Lee Mack, Royal Concert Hall, Nottingham

It’s safe to say that comedian Lee Mack enjoyed the audience at the Concert Hall as much as they enjoyed him.

The stand-up and star of TV’s Not Going Out stayed a full 15 minutes longer than his billed timings last night – and for that we were grateful in what otherwise was a set that flew by.

From the outset he was gag-heavy. Rattling them out like a Ken Dodd for the 21^st Century (in the nicest possible comparison, of course), he was on his way into the next story, punch line or observation while the sell-out audience was still recovering from the last.

OK, he could be hit-and-miss sometimes, and a bit of a lull 40 minutes from the end showed he was at his best working the audience rather than relating those scripted tales of home life, children and his sex life.  

From telling us why elephants actually have a short memory to the vagaries of Irish name-spelling, he covered a vast range of topics from the point of view of the punters. Fair enough, his topics were mostly end-of-the-pier stuff – and some of the punch lines could probably be spotted from the spaceship that landed on that comet recently. He even managed to fluff a few lines so completely that we never got to hear the end of his stories. 

But he was very visual on stage, using the space well, pacing, pausing and reacting to the crowd.

His audience interaction was the key – and got by far the biggest laughs. Good old Grace from Kimberley, and a wonderful hair-stylist from Burton-on-Trent who made up her own line and probably got the biggest laugh of the night, laid the foundations for some good old-fashioned spontaneous fun.

His contact with the crowd was a mix of the traditional “What’s your name” and “What do you do” to remembering their names and what they’d told him to bring back into his gags further into the show.

Indeed, the encore was simply inviting questions from the floor. A risky strategy but the good folk of Queen of the Midlands delivered – and gave him the perfect material to round off a busy night.

Horrible Histories: Barmy Britain. Theatre Royal, Nottingham

Just how barmy is our Britain then?

Quite – if this whirlwind of a show is anything to be believed.

A whistle-stop tour through the ages, starting with Boudicca and the Romans and ending with the conclusion of the First World War showed us the facts.

But the facts were draped across music, comedy and sketches which never failed to hit the spot in a two-hour performance.

It’s hard to call it education theatre because although everyone will learn something from the show, it’s hardly tough learning - and perhaps the way forward for some of the drier history teachers out there to take on board.

If you’ve ever seen the television programme, you’ll be familiar with the Terrible Tudors, Vile Victorians and Rotten Romans – but it was all new to me.

It was the wide choice of historical tales by the Birmingham Stage Company that prompted me to reiterate to my nine-year-old that everything he was watching was true.

It all really happened. From Henry VIII’s execution of 72,000 people to the real meaning of the word ‘Viking’.

A striking and sobering thought for the adults watching was how much history can repeat itself. From the Crusades and King Richard the Lionheart ordering the massacre of 2,700 muslims at Acre to the threat of a worldwide plague in the middle ages. The parallels with the modern world were obvious to see. When there was last a Queen Elizabeth nearing the end of her reign, we had supposedly corrupt politicians and an economy struggling to make ends meet. There was even a parallel with the Scottish independence debates of today, with a reminder of how we sold our lands north of the border to help pay some mediaeval war debts.

There was more for the adults with a couple of real groaners of gags, including a particularly memorable Alex Salmond joke.

The gunpowder plot to blow up our politicians was acted out with Guy Fawkes talking about his plans via a Who Wants to be a Millionaire format – and we had Burke and Hare singing about their gruesome exploits to the tune of Postman Pat.

Horrible? Yes. History? Definitely!

The Saturdays, Royal Concert Hall

Opening to an impressive backdrop the girls went straight into What Are You Waiting For, which sparked a 100-minute show of all the hits – and more.

What we were waiting for – and got – was an evening of perfectly-performed Saturdays tracks – but it took until the eighth number before the crowd really got into the groove and jumped to their feet as one, for the Depeche Mode cover Just Can’t Get Enough.

Another of the most popular routines was also a blast from the past, as Disco Love channeled both the Bee Gees and Britney Spears, with the help of the hunky male dancers in their latest revealing costume.

That’s not to say the girls were left behind in the fashion stakes. Five different costumes, ranging from the sparkle and glitz of the opening numbers through street fashions to the skimpy firefighter kits for All Fired Up thrilled with each new entrance on stage.

At the newly-refurbished Royal Concert Hall, Rochelle, Frankie, Mollie, Vanessa and Una were on their fifth night of a 19-date tour. And while their carefully-choreographed pop routines took them upstairs, downstairs and all over the stage floor, there was surprisingly little movement apart from all that walking.

Perhaps they were concentrating on the singing, as this performance was a particularly accomplished set.

The girls’ harmonies passed the test of walking Through the Desert, which led into a triumphant Ego and the slower Issues, demonstrating the variety of their work.

The ballad My Heart Takes Over contrasted nicely with the electo Depeche Mode number and a simple request for some fairy lights among the sell-out audience prompted everyone to flick that switch on their mobiles to accompany Chasing Lights, the title track of their first album.

Or perhaps they were distracted by the outside world. Frankie’s learning a new routine each week for TV’s Strictly, Rochelle has an 18-month baby to deal with and Una is pregnant with her second child.

Considering Rochelle and Frankie formed S Club 7 spin-off S Club Juniors in 2001
they’ve come a long way in seven years of The Saturdays.

By the reaction of the young crowd on the Nottingham leg of the tour, they’re set to go a lot further.

Shrek the Musical; Theatre Royal

One thing is evident right from curtain up in this fairytale spectacular.

It isn’t your regular hum-drum screen-to-stage production with people simply dressing up.

Right from the off the actors on stage become truly believable characters as they live and breathe the world of Shrek, Princess Fiona, Lord Farquaad and Donkey.

The make-up and costumes are worthy of a big-bucks, big-screen production. Dean Chisnall without his green make-up, padded suit and doleful demeanour would easily pass as just another shopper if you were to spot him away from the stage. But on it he’s Shrek; nothing more, nothing less.

Gerard Carey as the diminutive Farquaad shares the comic star turn with Idriss Kargbo as Donkey and the pair could have been born for their roles, stuffed with one-liners, visual comedy and the ability to simply deliver a great line.

Meanwhile, everyone’s favourite princess, played by Faye Brookes, clearly enjoys her role gradually falling for our straightforward ogre hero, who’s tasked with rescuing her from the tower.

They soon discover they have much more in common than they might ever have imagined, as they embark on their journey of music, song – and the full host of nursery rhyme and fairy tale characters wonderfully played by the ensemble. We have the Gingerbread man, Pinocchio, the three little pigs, the three bears, Peter Pan (“Grow up!” he’s told – “But I can’t!” comes the reply) and a somewhat camp wolf from Little Red Riding Hood.

And here is the key. Shrek The Musical is perfect pant material. Don’t be surprised to see it coming back again one festive season.

Away from the story the show is packed with gags and asides for the children, as well as another level for the adults - which go straight over the kids’ heads. 

Each of the superb songs carries the story forward. They’re not there to fill any gaps or stretch out the show. There’s not a single dud. They are great production numbers with tried and tested harmony and techniques so that we’re treated to a couple of real show-stoppers too, such as I Think I Got You Beat and The Ballad of Farquaad. We’re treated to styles from 1940s musicals through to the 70s disco sounds reminiscent of Carwash and beyond.

We’re also introduced to what must be the most amazing stage dragon seen at the Theatre Royal, as our heroes battle to rescue the princess.

But it’s the blossoming love story between the main characters which leaves an imprint on the heart.

Down-to-earth Shrek is blind to his qualities and as long as the princess is looking for her prince, she fails to spot that she may already have found her true love.

Beauty isn’t always the same as pretty, the script tells us. Perhaps you should get along to see for yourself.

With a rip-roaring finale, it’s no wonder this show is booked in for three weeks at the Theatre Royal on the back of its huge West End success.

Scooby-Doo! The Mystery Of The Pyramid, Theatre Royal

The Mystery Inc. gang is back - live on stage with some comic strip hokum another new mystery to solve.

And we’re here to help them! It’s a no holds-barred adventure with Scooby-Doo, Shaggy, Fred, Velma and Daphne, who are in Egypt and – surprise surprise – come across some mysterious mummies.

The mystery of Pharaoh Hatchepsout's Pyramid brings some classic panto-style fun along with the traditional Scooby fun we’ve come accustomed to over the past 40 years or so. 

The gang is in Egypt thanks to Velma’s friend Otto, who needs some help with a troubling mystery. Creepy but fun, it’s a surefire hit for all the family.

Lots of music and dance, awesome special effects and some good old slapstick combine with a typically Scooby-style story and the wrath of a pharaoh who’s more than happy to transform to stone anyone who dares approach the pyramid!

You might soon guess who the villain is – but that doesn’t matter as the audience participation, gags and singing keep the show bouncing along.

There were rumours of a real Great Dane in the role of our four-legged hero but although it’s not a real-life doggie-detective on stage, the central character is wonderfully brought to life thanks to the skills of the cast and the audience’s own imagination.

Scooby-Doo is unique in that it’s a cartoon made in the 1960s that’s still being produced and broadcast today. It spans the generations and so does this live tour, which reaches its final leg in Nottingham.

Among the children’s TV shows which we’ve seen translated to the stage in Nottingham this has to be one of the best, with superb sets, sound and production making it a slick experience.

Stuart Pearce. That is all.

The free kick

Happy Days, Theatre Royal

Cast your mind back almost 60 years to Milwaukee, Wisconsin, in 1959.

Richie Cunningham and his friends are about to graduate from High School – and there’s the little matter of getting his love life on a firm footing too!

Solid performances from the boys’ new harmony group The Dial-Tones, along with duets from Marion and Joanie (Cheryl Baker and Emma Harrold) were among the first act highlights, as we learn in a straightforward plotline that Arnold’s Diner is under threat from developers. 

A fundraiser with the Fonz (Emmerdale’s Ben Freeman) as the star turn would bring in some money for a fighting fund. Alas, as the curtain falls on Act I, Fonzie has ridden off into the night to escape his responsibilities – which include former squeeze Pinky Tuscado, played by former Sugababe Heidi Range.

Great care had been taken with some superb scenery, clever scene changes and neat changes of pace - such as the Leopard Lodge scene, where Howard’s (James Paterson’s) comic secret society does its work – move the story along.

Deft little touches like Howard Cunningham’s cardigan and Big Al’s white hat for the diner brings the characters from the TV show to life in this brand new musical, enjoying only its second week for its stint in Nottingham.

But there was a nagging feeling at the interval that something was required to lift the show. The orchestra was a little too panto-esque to be big band, and with a little too much grimacing from Fonzie, no single character having the presence required to take over the stage - and the lack of a show-stopping number - we were ready for the party to start in Act II.

And yes, the musical numbers after the interval were bigger and more accomplished, the show had finally made its mind up to take things less seriously and the actors were hamming things up as they should. We saw Cheryl’s fine pair of pins, shared some ‘in’-jokes and enjoyed the creative theatre that brought the fundraiser to its inevitable conclusion.

There are over 20 new songs to enjoy – and therein may be exactly what’s holding the audience back; I’m not sure there’s a chart-topper in this musical.

But if you can free your mind of the 70s television show – and what the “real” Fonz looks and sounds like – and throw yourself into the 50s, you could get along and be able to say you were in at the start of something new.

Science Museum Live - The Energy Show, Nottingham Playhouse

The fast-moving Energy Show Live is thrilling the nation after a hit run at The Science Museum in London over Easter.

This lively, fun, informative – and loud – visual performance is perfect for kids of all ages but really appeals to the eight to 12-year-olds the most.

It’s an upbeat performance featuring two futuristic scientists faced with the challenge of demonstrating all nine forms of energy in a five-minute presentation.

We have the straight-laced Annabella and the rather more fun-loving, impish, Philomena ("that’s ‘Phil’ to you!"). Pitched in together after both failing their exams, they find a way to work as a team and thrill the audience with some ear-splitting and eye-popping physics stunts and tricks that the youngsters will remember for a very long time. 

With help from android Bernard and virtual lab assistant i-nstein, the steampunk ladies whizz through the flames, explosions and tricks, explaining the chemicals and science behind everything they do.

They’re so accomplished that it’s hard to tell if they are scientists doing a bit of acting or actors who’ve learned some science. Either way it’s an action-packed 90 minutes or so, which builds up to the all-important exam presentation at the end.

So we get the biggest and best bangs saved until last! There’s even a series of missiles fired into the audience – but we’ll save the details so as not to spoil the surprise.

Bruce Forsyth, Royal Concert Hall

Thank goodness Bruce Forsyth has parted company with Strictly Come Dancing.

Because it finally nails the myth that he's past it. He's a supremely talented song and dance man at heart and proved it in his visit to Nottingham. 

With a skip and his characteristic dancer's stride, a lively Brucie entered from stage left, started singing and held the audience in the palm of his hand.

A magical piano solo of Misty followed – and the evening simply flowed with song, dance, anecdotes, backchat and music from the showman. He admits it's what he loves most – after all, he's been doing it for 70 years.

There was plenty of trademark banter with the audience – and this is where he shows how it's done. Within the first few minutes he was off the stage and mingling with the Concert Hall crowd, thrilling the stalls with his chit-chat as he made his way up the aisles.

The first half drew to a close with a Generation Game-style skit, as four likely lads were pulled up on stage to don top hats, carry canes and perform a soft shoe shuffle with Sir Bruce. It was natural comedy, amazing theatre and completely family-friendly. 

Before then, the 86-year-old 'entertainer' (as he labels himself) had given us Give Me The Simple Life, and a swift comedy version of Singing in the Rain.

The sign of a true master, it all seemed to have passed in a flash and on his return to the stage, he collected a fiver from band leader Dave Arch after winning a bet that we'd all be sitting there for more!

Sarah from Gloucester will look back on the night as the one when she was picked out of the audience to tango with Sir Bruce in the spotlight. Both looked to be enjoying their moment, even if Brucie was a little risque as she left the stage, pleased he'd made her day but admitting it was a pity he couldn't make her night...

Tales of how he met his beautiful wife Wilnelia, how he can't quite tap dance how he used to, that his golf handicap is way off the '9' it used to be – and memories of his beloved Sammy Davis Jr – were mixed with Can't Take My Eyes off You and I've Grown Accustomed to Her Face, his all-time romantic favourite.

He thrilled us with a half-hour question-and-answer session, before signing off with a simply beautiful solo piano finale. And then stayed on for over 90 minutes, thrilling fans by signing autographs at the stage door.

The Seekers: Nottingham Royal Concert Hall

A standing ovation before they'd even opened their mouths set the tone for the evening. It was touch and go if they'd squeeze any tunes in between the applause.

But we soon settled down to a feast of hits, memories, smiles and - let's face it - a concert to give goosebumps to anyone with a heart.

If someone ever sang Morningtown Ride as a lullaby when you were a babe in arms this Golden Jubilee event was an extension of that. It was one huge hug of a show, with reassuring harmonies from the boys and a perky vocal from singer Judith Durham.

Transporting us back to when every day was warm and sunny, the Australians reeled off hits including Georgy Girl, I’ll Never Find Another You, A World of our Own, and the wonderful Morningtown Ride. 

We could instantly feel the world becoming a safer, friendlier place once again as the band reached out - no longer the innocents setting out on their long journey of musical stardom but still retaining a freshness as their thoughts were set to music.

Their upbeat folky arrangements and melodies have not dated in those 50 years and the band are looking good. Athol Guy on bass and Keith Potger and Bruce Woodley on guitars kept things moving while Judith looks to have made an amazing recovery from a brain aneurysm a year ago. Her voice has not suffered in the slightest and the evening was a genuinely uplifting experience. Perhaps this reunion tour was imply meant to be.

Genuinely warm towards their audience, it was something of a 60s love-in – and with Judith, Bruce and Keith taking centre-stage for solo slots giving us the chance to show our appreciation.

These guys have sold 50 million records. On the strength of tonight’s show, it’s going to be a whole lot more as we raid the back-catalogue.

Anton Du Beke – Ballroom to Broadway, Royal Concert Hall

If you still had any energy left over from the Nottingham run of Strictly earlier in the week, Anton Du Beke's own stage show was a must for the diary.

Probably the nation's favourite ballroom dancer, Anton could even boast the voice of Strictly, Lance Ellington, among the special guests making this a stunning afternoon of razamatazz and sparkle to relish.

From curtain up we were treated to the sights and sounds from the big names of musical theatre including Cole Porter, George Gershwin and Andrew Lloyd Webber. 

The London Concert Orchestra, conducted by Richard Balcombe, added some genuine class to the show – the city's hottest ticket on a wet and blustery afternoon.

But the weather – and anything else for that matter – was quickly forgotten as we were transported far away to a world of sequins and fancy footwork thanks to the super-smooth steps traced out on stage. 

Anton's ballroom partner Faye Huddleston was accomplished throughout, but there was so much more than dancing, as he also led a couple of stand-up comedy-style sections of the show where we learned the secrets of his celebrity Strictly partners. Then we enjoyed the orchestra take centre-stage and also heard our host team up with Lance Ellington for some wonderful vocal duets. 

West End singing star Summer Strallen, fresh from hits such as Top Hat, Love Never Dies and The Sound of Music to her name, added to the atmosphere. 

Costume, choreography and instantly recognisable tunes played their part for a show which saw us singing along (quietly!) with the stars to the likes of Anything Goes and Begin the Beguine. 

Let's face The Music and Dance, Music of the Night and The Blue Danube Waltz were all perfectly executed for what was undoubtedly a mature audience – but the 3pm start was great news everyone who enjoys Anton Du Beke on TV and wanted to see him in the flesh.

The Snowman, Theatre Royal

There was only one question on the lips of the audience as the lights dimmed for this truly magical experience...

“Will he fly?”

And as James and his cool new friend gracefully left the ground we too were taken on a journey in this masterpiece of dance, drama and fantasy.

The Snowman truly is a tale of friendship and discovery as a young boy enjoys the trip of a lifetime packed with the colourful characters we're now so familiar with from television. 

The freedom of the stage, rather than being a constraint to the action, allows for so much more imagination and colour.

The first section set the scene for young James's home life, his discovery that the world outside his front door was white-over; building a snowman and making the amazing discovery that it could come to life.

This is the Birmingham Repertory Theatre's acclaimed production and with no dialogue, the story is beautifully told through music and movement. So we are treated to real musicians in the orchestra pit and what seems like a cast of dozens – although the programme assures us the actors are doubling up during the show. 

The opening night's child actor, Archie Durrant, is a fizzing ball of life with the many strings to his bow including dance, mime and acrobatics. But he looks very assured and comfortable, despite being centre stage for almost all of the hour and 20 minutes.

Aside from raising a laugh with his clever creation of the snowman, he sparks a kitchen scene of limbo-dancing fruit, plays a major role in the North Pole dance routines (with the big man in red there too) and helps defeat the naughty Jack Frost. The traditional toys in the playroom come to life in a most charming manner and it's all so easy to believe in.

The flying sequences (always magical in theatre) are gracefully done with child and snowman perfectly co-ordinated as they travel the globe.

There are some 60 costumes in the show, and it's said the 11 snowmen costumes take up more than 11 miles of white netting to create. The spectacular has more backstage crew than dancers, such is its complexity. 

Attention to detail is key, from the expressions on the performers' faces to the snowman's familiar hat and scarf. 

For all the world it's as though the actors have been plucked from the pages of the book and it's clear that 20 years of The Snowman on stage have honed the polite doff of the hat, the seamless scene changes, and energetic choreography that never lets up.

So does the tale end in the sadness of a lost friendship as the thaw sets in? There's only one way to find out... get along to enjoy the all-dancing festive conclusion!

Punt and Dennis, Nottingham Playhouse

This show felt catapulted direct from a Footlights revue as the boys reprised their trademark roles of Steve Punt as the straight man – with Hugh Dennis amusing the sell-out crowd with his knockabout approach.

It was for all the world a Radio 4-style audience in on this wet Friday night, and Punt and Dennis may have been surprised to see so much grey hair (or no hair) in their demographic.

But with radio's The Now Show their main satirical vehicle and Hugh Dennis involved in gentler televisual comedy pursuits, perhaps they come to expect that.

Clipboard-holding Steve ran through their carefully-chosen topics in time-honoured style as the perfect foil for Hugh's commentary. There was a plethora of digital television channels to describe, such as the curiously named ITV2+1 – surely that's just ITV3? A smattering of Jimmy Savile jokes “Half my act's gone”, says Hugh – while softly singing Tie a Yellow Ribbon Round the Old Yewtree.

Easier to identify with what people are overheard saying while shopping at Waitrose: “Do we need parmesan for both houses, darling?”, or how we're suckered into buying from the shopping channels when we get home tipsy.

The duo were here three years ago and while it's nice to enjoy some of their best-loved material again, there was a lingering feeling that too much of this current show was reworked.

We'd seen before Hugh asking us to laugh in the style of a pirate, or a Frenchman, and while World of Wine was a superb ending to the evening, it felt like another digital channel repeat.

Micky Flanagan, Capital FM Arena

Appearing at the Concert Hall earlier this year, this was Micky Flanagan's second visit to Nottingham in a single tour.

But he packed the place out and warmed to his themes with his East End swagger growing ever more lively and vociferous as the show progressed.

We've seen him on TV more and more over the past couple of years but he's restricted by that format and laps up the atmosphere created by a live stage act.

A late starter to comedy he's had a “real life” before becoming a performer and draws on this to tell his tales.

There are tales of his – and our – younger days which ring true with the middle aged members of the audience and educate anyone younger.

From the days when pet dogs weren't in charge, when instead of them ordering you to pick up their poo, old men used to come out of the pubs at night and kick them. When you could round up kids with a lit cigarette and when you used to see more old folk with warty faces.

Simple observations of a days gone by and a Britain we'll never return to. When his cooler schoolmates used to affect a pretend limp, when he used to stay up all night to see a fleeting shot of female breast in an old vampire film, or when he was sent to the corner shop to pick up his mum's over-sized sanitary products.

We learned of the tricks of the trade of being an adult married man. The difference between girls' nights in and boys' nights out.

Having two off-licences on the go: one for the trendy bottle of wine at 7.30pm and another who's more compliant for the 11.30pm old-school snifter. As Micky tells the shopkeeper: “I won't say anything about you splitting the multi-packs of beans if you don't say anything about my late night wine.”

He does a neat routine on the various drugs someone of his age might have had access to as an ordinary manual worker (he's over 50 now) – a trail of discovery that seems almost romantic now.

And even the tale of how 9/11 saved his relationship somehow rings true. A slick show, and the evening just flew by.

No support for Micky, though. He's got plenty to say himself, plenty of front and an uplifting, energetic delivery.