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**** (4 Stars)

“Timely as it is Timeless!”

Critically acclaimed writer Jonathan Harvey’s greatest gift to the theatre is his queer coming of age drama “Beautiful Thing” debuting in 1993 at the Bush Theatre in London it would go on to become beloved by audiences across the following three decades and would even spawn a smash hit motion picture adaptation in 1996.

Set in Thamesmead in the mid 1990’s we enter the working-class lives of a southeast London single parent family “Jamie”, Andrew More and his mother Sandra “Megan Crutchley” who also have Sandra’s lover Tony “Zephyyrus Pettitt” living with them in their multistorey council flat.  Jamie, who thanks to bullying, hates school has accepted he is gay and has developed feelings for the boy next door, Ste “Finlay Gilbert” who also has a broken home and must face abuse day in and day out. Add to the mix neighbour “Leah”, Emma Ward a Mama Cass obsessed girl with a penchant for booze and drugs and dreams of a bigger life beyond the limits of the housing estate they all feel trapped in.

What follows is an exploration of sexuality, young love, resilience and self-acceptance with Edinburgh University Theatre Company proving this play remains timely as is timeless. Director Gemima Iseka-Bekano really gets to the core of the characters in a charming interpretation of the play that packs a real emotional punch thanks to the stellar performances from the close knit five strong company who all shine in equal measure.

Crutchley’s “Sandra” is a revelation with a deep routed spirit of a mother who has given everything she has to make a better life for her son, and the powerful scenes between her More’s “Jamie” where she accepts his sexuality are simply beautiful and emotionally honest. Andrew More gives a delicate but always truthful take on “Jamie” there is an innocence to his performance that’s truly capturing to watch. Finlay Gilbert’s “Ste” is nothing less than brilliantly and honestly performed and his is the biggest emotional journey going from abused by an overbearing father to discovering he can and does deserve to be loved for who and what he is. Zephyrus Pettitt’s “Tony” brings levity and light to the role that allows the humour to cut through the darkness. The same is true of Emma Ward’s “Leah” she delivers a tour de force turn that’s imbued with comedy but also a rich humanity that sees her steal every scene she appears in.

Production wise the show really works within the confines of the limited spaces of the Bedlam Stage with Lily-Beau Wolton’s set design invoking the suburbs of London with ease although the set changes that take us back and forth from Jamies bedroom are a little clunky and could do with smoothing out but these don’t detract from the high quality of the show over all. Hanae Della Nave’s lighting design is peerless and balances warmth with the dark recess of the many late-night scenes with ease. Peter Lally’s sound design is equally brilliant and ensures a perfect balance between performers and the hits of Mama Cass.

This production of Beautiful Thing is utterly charming and proves how well Jonathan Harvey’s writing has stood the test of time with flawless performances at its core from a committed company, yes this may be a university production, but it delivers a truly satisfying and frankly unmissable evening of theatre! So, grab what few tickets remain.

Beautiful Thing, The Bedlam Theatre, Edinburgh runs until Saturday 31^st October 2026. For more information and tickets go to: Beautiful Thing | Bedlam Theatre

*** (3 Stars)

“Gripping!”

George Orwells Dystopian masterpiece looking at nationalism, futurology, censorship and surveillance has captured generations since its publication in 1949 and over the following 77 years the book has been adapted for radio, television and the cinema. In the theatre the book has been successfully adapted as both a play and a musical with the most recent adaptation playing at the Playhouse Theatre in London’s West End in 2016.

Now Scotland’s leading theatre companies, The Citizens Theatre Glasgow, Dundee Rep and The Royal Lyceum Theatre Edinburgh join to co-produce a new adaptation from the pen of Chris Hannan. Directed by Dominic Hill this is a production which throws the light more onto the dark black humour and overarching crux that love in all its forms lies at the centre of the dystopian world brought vividly to life on stage with Tom Piper’s beguiling Set Design.

While Hannan’s writing beautifully transposes the original to our modern day and clearly showing how little has changed both politically and physically for far too many its reliance on comedy comes at the cost of a lack of dramatic punch the show is crying out for.

Performances are uniformly gripping especially Jack Tarlton who leads as Orwell and Winston he gives his all in a role that becomes physically demanding especially in act 2 however it’s the moments he is anchored downstage in a spotlight breaking the fourth wall that are the most taught. He really carry’s Dominic Hills ambition to centre the story equally in humanity and personal relationships.

Jessica Hardwick is also a revelation as “Julia” the lover and protagonist and she delivers a truly unforgettable performance throughout. Tarlton and Hardwick are joined by six strong ensemble cast who shine throughout the myriad of characters they bring to life.

Production wise this adaptation is a triumph; Piper design knocks the eye out floating effortlessly from a 1950’s Glasgow hospital to Orwell’s nether world under the control of “Big Brother” where the threat of “Room 101” looms large.  This is boosted by Lizzie Powell stellar lighting design and Mark Melville’s on point sound design which delivers composer Nikola Kodjabashia’s and Associate Electronic Composer Phineas De Thornley Head sound scape the shakes the very soul of the audience member.

Special mention must also go to Heather Scott’s Video Design which is inventive as it is evocative effortlessly shifting between locations and time period that really makes this play pop on the eye.

As the curtain falls after a two hour and fifty-minute run time, it’s clear the shows pacing is flawless as it does not feel half as long as its run time such are the quality of the performances. But, even though act 2 really does get going dramatically there does feel like the show is lacking the oomph it needs to push it over the top and reach its clear potential.

Yes there are plenty of pre-show warnings over content but the product never fully realises these the sight of a Stade dildo isn’t as shocking as it’s made out to be.

That all being said this is a truly gripping and stylish adaptation that delivers value for the ticket price so why not head to the Lyceum and explore Orwell’s dystopian netherworld for yourself!

1984, The Royal Lyceum Theatre, Edinburgh runs until Saturday 7^th November 2026. For more information and tickets go to: 1984 | Lyceum

**** (4 Stars)

“Filled with a joyous community heart!”

The word Icon is aft overused but in the case of the late Legendary Dolly Parton she is truly is, was and always will be an Icon of music, acting and her philanthropic endeavours. Her breakout triumph in the cinema was the 1980 smash hit motion picture 9 to 5 which saw Dolly joined by Jane Fonda and Lily Thomlinson as three empowered 1970’s women who seek to teach there sexist autocratic male boss a lesson that a women’s place is anywhere she wants it to be.

Twenty-eight years after the release of the movie, Parton would return to the world of 9 to 5 with a musical adaptation for the stage that would prove to be a smash hit with runs on both Broadway and London’s west as well as UK Tours. Now the rights to the show are available for local companies and Linlithgow Amateur Musical Productions (LAMP)take on the challenge as a tribute to Dolly and deliver a show that’s filled with a joyous community heart.

Featuring a book by Patricia Resnick and music and lyrics by Dolly Parton including many of her hits such as the title “9 to 5” and “Backwoods Barbie” the musical retells the movies plot faithfully with lashing of comedy and spirited dancing and Lamp deliver it well and with style.

Directed by Claire Withnell, Choreography by Sarah Louise Donnelly and musical direction from Eddie MacLennan the company field an impressive 44 on stage performers and everyone get there moment to shine thanks to Donnelly’s inventive Choreography that makes the most of the tight space on stage. Withnell’s direction sets a cracking pace, and she brings out the best of the comedy and gives the show the right amount of pathos and emotion in the right places. MacLennan’s eleven strong pit orchestra are well polished and can really belt out those Dolly Parton classics with ease.

While performances across the board are good, the accents are very wayward with many being more central belt Scotland than the skyscrapers of downtown Los Angeles, if you’re going to work in accent, you really must stick with it all the way through and don’t let it drop. That said the stellar trio of Siobhan Smith “Violet Newstead”, Hannah Allan” Doralee Rhodes” and Fiona Scott as “Judy Bernly” are a triumph, perfectly capturing the film originals whilst giving the characters their own spin and all three are gorgeous singers. Rebecca Holmes turns in a comedy tour de force performance as “Roz Keith” that’s a joy to watch. John Knox steals the show as the heartless “Franklin Hart Jr” he is hysterical and never drops character even during the bows!

While there may have been sound niggles aplenty the company showed real commitment that shone through and they were backed by a great technical team. CF Sound and Light sound and lighting design delivered well and brought John Knox’s clever 1970’s infused set to design to brilliant life. The costume team added the cherry on the cake bringing to great breath to a plethora of 70s outfits with ease.

Lamp’s production is a fun filled night of musical theatre that’s the perfect celebration of its creator and is a potent reminder of just how talented Dolly Parton will always be and thank god we have her body of work to celebrate her legacy and Lamp have added to that legacy with a quality production that’s well worth the ticket price! So don’t miss out.

9 to 5, The Musical, Linlithgow Academy Theatre, Linlithgow, runs until Saturday 24^th October 2026. For more information and tickets go to: Linlithgow Amateur Musical Productions event tickets from TicketSource.

***** (5 Stars)

“A Timeless Scottish Comedy Classic!”

Legendary Scottish actor, comedian, playwright and writer Tony Roper recently celebrated his 85^th Birthday to mark the occasion he announced he would direct his greatest work one last time to mark its impending 40^th anniversary and his retirement from directing the show. The show is of course the cherished theatrical treasure “The Steamie” featuring songs by David Anderson and new production comes to Edinburgh’s Kings theatre as part of the inaugural season since reopening with a programme that celebrates the best of Scotland’s theatrical arts and proves once again that The Steamie is nothing less than a timeless Scottish comedy classic.

Originally staged by “Wildcat” at the Crawfurd Theatre, Glasgow in 1987 it was an instant success that would a see a television adaptation screened on Hogmanay 1988 featuring Scottish acting royalty Dorothy Paul, Eileen McCallum, Katy Murphy, Sheila Donald and Peter Mullan the play featuring songs and music takes the audience on a nostalgic journey back to the Glasgow wash houses (The Steamie) of the 1950’s were women were women and friendships are cemented in a show which has a beautiful heart and some of the most joyous observational humour ever written. Who knew “Could I have another tattie” would become so famous!

Over the last four decades numerous productions have been staged including an over-the-top mega show at the Glasgow SSE Hydro and even a production featuring a cast of drag performers. Now the 2026 production comes to the King’s Edinburgh for a weeklong run and delivers a flawless joy de Vere performance that makes the show sparkle just as brilliantly as the original.

A stellar cast of Lousie McCarthy “Dolly”, Alice Cleland “Margrit” Eden Barrie “Doreen”, Lesley Mackie “Mrs Culfeathers” and Paul J Corrigan as “Andy” combine together to deliver a comedy acting masterclass that’s rich in laughter as well as nostalgia and not a swear word is uttered between them thanks to Ropers incredible writing, he knows it works and that influences his beguiling direction which allows his cast to both embody and embrace the characters.

The entire cast deliver beautifully, and each get a moment in the spotlight that touches the heart whether it’s a monologue or song its clear this cast are revelling in the show. The cast are backed by a flawless production team.

Kenny Miller’s Set and Costume Design allows ’1950s’ Glasgow to come vividly to life and brings out the true heart of the piece that lets the audience see through the rose-tinted veneer of nostalgia to the reality of 1950’s life as opposed to today when the washing Is turning on a machine in our kitchens. Emma Jones Lighting design is nothing short of stellar ably supporting every emotion across the show. Paul Smith for apex acoustics sound design is equally excellent with pitch perfect balance between performers and Musical director Ross Brown’s musicians.

The Steamie remains timely as it is timeless! And this new production ensures everything that’s beloved and treasured about the play is right there on stage, funny, warm and full of heart it’s a show which will continue to enchant audiences for the next 40 years and behind and for that we are all truly grateful to the genius of Tony Roper!

As the song goes “It wont be long before the bells, time just over takes you” don’t let it over take you and grab what few tickets remain for a show which will lift your spirit and your heart in equal measure and you will leave the King’s smiling from ear to ear! Nothing comes close to bettering it! Wonderful stuff indeed.

The Steamie, The King’s Theatre, Edinburgh until Saturday 10^th October 2026. For more information and tickets go to: The Steamie – Capital Theatres

The 2026 Tour continues, with the production visiting Pitlochry Festival Theatre 20^th -24^th October, Dunfermline Alhambra Theatre 29^th – 31^st October before culminating at the King’s Theatre Glasgow 2^nd to 14^th November for more information go to: https://rerrterr.com/

**** (4 Stars)

“Full of Heart and Pride! ”

After all the celebrations The King’s Theatre Edinburgh inaugural autumn and winter season, since its transformation,  gets underway with a programme of productions that celebrate the best of Scotland across the generations which makes Raw Materials new hip hop musical “Wallace” an excellent choice and Edinburgh audiences get an exclusive preview of the show as its not scheduled to tour fully until autumn 2027.

Written by Rob Drummond with music and lyrics by hip hop award winning artist and DJ Dave Hook, this is a musical that’s heavily influenced by the great Lin-Manuel Miranda (In the Heights and Hamilton) and tells the story of the life of Scotland’s greatest advocate for independence and freedom William Wallace (1270- 1305).

Most people will only know the story of Wallace thanks to the 1996 Mel Gibson motion picture “Braveheart” the only problem being that the movie was mostly fabrication for dramatic purposes, this stylish musical lifts the lid on the real Wallace and the first war of Scottish independence from his stunning win at the Battle of Stirling Bridge to a shocking defeat at the Battle of Falkirk which lead to his death at the hands of King Edward the 1^st.

This is a musical that’s full of  heart and pride on wears it proudly on its sleeve, and engages from the off by not being a history lesson with musical but a powerfully written piece that draws comparisons between the World of Wallace in the 13^th Century and our modern world were those who are enriched and in positions of power continue to launch futile wars its aft sobering and emotional.

Performances from the six strong cast, Madeline Grieve “Wummin”, Dave Hook “DJ/Wallace”, Kimberly Mandindo “Wummin”, Ross Mann “Scotsman”, Patricia Panther “Wummin” and Manasa Tagica “Sassenach” are excellent all deliver flawless turns soaked in hip hop rhythms to great effect.

Production wise it’s a fabulous set design from Neil Haynes which is brought to even further vivid life by Derek Andersons full throttle lighting design. Garry Boyle sound design is equally as good but given much of the score is delivered by Hook’s live DJ skills it’s probably easier to get such a good balance. Victoria Brown costume design also triumphs in blending historic period piece with hip hop flavours in abundance.

Wallace was developed as part of Oran Mor’s A Play, A Pie and a Pint series  and at times the show still feels like it’s a work in development and while O’Loughlin’s direction is pacey the piece especially in act seems a little bloated and with a brief act 2 perhaps it should be performed as a one act musical but that could change as the show continues to develop.

Wallace is filled with adult language and truly embodies the spirit of hip hop although it also includes rock and pop in its score the show is truly engaging leaving catchy tunes in the memory long after the curtain falls. The greatest joy of the show is the way it holds up a mirror to today. For a man who died 721 years ago what have we has a humanity and society learnt from his life? As it appears for too many those In power continue to make the same mistake.

One thing that is no mistake is splashing out on a ticket for this show as you will leave royally entertained and I’m excited to see how the show develops ahead of its full tour next year.

Wallace A Musical, The King’s Theatre, Edinburgh until Saturday 3^rd October 2026. For more information and tickets go to: Wallace – Capital Theatres