ScotsGay Arts

*** 3 Stars

“Stellar Performances “

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.

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.

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 Beyond Broadway Experience presents, Little Shop of Horrors, Festival Theatre, Edinburgh, The production runs until Saturday 25^th July for more info go to: https://www.capitaltheatres.com/shows/little-shop-of-horrors/

Preview

A Great Night Out! King’s Theatre, Edinburgh, Dress Rehearsal Preview:

July 22, 2026 Brett Herriot

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 31^st 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 23^rd to Saturday 25^th July under the banner of “A King’s Rehearsal”.

Saturday 25^th 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 23^rd 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.

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 23^rd July 2026. For more information and return tickets go to: A Great Night Out! – Capital Theatres

Mary Woodward Review

Costume Couture: Sixty years of Cosprop, Dovecot Studios, Edinburgh, Review

July 21, 2026 Brett Herriot

***** (5 stars)

“a wonderfully engrossing experience”

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.

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!

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 17^th January 2027 for more information and tickets go to: Costume Couture: Sixty Years of Cosprop

Brett Herriot Review

Everybody’s Talking About Jamie, The Church Hill Theatre, Edinburgh, Review:

July 17, 2026 Brett Herriot

***** (5 Stars)

“Emotional and Powerful the Production everyone will be talking about!”

Edinburgh based Find Your Light productions return for their 2026 season with a brand-new challenge for 28 young, up and coming performers they have just two weeks to go from meeting for the first time to staging a fully realised musical production to a professional standard, can it be done? This time the show of choice is the critically acclaimed modern musical smash hit Everybody’s Talking about Jamie and my word the company deliver a show packed with astoundingly mature performances that touch the heart. This show bleeds emotion and power in a production that everyone will be talking about!

Everybody’s Talking About Jamie the 2017 musical adapted from Jenny Popplewell’s critically acclaimed BBC documentary, Drag Queen at 16 which threw the spotlight onto teenager Jamie Campbell in his quest to wear a dress to his school prom. Featuring a score by Dan Gillespie Sells and book & lyrics by Tom MacRae this is a true coming of age musical that deals with matters of the family heart, prejudice on many levels alongside bullying as Jamie seeks to escape the darkness and become the Drag Queen inside.

Rory Pentland As Jamie New (C) Find Your Light Productions

Directed by Stephen Graham- Martin with Choreography and Musical Direction from Charlotte Henshall it’s a brave show to pick as its story speaks to the heart of both the 28 strong company but also the audience. Especially in this production which features a stripped back and emotionally truthful performances from the entire cast whilst also delivering the glamour and comedy of the drag world but effortlessly keeping it real, which is a true achievement for the entire company.

Performances across the board are simply excellent, however the leads in the show are bound for great things in the performance arts industry. Rory Pentland (who will alternate with Olly Freeman-Ferguson) plays Jamie New with an emotional breath and depth that belies his years. His vocals are rich and fulsome, but his acting skill is breath-taking with the emotions of Jamie’s heart being explored with incredible maturity and truth. His performance of “My Man, Your Boy” is heart rendering as it beautiful. The same is true of Isla Nisbet (who will alternate with Brook Dunbar) as Jamie’s mother Margaret New. This is the trickiest role in the show given that both Pentland and Nisbet are around the same age bracket in reality but Nisbet delivers a convincing, heart renderingly impactful performance throughout. Her take on “He’s My Boy” is the shows pure 5 star shimmering moment in motion that brings a tear to all who witness it.

Speaking of 5 star moments special mention must go to Lucymarie McEvoy as Pretti Pasha and her show stopping take on “Beautiful” that’s sung from the heart and although simply directed by Graham Martin delivers the real heart of both the song and the show.

The show also embraces its drag world setting with the inclusion of up-and-coming professional drag queen Cherry West alias Sam Carlin taking on the dule role of Hugo/ Loco Chanelle. Carlin delivers a wealth of comedy talent and lush vocals, and the company have cleverly ensured that whilst aesthetically the character looks like Cherry, they are very much Hugo and Loco throughout.

Joining Carlin in high heels are Robbie Wilkins (Laika Virgin/ Levi), Fionn Cameron (Tray Sophisticay/ Jamies Dad) and Ruaridh Laidlaw (Sandra Bollock/ Mickey) they bring comedy joy and prove they can move in the heels especially when delivering Henshall’s fast paced and fresh chorography. Also, thanks to clever double casting they show off great acting chops too.

Dylan Hynd as Dean and Eve Morrison as Miss Hedge have the challenge of playing baddie parts however they deliver them with conviction and unlike “Jamie’s Dad” they get a redeeming happy ending that has the audience cheering them on come the final curtain.

Production wise, it’s hard to believe the show as brought together in just over a week prior to opening. A clever rotating set and a pair of portals are used to make the most of the space on stage at the Churchill Theatre accompanied by a technicoloured riot of a lighting design from Edinburgh based LA Create. Owen and Chris at LA Create also deliver a flawless sound design. Miranda Burns inspired, inventive and fresh Costume design adds professional polish to this production, Burns choices bring out the best in both performances and the shows story.

Find Your Light’s production of Everybody’s Talking About Jamie gets to the heart of Jamies story in a way in which the professional production often doesn’t. It’s performed by a company many of whom are living there own Jamie journey in real life. It’s a production rooted in the truth that we are all uniquely special and deserved to be love for who and what we are! One thing is for sure there is a lot of love in this show, and you must do what you can to grab one of the last remaining tickets and find your own little bit of glitter in the Gray! Camp, Gay, Honest, with a rich heart everything Jamie should be! wonderful stuff indeed.

Find Your Light Presents, Everybody’s Talking About Jamie, The Church Hill Theatre Edinburgh, Runs until Saturday 18^th July 2026. For more information and tickets go to: Everybody’s Talking About Jamie – Tickets | Fienta

Arts News!

Remembering Tony Challis, 1946 – 2026

July 16, 2026 Brett Herriot

Scotsgayarts.com is deeply saddened to learn of the death of the great Tony Challis at the age of 80 at his home in Nottingham. Tony was a long-term contributor to our predecessor Scotsgay Magazine and was a respected reviewer of nearly 20 years’ service to SGFringe.com writing close to 1000 reviews for the site and the hard copy magazine all of which explored LGBTQIA+ Themes.

Scotsgay magazines former editor Taylor Hunter spoke to Scotsgay Arts saying, “Tony Challis was far more than a reviewer, to me he was a mentor, a champion of the arts and a passionate advocate for Scotland’s LGBT community.”

“When I took the reigns as Editor of Scotsgay magazine, Tony was already a respected and long serving writer renowned for his Edinburgh Fringe reviews of Gay focused performances. He welcomed me with generosity, offering advice, encouragement and the benefit of his experience at a time it was needed most.”

“Beyond Journalism, Tony Played an instrumental role in the development of the Scotsgay Awards, Tony highlighted excellence in the arts and several of the productions he gave awards too would develop into both West End transfer’s and National UK Tours. Tony’s legacy will live on through the artists whose work he championed and the wider community he helped strengthen in a plethora of ways, Rest in Peace Tony”

Tony Challis was also a lifelong humanist alongside being a former wedding celebrant, he was a passionate and dedicated gay rights pioneer and a published poet. A warm, passionate, and steadfast activist, Tony spent over half a century fighting for equality. He was a long-time supporter of Humanists UK and a co-founder of LGBT+ Humanists.

Tony’s journey in activism began in the early 1970s. After becoming involved with the Campaign for Homosexual Equality (CHE), he joined the Bath Gay Awareness Group in 1972. He was among the brave cohort who marched in London’s second-ever Pride march in 1973. Speaking on a recorded oral history interview for the Humanist Heritage project, Tony recalled:

“I went on the [Pride] march in ’73, which was only the second London one. And at that time, it was much smaller, and you had police all the way along both sides, and you did have people, both National Front types and religious extremists, sort of abusing you and shouting at you.”

For the last 36 years Tony called Nottingham his home having moved there in 1990. He would continue to make his annual pilgrimage to Edinburgh every August writing for Scotsgay Magazine, SGfringe.com and latterly Broadway Baby but Nottingham was always home where he founded Pink Ink, a gay writing group that nurtured local creative talent. He was a dedicated poet, which culminated in the publication of his debut chapbook, Rainbow Candles, by Five Leaves in 2025. His poetry reflected on his life as a gay man during eras of profound social change with a trademark wit, optimism and hope.

Tony Challis was a joy to know, to work with and leaves a legacy of love for both the written word and the arts. He is indeed one of the giant’s today’s LGBTQIA+ community stands on the shoulders of. We are all better for having known Tony and Scotsgayarts.com sends our love to his family and loved ones. May he rest in peace.