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THE LONDON PALLADIUM TO HOST THE 25^TH ANNUAL WHATSONSTAGE AWARDS IN ASSOCIATION WITH AUDIENCEVIEW

WhatsOnStage today announces that the ceremony for the 25^th Annual WhatsOnStage Awards, in association with AudienceView, will take place at The London Palladium in 2025 – as the awards celebrate turning a quarter of a century.

Taking place at 7pm on Sunday 9 February 2025, the evening will see winners crowned across a range of categories. Theatregoers will also enjoy a host of exclusive live performances from top stage talent, accompanied by a 24-piece orchestra. The event is co-produced with creative directors Alex Parker and Damian Sandys.

Tickets will go on general sale from 11am on 4 October 2024 via LW Theatres.

Now in their 25th year, the WhatsOnStage Awards are the only major theatre awards decided by the theatregoers themselves. 

WhatsOnStage’s Darius Thompson and Alex Wood said today: “”As we kickstart the process for the 25th Annual WhatsOnStage Awards in association with AudienceView, we look back at the millions of votes that have been cast over the last quarter of a century. What these awards celebrate, beyond all else, is that brilliant relationship between creatives and audiences – those who have turned up, night after night, to cheer on and applaud performance in all its forms. 

“We can’t wait to get back to The London Palladium next year. The team at LW Theatres were so wonderful, patient and collaborative during our first outing there last February, and we’re already cooking up some fantastic surprises to mark our silver anniversary.”

Nominations will open on 7 November, with further information to be announced shortly.

WhatsOnStage is proud that the 2025 awards ceremony is sponsored by industry-leading organisations: 5RB, AKA Promotions Ltd, AudienceView, Avalon, Boulevard Events, Concord, Dewynters, Disney’s Hercules, Edwardian Hotels, Hexagon Print, LOVEtheatre, Music Theatre International, Newman Displays, Outernet Venues, Preevue, Re:Water, RSVP-ify, SINE Digital, Steeldeck Rentals Ltd, Tandem Marketing, Theatrical Rights Worldwide, Ticketmaster, Travelzoo and White Light.

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lwtheatres.co.uk 

Twitter: @WhatsOnStage #WOSAwards
Instagram: @WhatsOnStage

TikTok: @WhatsOnStage

Festival Theatre, Malvern – until 5^th October 2024

Reviewed by Courie Amado Juneau

5*****

1984.  The very title rings down to us like a literary version of the Roman Empire – colossal in scale and influence.  I was very much looking forward to seeing what this new adaptation would look like.

Before the play had begun we were drawn into the drama and dystopian world as a giant screen at the rear showed us in the audience shuffling in and waiting expectantly.  Big Brother really was watching us, right form the off!  This omnipresent feature also conveyed various locations during the play, allowed exchanges with colleagues and the news announcements etc.  Just like modern day life – the screen is menacingly always there.

The stage was a stark affair which successfully conveyed the right mood and author’s intentions. There was also (to my eye) a clear nod towards the freedom fighters of the P.O.U.M. era in Barcelona and the stage costumes – especially the red tie around the waist.  A big pat on the back to set, costume and video designer Justin Nardella for his work tonight.

Was it my imagination or did the writers put in many other cultural references that weren’t in the original – such as the dehumanizing of immigrants that both harkened back to the dark days of the 1930’s whilst mirroring our own troubled times – evoking thoughts of Gaza for instance?  Powerful stuff.

The cast was magnificent with fantastic performances all around!  Mark Quartley (playing Winston) gave us every facet of the human condition during the story – from emotionally downtrodden servant of the regime to bon viveur and from defiant to broken man.  A powerhouse performance that deserves much credit, he was truly pivotal.

Eleanor Wyld perfectly captured the full panoply of emotions needed to play Julia (Winston’s partner in “crime”).  I loved her free spirit where the panic was just below the surface.  I was utterly convinced, which made Winston’s journey all the more believable.

Keith Allen was shockingly effective in the role of O’Brien.  He showed admirable restraint which made the moments when he unleashed his full tortuous vitriol all the more powerful.  

Parsons, Winston’s neighbour, was the real surprise of the evening though with a stunning portrayal from David Birrell.  His scenes in captivity were the most impactful of the evening – I’ve rarely seen such a thrillingly real portrayal of panic and terror.  

A masterpiece brought to the stage with visceral honesty and sincerity – this is a telling of the tale to savour and all involved should be very proud of themselves.  The work is not an easy watch – especially Winston’s interrogation which was so horrific it was hard to fathom how they managed it within the confines of a live, stage performance.

With taut, muscular direction (from Lindsay Posner) and adaptation (from Ryan Craig) and a stellar cast at the top of their game, this is a play that is not to be missed.  Not joyous but very enjoyable, it was a thought provoking evening that will live long in the memory of all who witness it and one I wholeheartedly recommend.

The Crucible, Sheffield – until 12 October 2024

Reviewed by Sal E Marino

5*****

Intense, dramatic and spectacular perfectly describes Chris Bush’s adaptation of Henrik Ibsen’s A Doll’s House which is currently showing at the Crucible, Sheffield.  As the mum of an A Level English Literature student, I primarily took my daughter to see this play in order to help her with her studies but have come away astounded by what I witnessed on the stage!  I can honestly say there was not a minute went by when either of us weren’t mesmerised and fully engaged in Nora Helmer’s story of self-discovery and transformation.

Siena Kelly, who plays Nora quite simply blew me away with her performance.  I loved Nora by the end of the play and she now stands up there as one of my all-time, most favourite and inspirational literary characters.  The courage and bravery she finds to step out of the life that her childhood and society have conditioned her to live in was not only moving to watch but the way Kelly plays it – exhilarating!  The tension just builds and builds until, without giving too much away, you know you are witnessing not just a life-changing decision but one that comes from the soul and is a paradigm shift in the whole of the world at large. 

When Henrik Ibsen first penned A Doll’s House, around one hundred and fifty years ago, it was so shocking for the Victorian audience to watch that the ending was changed for a while to help soothe the public’s reaction. They simply weren’t ready for such a disruptive concept that could shatter households.  Furthermore, it’s even crazier to think that what was reflected in that ‘Doll’s House’ is still relevant and playing out in homes today.  Torvald, Nora’s husband played by the equally brilliant Tom Glenister, could be called out as being a true villain but he, like Nora, is also just taking on a role that he had been primed to play.  His beliefs that his wife is his property and that she must behave like he wants her to was constructed when the term ‘bread-winner’ was invented many years ago. Like other men of that time and indeed even today, he had simply not evolved enough to see a woman as his equal and continued to ‘play’ with her but also continue to be ‘played’ himself by the systems of commerce and materialism. 

In complete contrast to the state of the Helmers, who by the end of the play present as a broken couple, are Krogstad (Eben Figueiredo) and Christina (Eleanor Sutton).  These two lay their souls bare to one another by admitting their mistakes and misfortunes and from that pure honesty find a freedom that allows true love.  Christina tells Nora to ‘have faith’ but that faith comes in place where Nora thought she’d never find it, in herself.  Other characters in Ibsen’s masterpiece are Dr Rank (Aaron Anthony) who as the play unfolds turns out to be a foil character to Torvald and Anna (Mel Lowe), Nora’s ill-fated replacement.

This whole production is outstanding and the creative team must also share the well-deserved kudos and praise for devising a most functional and attractive set.  The ‘house’ with its soft lighting and simple Christmas theme is a superb back-drop that makes the scene changes faultless and creates interesting shadows that conjure up different moods and atmospheres.  When Nora declares that she’s tired of bells and costumes and changes from a glittering fancy dress attire to somber black, the audience knows it’s a key moment in the play.  “Aren’t you too old to be playing with dolls?” and “I am a product of your image.” are lines that Nora delivers with heart and soul.  These words become a game-changer for her as she shines brightly with a truth which needs no glittering trinkets to reflect her inner light. 

A Doll’s House is unforgettable, gripping and electrifying – it takes you on Nora’s sensational and powerful journey and perhaps on reflection your very own too! 

Everyman Theatre Cheltenham – until Saturday 5th October 2024

Review by Kathie Hodges

5*****

Ghost the Musical brings the unforgettable 1990 film to life with its iconic soundtrack, emotional depth and supernatural twist. The musical follows the tragic love story of Sam played by Josh St. Clair and Molly played by Rebekah Lowings, whose lives are shattered when Sam is murdered.

Stuck between life and death, Sam must rely on a quirky psychic, Oda Mae Brown played wonderfully by Jacqui Dubois, to protect Molly from potential danger while attempting to say the goodbye they never had.

The heartfelt performances by St. Clair and Lowings manage to capture the intensity of the couples love and tragic loss. St. Clairs singing voice is incredibly powerful and flawless while Lowings is utterly beautiful, and I dare anyone not to cry when she sings ‘With You’. In fact for me in terms of emphasising the grief of the pair, this moment was it. The famous number ‘Unchained Melody’ is a pivotal moment of course, evoking nostalgia for fans of the original film, but for me Lowings singing ‘With You’ was the moment I wished I had stocked up the tissues as advised. It was truly the most heart wrenching vocal performance of the night, showcasing perfectly her angelic voice. Original songs by Dave Stewart of Eurythmics, enriched the production with a mix of pop and rock and a really fun number for the Hospital Ghost played joyfully by Les Dennis.

The set is wonderfully creative and rapidly changing from the New York apartment where the couple lived, to the streets of New York to the famous Underground train scene.
The special effects do a great job in representing the ghostly world.

The show’s choreography though competent, was ever so slightly lacking. That said for any small part of the show that may have been lacking, after all it’s incredibly hard to adapt to stage such a hugely successful movie, Jacqui Dubois who plays the psychic Oda Mae Brown makes up for it in boat loads. Her timing is perfect, her sassy personality shines through and the audience are completely captivated by her performance and her outfits.

If you loved the movie, this is one to watch for its blend of romance, drama, and light hearted moments.

Yvonne Arnaud Theatre – until Saturday 5th October 2024

Reviewed by Carly Burlinge

4****

Cluedo 2 the classic boardgame that we all know and love and have played many times comes to life at the Yvonne Arnaud Theatre in Guildford.

The classic who done it story unfolds with the well know characters Colonel Mustard (Jason Durr) Miss Scarlett (Ellie Leach) Mrs Peacock (Hannah Boyce) Mrs White (Dawn Buckland) Professor Plum (Edward Howells) and Reverend Green (Gabriel Paul). Who are also joined by Rick Black (Liam Horrigan) and Wadsworth (Jack Bennett) to name a few. The production opens with all characters in a 17-bedroom Mansion, owned by Rick Black, who has invited them all there for the preview of his new album. Suddenly thunder roars lightning strikes the lights go out and when they come back on all the characters appear holding the famous Cluedo murder weapons and Mr Black jokingly states that “no one gets out of here alive”!!!

As they all come together for his masterpiece to be revealed in his study/studio. They discover that he has been murdered! But when all the guests take a closer look, its not your run of the mill murder it extravagant with the victim having be stabbed, throttled, shot and hit on the head potentially with the weapons they were previously seen holding. Now several motives and suspects come in to play with everybody looking at each other. wondering who’s the guilty party!

Each individual actor played their own parts extremely well, but as an entire cast they all came together brilliantly with on point comedic timing bouncing off each other showing the obvious great connection that they shared on stage.

I particularly loved Mrs Whites character that had attitude, she isn’t afraid to say what’s on her mind whilst putting the fright into them all, before she goes off to steam the veg – very entertaining!

Wadsworth also offers much comedy shown through physical actions by prancing across the stage with much energy bursting into lyrics, as well as his constant insistence that he is an actor playing a butler and not actually a butler!

The stage was set with the boardgame as a backdrop and a model of the 17-bedroom mansion in front. The windows of which lit up showing you which rooms they were in alongside doors being brought onto the set a very simple but effective way to let the audience know where they were situated in the house. Some amazing choreography was used alongside simple props such as portraits and a billiard table to create the illusion of the cast’s movements between rooms causing the audience to laugh out loud.I really enjoyed this production it was very entertaining, and I would recommend going to see it whilst you can.

Richmond Theatre – until Saturday 5th October 2024

Reviewed by Carly Burlinge

5*****

Richmond Theatre brings you the stage version of Birdsong by Rachael Wagstaff, based on the novel written by Sebastian Faulks, celebrating its 30th anniversary.

It tells the story of Stephen Wraysford (James Esler) a young Englishman sent to Amiens France by his Guardian, Pre-World War I, to visit a local factory run by Rene Azaire (Sargon Yelda) to study their methods. Whilst there he stays with the Azaire Family in their home and finds himself falling in love with Isabelle Azaire (Charlie Russell); the unhappy wife of Rene. Stephen and Isabelle embark on a passionate love affair and are ultimately discovered, which makes them flee to be together.

We next meet Stephen engulfed in the horrors of the trenches. Where he’s a changed man, bitter, cynical and no longer full of the hope of youth. During this time, we learn about how his relationship with Isabelle played out, and see the effect that his encounters with fellow soldiers, often as their lieutenant, has on him, especially when dealing with their loss. Stephen strikes up an unlikely friendship with a sapper, Jack Firebrace (Max Bowden), who is working on tunnels deep beneath no-man’s land with his team to lay explosive charges to take out the enemy. Firebrace’s personality is the polar opposite to Stephen’s; a lovable, jack the lad performer, with a large heart, that has also been broken.

James Esler gave an outstanding performance as Stephen Wraysford, wonderfully showing the audience every nuance of his character, from the highs of love and hope to the lows of despair. His performance was complimented and enhanced by the compelling, on-stage connection with Charlie Russell, making their relationship believable and real to the audience. As a professional stage debut for James Esler, this production is a fantastic showcase for his talent. A special mention must go to Brennan (James Findlay) for his inspiring and haunting performance of the folk song “Ned of the Hill”, which was evocative and spine tingling.

The sound effects used created such an atmosphere that transported the audience into the horrific reality of trench life in a dramatic and believable way. The set and props were simple, but effective, enhancing the performance rather than detracting from it. The influence of choreography on the scene changes was subtle and yet impressive, with the attention to detail in the prop placement within the house scenes reminiscent of silver service at a dinner table.

This show draws upon raw emotion in all respects, captivating the audience throughout, with some very dramatic scenes, which kept the audience at the edge of their seats. There was laughter and tears, all from such great talent and a strong connection from all of the actors involved – they were just superb. This is by far one of the best shows I have ever seen, which ended with a standing ovation. What a compelling performance.

Cambridge Arts Theatre, Cambridge – until Saturday 5th October 2024

Reviewed by Steph Lott

5*****

From the moment the curtain rose at last night’s performance of Alan Bennett’s The History Boys at The Cambridge Arts Theatre, there was a palpable energy on stage. This was a fantastic production of Bennett’s witty and thought-provoking play, directed by Sean Linnen. The cast of young men, portraying a group of bright sixth formers preparing for their Oxbridge entrance exams, exuded a charm and vibrancy that immediately drew the audience into their world. The chemistry between the actors was evident, creating a believable portrayal of school camaraderie in the 1980s.

Yazdan Qafouri’s portrayal of Scripps was particularly noteworthy. His nuanced performance captured the character’s intelligence and introspection, providing a thoughtful counterpoint to the more boisterous personalities on stage. Qafouri’s delivery of Bennett’s razor-sharp dialogue was impeccable, and his moments at the piano added a lovely musical dimension to the production.

In his professional stage debut, Archie Christoph-Allen impressed as the charismatic and self-assured Dakin. Christoph-Allen brought a perfect blend of cockiness and vulnerability to the role, making Dakin’s journey of self-discovery both compelling and relatable. His scenes with Hector (played by Simon Rouse) and Irwin (played by Bill Milner), were particularly captivating.

Lewis Cornay’s Posner was a standout performance. Cornay beautifully captured Posner’s unrequited longing for Dakin, and his struggle with his sexuality, with a passionate delicacy on stage. His vocal performances were nothing short of spectacular, bringing a poignant beauty to the musical interludes that punctuate the play.

The set design by Grace Smart was both practical and evocative, effortlessly transforming from classroom to staffroom to various other locations. The creative scene changes, accompanied by music and movement, added a dynamic visual element that kept the pace lively and engaging.

The History Boys is a multi-dimensional piece of theatre about many things. It discusses education, and brilliantly highlights the contrast between the two teaching philosophies represented by Hector and Irwin. The tension between knowledge for its own sake and knowledge as a means to an end was beautifully described, leaving the audience to ponder these issues for themselves.

The play’s exploration of how history should be studied and interpreted felt particularly relevant in our current era of “alternative facts” and contested narratives. The boys’ clever and sometimes outrageous discussions of historical events were not only hilarious but also served as a pointed commentary on the malleability of historical narrative.

Alan Bennett’s script, with its perfect balance of humour and pathos, was given full justice by this talented cast. From laugh-out-loud moments to scenes of profound emotion, the performance took the audience on a rollercoaster ride of feelings. Bennett’s ability to make us laugh, cry, and think was on full display.

In conclusion, this production of The History Boys at The Cambridge Arts Theatre was a triumph. The combination of Bennett’s brilliant writing, Linnen’s inspired direction, Smart’s evocative design, and the extraordinary talent of the young cast resulted in a memorable evening of theatre. For anyone who loves a production that both entertains and challenges The History Boys is for you.

TREVOR DION NICHOLAS AND RACHEL TUCKER
JOIN THE LONDON CAST OF

HADESTOWN

FROM 15 OCTOBER 2024, THE LONDON CAST WILL INCLUDE:

TREVOR DION NICHOLAS AS HADES
AND RACHEL TUCKER AS PERSEPHONE

MADELINE CHARLEMAGNE (EURYDICE), MELANIE LA BARRIE (HERMES) AND DYLAN WOOD (ORPHEUS) WILL CONTINUE IN THEIR ROLES ALONGSIDE

BELLA BROWN, ALLIE DANIEL AND FRANCESSCA DANIELLA-BAKER (FATES) 

THE CRITICALLY ACCLAIMED PRODUCTION EXTENDS AT THE LYRIC THEATRE, LONDON UNTIL 28 SEPTEMBER 2025

New casting is announced for the multi award-winning Hadestown at the Lyric Theatre, London. From 15 October 2024, stars of musical theatre Trevor Dion Nicholas (Disney’s Aladdin, Next To Normal, Hamilton) will play Hades and Rachel Tucker (Sunset Boulevard, Wicked, Come From Away) will play Persephone.

They join Madeline Charlemagne as Eurydice, Melanie La Barrie as Hermes, Dylan Wood as Orpheus, with Bella Brown, Allie Daniel and Francessca Daniella-Baker as the Fates. 

Lauren Azania, Tiago Dhondt Bamberger, Beth Hinton-Lever, Waylon Jacobs, and Christopher Short continue to play the Workers, with Lucinda Buckley, Winny Herbert, Ryesha Higgs, Miriam Nyarko, and Simon Oskarsson as Swings.

Today the producers are also pleased to announcethat at 12 noon on Thursday 3 October, the critically acclaimed production will extend bookings for performances from 11 February to 28 September 2025. The current cast, including Trevor and Rachel, are scheduled to perform until 9 February 2025, with further casting updates to follow.

Winner of 8 Tony® Awards including ‘Best Musical’ and a Grammy® Award for ‘Best Musical Theatre Album’, Hadestown continues its critically acclaimed run in London’s West End, five years after its sold-out engagement at the National Theatre in 2018.

Blending modern American folk music with New Orleans-inspired jazz, the Original Broadway Cast Recording of Hadestown is one of the most streamed cast albums of all time with over 350 million streams to date.  It won the Grammy Award® for ‘Best Musical Theatre Album’,topped Billboard’s Broadway Cast Recording chart and debuted at #8 on the Top Album chart.

Hadestown features music, lyrics, and book by acclaimed Grammy®-winning singer-songwriter and BBC Radio 2 Folk Award-winner Anaïs Mitchell, who originatedHadestown as anindie theatre project and acclaimed album.  Mitchell then transformed the show into a genre-defying new musical alongside artistic collaborator and Tony® Award-winning director Rachel Chavkin, whose theatre credits include Mission Drift (National Theatre) and American Clock (The Old Vic).

Hadestown takes you on an unforgettable journey to the underworld and back, intertwining two mythic love stories – that of young dreamers Orpheus and Eurydice, and that of King Hades and his wife Persephone.  A deeply resonant and defiantly hopeful theatrical experience, Hadestown invites you to imagine how the world could be.

The Hadestown creative team features Obie Award® winner and Chita Rivera Award® winner David Neumann (choreography), Tony Award® winner Rachel Hauck (scenic design), four-time Tony® Award nominee Michael Krass (costume design), two-time Tony Award® winner Bradley King (lighting design), Tony® Award winners Nevin Steinberg and Jessica Paz (sound design), Liam Robinson (music supervision and vocal arrangements), Tony® Award winners Michael Chorney and Todd Sickafoose (arrangements and orchestrations), Ken Cerniglia (dramaturgy), Maria Crocker (UK Associate Director), and Tarek Merchant (Musical Director). Casting for the London production is by Jacob Sparrow.

Hadestown is produced in London by Mara Isaacs, Dale Franzen, Hunter Arnold, Tom Kirdahy and the National Theatre in association with JAS Theatricals.

Sheffield Lyceum – until 5 October 2024

Reviewed by: Natasha Aspden

4****

On a dreary, rainy October night with a serious case of flu I needed something to inspire me to venture outside and get myself into gear. Luckily I had tickets booked to see Heathers the Musical at Sheffield Lyceum and this cure was far greater than any Lemsip or Olbas stick you’d normally try!

With a set ripped straight out of the west end production at The Other Palace and lighting, sound and effects to boot we were off to a head start and I have to say the rest of the show didn’t disappoint.

Upon arrival we were informed that Jenna Innes would not be playing Veronica tonight and May Tether would be on as cover. Always happy to see an understudy step up and take the spotlight, I was thrilled to see what May could do with the part. May brought a certain fun quirkiness to the role in a different sense to any Veronica I’ve seen before, being much more nerdy but also quite plain faced with her humour. She also blended like caramel on the ear with Keelan McAuley as JD, who again played the role completely differently to how I have seen it done before. McAuley’s JD was much more visibly unhinged from the beginning, skipping out on some of the mysterious brooding that others have gone for in favour of a more comical and visual performance. His slightly rocky tone to his vocal also brought a different tone to the music than what I have heard before and I have to say I was very pleasantly surprised by a Bon Jovi esque JD.

The three Heathers, Chandler, Duke and McNamara played by Esme Bowdler, Sedona Sky and Daisy Twells respectively were all good in the roles, lacking in energy possibly early on but definitely growing into the show and absolutely killing it by the end. Jason Battersby and Ivan Fernandez Gonzalez were both solid as Ram Sweeney and Kurt Kelly respectively, with Battersby putting in a top drawer comedic performance on the night. Lucy Sinclair and Conor McFarlane were both hilarious as Ms Fleming and Ram’s dad, with Sinclair taking the notorious “Steve” segment further than I have EVER seen it taken before, asking the unfortunate audience member to demonstrate some tongue action from the swinging sixties to the audience, of course eliciting a suitable reaction from the crowd.

However my absolute standout of the night was Amy Miles as Martha Dunnstock. Miles was pitch perfect in the role, both in terms of the vocal and her delivery and tenderness in the part. Lovably innocent and endearingly believing she absolutely stole the show in this smaller role for me and was well worth the watch on her own.

Overall, this latest tour of Heathers the Musical keeps up with the exceptionally high standards of the past and juts out on its own at the same time. This show is well worth a watch whether it be your first time or your thousandth. Get yourself down to Sheffield Lyceum by 5th October to avoid missing out.

Theatre Royal, Nottingham – until 5th October 2024

Reviewed by Howard Whitehurst

5*****

Come From Away had a very successful run in London a few years ago and this is its first visit to Nottingham as part of a major national tour. It was written by Canadian team Irene Sankoff and David Hein and first performed in Canada before opening on Broadway to great acclaim. When I tell you that its back story is the tragedy of 9/11, and we all know what happened then, you might think it dull subject matter for a musical but it’s a wonderful story of fellowship and kindness in the face of great tragedy.

On that day in 2001, when international flights into USA were grounded, Gander, in Newfoundland, found its population double in size when 38 planes were forced to land unexpectedly. And when almost 7,000 strangers arrived, the locals set to work, entirely unprepared, to make their visitors feel welcome. Food was drummed up, beds found, activities, and even internet access, were organised such that the friendships formed have endured to this day.

From the rousing, full-ensemble opening number, Welcome to the Rock, we knew we were in for a very entertaining evening. The cast of 12 each played a number of different roles, from the captain of one of the aircraft, cabin crew, passengers and local Gander people and they did this seamlessly with unbelievably quick costume changes, well-chosen props and various accents. It was an energetic performance, the pace never slipped and we were treated to some excellent singing from the multi-talented group of actors.

The musical numbers matched the evolving story, whether it was sad or funny, and it is a challenge to pick out any outstanding moments but I am going for the wonderfully entertaining Screech In which was followed by Nottingham’s own Sara Poyzer delivering the thoughtful and inspirational Me and the Sky.

Christopher Ashley’s direction is full of energy, fast-moving and intense with the contrasts between the darkness and the losses of the story and the humour of everyday life sharply drawn, yet sympathetically balanced. Kelly Devine is responsible for the stylised movement in some of the sequences and scene changes, when tables and chairs are turned into bars, coffee shops, a plane and even an air traffic control centre.

Beowulf Boritt‘s simplistic set design uses pine trees to frame the acting area along with wooden panels and signs and it’s well lit by Howell Binkley. Andrew Corcoran’s musical direction is rousing and rhythmic and delivered by an excellent eight-piece band just out of sight, but still on stage.

I’m pleased I didn’t know much about this show prior to this evening as, in spite of the bleak nature of the subject, I was able to enjoy a truly energised, uplifting performance with brilliant singing and dancing, fully meriting the standing ovation for both cast and band