Jack and the Beanstalk, Nottingham Theatre Royal

Christmas has well and truly begun! Forget your Slab Square winter wonderlands – and don’t hold out hope for an early Christmas gift from our local football teams.

There was a palpable buzz about the Theatre Royal for Jack and the Beanstalk and every one the cast oozed star quality.

New panto dame Tony Maudsley touched down from Benidorm as Dame Trot – and proved to be a revelation. How he’s managed to avoid the panto season up until now we’ll never know – but he’s going to be at the top of the "wanted" list this time next year, whether he’s busy as Kenneth or not.

He arrived in his TV character’s trademark hot pants and his opening number, a wonderful rendition of Danny la Rue’s signature tune The Girl With a Little Bit Extra, was perfect for panto – raising a laugh for families and giving a little bit extra for the grown-ups (if you know what I mean!) Dame Trot also scored well with some of the best lines, as well as some of the rudest double-entendres.

And then there’s the seasoned pros Paul and Barry, the Chuckle Brothers, playing her sons, and bringing the house down with tried and tested routines that had many of the audience crying with laughter. Picture pensioner Barry in his frilly knickers and nothing else and you’ll start to get the idea…

Their opening got some of the biggest squeals of the night as their naughty presents once more meant different things to different people. Their squabbles, giggles and mastery at working the audience fitted seamlessly with the plot. Perfect family fun.

Meanwhile, it’s always Chico time with Jack (yes, he sang it), and his own striptease at bedtime had a little more wow-factor than it did x-factor!

Daniel Boys was suitably hiss-worthy as Fleshcreep, while Sarah Earnshaw was eminently lovable as the Spirit of the Beans, keeping our story moving forward and helping out the Trots in their quest to rescue diminutive Princess Apricot (Gemma Buckingham) from the giant’s lair.

Ian Gledhill was a ready-made stand-in as King Crumble for the press night, and was a wonderfully gentle and transparent chap as he fell for the colourful Dame’s amorous advances.

We also embarked on an amazing 3D trip inside the Giant’s castle. Just a word of warning though – you might need to let very small children know there are rats, maggots, spiders and more leaping out at you once the 3D specs are on your nose.

This year’s panto is so much more than just the laughs. The musical numbers, led by Allan Rogers and his band, were all top-notch. The comedy was spot-on, even if the audience was sometimes half a beat behind the quickfire repartee of the leads. 

It’s a sparkling antidote to winter and one of the best Christmas shows in years.

The Next Step Wild Rhythm Tour - Concert Hall

This was a night for screamers, as the Concert Hall’s perfect acoustics aimed the product of the audience’s excitement directly towards the stage for our dance heroes to hear exactly what we thought of them.

The excitement was reaching fever pitch as Next Step dancers Trevor Tordjman, Victoria Baldesarra, Jordan Clark, Lamar Johnson, Myles Erlick, Briar Nolet, Isaac Lupien and Isaiah Peck finally hit the Nottingham stage after months of excruciating anticipation.

The Canadian cast of the CBBC show seemed to be in character as they took us through some amazing routines which took in contemporary, tap, hip-hop and ballet, along with their trademark gymnastics and tumbling.

There was a dance-a-long with the crowd, where we all learned some slick moves, a Q&A when Jordan came out into the audience to get questions for the rest of the cast to answer. And another highlight was the tap-off between Trevor and Isaac… which last night Isaac won hands-down.

Cast members from the spin-off series Lost & Found, Shane Harte and Sarah Carmosino performed a solo each, supported on stage by the dancers, and then treated us to an emotional contemporary duet.

If you didn’t already know, The Next Step is a hit Canadian teen “reality” TV show that follows the lives of a group of young dancers. Acting their parts on TV, they are also one-to-one on camera talking about their roles and the ongoing story as if it were a real-life documentary. They’re incredibly popular and this sell-out show was testament to that.

Most of the cast preformed a solo, and we saw a video biography of their life and work (real life this time rather than their TV characters) to get a real insight into their lives and families.

There was a massive age range in the audience, from five up to teens – as well as their parents – mainly girls with a few boys scattered among them.

With lots of souvenirs on sale, as well as an invitation to film and take photos all evening, we all came away with previous memories of a great worldwide tour that continues around the UK, then on to Australia to thrill their fans down-under.

George’s Marvellous Medicine, Theatre Royal, Nottingham

We all know that horrible things happen to horrible people, and in the world of Roald Dahl, this is a fact rather than mere supposition.

As if to prove it, along comes the Birmingham Stage Company with their latest adaptation of a well-loved children’s tale, George’s Marvellous Medicine.

Clearly one of Dahl’s shorter books, the cast make the most of the tools they’re given through his words and take us on a journey of one small lad who’s determined to improve his somewhat rude and nasty gran.

She’s invited herself to stay on the family farm indefinitely as she’s become infirm. And George immediately decides he can improve on the medicine she’s already on. So while his parents are busy with their household and farmyard chores, out comes the devil in little George, who uses every household ingredient from deodorant and shampoo to brown paint, pig pills and horse medicine. Note: Don’t Try This At Home, kids.

Gran, who he fears is actually a witch, really does swallow the new and improved mixture, and grows taller than the house, bursting through the ceiling and looking down on the farmyard – but still being a rude and bossy pain in the neck to the rest of the family.

This performance is a knockabout experience and probably best for pre-teens and fun-loving adults.

It’s another winning adaptation from the talented David Wood with loads of audience participation and a great turn from the adult Ed Thorpe who’s truly believable as the wide-eyed eight-year-old George.

Dad Richard Mullins, mum Tessa Vale – who passes out perfectly with shock during the show – and the Deborah Vale as manic gran all fit their roles like fingers in a glove.

So could George’s dad make use of the medicine to super-size his farm animals? And how will they make more medicine? What will happen to gran – will she ever get back to normal, or is she really an old witch?

Miles Jupp, Songs of Freedom: Nottingham Playhouse

Within minutes of Jupp bounding onto stage, in our minds we have the striking and carefully drawn image of him reclining in a bath on stage. With soap, and steaming hot water. And a good wash. Not a square inch missed.

This is his looking forward to the end of the gig, returning to his hotel room and relaxing with wine after the show.

His way with words makes it crystal clear what he’s driving at. He even tells us he’s carrying a little excess timber.

And when he describes following his audience out of the theatre and into the foyer and outside at a previous date in Spalding, it’s easy to relive that moment with him – and appreciate the absurdity of it all.

For adults of a certain age in the audience – the parents that is – Miles first came into our consciousness as a very different character to the one that dropped the C-bomb around 15 minutes into each half of this carefully drilled new show.

Indeed, he slips in a couple of references to his previous TV life, reminding us – with no little angst – that teenagers like to go up to him in Wetherspoons, shout “Archie” in his ear and run off.

It’s hard to imagine Miles Jupp in a Wetherspoon pub, but he might surprise us. As he says, people make an awful lot of judgements about him based on the way he speaks, the way he looks and how he acts.

Working from comprehensive crib-sheets, he works his way through telling us (from YouGov surveys) what we like to wear, what we love to eat and, tellingly, where we like to shop.

He strikes a chord with a rant on how he’s over-polite, why Prince Charles’ Duchy Originals belong to all of us anyway – and painfully recreated that moment when we’re trying so hard not to have to clarify something with our wives, especially when we can’t find something.

It’s a great show, full of truths and shows why this now familiar face on TV is so much like us. Even down to bemoaning the lack of buttons these days, citing the example that having a nuclear button is inherently safer than the touchscreen option…

Jacqueline Wilson, Nottingham Playhouse

This was a super-fan event to get to know Jacqueline Wilson, the much-loved children's author, who has recently published her 105^th book, Clover Moon.

Sitting centre stage with the new book on a coffee table beside her, she spoke about the inspiration for her stories, Clover Moon itself, her life and her background - and getting started in her career.

Jacqueline told us that as a child her head was always full of stories and imaginary friends.

As she grew up, she used to save up her pocket money for a new pen or notebook for whatever she would write next.

She told the sell-out Playhouse audience (mostly of girls and their parents) about how at 17 she sent off a short story to DC Thomson in Dundee, which eventually resulted in her living there, working on a new magazine for girls!

One of her roles was to write pretend 'readers letters' and to make up the horoscopes column - all good practice for her award-winning fiction writing later on in life!

She spoke about her latest book Clover Moon. Poor girl Clover lives in a grimy backstreet of Victorian London with her six younger siblings, her weary dad, and his cruel uncaring second wife.

More full of life than the others in her family, Clover jumps at the opportunity of learning her letters, and loves the chance to paint or draw. Unfortunately, despite her talents, Clover's future is as a house hold skivvy.

Then an exciting chance crops up, to have a meeting with an artist that opens up ideas of her future.

Jacqueline told us she enjoyed writing this book, and even let on there is a Hetty Feather encounter in the book as well.

Towards the end of the jam-packed hour, there was a question and answer session with the audience.

She revealed her own favourite stories were Hetty Feather and The Story Of Tracey Beaker.

She also told us to expect a three-part CBBC series of her book 'Katy' as well as (in two long years' time) a feature film of her book 'Four Children And It' to look forward to.

Giselle, by the English Youth Ballet at Nottingham Theatre Royal

“A credit to Nottingham and the surrounding area” was how the city’s Lord Mayor Mohammed Saghir summed up this energetic performance of Giselle.

He more than had a point, as over 100 youngsters were filling the stage behind him after nailing a popular ballet first aired over 150 years ago.

The English Youth Ballet works on a kind of rep theatre basis – which means the young performers have only days to learn their masterpiece.

But you’d never know it. From the youngest babes marking out their steps through the dozens of teens in perfect synchronisation and onto the leads, this was a neat, tight and well-drilled performance.

The dancers were clearly chosen for their grace, boys and girls alike – something most striking in the first scenes of Act II, when the ghostly wilis glide across the stage as though afloat.

The enthusiasm of the audience seemed to give the youngsters an extra edge, spurring them on to such a high standard in such a short space of rehearsal time. Of course the planning from director Janet Lewis, assistant director and choreographer Dominic Marshall and company manager Scott Butterworth stretches far in advance of the rehearsals – and their dedication shines through.

Back to Giselle, though. And for those who don’t know, all the trouble in store is down to Albert, who’s engaged to Lady Bathilde but clearly loved Giselle. She also loved to dance for her father and after some beautiful woodland dancing realises the betrayal and dies because of her weak – or broken - heart.

Yet she is summoned from her grave in a spectacular series of scenes where the wilis show their mastery of the dance floor, while condemning Albert and leading Giselle’s protector Hilarion to his death.

Updated to a modern setting, with evocative costumes, the youngsters brought the tale to life in an accessible performance that, as the mayor said, did everyone proud.

Matthew Bourne’s Sleeping Beauty, Nottingham Theatre Royal

This is a stunning ballet performance with a new, lavish, relevant take on the traditional story.

It’s far from the classic version of the Sleeping Beauty story, but neither passive nor brash – yet it’s comfortable in the bounds of the well-known Tchaikovsky composition.

It’s an eye-opener for visitors to the Theatre Royal until Friday, with some neat touches and am accomplished performance thanks to spot-on choreography.

Baby Aurora sets the tone from the start, the realistic puppet moving around her crib and tapping her hand knowingly to the music as she watches the good fairies dance. After the good, inevitably, comes the bad. The dark fairy casts the spell that seals the princess’s fate.

From then on it’s an energetic, gothic version of the traditional story with twists and turns including a vampire, with the unexpected twist ending the first half thrilling the opening night full house.

As you would expect from a Matthew Bourne production, there are several new characters which owe nothing to Disney, existing tales or earlier ballet productions. Yet this remains faithful and true to a story that enjoys celebrated versions, forms and formats around the world.

Over several distinctive scenes, revealed as layers throughout the show, linked with narrative prose beamed onto the background to move the action forward. Moving from nursery to a garden party and the palace gates, little was left to the imagination.

The dancing likewise. It’s a very accessible production and easy to follow, despite those unexpected twists which differentiate it to all that’s gone before.

Less traditional ballet we find the stage graced by modern dance, albeit a disciplined portrayal by more than a dozen key members of the company – although you’ll see some new dancers depending on the performance. From fairy dancers in traditional ballet garb through to the strongest characters in their heavy and distinctive costumes.

The show lends itself well to the special effects sprinkled throughout, from atmospheric mist-filled scenes through to loud and striking thunderstorms. Link this with some amazing character performances that could send a shiver down the spine of younger members of the audience, you’ll take away a memory that will last as long as the old, old story itself.

Whoever forgot to invite the evil Carabosse to the family christening has a lot to answer for. But, of course, they all live happily ever after, with the “baby” puppet making another appearance right at the end – but this was the result of the Sleeping Beauty’s relationship with her “handsome prince”, Leo, the royal gamekeeper.

ELO 2016 tour at the Motorpoint Arena, Nottingham: review and set list

Jeff Lynne's Electric Light Orchestra was a "show to remember" at the Motorpoint Arena in Nottingham

This gig was astonishing. There's no other way to describe the spectacle that Nottingham witnessed.

This wasn't the last vestiges of a rock dinosaur looking for an elephantine graveyard.

This was a breath of life, fresh air on an evening that might just herald the start of summer.

Jeff Lynne brought his new incarnation of ELO to the Arena filled the place.

Big music, big crowd – huge talent.

From the off the man behind some of the biggest sounds of the 70s and 80s showed us exactly why he's regarded with such reverence.

It was astonishing because some of us younger ones never thought we'd get to see one of the biggest bands in rock history in the flesh. Jeff managed something new with the Travelling Wilburys but this was a welcome return what he does best. Singer, composer, songwriter, arranger, musician and producer – no one could deny he's got the lot.

And it was a sell-out crowd. I've never seen the Arena packed to the rafters like this and if you closed off one ear, the knowledgeable and appreciative audience could be heard echoing every syllable of every song,

Yet this was more than a love-in. Each and every number was a hit… a tune we knew, a lyric we love and a riff to grasp hold of.

The new album Alone in the Universe brings something fresh to the perfectly-executed back-catalogue. You may have heard When I was a Boy on the radio, and it's one of the strongest tracks on his latest release.

But of course, it's those hits from Radio 2 of days gone by that really get the crowd moving.

We worked our way through a couple of tunes from Discovery, Out of the Blue and Eldorado, and then Rock Aria sets the Arena alight. With its rock opera overtones, it took the concert to a new level.

The string trio brought an authentic touch, along with original keyboard player Richard Tandy in the mix as well as talented backing singers and a band that really cut the ice.

ELO has a distinctive blend of rock, pop and classical music, and enjoyed 26 UK Top 40 singles and sold more than 50 million records worldwide.

Living Thing, Turn to Stone, Sweet Talking Woman and Mr Blue Sky may have been the best-known tunes on the night but every song was a hit, each tune highlight. 

Wonderful images on the big screens and an amazing light show, particularly during Secret Messages, from the album of the same name, made this a show to remember,

Jeff Lynne may have achieved fame for landing a UFO at venues in the 70s and 80s, he's enhanced his reputation with this retrospective.

JEFF LYNNE'S ELO UK TOUR 2016 SET LIST FROM NOTTINGHAM CONCERT

Tightrope
Evil Woman
Showdown
All Over The World
When I Was A Boy
Living Thing
Ain't It a Drag
Can't Get It Out Of My Head
Rock Aria
When Night Comes
Secret Messages
Steppin' Out
Shine a Little Love
Wild West Hero
Telephone Line
Turn to Stone
Don't Bring Me Down
Sweet Talkin' Woman
Mr Blue Sky
Roll Over Beethoven

Brian Conley, Alive and Dangerous - Nottingham Playhouse

If you’re going to see a man who’s been in eight Royal Variety Performances, there’s a good chance you’ve an idea what’s coming.

His Alive and Dangerous tour, which dropped in at the Playhouse last night, is something of a microcosm of what must be the world as Brian Conley sees it.

Now arguably better known for his all-singing, all-dancing career in the West End musicals, he splits the show between a smattering of comedy and some well-known songs.

The rather pedestrian first half also sees a support act Mat Ricardo, who may have been new to this audience but is well-known from TV chat shows and exposure elsewhere. Not quite sure if he’s an illusionist, visual artist or comic, his slick, fast moves make him a dab hand at variety although it’s clear the audience want to get back to their hero Conley, who appears sparingly in those first 45 minutes.

Even Brian Conley comes over as a little self-indulgent before the break, rattling through well-known hits from his musical performances which include Chitty Chitty Bang Bang, Hairspray, Oliver!, Jolson and Me and My Girl. Not quite a medley but not quite enough of each to make it a proper concert.

Back for part two and the fast-talking, wise-cracking television comedian has the crowd in stitches.

Especially when he chats to Wendy in the fourth row – who came along at the last minute when a friend dropped out through illness, genuinely believing she was coming to see Billy Connolly.

This is the genre where the performer seems most at ease, despite his pitch perfect crooning earlier on.

A very visual comic, he’s also rather rude (both in what he says and what he does) and everyone just loved him, possibly because he’s such a cheeky chappie. Some of his gags are probably past their sell-by date but with him delivering them they’re still great fun.

Add fire eating, community singing, an audience member or two up on stage and some unspeakable naughtiness and you have the recipe for a great night out.

Oh – and don’t forget “It’s a PUPPET!”