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

Homo(Sapien), The Studio, Edinburgh, Review:

Brett Herriot

***** 5 Stars

“A Beguiling Exploration of Self, Gender and Sexuality “

Returning to the venue that saw its development during its early days and following a critically acclaimed run at the 2025 Edinburgh Fringe Festival, Homo(Sapien) written, produced and performed by the truly gifted and cute Conor O’Dwyer takes up a slot in Capital Theatre’s The Studio Spring season and not only marks a fitting marking of LGBT History Month but it’s a beguiling exploration of self, gender and sexuality.

O’Dwyer arrives on stage in the character of “Joey” full of sparking energy as Joey is on the cusp of penetrative sex for the first time. Just as the moment almost comes to pass Joey Proclaims that he is a “Bad Gay”. Joey doesn’t need sex he needs to discover himself and his place in the world. What follows is a flash back story of Joey’s life balancing being Irish, Gay and the battle with religion as well a family who may not understand or worse allow bigotry to blind them to the articulate human being that Joey is.

Directed by Jen McGregor this is truly a captivating hour of autobiographical theatre that blends comedy, drama and a deep-seated sense of truth that makes it endlessly captivating to watch. McGregor’s direction is assured and she places both O’Dwyer talent and the truth of the writing at its heart.

O’Dwyer is a consummate performer landing the comedy with ease and his ability to move between characters is seamless but it’s his ability to express a deep-seated reality within the piece that captures the audience he delivers a finely nuanced performance that indicates there is much to come from this stellar performer.

Production wise its simply staged, using just three chairs and a flower bedecked cross but is beautifully lit by Abbie Lowe and features a gorgeous underscore by Manus McGuire and East West Fiddles. This is very much a slice of the fringe brought to audiences on cold winters night but fills the audience’s heart with hope and the power of self-discovery that believing in oneself anything is possible.

Homo(Sapien) is a play that wears its heart on its sleeve yet captures everything The Studio was set up to achieve, giving space for new writing to develop and new performers to shine and this is one play that does that in spades so head to The Studio for the last few tickets to the final performance.

Homo(Sapien), The Studio, Edinburgh, The production runs until Saturday 14th February for more info go to: https://www.capitaltheatres.com/shows/homosapien/

Brett Herriot Review

Kiss Me Kate, Church Hill Theatre, Edinburgh, Review:

Brett Herriot

“West end worthy moments! “

*** 3 Stars

Kiss Me Kate with music by the iconic Cole Porter and book by Bella and Samuel Spewack is approaching its 80th anniversary since its debut at the Shubert Theatre in Philadelphia prior to its Broadway opening at the New Century Theatre in December of 1948.

Written as Porters response to the success of Rodgers and Hammerstein’s Oklahoma! Kiss Me Kate is essentially a show within a show as we watch now divorced couple Fred Graham (a taught leading man performance from Ewan Robertson) and Lilli Vanessi (Nina Birbeck in fine bitchy form) trying to get along as they perform Shakespeare’s The Taming of the Shrew. Add to the mix a secondary love story and 1940’s gangsters we end up with a parable of Shakespeare’s finest comedy retooled for a more modern generation.

The inherent problem with Kiss Me Kate and the reason its not often performed by amateurs and pro’s alike is the writing hasn’t stood the test of time all that well, two generations have passed since its creation and its attitudes and mentality don’t stand up all that well to modern audiences combined with the fact the show runs at a shade over three hours it’s a challenge and them some. However, its one which director William Freebairn has taken to with gusto.

Freebairn has whipped his 19 strong ensemble company into a well drilled cohort even if some of the end results are uneven. Performances from the leads are excellent with both Robertson and Birbeck leading the company in accomplished style. The same is true of Elham Khosravipour and Dan J Bryant as Lois Lane and Calhoun respectively especially Bryant has a real talent for comedy characters. The company shine especially brightly when delivering Caitlin Visser and Lyss Britton co choreography. They push both the company and constraints of the church hill stage to it limits and deliver west end worthy moments especially in “Another Op’nin, Another Show” and “Too Darn Hot”

Speaking of “Too Darn Hot” whilst the choreography is sublime special credit goes to the gorgeous Aaron Venter as Paul who delivers the song with great skill and an impassioned performance. Sadly, it was let down spectacularly by the awful sound quality. Co Sound designed by Sam Burgess and Luke Hardwick. There were major sound issues throughout the performance with balance, clarity and feedback running riot. Some mic levels were set blisteringly loud others didn’t have enough volume. Sadly, for Venter his Microphone completely broke down and while he did the right thing and raised his game and projection the sound desk persisted in leaving his microphone live drowning him out spectacularly with popping and banging a plenty complete with roaring loud moments when the Mic did kick in sporadically. They would have been better in killing the mic and letting Venter deliver the sparkling number without the sound massacre he endured. To Aaron Venter’s credit he still delivered the number in style.

Sound aside the production elements deliver well with Lily Goodchild’s lighting design delivering an old school feel that benefits the show and Danby Lee and Charlie Smith set design also makes the best of the space available. Eloise Robertson’s costume design captures the era but would have benefited with more variation. The true cherry on the cake is musical director Emily Smith and her 15 strong pit band who are utterly sublime especially Percussionist Ethan James who is given free reign with his Jazz Skill.

The Footlights Kiss Me Kate has a fourth star in its grasp and delivers much for a show that’s very much from a by gone era but the audience cant help but be won over by the cast who give it there all and deliver an entertaining evening of musical theatre.

Edinburgh University Footlights presents Kiss Me Kate, Church Hill Theatre, Edinburgh runs until Saturday 14th February, for more information go to: Kiss Me, Kate – Tickets | Fienta

Brett Herriot Review

Christmas Carol Goes Wrong, Festival Theatre, Edinburgh, Review:

Brett Herriot

“A comedy pathos masterclass! “

**** 4 Stars

Marking a decade since the inception of Mischief Theatre Company which debuted with the global hit “The Play That Goes Wong” which spawned “Peter Pan Goes Wrong” comes the third in the trilogy as the Cornley Drama Society return to the Cornley playhouse for “A Christmas Carol” which goes very wrong indeed to hilarious effect.

Based on Dickens classic tale of redemption of the titular “Scrooge” who is visited by the three ghosts of Christmas on the evening of Christmas eve Mischief deploy their comedy “Gone Wrong” formula, but this time rely on comedy of words as opposed to slapstick although the show does have its slapstick moments. It’s the reliance on word comedy as opposed to over the top visual slapstick that does give the show its own unique flavour but equally give rise to moments that sail close to repeating itself.

Written by Henry Lewis, Jonathan Sayer and Harry Shields with both Lewis and Sayer taking to the stage as Robert and Dennis respectively. The Christmas Carol story is present but wrapped up in the aft seething world of jealousy that often pervades the amdram world and that’s what drives the comedy. A perfect blend of university players (think that was the week that was) meeting fringe theatre in a comedic masterclass.

The 10 strong ensemble company shine without ever overplaying their roles Henry Lewis is stellar as Robert his booming voice reminiscent of Brian Blessed is pitch perfect as the ghost of Christmas present along side Robert the wannabe “Scrooge”. Daniel Fraser is also a delight as “Chris” who takes the role of Scrooge and acts to a great extent, as the straight man to the companies’ jokes, he has sublime physicality and his moment where he breaks the fourth wall are genius. The entire performing company do deliver in spades. What sets Christmas Carol goes wrong apart from its sister shows in the trilogy is this show has a gorgeous touch of pathos weaved through it which is touching and makes the show sparkly just that little brighter.

Director Matt DiCarlo has mined the script and rung every comedic moment out of it and ensures his well-drilled company deliver the play at a cracking pace that feels perfect for the 2 hour and 15 minutes run time. Libby Todd’s set design walks the line of professional theatre and amdram perfectly to the point the show would feel equally at home in a church hall as does the environs of the beautiful Festival Theatre. This is boosted by David Howe’s Lighting design and Alexandra Faye Braithwaite’s sound design. Both Lighting and Sound design cleverly blur the lines of professional and amateur theatre peppering the designs with enough technical niggles that add to the comedy but give the overall show a sense of realness. Special mention must go to Roberto Surace and their inspired Costume Design that add the cherry to top of this comedy cake.

Christmas Carol Goes Wrong delivers everything it should and makes a laughter filled treat on these dark late winter nights and proves there is still much that can wrong in the funniest of ways for a company whose star is still very much on the rise! So, head to the Festival and grab those last tickets and may god bless us! Everyone!

Mischief presents Christmas Carol Goes Wrong, Festival Theatre, Edinburgh runs until Saturday 14th February, for more information go to: Christmas Carol Goes Wrong – Capital Theatres

Christmas Carol Goes Wrong UK Tour continues until Sunday 1st March 2026 and the production will call at the King’s Theatre Glasgow from 17th to 22nd February.

Mary Woodward Review

Memoir of a snail, Manipulate Festival, Film House Edinburgh, Review

Brett Herriot

***** (5 stars)

“Gloriously life-affirming”

Australian stop-motion artist Adam Elliot is new to me – somehow I managed to miss his previous animation, Mary and Max.  Oh my goodness what a talent!  What an imagination!  And what a splendid collection of characters, settings and props – every one of which is hand-made.  It’s visually stunning, brilliantly created, and a real emotional roller-coaster [insider reference to a significant moment fully intentional here].

Grace Pudel is a twin.  She and her brother Gilbert live with their father: their mother died at their birth – just as snails do – and their father, a French street performer who moved to Australia when he married their mother, is severely disabled after an unfortunate accident.  Their life is hard, but not without its joys, until the father dies.

Heartless Child Services separate the children and place them the opposite sides of the continent.  Both are extremely unhappy, but have no way of being re-united: all they can do is write to each other.  Gilbert is lodged with apple farmers who practice a very extreme religion – this is so horrifically well-portrayed I couldn’t laugh at it.  Grace is simply neglected by her incredibly toothily smiling ‘parents’, who follow one extreme fad after another.  The only things that make Grace’s life bearable are her growing collection of live snails and snail memorabilia   

– until she comes across the indomitable Pinky, who brings life and colour into her drab existence.

You wouldn’t think things could get any worse, but they do.  I was beginning to wonder whether there would be any relief in this catalogue of disasters – but be reassured, dear reader: there is light at the end of a very dark tunnel, but I’m not going to share any spoilers!

Memoir of a snail explores the strength of human connections, the extent to which people will go in pursuit of what they firmly believe to be right regardless of its effect on others, and humans’ reactions to extreme stress and unhappiness. 

Surrounding oneself with a snail shell of Stuff creates an impermeable barrier to any sort of relationship with other humans or the world outside: it can take a great shock or an immense amount of courage to leave the safety of the shell and dare to risk being alive, to live rather than simply exist.  Thank heaven for Pinky’s final utterance – “potatoes”…

This is a gloriously life-affirming film – which is available on the BFI website if you weren’t able to be at the FilmHouse last night.  There’s a lot of humour [though some of it made me wince rather than laugh].  It’s an exploration of the perils of hoarding and keeping guinea pigs, and a very strong warning about the dangers of extreme religion [and possibly apples]. 

I am definitely going to add it to my ‘when you’re feeling really bad and need to know there’s hope somewhere’ list.

I hope you’ll discover and enjoy it too.

Memoir of a snail, Manipulate Festival, Film House Edinburgh, RUN ENDED

Mary Woodward Review

The Raft of the Crab, Manipulate Festival, The Studio Theatre, Edinburgh

Brett Herriot

**** (4 stars)

“An honest and courageous show”

Created and performed by Ninon Noiret, The Raft of the Crab uses words, music, puppetry, contemporary dance and the Chinese pole to explore Ninon’s relationship with the cancer which might have destroyed her performing career and taken her life.

The fact that Ninon was in front of us, displaying a breathtaking ability with said pole among her many other talents, could perhaps have indicated that neither of these fates came to pass – but still the audience was gripped by her narration.  From the beginning, where she sadly sings ‘happy birthday’ to herself, to the final quizzical introspection – ‘what will you do with the rest of your life?’ we are drawn into the confusion and challenge of her world, into which the dreaded crab – cancer – so rudely erupted.

She puts a brave face on it – but the fear is there too, the rage, the loneliness, the despair: the insensibility of others and the black humour with which she attempts to survive when at her lowest.  The words flow out – sometimes English, sometimes French, and sometimes inaudible: the really important pieces of information and comment, however, are delivered with a microphone and a dazzling smile, even when the message is grim.

Two puppets assist her.  One is life-sized – the self to whom she speaks when she is pondering how the crab first came into her body.  The other is half her size, a shrunken and virtually bald image of the self she becomes through chemotherapy, constantly tugging at her inadequate hospital gown, smoothing it down, ‘making herself decent’ – heart-breaking.

There’s also a large blue crab: the cancer, with whom she has a love-hate relationship – a friend as well as an enemy, something both inside and outside her, something which takes away a part of her but is also at times her whole identity.

This is an honest and courageous show in which Ninon reveals a lot about herself and those around her.  Sometimes the battle isn’t with the cancer but with the people she has to deal with – even her family, at times.  She questions herself – even in this dreadful time, the artist/ performer part of her is thinking about how she can put her experiences into a show…  The graphic physicality of her struggle to regain mobility, confidence, the courage to fly up the pole is striking.

So too is her final question: what will you do with the rest of your life?

It’s a question we could all ask ourselves, whether or not a crab appears to ruin our birthday celebrations.

The Raft of the Crab, Manipulate Festival, The Studio Theatre, Edinburgh, Run Ended