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
Judging by the reaction to The Elves and the Shoemaker, Andy and Theatre of Widdershins have produced yet another magical hit – enthralling the youngsters and entertaining the adults who filled the Netherbow Theatre.
Andy’s brilliant with kids [and with their adults], engaging them from the moment they enter the [sold-out] theatre – sorry, shoe shop! Elvis Schumacker the Third offers to measure their feet: no standard sizes here, rather ‘so cool’, ‘rock goddess’, ‘fantastic frog’ and any number of ‘slightly whiffy and three quarters’…. Everyone wants their feet measured, and it takes several increasingly frantic ringings of a bell to drag him away from the excited kids and take centre stage.
When he does, and the lights go down, there’s instant silence, filled with excited anticipation – hardly a peep from anyone but the very tinies, and Andy doesn’t disappoint. From yet another wonderfully inventive, brilliantly designed set, characters emerge and draw us ever deeper into the wonderful world of his grandfather, the first Elvis Schumacher, and his superb [and eco-friendly] shoe shop. It’s an idyllic life, where everyone is happy
UNTIL
An ugly grey factory suddenly appears in the middle of town, belching out smoke and pollution, and engulfing busloads of sad-looking workers who arrive every morning. No-one knows what’s being made – until a strange advert is shown on everyone’s TV. Bunion Soulless urges everyone to buy his shoes – bargain prices, three for two offers, and one size doesn’t fit all…
Grandad can’t compete [familiar, anyone?]
What is he to do?
I don’t want to spoil the surprise – you’ll have to come and find out for yourself: but hurry! If today’s anything to go by, you may find it hard to get a ticket…
The audience, even the tiniest, were held entranced throughout. There’s plenty of opportunity for participation, and everyone joins in enthusiastically providing some of the sound effects. Andy’s incredible imagination and creative craftsmanship provide a feast for the eyes and ears. There are jokes for people of all ages – my favourite has to be the name of the highly exotic not-at-all-a cuckoo cuckoo in the clock. Brilliant puppetry – so many splendid characters, all individuals and excellently created and voiced – and shadowplay, wonderful wordsmithing, fantastic set and props, and even some real magic, are accompanied by a charming musical soundtrack and clever lighting.
“Edinburgh’s People’s Theatre Reopens in Spectacular Style“
After a four year long closure, exacerbated by the covid pandemic and scary moments were it seemed the curtain may never rise again, and an injection of over £41 million pounds the Grand Old Lady of Leven Street has opened her doors once more and her curtain has risen following a spectacular revamp that sees one of Scotland’s most beloved theatres now able to meet the needs of modern audiences, theatrical community and its community whilst keeping its heart and history very much at the centre of this crown Jewel of a theatre.
Scotsgay Arts was honoured to be invited to the gala opening celebration on Friday 31st July to see for ourselves the King’s spectacular transformation and my word what a transformation it is. From arriving at the front door of the Historic King’s in its 120th year, the newly remodelled pavements makes the building accessible for all for the first time from Street to Auditorium to the fourth-floor community engagement space the King’s can now be accessed regardless of physical ability thanks to the two new lifts amongst the many sympathetic changes that brought the Grand lady into the modern era.
A new Box office, Café, Stalls Bar, a mini museum plus reinvented Dress and Upper Circle Bars now span the breath of the building in a breath taking and dazzling transformation that channels the buildings incredible history. The Colour Palettes used are taken from the stain glass original doors. Toilets have been increased from 32 to 48 and access needs are at the fore front. The venue now also hosts a fully accessible toilet and wet room with winch system on the top floor that’s hoped not by just audiences but by the wider Tollcross and Edinburgh community. The King’s has now mirrored its bigger sister, The Festival Theatre where New meets the old meets the New in buildings that put the theatres history at its heart.
Walking into the Kings it all feels so familiar, this is still the people’s theatre and everything we remember it being, but it also feels new, open and most importantly that life has returned to the King’s in a simply spectacular way.
The team at The King’s were determined to open the Old Lady in Style as champagne corks popped and bag pipers played, we made our way into the sparkling auditorium where John Bryne’s incredible dome shines down once more on the new 1125 capacity auditorium, which has never been more comfortable especially the Upper Circle with brand new high backed seats to enjoy, there isn’t a bad seat in the house.
The Revamped King’s Auditorium
The curtain rose with a spectacular Audio Visual show designed by Ross Blair (there was also a spectacular Projection show on the Front of the building too!) then stepping into the spotlight to deliver an extract from Chaconne from Partita No.2 in D Minor for Violin Solo is the great Nicola Benedetti representing the Edinburgh International Festival which will once again call the King’s one of its homes. A truly special and spine tingling moment beautifully lit by the shows lighting designer James Gow whose work across the night was a triumph and brought the entire auditorium to life.
Who better to host the evening than the “Panto Boys” Allan Stewart, Grant Stott and Jordan Young have come home at last and alongside promising a very special Pantomime at the end of the year with “Pinocchio” they delivered some blistering comedy as well as sharing their passion for the building they have called home for decades every Christmas, even Aunty May popped in to say hello!
What followed were performances from Scottish Ballet, Scottish Opera and the National Theatre of Scotland alongside speeches from invited guests including First Minister John Swinney and specially commissioned poetry that expressed the wish that the King’s can now host the entire spectrum of the arts thanks to its new flat stage and revamped backstage facilities including accessible dressing room.
How to bring the curtain down on such a special evening in the King’s History? It was the simple realisation that the King’s has always been about people, an ideal that was threaded throughout the evening thanks to the discovery of a hidden bottle behind the crown high above the proscenium arch during the renovations.
“Panto Pal’s” Allan Stewart, Grant Stott and Jordan Young
The King’s belongs to Edinburgh, and its people has it has for generations from Grandparents taking Grandkids to the panto, to festival goers enjoying culture from across the world, to the many Local Theatre Companies who take to the historic stage year after year. Therefore, it was emotional and fitting to see company members from Edinburgh Gang Show, Edinburgh University Savoy Opera Company, Bohemians Lyric Opera Company, Southern Light, Edinburgh Gilbert and Sullivan Society, Edinburgh Music Theatre and Showcase join together for heart touching performance of the Proclaimers “Streets of Edinburgh” to bring the curtain down on an epic Re-opening night for the Kings.
120 year since the doors first open the King’s is back and is welcoming the people of Edinburgh and beyond once more and the biggest thrill for all of us is seeing the stories that are to be written in the years ahead as new generations discover both theatre and to inescapable magic that is the Grand Old lady of Leven Street!
Long may her crown shine across the city! Welcome back To The King’s oh how we have missed you!
The King’s Theatre Opening Celebration, King’s Theatre Edinburgh. For more information on The King’s revamp and the Programme of shows for the season ahead and beyond head to :https://www.capitaltheatres.com/our-venues/kings-theatre/
The Beyond Broadway Experience marks a decade of epic productions with a return to its home at the festival theatre for its 2026 production, The Little Shop of Horrors. There formula of deploying a 200 strong cast has given some of the most breath-taking choreographic moments across the years which is thanks to company’s directors choosing show titles which work in hand in hand with the ballooning up to such a large cast size.
That makes the choice of performing Little Shop of Horrors with book and lyrics by the late Howard Ashman and music by the critically acclaimed legend Alan Menken more surprising and equally tough a choice.
Directors Drew Gowland and Murray Grant have a passion for the show itself, but the reality is the show is written to be performed by a core cast of 9 so deploying a cast of 200 was always going to be challenge and it’s a challenge that comes at the cost of the show itself.
Little Shop of Horrors (c) BBEXP
Performances are stellar especially the leads, Huck Whittle brings a truth and geekish understanding the role of “Seymour Krelborn” he has the acting chops for the part and lovely vocal to boot. Jennifer Ford as “Audrey” gives a performance that’s the opposite of the legendary Ellen Greene and delivers a sassy and strong interpretation of the character with an excellent vocal ability to boot. Harry Aspinall is fabulous as Mr Mushnik delivering a performance dripping in comedy draw straight from the show’s comic book roots.
Little shop is, in itself a tribute to the 60 girls group sand is written to feature a three part harmony girls group in the vain of the Supremes. Crystal (Kirsty Montgomery), Chiffon (Emma Sembatya) and Ronette (Millie Wilson) and while all three deliver well with a modern visual make over the effect is diluted by making this a 12 strong girl group with characters the company have created just for this production and its ends up being more a modern Greek chorus that a 60’sdoo whop girl trio. That said visually and vocally it pops on stage.
The company get the story across and the choice of casting Rhianne McAllister as Audrey II as in vision character rather than relying on puppetry does for the most park work well and she does deliver a powerfully evil performance.
With 23 named parts in the production that leaves an ensemble of 177 and my word when there all on stage it is spectacular and Grant’s Choreography (with additional choreography from Laura Proudfoot, Liam Gillespie, Kieran Lynch and Frazer Beckles) delivers the wow moments the company are so renowned for. However, Lewis Byfield’s lighting design see’s many of them dancing in the dark as they aren’t lit. Musically the show is also on a solid footing thanks to musical direction from Linda Stewart and Greg Davidson and Stewart also leads a fabulous five strong onstage band.
Little Shop of Horrors (c) BBEXP
Production wise the company make the most of expansive spaces of the Festival Theatres Giant stage, yes, the Audrey II planet is a little underwhelming but having McAllister’s stealthy Invision performance makes up for it. Byfield’s lighting design works well for the most part, but those big dance numbers do need to be lit better to see the huge cast at work a scene at end of the show featuring the cast dancing in the stalls was completely unlit which is a shame. Greg Young’s Sound design is excellent with an excellent balance between performers and the live band. TFC Scenic set design whilst simplistic works well and allows for the large amount of space a 200 strong cast need to deliver the high energy dance performances that pepper the show.
This is a little shop of Horrors that has a lot of love and passion poured into it especially by the talented cast. However, this might the one show that doesn’t fit the beyond broadway formula as well as the others have. That being said, the company have successfully delivered the eye popping choreographic moments that only they can and with the company also staging shows in Aberdeen and in Swansea alongside confirmation the company will return to the Festival Theatre in 2027 with “Wonderland The Musical” it’s clear The Beyond Broadway Experience will continue to push the boundaries of what is achievable by a massive cast drawn from the next generation of talent.
The fact the show is rehearsed and produced to a professional scale in just two weeks is an impressive achievement and while clearer directorial choices may have served the show better but what is delivered is a thrilling and impassioned production that allows the talent on stage to shine brightly! and still makes it well worth the ticket price.
The Grand Old Lady of Leven Street, The King’s Theatre Edinburgh saw her curtain fall and the doors closed in 2022 with construction commencing in February 2023 on the multi-million-pound renovation and restoration of one Edinburgh’s most beloved Theatres. A Theatre that’s been home to not only the cities smash hit pantomime but also home to the many local and amateur companies who have graced its stage over its 120-year legacy.
That transformation is now complete with the theatre now being fully accessible for the very first time and a capacity of 1125 seats the official opening night is scheduled for July 31st with performances beginning in August for the 2026 Edinburgh International Festival.
To prepare for the gala opening the team at Capital Theatres need to road test the building and all its new equipment and facilities hence a special preview weekend of productions will be running in the venue from Thursday 23rd to Saturday 25th July under the banner of “A King’s Rehearsal”.
Saturday 25th will see a special Sing a long edition of the Disney smash hit “Frozen” followed by an evening of Stand up Comedy and Magic with “Black Magic: Mhairi Black and Kevin Quantum”. However, who could the King’s turn too to be first on the brand-new stage? That’s right Edinburgh own theatre companies.
So, for the first time in history, On Thursday 23rd July the Bohemians Lyric Opera Company, Edinburgh Gang Show, Edinburgh Gilbert& Sullivan Society, Edinburgh Music Theatre, Showcase, Edinburgh Savoy Opera Company and Southern light will join forces for one night only to present “A Great Night Out”. Hosted by panto stars Clare Gray and Gail Watson the show celebrates the performers, companies and audiences who have made the King’s such an important part of Edinburgh’s theatre life and ensured that the King’s is so important to so many generations.
(c) Anneleen Lindsay
Devised and directed by legendary panto company manager Quintin Young with additional staging by Louise Williamson and Musical direction from Steven Wren a magical night of musical theatre is promised to herald the new dawn for the King’s.
Drawing from hundreds of performers from across the city and featuring a live orchestra a glorious night out is promised featuring a surprise or two. As well as providing a special show for the city and its people A great night out will help give the King’s a test run with a full audience. Various aspects of a working theatre will be tested. All proceeds will support the King’s Theatre redevelopment.
At long last, the brand-new velvet curtains of the King’s Edinburgh are ready to rise! And with a packed season already programmed including the return of home of its beloved pantomime and many of the local companies taking part in “A Great Night Out” also programmed in for there own shows it really is time to embrace the King’s once more.
The show is sold out but keep an eye out for returns as audience members are clamouring to be the first back through those historic doors! Welcome back to the King’s on what promises to be a Great Night Out for all!
A King’s Dress Rehearsal performance presents A Great Night Out! King’s Theatre Edinburgh, Thursday 23rd July 2026. For more information and return tickets go to: A Great Night Out! – Capital Theatres
This stunning exhibition needs visited several times to get the full benefit – you can go as a film and television buff, as a costume fancier, a textile nut, an embroidery anorak, and still on a fifth visit you will find more to marvel at… I had to catch a train afterwards, so wasn’t able to spend time with the displays after my curator-guided tour had ended: I know I have to make time to come back as many times as I can manage!
London-based costume house Cosprop was founded in 1965 by John Bright who at the time was combining careers British repertory theatre in acting, stage managing and costume design.
He’d also spent his life collecting vintage clothing and accessories in the flea markets of Paris and antique markets of London. He decided to start a costume house, using this collection and donations from family and friends – and so Cosprop was born. It’s a combination of museum, research facility, workshop and wardrobe, where costumes from an increasingly wide range of historical periods [and fantastical situations] can be found, studied, copied and borrowed, and the different construction methods learned and used for film, television and theatre productions.
60 years of Cosprop
Cosprop is possibly single-handedly responsible for the revolution in approach to period costume design, where accuracy not only of look but of construction methods is vital. Being guided round by the curator meant that we got to peek under skirts and see the incredible detail and care of construction of undergarments, the inside of hats, and many other tiny details that would probably not be noticed in the brief amount of a costume’s screen time, but contribute immeasurably to the actor’s realisation of a character. As Helena Bonham Carter said of Cosprop and her performance in the Merchant Ivory film Room with a View: “We entered Cosprop as ourselves and walked out as the person we were playing”.
You can’t actually see the actors in this exhibition – but they are almost there, tantalisingly ghost-like in the fabulous frocks and gorgeous garments on display, each superbly made and a delight to behold.
Film buffs can go on a ‘hunt the star’ trail – the list is endless! Helena Bonham Carter’s white frock, in which she was kissed on the hill overlooking Florence, is there. Top of many people’s list may be Colin Firth’s Mr Darcy outfit: not my hero, but I did love seeing Alan Rickman’s Colonel Brandon uniform from Sense and Sensibility. I was fascinated to find a frock worn by Elizabeth Taylor [in Young Toscanini – who knew?]; one of David Suchet’s Poirot suits; Jack Sparrow’s ‘looks as though it’s been slept in’ outfit from Pirates of the Caribbean: the curse of the black pearl; and an utterly gorgeous kimono-fabric-inspired frock for Rosalind in the 2006 As You Like It. Two of Eddie Redmayne’s costumes from The Danish Girl – a man’s suit and a beautiful sleeveless dress – reminded me of Lili’s poignant story. And there’s so much more!
60 years of Cosprop
Devotees of television series are not forgotten: I’m old enough to remember The Duchess of Duke Street and The House of Eliott, and delighted to see one of Louisa Trotter’s costumes, two of Bea and Evie’s frock,s and a glorious piece from one of their collections. Alas, there wasn’t anything from the original Forsyte Saga, but there are costumes from Downton Abbey and, and, and…
There’s jewellery, costume sketches, and photos from the workshops, showing in fabulous detail the care and precision with which every garment is made, and a series of short films for those who have the time…
Alas, I could only skim through this fantastic collection but will return as soon as I can. Don’t miss what is in itself a wonderfully engrossing experience but also the perfect antidote to the maelstrom which is fast approaching Edinburgh: do I need to remind you that Festival Season is fast approaching??!!
Costume Couture: Sixty years of Cosprop, Dovecot Studios, Edinburgh, Exhibition runs until 17th January 2027 for more information and tickets go to: Costume Couture: Sixty Years of Cosprop
