"Pressure" by David Haig

Nottingham Lace Market Theatre.

The play centres on the true story of Captain James Stagg and Operation Overlord, in particular the weather-forecasting for the D-Day landings and the tensions between Dwight D. Eisenhower, James Stagg and Irving P. Krick.

It is set in 1944 at Southwick House, the headquarters of the Allied Expeditionary Force in the 72-hour period leading up to the launch of Operation Overlord. Group Captain James Stagg is the chief meteorologist who, having studied weather patterns in the North Atlantic over a period of many years, is advising Dwight D. Eisenhower that, despite a prolonged heat wave, weather conditions will suddenly deteriorate sharply on D-Day, and that the massive task of landing 150,000 soldiers in occupied France should therefore be postponed.

American celebrity weatherman Irving P. Krick forecasts another calm sunny day. But Stagg is convinced that a storm is coming. Under the most intense pressure, both personal and military, Stagg seeks to persuade Eisenhower that his forecast of events is correct.

And Christ on a mountain this play is good. I love plays that educate me as well as entertain me, and this play did both, especially with the slow build-up of pressure in Act One and then the accelerating story-line in Act Two.

Pressure takes on several scenarios in this story. Be it the actual air pressure which would cause the inclement weather, or the pressure put on Stagg to get the prediction correct. And then there's the pressure Stagg feels due to his wife about to give birth, along with the back story to that as well. Throughout the play you can feel the slow increase of pressure emanating from the stage.

Alison Hope (Lieutenant Kay Summersby) played a blinder of a role as Summersby. This character is one that keeps all the balls up in the air, a juggler, looking after the needs of Eisenhower and creating just the right environment for Stagg to work in, all the while fetching and carrying, making endless cups of tea, running errands for both men, and going that extra mile to make sure that everything runs smooth. And she is a competent mechanic as well. She is the human side of the play, and you really feel for her when she is overlooked at the end. Alison is one actor you cannot overlook and was just a dream to watch perform.

Malcolm Todd (Group Captain James Stagg). There is a line in the first part of this play where Summersby asks him if he ever smiles, as he is bossing her around and complaining of the lack of facilities in his office. In Act two we all get to see that smile, and even a laugh as he relaxes when the pressure is finally released and all is well in his world. Like all the actors in this play that I have seen before, I found myself looking past the actor and seeing just the character they were playing, and that to me is a sign of great acting. And the Scottish accent never slipped once.

Chris Sims (Colonel Irving P Krick). Again, the accent was brilliant. there could be a tendency to "overdo" an American accent, depending on the state from where the accent is for, but not once did this happen with Chris. Another wonderful performance, and like Stagg, Krick shows a lot of passion shown; once I even expected the two characters to come to blows due to the passion, but that's yet another sign of that pent up pressure rising to the top, and then simmering.

John Parker (General Dwight D. 'Ike' Eisenhower). Now this character can shout! But then again, he has the licence to do just that, he is Eisenhower. there is an array of feelings displayed here, and especially at the end when my jaw literally dropped when he dropped the bombshell on Summersby. I won't say what the bombshell was, you'll have to go and see what happens yourself! John struck just the right note with this powerful man, who himself would have been under pressure with the lives off all those men in his hands.

Colin Treliving (Electrician / Admiral Sir Bertram 'Bertie' Ramsay). I actually took more notice of the electrician role with this dual role, and didn't actually realise that it was Colin who was playing the Geordie electrician. there were bits during this role that seemed to have lengthy gaps in the speeches, but then I realised that, although the electrician liked to chat, he was also concentrating on the job in hand; which was to wire in two additional phones. I did smile to myself though when he said that he had to get the right line, which may, or may not be heard in the rest of the performances. As Bertie though Colin showed authority of a higher level, in complete contrast to the lowly electrician. I've always enjoyed Colin's acting talents and this is no different.

The remaining cast consisted of John Halstead (Flight-Lieutenant Andrew Carter), Sue Drew (Lieutenant Diana Battersby), Fraser Wanless (Commander Colin Franklin / General 'Tooey' Spaatz), Jack Leo (Air Chief Marshal Sir Trafford Leigh-Mallory), Nick McCaffery (Captain Johns) and Stephen Herring (Corporal Hamilton). All excellent in their respective roles.

Directed by Jane Herring, who by the way has assembled an amazing cast for this show. She managed to get the pace just right to create anticipation of the outcome of the story and the build up of pressure. Production Manager is Peter Konowalik.

The set was designed by Linda Croston and possibly one of my favourite sets at the Lace Market Theatre. It was as if you had discovered a room that had been locked up as a storage place for a while. The walls were crumbling and incredibly basic, but it looked so right for the story and the era.

I looked to see if there was a name credited for the props because I imagine that, with the number of props used in this play, it would have taken a lot time of searching for everything. Barometers, bottles, tea cups, chairs, a fold up bed, tables, typewriter, phones, books, files, waste bins, charts, letters, stationery. I tried to count everything up but lost count there were so many and all appropriate for the age the play was set. Someone has worked amazingly hard to get everything together for this one.

I must also mention the incredible charts to update the weather movements they had on the wall. They were massive and so intricate, and you can see that a lot of knowledge and thought had gone into creating just one, never mind the five separate weather charts that were used.

The lighting is designed by Phillip Hogarth and the sound design is by Gareth Morris. As you'd expect, the sound and lights were both very natural, especially the sounds of the wind, tiles smashing, early morning nature sounds, telephone bells etc etc and all cued to perfection. The lighting showed us the different daylight, end evening hours so we could put ourselves in their particular time zone, as well as a frightening airplane explosion just away from the open windows.

The costumes are courtesy of Hazel Salisbury and as I'd expected were of the finest military regalia, again taking us back to the time depicted by the storyline.

I am going to be really picky here because there would be one thing that I would add to this play. Not to worry, it's only a small thing, but was something that I had expected but did not materialise. When we could see that the storm that Stagg had predicted correctly was building up, Krick went to the open full-length windows with a chart or a paper and to show that the wind was really getting up, the paperwork was swept from his hands. But there was no movement in the lace curtains, no draught, nothing. I'd have loved to have seen a fan from the wings blowing those curtains to make it look like that wind was getting up to storm level.

There was so much attention to fine detail in this play, which really brings a reality to the performance. the drink in the cups; you could not see the drink, but you heard it, and even when Summersby and Stagg were having breakfast of scrambled egg, there on the plate was scrambled egg which both characters ate. A sign of a wonderful Director to make sure that things like this are all in place.

I'd never seen this play before, but I'd gladly see it again. The story is exciting and gripping, and whoever says that the weather is boring, needs to come and see "Pressure". Educational and exciting and I shall never look at the weather people on TV in the same light again!

I've grown used to expecting excellence from the Lace Market Theatre, and this cast and production team did not disappoint.

"Pressure" is at the Nottingham Lace Market Theatre until Saturday 14 May.

Photos courtesy of Kathryn Edwards.

 "Abigail" by Laura Turner & Steve Gillard

Live Stream from The Space, London

The play is being performed by Fury Theatre. Fury Theatre is a female-led theatre company making work for national and international audiences, centred on the female experience, the female gaze and the female voice.

"Abigail" brings to the stage the untold story of the true-life character of Abigail Williams. The accuser, running from the Salem Witch Trial. A young woman, dismissed by history, lost in a world she cannot comprehend. This piece puts Abigail herself, and not the events of the Salem Witch Trials, at the heart of the drama, exploring the emotional and psychological effects an event such as Salem may have had on a young, vulnerable woman. The play is set in Massachusetts in 1692, but this isn’t the story of the history books.

This is a world that is alive with music, passion, danger and deceit. Abigail will fall into the traps of this world, but she will also revel in its decadence, debauchery and excess, as revealed when Abigail and her friend Mercy roll into Boston looking for a new start and stay at Mrs Constance's boarding house, with the emphasis on bawd!

There they meet the barmaid, Milly, after Jack has recommended them to the boarding house, a place also frequented by Marshall Joshua Goodman. The Marshall tries to warn Abigail about Jack, but his warnings fall on deaf ears.

Throughout the play there is the question as to how much a person is worth, which makes you think of the various levels that this could be answered.

Abigail is revisited several times by Solvi, a woman who Abigail accused of being a witch and was put to death as part of the Salem Witch trials, and we discover the real reason why Abigail was afraid of her.

We also see why Jack is being so nice to both Mercy and Abigail, and discover his dark side.

We get to see why the Marshall turns a blind eye to what is really going on at the boarding house and Jack's "management".

One joy of this live stream that I had the pleasure of watching was you get to see the various camera angles and skills, and there is one particular scene, the love scene between Abigail and Jack, where the camera pans away from the action into the dark, and then back to the couple.

I was half expecting waves crashing on the shore, trains going in and out of a tunnel and fireworks going off, well in my head anyway. This scene though was quite pivotal as Abigail is inhibited, whereas previously she held her, and her feelings back, and it also brought her down to earth with a bump when reality finally hit.

There is a level of violence throughout and strong language, again this drives home the reality of the story, a story that could be relevant even in today's society.

The ending is quite brutal and goes almost full circle, but I'm not going to spoil that, just in case you want to go and see this production in London.

The cast are Laura Turner (Abigail), Sophie Jane Corner (Solvi), Lucy Sherre-Cooper (Mercy), Sophie Kamal (Mrs Constance), Sarah Isbell (Milly), James Green (Jack) and Nathan Haymer-bates (Marshall Joshua Goodman).

This probably wasn't the easiest of plays for the cast to perform due to the subject matter, but I found myself drawn deep into the story and the characters, and having no preview or incite into the story, knew not where it was going, and that is where the shock factor crept in, and that, along with everything else about the play, I loved.

Very well acted, with plenty of passion from all involved. the intimate scenes were done with great care and the fight choreography was realistic, which is why I found myself taking an intake of breath at several points.

Directed brilliantly by Steve Gillard.

The sets were well thought out with a split set dividing the bar scenes from the bedroom scenes and the street scenes played out in front, to separate them from the rest. A clever soundscape as well provided the back drop in your mind to position the action.

"Abigail" is being performed at The Space in London until Saturday 7 May, but will now be available on demand online for two weeks. Tickets for the online version and the final live performances are all available through the Space Theatre website, space.org.uk

 "Variety Is The Spice Of Life" by The Arcade Players.

Duchess Theatre, Long Eaton.

I have searched my history and review pages and this is the first time I've had the pleasure of reviewing a production by The Arcade Players. How on earth have I managed to let them slip through my fingers?

This is a quartet of small plays performed under the one banner of "Variety Is The Spice Of Life". Normally only nine or so members take part in the Arcade Players presentations but as this was the last one of the season, they decided to create parts for all the 21 members.

The first is "Mother Figure" written by Alan Ayckbourn, and the only one of the quartet that I had seen previously. Featuring Rheema Orme-Hawksley as the over-worked mother of three youngsters, her neighbours Rosemary, played by Rachel Ludlam and Rosemary's husband Terry, played by Phil Deakin, come round to "check" on her. This had been prompted because Lucy's husband was working in Middlesborough and had been unable to get in touch by phone with Lucy. This was one courtesy call that the neighbours wished they had not made as the time spent looking after three little ones have taken their toll on Lucy! A wonderful observational comedy by Ayckbourn and, as per usual, a very witty script. Produced by Rob Byatt.

The second playlet surrounds the Book Club of Little Witterington, written by Joan Greening. When the four ladies of the club get together for their monthly meeting, it's not only the books which get read and discussed, especially with the addition of a new member who really puts the cat among the pigeons. I loved the different characters featured in this playlet, and it gave each actor a chance to shine with their specific characters. Beverley White (Jenny), Laurie Trott (Sarah), Roberta King (Ruth), Christine Hewitt (Belle), and the cat who ruffled these pigeons' feathers, Paul, played by Alex Chalk. This play was produced by Margaret Butcher.

After the interval we were treated to "Talk In The Park", the second offering from Alan Ayckbourn's pen, and this is again typically Ayckbourn with its' dissection of the human tolerance level. Produced by Rob Byatt, who seems to have a bit of a penchant for Mr Ayckbourn's work, we meet Beryl (grace Deakin), Earnest (Alistair Langton), Charles (Nick Hallam), Doreen (Ellen Horton) and Arthur (Keith Butcher). All are sat in separate benches in the park doing their own thing until Earnest starts a chain reaction of disruption with the other four.

The final play, "Slim Chance", by Peter Gordon, is about a group of ladies attending the weigh in at their local slimming club, intent on doing something about those extra few pounds which need shedding. A new and extremely nervous new member joins, Louisa, played wonderfully paranoid by Margaret Butcher. Whereas the rest of the weight watchers, Jean (Sheila Poyzer), Betty (Miriam Deakin), Irene (Caroline Byatt), Ann (Hannah Draper), Debbie (Hayley Wood), the brilliant double act of Marjorie (Jeanette Speak) and Edna (Sheila Patching) may look like they belong in such a collective, Louisa looks underweight, so why is she there? This playlet was produced by Beverley White and Hannah Draper.

All four playlets have something in common, and that is the status quo is, at different levels, upset by the addition of another person, and the reactions from those there before that addition. At times, like the plays in the second act, there may be something more sinister behind the inclusion of the addition to the group, or just an upsetting of the applecart. But there is also that discovery of humour in the unlikeliest of scenarios.

I was advised prior to entering the auditorium that there was no scenery, but you did not need scenery because there were plenty of props to show the environment of the play, and the scripts for all were so good that you could picture all that you needed scenery wise in your head. It also meant that you were more concentrated on the actors, their characters and the wonderful scripts.

The sound effects were used well, and from where I was sitting you could hear all the actors well, even over the soundscapes or incidental music. The technical side of the production was managed by Mike Beedham.

You may have noticed that I've not given too much away about each play, or the roles played by this wonderful cast, and that is because I did not want to provide any spoilers to the closing of the plays, but hopefully just a taster of the variety of playlets, which certainly forms the spice of life within this drama company.

What I also must applaud is the fact that there were quite a few more mature actors involved, and I loved the character and colour they brought to the evening. I think we all know an Edna and a Marjorie, or have at least come across them at some time or another, and these actors enrich the fabric of local theatre. It's also a lovely mix with the younger actors performing alongside them; and I am sure much was learned on both ends of the scale. The wealth of acting talents provided a tasty evening's entertainment.

At only £8.00 a ticket this works out at only £2.00 a play, so what have you got to lose?

"Variety Is The Spice Of Life" is being performed at the Duchess Theatre until Saturday 7 May.

 "Shrek - The Musical" by Carlton Operatic Society.

Nottingham Theatre Royal.

It seems like years ago that Carlton Operatic announced that they were to perform "Shrek" as their next musical venture; hold on, it was years ago, but it's now finally here and well worth the wait, I can tell you.

Shrek is a green ogre who lives in a swamp just outside the kingdom of Duloc. He finds out that the kingdom is becoming corrupt and that Lord Farquaad has plans to become the next King, but he needs to marry a Princess to be able to do this. Shrek makes a deal with Lord Farquaad to save the swamp but he has to first do something for Farquaad. Along with his loyal steed Donkey, Shrek sets off on a quest to rescue the beautiful Princess Fiona from her tower, guarded by a fire-breathing, love-sick dragon. Add a gang of fairy-tale misfits, and a biscuit with attitude and you’ve got an irresistible mix of adventure, laughter and romance!

And not forgetting a brilliant fun soundtrack as well. "Freak Flag", "Make A Move", "Big, Bright Beautiful World", "Story Of My Life", "I Know It's Today", "Who I'd Be", "When Words Fail" and of course the final belter "I'm A Believer".

Playing Shrek is Chris Wilson, in his first role within Carlton Operatic. I've been lucky as I've had the pleasure in seeing Chris in many productions over the years, so I know what an incredible actor he is, and playing Shrek would be a big enough task for any actor, never mind an incredible actor. The Scottish accent is perfect and unwavering, even when in song, and his timing, where certain sound effects are used, is spot on. It's been a few years since I last heard Chris singing on stage, and his vocals are as strong as I ever remembered them to be.

Mark Coffey-Bainbridge plays Shrek's sidekick, Donkey. Another actor I've known for a few years and one who always looks very at ease on stage. This role is no different. Forget Eddie Murphy because this portrayal of Donkey is super-cool, sealed by the 70's soul pastiche song "Make A Move" with backing vocals by The Three Blind Mice (Bethany Wear, Emily Hope-Wilkins and Rebecca Wilson). Donkey won the hearts of many of the youngsters in the audience tonight, with one exclaiming that she loved Donkey, well I think it was a youngster anyway.

The pairing of Chris and Mark sealed the success of this show, even though the whole cast could not have been assembled better or performed as a group more perfectly. A tribute to the complete professionalism of the actors involved with Carlton Operatic.

Charlotte E Barrington plays Princess Fiona beautifully. Her blend of comedy, despair at never finding her one true love and that voice she owns is just wonderful to experience. And she also manages to pull some wonderful faces into the bargain.

Playing the young Princess Fiona were Isabelle Griffin and Emily Holder who blended well in the three way "I Know It's Today".

One role that is sure to bring an actor, quite literally to their knees, is that of Lord Farquaad and this part is played by Graham Ward. You really can believe that this character is only tiny because of that wonderful set of costumes he has to wear, as well as the talent for acting and moving convincingly on your knees. I also expect that singing while in the kneeling position requires extra vocal requirements, which Graham certainly pulled off.

Laura Ellis is playing Gingy, the opinionated Ginger Biscuit. This requires, not only puppetry but also a certain vocal technique, which I won't spoil by telling you; go and see what I mean.

Ella Greenwood is playing the Dragon, well the voice of the dragon, and what a voice. Ella could be mistaken for any professional singer around today with the power, tone and control of her voice. The hairs on my arm stood to applaud her mid song. I could listen to that voice all night.

The Dragon herself was engineered by Daniella Anderson, Cliff Hart, Georgia Hodgett-Young and Amy Rogers-Gee. When you think that these four only had since Sunday to master this puppetry for the Dragon, you appreciate how hard they worked as a quartet.

Playing Pinocchio is Carlton Operatic first timer Bara Erhayiem. In fact, this is his first time performing on a stage and singing in front of people EVER!! Now I thought that this fact had been included because he was playing Pinocchio, you know the one whose nose grew when he told a lie, but NO! I checked out the facts afterwards and this really is his debut anywhere! To look that at ease on stage, perform, dance and sing on a stage like the Nottingham Theatre Royal, and look as comfortable as his fellow actors, would raise doubts from anyone who gets to view many productions. It seems that Bara is made for the stage and I, for one, can't wait to see what he does next.

This really is a massive production and I can't really mention every actor in the programme, because there are absolutely loads. What I can say is that I've seen professional productions of "Shrek" that I have enjoyed and they stand aside this production, such is the professionalism of Carlton Operatic's presentation.

The sound tonight was perfectly pitched, not too loud and not too low, perfect. I could hear every word of the singers over the wonderful quality and sound balance of the fifteen-piece orchestra, under the Musical Director, Christopher Rees.

Amanda Hall directed the show, assisted by Cassie Hall, and let's face it, just knowing that Amanda has her name anywhere on a show of this size means that you are guaranteed quality and class, which is what you get with "Shrek".

There is such a lot of choreography in a show this size so Abby Wells had her lot cut out for her, but once again she rose to the challenge and pulled it off with the utmost aplomb! Loved the tap dancing rats.

The Lighting is magical in creating atmosphere and the lighting magician is Tom Mowatt. Need I say more? Perfection!

Rob Kettridge is the man behind the sound design, and is another name that you recognise to be one of the top in his class, so seeing Rob's name on the programme also guaranteed excellent sound results. I was not disappointed.

The set, which was the standard of any professional touring production was provided by Scenic Projects.

The make-up and wigs were incredible, with the prosthetics supplied externally by a theatrical supplier by the name of Becdoesshrek.

The costumes were, as you would imagine, given all of these various characters in the story just amazing. There was one costume for one of the guards that could have had Lord Farquaad's eye out if he had been a bit closer. I know that that particular part of the costume is called a "cod-piece" but there was something rather fishy about the size of it!

As I said earlier, this production would stand side by side with any professional production touring the theatres, and that is down to every single cast member and every single member of the production team. It is a massive show and deserves to be sold out every night it is on this week.

I really wish I could give a name check to absolutely everyone involved, but anyone who knows me, know that I have a massive respect for everyone behind the scenes on shows, big or small, and that everyone plays a part in the success of a show, no matter what role on or off stage. Carlton Operatic Society have been around for over 100 years now and that is because of the people involved, and their group is as strong as it has ever been, and this show proves that strength.

If you can only afford to see one musical this month, make it "Shrek".

Carlton Operatic are fundraising throughout this production for Footprints Conductive Education Centre, whcih empower families with disabled children.

"Shrek The Musical" is at the Nottingham Theatre Royal until Saturday 7 April.

Photos courtesy of Martin Holtom and Cassie Hall.