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!”

Panto in Nottingham: Dick Whittington, Nottingham Playhouse

The talented team which brought Dick Whittington to life this Christmas should be feeling very pleased with themselves today.

It’s not an easy panto to stage: there’s no handsome prince, princess in trouble – or magical transformations to help it bounce along.

But writer and director Kenneth Alan Taylor has sprinkled gold dust on an age-old tale for Nottingham audiences to enjoy for their annual festive treat.

With everyone dancing in the aisles as early as the start of the second act, he’s delivered yet again – this time in his 60^th year as a professional actor.

The musical numbers are the clear hits of this year’s show. LunchMoney Lewis’s Bills is a great send-off as Dick is banished from London. There’s a wonderfully funny set-piece as the crew of HMS Hopeful swim for shore, while the dancing girls’ chorus carry their routines to perfection. Dick and Alice, meanwhile, entertain us with their version of Olly Murs’ Dance With Me Tonight.

There is a nod to our island’s great seafaring history with a brilliantly-executed sea shanty medley, and the sounds of Rio prove a real cracker with a gently perspiring Florrie leading the singing and dancing with Sarah, as the audience encourage a reprise (or two). Let’s be honest through, the cast is certainly up for it and the party atmosphere sets the tone for the whole of the helter-skelter second half.

While the scene-setting first few acts may not hit the funnybone right from the off (there was a lot of “And here’s Dick”, ”Look, here’s Alice”, “Here comes Jack” – which may have been an in-joke but was a little too regular) it’s the compelling story, amazing scenery and a host of larger-than-life characters that keep all eyes glued to the stage.

It’s surprising to learn there are three debutantes at the Playhouse this year. The leading ladies of Alice Fitzwarren, played by Natalie Taylor Gray, and Tallulah the Cat, brought to life by Jasmine White, and the lively Matthew Chase, who is a shoe-in as Dick’s best pal Jack. They all slotted seamlessly into the ensemble.

We are treated to two gorgeous dames this year. John Elkington is back as Sarah the Cook, with a knowing nod to the grown-ups with his well-worn lines – and plenty of up-to-the-minute gags for the children. We were pleased to see Anthony Hoggard in a frock or two for this year’s manic appearance, giving his all as canny Florrie Fitzwarren.

The familiar faces of kids’ favourite Tim Frater as Dick and Rebecca Little as a delightfully scatterbrained Fairy Bowbells attract superb audience participation, while Kevin McGowan’s King Rat draws boos and hisses with his deathly pallour, twinkling costume and (I hope he takes this the right way) the way he simply oozes evil. There’s also a welcome cameo for some fluffy favourites from previous years…

The complex, colourful sets are anything but backdrops and transport us to another world in a show which simply flies by.

And the best gags this year? We always love the “butter face” line, while the children fell about as Sarah explained the reason Jack needed a new bottom – while trying to give him a leg up to the bunk in their ship’s cabin in another well-executed comic set-piece.

An Audience with Stuart Pearce at The Approach, Nottingham

The chants of "Psycho! Psycho! Psycho!" ring out as England’s No3 returns home to a city that clearly loves him, despite all the water that’s passed under Trent Bridge since he departed the club first as a player, and then twice as manager.

In the company of former Nottingham-based commentator Darren Fletcher, Stuart Pearce MBE was slickly led through a series of questions in the first half of the show.

It turns out he's a critic of the current regime - although of course, he does have an axe to grind.

He is immensely proud of what he achieved as manager of Nottingham Forest, while admitting he may have fallen short of what was required to turn the tide.

As for today’s troubles at the City Ground, he confides: “When you pick up the phone and ask about a loan player, they say ‘sorry – but you didn’t pay the wages of the last one’.”

And he believes the club has no foundations to build, something that will continue to hold it back as a force in football. 

Yet he still sees a role for himself there in future, which is exactly what the fans at The Approach were yearning to hear.

“I could still make a lot of people’s lives at this football club a lot better,” he said.

Clearly he’s found it a learning experience as he’s still in the frame for managerial jobs, giving us a coy lowdown on his chances for the vacant Fulham post.

We heard the well-rehearsed – and now legendary tale – of how Pearce used to advertise his electrical business in the Forest programme in the early days through to his penalty being saved in Turin in that ill-fated World Cup saga of Italia 90, where the player freely admits he left the pitch in tears after the now-infamous semi-final.

But it was the less-often told stories the packed out crowd were there to hear.

It was great to see him smiling and laughing as he recounted his tangles with Derby’s Ted McMinn, who left the pitch with bite marks across his chest… about Liverpool being good at shaking your hand – but only when they won… why the squad shouted “one-hundred-and-eighty” when Mark Crossley ran past naked… tales of Gazza’s exploits on England duty – and the real reason Bryan Robson missed the bulk of the 1990 World Cup.

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.