Beauty and the Beast panto, Theatre Royal Nottingham

It’s only the second time since 1867 that Beauty and the Beast has been performed here. 

Yet with a hint of fairy tale magic, some sizzling special effects, colourful costumes and loads of belly laughs thrown in, it will surely be back before another 100 years is up.

As always, the comedy moments proved the biggest hits, with cheeky Ben Nickless – back for his fourth panto at the Theatre Royal – perfectly nailing a routine where his Apple watch filled in his missing words. Then later on his DVD collection provided some rather apt (if not altogether safe-for-work) commentary on  panto dame Andrew Ryan’s night out with some poor fella in the front row of the stalls. 

A personal highlight was the traditional staple “If I Were Not Upon This Stage”. You can’t really beat the tried and tested routines, and this one left tears of laughter rolling down my cheeks well into the curtain call. Another set-piece, the pleasant pheasant pluckers, had the cast in stitches too – along with most of the adults watching, though thankfully this one went over the heads of all those kids in the crowd. 

The lovely Sherrie Hewson, a local lass of course, provided the glue between the scenes as Mrs Potts-Temple-Savage, with some traditional audience interaction to help the fairy story along, although in truth there was already a fair pace to the action and a good mix of fairy tale, comedy and song. 

Benidorm’s Sherrie, previously a star of Coronation Street, sometimes looked a little alone on stage when she was chatting with the audience – it would only have taken a couple of dancers as her escorts to leave her looking less lonely on what is a very big stage.

We loved the baddie, Trent Bridge, played by Danny Bayne, already a veteran of musical theatre and TV entertainment news. Perfectly over-the-top, he took to the stage with just the right amount of fun to hit the mark as Deadly Nightshade’s henchman. Deadly herself (Natalie Spriggs) should really have attracted more boos from the auditorium but had so many lines the audience really needed to listen to keep up! 

Naomi Slights was a ringer for Disney’s Belle, helped along by some wonderful wardrobe. Her beau, Ben Richards from Footballers’ Wives and Hollyoaks, perfectly captured the torment of being the beast. And while the classic dining room scene came alive thanks to some nifty dance work from the young Theatre Royal Babes ensemble, my favourites were the dancing jammie dodgers. 

If you’ve got some very young children you might need to hold their hand towards the end of Act One, when Beast slays the kraken – but not before an amazing piece of stagecraft brings it terrifyingly to life within inches of the audience’s noses. 

The in the second act, it’s time to slip the 3D glasses for the haunted Forest, complete with all its creepy crawlies to give the I’m A Celebrity critters a run for their money.

Out of Order, Theatre Royal, Nottingham

A little trouser-dropping is never really out of place on stage, and with a falling towel or two and a beautiful young secretary running around in her skimpies, it’s clear there’s a Ray Cooney farce under way.

Suspend your disbelief at what unfolds because, like the actors, you’ll have a whale of a time. It’s over 35 years old now but this summer-season trouser-dropping show IS still funny.

Jeffrey Harmer is a Tory MP hoping for some extra marital fun with a minion from the opposition side of the House (Susie Amy from Footballers’ Wives) until he discovers a body in his hotel room which puts a stop to any thoughts of romance.

Soon there are doors (and the window) opening and closing, people popping in and out, here, there and everywhere as the plot not only thickens, but gets hopelessly tangled.

Sean Williamson, (EastEnders’ Barry Evans) as the beleaguered personal private secretary, shows mastery of a range of emotions – taking the audience along for the ride through his bewilderment, agony, anguish, desperation, mania and what can only be described as an unknowing smouldering sexual prowess.

Arthur Bostrom (from ‘Allo ‘Allo) appears as a hotel manager who continually walks in on people in compromising positions. And there’s Sue Holderness (Only Fools) and Cooney regular David Warwick in the mix too.

As always, the contrived jigsaw slots nicely together after all the big set-ups in the first act, as the second sees events spiral out of control only to be neatly – and satisfactorily – dispatched as the play hurtles towards its close.

There’s not much imagination required to see the bare cheek (!) of it all. In fact some of what you don’t see gets the biggest reaction. That, and the actors shrugging off a jammed door with aplomb.

This is an updated version of the original 1990 play and while there are certainly some  (now) rarely heard “phwoars” which set it back in time, up-to-date references to UKIP, Brexit, our current prime minister and the leader of the opposition firmly place it in the present day. 

Of course, all of the to-ing and fro-ing would never happen now because of the mobile phone – but who’d consign a fun evening like this to history?

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.

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.

The Star Wars Saga, Royal Concert Hall, Nottingham

Music from Episodes One to Six, by the City of Birmingham Symphony Orchestra

If you’re gearing up for Star Wars – Episode 7 at the multi-screen this Christmas, there can be few better ways to warm up than with a real audio treat to reel in the diehard fans ready for the next movie instalment.

This was auditory perfection in a wall of sound from the City of Birmingham Symphony Orchestra covering the full range from haunting melody to strident marches.

When you’re at the cinema – or even at home with surround sound – it’s hard to appreciate just how good these score are. No wonder composer John Williams has so many Oscars to his name.

A warm, if slightly worrying, welcome from Imperial Storm Troopers in the foyer set the scene for what turned into a magical evening.

Conducted by Michael Seal, the 80-piece orchestra supported by the 100-strong Nottingham Trent University Choir wiped the floor with any version you’ve ever heard from the silver screen. The impressive percussion section was kept busiest, especially through the livelier sections. And with presenter Marc Silk bringing it all to live with his voice characterisation, it was a complete performance.

Running first through the themes of the newer films – that’s episodes one, two and three – after the interval they moved onto the more familiar tunes (for some of us, at least) of the earlier films from our youth, those of Episodes four, five and six – Star Wars, The Empire Strikes Back and The Return of the Jedi. 

The repertoire included the spine-tingling main theme, to set the scene from the off, the memorable Cantina Band number and the epic Ewok forest battle.

The sounds of the whole saga are down to the genius of Williams, from Leia’s theme to the Imperial March, better known as Darth Vader’s theme.

He brings the emotions out as we hear the soundtrack to Anakin and Amidala’s doomed love, and gets our adrenaline running with a spin through the asteroid field in the Millennium Falcon.

Roy Wood live in concert, Albert Hall, Nottingham

Waiting for a breather between the hits was always going to be a tough job at this gig as veteran rocker Roy Wood rattled through his extensive and wide-ranging back catalogue.

Battling a sore throat he bravely battled on to the end with the amazing Shell Naylor taking on more work as the gig progressed.

We were treated to just over an hour from the musical maestro and his nine-piece band but you can't begrudge what these days most likely passes for a short set: every track's a winner.

From 60s numbers from The Move to 70s Wizzard and more recent solo projects, the repeated message from the stage was "this was number one", "this was a number two" with a big, big wall of sound pretty much from start to finish.

It's a good job Roy gets the royalties every year from that long-lived Christmas number, as playing to crowds of 300 or so at venues like the Albert Hall won't pay many bills.

Our own voices took a pounding too, during the evening as we couldn't help but join in with Angel Fingers, I Can Hear the Grass Grow, See My Baby Jive, Flowers In The Rain, Fire Brigade, Blackberry Way, a bagpipe-blowing Are You Ready To Rock, kicking off with Ball Park Incident and finishing with… well, you can guess.

"Political" disagreements may have led to his departure from ELO in its formative years and while former The Move collaborator and ELO founder Jeff Lynne plays the Arena next year Roy's doing jobbing gigs at pubs and clubs around the UK.

That's a blessing for his fans. Up close and personal is what he does best and there was real warmth both ways between the stage and the audience for the duration of this rock and roll feast as we headed off into the rain a little earlier than we might have expected.

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.

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.”

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.

Swallows and Amazons, Nottingham Theatre Royal

Did you have adventures in the wilds of the countryside as a nipper?

Here's a tale of youngsters from a time when you could let your imagination run riot - and it's a feast of music, exploration and piracy for all ages.

And there's ample opportunity for the audience to use their imagination too, as some of the oldest children around prepare to do battle and defeat their enemies in front of a backdrop of clever scenery and props.

Swallows and Amazons is the Arthur Ransome book set in the Lake District and written in the 1930s and this touring production comes from the Children's Touring Partnership whose Goodnight Mister Tom recently visited Nottingham.

Any child who's old enough to read will enjoy this action-packed show. They will immediately appreciate the adult actors playing the children of two families, brought together during school holidays as they sail the lakes and islands of an idyllic era, something that makes it easy to relate to for the grown-ups in the audience too.

After a battle of supremacy between the crews of Swallow and Amazon, the youngsters join forces to take on the barbarian adults who almost succeed in curtailing their fun.

If you were ever a child, this show is a must. If you ever had a den, made weapons from a stick, camped out or spent a day exploring at the seaside, the actors here will vividly recall those feelings of freedom - and the threat posed by rival youngsters.

You'll also find an unexpected chance for audience participation which slots seamlessly into the show despite being quite a departure from what went before. Sail a Swallow or Amazon for yourself, join in the pitched battle and vote on whether the captain should walk the plank!

Good Mourning Mrs Brown - 'divides opinion like Marmite'

by Patrick Astill

It really is no surprise that the TV show Mrs Brown's Boys divides opinion like Marmite. It certainly isn't one for the faint-hearted.

The programme has proved a surprise ratings hit for the BBC despite going down faster than the Titanic with the critics.

It's a traditional comedy staple in that the leading lady is Brendan O'Carroll in drag playing who is now – in the lamentable absence of Dame Edna Everage - the nation's favourite old dear.

But there the similarity ends. I saw the cultured, witty Aussie 25 years ago at the Theatre Royal when she was at the height of her powers, and I've now witnessed O'Carroll's foul-mouthed Dublin Mammy at the height of hers.

There's no doubting the show - and the performance - are a successful modern classic but its weakness, some might say its strength, lies in the toilet humour and toddler-level willy and wind gags.

Having said that, the stage version, Good Mourning Mrs Brown, quickly found its level with an adoring Concert Hall crowd and it's a sell-out for the whole run this week.

Every nuance, every thought, and much of the action is a well-sculpted joy as we share Mrs Brown's take on love, death and homosexuality.

This two-and-a-half-hour treat is an amalgamation of several plotlines from the television series, so in many ways there's nothing new – and some of the gags were prehistoric anyway.

Yet it's a warm and winning performance with a smile, a knowing glint in the eye and a well-practised cackle to get us all on-side.

Three main strands include grandad pretending to be dead so that he can find out what people really think of him, one daughter's love-life with a new boyfriend, and the son's efforts to ensure there's enough cash to put a deposit down on a new home for him and his pregnant wife.

It helps that O'Carroll surrounds himself with family and friends on stage as they all clearly relish the nightly challenge of getting through the show without giving in to too much laughter themselves, although it must be a struggle.

The comedy veteran clearly slips in many unexpected lines which work wonders with the audience and also have the cast in stitches.

A sample gag (and one of my favourites), is when the doctor says: "We'll need a sample of urine and a sample of his stools"; Grandad: "What did she say?"; Mrs Brown: "She wants your underpants!"

Perhaps the comparison should be less Edna Everage and more Les Dawson...

But it's a winning mix and one of the biggest cheers of the night was when O'Carroll promised at the curtain call that the cast would be back with the sequel – the second of a five-part trilogy.

Present Laughter - Theatre Royal

Dating from 1939, this Noel Coward play could have provided something of a challenge for both the audience and cast alike.

It proves to be complex, multi-layered and ultimately rewarding.

Bringing the past to life was effortless for the company and after the scene-setting of the first act the audience lapped up both the increasingly chaotic situation comedy and the in-jokes for the aficionados of Coward’s work. The humour was served up in a range of guises and varied from the subtle through to farce and even a touch of slapstick.

Yet this was also a thought-provoking production, Questions are asked of who we really are; how much of one’s life is a performance and how we perform differently to our various different personal audiences.

Perhaps the leading man, Garry Essendine – played by Cold Feet’s Robert Bathurst – really is the lonely performer, and despite all his trappings of wealth and success is merely “advancing with every sign of reluctance into middle age”.

If that’s the case then so are the ladies playing opposite him, and their intricate web of relationships must see beyond that performance. Dorothea Myer-Bennett (Dead Man Talking) as Daphne Stillington is blinded by his sophistication while would-be mistress Joanna Lyppiatt (played by Emma Davies who you may know as Anna De Souza from Emmerdale) and Essendine’s kind-of-ex-wife Liz (Serena Evans from Pie in the Sky and The Thin Blue Line) both think they know what’s best for him.

Tim Bouverie, in his first professional role, is another Essendine fan sucked into his circle and plays with such conviction you wonder if he’ll stalk the lead even after the curtain falls. And with Belinda Lang (2Point4 Children) on stage and also directing it’s a formidable line-up.

It works. It’s a play of its time which stands the test of time and is well worth a look