Thursday, 19 October 2017

“Move Over Mrs Markham” by The Bonington Players
Bonington Theatre, Arnold.
Written by the King of Farce, Ray Cooney and John Chapman, this wonderful farce is set in a top floor London flat, belonging to Philip and Joanna Markham. The flat has been renovated, and so has been largely empty.
Philip is a publisher of children’s books, and he shares an office with his partner, Henry Lodge, on the ground floor. Philip agrees to let Henry borrow his apartment for the evening to “entertain” his latest girlfriend, Miss Wilkinson.
At the same time, Joanna Markham is persuaded by Linda Lodge to let her borrow the apartment, so she can entertain her lover, Walter. What nobody knows is that the interior designer, Arthur Spenlow, who had been decorating the apartment for the past three months has decided that this was the night he and the au pair girl, Sylvie, would try out the new oval bed!
When all three sets of people converge on the apartment, expecting to find it empty, chaos and confusion ensue. And that is only added to when prudish writer, Olive Harriet Smythe pops by looking for a new publisher.
This is a proper five door farce with plenty opening of doors. The set is really plush with a nice separation between the bedroom and the living area, both vibrantly decorated.
A lot of work has gone into the design of the set as well because the area behind the doors and the window are all three dimensional, giving even more depth to the set.
The secret to a good farce is timing, and a lot of hard work, and both of these attributes are in abundance. You cane really tell that a great deal of hard work has been put in by everyone in this production.
Act two is do fast paced and with the addition of the other characters, plus most of them all swapping names and roles, it can send your head dizzy, but it's such a clever script that it makes watching the action an absolute joy to take in.A wonderful job of directing by Howard Whitehurst.
Every single one of this cast is so hard working and even through all of the on stage melee, you just know that the actors have mastered that split second timing.
Anna Hodkin (Joanna Markham), Jonathan Greaves (Alistair Spenlow), Lauren Hodkin (Sylvie), Lindsey Parr (Linda Lodge), Wayne Hill (Philip Markham), Eddie Janusczcyk (Henry Lodge), Philip Chapman (Walter Pangbourne), Julia Walters (Olive Harriet Smythe) and Helen Holbrook (Miss Wilkinson) interact with each other so smoothly. There are no singular performances that stick out over any other which just goes to show what a great cast this is.
Also doing a fantastic job is the sound and light designer, David Goatham, the sound operated by Zoe Lander, Making sure everything is where it should be, when it should be there in this fast paced production is the stage manager, Tony Tomlinson.
It's a very saucy farce with a barrel load of laughs and some excellent performances which is really worth shelling out for.
“Move Over Mrs Markham” is at Bonington Theatre until Saturday 21 October 2017.

Wednesday, 18 October 2017

“Avenue Q” by Gatepost Theatre Company
Guildhall Theatre, Derby.
Sesame Street for adults is one description of this musical where the stars are puppets. Well we all know that actors have a hand in this somewhere but when done well your eyes focus on the puppet stars of the show and you don’t notice the actors behind the puppets, which is the way it should be.
Having seen both professional and local theatre productions, I know what a brilliantly funny and ever so slightly naughty show this is.And like seeing a favourite old film, it just gets better the more you see it.
The show is a lot more difficult than it may first appear and timing for the show is vital, as well as synchronicity when you have two actors controlling the same puppet. There's more to think about for these actors than may first meet the eye, or mouth! Physically, it's also not an easy ask for the actors.
Gatepost are now into their 13th year, and while 13 could be classed as unlucky, for this group, 13 isn’t unlucky for Gatepost, especially with this production.
“Avenue Q” is the story of a group of twenty-somethings looking for their purpose in life. Recently graduated from college Princeton, moves into an apartment all the way out on Avenue Q, New York. There, he meets Kate (the girl next door), Rod (the Republican), Trekkie (the specialist movie expert), Lucy The Slut and other colourful types.
There's the relationship between flat mates Rod and Nicky, Princeton and Kate Monster and Princeton and Lucy, and the very real relationship between the only two actual human characters Christmas Eve and Bryan. And then there's The Trekkie Monster (always been my favourite) with his relationship with his hard drive!!
And just when you think all is going well, along come the naughty Bad idea Bears. Wonder why they are called that?
Kate Monster (Kirsty Vastenavondt), Princeton (Christopher Collington), Brian (Chris Bryan), Christmas Eve (Gemma Ryan), Gary Coleman (Josephine Pearson), Nicky (Dan Collington and Mina Machin), Rod (Simon Collington), Trekkie Monster (Richard Pearson and Ryan Taylor), Lucy (Laura Howard), Mrs Thistletwat (Jude Cliffman and Mina Machin) and last but not least The Bad Idea Bears (Michelle Bruce and Martin Holtom) are all wonderfully entertaining.
The vocals match the characters and the accents are performed well.
There area few differences in this production from others that I'd seen, one being Gary Coleman being a puppet, whereas I'd always seen productions where Gary was played as a human and not a puppet, and I suppose this version fitted in with the rest of the characters. It didn't seem out of place with just Bryan and Christmas Eve now being the only pair of humans.
If you've seen other productions of "Q" and you're intending to see this one, I'll leave you to spot the differences as they're fun to pick out.
The soundtrack is filled to the brim with catchy tunes with clever lyrics, and while many of them are not politically correct, they will make you laugh.James Bowden was the Musical Director and his band of musicians sounded crisp and at a level which blended in well with the acoustics and didn't drown the vocals from the stage.
Directed by Christopher Collington and Produced by Daniel Collington between them they gave us a rollicking good show full of laughs. With the addition of the puppets as well as timing in the two TV screens, there was a lot to make sure went right, and it did, very smoothly.
The set is especially hired in, as are the puppets to make sure the "brand" is kept.
My only niggle of the evening is regarding one of the vital parts of this musical, and that is timing. Not with the actors or puppetry, but with the lighting. There's a section where the upstairs windows have the characters appear at the windows to sing, and these weren't hit by the lights, so we could hear the vocals, we just didn't see the characters at the window. For me that hitting the window with the spot needs to be timed better. Not a major thing by any stretch of the imagination and nothing that can't be tweaked. But I knew that nothing would spoil my enjoyment of "Q", and it didn't.
It's one of those musicals that once you've seen it, you'll want to see it again, just for the sheer fun and non politically correct comedy. Great respect for all the actors and puppet masters, and if your eyes stray from the puppet characters to the actors, just note the shadowing of the puppet in every aspect, physically and visually.
“Avenue Q” will be right up your street if you go and see it before it closes on Saturday 21 October 2017

Tuesday, 17 October 2017

“Beautiful – The Carole King Musical”
Nottingham Theatre Royal
“Beautiful” is the story of Carole King’s journey from schoolgirl to singing/song writing superstar who has penned so many recognisable hits, not just for herself but for many other well-known names of the 1960’s and 1970’s. It covers her relationship with husband and song-writing partner, Gerry Goffin, through to the playful rivalry of fellow signwriting duo Barry Mann and Cynthia Weil and her own chart career in the early 1970’s.
Songs like “Will You Still Love Me Tomorrow”, “Take Good Care Of My Baby”, “The Locomotion”, “Pleasant Valley Sunday”, “Up On The Roof”, “One Fine Day”, “You Make Me feel Like A Natural Woman” were all big hits for other artists, and some people may not have realised that these are all from the pen of Carole King.
Her album “Tapestry” was number one in the American charts for 15 consecutive weeks, and stayed in the charts for nearly six years. She also collected four Grammy Awards for the album.
We first meet King, born Carole Klein, when she is 16 years old and on the verge of selling her first song, "It Might As Well Rain Until September" to Don Kirshner played by Adam Howden. We then get the full journey all the way through to her 1971 performance at Carnegie Hall
Leigh Lothian plays King and doesn’t deliver an impression of King, more of an interpretation of King’s work. It’s heartfelt and simple. There was nothing flashy or vocally
acrobatic from King and that is reflected in Leigh’s performance. That heartfelt simplicity and honesty could be the reason why King’s music is played on radio stations today with her songs performed with a real love and respect for King’s lyrics.
Kane Oliver Parry plays Gerry Goffin, who wants his cake and eat it with a string of women he flits to and from, while still wanting to be a husband and father.
Playing Cynthia Weil is Emma Lucia, in a last minute replacement, so last minute there was a slight hold up during the play. You have to admire any actor who, while knowing that they are understudying another actor, is thrown in right at the last minute. Emma could have been the main actor playing Weil, we wouldn't have known had that break not have occurred.
Barry Mann is played by Matthew Gonsalves, who shows what a voice he has in the second act as he sings "We Gotta Get Out Of This Place". His voice comes as no real surprise as he is a vocal arranger doe artists such as Westlife, Florence & the Machine and Barry Manilow among other well known names.
Adding a lot of the comedy is King's mother, Genie, played by Carol Royle. And there's many lovely one liners throughout this wonderful musical.
A very talented ensemble who double as the groups and singers like The Drifters, Neil Sedaka, The Chiffons, Righteous Brothers and The Shirelles, bringing back memories (for some of the older viewers) of the wonderfully entertaining choreography (Josh Prince) of the era.
Directed by Marc Bruni, the sets and the show is polished and stylish with some nifty, albeit slightly clunky scene changes.
Talking of style, the costumes and wigs for "Beautiful" were very stylish. it was a rare thing for an artist of group in the early 60's not to be seen on TV or stage without a suit or flowing dress, and these costumes reflected that perfectly.
My only fly in the ointment would be the occasional noise coming from the wings which at times were a distraction in the quieter moments of the play.
Musical Director is Patrick Hurley who recreates the magical zing of the era.
There are several emotive sections in this musical, especially when listening to "You've Got A Friend" and when she sings "Natural Woman" and they can really get to anyone with a heart.
A very well deserved standing ovation as Leigh took her final bows, which lead on to a brilliant version of "I Feel The Earth Move". So many great songs in one show, ensuring you go home with your head and heart full of musical loveliness.
“Beautiful” is at the Nottingham Theatre Royal until Saturday 21 October 2017

Monday, 16 October 2017

“And Then There Were None” by Encore Performing Arts
The Space, Nottingham Girls High School.
Even though I have seen this particular play several times before, and knew who did the dastardly deed, you still can’t beat revisiting the writing excellence of the Queen of Murder Mysteries. That is the secret with plays like this, the writing is the best of its kind, which is also why this is the most popular of Christie’s stories.
Ten strangers, apparently with little in common, are lured to an island mansion off the coast of Devon by the mysterious U.N.Owen. Over dinner, a record begins to play, and the voice of an unseen host accuses each person of hiding a guilty secret. That evening, former reckless driver Tony Marston is found murdered by a deadly dose of cyanide.
The tension escalates as the survivors realise the killer is not only among them but is one of them and is preparing to strike again… and again...and again. Who, if anyone, will survive?
There are two endings to this play and this is the original ending, which originally was deemed too dark to play out, so if you’ve seen one version of this play, it’ll be worth booking your ticket to see if this ending is the same as the one that you know.
In fact there are many reasons for booking your ticket to see Encore's version of "And Then There Were None"
First of all the gorgeous venue. One of the most stylish theatre spaces I've seen in a long while. Bright and airy and so clean. The auditorium, one of several, boasts really comfy seats with plenty of leg room and a deceptively large stage. And Encore are the first external theatre company to use this venue, and are now calling it their new home. I know that they will flourish even more in this wonderful new place.
That is another thing that gave the "WOW" factor as soon as the curtains opened. One of the best, if not the best set I have seen for this play. Large, in all dimensions, Richard Heappey.
making the set itself look uncluttered, fresh and modern.An incredible feast for the eyes courtesy of set designer
Mina Machin has done Encore proud with the wonderfully stylish and classy costumes.
What I also loved about this production was the way the tension built up with the aid of the incidental music. There were times when my flesh really started to creep. Great atmospherics.
Little Directorial touches kept the production fresh, and I loved the ending, and the way that when the cast took their final bows completely in character. Another smash success for Adam Guest and Sam Griffiths, who I believe to be two of local theatre's most talented Producer/Director combo.
And what a brilliant and well chosen cast. Most of them I've had the pleasure of seeing in the past but there's also a few new faces which slotted in perfectly.
Aston Fisher, almost unrecognisable as secretary Vera Claythorne, Mik Horvath as ex soldier Phillip Lombard, Duncan Leech as ex police inspector William Blore, George Johnson, someone I don't think I've seen before, was wonderfully arrogant as the boy racer Anthony Marston.
Returning to the Encore fold is Terry Stevenson as General Mackenzie, Kathryn McAuley is marvellous as the pious elderly Emily Brent. Steve Dunning is a class act as Sir Lawrence Wargrave and Graham Buchanangives another classy but edgy performance as Dr Armstrong.
Making a solid debut in his first amateur production in Nottingham is Chris Mundy as the manservant, Rogers. Rogers wife is played by Milly Shawcross, who makes her debut on stage. No stranger to local theatre is Milly though as she normally excels at working behind the scenes. Thank goodness she has
stepped into the spotlight in this first time board treading Both Chris and Milly also managed the Devonshire accent well.
Encore Productions have covered a lot of ground in the last couple of years since they started but every production build on the success of the previous. This one following on from the incredibly funny “Avenue Q” earlier this year. The next three productions they have planned will carry on their "sky's the limit" success story.
Encore have also chosen their preferred charity for this production to raise funds for as Literacy Volunteers. The charity assist young people with their literacy, communication and social skills by working in partnership with schools by providing trained and supported volunteers who make reading and communicating enjoyable to those at risk of disengaging from education.
“And Then There Were None” is at The Space, Nottingham Girls High School until Saturday 21 October 2017. Do not miss this production, even if you've seen previous productions, this one could be the best to date, easily rivalling any professional touring production.

Thursday, 12 October 2017

“Forever Young” by Heanor Musical Theatre Company
Guildhall Theatre, Derby.
Having seen this play several times before, I had an advantage over the majority of the audience. This is the British Amateur Premiere of this comedy play.
The play is set in the future in the year 2030 and the Guildhall Theatre is a retirement care home for retired actors and musicians. But do retired performers take retirement to a relaxed life of being cared for? Not this lot!
Their days are filled with reliving their past glories, or as they see their past glories which includes sex and drugs and rock n roll, all with an open eye for Sister Sara and her hypodermic needle, just in case it gets a little too raucous. Sara is the perfect nurse for these young at heart veterans as she also treats them to her operatic outbursts. With critics like this crowd though I don’t think Sister Sara will be giving up her day job too soon.
Sara is played wonderfully bossy by Katy Gaskin, but what a lovely voice she has, especially in the wartime favourite "I'll Be Seeing You"
Ben Sherwin plays an old retired TV actor called Mr Sherwin. Along with his partner in the care home, Ms Richmond, played by Katie Richmond, they made a lovely couple, especially when we got to the poignant section where Miss Moran sang "Without You". I won't tell you what brought this song on because while it had its' funny side, it was quite a sad moment in the play.
Mr Mills is an ageing rockstar who croons "Green Green Grass Of Home" while passing the dooby round. Paul Mills is the rocking hippy in this production. he is also part of a brilliant comedy double act which closes Act One with Mr Ward in a shocking manner!
Simon Ward is Mr Ward, and I had to look twice because he morphed into this fragile bent over little old man. The physicality in this role was wonderful and never faltered. For those old enough to remember Edward Malin from "Nearest & Dearest", Simon, in character looked the spitting image of this actor.
My favourite character in this musical comedy play has always been the foul-mouthed posh character, played this time round by Alana Moran as Miss Moran. A wonderfully politically incorrect potty mouthed character. Again i had to really look past the large glasses and brilliant wig to spot Katie.
Adela Green plays Mrs Green, a retired costume and wardrobe mistress, who has a belter of a voice. She belts out Lulu's "Shout".
The last of the main residents is Mr Lukinski, a Russian concert pianist who has no grasp of the English language. it made me smile when the woman behind me commented that she couldn't understand a word he said. Played by Tom Lucking, another wonderful character driven performance.
This performance was different in several ways from the other performances I'd seen in the past. The care home was fleshed out with additional nurses, Laura Jacobs and Lucy Stokes, and dive additional residents who joined in with the fun and helped create a fuller sound in the vocals. Tracy Coope, Brett Waller, Roger Bodie, Al Tandy and Adam Carpenter add to the jollity of growing old disgracefully.
Some of the comedy may not be politically correct but who cares as it’s very funny with some clever arrangements of popular songs. “Barbie Girl” has never sounded so good. That’s just one of 20 songs performed in this comedy which also takes in “Sex Bomb”, “I Got You Babe”, “I Will Survive”. “You Can Leave Your Hat On”, “Green Green Grass Of Home”, “I Love Rock n Roll” and of course the poignant title of the play “Forever Young”, both Bob Dylan and Alphaville versions were performed.
The make up is excellent, thanks to professional Nottingham make-up artist, Jayne Hyman.
The costumes and wigs were also excellent, provided by Trish Church and the company.
Lisa Mills did an excellent job as Director as well as Musical Director.
The sound was just right, comfortable on the ear and clear, thanks to Chris Banks and the lighting by The Guildhall Theatre was perfect, at times almost like a disco. Great atmosphere and fun.
Even though I fell into the younger end of the scale with the age of the audience, the elder contingent showed that they had a naughty sense of humour, laughing raucously at the often explicit language and well crafted arrangements of the songs
Throughout this run, Heanor Musical Theatre Company are supporting the Derby and Derbyshire Age Concern, which is pretty apt.
Even though I've seen this play about four times before this production, it still makes me laugh and I love all the characters, which just does to show that good humour is ageless and timeless. With a talented company like this, they create a great evenings entertainment, and at just a little over two hours running time, including the interval, you can retire to the bar afterwards to decide who was your favourite party pensioner.
All this as well as an homage to Derbyshire's finest thespians projected on the care home wall behind the action
“Forever Young” is at the Guildhall theatre in Derby until Saturday 14 October 2017.

Tuesday, 10 October 2017

“All My Sons” by Arthur Miller
Nottingham Playhouse
Arthur Miller’s play is the story about family secrets, the unintended consequences of actions and how, in trying to look after our own, we can destroy them and ourselves. It’s also a compelling story of love, guilt and the corrupting power of greed.
Joe Keller is a thriving businessman who, during World War 2, knowingly supplied the American air force with defective engines, leading to the deaths of innocent pilots. To avoid the blame, he let his business partner take the fall, but on a Sunday afternoon Joe is confronted by the consequences of his moral actions as a visitor arrives to reveal a secret that will rip his family apart.
This is one intense play and two adages immediately spring to mind when describing tonight. "You could cut the atmosphere with a knife" and "you could hear a pin drop", both very fair descriptions of the tense
atmosphere at the Playhouse.
Sean Chapman (Joe Keller) is a wonderful character builder and as we go through the play he unintentionally lays himself bare and the truth is finally out in an explosive big reveal.
Cary Crankson (Chris Keller) has a talented ear for accents and his Brooklyn accent is unwavering throughout this passionate performance.
Kammy Darweish (Dr Jim Bayliss) provides some often needed lighter moments in some of his speeches about his hypochondriac patients.
Sasha Frost (Lydia Lubey) also adds some more upbeat characterisation as the young neighbour with three kids who is innocent to the goings on in the world, or how to use a toaster!
Ben Lee (George Deever) makes an appearance in Act Two and, albeit just a short appearance, he's the one who lights the blue touchpaper!
Caroline Loncq (Kate Keller) plays the mother and it's her motherly instincts and loyalty to her family which makes this character so endearing. She also likes to control her family as well as protect them. It's her over protectiveness though that helps unravel Joe's downfall.
Patrick Osborne (Frank Lubey). Frank's a harmless man with no understanding of the world beyond his backyard but has a big interest in horoscopes, which is an important piece of the play.
Shauna Shim (Sue Bayliss) Sue doesn't like Chris as he's seen as a bad influence on her doctor husband, and she'd prefer that Ann take Chris away after they get married. This causes tension between Sue and Ann.
Eva-Jane Willis (Ann Deever). Ann is the former fiancée of the dead Larry Keller. A little while after Larry's death, she and Chris started writing each other letters. At his request, she returns to the Keller home, all grown up and beautiful. Chris wants to marry her, and she wants to marry him. They just have to figure out how to break it to Kate and Joe. Eva's character is feisty and definitely has a mind of her own, as we see at the end.
Felix Findley played Bert, the neighbourhood kid who pops round the Kellers. Felix is one of three child actors playing the same role.
Directed by Fiona Buffini, she keeps the atmosphere and tension, at times at fever pitch with a lovely gradual build up of the story on Act One leading to the explosive ending of Act Two.
Set Designer was Dorrie Scott and this is the first thing that hits you as you walk through the auditorium doors. A very stylised set that brings a modern touch to an old classic Miller story.
I was kept transfixed to the stage and actors but I only have one little downer. There's a scene where a slap to the face is called for. This was, from where I was sitting, not executed as well as it could have been as there was a massive gap between the hand and the face. And did I miss the sound of the slap? Just needs to be choreographed, or executed better for more realism. Apart from that, i loved this play with it's slow burn story.
“All My Sons” is at the Nottingham Playhouse until Saturday 21 October 2017.

Monday, 9 October 2017

“The History Boys” by Alan Bennett
Nottingham Lace Market Theatre
First of all let me say that the whole run of this production was sold out before the show opened which indicates the quality of the play, the writing and the cast. All of these three I completely back.
The play is one that I have seen on several occasions and is one of those stories that you just don’t tire off. This is due to the wonderfully rich writing of Alan Bennett and a story that never really ages, even though it’s set in the 1980’s.It’s issues are relative in any decade you set it, including today, so you can never tire of excellently observed pieces of literature, something that writers such as Bennett and Godber excel at.
The writing is well balanced with as much humour as there is pathos and inner pain. It takes you through the end of school pressures for those final exams as they try to get their places at Oxford and Cambridge and meanders through the personal lives and situations of the boys involved.
But it’s not just the boys’ lives we have insights to, as the teachers are just as important and as fascinating with the battle, almost for teaching supremacy between Hector and Irwin.
Making her directorial debut is Immi Lea, who also doubled as the designer for the set. I think we can safely say that this is big success for Immi. The set taking me back to my school days and subtly split into a separate area for the headteacher's office area.
Playing Hector is Piotr Wisniewski, who we don’t see on stage as much as we should. Reminding me a bit of Gyles Brandreth in looks, this is a wonderful portrayal of Hector. I've seen this play on several occasions and every actor seems to bring a different quality to Hector. Piotr is no exception; he made this role his own.
James Hallam (Irwin) brings out the passion of the latest rookie teacher who ends up in a wheelchair. There are several skins with Irwin and we see just a few unpeeled to reveal his life outside school.
Richard Fife (The Headmaster) reminds me of a headteacher I once had, authoritative but quite laid back.
Vicky Elizaga (Mrs Lintott) makes her Lace Market Theatre debut, and what an addition to the fold. A lovely relaxed and controlled performance and I hope that Vicky sticks around for more plays.
Lewis Fernandez is perfectly cast as the good looking, self assured and cocky protagonist Dakin. Sexually confident and knows how to pull the strings of some of his fellow pupils.He's aware of Posner's attraction to him and keeps him hanging there.
Daniel Salmon, again perfectly cast as Posner, the young Jewish boy infatuated with and madly in love with Dakin. His adoration for his fellow pupil is reflected in the puppy eyes he flashes at Dakin and his flirtatious singing of "I'll sing to him, each spring to him
And worship the trousers that cling to him" from "Bewitched".
Joe Kinch (Scripps) is another Lace Market Theatre first timer and had the dual role of playing the most religious boy in the class as well as being the narrator for the play. Along with everyone else, his relaxed performance leaves you warmed to him, and his character so easily.
Rahil Ghazani (Akthar), Normally one of the characters who you may not remember in the play, but this group work so naturally with each other that Akthar's character is remembered as the Muslim student and isn't relegated to the back desks of the classroom.
Jack Harriman (Crowther) also a newcomer to the Lace Market Theatre family. The character is into acting but went on to become a magistrate. Hopefully Jack won't take the same route as his character!
Jorden Myrie (Lockwood), has already clocked up an impressive CV of work, having been trained at the BAFTA Award winning Television Workshop in Nottingham. Again this character isn't one that automatically stuck out by Jorden made sure that Lockwood wasn't at the back of the class.
Chris Collins (Rudge), in the latest of a long string of characters Chris has played over the years. Chris has really got behind this character. There's a danger of portraying Rudge as a bit of an idiot, but Chris has pitched Rudge right where he should be; not the sharpest knife in the box but he has hidden talents which work for the character to get him what he wants and where he needs to be for his own ends.
Adam Goodchild (Timms), plays the main joker in the pack. Comedy works well for Adam, he looked like he was having fun on stage, as did all the "lads". Adam's cheeky fresh face, as well as his acting talents, is obviously why he was a natural choice for this role.
This is a cast that has been put together from all different and varied experiences and backgrounds and has blended together to make a really smooth and comfortable to watch cast. They could have been at school together and could have been the best of mates, This cast made me believe this, and the chemistry is great to behold.
It's not a rare thing of late to see a cast that work together as good as this cast do because local theatre has that magic. When the Director and Casting team work their magic with a talented cast, it's not only good to see, it's very exciting for the audience.
It's no secret that i love the rawness of Northern playwrights and this play is right up there as one of my favourites. When you see such a marvellous cast that perform with great chemistry and love for what they do, it's quite emotional. I had no hesitation in rising to my feet at the end to show my appreciation for a unifying talent that graced the stage.
“The History Boys” will reach it’s end of term at The Lace Market Theatre on Saturday 14 October 2017 but by the looks of it you may need to check before hand for any returned tickets by absentees, because as I said the website shows that this week is completely sold out. I just hope that any absentees have letters to explain why they have missed this lesson in class theatre.