The Chiltern Reviews
Inspector Morse House of Ghosts
Waterside Aylesbury until 29th November
**** “slick and superbly structured”
Morse’s shoes seem to be a comfortable fit for Tom Chambers in this stage adaptation of Colin Dexter’s Oxford detective. It was of course made into a huge hit for ITV running for many years, with John Thaw playing the rather grumpy sleuth. The swift scenes and clever scene swops still give the production a bit of a televisual feel. Enhanced even more by the sweeping classical music so beloved by Morse.
The twists and countless turns all evolve from a death on stage following a production of Hamlet. In a rather handy turn of the page Morse is in the audience to lend a long arm of the law.
The structure is excellent and not straight forward, and Chambers is understated and deeply thoughtful as Morse. The pace as a result is a little pedestrian and the plot a tad confusing at times. The back stories and indeed the working relationship between Lewis and Morse could do with a bit more digging.
But for Morse and indeed detective fans it’s a delight and an astute evening at the theatre. Just pay attention throughout.
Reviewed by Barry Norris
Friends: The Musical Parody
Aylesbury Waterside all this week.
“Fun time with good friends” ***** 5 stars.
The huge 90’s hit was a television phenomenon, and the stage musical is a must for all fans of the programme. The show is crammed with popular phrases from all the sextet to recreate some iconic moments, a tricky task considering the huge number of episodes they had to choose from. The curtain was a little tardy going up on the first night and it must be said the early scenes struggled a little to gather up the giggles, the loud laugh out moments soon in came in numbers.
The set is cleverly flexible tying in nicely with the show being set during a live transmission of the programme. There are some nice touches and nods to the TV show, but of course the production lives or dies on the re-creation of the much-loved central perk characters. And this they by and large get close to the bullseye with. Not exactly look alike but close enough, with more than enough characteristics to make all six hugely believable and enjoyable.
It is rightly promoted as a parody and a musical, and more importantly a rather lovely dip into the 90’s and an opportunity to wallow in some recent nostalgia.
The whole event feels very much tongue in cheek and if you arrive with that in mind you will be in the company of bright and breezy bunch of actors and be allowing yourself a pleasant couple of hours. Enjoy it with friends.
Runs until Saturday
Reviewed by Barry Norris
Mary Poppins
Milton Keynes Theatre
5 Stars ***** “a highflyer for all”
The magic of Mary Poppins didn’t disappoint at Milton Keynes Theatre, delivering a night of pure theatrical delight.
From the moment the curtain rose, the audience was transported into a world of wonder, thanks to exceptional staging and amazing costumes that perfectly captured the charm and had you felt transported back to the Edwardian Era in London.
The acting was incredible — from the bustling streets of Cherry Tree Lane to the enchanting flying from Mary herself.
The cast delivered world-class acting and singing, with each performer giving a truly out-of-this-world performance.
Their energy, precision, and warmth brought the story to life in a way that felt both nostalgic and fresh. The chemistry among the ensemble was electric, creating real believe in the characters and joy that radiated through the theatre.
At the centre of it all was Mary Poppins herself, played by Stefanie Jones, a superb performance from the lead actress, who embodied the role with effortless grace, charm, and a touch of mischief.
Her vocals were stunning, her poise impeccable, and her portrayal captured everything needed for the iconic character. She was, in every sense, practically perfect.
The magic was further enhanced by the amazing orchestra, whose vibrant and dynamic performance brought the timeless score to life. From the opening overture to the final notes, the musicians’ precision and passion elevated every song and dance number to a whole new level.
This production of Mary Poppins is a triumph!
A purely joyful, heart-warming, and unforgettable experience that will leave you humming all the way home.
Reviewed by Josefine Pope
The Lion the Witch and the Wardrobe
Waterside Aylesbury all this week.
Five stars *****
Imaginative, innovative, and inspiring piece of theatre.
Director Michael Fentiman
The Lion the Witch and the Wardrobe is the popular and much loved first book from the Narnia Chronicles written by the renowned academic and literary giant C.S Lewis.
The book has brought joy to many generations and the subsequent big screen versions of the early 2000s ensured its continued success and popularity.
All this means that it is no small feat to create a new version of something so loved and familiar to many and yet this is exactly what this production does.
Michael Fentiman has reimagined this popular piece by skilfully creating a complex, multi layered piece of theatre which is extremely enjoyable and cleverly executed.
Every person onstage is valuable in this truly ensemble piece as most are playing a character, instrument, and even being part of the staging and set as different props and back drops are brought on and off stage. The complexity of making this all work as people and objects weave in, out and between others is to be highly commended as a fantastic piece of choreography and timing in order to make it work so well - which it certainly does!
I particularly enjoyed the simple white back drops floating down in a coronet like tent which provided the feeling of snow and winter before becoming the walls of Mr Tumnus’s house and later The Beavers dam. The set was minimalist but cleverly effective.
The puppetry was beautifully done first with The Professor’s cat and then the Lion, Aslan which was powerfully effective and created an intimidating presence onstage.
I was interested in the fact that Aslan was depicted as both lion and human and wondered about the significance of this beyond the practicalities of needing a human to be Aslan when he was lying on the stone table. As the story of the lion the witch and the wardrobe famously depicts the gospel story, I reflected on the symbolism of the full-sized lion puppet representing God the Father, and the human fur coat clad Aslan representing Jesus, relating to the people and animals around him - God in human form was the visual we were presented.
The Celtic folk style music was effective to punctuate the scenes and provide a musical back drop. It almost didn’t need actual songs to progress the narrative as the story and the instrumental music was strong, but I am sure others would disagree!
All in all, a brilliant, innovative clever piece of theatre, beautifully created crafted and performed telling a powerful age-old story which made for a fantastic evening.
Thanks as always to the excellent team at Waterside for looking after us so well.
Mandy Dunstall
TOP HAT
MILTON KEYNES THEATRE
23rd SEPTEMBER 2025
*****
A toe tappingly brilliant show!
Milton Keynes Theatre hosted an enthusiastic audience on Tuesday night for this tuneful and spectacular stage adaptation of Irving Berlin’s 1935 film which was originally written for the darlings of the silver screen - Fred Astaire and Ginger Rogers. Such is the quality of the music, gentle, not to mention romantic, storyline, dancing and singing that it never once seemed dated.
Full of well-known songs, apart from the title, Top Hat, White Tie and Tails, there are so many other songs which have become standards - Puttin’ on the Ritz, Dancing Cheek to Cheek and Isn’t this a Lovely Day to be Caught in the Rain – just some of them. Versions of these numbers have been, and still are, sung by famous performers all over the world and consequently the tunes are very familiar.
This is a real ‘feel good’ show with superb dancing by both principals and chorus – the tap routines are amazing, perhaps some of the ballroom dancing is not quite as effective occasionally, but the audience was swept up by the glamour, colour and sheer spectacle of the show.
There is comedy too and the audience rocked with laughter at times, especially at the dead pan humour of manservant Bates and the exuberant excesses of the Italian Alberto Beddini.
The costumes are colourful, fully redolent of the time when the rich dressed up in full evening gear, hats were de rigueur and chorus girls tapped danced in short skirts and high heeled shoes.
The amazing set, with every element in period and based on a huge revolve, enabled set changes to be instant and totally in place and period – all enhanced by brilliant lighting effects.
The band, hidden in the traditional orchestra pit, played brilliantly, never overpowering the vocalists which can happen – but not this time.
Dear Evan Hansen
Aylesbury Waterside Theatre
Reviewed by Judith Watsham
*****
Another almost full house in Aylesbury last night for the staging of Dear Evan Hanson, a musical which has been touring the UK after winning six Tony Awards and three Olivier Awards in New York and London respectively. The brilliantly original musical comes from the pens of Benj Pasek and Justin Paul – well known as the writers of La La Land and The Greatest Showman.
The story covers many teenage problems – loneliness, uncertainty. love and general angst, familiar to most of us whether from our own youth or as parents, as Evan gets drawn into an escalating situation following the suicide of a fellow High School pupil. Sounds an unlikely subject for a musical? Yes, but believe me there is plenty of humour and affection – not to mention the excellent singing and acting from the entire cast, especially from Ryan Kopel in the title role who has the ability to express a range of emotions not only through vocals but with his excellent use of facial expressions and body language.
The cleverly designed set with its sliding elements, changed almost imperceptibly to reveal so many different venues, and worked so very well alongside the clever lighting and projection plot to ensure a fast paced production which never flagged. This way of presenting a modern musical really worked with this production as the cast, principals and ensemble, guided tables, lockers, beds and chairs into place so there was never a pause in the fast unfolding storyline.
The live small band worked hard – accompanying the fourteen-strong cast in sixteen musical numbers (including two reprises).
The cast fully deserved the standing ovation they received on Tuesday night!
Playing at Aylesbury Waterside until Saturday 14th June then touring until 5th July
...Earnest?
Waterside Aylesbury
**** Stars “time for a laugh”
From Michael Frayn’s” The Art of Coarse Acting” to this production from the theatre company with the unusual name of ‘Say It Again, Sorry?’, via several hilarious plays from ‘The Goes Wrong Company’, is a short step – the theatre world is very good at poking fun at itself! Last night’s audience revelled in it, although unfortunately the venue was not as full as I usually see it. Those who missed the show also missed an opportunity for a good laugh and a most entertaining evening.
The storyline goes like this:
A production of Oscar Wilde’s play The Importance of Being Earnest is scuppered when several of the cast either do not arrive or, in the case of those who do, suffer a series of mishaps. The harassed Director calls on members of the audience to replace them, starting with the role of Earnest himself; after that the original cast is replaced with little regard for any appropriate casting, the sight of a man dragged from the comfort of a stalls seat and hustled off stage to reappear in an elaborately frilled pink frock and hair bows – not to mention a skirted lady thrust behind a piano (on the grounds that she could play something on it) and clad in an ill-fitting morning coat, are just two examples both of which will remain with me for a while.
Torn up copies of the play leave the volunteers clueless and judicious use of large pieces of cardboard placed in the audience to be read from the stage all added to the fun as the play’s Director, aided by an inarticulate stage manager and the one actor remaining available struggle to adhere to Wilde’s original script.
The play has entertained many during its current UK tour which ends on the 14th June before returning to the Edinburgh Festival in August where it has won many plaudits.
Reviewed by Judith Watsham
Speakeasy Tour 2025..with Gorka and Karen
Waterside Aylesbury
22/03/2025
***** Spellbinding experience” five stars
What an amazing experience seeing Gorka Marquez and Karen Hauer, two world class dancers set the stage alive!
The dancers keep you engaged throughout the show with great story telling in every dance from start to finish.
The music was a mix from the 1900’s, unlocking the door to an under-cover world of elegance and iconic dance flavours, which ranged with some Jazz, taking you back to the Burlesque Cabaret Clubs right through to the glittering mirror balls of Studio 54.
The dance styles were mixed, performed to perfection by all the dancers on stage, going from Mamba, Salsa, Charleston, Foxtrot and Samba, which certainly got you off your feet dancing to the songs which were perfectly sung and live performed by the band.
The staging and the costumes the whole cast wore, were beautiful and fitted the show perfectly.
The atmosphere that was created in the theatre, through the dancing, the music and everything put together in the show had everyone spellbound and in love with every routine and the storytelling.
Gorka and Karen got very creative with some exciting and dynamic new choreographies and mixed up a great evening of entertainment and escapism.
Reviewed by Josefine Pope
HAIRSPRAY, AYLESBURY WATERSIDE THEATRE,
17 FEBRUARY 2025.
JUDITH WATSHAM
**** “Amazing Energy throughout”
This is one of those ‘feel good’ musicals and there are many hit numbers in it, Good Morning Baltimore, Mama, I’m a Big Girl Now and You Can’t Stop the Beat being just being a few of them, which the cast delivered apparently effortlessly to the undoubted delight of the audience. The amount of energy coming off the stage was amazing.
Aylesbury Waterside Theatre was nearly full on a Monday night which is an indicator of just how popular this show is, and there was an expectant buzz among the patrons as the curtain rose.
As anyone who knows the venue is aware, the stage is very big and there is no proscenium arch which means, of course, that there is a requirement for very tall scenery – the development of back projections has enabled many productions to tour successfully, and these were amazing in accurately setting scenes for modern audiences well used to watching film versions of big musical productions like this. All changes were slick and totally non-disruptive as we moved effortlessly from one venue to another. The live band at the back provided the accompaniment to a talented cast who sang and danced so energetically and enthusiastically.
Sound can present some small problems in these circumstances and as it was the first night I felt that adjustments were needed at times in Act I, especially in Motormouth Mabel’s big number which ends Act I which somehow lacked the impact of the number when I first saw the show in the West End years ago. This is no criticism of Michelle Ndegwa, who was perfect in the role, nor to the other performers on stage but rather down to the fact that there were, perhaps, too few of them to make the requisite impact in such a big space.
I think, perhaps, that the levels were adjusted in Act II as this was never a factor later in the evening.
Incidentally, the Act I sound issue is the only reason I have had to give this show four stars, otherwise it would have been higher.
By the last number, You Can’t Stop the Beat, the entire audience was on its feet giving the energetic and hardworking cast the standing ovation they deserved.
Undoubtedly this is well worth catching if you can.
Hairspray runs at Waterside Theatre until Saturday 22 February and then tours until April.
Reviewed by Judith Watsham
BIRDSONG
AYLESBURY WATERSIDE THEATRE
***** “Mesmerizing from beginning to end”
This play was amazing and can be described in just a few words – powerful certainly fits the bill; mesmerizing does too – and the entire audience was spellbound right from the start. You could have heard a pin drop, as the saying goes, most of the time. Beautifully and sensitively acted by the thirteen strong cast, over half of whom played other, named roles, and all of whom acted as both ensemble and crew, changing furniture and props to reset the many scenes slickly and very efficiently.
Yes, it is long, since there are two intervals, but the audience was so engrossed by the unfolding story that I am sure that they all, like me, did not notice; my companion and I were amazed how quickly the time passed and we seemed to reach both intervals very quickly!
The set itself was extremely well designed to enable all the different scenes to be played very effectively. These ranged from a French factory with busy workers to the trenches via the Battle of the Somme, and I was particularly impressed by the adjustable ceiling panel which added greatly to the effects when the Sappers were mining under the German lines. The lighting too was excellent and contributed so much atmospherically to the illusion.
The entire cast was totally invested in their assorted roles, some playing Frenchmen one moment and British soldiers the next.
If you plan to see this production, please note that it does carry an age warning for a very good reason as there are scenes which include both male and female nudity and explicit sex as well as suicide and violence. Real cigarettes are smoked on stage too and the effects of explosions with clouds of smoke could affect anyone with breathing problems so if this is you, don’t sit in the stalls!
Sebastian Faulks’s novel of the same name was brilliantly adapted for the stage by playwright Rachel Wagstaff who did complete justice to the original story – this reviewer had been a tad worried about it because so many favourite novels have suffered in the translation – this was enhanced by it.
Birdsong runs at Waterside Theatre until Saturday 15 February.
Reviewed by Judith Watsham
Calamity Jane.
Aylesbury Waterside Theatre. 15 January 2025
**** Four Stars “ Get down to the Hoe Down”
his new production of the 1950s musical – the film version of which starred Doris Day – arrived for the start of its UK tour in Aylesbury this week and played to an enthusiastic audience, most of whom were obviously familiar with all the hit songs from the original.
There were no big show-stopping song and dance numbers – primarily I suspect because almost the entire cast – the ensemble and some of the principals – formed the on-stage (and very mobile) band and it is a tad difficult to dance the Cancan, for example, as it appeared in the original show whilst holding a fiddle or cello! Only two of the band, the Musical Director on keys and the percussionist remained out of sight in the wings throughout. All the performers were multi-talented, acting, singing, dancing, most of them wielding musical instruments at the same time. Full of verve and enthusiasm they lit up the stage.
The tall set was very impressive; with the addition of a couple of draw cloths (to change the scene on the Golden Garter’s small stage within a stage) and some props it served to give the audience a variety of venues for the storyline to progress. Particularly clever was the use of the onstage piano and a few props to create an instant stagecoach. The different levels provided by balconies gave the instrumentalists more space to accompany musical numbers which did not involve them in their roles in the ensemble numbers.
Lighting was cleverly designed and very effective, especially the large metal hoop which was raised and lowered as the scene demanded.
In the title role Carrie Hope Fletcher rapidly grew into the part as the story progressed and paired well with Vinny Coyle as Wild Bill Hickok.
The Finale, after the curtain calls, gave the audience an enthusiastic hoe-down of a dance routine which sent them out happy with many humming along! At The Waterside until 18th January and then touring nationwide until September.
Reviewed by
Judith Watsham
The Further Adventures of Peter Pan – Aylesbury Waterside
Tuesday 10th December 2025
Production company – UK Productions
****4 Stars..”Get Hooked for Christmas”
Aylesbury Waterside Theatre’s panto season started with a swashbuckling bang as we were treated to a night of fun, frivolity and frolics on Tuesday on their gala night. Waterside was jam packed with eager young faces waiting to be entertained and they weren’t disappointed. We were treated to Pyrotechnics, Confetti cannons and Andy Collins – BBC 3 Counties Breakfast DJ, as Smee leading the iconic 12 days of Christmas routine! Top tip – if you are sitting in the stalls take a waterproof coat!
The story tells the tale of how things have moved on in Neverland following the demise of Captain Hook. But he’s back and he wants his ship and his crew back – even if they are a dim-witted acrobatic crew. Peter Pan played by Bradley Riches (Netflix’s Heartstopper, Celebrity Big Brother), a roller-skating Tinker Bell - Leanne Garretty and Ethel Mermaid Emma-Jay Thomas seek to thwart him with the help of Emily Darling (Wendy’s great, great granddaughter) – Maeve Byrne.
Mark Moraghan (Holby City & Coronation Street) played a dastardly Captain Hook and the acrobatic scene on board The Jolly Roger brilliantly executed by pirate trio, The Nitwits Tristan Crabtree, Shane Hampden and Jack Robbins was a particular highlight.
What’s lovely about panto is there is always plenty of audience interaction and there was plenty of that in this production, including an extended toilet roll throwing session! My only slight gripe was that it ran for almost 3 hours which was a long time for younger audience members particularly on a school night! But it was gala night so that might have contributed to the extended length on this occasion, and it didn’t detract from the overall enjoyment factor.
Great lighting, set and sparkling costumes all add to the magic and the band led by Jamie Noar all added to the magic of the evening.
Directed by Chris Nelson for the 10th year, choreography by Adam Scott and very well supported by the ensemble: Charlotte Day, Molly Lewin, Jessie May Simmons, Ryan Webb and Charley Vincent, and junior crews Castielli School of Dance and Allstars Academy.
A very enjoyable evening overall. is running until Sun 5 Jan 2025.
Mandy Watsham Dunstall
Nobody- A dance circus Adventure
Aylesbury Waterside
**** “Does not disappoint”
Having not seen a Motionhouse dance show before, I was unsure of what was to unfold before me on the stage. The title description left me intrigued as to what it was all about, but the production of Nobody a dance circus adventure did not fail to disappoint and we were enthralled.
From the programme notes we understand that each of the 7 performers are playing two roles, a crow and a human, and they creatively explore the relationship between the crow representing the inner voice, and the human character as they struggle to connect with reality and each other. There is a sort of structured chaos at points where the dancers are literally weaving and flying and tumbling around each other.
The second act brings a greater sense of fluidity and freedom as the humans find themselves working in tandem with each other and the crows have disappeared.
The coordination, strength, gracefulness, agility and balance are exceptional as the dancers smoothly tell the story and trust each other as they hurl themselves off the set into each other’s waiting arms!
Simon Dorman’s set is extremely clever. There is an enormous cube which can be used as a cage or gymnastic bars. At other times it becomes a piece of scenery as various images are projected onto it and other smaller pieces around the stage as well as the back drop becoming a city scape in the first act.
It is a highly skilled cast who worked tirelessly leaving us feeling almost breathless as we watched them soar around the stage.
Motionhouse co-founder and choreographer Kevin Finnan created this piece along with his team of seven dancers, and his creativity and imagination are very much in evidence throughout this piece.
All in all a fascinating evening of consummate skill that we and the rest of the audience thoroughly enjoyed and engaged with.
Reviewed by Mandy Dunstall on Tuesday 30th April
It will appear in the Chilterns Review this week and David will talk about it on his weekly radio show on Box Office Radio.
Calendar Girls The Musical Aylesbury Waterside Runs until Saturday.
Judith Watsham
*** - “Catch it if you can please”
There must be very few people in the country who have not lost a relative or a close friend to, what one of the characters in this piece calls, this “shitty” disease of cancer. This is undoubtedly why the true story resonates so strongly with audiences up and down the country – usually culminating in a standing ovation as happened at the theatre last night.
I confess to knowing both the original play and musical version of this story very well, but this touring version has been ‘reimagined with new songs’ which has meant that several characters have been cut -resulting in a loss of some of the scenes and a complete change of set.
The show benefitted from some of this editing but, in my opinion, lost some of the impact by cutting others.
The action now takes place in a restored tithe barn type of village hall with a high beamed pitch roof, polished floor, and a view of the distant Yorkshire Dales out of the window. The audience only really appreciates the beauty of the setting, which has influenced the characters of the protagonists, at the curtain call when parts of the set fly upwards to show the full glory of the view.
However, I felt that the addition of the bright coloured strip lighting outlining the shape of the hall and its roof detracted from the rest of the set – just my opinion naturally.
In this version, every scene has to be played within the hall, so a few pieces are flown in, and props added, to let audiences know that we are now in a hospital or at the WI National Conference at the Royal Albert Hall. This works well. What does not work so well are the two scenes, one a solo song in the actor’s home, the other in the flower shop run by two of the principal characters. I think that trying to work out why these three were in the hall was a tad puzzling, especially as the lighting did not isolate the players sufficiently.
The cast, nearly all with good music, TV, and film credits under their belts, were full of energy and enthusiasm, on the whole acting and singing very well. Any ensemble vocal numbers were also well performed.
An enjoyable show combining a great many comedic moments with tragedy. Do try and see it if you can.
Playing at Aylesbury Waterside until Saturday March 30th then touring until May.
Waterside Aylesbury
Runs until Saturday 25th November
The Full Monty – ***** “Well worth a watch!”
The ultimate girl’s night out, that will have you laughing from the opening line.
Based on the Fox Searchlight Pictures Motion Picture, this award-winning play by Simon Beaufoy has been directed by Michael Gyngell and choreographed by Ian West who have done a fantastic job in bringing the show to life on stage.
The story has Gaz, played by Danny Hatchard, wanting to get back into work and make some money, to be able to support his son. He therefore comes to the idea of being coming a male stripper, together with his best friend Dave, played by Neil Hurst.
Soon the group grows to 6 men, who are all happy to learn how to dance and take their clothes off in the process. They learn a routine and the grand finale has them doing their show in their local pub on a Friday night!
The colours used are quite faded, to recreate the bleak atmosphere the characters faced, following the closing down of the steelworks. Though it is focused on showing the struggle the characters faced back then, there is plenty of room for comedy, fun and humour throughout. The music choices are great, to ensure the audience gets more involved, clap along and enjoy themselves watching the show. The cast is brilliant, and every member really gets into character throughout.
Well deserved the standing ovation at the end, it was humorous, fun, and worth seeing - 5 stars!
Reviewed by Josefine Pope
Madagascar,
Aylesbury Waterside Theatre, Judith Watsham
**** 4 stars “Full of energy and fun”
The average age of the recent Waterside audience plummeted as this family show attracted dozens and dozens of pre-school and primary age children last night, all with parents and grandparents tagging along. It was lovely to see this generation, reared on computer generated entertainment become absolutely absorbed by live theatre. One slightly puzzled toddler couldn’t understand why he could not rewind a bit he particularly liked when he had watched film versions.
The scenery, especially in a touring production like this was excellent but once again I must criticise the lighting when it was directed at the audience. Please keep it on the action and not let it roam! It certainly distressed one youngster near me.
Back to the set which slid on and off, turning as required with panels opening to display performers and the trailing tropical island vegetation. The New York skyline worked very well as did the tropical palms in Act II. All changes were slick and well-rehearsed by the cast responsible for the changes.
The programme is colourful and full of information, much of it to appeal to young children with, for example, facts about the lives of the real animals depicted on stage by the actors in beautifully designed costumes.
The very energetic dancing and singing brought the characters to life and, although I have never seen the animated film on which the story is based, I was told it was true to the original concept.
A true family show, Madagascar has everything to appeal to a young audience – colour, lively music, a brilliantly costumed cast and a simple, easy to follow plot. At the end everyone was on their feet, singing and dancing along with the dozen actors on stage.
Running in Aylesbury until Saturday November 18th and then touring.
Reviewed by Judith Watsham
