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
Mary Woodward Review

Boys Don’t Dance, Traverse Theatre, Edinburgh, Review

Brett Herriot

***** (5 stars)

“Deeply emotional”

What a treat!  After the powerful emotions of Cringe, Boys don’t dance is another deeply emotional piece, this time exploring the joy of dance and its power both to express deep emotions and to transcend physical limitations. 

The sheer beauty of the opening moments will stay with me for a long time.  A wheelchair dancer in front of a mirror begins their warmup at the barre: arm movements of profound grace and beauty captivated me.  Subtle lighting made the mirror both reflective and semi-transparent, making visible the standing dancer behind it who first reflects the first man’s movements and then starts to move the mirror itself, allowing the couple to move in perfect partnership around the floor.

Piotr Iwanicki has used a wheelchair all his life: Ross Malloy is able-bodied.  Both have danced from an early age, and together they bring choreographer and company leader Marc Brew’s own dance story to the stage.  Born in the Australian outback, where boys don’t dance but play football and do other ‘manly’ stuff, Marc would dance to any and every kind of music – but where no-one could see him.  Channel-hopping on the telly, he’d dance along to any song he could find, copying the dancers’ moves and exuberantly expressing the sheer joy of dance – stopping instantly if anyone was near.  When his mum was out at work, he’d explore the joys of dressing in female clothing, using the draping folds of fabric to emphasise the grace of his movements, rapidly reverting to ‘normality’ when she came home again.

A horrific car crash put Marc in a wheelchair.  Slowly he began to discover the possibilities of dancing on wheels – tentatively at first, but gradually developing confidence and skill and the ability once more to express his every emotion through dance.  Ross and Piotr join in a jaw-dropping display of the possibilities offered by a BMX bike and a wheelchair in addition to the equally staggering options open to an able-bodied dancer and a wheelchair user.  Words fail me as I try to describe the two men’s strength, agility, daring and complete trust in each other as they whirl gracefully around the dance floor and don’t shrink from hurtling towards and up the BMX trick ramp….

This production is an outstanding example of making a show accessible to as many people as possible.  On a screen at the back of the stage, a talking crow and a signing human provide explanations at key points in the narrative, while creative captions are projected on to a box near the front of the stage.  There are sensory warnings before the show begins, along with assurances that it’s okay to fidget, move about or leave if necessary.  Would that more shows paid this much attention to people’s differing needs!

In the brief Q&A that followed the show, the similarity between the two men was clear – both had danced from an early age despite the lack of dance in their surroundings.  I was fascinated to learn that Piotr was a European wheelchair dance champion, and that because he’d been dancing in his chair all his life, the thing he found hardest was learning to express hesitation and beginner’s movements with his chair.  Ross in his turn must have been hesitant at first when faced with the challenges of dancing with someone in a chair.  Both were eloquent about the trust and wordless communication necessary when dancing together, especially when things weren’t quite going according to plan.

Gene Kelly, in Singin’ in the Rain, has the memorable number gotta dance: Piotr and Ross display that same passion and drive in showing that boys definitely do dance.  This show is proof positive and will inspire anyone – even girls – to refuse to allow themselves to be told that they can’t.

Imaginate Children’s Festival Present Marc Brew Company, Traverse Theatre, Edinburgh, Runs Ended However production will conclude its tour at The Lemon Tree, Aberdeen on Friday 5th and Saturday 6th June.

Mary Woodward Review

Cringe, Scottish Storytelling Centre, Edinburgh, Review

Brett Herriot

***** (5 stars)

“Graphically Portrayed”

Oh my what a visceral shocker, in the best possible way.  Scott Fletcher, Scott Hoatson and Kirsty McDuff belie their age to portray to perfection kids on their very first day at ‘big school’ as well as their schoolmates and the assorted adults in their lives.

Reid’s not only dealing with ordinary first-day feelings but also with his parents’ clever idea of moving house – and across the country – during the summer holidays, meaning that he doesn’t know a soul in this vast gaggle of kids waiting to be sorted into classes.  He’s trying to keep his head down, to stay unnoticed: it’s not his fault that he’s late into the first class and has to make a snap decision about which of the only two empty seats he sits in.  Boy or girl?  He chooses boy – and so meets Gordon.

The horrors of school are graphically portrayed – those inflicted, sometimes unwittingly, by staff and decidedly deliberately by fellow kids.  The worst come from the three class bullies, well known to Gordon but new to Reid, who marvels at Gordon’s ability quietly to ignore the taunts and insults that flood out from these three, whom he calls Gorgons.  Greek mythology, and especially Perseus, who rescues princess Andromeda from snake-haired Medusa and her fellow-gorgons, feature largely in the narrative and become the focus of a game Reid and Gordon develop together at home.

Things are becoming bearable: the Gorgons are beginning to tire of their taunting in the face of complete lack of reaction – but then disaster strikes.  An incident – with a major cringe factor – escalates and results in a total rift between the two friends.  If this were a perfect story, that would be the catalyst for a swift and supportive reaction from staff and parents – but this isn’t.  The incident’s consequences blow up out of control, a well-meaning attempt at reconciliation fails disastrously, and Reid isolates himself in his misery.  It takes an unconnected tragedy to bring about a movingly-portrayed reconciliation.  What is unexpected is the way Reid turns his great weakness into a towering strength which makes the start of year two so much better than year one.

The set resembles a school’s tiled changing room [facilitating much chalk writing and drawing as the narrative advances].  Five chairs are moved, and at times thrown, around to create different settings as the action moves at a cracking pace.  There’s brilliant use of an overhead projector – I loved the way it brought the Perseus game to life.  A set which at first sight looks virtually closed has an amazing number of exits and storage spaces for props.  The choreography and lighting are superb, and the rapid, wickedly accurate script brings the characters and narrative into vividly horrifying life.

Over two thirds of the audience were primary school leavers, and the most telling applause at the end came from them – they obviously recognised, felt with, and applauded the feelings of the characters in front of them.  Cringe is a brilliant show that deserves to be widely, hopefully sparking both discussion and thoughtful action around the nature of bullying and the power of true friendship.

Imaginate children’s festival presents Cringe, Scottish Storytelling Centre, Edinburgh, Run ended

Brett Herriot Review

Once, Pitlochry Festival Theatre, Review

Brett Herriot

***** 5 Stars

“Heartfelt, Endearing and Deeply Moving! “

Marking 75 years of theatre making at the heart of the gateway to the highlands The Pitlochry Festival finally welcomes Alan Cumming’s inaugural season as Artistic Director with a heartfelt, endearing and deeply moving production of “Once” with music and lyrics by Glen Hansard and Markéta Irglová and a book by Enda Walsh, Once is the Tony Award-winning musical based on John Carney’s much-loved 2007 film.

Premiering in New York in 2011 at the American Repertory theatre prior a transfer to Broadway at the Bernard B Jacobs Theatre the production would go on to win eight Tony Awards including Best Musical, Once now makes its debut in Scotland at Pitlochry. Reuniting the original creative team to bring this modern and generational classic to the stage, opening Alan Cumming’s inaugural season in as style that see’s the venue transformed with renewed creative flair for the future.

Once tells the story of Guy (The sublime Dylan Wood), a disillusioned street musician ready to leave his songs behind, and Girl (Lydia White in emotional honest performance), who challenges him to believe in his talent. With the support of an unconventional group of friends and fellow musicians, they embark on creating an album together. Along the way they discover themselves, there sense of place alongside love and where the heart belongs a potent mix that’s handled beautifully by acclaimed director John Tiffany.

Tiffany has blended his two lead stars with a beguilingly talented eight strong ensemble of actor/musicians to create a company that bleeds passion and truth in every scene. This is one of those rare utterly faultless productions that doesn’t retool the show but reshapes it with passion for the venues home and new generation of theatre goers it seeks to attract.

Performances are uniformly excellent throughout with gorgeous vocals aplenty and the decision of director John Tiffany to make the show inherently Scottish pays off in spades. Production wise the show is a triumph with Bob Crwoley’s design evoking many a Scottish pub with ease with credit to the in-house team at the Theatre for a wonderfully, realised set and costume design. The pub is beautifully lit by lighting designer Natasha Katz and the moments of soliloquy have perhaps some of the most evocative lighting ever created in “Once”.  Clive Goodwin’s sound design is also beautifully realised.

Much was riding on Alan Cumming picking the right show with which to launch his inaugural season at the theatre, not just to prove his artistic vision but as a creative expression that the changes he has made are for the better and set the Pitlochry Theatre on a renewed sense of self and that after 75 years the theatre at the gateway to the highlands is still creative melting pot that exceeds far beyond its stage.

Once is show that once seen is never forgotten and This Pitlochry Festival production will transcend time as uniquely special and individual production that will last long in the memory of all those who have good fortune to see. So why not head for the highlands and grab what very few tickets remain before falling slowly for the shows charms yourself! and if you get there early enough you might get a chance to head onstage and share a pint with the other locals! wonderful stuff.

Once, Pitlochry Festival Theatre, Pitlochry runs until Saturday 27th June for more information and tickets go to: Once | Pitlochry Festival Theatre

Brett Herriot Review

2:22 A Ghost Story, Edinburgh Playhouse, Review

Brett Herriot

**** 4 Stars

“A True Thriller Chiller! “

Multi award winning and Olivier award nominated “2:22, A Ghost Story” embarks on a new UK tour following five runs at some of London’s west ends most intimate theatres including the Gielgud, The Criterion and the Lyric  and calls at the Edinburgh Playhouse  for a week long run and delivers a production that remains a true thriller chiller of a show!

Written by Danny Robins and Directed by Matthew Dunster & Gabriel Vega Weissman, “2:22 A ghost story” tells the story of Jenny (Shvorne Marks) who believes her new home is haunted, but her husband Sam (James Bye) isn’t having any of it. They argue with their first dinner guests, old friend Lauren (Natalie Casey) and new partner Ben (Grant Kilburn). Can the dead really walk again? Belief and scepticism clash as we are asked, is everything as it appears to be or does something feel strange and frightening, and that something is getting closer, so they’re going to stay up… until 2:22… and then they’ll know. Or will they?

Performances across the board are excellent with all four principals investing in their characters and all deliver finely nuanced and intricate performances. They are all utterly believable both as married couples and individuals. Special attention should go to James Bye who is a marvel at delivering the minute details that if watched closely could reveal the truth of what’s happening.  The reality is this piece works so well due to the stellar writing that’s the perfect blend of kitchen sink drama meets the spectre of something which lives beyond on the vail of life and to see it delivered by such a stellar cast reminds the audience why the play is so successful and has packed audiences into the west end and around the UK.

The only drawback of this performance was the choice of venue, the massive Edinburgh Playhouse at nearly 3000 seats is simply too big to generate the intimate nature of the play which sees it at its best, that said its brave choice to play the space and credit to the Playhouse for programming the play and expanding a programme in the venue that’s aft musical heavy.

Production wise Anna Fleischle set design is excellent and pure quality in equal measure bringing to life the front room of a suburban London town house with ease although it very heavily “brought in” which much of the Playhouse stage swathed in black cloth. Lucy Carter’s lighting design is excellent adding real depth to the show. Ian Dickinson’s sound design is on the money and both Carter’s and Dickinson’s work allows those scare and jump moments to work beautifully. Special mention to Chris Fisher for his illusions design that adds that extra mythical sparkle that’s the cherry on the cake.

2:22 is a ghost play that blends the classic elements of an Agatha christie thriller with an audience of the Netflix generation and does it remarkably well and that makes it endlessly entertaining so hurry along to the Playhouse and grab a ticket for a show that will not only leave you shaken and stirred but deep in conversation long after the curtain has fallen. Wonderful stuff indeed.

2:22, A Ghost Story, Edinburgh Playhouse until Saturday 30th May, for more information and tickets go to: https://www.atgtickets.com/shows/2-22-a-ghost-story/edinburgh-playhouse/

The Productions UK Tour will continue until July 2026.

Brett Herriot Review

Sunshine on Leith, Portobello Town Hall, Portobello, Review:

Brett Herriot

**** 4 Stars

“Packed with Wow Moments! “

A modern musical that’s become a beloved favourite of Scottish audiences is without doubt Sunshine on Leith featuring the music of The Proclaimers written by Stephen Greenhorn (Yes the mind behind BBC Scotland’s River City) the show debuted in 2007 at the stellar Dundee Rep followed by a big screen adaptation in 2013. The West Yorkshire Playhouse would produced a reworked version of the show in 2018 and its that production which local company Stage Door Entertainment have brought to the stage just a stone’s throw down the road from the heart of Leith itself at the Portobello Town Hall. They deliver a show rich in character and packed with wow! Moments!

Telling the story of Ally (Ewan Robertson) and Davy (Aaron Khachaturian) two Leith lads who return from deployment in the middle east to try and pick up home life where they left off! Encountering family issues and affairs of the heart that can someone times be more of a battle than that of the front lines. Can hope of a better life and the power of love be enough to see them through to civvy street? this show explores that journey with great warmth and generosity of spirit.

Directed by Lisa Goldie with musical direction from Tommie Travers and Choreography by Aiden O’Brien Stage doors production wears its heart firmly on sleeve getting great performances from the large 7 strong principal company and nearly 30 strong supporting and ensemble cast.

Robertson and Khachaturian deliver powerful performances throughout the show leading the company in style with Khachaturian having an utterly gripping knack for character acting. Malcolm Milne and Lindsay McDougall as “Rab” and “Jean” are a convincing elder couple struggling with the revelation of long hidden secrets and leaning well into Greenhorns soap style writing of the script. Ellie McConachie and Monique Crisell as “Liz” and “Yvonne” deliver the vocal highlights of the show with rich vocal sounds being delivered by both with real charm. Erin Aitchinson as “Eilidh” has a tricky job as the character is shoe horned into the story as a plot device rather than a character with depth, but she delivers well.

The ensemble shines every moment there onstage especially when delivering O’Brien’s inventive choreography. As a whole company, that the show delivers spine tingling moments with “Sunshine On Leith” and “Letter from America” becoming haunting moments of truth that touch the soul.

Musical Director Tommie Travers has eeked out every harmony from the score and his polished company deliver them with true style that echoes around the town hall and all this backed by his stellar eight strong pit band featuring a magnificent string trio that’s rarely heard or seen in other productions.

There were opening night nerves across the company with dropped lines peppering the performance, but the tightness of the company was clear as they carried on through using just the right touch of comedy to smooth over the edges.

Production wise its less even, its great to see Stage door really open up the Town Hall stage stripping it back to expose the wings but also using a wonderful simple setting of cloudy sky and Edinburgh Iconic skyline backed against it. Its all beautifully lit by Heather Rolland’s inspired lighting design that brings the beauty of the venue out as much as it does the emotional depths of the show. Simon Ferguson’s sound design suffered most from opening night glitches but considering he was brought in last moment to fill the roll it’s a great achievement given the size of the job at hand and when it comes to the big wow moments he delivered well.  Special mention also must go to Lesley O’Brien’s magnificent wardrobe design that captures Leith life with detail, style and truth.

Stage door have a real treat of show on there hands if they can speed up the transitions (the show comes in at nearly 3 hours end to end) between scenes getting it slicker and workout the kinks in the sound the show will ooze real flair and give that musical cherry on the cake.

So, what you waiting for? You don’t have to walk 500 miles to get a ticket for a terrific night of musical theatre, but you might walk 500 miles more if it sells out before you get there!

Stage Door Entertainment presents, Sunshine On Leith, Portobello Town Hall  Runs until Sunday 24th May, for more information and tickets go to: https://www.stagedoorentertainment.co.uk/tickets