Richard Harris's tap-dancing drama is deservedly popular with the more ambitious groups, and it's not hard to see why.
A lovely range of ladies - plus the enigmatic Geoffrey, shipping insurer, widower and closet pianist - arrive at a drab church hall, eager for another class with the enthusiastic Mavis.
It's a form of escape from their lives outside, though, naturally, they can't help bringing baggage and back stories with them ...
Kytes' production is strong on the dance. Claire Hilder, who also plays the class teacher, has choreographed the tentative beginnings, the ragged rehearsals, as well as the two final numbers when the girls [plus Geoffrey] leave the church hall behind them to show what they can do in front of an audience. There is a magical moment when, in a slick time-shift, the routine suddenly becomes much more polished and professional.
The set - the mirror imagined on the fourth wall - leaves plenty of room for the footwork - the flats a little dull, even for a church hall, though we appreciated the appropriate flyers on the notice board. And it is unfortunate that this auditorium is not designed to let us see those flying Fred Astaire feet. Some audibility issues, too, in the commendably naturalistic dialogue.
Director Paul Sparrowham, a frequent and much-lauded performer on this stage, successfully shows us the eight people behind the fixed smiles, helped by excellent character work by a strong cast.
Gradually, we learn a little of their lives. "Alternative" Rose, with her striking tattoos [Laura Hughes], Maxine [Cindy Halliday] who could have made it in the profession, down-to-earth Sylvia [Chrissie Mallett], lonely Andy, with her secret sadness, impressively played by Kate Evans, nervous but enthusiastic Dorothy [Pam Ambrose] and the dutiful nurse Lynne [Shealagh White]. And of course, the fly in the ointment, new girl Vera who brings colossal snobbery and bossiness to the class - a great comic turn from Jackie Parry.
Two men in the cast this time, since apart from Gary Catlin's Geoffrey [nicely drawn, if not mature enough for his back story] there's the formidable Mrs Fraser, making cutting remarks not-so-sotto-voce from behind her upright, played superbly by Daryl Adcock with nods to Les Dawson and Hilda Ogden.
Not a great play, though a brilliant concept, but an enjoyable evening, combining that old "can-we-pull-it-off" plot-line with some impressive terpsichore and intriguing characters.

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This fine production with a superb close knit cast is proof that pre-conceptions are out of place when seeing any new work and that the strongest work comes from development, improvisation and fine tuning.
The theme of "Ghosts" and "characters" inhabiting another world has hitherto been explored ("Woman in Mind"," Passion Play") But- In this case script characters and storyline have been workshopped by cast and director -with the result that not only do we have four well explored fictional characters-but dialogue that flows easily and a situation that highlights the controversial issue at the centre of the plot.
And once we accept the idea that fictional characters are alive and real and inhabiting our own world-the concept works and we become focussed on a moral concern;
"You're all fiction-this is a real relationship," says Paige -a 21st century girl who "invites" her four favourite fictional characters into her life for companionship and an escape from the social isolation that is taking over her life-since moving in with her boyfriend, Dean.

The four "characters" become barometers of social values-commenting on their own lives and situations-and becoming a united front against Paige's worsening relationship.
It is evident that each of the actresses has studied their fictional characters to the finest detail; Arwen Matthews is a pillar of strength as Beatrice (from Much ado about Nothing)-perfectly balancing comedy and drama. Helen Wells Ward as Mary Crawford (from Mansfield Park) delicately handles the intricacies of her character and delivers a multi- layered performance.
Antonia Turner as Helen Graham (The Tenant of Wildfell Hall) gives a strong, forthright performance-ultimately being the backbone of the quartet.
As Oliver Twist's tragic heroine -Nancy-Nichola Wooley gives an incredibly moving portrayal and her violent relationship with the fictional boyfriend Bill Sykes is a mirror to the mental torture being experienced by Paige, at the hands of HER boyfriend.

The play works on so many levels-but the themes of abuse-(mental, physical, sexual and financial) come screaming through.
"just because there aren't bruises doesn't mean it's not abuse" says one of the characters. Moments of high comedy are even achieved in the first act by the fictional characters exploring the effects of alcohol!

The work is well constructed, played with utmost sincerity and never becomes a caricature .Paige's manipulative boyfriend becomes synonymous with the gentling tinkling of a text message-and the feeling that Dean could arrive at any minute is reminiscent of Pinter's darker pieces.
As Paige Turner -Scarlett O'Rourke gives a wholly believable performance and takes us on a nightmare journey to the brink of mental breakdown. She captures perfectly the symptoms of self doubt, depression and her character is a cry for help to us all.

A basement room performance space is perfect for this piece-giving us claustrophobia and the second act particularly is both harrowing and emotionally charged.

All this is rounded off by beautifully haunting music-specially composed by Jo Turner.

I sincerely hope this play is produced/developed elsewhere, published or considered for radio.

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Operaupclose's "Tosca" set in communist East Germany in 1989 on the cusp of revolution truly does bring opera to the people and fittingly so, at Bristol's Tobacco Factory, a place that historically prided itself on providing a generous wage for the workers in post World War II Bristol.

Director, Adam Spreadbury-Maher has ingeniously transported Puccini's classic tale of sexual jealously amid a treacherous cocktail of power and cruelty into this late 20th century setting.

It works outstandingly well and as a librettist, he has pulled off a masterpiece for he has deftly translated the words into contemporary English.

Yes, it is sung in English, not Italian and yes, it is stunningly accomplished. The words fit the music, there is not a note out of place, nothing is lost or lacking in the adaptation. Furthermore, the contemporary words allow for some delightful moments of comedy. Opera does not normally choose to engage with the audience. This company's premise is indeed to break down that wall and just like the Berlin Wall, Operaupclose have demolished the barrier in this show and chuckles are allowed!

This production is a fine case of raw talent that does not need opulent stage scenery.

In place of a huge impressive orchestra is a trio of nifty fingered musicians. The piano, cello and clarinet accompany the singers and from the moment of entering the auditorium to the end of the show the sheer buzz and energy they infuse into the production never wanes.

Edward Hughes as Mario Cavaradossi, Tosca's ill fated lover, has the "wow" factor in the opening scenes with the power of his voice but the apotheosis of his singing comes in the main aria as he awaits execution and reminisces about Tosca, his lover. The strength and quality of his singing clearly had the audience utterly spellbound. The acting between Cavaradossi and Tosca is also deeply moving during the final scene between them.
Demelza Stafford as Tosca exudes a sizzling sexual energy and looks voluptuous and enticing in both the leopard skin dress of Act 1 and the dynamic post box red dress of Act II - a great choice by costume designer Jonathan Lipman. She is of course a consummate singer and actress and I loved the variety in her performance. During Act 1 she had a wonderful coquettishness and playfulness during her first aria where she is flirting with her lover. She can hit those high notes with a perfectly controlled voice and yet still bundle in masses of comedy in her body language. I loved the wide vocal range in her first moments of expressing jealousy!

Alistair Sutherland as the escaped political prisoner, Angelotti, provides another outstandingly fine voice and he is also another superb comedian, especially when he disguises himself as a woman!

Stephen East has the difficult task of playing two different characters without the help of a change of wig or special stage make up. He leaps over this challenge and is a very amusing somewhat bumbling caretaker at the start and then transforms himself into Scarpia's vile henchman Spoletta, later on. His singing is stunning of course.

The lynchpin of the show, the manipulative Scarpia, James Harrison, is simply faultless in his performance. His characterisation shows us the embodiment of evil. His aria at the close of Act 1 is packed with lustful relish as he comtemplates becoming Scarpia's lover. The power of this baritone's voice nearly took the roof off The Tobacco Factory when I saw it on Friday evening and his opening aria in Act 2 held the audience like a hypnotist. As well as possessing such a fine voice and skill as a singer, Harrison is yet another gifted actor and there is wonderful tension in the interrogation scene between Scarpia and Cavaradossi.

In this dazzling show it is hard to pinpoint outstandingly good moments as it is all consistently superb. Possibly I could pick out Tosca's gorgeous high notes during the scene where Scarpia is bullying her into sleeping with him and also her tenderly sung aria "I've lived for art, art and love" could be seen as another crowning moment of the show. The audience were also clearly on tenterhooks in the scene where she killed Scarpia.

I very rarely give a show 5 stars but this show deserves it.

What I love most about this production is that it reaches out a hand to anyone who wants to experience opera for the first time just as much as it embraces die hard opera fans.

We are so lucky to have this company proving that yes, opera is for you comrade, for you "man in the street", for you "Everyman" and is not just an exclusive club for rich and clever folk. The richness of music belongs to all human beings.

Don't miss this show.

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