Directed by Joan Sanders, the play opens with a brilliant Silhouette of Sasha Walker-Allen as Hillary.
She is poised on a tabletop, ranting to the audience, and rising to a crescendo of anger, about her husband having left her.

When all three of the cast are sat at the dinner table together, we begin to see the dysfunction played out with both melodrama and comedy, as ex-wife and wife battle to prove their worth for a husband who is indecisive.
There is a building suspension as Hillary announces their unseen dinner is to be a surprise, and as the two women continue to duel with their wits on who is the better wife.

Played by Shania Withey, Laura is Kenneth’s present wife, and begins bad mouthing Hillary and questioning Kenneth, played by Graham Beeston.
From small jokes between the ex-lovers, to his preference and obsession with food, Laura feels more the victim than Hillary, as she fights back with snide and pleas to leave.

Hillary’s passive-aggressive assault cumulates in the scene change as Kenneth’s favourite Elvis track is played, and Graham gifts the audience with a pleasant but short dance impression.
Though this is only a fraction of act one, there is much to be said for the capabilities of the performers.

Despite having only three actors on stage at once, never once does the stage feel empty.
They bring the play to life with a variety of emotions, expressions, and their dramatic, if not believable, portrayal of the dialogue. At some moments the play will throw you jokes, and in other moments it feels like staring through someone’s window into their very real lives.
There is a brilliant use of lighting as Laura and Kenneth argue to the side of the stage and their shadows are cast into the centre, bold and black against the green backdrop. Green is ever-present as jealousy and lies mire the unfolding plot.
Without giving anything away, act two is just as brilliantly paced with jokes and emotion and drama, as the characters continue to develop into the people we saw sat around the table at the very beginning.

Play review by Michael Mussell

And it gets better from there: As the solo performers mingle across the stage, and the musicians change between medleys and individual pieces, the colours will dazzle you until the lights finally spring back to life and you realise the first act is over. To top the first act, the second comes in swinging and never lets up.

The solo pieces return with a beautiful performance of ‘Shout’ followed by a sketch-lead dance and sing-along of ‘My Little Buttercup’.
Here, and during ‘It’s Raining Men’ we really see the costume design shine through, featuring a collage of different era-appropriate designs to showcase not just how much the times have changed, but how the cast is bringing on back the good times.
There’s a steady pattern of this serious-to-comedy based song list, featuring an outstanding performance of ‘Thriller’ where you can relive the MTV days of music videos as the cast become zombified, and Cameron Reen dazzles you with his perfect dance moves mimicking the pop legend himself.
All until we end where the Good Times arguably crescendo’d into a climax so great it still rocks the world.

A six-piece medley of Queen songs is performed by the entire cast, each song transitioning with incredible fluidity at the hands of the talented three-man band. Each song is vividly felt as the singing and dancing reach a fever pitch of enjoyment from both the crowd and performers.
The musicians start singing, and the last notes eventually hit; it was an outstanding performance. Overall, the show was a delight to watch, and has clearly been crafted by experienced hands in all regards.
It would be more than a shame to miss an opportunity to watch such a performance, and it certainly feels more like an experience to be part of the crowd. Tickets are on sale for £8/£12. The show begins every Thursday at 7:30pm all the way through to Thursday, September 29.