Jack and the Beanstalk, Nottingham Playhouse

It's so refreshing in these days of modern panto to enjoy a production with a proper principal boy and not one, but two gloriously colourful and over-the-top dames.

This proved an emotional night for veteran dame – and show writer – Kenneth Alan Taylor, back for one last season in costume. A string of thanks at the curtain call brought a tear to the old trouper's eye.

As Dame Daisy, Jack's mother, there's probably little need for a script as he effortlessly works the audience, teases the cast and brings the house down with ad-libs that must come so easily after 30 years in a string of acclaimed roles.

He is the catalyst that crafts this all-singing, all-dancing, costumed joke-fest into yet another classic. And a flamboyant new costume for every scene completes the package.

Many of the Playhouse cast are also popular regulars being welcomed back for their annual theatre beano, with the festive audience also clearly part of the show – even down to random shouts from children clearly getting carried away with the action on stage.

The tone for the evening is set by the superb dancing girls and a panto orchestra that defies its size by filling the auditorium with life. Their dual contribution to the big showpiece numbers is key: the musical set-pieces were among the highlights, from the cutesy giant dancing rabbits wowing everyone at the start to the hilarious What Does the Fox Say number near the end. And it was so good we got them to do it all over again!

The second dame treading the boards is the manic and memorable Anthony Hoggard, a familiar face in his sixth Playhouse panto. His double-acts with different cast-members has the audience in stitches as he plays his eccentric role as the Giant's wife totally for laughs.

Of course, that's what we're here for! John Elkington as the giant's lackey Slurp hams it up as the baddie and relishes the boos, hisses and soakings that come his way.

Even Giant Blunderbore manages to steal some of the fun as Daniel Hoffman-Gill makes the role his own with an interesting, unexpected twist to the tale which you'll appreciate.

Jack is played by thigh-slappingly earnest Rebecca Little in her 13^th production here. She teams up with her on-stage love interest Annie (Kelly Edwards) and Tim Frater as Danny, whose six-pack gets an outing in a scene especially for the ladies!

There's a superb effort on the scenery front this year with stonking sets that transport us into a world of make-believe, as well as some backdrops that will make you forget for a moment that you're in a theatre.

The children all loved a slapstick scene (which seemed a little crow-barred in) – but it's panto and the energetic community singing and getting the awe-struck little ones up on stage in time-honoured fashion more than made up for that.

Jack and the Beanstalk runs through until Saturday January 18 and will definitely be your last chance to soak yourself in the genius and fun that comes in the shape of Kenneth Alan Taylor. Oh yes it will – so book your tickets and find out what the fox says...

'Graffiti your growler' - Al Murray at Nottingham Playhouse

I'm not sure whether it says something about The Pub Landlord's fan base when the front row of his show is packed with bald-headed tradesmen, or if it says more about Nottingham.

Either way this dished up great fodder for Al Murray's comic creation, even if his newly-svelte figure (with hair and a beard) was a step away from what we were expecting.

The Pub Landlord invites us to laugh at ourselves and the wider world by offering up insular and misogynistic points of view.

A wordy monologue of the reasons behind the Euro-zone crisis showed his crystal clear understanding of the history and yet, no matter how convoluted his explanation, the rider “but of course, it's much more complicated than that” - is an argument winner every time.

To explain how women hold the balance of power in the relationship, he touched on vajazlle with the perfect turn of phrase “graffiti your growler”, while explaining he's in favour of gay marriage “because then they'll be as miserable as the rest of us”.

It wasn't as harsh or vulgar as it seems when committed to print. Everything was crafted to make a point. For instance, we have the fattest poor people in the world, he claims, while people are starving in Africa.

His wonderful working of the audience was interspersed with crystal-clear insights into politics, relationships and economics. The Pub Landlord likened our politicians to a bunch of interchangeable suits arguing over a gas bill, and suggested the answer to this country's problems was to be honest with your children. Tell them they can't sing.

But some of the set was a little quiet, perhaps a symptom of the act growing from a short stand-up into a two-hour show. Resorting to slapstick wasn't the best end to a thoughtful – if shouty – show. But we all headed home with a smile on our faces, perhaps to ponder our own shortcomings.

'Comedy Gold' from Stephen K Amos at Nottingham Playhouse

Often presenting himself on TV in a dapper suit, the south London boy turned up in Nottingham with jeans, T-shirt and trainers and immediately made himself at home by venturing into the audience to get to know them better.

It's part of the deal you just don't get on TV and one of this comedian's strengths. Remember how Monkhouse, Forsyth and even Barrymore work their audience? Stephen K Amos is right up there with them – inviting folk up on stage and warmly coaxing them to perform alongside him. 

As he says himself – 'comedy gold'! 

Thank goodness Hucknall English teacher James or student Danni didn't let him down... the biggest laughs were for the impromptu opening period where fast-thinking Stephen put his legal training to good use, getting the utmost out of the material they supplied him.

We loved the lady from Ball Street who had a phobia about tennis balls – and outrageously coiffeured poodles, our host conveniently confusing the two.

He's a good old-fashioned comic for the 21st Century who wouldn't be out of place if they resurrected the old TV favourite The Comedians, chuckling along to his own gags while the audience recover from their hysterics.

Oddly flanked by tombstones from the set of Richard III, he mused on why Afro hair and water should never mix, covered his Britishness, accents, his colour, growing up in south London and the trials and tribulations of life in general.

Such a shame the event comprised such an intimate audience. Nottingham was definitely missing out.

The 39 Steps, Theatre Royal

This quick-fire rattle through Buchan's novel is all the stronger for its comic take, its pacey style and a light touch to tickle the funny bone. It is a smart take on a famous story which thankfully doesn't suffer from its own cleverness.

Playing with a cast of four, Tony Bell and Gary Mackay support the romantic leads of Richard Ede (as hero Hannay) and Charlotte Peters.

Charlotte Peters smoulders as the femme fatale in each scene, despite her occasionally downbeat or eccentric characters. And a word for the dashing Ede. With his pencil moustache, tweed suit and upper-crust manner, it's hard to believe anyone would mistake him for a murderer...

Charlotte's first role as Annabella Schmidt leaves her murdered by a rubber knife in the opening minutes, leading to Richard Hannay's adventures north of the border to solve the secret agent's riddle.

It is here that Bell and Mackay come into their own, veering happily between a Stanley Baxter approach and the old character actor skills of the likes of John Laurie. So versatile are they that more than once they each play two characters at the same time.

The concept throughout is simple: tell the story, turn the highlights into wonderful cameos – and have fun while you're at it.

The 39 Steps – given cinematic treatment by Alfred Hitchcock in 1935 – was first produced on stage in 1996 and this format has been so successful that it's been doing the rounds for more than eight years.

Simple but effective use of doors, window frames, smoke and ladders all make the action grippingly real while reminding us that every boys' own hero while ever-dashing must use his charm, guile and wit to win the day.

Memorable action such as the Forth Bridge rail scene and Hannay's impromptu address at the Scottish election meeting are all wonderfully replicated here, with clever direction and acting never leaving a smile very far away.

Another strength is the length of this play. It's only 90 minutes of action and this means the concept, as well as the players and their cod-Scottish/faux upper-class English accents, don't outstay their welcome. The action moves easily from Mr Memory at the Palladium to a lonely Scottish moor and we're willing to embrace the swings in tone thanks largely to the cast, entertaining from start to finish.

The 39 Steps plays all week – and if you get along, watch out for subtle nods to other Hitchcock classics along the way.

Ready for the Ashes? An Evening with Boycott & Aggers - Royal Centre Nottingham

So the good people of Nottingham were treated to the sight of Derek Randall being run out by Geoff Boycott at the 1977 Trent Bridge Test match not once, not twice but three times on the big screen at last night's pre-Ashes extravaganza.

Poor Derek. And it didn't elicit a single "boo" or hiss from the audience.

Perhaps that's because the kind of gentlefolk in the Concert Hall would have thought such a reaction as being just not cricket. Or perhaps it's because cantankerous old Sir Geoff is now something of a national treasure.

That's not to say he doesn't have skeletons in the closet... but as he freely admits: "Hold your hands up to your mistakes and move on".

Former cricketers and current Test match pundits Boycott and Jonathan Agnew are running a short tour around the UK before the Aussies hit town for the big one. The Ashes start in Nottingham on Wednesday and for those who, like me, are going along for a few days, this show was a must-see treat.

It's good for the soul hearing the former Yorkshire batsman (or batter, as they say these days) sound off about contemporaries and present-day players. Whatever you think of his opinions, you can't argue with his summing up after each memory, which goes something along the lines of "Well they're not as good as I was." (He went on to score over 100 after running out poor Randall).

He recalls playing alongside former umpire Harold "Dickie" Bird and journalist Michael Parkinson in their younger days, and answered audience-inspired questions about the best this, the top that, and what he thinks might happen this summer.

It was a great and welcome surprise to see former Australian fast bowler Jeff Thomson as special guest in the second half, playing to type with recollections spattered with slightly more unsavoury words than the northern hemisphere contributors might have used.

Another special guest was former Notts and England opener Chris Broad and his daughter Gemma, a performance analyst with the England squad. They were there to add their own insight into the Ashes summer, as well as drum up support for the Broad Appeal for Motor Neurone Disease, which claimed Chris's wife Miche.

A barnstorming performance from all concerned and a great appetiser for cricket fans.

Ready for the Ashes? We are now!

For the Love of Mrs Brown, Nottingham Arena

Almost exactly two years ago to the day, a foul-mouthed old Irishwoman took to the stage in Nottingham on what was to be a voyage of discovery for performer and audience alike.

Yet it remained to be seen if Mrs Brown's Boys, recorded live on stage for the television and which came to Nottingham in 2011 in the cosy confines of The Royal Centre, could make the leap of faith to an arena setting.

The Mrs Brown show has won a couple of Baftas in the meantime and obviously appeals to the masses too, judging by its continued small screen success. After all, we can all identify with everyday family life – and, most crucially, with the comic creation of Mrs Brown herself.

This was clear from the teeming crowds at the Arena for the first Nottingham show last night. Fans simply adore the whole cast. They don't merely watch and laugh... they gasp, wince and worry through with the flimsy plot, a vehicle for laugh after laugh after laugh.

For anyone who doesn't know, Agnes Brown is the result of the comedy genius of Brendan O'Carroll, who dons authentic drag to transform himself into the famous Dublin 'Mammy' and performs alongside his screen family, who – in many cases – are members of his actual family.

Confused? You won't be. It's straightforward obvious comedy, varying from the subversive – nudges, winks and innuendo – to blatant out-and-out potty-mouthed bad language.

In this new show we touch upon his flamboyant hairdresser son (obvious enough for you?), the vagaries of plastic surgery for a daughter who can't find love (which part of the body do you suppose?) and then there's granddad's addiction to Viagra. Not forgetting Agnes's own quest to find an online Valentine date.

And yet the audience loved it. Perhaps it is that we are in on the secret with O'Carroll, who confides in the audience in a series of asides while the comedy action is played out on stage. He pulls faces, rolls his eyes; tries to make the rest of the cast forget their lines.

If Agnes was real, she'd be a comedy uncle-turned-aunt who wants to liven up the family gathering. And O'Carroll must be good as he makes it all look so very easy to do.

So did the big screens each side of the set kill the live show? Not a chance. Forget the fact that die-hard fans will have heard many of the gags before: it was as though the whole room was watching TV together, enjoying the sharing of a communal moment. Perhaps reminiscent of the Olympics, or the Jubilee. Or perhaps not.

High Society, Theatre Royal, Nottingham

It’s party time the night before a big wedding: the perfect excuse for glitz, glitter and music.

Sophie Bould stars as confused ex-wife and bride-to-be Tracy Lord. Her big weakness is, of course, champagne, and as everyone becomes more lubricated, a certain clarity is lent to proceedings as the penny drops with each of her three potential suitors.

There's her ex-husband Dexter Haven – still hurting from the divorce and played by former Robin Hood Michael Praed, investigative journalist Mike Connor (Daniel Boys) and the wonderfully out-of-his-depth George Kittredge - brought to life by Keiron Crook.

It's fun to imagine their roles as played by Bing Crosby and Frank Sinatra in the 1956 film on which the stage musical is based. Grace Kelly made up the bill-toppers back then in her last singing role on film before her marriage to Prince Rainier, as Tracy. The lively and evocative music helps the plot along but there are no show-stoppers; it's a pleasant performance and great to see the cast return for a welcome finale to show off their talents once more.

We all know Who Wants to be a Millionaire and True Love, the most memorable hits, but chorus numbers High Society and Let's Misbehave are among the many Cole Porter classics which firmly bring to life the carefree existence of these rich folk in their Art Deco surroundings.

A revolving stage and some tricky scene changes occasionally made it hard to work out where the actors were – with 11 different locations served by essentially the same backdrop.

But it's make-believe – and make believe we did, easily believing in all of the main characters so much so that they drew the laughs at all the right moments as their characterisation grew. We all know who we want the groom to be by the time we find out!

Particularly fun were the supporting roles of Teddy Kempner as Uncle Willie and Katie Lee as young Dinah Lord, Tracy's teenage sister. While Uncle Willie was seeking his own love interest for much of the second act, Dinah set her stall out early on with energy and gusto showing off her precocious singing, dancing and linguistic skills to the visitors.

Journey and Whitesnake plus special guests Thunder; Capital FM Arena, Nottingham

This was a rare chance to lap up virtuoso performances from three of rock's biggest names, shaking the Arena for more than four hours on Saturday night.

Whitesnake were clearly the stars of this three-band bonanza, charging through their greatest hits of the past 35 years.

Bad Boys, Fool for Your Loving, Here I Go Again and Still of The Night – you'll know them all.

David Coverdale's part of the furniture and looks younger than when we last saw him in town, despite recently collecting his bus pass.

He moves well, has a cheeky flirt with the girls in the crowd but these days seems to need the harmonies of his band to see him through safely.

We enjoyed the battle of guitars between Doug Aldrich and Reb Beach, a kamikaze drum solo from the legendary Tommy Aldridge and superb bass from Michael Devin.

Support acts aren't generally well-received when they're third on the bill but the Arena was almost full to capacity when Thunder took their places earlier on.

Singer Danny Bowes clearly enjoyed bouncing around the stage, moving – and even grooving – to a string of much-loved numbers.

He was dressed for the pub rather than a heavy metal triple-header, bringing The Devil Made Me Do It, Love Walked In and I Love You More Than Rock And Roll as part of an energetic set that didn't let up and proved the perfect opener for what was to follow.

Which is why, when Journey took to the stage at 9.30pm, while it wasn't an anticlimax, the crowd weren't quite with it.

Perhaps it was the marathon nature of the event – which started at 6.45pm – or the amps trying to pump more than their wattage, but there was a feeling that this was somewhat "after the lord mayor's show".

Journey's Arnel Pineda hit the stage with gusto and the first few numbers, Separate Ways and Any Way You Want It brought a party atmosphere before they launched into their rock set.

Jonathan Cain impressed with his sometimes orchestral keyboards, while Neal Schon added some fantastically screaming guitar.

The show warmed up to a crescendo with Money Money, Wheel In The Sky, Be Good to Yourself and Faithfully and anyone who had slipped off early missed the passion of Don't Stop Believin' – a fitting end to a great night for aficionados of rock.

Comments added online:

by chrisf231
Tuesday, May 28 2013, 8:13PM

“The reason why people were leaving in droves during Journey was simply because the sound mix for them was beyond dreadful. It was just a loud messy din which made it impossible to understand a word that was being said/sung and the drums/guitars/keyboards all merged into one.

The sound was perfect for Whitesnake and Thunder so can't understand how the Journey soundman got it so so wrong.

Thunder stole the show, they were just electric on stage. Whitesnake would have been better had Coverdale cut down on the swearing and even more so on the Crotch Grabing that he seemed for fond of at eery given chance”


by ChrisC66
Tuesday, May 28 2013, 3:50PM

“Thunder ruled this night musically! yes I agree that most of the fans were there for Whitesnake but that didn't mean that they were the best- We are massive fans of all 3 bands, Danny had the crowd jumoing up and down, laughing and singing their heads off because they were absolutely brilliant! totally together as a band and not spoiled by over long solos on a triple header. Apart from the swearing Dave croaked through a lot of the songs and only managed to hit any notes when he screamed.. not the magic of Dave that we know and love. and yes we know it is 35 years - most of your fans have been with you all along! Journey came on and it was such a shame. Arnel can sing, but he just doesn't engage the crowd somehow. To front a band as big as Journey, you have to ooze charisma- which the poor guy just doesn't he spent all night jumping all over the stage, and singing more to the band than to the fans. he ruined Faithfully, the arrangement was awful it was like a last minute decision and the rest of the band had no idea what was going on; also Neal looked like he was just there to get the cash and run... So Thunder... can't wait to see them again!! not bothered about the other 2 of our favourite bands though. :-(”

by trickybrewer
Tuesday, May 28 2013, 12:29PM

“I think the reviewer has it about right and this was Whitesnake's audience. We were sat to the side in Block 15 and it was clear to us that in terms of audience participation (if you judge that by numbers joining in, clapping, arm waving etc) that Whitesnake got a far better response than Journey. Infact I was surprised by how many people got up and left during the first part of Journey's set. I reckon maybe 1 in 6 left early including neighbours of mine who said there were lots leaving through the exits when went at 10pm. Reading reviews of the Belfast, Glasgow and Sheffied gigs it seems this was not only in Nottingham.
I was impressed with Thunder and Whitesnake. Personally i would have chosen a few more of the "old" Whitesnake songs but they have 35 years of albums and fans of all ages to please so i wouldnt complain.
To me Journey seemed a little tired and certainly their sound wasnt the best. All drums and keyboards. I wonder how many more would have lft early had they played "Don't Stop Believin'" earlier in the set?
It was still a great night all around, but i wouldnt recommend following Whitesnake on stage unless you have a little more to offer than Journey.”

by Snakecharmer
Tuesday, May 28 2013, 10:26AM

“We came all the way from The Netherlands to see this show and enjoyed it! I fully agree with the reviewer. Whitesnake were the highlight of the evening, although Journey by far played the best set and Thunder's Danny is great fun to look at and to listen to (what a great voice!). Last time we saw Coverdale in The Netherlands his performance was really poor. This time we were positively surprised. Of course his voice is by far not as strong as it used to be. To compensate this, he uses the band harmonies in a clever way. For us it was obvious that David was enjoying himself, joking with the audience and having fun with the band members. Yes, he used the f*ck word a couple of times, but so what? Thunder were a great opener and we thought it was a shame that they only played 50 minutes or so. What an energy and a lot of fun! We came to Nottingham especially for Journey, both being big fans of this band. The performance was ok, the show was great to look at, but as the reviewer writes, we missed the click between band and audience. We think one of the reasons was the set list that was chosen. Not one single song from the Eclipse album, one of their best ever? We did not understand this. Thunder and Whitesnake had a lot of interaction with the audience. Journey's Arnel is a small guy with a great voice, but he lacks the charisma of frontmen like Danny and David. And we think there is a difference in attitude between British and American bands. British bands make the audience part of the show, Americans mostly "do their own thing". That is what Journey did this evening. By involving the audience more than they did now and by chosing a couple of songs from Eclipse ("Human Feel" !!!) and some old favourites, it could have been a legendary evening. Now we had "just" a great evening in Nottingham.”

by jules_22
Tuesday, May 28 2013, 2:12AM

“@ Chocybiccy Totally agree with you there. Thought exactly the same when we saw this show in Sheffield last week. Thought Whitesnake were terrible - Coverdale did nothing for me and got fed up with him swearing at the audience all the time asking them to make some noise. Thought Thunder were ok but never really been a fan of theirs. Journey were by far the better band!”

by Chocybiccy
Monday, May 27 2013, 8:52AM

“We must have seen different shows.
Thunder were the highlight of the whole show.
Danny Bowes energy was electrical. He involved the audience and loved every second from the look on his face.
Whitesnake then came on and ruined the atmosphere.
Being seated in the floor area I was able to have a good look around the arena. If people were enjoying it they must have been keeping it to themselves.
So what it's been 35 years. Great, good for them, but they were not all that.
If half an audience sits down for the guitar solo and starts playing with their phones or talking amongst themselves then that speaks volumes.
Their set should have been cut to 40 minutes.
Journey given the fact that they then had to come on to a bored crowd, did brilliantly.
At least they tried to get the audience involved without swearing at them.
Maybe things would have been better if Thunder and journey had been on first and the self indulgent whitesnake could have been on last, after all if they are that good, they could still rock the audience at that time of night.”

Giggles in the bag as Grease is the word! Royal Concert Hall, Nottingham

Most of the audience would not have seen this feel-good film on a big screen since 1978, so it was good to cast our worries – and inhibitions – aside and take a step back in time to when we were growing up and the charts were full of John Travolta and Olivia Newton John.

Inhibitions? Well, yes. For as soon as we walk through the door we're handed an innocuous brown paper bag packed with goodies to make the screening a little more, how shall we say... interactive.

White tissues to dab our eyes for Hopelessly Devoted To You, a blue balloon to wave for Blue Moon, pretzels for the Sandy and Danny's first date, a flag to wave the T-Birds and the Scorpions off on their road race and a party popper to salute the finale.

You also had to use the bag at one point – but I'll keep that particular activity secret between me, the rest of the audience and Frankie Avalon.

It was good to see people of all ages pack the Concert Hall for this sing-along version of the movie, with words to the songs (should you need any help!) bouncing along at the bottom of the screen.

On a night when the demographic might just coincide with an international singing competition on the telly, we were all very pleased we made the effort for the real thing and the caterwauling for Grease was probably marginally better than what was being dished up for Eurovision.

We were treated to a compere and a fancy dress competition before the start.

There were many, many pink ladies in Nottingham and everyone did themselves proud on a retro evening out.

Giggles galore and a night to remember. After all, Grease IS the word.

Reginald D Hunter, Royal Concert Hall, Nottingham

If ever there was an entertainment name in the news this week (aside from those being arrested), that name was Reginald D Hunter.

The black American comic's TV persona is a cuddly bear of a man, sometimes unlucky in love.

Last week the Professional Footballers' Association got to grips with his persona away from the sanitised world of pre-watershed television – and afterwards told the world they didn't like it. You can take your pick of who to believe about any ground rules on language and subject matter of that awards night set.

Reg spent the first section of his show in Nottingham setting the record straight. He's relaxed about the affair, saying that no-one from the PFA has actually been in touch since, and that the sensitive language under scrutiny is the language of his life, his work and his thoughts.

Perhaps an intelligent, astute and thoughtful comic was too much for the footballers and their WAGS. He certainly went down well in Nottingham, where Reg invited us to look at our own lives and attitudes in between the laughs.

Moving from the PFA “lies” to his view of the Pistoruis whodunnit and his “bionic spatulas”, he wondered whether women think with their emotions or their intellect. He spoke of the Philpotts and their 17 children and contrasted violence against women with what some believe is an “acceptable” violence within the pages of recent hit romantic novels (you know the ones).

Reg believes Jimmy Savile and Margaret Thatcher both “won”, and asks “If you were offered a pill that meant the worst thing you ever did wasn't found out until ten years after you died, would you take it?”

More thoughtful and less vulgar than the last time he visited Nottingham, this confessional set was perhaps very welcome therapy for comedian and audience alike.

The Best of McFly, Royal Concert Hall, Nottingham

They're a little bit older than when we last saw them and despite numerous commitments away from the band, McFly still know how to throw a great party!

Fresh from running the London Marathon in an impressive 3h 31 the day before, drummer Harry Judd (who also lifted the Strictly Come Dancing trophy in 2011) and the boys hosted a show that actually lived up to its billing as The Best of McFly.

Leaping about the stage like loons they were as full of energy as they were in the early days, which, to be fair, is now a whopping ten years ago! But with hits like Five Colours in Her Hair sparking a crackle through the crowd there was no danger of anything less.

Right from the off, with a beautiful vocal rendition of That Girl, Tom, Danny, Dougie and Harry held the young audience in the palm of their hand.

It's an energetic greatest hits tour to promote their latest album, Memory Lane, which features a taste of unreleased material the band particularly like, alongside their early hits Obviously, All About You, One For The Radio and Party Girl.

Whether you think they're pop-punk or a 21st Century Monkees, the audience adored them, feasting on their energy to rock the auditorium. Aside from the core teenage clientele, there was a smattering of middle aged fans too – and of course, the mums who needed little persuading to get out to enjoy the music, the banter and the bouncing in the stalls.

Away from the recording studio these savvy lads – two of whom had auditioned for Busted before settling on McFly – have been busy. Harry also took part in the Olympic Torch Relay Run, while Dougie Poynter was named King of the Jungle in I'm A Celebrity Get Me Out Of Here.

But this is now – and the tour everyone has been waiting for, bringing the excitement of tracks from five albums and seven UK No.1 singles and racks up the anticipation of a new album for this summer.

The biggest cheers was reserved for the last three numbers of the evening.

Their biggest hit Love is Easy featured with Comic Relief single All About You in a strong encore, which slowed things down a little after over 100 minutes of music with The Heart Never Lies to close.

The Vamps, as support, did a grand job warming up the Concert Hall and we'll be hearing more from them as they've just signed to EMI.

Blood Brothers at Nottingham Theatre Royal

It was my first time, I admit it. And I was unprepared for the power of a story which left us all in danger of leaving the theatre as emotional wrecks.

And not just me. By the end of the final number, a thundering reprise of Tell Me It's Not True, Maureen Nolan needed three curtain calls before the tears were finally wiped from her eyes.

If you've ever been touched by tales of Peter Pan, Two Little Boys or even Puff The Magic Dragon, you'll know how important it is to enjoy your childhood and resist growing up for as long as you can.

In this musical, separated-at-birth twins Mickey (Sean Jones) and Eddie (Mark Hutchinson) somehow keep bumping into each other without knowing their true identities – and become firm friends from school through to adulthood and all of the challenges that brings.

Embracing the Prince and The Pauper theme, one of these lads ends up having it all, while the other has nothing and manages to lose even that.

Maureen (as their mother, Mrs Johnstone), and the narrator Warwick Evans, kept the tempo and the story ticking along at pace, so that even though we didn't leave the theatre until after 10.30pm, the show never felt like a long haul. Warwick's ability as a performance poet, passing vital elements of the narrative as the spoken word blended neatly with his musical skill, helping every life event for the cast move seamlessly from one to the next.

The love interest for Mickey – and then Eddie – came in the perfect shape of Olivia Sloyan as Linda. She had each milestone off to a tee, and we particularly enjoyed her part in the schoolday pastiches, the moments when she tries to woo Mickey, and her powerful performances later on, dealing with ex-con Mickey, by then her husband, who's struggling to live a family life while up to his eyeballs in anti-depressants.

So there, in a nutshell, is the plot. Of course no man could fail to notice Linda, and when Eddie is drawn to her as he tries to help get her and Mickey's lives back on track, tragedy strikes.

This is a full-scale modern musical celebrating its 28^th anniversary, which still stands aside from many of the traditional theatre-fillers. Catchy reprises of Marilyn Monroe, Shoes Upon the Table and Tell Me It's Not True ensure the inevitable standing ovation.

Andy Parsons, Nottingham Playhouse

Andy Parsons spends a lot of his life frustrated – good news for those who enjoy hearing him vent his spleen.

You learn a lot about someone in a two-hour set, with the (surprisingly mature) audience enjoying every minute.

Aside from feeling frustrated, Andy's clearly very lazy. He told us so. I suspect, though, that he spends time in that shed carefully crafting gags and stories. They're constructed so that, whoever the target, we don't really get to feel he's having a go.

He'll slate the bankers, the Government and others with considerable venom but his incredulous tone means that he can make his point without being nasty.

The "laugh out loud" count is high as he tackles Andrew Mitchell's "Plebgate", the horse meat scandal and what Nick Clegg's police guard must have been thinking to allow an unpleasant package to be posted through the door.

Blofeld and Baxter, Nottingham Playhouse

Well, my dear old thing. If you're after one outrageous story after another, then this is an event to appeal.

It's always interesting listening to old raconteurs reliving their finest hour... and other people's too.

But what, more than anything else, made it a choice evening was the eloquence and mellow tones of Test Match Special commentator Henry Blofeld who, if a little muddled with his words now and again, has still seen more than enough to fill an evening chatting on stage with his old radio producer Peter Baxter.

An Ashes Test venue twice in the next few years, Trent Bridge came in for high praise, as did local hero Derek Randall.

Surprisingly, it was an audience filled not with chaps, but mainly chaps with their chap-esses, making it a lovely event from start to finish.

If you've never heard the tale about that quaint church on the hill looking out towards West Bridgford, then (yes, it's not a church, is it...) you'd have roared with laughter at Blowers' recollection of his commentary when he saw a plume of smoke from the "churchyard" and surmised that the vicar was having a barbecue for his parishioners.

Of course, the knowledgeable audience second- guessed the punchline, made on air "in all innocence", according to the broadcaster.

We remembered CMJ, Jonners and John Arlott – all now sadly departed – discovered what a Boycott curry is, travelled the world's top cricket grounds and learned the truth about "The bowler's Holding, the batsman's Willey". Howzat?

Strictly Come Dancing Live, Capital FM Arena

It really was a truly A-MAZ-ING show.

And it was refreshing to, at last, see all of the dancers, celebrities and pros from Strictly Come Dancing in the flesh after a winter of building anticipation.

The judges, who are also the stars of this glitter-ball of a show, were Len Goodman, Bruno Tonioli and the show director Craig Revel Horwood.

All lived up to their billing – even if we were denied the famous "Seven" cry from good old Uncle Len.

This was the first of three shows at the Capital FM Arena and they weren't afraid of dishing out a good hiding with their scores, despite it being a glitzy gala night for the celebrities and their partners.

For the record, we were treated to Artem Chigvintsev dancing with Fern Britton, James Jordan with Denise Van Outen, Karen Hauer dancing with Phil Tufnell (who first competed in 2009), Natalie Lowe and Michael Vaughan, Ola Jordan with Louis Smith, Robin Windsor dancing with Lisa Riley and Pasha Kovalev with Dani Harmer – so a couple of changes from the TV partnerships to digest. It'll be an open secret who won – and there was really only one contender.

Gymnast Louis, although joint second on the judges' scorecards, came out on top in the final shake-up.

Although the judges were inevitably scripted for large chunks of the night (something that presumably can't be avoided on a show that's running almost every day in one part of the country or another) there were plenty of histrionics and a pantomime atmosphere with cheering, booing balanced with applause and admiration for the talent on show.

The biggest cheer was reserved for Olympic hero Louis, who won this season's TV show, and for Denise, whose signature Charleston was simply amazing.

Fern hoped to raise her score – and a few pulses – by stripping Artem's top half, while cricketer Phil played it for laughs trailing what looked like toilet paper out of his trouser leg!

The format was for each couple to dance a ballroom and a Latin number, punctuated by some stupendous routines from the professionals.

Kate Thornton, who was an able MC for the night, celebrated her special birthday with the crowd wishing her well in traditional style with a rousing chorus to kick-start the fun.

The evening closed with the ensemble – including judges – hitting the dance floor and those within touching distance had to hold themselves back as Bruno got carried away enough to swing his shirt around his head!

But everyone was close to the action here in Nottingham for a truly FAB-U-LOUS show (... that's one word, three syllables, begins with 'F').

Madagascar Live, Capital FM Arena

If there was ever a show that was all-singing and all-dancing, then Madagascar Live fits the bill perfectly!

An energised audience also managed to let off their steam by dancing in the aisles at the end of a perfectly balanced show at the Arena.

Encouraged by the lively cast, we needed little encouragement to get on up and "move it, move it" to one of the animated film's catchiest tunes.

Dazzling costumes and amazing sets took the production way above the usual fare for children's stage-show entertainment.

And having a familiar story worked to the show's advantage as it retold the tale of the group of New York zoo animals who seek a little adventure on the other side of the bars.

The action-packed musical follows Alex the Lion, Marty the Zebra, Melman the Giraffe and Gloria the Hippo on their unexpected journey to the madcap world of King Julien's Madagascar.

The crack-a-lackin' adventure slows a little at times but then so does the blockbuster DreamWorks Animation movie.

Fortunately, there are some nicely-worked set-pieces to keep us hooked, especially the cheeky, plotting penguins and a pink-haired love-starved newscaster.

Both leave the stage for a little interplay with individual members of the audience, bringing their characters to life up-close and personal.

The dance numbers are well choreographed and it's a relief to hear real singing.

With no voice track or miming, it's a pleasure to appreciate the talent of the "animals" performing in front of us. They're clearly enjoying themselves, which is infectious in the amphitheatre created by using just half of the Arena.

We're treated to 25 characters in all – which is no mean feat in a touring production where everyone has to squeeze themselves into costumes that really do reflect the characterisation of the animals they play. Neat stage tricks help transport us from zoo to the subways of New York, then on board ship and into the jungles of Madagascar.

The show-stopping numbers come right at the end and it's something of an abrupt stop when the story finally draws to a close.

But wait... maybe the show doesn't stop there for the youngsters: You know it's worked out well when you spot kids of all ages singing the best-known songs on the way out!