The Hills Of California – Sutton Arts Theatre ⭐️⭐️⭐️⭐️⭐️

Hills Of California – Sutton Arts Theatre

Sutton Arts Theatre

Thursday 19th March 2026 – Opening Night

By Nigel Gambles

Photography – Sutton Arts Theatre

Set against the backdrop of Blackpool during the long, hot summer of 1976, The Hills of California at Sutton Arts Theatre is a richly atmospheric and emotionally charged production that explores the complexities of family, memory, and long-buried truths.

Written by Jez Butterworth and directed by Emily Armstrong, the play centres on the Webb sisters, who reunite at their childhood home — the fading Sea View Guest House — to say goodbye to their ailing mother. What unfolds is a deeply layered story that moves between timelines, revealing their earlier lives in the 1950s, when dreams of stardom first began to take shape.

This production captures the essence of Butterworth’s writing beautifully — sharp, evocative, and often laced with dark humour. The dialogue feels natural and lived-in, allowing the emotional weight of the story to unfold gradually but powerfully.

The performances across the board are strong and committed. Phoebe Bland (Jillian) leads with sensitivity and presence, supported by Ashleigh Thomas (Penny/Diddy), Michelle Dawes (Ruby), and Nancy Wright (Patty/Mrs Smith), who together create a believable and emotionally layered portrayal of sisterhood.

There are excellent supporting turns throughout, with Connor Taylor (Tony/Mr Smith), Laura Hinton (Gloria), and Mike Rawson (Bill/Mr Halliwell) adding depth and texture to the story, while Rich Millward (Dennis/Jack Larkin) brings a grounded, engaging presence. The younger cast — Sophia Mae Firkins, Gracie Reynolds, Marnie Brown, and Ava Cattell — provide convincing and poignant glimpses into the sisters’ past, helping to anchor the narrative’s shifting timelines.

Special mention also goes to Tom Brookes (Joe Fogg), Emily Armstrong (Veronica/Joan), and Ian Eaton (Luther), who all contribute to a well-balanced and energetic cast.

Behind the scenes, this is clearly a production built on strong collaboration. Director Emily Armstrong guides the piece with a confident and sensitive hand, supported by Tom Brookes (Musical Direction) and Jannie Henderson (Choreography), whose contributions subtly enhance the storytelling.

The technical elements are equally effective. Set design by Mark Nattrass creates an intimate and believable setting, while lighting and sound design from David Ashton & Emily Armstrong, alongside Kieran Jenkins (Lighting Operation) and Elijah Topliss, Annabelle Trappett & Joe Apted (Sound Operation), help shape the mood and transitions with precision. Costume design from Emily Armstrong & Phebe Bland, supported by Sutton Arts Wardrobe & Lichfield Costume Hire, adds authenticity to the shifting eras.

At its core, The Hills of California is a story about the ties that shape us — family, ambition, and the echoes of choices made long ago. This Sutton Arts Theatre production delivers that story with honesty, warmth, and emotional depth.

⭐ Running 19th – 28th March 2026 at Sutton Arts Theatre

For tickets click Here

The Wizard Of Oz – Sutton Coldfield Musical Youth Theatre ⭐️⭐️⭐️⭐️⭐️

The Wizard Of Oz – Sutton Coldfield Musical Youth Theatre

Sutton Coldfield Town Hall

Monday 16th February – Dress Rehearsal

By Nigel Gambles

Photography – Studio 55 Photography

There’s no place like home… and on this occasion, there was certainly no better place to be than Sutton Coldfield Town Hall, where Sutton Coldfield Musical Youth Theatre transported audiences down the Yellow Brick Road in a vibrant, heartfelt production of The Wizard of Oz.

From the opening notes of Over the Rainbow, it was clear this was a special evening. The transition from sepia-toned Kansas to the dazzling colour of Oz was beautifully handled, drawing audible gasps from the audience and setting the tone for a joyful theatrical journey.

Leading the way was Lola Hinsley as Dorothy, delivering a wonderfully warm and sincere performance. Her vocals were confident and emotionally grounded, capturing Dorothy’s innocence while showing impressive strength for such a demanding role. She carried the story effortlessly — a truly standout portrayal.

And then there was Biscuit as Toto — quite simply, the scene-stealer of the night. Every entrance earned smiles, laughs, and spontaneous applause. Proof, if ever it was needed, that four legs can sometimes upstage an entire cast.

Dorothy’s companions were equally engaging:

Elliott Winhall brought charm and comedy as the Scarecrow,
Jamie Wilson offered heart and humour as the Tin Man,
Euan Barnby delivered a delightful Cowardly Lion with great physicality and timing.

Louise Heard revelled in her role as Miss Gulch / The Wicked Witch, striking the perfect balance between menace and theatrical fun, while George Wells added gravitas and warmth as Professor Marvel / The Wizard.

Supporting roles were handled with confidence by Daisy Moore (Aunt Em / Glinda) and Kian Haden (Uncle Henry / Guard), with strong contributions from principal vocalists Erin Freeman, Grace Wilson, Molly Lewis and Neve Matthews.

The principal dancers — Anna Green, Aubane Doireau, Daisy Yates, Erin Freeman, Esme Wolverson, Molly Lewis, Natalie Heard, Neve Matthews, Peyton Lockley and Sophia Reeve — brought real energy and polish to the Emerald City sequences, while the full ensemble filled the stage with colour, movement and infectious enthusiasm.

Behind the scenes, this production was steered with care and creativity by director Georgia Young, supported by musical director Imogen Botham and choreographer Ellie Johnstone, with Neve Matthews also serving as Dance Captain. The result was a tightly paced show with lively choreography and well-balanced musical moments.

Stage management by Paula Lumsden, alongside a dedicated crew including Finley Waldron, Paul Lumsden, Ian Bowley, Ed Hill, Nathan Rock, Tom Wells, Hannah Litwinne, Simon Smith, Kate Holland, Lauren Orgil and Mark Shett, ensured everything ran smoothly.

Costumes by Suzanne Harris (assisted by Liv Lawton) were bright and characterful, while lighting from Going Dark Theatrical Services, sound by Sam Bukhshav, scenery by Made to Measure Productions, and props from Theatre House combined to create a fully immersive Oz.

⭐ A Fond Farewell

This production also marks a bittersweet milestone for director Georgia Young, who, after five productions with the youth group, will now be moving on to the adult company, where she’ll be producing Frozen next year. She will be deeply missed by the youth cast and families alike — her passion, encouragement and creative vision have clearly left a lasting legacy.

What truly sets this production apart is the heart behind it. Every scene reflects the dedication, rehearsal hours, and genuine love for theatre shared by cast and crew alike.

A joyful, polished and thoroughly uplifting evening — and another shining example of just how strong Sutton Coldfield’s youth theatre scene continues to be.

Click those ruby slippers and follow that Yellow Brick Road — you won’t regret it. 👠✨

A Kick In The Baubles – Sutton Arts Theatre ⭐️⭐️⭐️⭐️⭐️

A Kick In The Baubles – Sutton Arts Theatre

Sutton Arts Theatre

Wednesday 28th January 2026 – Dress Rehearsal

By Nigel Gambles

Photography – Studio 55 Photography

A Kick in the Baubles is festive farce at its most relatable — a sharp, affectionate comedy that finds big laughs in the chaos, compromises and quiet catastrophes of Christmas with family.

Set across Christmas Eve and Christmas Day in the Bauble household, the play centres on Frank Bauble (Andy Jones), a man who would happily cancel Christmas altogether if given half the chance. Recently made redundant and utterly worn down by the season, Frank’s dream of a calm, uneventful holiday is immediately crushed by the arrival of relatives, neighbours and well-meaning disasters. His long-suffering wife Jean (Joanne James) is determined to hold everything together — even as it becomes increasingly clear that “together” is a very loose concept indeed.

Andy Jones delivers a wonderfully grounded performance as Frank, capturing both his simmering frustration and reluctant vulnerability. He is matched beautifully by Joanne James, whose Jean balances warmth, steel and perfectly timed exasperation — the emotional anchor of the household as everything spins out of control.

The extended family bring the chaos in waves. Harry and Doreen (Phil Shaw and Lynette Coffey) provide deliciously smug comedy as the superior, slightly unbearable in-laws, with Coffey in particular leaning confidently into Doreen’s sharp tongue and self-importance. Alex (Sophia Firkins) adds youthful edge and energy, playing off the older characters with ease.

The arrival of the neighbours injects the production with an extra jolt of festive madness. Gary (Dan Holyhead) and Julie (Bexs Perry) are gloriously loud, unapologetically chaotic and clearly enjoying every moment — their scenes are packed with physical comedy and bold character choices that land strongly with the audience.

Younger cast members Milly (Tilde Porter) and Darren (Daniel Charlton) round out the ensemble with charm and clarity, ensuring that even at its busiest moments the stage never feels overcrowded or unfocused.

Under the confident direction of Maureen George, who also leads on set design, the production embraces the rhythm of farce while allowing quieter, more heartfelt moments to breathe. The domestic setting works perfectly for the piece, feeling lived-in and instantly recognisable — a Christmas living room that becomes the battleground for festive tension and escalating misunderstandings.

Behind the scenes, Stage Manager Allan Lane keeps the production running smoothly, while David Ashton’s lighting and sound design supports the pacing and mood without distraction. Lighting operators Elijah Topliss and Melissa Arslan, alongside sound operator Archie Exhall, ensure technical elements remain sharp and responsive throughout.

The set is well supported by Paul Wescott as Set Building Manager, while costumes — provided by Sutton Arts Wardrobe and the cast — help clearly define character and social contrasts. Wardrobe Mistress Rachel Marshall keeps everything cohesive, and properties by Christina Townsend, Sue Atkins and Maureen George add the finishing touches that make the space feel authentically chaotic and lived-in.

Ultimately, A Kick in the Baubles succeeds because it recognises a simple truth: Christmas rarely goes to plan — and that’s exactly where the laughter lives. Warm, knowing and consistently funny, it offers audiences the chance to laugh at the madness while quietly recognising a little of their own family in the Baubles’ living room.

A festive treat that proves sometimes the best way to survive Christmas… is to laugh straight through it

Dick Whittington – Mint Theatre Society ⭐️⭐️⭐️⭐️⭐️

Dick Whittington – Mint Theatre Society

Stonnall Village Hall

Sunday 14th December – Dress Rehearsal

By Nigel Gambles

Photography – Studio 55 Photography

Mint Theatre Group once again bring community theatre magic to Stonnall Village Hall with their fun-filled production of Dick Whittington — a lively, laugh-a-minute pantomime packed with local humour, catchy songs and plenty of audience interaction.

Leading the show with charm and confidence, Ellie Ball makes a spirited Dick Whittington, full of enthusiasm and warmth. Her chemistry with Beth Howell as Alice Fitzwarren adds a lovely romantic note to the adventure, while Charlotte Ball as Fairy Bow Bells brings a graceful sparkle to every scene, guiding Dick and the audience with poise and gentle humour.

Every good panto needs its mischief, and Duncan Gleig as King Rat delivers villainy with relish — booed, hissed and loved in equal measure. Dave Stonehouse as Sarah the Cook is a joy from start to finish, delighting the crowd with larger-than-life energy, perfectly timed gags and more outrageous costumes than you can count.

Andrew Hughes shines as the ever-daft Idle Jack, keeping the laughter coming thick and fast, while Rebecca Shiner’s Cat adds a wonderfully playful touch with great physical comedy and charm. David Daly as Alderman Fitzwarren and Paul Warner as Sultan Vinegar both bring solid character work to their roles, and Liz Daly’s Tricky Pete adds just the right pinch of panto mischief.

The show is full of colourful set pieces, cheerful choreography and a clear sense of fun shared between cast and audience alike. With strong direction from Alex Howell, clever local references and plenty of heart, Dick Whittington captures exactly what makes traditional pantomime so special.

Mint Theatre Group prove once again that community theatre can deliver professional-quality laughs and feel-good festive entertainment.

⭐️⭐️⭐️⭐️⭐️
A joyous, family-friendly pantomime brimming with humour, heart and hometown sparkle.

Beauty & The Beast – Talegate Theatre Productions ⭐️⭐️⭐️⭐️⭐️

Beauty & The Beast – Talegate Theatre Productions

Sutton Coldfield Town Hall

Sunday 14th December

By Nigel Gambles

Photography – Studio 55 Photography

Talegate Theatre Productions once again deliver a dazzling slice of festive fun with Beauty and The Beast — a vibrant, laugh-out-loud retelling of the classic fairy tale packed with sparkle, songs and plenty of silliness.

From the moment the curtain rises, the energy never dips. Bethany Oliver brings warmth and poise to the role of Belle, her vocals clear and confident, while Gareth Lord gives real heart to the Prince/Beast, making the transformation scene genuinely magical.

There’s a perfect balance of humour and heart thanks to the show’s larger-than-life characters. Steve Boyce steals many a scene as the flamboyant Dame Cheri Gateau, serving quick-fire wit and fabulous costumes in equal measure. James Bartlett as Gaviscon and Josh Dixon as Franc the Fool keep the younger audience roaring with laughter — their comic timing and audience rapport spot on throughout.

Every panto needs a good villain, and Alexandra Allison as Witch Hazel delivers just that with gusto, conjuring boos, hisses and plenty of mischievous glee. Whilst singing Defying Gravity at the end of Act One, she quite literally does so — soaring above the stage in a spectacular and magical flying scene that left the audience gasping and applauding in delight.

Choreography by Justine Lee keeps the ensemble tight and lively, with Farrah Palmer (also Dance Captain) and Sophie Atkins leading the numbers with flair. The Sparkles School of Dance junior chorus add charm and enthusiasm to every scene they appear in.

Behind the scenes, the production team shine just as brightly. With direction and script by James Worthington, the pacing is sharp and the jokes land well for all ages. The colourful costumes (by Talegate Theatre Productions) and eye-catching scenery (by Dave Law) create a rich fairy-tale world, enhanced by Bethany Knowles’ clever lighting design and Burnt Toast SFX, whose special effects add a real touch of wonder.

It’s a show that truly embraces everything a pantomime should be — fun, interactive, full of heart and festive sparkle. Whether you’re booing the baddie, laughing at the Dame’s antics, or cheering for true love’s triumph, Beauty and The Beast is guaranteed to leave audiences smiling.

⭐️⭐️⭐️⭐️⭐️
A magical, family-friendly treat brimming with energy, colour and Christmas cheer.

Into The Woods – Script Youth Musical Theatre ⭐️⭐️⭐️⭐️⭐️

Into the Woods – Script Youth Musical Theatre

Crescent Theatre – Birmingham

Friday 28th November– Dress Rehearsal

By Lee Williams

**Photography – Lee Williams Photography (For WOISC)**

If you love fairy tales but wish they had a bit more bite (and more songs), “Into The Woods” is right up your alley. This musical, created by Stephen Sondheim and James Lapine, takes stories you already know—Cinderella, Jack and the Beanstalk, Little Red Riding Hood, Rapunzel—and mashes them together in a way that’s both hilarious and surprisingly deep. Since hitting Broadway in 1987, it’s become a favourite for theatre fans everywhere. Now it’s here – presented by Script Youth Musical Theatre Company.

At first glance, it’s a strange and wild mix of familiar characters all heading into the woods to chase after their biggest dreams. The Baker and his Wife just want a kid, but a Witch has put a curse on them. Everyone’s paths cross, and things get out of hand fast. Wishes do come true—but not always in the way anyone expects.

The music in “Into The Woods” is awesome. In the original Sondheim really knew how to write songs that stick with you. From the catchy and funny “Agony” to the moving “No One Is Alone,” there’s a great mix of humour and heart. The lyrics are clever, packed with puns and deeper meanings, so there’s always something new to catch each time you listen.

The production and set here is kept simple, letting your imagination fill in the rest. There’s plenty of room for cool lighting and sound effects, and with so many characters sharing the stage, things stay lively and fun.

This show gives actors a lot to work with—no boring roles here! Whether it’s the Baker, the Witch, or even Little Red Riding Hood, everyone gets a moment to shine. Performances by Gracie Reynolds and Masie Holdsworth as the Witch are lively and pop whereas Daniel George and Niamh Scott-Walters/Lexi Roberts play the Baker and Baker’s Wife brilliantly. We must admit, Nancy Reynolds and Isla Rose Thompson play extremely cute cows!

“Into The Woods” is loads of fun, with catchy songs and sharp humour, but it also has something to say. Whether you’re watching for the first time or the fiftieth, you’ll find new bits to enjoy and think about. So, if you’re up for a musical that’s smart, funny, and a little bit dark, don’t miss your chance to get lost in these woods.

Samantha Barks – Lichfield Cathedral ⭐️⭐️⭐️⭐️⭐️

Samantha Barks : The Cathedral Tour

Lichfield Cathedral

Wednesday 12th November 2025

By : Tracey Spare for WOISC

Photography : Tracey Spare for WOISC

Award-winning Broadway, West End and film star, Samantha Barks, breezed into Lichfield Cathedral last night for the first night of her seven-night Cathedral Tour.

Samantha Barks first came to public attention in 2008 finishing third in the BBC talent show ‘I’d Do Anything’ – Andrew Lloyd Webber’s search for a new unknown lead to play Nancy in the West End revival of Oliver in the West End.

In 2009 she was confirmed to play the lead role of Sally Bowles in the UK tour of Cabaret and made her film debut as Éponine in the 2012 adaptation of Les Misérables.

She played Velma Kelly in the 2013 Hollywood Bowl production of Chicago and has since followed with further landmark lead roles on Broadway in the stage musical of Pretty Women & as Elsa in the West End production of Frozen.

Over 700 people packed into Lichfield Cathedral to hear Samantha take us on an eclectic journey through some of her lead roles including songs from Frozen, Oliver, Les Misérables and a spellbinding sole rendition of her favourite Andrew Lloyd Webber song Another Suitcase in Another Hall from Evita.

Many of the remaining songs were selected by members of the audience with the evening intertwined answering questions submitted ahead of the concert by fans gathered in the medieval cathedral.

She seamlessly included popular songs including Shania Twain’s ‘You’re Still the One’ along with renditions of ‘Lose Control’ by Teddy Swims, and ‘What Was I Made For? by Billie Eilish both of which she performed whilst winning the 2025 ITV Series of ‘The Masked Singer’.

It was the first time she’d performed in a cathedral, and she was undoubtedly thrilled of opportunity to perform in such unique surroundings. The stripped back set – she was accompanied by a pianist and cellist surrounded by dozens of candles at the front of the stage – allowed her voice to blossom amongst the high arches.

The end of each song was greeted with rapturous applause, and she returned to the stage to conclude the concert with an encore singing ‘On My Own’ from Les Misérables.

Samatha Barks Cathedral Tour details can be found visiting https://lambertjackson.co.uk/samantha-barks

⭐️ ⭐️ Christmas Events in Sutton Coldfield Town Centre ⭐️ ⭐️

Christmas Events in Sutton Coldfield Town Centre

Sunday 30th November

Meet The Grinch & Cindy-Lou 12pm-3pm

Free Face painting 10am-3pm

Farmers & Craft Market 10am-3pm

Saturday 13th December

Walk In Snow globe 11am-4pm

Victorian Stilt Walker 12pm-4pm

Meet Father Christmas 12pm-4pm

Victorian Christmas Market 10am-8pm

Sunday 14th December

Walk In Snow globe 11am-4pm

Victorian Stilt Walker 12pm-4pm

Meet Father Christmas 12pm-4pm

Victorian Christmas Market 10am-5pm

Saturday 20th December

See The Gingerbreads 12pm-3pm

Victorian Stilt Walker 12pm-4pm

Meet Father Christmas 12pm-4pm

Victorian Christmas Market 10am-8pm

Sunday 21st December

See The Elves 12pm-4pm

Victorian Stilt Walker 12pm-4pm

Meet Father Christmas 12pm-4pm

Victorian Christmas Market 10am-5pm

Victorian Christmas Market

Week 1)

Thursday 11th – Sunday 14th December

Week 2)

Thursday 18th – Sunday 21st December

Times) Thursday, Friday, Saturday 10am-8pm & Sunday10am-5pm

Events brought to you by Visit Royal Sutton Coldfield BID and Victorian Market trader bookings through LSD Promotions

Sutton Coldfield town centre

Pictures Courtesy Visit Royal Sutton Coldfield BID

Jesus Christ Superstar – SCMTC ⭐️⭐️⭐️⭐️⭐️

Jesus Christ Superstar – Sutton Coldfield Musical Theatre

Sutton Coldfield Town Hall

Monday November 3rd – Dress Rehearsal

By Nigel Gambles

Photography – Studio 55 Photography

I know this show has enduring appeal; friends had raved about various productions of the rock opera, citing its powerful score, emotion, and timeless themes. Yes, the show still feels hauntingly relevant today. Telling the story of Jesus’s last week, themes of betrayal, fame, fear, bullying, and salvation can all be interpreted through a modern lens. Add to that a soaring, emotionally charged score, and you have a musical that still resonates today.

I first saw this show in 1973, it was the original production starring Paul Nicholas and Dana Gillespie when I was a young and impressionable teenager on a school trip to London. To this day, and after seeing many different musicals since, Jesus Christ Superstar remains one of my absolute favourites. It left a lasting impression on me through the sheer power of the music, the extraordinary vocals, and its timeless themes, which still feel just as relevant half a century later.

It takes no small amount of courage to stage Andrew Lloyd Webber and Tim Rice’s Jesus Christ Superstar, a rock opera that demands powerhouse vocals, razor-sharp musical timing, and a flair for the theatrical. Sutton Coldfield Musical Theatre’s production rises to the challenge with energy, conviction, and moments of genuine brilliance.

From the opening guitar riff of “Heaven on Their Minds,” it was clear this was a group ready to give their all. Leo Foëtu-Foster’s Judas anchored the show with a strong voice and emotional intensity, navigating the character’s moral torment with a raw, human touch. Opposite him, Tom Well’s Jesus balanced serenity and anguish, delivering “Gethsemane” with a vulnerability that will hush the room. Definitely a standout moment of the evening.

Juliet Fisher’s portrayal of Mary Magdalene was another standout performance. She brought warmth and quiet strength to the role, balancing tenderness with emotional depth. Her performance of “I Don’t Know How to Love Him” was delivered with sincerity and beautiful control, providing a gentle contrast to the intensity of the surrounding scenes. The chemistry between Mary, Jesus, and Judas was believable and added a human touch to the story’s spiritual themes.

The chorus brought strong energy to ensemble numbers like “Hosanna” and “Superstar,” and their enthusiasm, vibrant presence and commitment creating a dynamic atmosphere.

Making his debut as director Simon Smith has made imaginative use of the modest stage space, using minimal props barring some stepped section at the rear and sides of the stage and the cross in the finale. Doing so he has created a fast-paced production that never loses its sense of intimacy.

A particular highlight of this production was the choreography, which was both imaginative and dynamic. Under the direction of Maggie Jackson, the movement was tightly executed and visually striking, enhancing the storytelling without ever feeling forced. From the pulsating energy of the crowd scenes to the subtle, expressive gestures in the more reflective moments, the choreography added a layer of professionalism and polish that lifted the entire production. It was clear the cast had worked hard to master the demanding routines, and their commitment paid off beautifully.

The live band, led by Sheila Pearson, provided a solid rock backing that gave the show its essential drive. At times the volume seemed a little overpowering, but the overall sound was impressive.

Lighting by Going Dark Theatrical heightened intensity and mood, while the costuming blended traditional and contemporary elements effectively. More than the technical achievements, what shone brightest was the passion of the entire company.

This production was clearly a labour of love, and that heartfelt commitment carried right through to the final moments.

Haunting Julia – Sutton Arts Theatre ⭐️⭐️⭐️⭐️⭐️

Haunting Julia – Sutton Arts Theatre

Sutton Arts Theatre

Thursday 23rd October 2025 – Opening Night

By Nigel Gambles

Photography – Studio 55 Photography

The play is set twelve years after the death by suicide of Julia Lukin, a phenomenally talented young musician who had some desperate psychological problems. Her father, who still cannot come to terms with her death, has turned her student bed-sitting room into a museum which the public can visit – for himself it is a shrine to her memory.

The production team at the Sutton Arts always produce good sets, and this one is no exception. The single bed with the teddy bear on the pillow might at first seem to be a child’s bedroom, but the roped-off barrier around the bed soon suggests something else – and this barrier becomes essential to the themes of the play.

The play promises the audience ‘thrills and chills,’ but really the play is more complex and troubling than an exciting ghost story. It explores the reasons for Julia’s suicide, and the part that three different men may have had in leading to her death.

This involves many tensions and confrontations between the men, who become increasingly disturbed by the revelations that emerge during both halves of the play. This makes big demands on the cast – it is a long play that has to be carried by just three actors. Luckily all three are capable of meeting the challenge. David Stone as Julia’s father not only conveys his own pain but also helps us realise how oppressive he may have been as a parent to a gifted but unhappy daughter. David brought out the range of his character well – sometimes garrulous, opinionated and intolerant of disagreement, but also vulnerable and frightened that he may have been at fault. Alan Groucott gives a solid performance as Andy, Julia’s former student boyfriend who has tried to put her death behind him. He seems to be the voice of exasperated common sense, but by the end he is horrified by what he hears and experiences in this room. Ian Eaton has the trickiest role as Ken Chase, the volunteer psychic who, again, turns out to have had more to do with Julia than he is willing to reveal. Julia is played by Leah Fennell although we don’t see Julia we certainly hear from her

Finally, the special effects were very striking, and at the end they certainly lived up to the claims of being spine-chilling. They made a dramatic finish to the production, and left us with a lot to wonder about.

The show is directed by Claire Armstrong-Mills who has directed many plays in Birmingham theatres. Ten of them have been at Sutton Arts Theatre, she has however never directed a ghost story, nor yet any play by Alan Ayckbourn. Claire was intrigued to be given the chance to do both in a single play, Haunting Julia. Claire has thoroughly enjoyed working on this challenging and little-produced play with a talented and committed cast and crew.