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

One Day the Musical, The Royal Lyceum Theatre, Edinburgh Review:

Brett Herriot

“Beguilingly Beautiful! “

***** 5 Stars

David Nicholls critically acclaimed 2009 novel One Day was adapted for the big screen in 2011 to great success before being adapted again for the small screen by Netflix in 2021 now the story that has touched the hearts of a generation gets a musical adaptation with book by David Greig, music and lyrics by Abner & Amanda Ramirez and additional lyrics by Jeremy Sams in a lyceum  and melting pot production that transcends the power of musical theatre leaving the audience wrapped by its beguilingly beautiful heart.

One Day tells the story of Emma (an enrapturing performance from Sharon Rose) and Dexter (a powerfully moving turn from the gifted Jamie Muscato) who on St Swithun’s day 1988 (July 15th) have a one-night stand following their graduation from the University of Edinburgh knowing they must part the following morning. Emotions and connections are made as we revisit the couple on the same date for the next 20 years. There connection shaping their journey in exploration of how the small things make the biggest impact. It’s an honest exploration of life through both the good and bad times and a connection that appears unbreakable but then not everything is at it appears. Ultimately this is musical that explores the human condition in all its truth.

Directed by Max Webster this is an outstanding piece of musical theatre performed by a uniformly brilliant sixteen strong ensemble company who shine in every moment on stage. Muscato is a powerhouse of emotions, and he truly captures the emotions of Dex perfectly and his chemistry, which is the lynch pin of the story, with Sharon Rose is thrillingly truthful. Rose matches Muscato in spades with gorgeous honey-soaked vocals. The ensemble shine especially when delivering Carrie- Anne Ingrouille’s effective and capturing choreography. Special mention must go to Josefina Gabrielle as Alison Mayhew her performance takes emotional honesty to new levels as she turns in an award-winning performance.

Production wise One Day is an utter triumph; the Lyceum has been fully transformed into an in the round space thanks to Rae Smith’s incredible Set and Costume Design. There isn’t a bad seat in the house, and every audience member will enjoy perspective of the show that’s unique to them whilst also delivering breath taking intimacy the show thrives on. There is a flawless lighting design from Bruno Poet that captures life’s moments and emotions with equal grace and detail. Simon Baker’s sound design is equally flawless and the balance between performers and musical director Nigel Lilley’s exquisite  6 strong band is pitch perfect.

Speaking of the music, its fresh truthful and emotional and never overbearing and brings a rich quality to the show overall. One Day is a show which deserves all the accolades and it’s an honour to be able to see the show makes its debut in its home city.

The Royal Lyceum company have collaborated with Melting Pot to create a piece of theatre which not only transcends the art form but gives its audience a powerful jolt in that sometimes putting the story at the centre of the piece and eschewing glitzy special effects can truly release the heart of a show.

One Day is simply unmissable theatre and despite its admittedly long run time, the pacing is so perfect the show sails by leaving you wanting more. At the core of this timely and timeless production is love. Love for the art form, Love for the Story and love as the most potent of human emotions.

This is quite simply event theatre, and you would be foolish to miss it!, so grab what few tickets remain at the Lyceum and if you can try sitting on stage for a truly unforgettable theatrical experience and let the power of One Day the musical change all you knew about musical theatre.

One Day the Musical runs until Sunday 19th April, for more information and tickets go to: One Day: The Musical | Lyceum

Mary Woodward Review

Balancing in Freedom, Scottish Storytelling Centre, Edinburgh, Review

Brett Herriot

**** (4 stars)

“A complex mixture”

This is not an easy piece, for many reasons: but it is an important one – especially for the younger members of today’s audience, but almost certainly for the rest of us, as I doubt many of those present could remember back to the 1940s.

Iddo Oberski and his puppet friend Svjetlana take us on “a journey of becoming”, inviting us to open our hearts and welcome in that most important thing of all – love. 

Iddo moves slowly but decisively around the stage, clad in a suit that is half white, half black.  He comes on stage using two sticks, but plants them in holders and thereafter moves slowly, staring at his feet, and walking very carefully and precisely.  The reason for this becomes clear as he recounts his life-changing experience of a spinal stroke which left him without conscious sense of his lower limbs, which he must deliberately move for each step he wishes to take: he is his own puppeteer.  Both moving and sitting are painful, so the whole show contains a well-thought out and painstakingly performed choreography which reflects the balancing act that is his life.

The show is a complex mixture: a personal account of disability, a musing on the work and thought of Rudolf Steiner, a story of tragedy as the Shoah [Holocaust] takes the lives of a staggering number of family members; a search for understanding of self, soul, and spirit.  There are conjuring tricks performed so smoothly as to make them seem normal rather than magical.  There is poetry, and music, and art.  And Svjetlana pops up from time to time, commenting and asking questions which ultimately guide Iddo towards a greater understanding of himself and what spiritual freedom might look like.

One of Svjetlana’s comments struck me deeply.  “You don’t have a disability.  When I found you, you had two legs and two sticks”, to which Iddo responds that he needs the sticks because his legs have fallen asleep.

Everyone present will have responded differently to this show.  I was sorry not to be able to stay for the half-hour facilitated discussion which followed: and also sorry not to have been able to grasp everything that was being said – there wasn’t time to ponder one interesting or intriguing remark, because something else immediately followed, and then yet more…

Overall, I think I came away with the concept of balancing in freedom.  One is the sum of many parts: balancing them gives the greatest possibility of a live lived in wholeness, regardless of family history or physical abilities.  Much to ponder…

Balancing in Freedom, Scottish Storytelling Centre, Edinburgh, production returns on Saturday 13th June and Sunday 20th November 2026 for more information and tickets go to: https://scottishstorytellingcentre.online.red61.co.uk/event/913:6368/

Brett Herriot Review

We Will Rock You, Festival Theatre, Edinburgh Review:

Brett Herriot

**** 4 Stars

“A Show That Truly Rocks!“

It’s hard to believe that acclaimed rock musical, We Will Rock You is approaching its 25th anniversary since its debut in London’s West End at the Dominion Theatre in May 2002 with music by the iconic band Queen and book by Ben Elton the show would run for 12 years before finally closing in 2014. There have been several productions since including tours and a West End revival.

The show has been released for local and amdram companies to perform and right now it feels like every single local Scottish company have managed to get their hands on the rights. Now Edinburgh based The Bohemians bring their production of the show to the hallowed ground of the capital cities Festival Theatre and my word this is a show that truly rocks!

Set 300 years into the future The musical tells the story of a renegade group known as the Bohemians who struggle to restore the free exchange of thought and culture in a vaguely Orwellian society. Earth is now the iplanet that evil Khashoggi (a wickedly evil performance from Max Mitchell) and Killer Queen (the utterly faultless Rosie Sugrue) seek to control the iplanet by banning all music. Can Galileo (an inventive take from Colin Sutherland) with the help of on, off and on-again lover Scaramouche (a blistering performance from Rebecca Driver) tap into the power of the rock gods to save both themselves and the world from such evil? You soon find out in a show which is packed with Queen hits and delivered by a company who ooze passion for performing.

Ben Eltons writing is aft clunking in a show that becomes more a tapestry of set pieces with which to hang the story on, but it works brilliantly especially by the Bohs who harness the comedy and power of the music with in it.

Performances are uniformly excellent with Sutherland leading the company in style his Galileo is the perfect blend of geek meets naivety, and he has the rock vocals down to a tee. The same is true of Drever’s Scaramouche as well as Sugrue’s awesome vocal powers as Killer Queen. Special mention must go to Ryan Livingstone as “Brit” my word does he look every inch like he has just walked out of Aerosmith and straight on to the Festival Theatre Stage clad in a leather Kilt his vocals and style are pitch perfect for this show.

Director Malcy J Burnett has delivered well considering the onstage company totals nearly 70! Performers that’s some achievement given the show features around 18 actual named parts, but he makes the most of the expansive space of the Festival Theatre to ensure they all get there moment to shine. Speaking of shining Choreographer Fiona Burns has delivered the impossible with this huge company who deliver her routines with true style and polish. Musical director Finlay Turnbull has delivered a triumphant job; he and his fabulous seven strong onstage band are the driving force of this show and keep an eye out for Cal Gardner on drums living his best life!

This we will rock you only has a couple of niggles one is the Transitions between scenes which needs to be sped up as the audience are left for lingering moments in the darkness and these moments to tend to build up and cause the show to drag a little.  Production wise the company have used the vast space offered on the Festival Stage to their advantage utilizing a fabulous giant video screen with design by Scott Davidson and Malcy Burnett that gives the show its future feel with ease. Scott Davidson also delivers a west end worthy Lighting design that goes from intimate moments to stadium spectacular with ease. Sam O’Neil’s sound design does work but needs a little more refining in order to ensure mics are going live in time and a better balance between performers and band but once the show beds in it will no doubt tighten naturally.

Mhairi Summers and Elaine Dawson’s costume design is the cherry on this rock explosion of talent! Embracing both rock and matrix dystopian world with ease.

The Bohemians can hold there heads high they have a delivered a We Will Rock You the captures the heart of the original, if they can get those transitions a little more snappy and balance the sound then a fifth star is within there grasp for now head to the Festival Theatre and let this awesomely talented company rock your soul!

The Bohemians present We Will Rock You The Musical runs until Saturday 28th February, for more information and tickets go to: We Will Rock You – Capital Theatres

Brett Herriot Review

Here & Now, Edinburgh Playhouse, Review:

Brett Herriot

“Soars into the Audiences Hearts! “

**** 4 Stars

Pop Icons of the 90’s and 00’s Faye, Claire, Lisa, Lee and “H” redefined the power of bubble gum pop as “Steps” shaped a generations childhood and became the soundtrack to many a teenager’s heart. Now the expansive back catalogue of Steps hits has been brought together in a brand-new musical with a book by Shaun Kitchener.

Telling the tale of life in the costal supermarket Better Best Buys and the staff who work there who are of course a close band of friends who seek a summer of love and beyond but is it a dream that’s better best forgotten? or can they truly take a chance on a happy ending? Well, the answer is we get a musical cram packed full of pop classics in a life affirming tale that while light on dramatic bite soars into the audiences’ hearts as they relive the best of their youth.

Lara Denning turns in a finely nuanced performance as “Caz” her dream of adopting lies shattered as her husband walks out her, “Neeta”, Rosie Singha in fine form is in love with “Ben”, Ben Darcy but can’t find the words to confront her feelings. Then there’s “Robbie”, that gloriously cute Blake Patrick Anderson, who is scared to commit to a boyfriend until fabulous drag queen “Jem”, played by River Medway in a show stealing performance, comes into supermarket and Robbie’s heart. Throw into a mix an evil boss who wants to turn Better Best Buys into holiday condo’s and we get a battle of hearts and minds as well as the battle for there jobs.

Yes, Kitchener’s book is cliché central, but it works and is at times very moving as well refreshing to see relationship spanning both heteronormality and the rainbow spectrum with ease. The story really does match up the mantra of Steps Themselves. Directed by Rachel Kavanaugh she delivers well putting the music at the heart of the show but also making the best of the story that the show hangs on. Matt Cole delivers epic choreography throughout ensure those classic dance moves beloved by generations is blended well into routines that pack plenty of poppy fizz. Tom Rogers set design take bubble-gum to the next level with powder pink and blues in abundance and its beautifully lit by Howard Hudson effective lighting design.  Gabriella Slade also delivers the good with a fantastic costume design especially in “River Medway’s” over the top solo number its gloriously camp and gay in equal measure. Adam Fisher’s sound design takes a couple of numbers to settle in, there were some balance issues with onstage performances being drowned out by Musical Director Georgia Rawlins sublime six strong pit band, but it does balance out eventually.

Here & Now is a musical that wears its heart on its sleeve and is a joyous celebration of not only Steps but also how their music continues to transcend time and with a story that’s straight from coronation street it makes it accessible and easy to watch. There is no tragedy in this show as its very much a sparkling night of musical fun.

So make sure your not a deeper shade of blue and 5,6,7,8 your way to the Playhouse as this is the final Scottish Stop for the debut UK tour and I assure you Here & Now will send you into the evening with a smile on your face as your remember just how good those songs are! Altogether now! “Love’s got a hold on my heart!”

Here & Now, A Brand New Musical, Edinburgh Playhouse runs until Sunday 1st March, for more information and tickets go to: Here & Now – The Steps Musical Tickets | Edinburgh Playhouse in Edinburgh | ATG Tickets

The UK Tour Continues

Mary Woodward Review

The BIBA Story: 1964-1975, Dovecot Studios, Edinburgh, Review

Brett Herriot

**** (4 stars)

“Delightful and Fascinating”

It’s hard to imagine life before Biba but, gentle reader, I was there and I remember…  Life was pretty drab and grey, and young people were expected to look like smaller-sized clones of their parents.  The concept of young people as beings with lives, minds and wishes of their own was hard for many people to grasp.

And then suddenly, there was Biba…and nothing would ever be the same again.  It’s hard to believe that the Biba phenomenon lasted little more than ten years and yet had a lasting effect on the world of fashion and the development of a concept of ‘lifestyle’.  For those of us old enough to remember those days, Dovecot’s exhibition offers the opportunity to wander down memory lane.  For those who did not have that experience, come and marvel at the simplicity of the way in which our lives were changed forever.

Barbara Hulanicki, alongside her husband Stephen Fitz-Simon, started a small mail-order company selling inexpensive clothing for women and children in 1963 – Biba’s Postal Boutique.  An advertisement in the Daily Mirror resulted in 17,000 orders for a Brigitte Bardot inspired pink gingham dress.  This success prompted Barbara to give up her day job as a [very successful] fashion illustrator and concentrate solely on Biba.

In 1965 a very small shop in Kensington was transformed into a seeming night club with black walls and random pieces of old-fashioned furniture on which customers could perch while trying to find their perfect purchase.  The emphasis was on affordable up-to-the-minute fashion, aimed at young people with an eye to design but with a very limited budget. 

Initially, the clothes were designed for very skinny young women – Twiggy was an early customer, and the perfect size and shape for Biba designs.  Only 500 of each garment would be made, so a design sold out quickly and the shop’s stock would be constantly changing.  The colour palette of the clothes was also unusual – in addition to black and brown, mauve, rust, plum and purple were much in evidence.  Feather boas and wide-brimmed felt hats became archetypal Biba add-ons, and were much in evidence in Swinging London in the late 60s.

Biba swiftly outgrew its first Kensington shop and in 1966 moved to a triple-fronted shop not far away.  For the first time, men’s and children’s clothes could be bought, alongside many non-clothing Biba products.  Three years later, Biba moved into a shop on Kensington High Street, offering a wide array of clothing, accessories, cosmetics and furnishings.  In 1973, Big Biba was opened, and proclaimed ‘the most beautiful store in the world’.  Formerly the Derry & Toms department store, it was transformed to provide the ultimate Biba shopping experience, with seven floors of merchandise from groceries to cosmetics and furnishings in addition to a constantly-changing array of clothing.  Now one’s entire life could be lived in Biba…

Alas, this only lasted two years.  in a very short space of time, Hulanicki relinquished all right to the Biba name, and moved on into another chapter of her life, not even retaining the majority of her own Biba clothing.

The garments on display in this fascinating exhibition have mainly come from private collections.  Many are from the collection of Sarah Plunkett, the first manager of the first London Biba; others from Lilli Anderson, the last person to stop working at Biba when it closed in 1975; yet more are from individuals who responded to a recent appeal for Biba clothes and memorabilia, and generously allowed them to be displayed here. 

It’s touching to see the small holes and imperfections in garments which have virtually been worn to death, they were loved so much.  It’s also quite scary to see just how small the dresses are, how ridiculously skimpy and tight the sleeves are, and be reminded of quite how short one’s skirt was in the 60s…  Alas, I would never have fitted into early Biba – even as a young woman I was tall and not at all slender – but I suspect that even when Biba garments were made in larger sizes, they would never have looked good on me… <sigh>

There are some fabulous garments on display, and not just simple frocks.  Coats are much in evidence, as are suits of various sorts: and more glamorous wear, including evening wear, marketed as nightwear because that incurred a lower rate of tax…  It’s interesting to see the development from simple shift dresses to more flowing garments, with wider sleeves and an increasingly ‘hippy’ vibe. 

There are some extraordinary fake-fur garments [a snow leopard pants suit!] and some surprisingly vividly coloured clothes, contrasting with the generally sombre palette used.  One singularly gorgeous simple cream dress had me feeling momentarily very light-fingered – but it would never have fitted, and its absence would have been instantly spotted!

The exhibition ends with personal memories of some Biba customers with photos of them wearing their favourite clothes.  There’s also a place where you can write your own Biba memory and put it on the wall with all the others – and spend an age reading them all as you relive your youth…

This is a delightful and fascinating exhibition which is a window into a [goodness me!] now bygone era, when life seemed simpler and all you had to do was work out for how long you’d have to save to be able to afford the next Biba garment or item…  oh happy days!  Go and enjoy!

The BIBA Story: 1964-1975, Dovecot Studios, Edinburgh, Exhibition runs until Saturday 27th June for more information and tickets go to: The Biba Story: 1964–1975