again when you have Dave Dallard at the helm, you know that the band sound is going to be right. And this band is tight as a drum.

The lighting is in the very professional hands of Dave Martin, making this a very colourful, visual affair.

I loved the choreography, and just because these were younger people performing, don't think that they were given an easy ride, because they weren't. Hayden Fletcher, Sophie Robbins, Ellie Simmonds and Natalie Austen provided some exciting choreography which was well presented by the cast.

Talking of which......

Bethan Moore (Snow White) was almost overshadowed by some of the other characters, which just shows what a powerful cast this is. Bethan has a lovely singing voice and looks the part with that wonderful costume she wears.

Francesca Foster (Queen Evelyn) is a star in the making and really embodied the evilness of the character. Everything from her evil laugh to her facial expressions, and to top it all, she has a wonderful voice, which we get to hear at its' best in the Act One closer "No More Tears (Enough Is Enough)". Francesca also has great stage presence.

Joel Dawson (Simon The Joker) is also another very talented young actor. the way he delivers to the audience is of a very mature nature. This is something that younger actors sometimes have trouble with, not so with Joel. he is confident in his delivery and understands the script, which makes what he says believable to the audience. Another young man with amazing stage presence.

Rob Cattenach (Nanny Nick-Nack), I have seen Rob before but in this performance, he really comes alive and playing the Dame character, again something that a young actor could have problems with, because at that age there is no connection or relateability. Rob 100% made this character his own. He looked comfortable in the role and in the script he delivered. Playing Dame is possibly the hardest job in panto but Rob made this look easy. He could have a future in this kind of role.

Matt Bradbury (Henry the Henchman) is also a solid young performer who can sing, dance and act and his likeability as Henry is evident in his final bows.

The three Good Fairies are played by Paige Sisson (Fairy Goodheart), Amy Dawson (Fairy Sweetheart) and Robyn Oleshko (Fairy Braveheart), all arriving on stage on roller blades and a skateboard.

The Dwarfs were Ewan Hoole (Prof), James O Boyle (Grumpy), Maddie Stevens (Crazy), Sky Stacey (Snotty), Dylan Hoole (Bashful), Emmy Jones (Fearful) and Jon Bramley (Dreamy).

James O Boyle also played The Magic Mirror, and this was done brilliantly. Now, I don't know if these mirror sections were filmed separately or live, but the timing and reaction between Francesca and James was wonderful.

Grace Edwards (Cuddles The Cat) is aptly named as she was the typical, graceful feline.

Gabs Oleshko (Prince Valiant) brought lots of comedy to his role by getting lost in the forest after his Uber cab broke down on his way back to the "Pallarce". A modern twist on this character as the first time he encounters Snow White is when he revives her with a kiss.

A great ensemble troupe who played various other roles, but I must give a mention to Joe Langley who, on one of his roles, played a frog. Who would think that a simple "ribbit" would create such laughter from this audience.

A hard working cast who presented a brilliant modern panto with energy and enthusiasm. you only have to look at some of the ensemble near the back to see this, as well as the ones up front.

There's also a modern twist to the audience participation sections and the audience song sheet.I won't spoil that little surprise for you.

The music choices are great as well, and I also loved the change in some of the lyrics to make the song relevant to the story. there are many clever touches in this show.

"Snow White & The Seven Dwarfs" is at the Duchess Theatre, Long Eaton until Saturday 8 February. I can guarantee that you'll leave feeling happy, even if you're grumpy going in.

“Holes” by Louis Sachar

“Holes” is the story of Stanley Yelnats who is born into a family cursed with bad luck thanks to his “no-good, dirty-rotten, pig-stealing great-great-grandfather”. He’s accused of a crime he didn’t commit and is sent to Camp Green Lake, a juvenile correction centre in the middle of a desert in Texas.

Every day, the inmates have to dig a hole five feet deep and five feet in diameter to “build character”. Stanley and his colleagues have to endure the heat, deadly reptiles and the ambitions of the warden as part of their punishment. But is there some strange ulterior motive to this punishment?

The plot explores the history of the area and how the actions of several characters in the past have affected Stanley's life in the present. These interconnecting stories touch on themes such as racism, homelessness, illiteracy, and arranged marriage.

“Holes” was last here at the Nottingham Playhouse in 2018, so for anyone who saw this the last time, like myself, the story will not be a new one. That said it’s lost none of its’ magic with the story telling and the puppetry is as mesmerising as ever.

James Backway plays Stanley Yelnats and plays the animated Stanley really well. He is full of energy and deals with the physicality of the role perfectly, making the play, not only an interesting, but exciting piece of modern youth theatre.

The other camp mates are Zero (Leona Allen), who is known as the best digger and comes across as "having zero up there" but although he can't read or write, his intelligence becomes apparent later on.

X-Ray (Harold Addo) is the unofficial leader of the group who gives Stanley the nickname of "Caveman" and although starts off being friendly towards Stanley, that attitude changes.

Armpit (Henry Mettle) becomes one of Stanley's close friends, after a bit of argy bargy at the start.

Magnet (Joelle Braban) got his nickname due to his ability to steal, calling his fingers "little magnets"

John Elkington again takes the role of The Judge, Mr Sir, Igor barkov and mainly The Sheriff, who rules the inmates and reports directly to The Warden, played by Rhona Croker. Both of these characters are well matched for their nastiness.

Several other characters flesh out the history in this enigmatic play, and are just as interesting in their own little cameos as the main characters, especially the back story of Kissing Kate Barlow (Elizabeth Twells).

Adam Penford directs this little gem, and I feel that there may have been maybe a few subtle changes to the show in the direction. I feel this as it seems to be even more fresh than when I saw it in 2018. I can't quite put my finger on what makes this production feel different, but it just feels fresher.

Simon Kenny is the Set and Costume Designer,and manages to make you feel that you are in the desert, the sun beating down on you, and with several moving sections of the set, gives you a sense of movement.

Prema Mehta (Lighting Designer) and Adam P McCready's Sound Design, add another layer to that desert feel. Plus there's a lovely dollop of music choice throughout to keep things bouncing along.

The puppets in this play add many things to the play with the sight of rattlesnakes, deadly lizards and even tarantulas invading the stage.

Some plays you can be satisfied with seeing just the once. This play is one that I don't think I would ever get tired of seeing. It delivers several moralistic messages interwoven into the comedy and the plot lines, which is perfect for the subliminal education of the younger theatre goers. Perfect for school visits.

“Holes” is at the Nottingham Playhouse until Saturday 8 February.