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Everybody’s Talking About Jamie, Preview:

Everybody’s Talking About Jamie

UK Tour, Edinburgh Festival Theatre, 3rd to 7th March.

Inspired by the 2011 television documentary Jamie: Drag Queen at 16 and debuting at the Crucible Theatre in Sheffield in 2017, Everybody’s Talking about Jamie is the life affirming musical telling the story of Jamie New who wants to attend his high school prom in a glamourous Drag Queen outfit only to be met by Hate, confrontation from those who should love him and a new understanding of the relationship between himself and his mother.

Following an award winning transfer to the west end, a production which is still running, this year see’s the show receive its first ever UK Tour! and Jamie finally comes to Edinburgh and its beautiful Festival Theatre Edinburgh. Ahead of the opening Layton Williams who plays Jamie, fresh from his run in the Apollo Theatre, London spoke with Scotsgay Arts!

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For people who are new to Everybody’s Talking About Jamie, how would you sum up the storyline?

Jamie is based on a real character who was the subject of a documentary on BBC Three. I remember watching it years ago and it was about him wanting to be a drag queen and wanting go to the school prom in a dress and how his mum Margaret supported him. When he got there there was all this hoo-hah, the teachers wouldn’t let him in, then something wonderful and unexpected happened, his school mates refused to go in without him. The basics of his story inspired the musical and it’s been given a bit of theatrical razzamatazz. Our story is about a 16-year-old boy who wants to be a drag queen and it’s about his relationship with his parents – including his dad, who he isn’t much in touch with. It’s about Jamie finding himself and his drag persona and, without giving anything away, what happens when he does eventually go to the prom.

What do you see as the key themes?

It’s about acceptance. This is a show for everyone, especially for today. It’s not just for people who are into RuPaul’s Drag Race and stuff like that. The show is about a boy finding his path in life with the help of his close relationship with his incredible mum and her unconditional love for him. She loves him exactly as he is. A dad who isn’t supportive and lots of other characters that people will be able to relate to. It’s about family, friendship, trust and support. There are so many different, relatable characters in it – [laughs] although if you identify with the dad then have a word with yourself! And there’s so much diversity in the cast. The real Jamie is white and I’m not, but that wasn’t even a question for the producers and creatives – which is so refreshing and so fab, like just ‘He’s right for the role’ and that’s how it should be. Oh, and there are high heels, high kicks, drag queens, beautiful dresses, feather boas, some fantastic songs and brilliant dancing. It really is fun, funny and fabulous with a lump in your throat and a little tear.

How important is the theme of inclusion to audiences both young and old?

Very important. I get messages from older people who have been helped by the show, whether it’s helped them come out or helped them understand their children better. It does obviously speak directly to the LGBTQ+ youth but it’s not limited to one faction. So many people can relate to being an outcast or feeling different but after seeing the show they’ll feel, to quote one of the songs, there’s a place where they belong. It didn’t happen to me personally but our director [Jonathan Butterell] said when he was doing the show in Sheffield a guy came up to him, grabbed his arm and said ‘I was Dean once’ – referring to the school bully character. Some people in the audience will maybe see the Dean character and think ‘That was me’ or they might see the dad and think ‘I was homophobic’ or they’ll go ‘Everybody is celebrating this boy here so why do I have these negative feelings?’ They might get dragged to the theatre by their girlfriends or wives, thinking ‘Oh my God, what have I gotten myself into?’ then hopefully by the end of it their hearts and minds will have been opened and their opinions on things have changed.

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What challenges does the role of Jamie present?

It’s about the emotional journey he has to go on. Eight times a week I’m having an argument with this person, bonding with that one, having to cry about this, having to cry about that… The rollercoaster of emotions is a lot to navigate. Being 16 years old is hard. I remember being 16 with all those hormones and stuff. There’s the acting side of all that, then there are so many songs. I have to keep my voice tight and right. That’s the difficulty – keeping myself on top form all the time so when I get out on stage I slay it. I want people to have the best experience possible and that means I have to be in full health, make sure I’m rested and always prepared. That’s the nature of the job but that’s what makes it exciting because you put your whole self out there on stage.

Having played Angel in Rent this isn’t your first time in heels, is it?

No, it isn’t. [Laughs] The heels thing is a doddle now.

Do you know the real Jamie and have you based your performance on him?

Yes, I know Jamie Campbell, he’s a really lovely guy. I rewatched the documentary once I got the part. There a few things he does, like a few little dance moves, that I’ve put into the show. And with him as a person, I take some of his isms and personality traits. On the surface he might come across as someone who is really confident and fab and out-there, but as with lots of people you don’t really know what’s going on behind closed doors. There’s so much vulnerability to him. That’s something I don’t necessarily have myself. I’m always getting notes from the director about tapping into Jamie’s vulnerability. I try to stay as true to him and his story as I can because I want to do it justice. I want everyone who comes to see the show to not just get this fierce, fully-formed teenager who’s got everything sorted because then it’d be like ‘So what’s this story about?’ If I came out in the opening number And You Don’t Even Know It like ‘Bam! I’ve got this!’ then the audience would just go ‘He seems fine, what’s the point of the story?’

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Does the show resonate for you on a personal level?

Yes it does. I’m a queer boy from a council estate up North, so we have that in common. Me and my mum have had our moments in the past and sometimes on stage I’m thinking about the things we’ve been through. We always patch things up but families go through stuff. And my upbringing wasn’t rosy. As I say, I was a gay boy on a council estate and as much as I tried to hide it I had a few things coming my way. It’s not been the easiest ride but I put it into my art.

What’s your favourite musical number in the show and why?

And You Don’t Even Know It is fab because it’s the opening number and I get to sing and dance and do it all. Then I love the closing number Out Of The Darkness because I have my microphone in my hand and I feel like a real popstar.

What are you most looking forward to about taking Jamie on tour?

It’s about giving people the opportunity to see it who might not necessarily be able to because travelling to London is too expensive. When I was a musical-theatre-loving kid I couldn’t have afforded to get on a train and come to London. We’re bringing the show to a whole new audience and changing their opinions and perspectives and lives, hopefully. I know it sounds super-dramatic when you say it like that but we’re coming to their doorstep telling our story. It’s great that Shane Richie and Shobna Gulati from the West End cast are also with me.

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Is there one thing you couldn’t be on the road without?

My suitcases full of outfits and things for my dressing room, like my dolls and cards full of love and my artwork. I have to put them all out so when I come into the room I feel the love and the energy.

How hard do you think it will be to say goodbye to Jamie when the tour ends?

I can’t even think about it to be honest. I’ll have been playing this part for a good year and a half and I’ve loved every single second of it. All good things have to come to an end and I’m sure there are many more amazing opportunities waiting for me in the future but this will be something I will never forget. It’s been a life-changing job.

Everybody’s Talking About Jamie makes its Scottish Debut in Edinburgh but will also visit Aberdeen and Glasgow later in the year! grab those ticket before they sell out and discover just why everybody is really talking about Jamie!

Everybody’s Talking About Jamie, Festival Theatre, Edinburgh, Tuesday 3rd to Saturday 7th March, for tickets go to: https://www.capitaltheatres.com/whats-on/everybodys-talking-about-jamie

 

Mary Woodward Review

Rambert, Festival Theatre, Edinburgh, Review

Rambert: PreSentient; Rouge; In your rooms

Festival Theatre, Edinburgh

**** (4 stars)

I was hoping for great things from this triple-bill from Rambert, but was disappointed: the dancers were extremely talented, but whatever message they were presenting didn’t get through to me. Most of the audience, however, seemed very appreciative and responded to each piece with enthusiastic applause and loud cheers.

Wayne McGregor’s 2002 PreSentient was danced to a lot of percussive, frenzied noise with a brief interlude of surprisingly lyrical string playing, while the dancers twisted themselves into extraordinarily sinuous contortions singly, in small groups or all together, with some quite amazing lifts. Occasional moments of stillness stood out in the near-constant movement. One dancer was left alone twirling on stage as the blackout fell. I really wasn’t sure what it was all about.

Marion Motin’s Rouge, first performed in 2019, began with the stage covered in ‘mist’ through which it gradually became possible to see the curled figures of dancers. A musician on stage played electric guitar, and another had his drum kit down in the pit. Seven dancers in an extraordinary jumble of clothes emerged from the mist and began synchronised falling-down-and-surging-straight-up-again, which was extremely impressive but quite rapidly became tedious. At some stage they flung off most of their clothes: they bounced up and down together; they lay down on the floor and moved their legs; much of their ensemble movement reminded me of the snatches of pop video I try to ignore at the gym.

The mist started pouring across the whole stage in waves, looking like the incoming tide. A long neon tube on the floor glowed blood red: another one further back and high up followed suit, and at different times made patterns of light across the stage. The dancers’ interactions became increasingly cruel and violent towards each other – at one point one dancer strangled another – and the guitar and drums mirrored their increasing fury, with a noise level way beyond my pain threshold. Things calmed down a bit, the dancers twitched and wiggled and tapped their bodies with their hands before a final frenzy was drowned in a merciful blackout.

At this point I was wondering whether I could face a third piece – but I’m glad I did. For me In your rooms was the most interesting piece of the evening, created by Choreographer and composer Hofesh Shechter and first seen in 2007. It mixed spoken word with a musical score played by onstage musicians and had a lighting score that made me think of Rembrandt as it mixed varying levels of light and shadow and surrounded everything with a mistiness that was more attractive than the harsh lighting of the previous works. In the overall darkness tiny snatches of movement or total stillness, unrelated to each other emerged and were instantly gone. The invisible commentator mused on the essential chaos of the universe, the tension between it and the order we try to impose, and wondered whether our use of an ever-increasing ocean of words is in order to replace our feelings. There was much chaotic, neurotic movement, both individually and collectively: it was only at the end that one couple reached out to each other and found something that enabled them to relate positively to each other and find some respite from the individuals’ internal chaos.

The dancing was, as I’ve said, extremely impressive, and the rest of the audience obviously thought all three pieces were superb. I simply couldn’t connect with anything in the first two pieces, and appreciated, but was not deeply moved by, the third piece. Much of the dancing seemed to me more like gymnastics than dance – but perhaps it was simply expressing emotions foreign to me in a language I simply don’t speak, and using a music that is equally alien. Next time I’ll check what music they’re using before booking to see the show…

Rambert: PreSentient; Rouge; In your rooms, Festival Theatre, Edinburgh, Runs until Saturday 22nd February for tickets go to: https://www.capitaltheatres.com/whats-on/rambert

 

Brett Herriot Review

Sunset Boulevard, Limelight Productions, Alhambra Theatre, Dunfermline, Review:

Sunset Boulevard, Limelight Productions, 

***** 5 Stars

“ Teaching the World New Ways To Dream“

Widley considered to be Andrew Lloyd Webber’s finest and most complete work based on the Billy Wilder 1950 movie of the same name telling the story of the Faded Silent Movie star Norma Desmond (Played with extraordinary depth and emotion by Donna Hazelton) forgotten by the world and longing to return to her people in the dark. It’s when struggling studio writer Joe Gillis (Nick Tomlinson who gives an astonishingly understated performance that totally reinterprets the character) stumbles upon the grumbling mansion at 10086 Sunset Boulevard that the tale of Love both wanted and unwanted, broken dreams and manipulative power play starts to unfolds. All this set against the glamour of 1940’s Hollywood and the world of Paramount Studios this Limelight production is truly a world with in a world take on the story.

Director Kenny Christie has truly delivered a unique take on the show that actually has the sweeping breath of a movie live on stage that blends Norma’s world which she believes is a film in itself with that of many people who work in the Paramount Studio system living in the real world. Its that clash which leads to the dramatic collision the forces Norma to spiral into insanity and Joe left paying the ultimate price. It’s a joy to watch.

The casting is excellent with Hazelton (who has west end credits to her name and it shows) leading the company faultlessly, her Norma is unique she has forgone trying to replicate “Close”, “LuPone”, “Paige” and the many others who have brought Norma to life and instead delivers her take and its one that truly gets under the skin of “Desmond” and to watch her descent into insanity is gripping and powerful musical theatre at its best. The same applies to Tomlinson’s take on Joe and he has a warm honey voice to go with it. The same is true of Chris Tomlinson’s excellent take on Max the forgotten love of Norma’s and now her Butler who gives everything to ensure Norma is the greatest star of all. Special mention also goes to Andrew Todman as Artie Green who gives the role a Clark Gable twist and to Vicky Sharp as Betty Schaefer with her powerhouse vocals giving the character real punch

It’s not just the leads who stand out it’s the entire company, they have truly taken on the challenge of delivering a complete universe of characters and fully succeed in bringing both worlds fully to life.

Director Christie should be justly proud, his vision for the show truly flows and thanks to Elinor Burns pitch perfect Choreography which blends together period dance moves that fully opens up the story and coupled with sharp drilling the large ensemble dance pieces are delivered in style.

The true highlight of Sunset is the epic score and Musical Director Paul Gudgin has delivered in style with peerless vocals on stage accompanied by a 14 strong orchestra in the pit the ensures every note of the sweeping and orchestrally brilliant score rings out around the Alhambra magnificently.

Production wise the technically complicated set works beautifully coupled with Jonnie Clough’s excellent lighting design and Mike Somerville’s Sound design. If there is anything negative to say its in the delivery of the microphone sound to often Mic’s were late coming on and thus cut off to many lines, it’s a quibble that while not enough to loose a star does need sorted to fully give the cast on stage and audience that true west end worthy standard this show bleeds.

Limelight’s production of Sunset Boulevard is everything and more and worth every penny of the ticket price so get along to the Alhambra and watch as this stellar company truly do teach the world new ways to dream.

Sunset Boulevard, Limelight Productions, Alhambra Theatre, Dunfermline, Runs until Saturday 22nd February for tickets go to: https://alhambradunfermline.com/event/limelight-productions-present-sunset-boulevard/

Brett Herriot Review

I Think We Are Alone, King’s Theatre, Edinburgh, Review:

I Think We Are Alone, 

**** 4 Stars

“ love is the key to understanding those hurting “

6 people living in London, some related and some not, each one connected either by chance or choice or divine decision as they chart their course through the journey of life. Sisters estranged and fighting to overcome the pain and trauma of a childhood beset with abuse. A mother who masks her grief by pushing her son to his limits and very nearly out of her life and a Taxi driver facing up to the loss of his wife until a stranger enters his life and gives him hope.

I Think We Are Alone Now is a bittersweet and funny take on our ache to connect with those voices we need to hear again, those arms we need to feel around us once more and those faces we need to see one last time can we really let go and yet still hold onto what we love the most.

Frantic Assembly’s production of Sally Abbott’s play is one of finely judged performances the melds together the dramatic theatre with modern contemporary dance, all placed inside a set designed by Morgan Large that comprises four moving walls as it focus that allows a deep emotion to purvey not only the actors but the audience who are drawn into the sweep of the story.

Co- Directed by Kathy Burke and Scott Graham this is the companies 25th anniversary production and it delivers everything it sets out, with a 6 strong ensemble cast, Chizzy Akudolu, Charlotte Bate, Polly Frame, Simone Saunders and Andrew Turner every single one of them give performances that run the gamut of human emotion.

This is a modern piece delivered as intercutting monologues that would just as easily sit on an internet blog as it does on stage and although the first Act feels disjointed and leaves you entering the interval posing the question “where is all this going” it’s the magnificent second act that brings healing to the wounds and proves above all else, human connection and love is the key to understanding those hurting the most and embracing hope for the future that lies ahead for us all.

A sharp and fluid lighting design by Paul Keogan and Sound Design by Ella Wahlstrom both enhances and develops the physical performance space and the production is better for it.

I Think We Are Alone Now, is a brave meeting of artistic choices, sharp and emotional writing coupled with performances the defy the norms and makes for an enchanting and engrossing evening of theatre, one which is unmissable.

I Think We Are Alone, King’s Theatre, Edinburgh, Runs until Sunday 22nd February for tickets go to: https://www.capitaltheatres.com/whats-on/i-think-we-are-alone

Mary Woodward Review

Nixon in China Scottish Opera, Theatre Royal, Glasgow, Review:

John Adams Nixon in China

**** (4 stars)

In 1972 President Richard Nixon made history by shaking hands with Premier Chou En-Lai and Mao Tse-Tung, Chairman of the Communist Party of China, an event which Nixon regarded as important historically as the moon landings.

Fifteen years later composer John Adams wrote his opera to a libretto by Alice Goodman: the production marked the beginning of Adams’ long collaboration with director Peter Sellars.

The first act of the opera deals with the historical event – the Chinese people awaiting the arrival of the presidential plane, the handshakes, and the diplomatic meetings [in which both sides seem to fail to understand each other]. The second act focuses on Pat Nixon’s reactions to the succession of places and people who are displayed to her, culminating in her visceral response to the punishment of a young girl in a ballet the presidential party are watching. In act three the central figures on both sides reflect on their past happiness and present state of unknowing. It’s left to Chou En-Lai to close the opera, getting up after yet another sleepless night to go to work as the dawn chorus begins, wondering how much of what we did was good?

In this production we are onlookers of the past. The stage is full of stacks of document boxes, among which archivists move, occasionally opening boxes to view their contents. Extremely clever use of contemporary photographs and newsreel footage shows the arrival of the presidential plane and the initial historic handshake: we then move to the room in which Nixon met Mao – the set [bearing a striking resemblance to a photograph of Mao’s private rooms] unfolds on stage from an enormous wooden archive box.   The second act starts in the main archive, with boxes used to form the places between which Pat Nixon is shepherded before the space opens up for the ballet. The boundary between art and real life dissolves as Pat is drawn into and takes part in the drama. The third act takes place around the enormous wooden archive box, into which the main characters are gradually replaced. The chief archivists close their boxes, switch off their desk lamp, and Premier Chou En-Lai joins the others ‘back in history’.

What of the opera? I didn’t expect to be grabbed by the music, and I wasn’t. Most of the speech was declaimed, there were no [to me] recognizable melodies, and there was frequent repetition of patterns of arpeggios to start each new scene, as though Adams couldn’t think of any other way of linking scenes. Having supertitles helped understanding of what was being said/sung but distanced one from the action, while not making clear who was singing what in the ensembles. The music didn’t make things any clearer either – I couldn’t follow each character’s musical line in the general all-over wash of sound. I loved the moment when Pat Nixon was taken to a pig farm and the chorus all broke into pig pig pig pig pig, getting one of the few huge laughs of the evening [another being when a photograph of Boris Johnson and Nicola Sturgeon stonily ignoring each other appeared a succession of ‘historic encounters’ shots].

The first act, though extremely long, mostly held my attention. The various characters became individuals, and the cultural and ideological differences, and the American seeming ignorance thereof became clear. The second act brought life, colour and incredible movement as seven dancers performed part of The Red Detachment of Women, a revolutionary ballet devised by Mao’s wife, Chiang Ch’ing. The third act seemed extremely long and tedious, and lacked any dramatic contrast or fire. Maybe this was the intention: to show the ephemeral nature of the media hype while the real long-term effects of the event were insignificant and the main protagonists disillusioned.

The performances were superb, and I have profound admiration for the singers’ mastery of the complex music as well as their impressively clear diction and excellent characterisation. Chou En-lai [Nicholas Lester]’s voice was gorgeous, while Madame Mao [Hye-Youn Lee]’s ability to sing ridiculously high notes while clearly articulating every syllable was masterly – as was her utterly self-confident ability to dominate every person on stage. David Stout as Henry Kissinger presented a personality somewhat at odds with his ‘elder statesman’ reputation in later years. Eric Greene was an excellent Nixon, underlining the inherent impenetrability of his personality and his possibly conflicted motives – ‘tricky Dicky’ in every respect: while Julia Sporsén shone as his wife Pat, loyally supporting her husband and doing her best to comply with all the press requests for photos, even obligingly patting the ear of one of the pigs at the pig farm. Tenor Mark le Broq gave us a well-observed portrayal of Mao both as an ageing statesman on the verge of death and in his ‘miraculous’ restoration to youth and health as he remembered the pleasure of the early years with the dancer who became his wife.

Nixon in China, after receiving mixed reviews in its early years, is now regarded as one of the great works of the American repertory. Not being an American, I’m left wondering quite what was the point of the piece. It’s great theatre, some of the time, extremely tedious at others: maybe I’m simply not sufficiently politically savvy to have an informed opinion? Maybe this tedium/ quiet subsidence into nothingness was the point? It was Adams’ first opera: I’ve not seen any others, but I’m not inspired to rush out and find them. I’m glad to have seen the piece and warmly appreciative of Scottish Opera’s courage and expertise in bringing it to Scotland for the first time this century. The first-night audience was very warm in their applause at the final curtain, acknowledging the quality of the piece in both its design and execution.

Nixon in China, Scottish Opera Theatre Royal, Glasgow Untill 22nd February, Then Transfers to Edinburgh’s Festival Theatre. 

Mary Woodward Review

Vamos Theatre Dead Good, The Studio, Edinburgh, Review

Vamos Theatre Dead Good

**** (4 stars)

Bob and Bernard have both been told they have terminal illnesses. Bernard’s wealth can’t buy him a cure, and Bob’s wife can’t bring him back to health. When the two men meet at their local hospice, their initial antipathy develops into a warm and caring friendship in which each helps the other to face up to, and make full use of, the time they have left to them.

Using full-face masks, Aron de Casmaker, James Greaves, Angela Laverick and Joshua Patel not only play Bob, Bernard, Marie and Shefali but also the whole host of people with whom Bob and Bernard come into contact at the hospice and during their outrageous forays into the world outside. Racing around in a vintage sportscar, paddling at the seaside, dining at the Ritz, or simply misbehaving and teasing each other in the hospice garden, the two men develop a close and loving relationship, and their care for each other lasts to the very end of one man’s life – and beyond.

The wordless action is underpinned by an excellent soundtrack created by Janie Armour, and there is clever use of projection to allow Bob and Bernard to race around the country, taking selfies as they go. Tiny gestures and alterations in body language reveal so much about what is going on inside each character as we see the progress of their illnesses and the past times they remember. Not everyone they meet treats them kindly, but the extraordinary love and care they receive [and give to others] at the hospice is a celebration of all that is best in humankind.

At one point, Bob’s wife texts him because he’s still not come home: Bob replies Bernard needs me. His wife asks what are you doing?: to which he simply replies Living. It’s a lesson to us all…

In a play which delicately mixes great pathos and ridiculous schoolboy humour, writer/ director Rachel Savage invites us to face up to and talk about one of the greatest taboos of our time. Death comes to us all, but many of us choose to pretend that we will live for ever. I hope I would face up to a terminal diagnosis with the courage and humour Bernard and Bob display as, supported by each other and the loving care of hospice staff, they are determined to go laughing into that Great Unknown that awaits us all.

Vamos Theatre Dead Good, The Studio, Run Ended, UK Tour Continues.

Brett Herriot Review

Peter Pan Goes Wrong, Festival Theatre, Edinburgh, Review:

Peter Pan Goes Wrong, 

**** 4 Stars

A riot of a slapstick comedy that is brilliantly judged “

Mischief Theatre returns to its birthplace of Edinburgh bringing the Cornley Polytechnic Drama Society with there new production of JM Barrie’s Peter Pan. The charming story of the boy who never grew up. With a pumped-up budget and brand-new set design, this promises to be an epic night of theatre, just as long as it doesn’t go wrong in the most calamitous of ways!

This riot of a slapstick comedy is brilliantly judged from writers Henry Lewis, Jonathan Sayer and Henry Shields, it blends the classic peter pan story with that of the local amdram company who try as they might just can seem to get things to go right.

It works of course because of the ten strong ensemble who are so tight they all shine equally, in what is an extremely physical show, where slapstick its taken to the extreme it’s a wonder no one is really injured as performers plunge from the flying wires, sets collapse, explosions erupt, and the turntable spins faster that the electric meter that’s powering the entire theatre.

Director Adam Meggido really explores the world of amdram with great details and ramps it up with beautifully judged comedy that bizarrely is mostly family friendly and he and his team come up with ever inventive ways of making carnage strike in the most spectacular and unexpected of ways.

This production is clearly a team effort and what a journey it’s had from the Pleasance during the Fringe festival, to London, the world beyond and “Peter Pan Goes Wrong” even enjoyed a BBC adaptation broadcast in 2016. It’s a remarkable achievement from a small company that blossomed in the heart of the biggest arts festival in the world.

Peter Pan is one of many “Mischief Theatre” productions and is arguably its strongest because its based on such a classic tale and this particular show blends the slapstick with pantomime and ensures the audience who have made there way to the festival theatre on an ice cold winters night leave with a belly full of laughs and there ticket money well spent.

Let’s hope this company never grows up and continues delivering the laughs in style.

Peter Pan Goes Wrong, Festival Theatre, Edinburgh, Runs until Sunday 16th February for tickets go to: https://www.capitaltheatres.com/whats-on/peter-pan-goes-wrong