EVERYTHING a rock n roll story should be!

There is everything to love about this show, brilliant music of course, laughs, high emotions, awesome harmonies, fab costumes, a few punch ups, an inventive use of a typewriter and a great drum solo.

I was a 60s baby so know the music well and, like all the cool kids, I went through a mod phase, I also ended up a punk and watching Sunny Afternoon, I realised that Dave Davies was the original punk rocker. Music has always been an important part of my life and hearing the songs of The Kinks performed live with the story behind them, gave me a deeper understanding. There isn’t a backing track, this is live music all the way and the production is enriched for it.

This is a strong cast of actor/musicians, several actors play several roles, the casting is superb, as is the set and oh, the costumes, particularly the girl’s dresses and boots, I neeeeeed them! The transitions from scene to scene, chapter to chapter, location to location - seamless.

There is some cracking choreography throughout, I really enjoyed the segment on the aeroplane, very witty. The violent moments are brilliantly choreographed too and so realistic.

Before the show starts proper, members of the company are milling around on stage, just like musicians do in a studio or before a gig. The actor playing ‘guitar tec’ is on stage doing their thing (clever move), the set is fab – walls of speakers creating the core performance space as a background to the world of The Kinks with token items of furniture creating smaller scenes that do just enough to tell you where they are, perfect example - dad’s armchair.

We are taken through the beginnings of the band, the ups and downs, the stresses and strains and it is brilliant storytelling from Ray Davies and Joe Penhall, directed by Edward Hall. The exploration and then explosion of the guitar riff for You Really Got Me, is such a buzz and if you’ve ever been in a band rehearsal or a gig where that kind of revelation happens, you will totally get it, if you haven’t, then seeing this, you will.

The Kinks songs have been covered by many artists, I knew I Go to Sleep by The Pretenders was originally a Kinks’ song but not Stop Your Sobbing, I got an insight of that when reading Ed Tudor Pole’s autobiography last year (definitely worth a read) and having seen Sunny Afternoon I have just ordered the autobiographies of both Ray and Dave Davies.

Sonia Friedman Productions and ATG Productions have done it again, no wonder this is a multi-award winning show, it’s not a play with songs, it’s not loads of songs with a bit of dialogue thrown in, this is so much more, it is a class, rock & roll opera and a must see for any music fan or musician.

Runs to Saturday 28th with matinees today, Friday and Saturday

Performances: Tue 24 Mar - Sat 28 Mar

Access bookings: 0333 009 5399

Group bookings: 0207 206 1174

Online Booking: ATGTICKETS.COM/MiltonKeynes*

*Fees may apply. Calls cost up to 7p per minute, plus your phone company’s access charge

Age guidance: 12+ due to strong language. Children under 5 years and babies in arms will strictly not be admitted.

Caz Tricks

Stony Radio

EVERYTHING a rock n roll story should be!

There is everything to love about this show, brilliant music of course, laughs, high emotions, awesome harmonies, fab costumes, a few punch ups, an inventive use of a typewriter and a great drum solo.

I was a 60s baby so know the music well and, like all the cool kids, I went through a mod phase, I also ended up a punk and watching Sunny Afternoon, I realised that Dave Davies was the original punk rocker. Music has always been an important part of my life and hearing the songs of The Kinks performed live with the story behind them, gave me a deeper understanding. There isn’t a backing track, this is live music all the way and the production is enriched for it.

This is a strong cast of actor/musicians, several actors play several roles, the casting is superb, as is the set and oh, the costumes, particularly the girl’s dresses and boots, I neeeeeed them! The transitions from scene to scene, chapter to chapter, location to location - seamless.

There is some cracking choreography throughout, I really enjoyed the segment on the aeroplane, very witty. The violent moments are brilliantly choreographed too and so realistic.

Before the show starts proper, members of the company are milling around on stage, just like musicians do in a studio or before a gig. The actor playing ‘guitar tec’ is on stage doing their thing (clever move), the set is fab – walls of speakers creating the core performance space as a background to the world of The Kinks with token items of furniture creating smaller scenes that do just enough to tell you where they are, perfect example - dad’s armchair.

We are taken through the beginnings of the band, the up and downs, the stresses and strains and it is brilliant storytelling from Ray Davies and Joe Penhall, directed by Edward Hall. The exploration and then explosion of the guitar riff for You Really Got Me, is such a buzz and if you’ve ever been in a band rehearsal or a gig where that kind of revelation happens, you will totally get it, if you haven’t, then seeing this, you will.

The Kinks songs have been covered by many artists, I knew I Go to Sleep by The Pretenders was originally a Kinks’ song but not Stop Your Sobbing, I got an insight of that when reading Ed Tudor Pole’s autobiography last year (definitely worth a read) and having seen Sunny Afternoon I have just ordered the autobiographies of both Ray and Dave Davies.

Sonia Friedman Productions and ATG Productions have done it again, no wonder this is a multi-award winning show, it’s not a play with songs, it’s not loads of songs with a bit of dialogue thrown in, this is so much more, it is a class, rock & roll opera and a must see for any music fan or musician.

Runs to Saturday 28th with matinees today, Friday and Saturday

Performances: Tue 24 Mar - Sat 28 Mar

Access bookings: 0333 009 5399

Group bookings: 0207 206 1174

Online Booking: ATGTICKETS.COM/MiltonKeynes

*Fees may apply. Calls cost up to 7p per minute, plus your phone company’s access charge

Age guidance: 12+ due to strong language. Children under 5 years and babies in arms will strictly not be admitted.

Caz Tricks

Stony Radio

Legally Blonde

Milton Keynes Theatre

10.3.26

Picture the scene: you’ve been going steady with the perfect guy, and you think, no, you KNOW, he’s about to propose, your sorority sisters help you to pick out the perfect outfit for the most perfect date and then……. Spoiler alert, he dumps you! What’s the best way to get him back? Study hard, get in to Harvard Law School, accidentally bump into him on campus and show him that you can be the woman he wants you to be, simple, that’s like four things…… right?

The huge hot pink neon Legally Blonde sign hanging mid-stage really sets the tone for what’s to come. Based on the 2001 (2001!!!!) film of the same name, Legally Blonde, The Musical shows us that (Girl) Power can also be pretty and pink. The story itself is one we’ve seen before, a book being judged by its cover, constantly having to prove that they’re more than people think they are, the underdog showing everyone exactly what they’re made of: Legally Blonde The Musical does all of this with pristine hair and make-up, phenomenal dance routines, foot-tapping songs, eye-catching sets, and costumes that tell you a million things about the characters wearing them without you even realising.

When I say the hair and make-up was pristine, I’m not exaggerating, every character was coifed to perfection and the make-up, subtle on some characters and bold on others, was top class and helped to cement the traits of each character.

After her stint on Strictly Come Dancing, it’s clear that Amber Davies, who played Elle Woods, knows her way around a dancefloor and so do the rest of the cast, the routines were flawless and every single cast member held their own. None of the songs felt shoehorned into the show, each one played a purpose and carried the storyline along. The vocals were all great, to be able to sing the way they did whilst dancing the routines takes real stamina, and don’t even get me started about the routine with the skipping ropes…. whilst singing, I’m out of breath just thinking about it!

The sets were both simple and detailed at the same time, whether it was Dewey’s Trailer Park, Paulette’s Salon, Elle’s dorm room or any of the other scenes, they were well thought out and visually impressive. The costumes really spoke volumes about each character and their personality, the juxtaposition between Elle and her sorority sisters bright and colourful neon outfits and the Harvard Law students black and white and shades of grey was a subtly obvious and clever distinguishing tool.

The whole cast looked like they were having the best time even the four-legged ones Sprout who played Bruiser Woods and Milo who played Rufus. If you’re looking for a good fun, bright pink underdog story, with singing and dancing, a Greek Chorus and very cute dogs, then this is the show for you.

Nadia John

Stony Sunrise

Stony Radio

One of my most used phrases is ‘the arts are essential to life,’ and it is true. 

If you have been moved by a poem or piece of music, admired a garden, been amazed at a photograph, or painting, laughed at a comedian or a comedy show on television or experienced the excitement of live theatre, been transported by a book or short story you’ve read, been entranced by a building you have been to, eaten an exquisite meal, smiled at a child’s drawing, loved an item of clothing or jewellery or someone’s hair style… you see where I am going with this – the arts are in everything we experience to a lesser or greater degree. In The Red Shoes, dancing is essential to life, but the desperate need to dance and to be the best dancer ever takes Victoria Page to the ultimate sacrifice having been torn between the man she loves and the man who enables her to dance, no matter the price.

This production is beautiful on so many levels and very cinematic. The costumes locate the story in place and time and define characters too. The stage design is brilliant and whilst there are so many examples I could give, the huge set of stage curtains which take the audience from location to location, from backstage to on stage to being in the audience, drawing us into the story, is wonderful. Superb work by Lez Brotherston (set and costumes), Paule Constable (lighting) and Paul Groothuis (sound).

There are many, varied distinctive styles of dance in this piece, from the pure ballet, especially the stunning point work, some Bob Fossee flavoured moments, an essence of Singing in the Rain and An American in Paris and they flow well from one to another.

I enjoyed this show, I thought I would from the first moment where a single dancer walks onto the stage, you can hear the steps he takes. He stops right at the front of the stage and, taking his time, looking out at the audience, as if he is looking at every single person present, he is commanding, and controlling - what an opening.

The show is visually stunning, there are some great comedy moments and several ‘wow’ moments. However, it is too ‘busy’ in places and some sections could have been trimmed without losing anything, for example the segment on the beach seemed a tad too long and overall, I wasn’t emotionally moved by the piece.

I also didn’t see the point of some characters smoking, I understand it was ‘of the time’ but the costumes and dance styles cover that, it doesn’t really add anything to the piece and for me it was a distraction.

However, as always with Matthew Bourne and New Adventures, The Red Shoes is worth seeing, in fact, I would suggest you see it this week then catch Diversity next week, two totally different styles of dance performed to the highest standards.

I came to this cold, I didn’t know the story of The Red Shoes and hadn’t seen the Powell and Pressburger 1948 film, you don’t need to in order to enjoy this piece, you don’t even to follow exactly what happens on stage (and there is an awful lot happening on stage, almost all the time) to enjoy it. You can simply sit back and soak up the spectacle. As with all the arts – it is for everyone.

Tickets are on sale now and are available at ATGTICKETS.COM/MiltonKeynes

Performances: Tue 10 Feb – Sat 14 Feb

Access bookings: 0333 009 5399

Group bookings: 0207 206 1174

Online Booking: ATGTICKETS.COM/MiltonKeynes*

*Fees may apply. Calls cost up to 7p per minute, plus your phone company’s access charge

Caz Tricks

 Milton Keynes Theatre

28.1.26

I don’t think that I’ve ever considered myself to be a Tina Turner fan, but I definitely am now! Last night in Milton Keynes, a packed Theatre had the absolute pleasure of experiencing Tina: The Tina Turner Musical.

This show is nothing short of a masterpiece, it covers the life of the iconic star from her humble beginnings in Nutbush, Tennessee to her re-emergence as a global superstar and beyond. The story itself spans over six decades and the costumes, hairstyles, make-up and set for each era absolutely let you know when you are.

Milton Keynes is the final venue on the almost yearlong tour of this show, but entire cast performed with opening night energy, I believed that every single member of that cast was who they were portraying in that moment. The were points in the show where the audience reacted collectively with an audible gasp or chuckle, reinforcing the realness of the scenes being played out. Every single song was amazing and had me either tapping my feet, clapping my hands or nodding along (sometimes all three) apart from maybe the first rendition of What’s Love Got to do with it in act 2, but you’ll have to watch the show to understand why.

The whole story draws you in and keeps you rooting for Tina from start to finish, it tackles the unpleasant truths of racism and domestic violence, which were both a huge part of Tina Turner’s journey, in an honest and upfront way and makes you respect that journey even more.

The vocal abilities of the cast were as good as any I’ve ever heard, the accents were authentic and the singing blew me away, the final scenes had the entire audience on their feet, and the live band were phenomenal. The show is on at Milton Keynes theatre until 7th February, and I’ve already checked the website to get tickets to see it again. Even if you’re not a tina Turner fan, like me, I would urge you to go and see this show, it’s, and I promised myself I wouldn’t do this…… simply the best!

Nadia John

Stony Radio

Performances: Tue 27 Jan - Sat 7 Feb 2026

Access bookings: 0333 009 5399

Group bookings: 0207 206 1174

Online Booking: ATGTICKETS.COM/MiltonKeynes*

*Fees may apply. Calls cost up to 7p per minute, plus your phone company’s access charge

Facebook, X & Instagram: @MKTheatre

Milton Keynes Theatre

20.1.26

Made me love football again

If you know me as a theatre maker, you know I like a clear stage. If the script and the company are good enough then the play can shine with just that. This show is a perfect example of my kind of theatre but enhanced with a stylish yet minimal set, great tec and music, classy choreography and on point voice work. Everyone maintains the voices and accents, especially when one actor is portraying several different characters. There are some particularly enjoyable caricatures which are spot on, poking fun at some real ejits in the public domain. The costumes and wigs alongside the actor’s skills tell you much about the character portrayed, big up the dressers as there are some super-fast changes in this show.

James Graham’s script is extremely funny, very moving and is about so much more than the beautiful game. Using the dreaded penalty taking for the individual player and dreadful penalty record of the England team, the story explores how Gareth Southgate changed the dressing room vibe by creating a whole team with a more balanced, collaborative and kinder ethos, something the great Arsene Wenger did at Arsenal. This democracy was continued in the programme where the performers were listed in alphabetical order rather than to a ‘star system’, I like that a lot. Small yet significant moments in the text added depth, for example when the players learn what the three lions on the shirt represent historically. This England team of young men with varied cultural backgrounds gaining an understanding of the wider impact of the crusades added an important layer to the story.

There were many moments where the audience were silent and still, no mean feat when there were school groups in, this demonstrates how gripping the play is, everyone holding their breath as one.  

I really liked the way the fourth wall was broken, drawing the audience in and making us part of it, the mentions of our fab city of MK were entertaining too.

The choreography is stunning; on the pitch, in the dressing room, at training sessions, using slo-mo and freezes producing some brilliant stage images and using rhythms enabling transitions from scene to scene, moment to moment.

As an aside the Director Rupert Goold, also directed one of my favourite Shakespeare films, Macbeth (with Patrick Stuart and Goold’s wife Kate Fleetwood in the lead roles) I recommend you check it out.

Being a football manager is like being a theatre director, you can do all the prep but once they are on the pitch/stage, it is out of your hands. All the work can fall apart if the team aren’t there for each other, if an individual loses focus and/or stops believing in themselves or they get sloppy.

Dear England is a show for everyone because its about human beings coming together and negotiating their way through huge national and very public scrutiny, it’s about team building, mental health awareness, individuals coming to terms with personal and collective failure but learning that ultimately, unity and belief are the way forward.

The media and the sports fans have a job to do alongside the players, rather than slagging them off when they don’t achieve their potential, be there for your team through the good times and the bad because we are in this together and that is how the England men’s team could one day shine and win big. As the play notes, the England women’s team have achieved this so there is hope boys. This play reminded me what watching one’s team can do, it made me want to watch football again and to believe…

If you are a football fan who isn’t into theatre, then this is ideal for you.

If you are theatre fan who isn’t interested in football, then this is ideal for you.

Dear England               

Performances: Tue 20 Jan - Sat 24 Jan 2026

Access bookings: 0333 009 5399

Group bookings: 0207 206 1174

Online Booking: ATGTICKETS.COM/MiltonKeynes*

*Fees may apply. Calls cost up to 7p per minute, plus your phone company’s access charge

Facebook, X & Instagram: @MKTheatre                     

Age Recommendation: 10+ It is a bit sweary.

To hear Lee Scriven and I chat about the show...

https://www.mixcloud.com/stonyradiouk/21126-caz-tricks-in-conversation-with-lee-scriven-dear-england-mk-theatre/ 

Goldilocks and the Three Bears

Milton Keynes Theatre

10.12.25

Fabulous Festive Fun DELIVERED!

This spectacular panto isn’t just happening in Milton Keynes, our fab city is celebrated in the show, from the opening number to some gags in the script.

The running time is 2 hours 20 including the interval and they get SO much in - storytelling, songs, dances, hilarity, the terrific Timbukto Tumblers, mind blowing illusions from Phil Hitchcock, the uber glamour of Dame Betty Barnum played by David Robbins (who also makes all his own costumes and wigs), the dastardly Baron Von Blackheart (love his theme music) played by Gary Milner who is revelling in the baddie roll and properly cracks the whip, the adorable Goldilocks played by Lucy Conley and of course, the ringmaster and Lord of the Laugh, Brian Conley as Billy Barnum.

They all work so well together and its great watching the daughter/dad relationship on stage with Lucy and Brian. Not forgetting the three bears with their wobbly bellies (they must be SO hot in those costumes), the orchestra (hurrah for live musicians) and the ensemble, all directed by the brilliant, award-winning Kathryn Rooney.

Brian absolutely knows how to play the audience with his perfect balance of inclusion and teasing, he is old school entertainment, and it is essential that those skills are not lost for future performers and audiences. Lucy has it and I know will continue the tradition, as will Max Fulham who was in the MKT panto last season as Smee, Max is a ventriloquist of extraordinary talent – thank goodness they will be keeping traditional panto alive in the future.

The set and costumes are as always superb, SO many sparkles and sequins. This is, as always, a 10 out of 10 and I will be going again in the new year. Hurrah for Crossroads Pantomimes, they really have it sussed.

Performances: Sat 6 Dec 2025 - Sun 11 Jan 2026

Relaxed performance January 6th - typically, they are for people who have autism or have sensory communication disorders or learning difficulties and some theatres also occasionally run them for people with dementia.

Access bookings: 0333 009 5399

Group bookings: 0207 206 1174

Online Booking: ATGTICKETS.COM/MiltonKeynes* 

*Fees may apply. Calls cost up to 7p per minute, plus your phone company’s access charge

Facebook, X and Instagram: @MKTheatre #MKPanto

https://www.atgtickets.com/venues/milton-keynes-theatre

Shiny Hussain and I had the pleasure of chatting to Brian and Lucy Conley, David Robbins and Gary Milner a couple of months ago, Brian and Lucy both said how much they like MK. They were all a delight to chat to, you can hear them on the our listen again tab.

https://www.mixcloud.com/stonyradiouk/101225-stony-sunrise-brian-and-lucy-conley-mk-theatre-panto/  

https://www.mixcloud.com/stonyradiouk/101225-stony-sunrise-gary-milner-mk-theatre-panto/ 

https://www.mixcloud.com/stonyradiouk/21225-stony-sunrise-david-robbins-mk-theatre-panto/ 

31.10.25

Totally Perfect in Every Way

Just wow, where do I start? Cameron Mackintosh’s spectacular, funny, magical, moving show hits every target, the cast, set, costumes, illusions, lighting, projections and a live orchestra deliver a dazzling show resulting in a very happy audience. Look at who else is behind it; book by Julian Fellows, music by Richard M. and Robert B. Sherman with new songs and additional music from George Stiles and Anthony Drewe, choreographed by Matthew Bourne and Stephen Mear, and directed by Richard Eyre, it is genuinely one of the best shows I have ever seen and is in my top five favourites.

Like the film, this stage show of Mary Poppins is of course perfect for the whole family (although please note there is age guidance of 7+ and under 5 year olds will not be admitted) but the vast majority of the audience were adults, and everyone loved it! The exquisite set design has so many layers with, for me, the truly magical reveal of the Banks house reminded me of a pop-up book which is genius. There are lots of laughs, some creepy moments too and the illusions are mind blowing.

Over 20 great songs and dances, including tap dancing with a specific tap section you may never have seen and might struggle to work out just how Jack Chambers (the adorable Bert) did it, but my goodness its spectacular. The physical work of the company creating tableaus that then morph into dances is stunning, the classic songs are there and gave goosebumps as do the songs that aren't in the film.

The whole company are brilliant; of course, the leads are wonderful, Stefanie Jones is Mary Poppins, Lucie-Mae Sumner as Winifred Banks (check out the chat I had with her on Stony Sunrise, Stony Radio next week) and Michael D. Xavier as George Banks are fab but I have to give a shout out to Connie Jones who played Jane Banks and Oli Manning who played Michael Banks, these young actors were, like the rest of the company, superb and I know they are professionals, but they are still children and were equal to the adults as well as being on stage for much of the show, keep your eyes open for them in the future.

There is so much to love about this show, a multiple level of brilliance that leftme in wonder, admiration, joy and with a face that aches from grinning and a heart full.

Absolute 10 out of 10 – do not miss it and don’t forget, group bookings get a discount.

Performances: Wednesday 29 Oct – Saturday 22 Nov 2025 (Evenings @ 7:30pm, Wed, Thu & Sat matinees @ 2:30pm, Sun matinees @ 2pm)

Access bookings: 0333 009 5399

Group bookings: 0207 206 1174

Online Booking: ATGTICKETS.COM/MiltonKeynes*

*Fees may apply. Calls cost up to 7p per minute, plus your phone company’s access charge

Facebook, X & Instagram: @MKTheatre
Caz Tricks

23.9.25 

TOTALLY TAPTASTIC!

How often is it that the whole audience leave the theatre smiling, chatting to total strangers and feeling that the world simply better place? Well, with Top Hat they certainly do. What a show, from the opening moment to the Conductor, Stephen Ridley, downing his baton as the audience were leaving, it was a spectacular, uplifting, laughter filled, carnival of Hollywood glamour.

This stage adaptation of the 1935 Fred Astaire and Ginger Rogers film, with music by Irving Berlin, begins with a full-on tap routine to Puttin’ on the Ritz, which delighted me and everyone in the auditorium. The grin only left my face when I was laughing, this show is hilarious, it is a proper feel-good night out.

When chatting to a woman and her daughter in the interval, the mother and I knew all the songs as we’d grown up watching the films when we were children and her daughter knew a couple of songs as they have been used in ads!

Almost 100 years on, the Hollywood heritage shines through and, in the programme, director and choreographer Kathleen Marshall tells how she assisted her brother Rob (film/theatre director and choreographer) on his first Broadway show; he had assisted Graciela Daniele who assisted Bob Fosse who was supervised on his first show by Jerome Robbins – what a legacy!

It is a very simple story of mistaken identity, strong women, daft but often well-meaning men and that is all you need with the music and dance numbers, the glitz and the glam.

When I spoke on Stony Sunrise (www.stonyradio.com) to Jeremy Batt who is in the company, one of the things we discussed was the number of people involved in the show, check the programme for the long list but when you go to see it (and I really urge you do to so), note the costume changes, the often very quick and full costume changes. Then consider all those who are backstage dressing, helping the performers in and out of their costumes and that is just part of what goes on behind the scenes. This helps us understand just what is involved in staging a huge show like this.

The set (Peter McIntosh) is just genius, a part revolve stage which changes the location cleanly and magically taking us to where we need to be, it’s a huge cast, a huge show and hugely enjoyable.

While there's moonlight, and music, and love, and romance on stage, you just need to sit back and enjoy it all in Top Hat.

Performances: Tue 23 – Sat 27 Sep 2025

Access bookings: 0333 009 5399

Group bookings: 0207 206 1174

Online Booking: ATGTICKETS.COM/MiltonKeynes*

*Fees may apply. Calls cost up to 7p per minute, plus your phone company’s access charge

Caz Tricks