Author: Brett Herriot

Since completing training, Brett has enjoyed a varied career across the arts as an actor, writer, performer, producer, company manager, stage manager and arts critic. Brett embraces the arts with a passion in all its forms. Away from the world of theatre, Brett is a vegetarian, loves an occasional glass of wine, chatting with friends and travelling when time permits
Brett Herriot Review

Annie, Edinburgh Playhouse, Review:

Brett Herriot

**** (4 Stars)

“Ture Quality and Class!”

Annie the musical can trace its roots back over a century to the original comic strip “Little orphan Annie” published in 1924. 50 years later the story was finally adapted into a musical with music by Charles Strouse, Lyrics by Martin Charnin and book by Thomas Meehan. Opening in 1977 at the Alvin Theatre (now the Neil Simon Theatre) on Broadway the show featuring the smash hits “Tomorrow” and “Hard Knock Life” has become beloved by generations of children and theatre goers.

Telling the rags to riches story of Annie Bennet the little orphan who seeks her parents but ultimately discovers her truth and a life with Millionaire Daddy Warbucks all the while out foxing the nasty Miss Hannigan and her brother Rooster and his lover Lily St Regis has enjoyed numerous productions over the years including London’s west end and various UK and US Tours as well motion picture adaptations.

In 2015 critically acclaimed producers Michael Harrison and David Ian for Crossroads secured the rights to the show and developed a brand-new production directed by the award winning director of the Leicester Curve, Nikolai Foster, the show would prove to be a smash it, opening at Newcastle’s Theatre Royal in 2015 its enjoyed two UK tours plus a lengthy run in London’s west end at the Piccadilly Theatre.

Following a covid enforced break the show was remounted for a tour in 2023 and visited Edinburgh with the late great Paul O’Grady giving his final stage performances at Miss Hannigan, now the production is back for a New UK tour with La Voix and the incredible Claire Sweeney sharing the role of Hannigan and Edinburgh gets Claire Sweeney who delivers an impeccable and physically ripe performance.

Performances across the board are excellent with Sweeney leading the company in style bringing out the right amount vitriol as Hannigan, Christian Copper as Rooster gives the character a slimy smarminess but could be a little more rich in his villainy. Tanisha-Mae Brown as Grace Farrell is a joy bringing honey-soaked vocals and an inner strength that makes the Character shine.  Bringing a true does of west end leading man is the Great Alex Bourne as Daddy Warbucks he delivers in spades giving Warbucks real heart and a stunning voice in equal measure.

Turning to the children the production deploys three teams of 6 orphans plus four young actors in the role of Annie, on press night June Young took the honours of playing “Annie” and what a triumph she is! You can’t help but fall in love with her and a big career awaits this talented youngster.

Production wise this is a west end worthy show with Colin Richmond’s Set and Costume design being of sumptuous quality and clearly borrows the flavours of “Matilda” to great effect. Ben Cracknell’s Lighting design is everything and more that you would expect from this gifted designer. Richard Brookers sound design is pure quality ensuring a perfect blend between on stage performers and musical director Nick Tudor’s stealthy eight strong pit band.

Nikolai Foster’s direction ensures a swift pacing but act one does lack a little oomph but this is made up for in a blistering act 2 that hurtles through the story to a satisfying conclusion. Which is followed by a hearty sing along of “Tomorrow” as cast and audience join in a glorious celebration.

 Annie remains an eternal favourite and this production brings true quality and class to the stage as it proves that for all of us if we believe hard enough the sun really will come out tomorrow! So, head to the Playhouse and grab a ticket for a little hard knock life yourself!

Annie, Edinburgh Playhouse, Runs until Sunday 20th September 2026. For more information and tickets go to: Annie Tickets | Edinburgh Playhouse in Edinburgh | ATG Tickets

The production will visit Aberdeen, His Majesty’s Theatre Tuesday 3rd to Sunday 8th November 2026 and The King’s Theatre Glasgow, Tuesday 2nd to Sunday 7th March 2027. UK Tour continues.

Mary Woodward Review

Bird and Beast Scottish International Storytelling Festival 2026, Launch Event, Scottish Storytelling Centre, Edinburgh. Review

Brett Herriot

***** (5 stars)

“Immensely varied”

I didn’t need to be bribed with coffee and pastries to attend the launch of this year’s festival – but I have to say they were both delicious – as is the feast contained in the festival programme!

A goodly crowd assembled in the main storytelling court of the Scottish Storytelling Centre, enjoying the refreshments and chatting very loudly, obviously excited both to reconnect with friends and colleagues and looking forward to finding out what’s on offer this year.  We were serenaded on the clarsach by Niall, whose talent and versatility deserved to be heard in silence…

And then we went down into the Netherbow Theatre, where Steve Byrne, chief executive of TRACS [Traditional Arts and Culture Scotland] welcomed us all.  It’s the 20th anniversary of the opening of the Storytelling Centre [and of the creation of the National Theatre of Scotland, did we know?].  The Scottish Storytelling Forum was founded in 1992 – who could have foreseen than that this year’s SISF would have over 200 events, not simply in Edinburgh but all over Scotland?

Daniel Abercrombie has taken over from the wonderful Donald Smith [with whom I had the pleasure of working rather more years ago than I care to admit] as director of this, the 37th International Storytelling Festival.  What is storytelling? he is often asked – it’s so many things, isn’t it?  Connection between human beings – eye to eye, mind to mind, heart to heart; being present to each other; really listening; welcoming and sharing; feeling the JOY – all the things you can experience in a good Scottish ceilidh.  This year’s Festival stretches across the whole of Scotland – the whole country could be seen as a ceilidh.

Storytelling can be entertaining, subversive, inspire societal change, transmit knowledge and wisdom from generation to generation.  This year’s theme Bird and Beast brings us together and invites us to respect and celebrate our planet and the natural world we live in and are inextricably bound to.  The heron that graces the front cover of the festival programme is a symbol of patience and stillness – the moments in which we can feel the magic and make connections.  It is also seen as a bridge between the elements of water, earth and air – and the Otherworld…

The programme is immensely varied, and I’m very sorry to be out of the country for the first six days – otherwise I think I’d be at one or more shows just about every day!  As it is, there are so many things I want to see…

It’s the Chinese year of the Horse – so there are horse tales and kelpie tales; the Bird of Truth has stories from Lithuania [and book smuggling!]; Italian tales have stories of horses, myths of birds and legends of snakes.  The Antler and the Wing; Oh those inspiring Cows!; Stanley’s Beasts an Birds; Sheep Stanes and so much more…  I’m really sorry to miss Warrior/Poet which weaves together the Celtic myth of Mad Sweeney and the Pollok Free State [who knew??? Not me!]  Two Scottish epic storytelling cycles surround Columba and his journeyings and the magic and mayhem, mystery and full-blooded emotion surrounding Fionn, Gráinne, Diarmuid, Ossian, Niamh and others, which I’m really interested to hear.  Of stars, bears and the beginning of time is also on my hit list!

There are guest storytellers, international guests, exhibitions, workshops… there are Emerging Storytellers, family events, the Big Scottish Story Ripple and the Go Local programme…and for me a fascinating experience of Deaf storytelling.  The whole presentation was signed in BSL – something we take for granted in so many situations these days – as we watch the glorious combination of facial expression, gesture, and body language BSL uses.  What I’ve never experienced before is Deaf storytelling.  Tania Allan explained to us the importance of storytelling for Deaf people: answering a question is never straightforward because the whole story surrounding the question is also a part of the answer.  She then told us a story from Italy, where she grew up, about sheep, a goat, a sheepdog and a shepherd, with a voiced interpretation for those of us who don’t have BSL.

It was a wonderful demonstration of the inclusivity of this Festival.  I could go on – and on – but won’t.  I’ll finish by saying there’s going to be something in the programme to suit you, to suit you and yours, and to get you up and out and joining in this explosion of creativity, inspiration and sharing.  Get your tickets now!!!

Bird and Beast Scottish International Storytelling Festival 2026, Launch Event, Scottish Storytelling Centre, Edinburgh. The festival will run from the 21st to 31st October at venues across the city for more information go to: Home – Scottish International Storytelling Festival

Mary Woodward Review

Emergence, Theatre Royal, Glasgow, Review

Brett Herriot

***** (5 stars)

“Utterly brilliant!”

My daughter was very pleased for me when she heard I was going to see Scottish Ballet perform Crystal Pite’s Emergence, which I missed when it had its UK premiere at the Edinburgh International Festival in 2016.  I had no idea what to expect, but she raved about the piece…

Now I understand why she was so impressed!  But first I must tell you about the world premiere that preceded it last night – Julia Cheng’s Entress.  I was familiar with the word egress thanks to Terry Pratchett’s insistence that it’s not a female eagle but another word for an exit.  It seems that an entress isn’t a female tree-person from Tolkein’s world, but an old Scottish word for an entrance!

I find myself unusually lost for words when trying to describe both works – I can say that they are both danced to fascinating scores, that they both use a monochrome palette, and that they have classically trained dancers moving in such extraordinary ways that at times I wondered whether they’d had some of their joints removed and replaced with multi-directional ball and socket joints in order to move in the ways I was seeing on stage.

But these words fail to give any idea of the extraordinary visual spectacle in front of me.  Two different pieces, both exploring individual dancers’ ability to move in any number of ordinary and extraordinary ways and the actions, reactions and interactions of individuals, small groups, and the entire company.  Movement grew, changed, developed, flowed across the stage in an endlessly inventive stream.  At times I wished it were possible to freeze the action, to pause and take in what I’d already seen – but we were carried on and on until the final moments brought a storm of applause.

One of the great joys of the Scottish Ballet company is their strength and depth of talent throughout all the levels – and this was clearly demonstrated in Entress when First Artist Rishan Benjamin danced the part of Nüwa.  Part goddess, part snake, Nüwa spun and swirled in a flowing robe as she wove her magic under the undulating white cloud/canopy that stretched above the stage and had a life of its own as a third partaker in the action.  I’ve always enjoyed watching Rishan, and was delighted to see her shining in the spotlight, an equal partner with Soloist Kayla-Marie Trantolo, the Protagonist who seemed to be seeking to escape from the community which much of the time surrounded her.  The entire company demonstrated their versatility, their athleticism, their incredible dance skills and their ability to convey the surging emotions gripping them.  Isobel Waller-Bridge’s score, sensitively played by members of the Scottish Ballet orchestra under Yi Wei, was full of poignant moments and passionate outbursts. 

How I wish I could see it all again, NOW!  There was so much to take in, so much to think about, so much to enjoy and appreciate – one performance simply isn’t enough.  Please, Christopher can we see it again very soon??!

And then there was Emergence – short, sharp, snappy and utterly brilliant!  To sum it up as ‘an exploration of hive mind’ is totally to oversimplify a superbly choreographed piece which again I could watch over and over and over…  The whole company were outstanding – solos, duets, and groups flowed into each other: everyone contributing to the whole, no ‘star’ and ‘also ran’ here, but a truly ensemble creation, totally extraordinary precision, total togetherness in the act of creation, and a total joy to behold.

Composer Owen Belton’s score was also new to me – it seemed mainly to use percussion instruments, but I was so engrossed in the dancing I can’t be sure: suffice it to say that music and movement fused to create something very special.  Small wonder that the EIF performances were raved about and that last night’s Glasgow audience went wild with their applause at the end of the piece.

Yet another total triumph for Scottish Ballet!

Scottish Ballet presents Emergence, Theatre Royal, Glasgow, Run Ended but production will tour to His Majesty’s Theatre Aberdeen 25th – 26th September 2026 https://www.aberdeenperformingarts.com/whats-on/emergence-talk-ballet/

and the Festival Theatre Edinburgh, 1st to 3rd October 2026 https://www.capitaltheatres.com/shows/emergence/

Arts News!

The King’s to be leading lady of Pinocchio!

Brett Herriot

With the long hot summer now receding into memory and theatres around the country now seeing there autumn and winter programs taking to the stages, it’s that time where many theatre attentions turn to the annual festive extravaganza that is Pantomime.

One venue in particular, Edinburgh’s Grand Old Lady of Leven Street, The King’s will see pantomime return home after a four year long decampment to the larger Festival Theatre while the King’s underwent its multi-million-pound revamp.

With the Festival Theatre seeing productions of Cinderella, Snow White, The Further Pantomime Adventures of Peter Pan and Jack and the Beanstalk how do the legendary Edinburgh Panto Team go home in style? The answer is simple! The King’s herself will become the star of the show! In a Panto that’s never graced its stage in the modern era plus a chance for our beloved favourites to take on new Characters!

Celebrating the reopening of the King’s Theatre, Edinburgh’s Cherished Panto trio return Allan Stewart once again dawns the frocks as May Geppetto, Grant Stott as the evil Stromboli and Jordan Young in the title role of Pinocchio.   

The dazzling festive line-up is completed by Edinburgh panto favourites Clare Gray and Gail Watson and musical theatre star C.J. Borger as Jiminy Cricket, fresh from the hit West End show, Back to the Future, the Musical.   

Returning for her eighth year, Clare Gray plays the mischievous Kitty the Cat, after enchanting audiences with her lovable Pat the Cow in Jack and the Beanstalk last year.   Bonnyrigg, born and bred Gail Watson has just finished a successful Fringe run of Doris, Dolly and the Dressing Room Divas at the Gilded Balloon and will play Phyllis the Fox.  

The hotly anticipated panto tells the tale of Pinocchio’s dreams of becoming a real boy. The story has been specially tailored to celebrate the return to the King’s Theatre, bringing the spirit, history and much-loved traditions of the King’s into this year’s panto.      

The King’s Theatre is woven right into the heart of the adventure. In Toy Toon, May Geppetto and Pinocchio are desperately trying to raise enough money to reopen their beloved King’s, leading them to join the Great Stromboli’s travelling puppet show when he promises them a share of the takings. But when the money is stolen, Pinocchio must set off on an adventure to recover it, save the theatre and prove he has what it takes to become a real boy.  

Produced by Crossroads Pantomimes, the world’s biggest pantomime producer, who also delivers the annual pantomime at the London Palladium, will see this spectacular adventure bursting with toe-tapping song and dance numbers, jaw-dropping special effects, fabulous costumes, laughter, magic and plenty of mayhem.   

Capital Theatres and Crossroads Pantomimes Present, The Adventures of Pinocchio, The Kings Theatre Edinburgh, The Production will run from Saturday 28th November 2026 to Sunday 17th January 2027.  For more information and tickets go to: The Adventures of Pinocchio – Capital Theatres

Brett Herriot Review

High Society, Edinburgh Playhouse, Review:

Brett Herriot

*** (3 Stars)

“Filled with old school musical charm!”

The Edinburgh Playhouse kicks off its Autumn and Winter Season with a weeklong run of the Cole Porter Classic, High Society, fresh from its success in London’s west end at the Barbican featuring all time classic songs like “Who wants to be a millionaire?” and “I got you under my skin”. Despite some inspired performances and a sumptuous staging, the show needs a tad more oomph to really get it going. However it still succeeds in delivering a show filled with old school musical charm!

High Society with music and lyrics by the legendary Cole Porter and a book by Arthur Kopit started life as the 1956 motion picture musical based on the “Philadelphia Story” which would become a beloved classic to a generation. Forty one years later in 1997 the movie was adapted for the stage premiering at American Conservatory Theater San Francisco prior a short run on Broadway.

A new production was mounted in the spring of this year at the Barbican in London and is now on tour around the UK.  The plot follows a pretentious Oyster Bay socialite who is planning to wed an equally pretentious executive, when her ex-husband arrives to disrupt the proceedings. A relatively loose story to hang a succession of Porters biggest Hits upon.

Due to the indisposition of both Helen George “Tracy Lord” and Julian Ovenden “Dexter Haven” both were unable to appear with Isobel Snaas and Andrew Coshan stepping into the roles respectively  and both deliver exceedingly well. Nigel Kennedy delivers a warm take on “Uncle Willy” but the true stand out of the show is the triple threat joy that is Freddie Fox as “Mike Connor” boy can this gorgeous performer sing, dance and deliver true acting chops that capture the audience in every single moment he is on stage. Featuring a further six principal cast members and a 16 strong ensemble who shine when delivering Anthony Van Laast’s inspired and period perfect choreography.

Rachel Kavanaugh’s direction sees the show swing along but alas without much depth to the characters which is why there is such a sense that the whole show just needs a serious dose of oomph about it rather than just trundling along nicely.

Production wise it’s a truly sumptuous affair, Tom Rogers set design brings the pastille vistas of New England to vivid life accompanied by Howard Hudson’s sublime lighting design. Adam Fisher’s sound design is bang on the money with a perfect balance between performers and Musical Directors Dan McLaughlin’s stealthy and excellent 14 strong pit band. Six of these musicians also feature in a perfect onstage jazz band to great effect.

Special credit must go to Jon Morrell’s utterly gorgeous costume design; it’s a riot of colour, elegance and class totally befitting both the time period and the heart of the show itself to great acclaim.

This is a High Society that has much to offer and proves there is still a place in the modern theatre world for these classic tales to be told, just don’t scratch too far beneath the surface and you will have a swinging time at a musical that remains endlessly entertaining in a true swinging  jazz style.

High Society, Edinburgh Playhouse, Runs until Saturday 12th September 2026. For more information and tickets go to: High Society Tickets | Edinburgh Playhouse in Edinburgh | ATG Tickets