Freddie Flintoff's 2nd Innings at Nottingham's Theatre Royal

This was the tour to mark the 10th anniversary of England's cricketers winning the Ashes against all expectations ten years ago.

It might seem only yesterday we saw the inebriated Andrew 'Freddie' Flintoff stagger out of the hotel and onto the open top bus for the team's parade around London.

But a lot has changed in that time, not just the haircuts (remember Pietersen's badger hairdo?) but the team, its fortunes and its prospects.

The start of the show gets off to a flyer with the famous footage, and Flintoff's account of the 24-hours after securing cricket's most sought-after trophy.

It mainly involves celebrations through drink, realising he was still in his whites after the night flew by so quickly, and his wife having to undress, bath and then dress him again before meeting the public.

Of course, during the course of the morning more drink was available and he recalls the hilarity of visiting then prime minister Tony Blair at 10 Downing Street with his team-mates the same day.

It's not all about celebrations though. We relive the all-rounder's last day as a Test cricketer, playing when he knew his knee wouldn't hold out very much longer. When he took the wickets and sunk to the ground, arms outstretched and eyes closed, it wasn't our of bravado... more to soak up the sounds, the smells, and the atmosphere – something he'd never do as a top-level player again.

Keeping the audience in stitches with some well-chosen tales, we know which of his former team-mates is called racehorse – and why.

The born entertainer recounts his time since retirement from the game, taking us through the jungle, where he was crowned King in Australia's version of Get Me Out of Here and reliving his one-bout boxing career.

He's onstage alongside journalist and friend Clyde Holcroft. The memories and laughs they conjure up serve to remind us why so many children and pets were named Freddie in 2005.

 

Dickie Bird in conversation at The Approach, Nottingham

As Nottingham's festival of Test Match cricket rolled into town, a select few were treated to an audience with the world-famous former umpire Dickie Bird.

From the outset he revelled in tales from the very earliest days of young men's dreams playing with Geoff Boycott and Michael Parkinson as teenagers. He still seems genuinely surprised – and proud – that the trio all made it into the national consciousness.

Harold D Bird OBE is a national treasure. Compere John Gwynne told us so, but he didn't really need to.

More frail than we remember him, Dickie explained how he'd had a serious stroke six years ago – one which debilitated him, robbed him of movement both on the right and left of his body, and left him both depressed and anxious.

In fact the most obvious sign of the stroke now is an affliction Dickie identifies as "emotion". Several times during this intimate evening his voice cracked and he welled up with emotion, unable to go on overcome the realisation of his achievements and by the adoration of fans who turned out to The Approach the night before the Trent Bridge Test to hear his words of wisdom.

We learned he can name 30 better cricketers than his old pal Boycott. The former Yorkshire and England opener comes in for some good-natured stick but when pressed Dickie confides that the pair are actually very close friends to this day, and he'd never say anything detrimental. The best all-rounder in history was Gary Sobers. The Queen drinks Campari and soda. The red ball should be used in all forms of the game. The DRS wicket review system should be consigned to the dustbin.

This was his first function in four years, something born out of his new association with Yorkshire cricket club, for whom he used to bat, and where he is now President.

He said: "After the stroke I was down and out. And to be made president of Yorkshire County Cricket Club has given me a new lease of life. I've felt a new man, a different man – it's done me the world of good."

And it shows.

Boycott and Aggers - back at the Royal Concert Hall, Nottingham

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.