The Vamps, Nottingham

It started with drummer Tristan pounding out the beat by himself – until his good mates turned up to really get the party started… 

The anticipation was palpable among the young audience at the Arena: No longer pop newbies, The Vamps are veritable veterans. 

With a giant video screen bringing life to the back of the stage, they also employed a central T-shaped catwalk through the excitable crowd to create a section in front of the first seats to get even closer to their fans. 

Seated area? There wasn’t much sitting down going on for this mostly high-energy show. 

Those four cheeky lads Brad Simpson, James McVey, Connor Ball and Tristan Evans, clad in casual shirts with trendy suit trousers, bounded about and made the girls scream – and so they should. It was a pacey night with a sprinkling of pyrotechnics throughout and plenty of audience interaction. 

It’s their fifth tour and after padding out some earlier ones with other people’s hits, they have a few top-sellers of their own to lay claim to these days. 

Named after their double album Night And Day, the setlist was packed with familiar tunes, with Last Night and Can We Dance, both from the early days featuring at the start of the show, and Somebody to You then Cecilia rounding off the main set. Special guest Maggie Lindemann linked up for a couple of collaborations and the boys supported her own hit Pretty Girl. 

It was a long night with support acts PM (described by my 14-year-old as rocky and upbeat), HRVY (crystal clear vocalist), New Hope Club (friendly boy band fodder) and Jacob Sartorius (a bit of a let-down after what had gone before) – and there will be a few tired eyes as the fans head back into school today, with a 10.30pm finish plus encores. 

But The Vamps left their best till last, the very last item of the encore – All Night – delivered to a shower of blue and red ticker tape from the skies, sending the tweenagers home very happy indeed. 

Set list:

·         Staying Up

·         Last Night

·         Shades On

·         Can We Dance

·         Middle of the Night

·         Just My Type

·         Personal

·         (with Maggie Lindemann)

·         Pretty Girl

·         (with Maggie Lindemann)

·         Hands

·         Wild Heart

·         Hair Too Long

·         FRIENDS / New Rules / Havana

·         Drum Solo

·         Golden

·         (James and Connor, chosen by a Twitter poll)

·         Somebody to You

·         Oh Cecilia (Breaking My Heart)

Encore:

·         Wake Up

·         Same To You

·         All Night

Fat Friends, the Musical – Theatre Royal Nottingham

So here is the plot … in a nutshell.

The upcoming wedding of a Slimmer of the Year candidate’s daughter, whose dress is too small – leads to a weight loss challenge… with the bill for the wedding at stake! 

Like all good comedies, there’s plenty to poke fun at. But what sets this aside is that far from contrived, like most of author Kay Mellor’s work this story borrowed heavily (pardon the pun) from true life, so the jokes really hit home with the audience.

So if you’ve ever been to a slimming group (or one of your family has…) there’s so much in this show to resonate with the day-to-day world we all live in. 

And as for the music! With a real band playing live, and some superb singing voices among the cast, it’s a hilarious romp that can’t fail.

Freddie Flintoff plays the gentle giant role (until Thursday); he’s bit of a buffoon in this show – and was a revelation! Best know for his Ashes winning bowling in the 2005 cricket contest, he’s branched out since with a series of wide-ranging challenges. 

Natalie Anderson (ex-Emmerdale) also revealed her superb singing voice, alongside I’d Do Anything winner Jodie Prenger as the soon-to-be wed daughter and X-Factor winner Sam Bailey as her mum. Atomic Kitten star Natasha Hamilton completed the trio to set the weight-loss challenge.

When you consider that Sam and Freddie aren’t actors, the polished, funny, and tuneful performance shows how a well-drilled tightly rehearsed group can pull out the stops for a tip-top performance. 

Kevin Kennedy, from Coronation Street, didn’t have the part you might expect for such a big star of the small screen, but together the cast gel perfectly to take you on an emotional rollercoaster.

It really worked as a musical, with some fabulous songs, audience-appropriate language – and at two hours and 20 minutes, it didn’t seem a long show at all. 

The cleverly-written songs were funny, got the point across and left everyone chattering as they left with a smile on their face as they headed into the night.

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.

Phil Collins ‘Not Yet Dead’ Tour - Nottingham Motorpoint Arena

He’s definitely not dead yet – we could see that by the way he hobbled centre stage to take a nice comfy seat in front of an adoring audience... and that’s more or less where he stayed for two hours packed with classics.

To be fair, apart from a debilitating back operation and bad legs, the 80s superstar hasn’t changed much since he was last in the limelight.

That’s one advantage of looking old when you’re young. And I guess the past 30 years haven’t been all that kind to many of us, have they?

Yet the one thing that shone through was that voice. Still higher pitched, a bit of echo mic and a lot of the Phil Collins we all remember. The sound quality was superb. If you’ve still got a copy of No Jacket Required or Just Seriously in the loft then dust it down and compare it to what you heard at the Arena. His body may be crocked but the tools of his trade are still functioning perfectly.

Some of the old videos played out during Follow You Follow Me only served to accentuate his current plight. He was featured as the cheeky chappie, sporting an impressive mullet and bouncing around for the cameras. (His son Nic is on the drums for this tour, perhaps taking over what his dad can’t manage these days).

From the start with Against All Odds followed by Another Day in Paradise, it all seemed a little sedate up on stage to start with but rattling through One More Night and Separate Lives, the music soon took over.

Something on the Way to Heaven was the track that got people to their feet at the start of the second set, followed by a string of hits In the Air Tonight and You Can’t Hurry Love (let’s face it, hands up who DIDN’T don a pair of sunglasses and do all those action at the school disco back in the day?)

Invisible Tough, Easy Lover and Sussudio worked the crowd into a mature kind of frenzy to finish off – and as Mr Collins closed on Take Me Home, we’re pleased he got another tour under his belt in the nick of time...

SET LIST

•     Against All Odds (Take a Look at Me Now)
•     Another Day in Paradise
•     One More Night
•     Wake Up Call
•     Follow You Follow Me
•     Can't Turn Back the Years
•     I Missed Again
•     Hang in Long Enough
•     Separate Lives
•     Only You Know and I Know
•     I Don't Care Anymore
•     Something Happened on the Way to Heaven
•     You Know What I Mean
•     In the Air Tonight
•     You Can't Hurry Love
•     Dance Into the Light
•     Invisible Touch
•     Easy Lover
•     Sussudio
•     Take Me Home

Awful Auntie, Theatre Royal, Nottingham

Have you read Awful Auntie?

I have – and this play is very close to the book, with so much to fit into the 1hr 45mins that the action moves really quickly.

The plot isn’t rushed, though. It was still easy to follow and the youngsters in the audience had a great time laughing along with – and at – the characters from David Walliams’ famous book.

There wasn’t a lot of scenery but it was cleverly rotated around the stage to suit indoors, outdoors, upstairs and the cellar. They also ended up on the roof, which was surprisingly easy to believe!

Sly Awful Auntie Alberta is played by Timothy Speyer, who was true to the book in making his character a manly woman (less a pantomime dame and more a tweed-clad dragon).

Without giving too much away, she’s the baddie and tries to reclaim the family stately home she believes should be hers.

In her way is poor orphaned Stella Saxby, the only child of parents who died in a suspicious car crash. The talented Georgina Leonidas is easily believable as a 13-year-old girl. You may have spotted her as Harry Potter’s fellow quidditch player in The Half-Blood Prince and the Deathly Hallows. She is the main character and on stage for nearly all the show. She keeps interest up by constantly revealing new details of the story, leading us all to wonder what will happen next.

Her new friend Soot (Ashley Cousins) is a great comedy character who helps Stella piece together the truth about the car crash and who (and what) he really is.

Watch out for doddery butler Gibbon (Richard James), who gets funnier and funnier as the play goes on and for the cleverly created Wagner, an owl whose puppeteer Roberta Bellekom stays well in the background.

Ten out of ten for a show that’s true to plot and spirit of the book – although this play is so much funnier.

Review by Louis Astill (12)

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?

The Addams Family, Theatre Royal, Nottingham

A real orchestra, a proper musical – and from the spine-tingling overture as the lights go down, the energy from The Addams Family crackles right to the end.

Believe the hype on this one. Whoops and hollers at the end, plus a standing ovation showed exactly why this musical comedy has enjoyed sell-out dates across the UK since springtime.

You may have seen the cast performing When You’re An Addams on TV recently; it’s the perfect introduction to this morbid family from the 60s sitcom. But then again, who’s to say what’s normal?

The eagle-eyed among the audience may have spotted high billing for internet sensation Carrie Hope Fletcher as Wednesday and it soon becomes clear why.

Not only does the strong story revolve around Wednesday and her intended love, but she tackles the vocals on her numbers with confidence, verve and feeling.

That’s not to say the others miss out. Sam Womack as Morticia shines in her big number Just Around The Corner and is clearly having fun in a set-piece that echoes the best of Mel Brooks.

Good old Les Dennis as uncle Fester sweetly croons his love of the object of his desire in The Moon and Me, getting the mood spot on for a character of “indeterminate sexuality” before he jets off to get a little closer to his love.

What seems like perfect casting brings us Cameron Blakely as the romantic Gomez, dashing around the stage, sword fighting, joking, and being a wonderful husband and father.

And that’s the nub of this new story. Little Wednesday is a young lady now – so grown up she’ll soon be Thursday, apparently.

But she’s brought lovely Lucas (Oliver Ormson) home with the news the pair plan to wed, but he’s just a normal boy from a normal family – and Gomez has to keep the news under his hat until exactly the right moment to share it with his wife. Unfortunately, he’s never kept a secret from Morticia, so thing start to unravel from there.

Will the two families get on? Will young Pugsley Addams (Grant McIntyre) lose his best friend Wednesday if she goes off and gets married? Will Morticia and Gomez be reconciled? And will the butler, Lurch (Dickon Gough), ever speak?

There’s a great chorus of ghostly spirits of the family’s ancestors, carefully crafted caricatures who are released from the crypt at the outset. 

And the supporting cast of Grandma (Valda Aviks), with Lucas’s parents Alice and Mal Beineke (Charlotte Page and Dale Rapley) all get their moment in the spotlight. Great music from Andrew Hilton’s team along with spooky kooky scenery complete the picture.

There a lot of knowing fun surrounding the (ahem) healthy relationship between Morticia and Gomez, so the management recommend the show’s suitable for kids aged seven and above.

Ruby Wax; Frazzled. Nottingham Playhouse

So what did YOU get up to last night?

We spent an evening exercising our mindfulness muscle in the company of campaigner and comedienne Ruby Wax.

Still on anti-depressants after 20-odd years, she freely admits which one is her favourite but still urges her sell-out audience to practise mindfulness... and switch off the news.

Although that’s not altogether fair. On the topic of mental health she frequently advises that not everything works for everyone.

And the second half of the show, a frighteningly honest Q&A with audience members on mental illness as covered in her best-selling book Frazzled, reveals the many guises such illness can take.

Anyone who’s ever loved Ruby – and let’s face it, she’s everyone’s favourite funny-girl-turned-mental-health-campaigner – will also love this tour.

With a familiar comic undercurrent, she opens up on her own childhood, her early years with her immigrant parents in America, her husband, her family and how she feels herself channelling her own mother as she relates to her own offspring.

Is mental illness stress? Is stress down to the lives we lead? Turns out it’s probably down to how we deal with the lives we lead. Ruby reminds us how technology was supposed to give us free time, so we could go out chasing butterflies, dreaming or composing poetry. Yet we now seems to be slaves to the computers, which are themselves having the time of their lives.

She has a Master’s degree in Mindfulness-based Cognitive Therapy from Oxford University.
It’s something she is probably more proud of than she would be prepared to admit. But it’s helped launch this second half of her career where she speaks with authority, knowledge and experience on this tricky and often hidden topic.

The telling stat is that one in four suffer. Among the 700-plus at this sell-out lecture it was probably more like three in four, such was the ferocity of interest and empathy with her words.

And perhaps there will be a legacy beyond the comedy (which incidentally was by no means in short supply last night - she’s still got it, has Ruby). She’s also opening Frazzled Cafes in partnership with M&S, where small groups meet every two weeks to just talk honestly and meet within their own community. There’s more at: frazzlecafes.org

Strictly Come Dancing - The Live Tour 2017, Nottingham Arena

It's slick, it's sparkly - and it's back on the road! 

Sequins and abs were on show in equal measure when the professionals and celebs in Strictly LIVE hit the Arena last night.

The tenth anniversary show has lost none of its wonderful showbiz glamour, skill - and fun - over the years.

A new line-up each time guarantees it's as fresh as the day it set foot on the dancefloor.

With tickets at £50 upwards it's guaranteed to be the breathtaking night on the tiles everyone's hoping for.

Who'd have thought we'd get to see singers, models, actors - and the former Chancellor of the Exchequer - all performing under one roof for the delirious crowds?

From the tantalising teasers at the start to the “a-maze-ing” West Side Story finale, it was a must-see all-star show – easily topping previous years for thrills, skills and expertise.

It's so much more than a chance to relive some of the magical moments from the Strictly Come Dancing you see on the television. Even dear old Ed Balls nailed THAT lift from the on-screen contest!

Putting on his dancing shoes, Danny Mac is paired with the shapely Oti Mabuse, while fans' favourite, the ever-tearful Ore Oduba was with partner Karen Clifton.

Louise Redknapp and Kevin Clifton did their stuff and Ed Balls was with Katya Jones. Daisy Lowe, who has great assets for the dancing world, partnered Aljaž Skorjanec, while Birds of a Feather's Lesley Joseph lined up with Gorka Marquez.

So was it a ten from Len? It would be unfair to reveal how the dancers fared on the first of their three sparkling Nottingham shows.

But it's no surprise to see Ed Balls still managed to get the lowest scores from the judges, but who cares? He's a former Nottingham High School lad and in the Labour heartland of Nottingham city has almost certainly lapped up the applause on heady nights in the past - even if it wasn't for his (now) trademark – and iconic – Gangnam style moves leaving the crowd in hysterics! He even challenged Craig to perform a copycat routine, which to everyone’s glee he also perfected. Must have been practising.

We were treated to Ore’s show dance from the final – remember those drums? And Len described it as “possibly the best ever show dance on Strictly”. There was something for the ladies too, with Danny’s samba complete with bare chest and swivelling hips.

The show was hosted by the recent series competitor Anita Rani, who stood in for the role for Mel Giedroyc last year.

On the panel are head judge Len Goodman, alongside Craig Revel Horwood and guest judge Karen Hardy.

So is Strictly Live a competition, dance-off or panto? It depends who you're watching and it's horses for courses as every member of the audience is guaranteed a little of what they came for.

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