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Mary Woodward Review

Scottish Opera: Lauder, Portobello Town Hall, Edinburgh, Review

**** (4 stars)

“Unmitigated mirth”

Previously seen in 2017 in a performance which was part of the Theatre Royal Glasgow’s 150th anniversary celebrations, this show has been revived to mark the 155th birthday of the legendary Scottish entertainer Sir Harry Lauder – and what better place to see this than in the great man’s birthplace, Portobello, on the anniversary of his birth.  Ticket sales from these performances will go to Erskine Veterans Charity, which Lauder supported in his lifetime, and of which tonight’s performer, Jamie McDougall, is an ambassador.

Born on August 4th, 1870, in humble circumstances, Lauder became the equivalent of a pop idol today, a household name with an international career, who at one time was the highest-paid entertainer in the world and was knighted in 1919 – “the first knight of the music halls”.  He started off as a comedian, but later introduced  gentle romantic songs into his performances and preferred to describe himself as a minstrel.  His only son John died in the Battle of the Somme in 1916, and Lauder spent a vast amount of time and energy entertaining the troops in France and raising over a million pounds for the care of wounded ex-servicemen by his performances around the world.  He died on February 26 1950.

Jamie McDougall, well-known and -loved tenor whose performances with Scottish Opera are always a joy, was giving his penultimate performance of Lauder.  From the moment he stepped onto the stage of Portobello’s town hall, he had us in the palm of his hand, pouring seemingly boundless energy and enthusiasm into a succession of Lauder’s catchy songs, sentimental without being saccharine, twinkling with oh-so-slightly naughty humour, and inviting us to enjoy ourselves as much as he was in performing for us.

Filmed scenes from Harry Lauder’s funeral segued into the man himself coming through the auditorium and on to the stage to meet his rehearsal pianist [the lovely and talented Derek Clark, former Head of Music at Scottish Opera].  His very first song, Stop your tickling, Jock! had the audience applauding enthusiastically – and the applause continued all night. 

While conducting the rehearsal, ‘Lauder’ was also talking to a journalist who’d come to interview him – thus providing the perfect vehicle for him to talk about his early years and the gradual growth of his success.  One of my favourite numbers was the utterly appalling temperance song he apparently sang at a Band of Hope concert when he was only five: the song was dreadful, but his rendition thereof was priceless!

What was also apparent was the man’s professionalism and the ways he ensured he was remembered, in an age which abounded in great singers, including the opera stars Gigli and Caruso… Make an entrance, always by the front door: if it’s in New York, be driven down Broadway preceded by a piper.  Use the extra space on a recording after the song has finished to carry on speaking and become known for doing this.  Cultivate a reputation for being tight with your money. In private he was obviously a very loving and generous son, husband and father, a tender-hearted man whose wife Nancy was the rock on which he leaned.

And then there were the songs…I love a lassie, a wee deoch an Doris, it’s nice to get up in the morning, we parted on the shore, the road to the Isles, and the final Keep right on to the end of the road had most of the audience joining in, with Jamie McDougall’s encouragement because singing is the thing that makes you cheery.

It wasn’t unmitigated mirth –  the tragic news his son’s death was superbly portrayed, and immediately followed by film footage from the trenches.  It was sobering to see apparently normal landscapes and realise that they concealed soldiers and weapons, and that many, or possibly all, of the men on film would not make it back home, or only with serious injuries.  What was impressive was the way Lauder didn’t abandon himself to grief but used his fame to raise money for wounded soldiers,.

And somehow, through the grief, Harry kept the sparkle and joy in his performances, just as Jamie McDougall did so superbly throughout this evening in Portobello.  I’m sad that tomorrow night is Jamie’s last-ever performance of Lauder but so very glad I had the chance to see him remember and enjoy portraying the life of the great man on his 155th birthday.

Scottish Opera: Lauder, Portobello Town Hall, Edinburgh runs until Tuesday 5th August.

Brett Herriot at the Festivals

Legally Blonde, The Edinburgh Academy- Magnusson Theatre (Venue 70) Review:

***** 5 Stars

“Bleeds diversity and acceptance from its heart “

Edinburgh based Captivate theatre now enjoy a hard-earned reputation of excellence for producing story and performance driven theatre that sees over 250 creatives working across 9 shows and 4 venues across the 2025 Fringe festival.

Interestingly for the first time in its 16-year history the company tackle a musical which has Choreography at its core. Legally Blonde the musical debuted in 2007 with music and lyrics by Laurence O’Keefe & Nell Benjamin and book by Heather Hach based on the 2001 motion picture tells the story of Elle Woods a law school blonde who sets out to define expectations and along the way discovers herself and just what she can achieve.

Captivate deliver a joyous production that bleeds diversity and acceptance from its heart in a fast paced and excellently directed and choregraphed show from Colum Findlay. The stellar 24 strong ensemble cast live and breath every moment on stage delivering pinpoint dance with fabulous vocals and expertly handled comedy.

Performances across the board are excellent with Elsie Watson taking on the lead role of Elle (she will alternate with Niamh Osborne) her performance imbues everything an Elle should be and more with lush vocals and perfectly judged emotions throughout.  Speff Strachan’s “Paulette” is a comedy tour de force but always truthful. Filling the role of sleazy Callahan is Rory Maclean who delivers well in a character that’s completely driven yet devoid of humanity. Bailey Easton is a standout as “Emmett” he lets the characters heart shine through in an emotionally delivered performance. A special mention must go to Emma Clarkson as “Brooke” initially portrayed as bitch driven by vanity when in reality it’s her female empowerment that ultimately grabs the audience in a wonderfully physical performance.

Director Findlay makes the most of the intimate space aided by a fabulous lighting design from MM Sound and lighting and the show is lifted by Charlotte Nicholson’s excellent wardrobe design, even Nicholson herself pops up on stage for a cameo that lands well. Musically the show is a triumph with musical director Fraser Hume and his 10 strong band revelling in the pop infused score.

This is a Legally Blonde which transcends the Fringe Festival, blending together excellent storytelling, sublime performances and a heart felt mantra that we can be who ever we choose to be, and we all deserved to be loved for who and what we are.

You won’t go wrong in rounding out a festival day with this endearing and spectacular production! Truly unmissable Fringe theatre at its best!

Legally Blonde, The Edinburgh Academy- Magnusson Theatre (Venue 70) For more info go to: https://www.edfringe.com/tickets/whats-on/legally-blonde

Mary Woodward at the Festivals

She’s Behind You!, Traverse 1 at The Traverse Theatre, Venue 15

***** (5 stars)

“An absolute cracker”

Yet again I’ve managed to pick an absolute cracker of a show with which to start my August In Edinburgh!

In the beginning, there was the Christmas panto dame…but a dame is for more than just Christmas…

In true panto fashion, our heroine’s entrance was heralded with loud cries of She’s behind you! A vision in blue gingham and sparkly red shoes made her way down the steeply raked steps of Trav 1 to take her rightful place, centre stage.  Her opening number, into which she managed to get digs at just about every other well-kent Fringe venue as well as the International Festival itself, was greeted with a storm of applause. 

Johnny McKnight has been a pantomime dame for a goodly number of years, and works the audience superbly.  Whether you have extensive acquaintance with pantomime and its peculiarities, or not the faintest idea what this outlandish creature on stage is talking about, in an instant you are drawn into Dorothy Blownagale’s magic spell, a helpless, hapless prisoner.  Whether you will or no, you WILL enjoy yourself!

She’s behind you was originally conceived as part of the Cameron Lectures, in association with the University of Glasgow and the Royal Conservatoire of Scotland.  Johnny McKnight has turned it into a wonderfully, wickedly witty exploration of the history and nature of the Pantomime Dame.  When Johnny first played panto, he was cast as the ‘silly billy’ – the naïve, gormless youth who is simply there to be laughed at, who will never, ever, get the girl – virtual type-casting, except that he was beginning to realise that he would much rather get the boy…

For all its seeming anarchy, panto has innumerable, immutable rules inherited from the commedia dell’arte, all the more challenging because never explained.  ‘Goodies’ and ‘Baddies’ can only ever enter and exit from ‘their’ side of the stage – and up to now, male and female characters alike were almost always played by men.  The heroine could be female, but was generally a pawn with little agency of her own: the whole atmosphere was unquestionably heterosexual, even though the ‘hero’ was played by a girl, with much slapping of fish-netted thighs.  Ageism, sexism, misogyny and cruel mockery were rife…

At least, that’s how it was when Johnny first trod the boards as ‘silly billy’.  In due course, he graduated to playing the Dame, and in his first season felt so uncomfortable, so ghastly, so old that he swore he’d never do it again.  Thankfully for all of us, he broke his oath.  I’m not going to outline his trajectory, or reveal his Basic Rules of Panto – they are for him to tell. 

What I will say is that the story of how Dorothy and Johnny grew and developed, of the challenges they faced, and the triumphant emergence of someone completely at ease with who they are both on and off stage, is an outstanding example to us all, and an encouragement to anyone who is trying to find out who they are, and how to be truly themselves.

There’s music, singing, dancing, glitter, sparkle, audience engagement and embarrassment, drama, tension, suspense, tears, fears and cheers in full measure, and we absolutely adored it.  A standing ovation was richly deserved.

This is a wonderful show which every homophobic, self-righteous Guardian of Public Morals should be forced to watch.  Hurry up and get your tickets before they all disappear!

She’s Behind You!, Traverse 1 at The Traverse Theatre, Venue 15 for more information go to: She’s Behind You | Edinburgh Festival Fringe

Brett Herriot at the Festivals

I Was a Teenage She-Devil, Upper Theatre at The Space @Niddry Street (Venue 9) Review:

*** 3 Stars

Packed with energy

An ode of love to the 80’s horror comedy movies, infused with a rock score and blending the essence of Rocky Horror with Little Shop of Horrors with a dash of Heathers and a huge dose of americana and you get “I was Teenage She-Devil” playing in a late night slot at the Space on Niddry Steet.

With book, music and lyrics by Sean Matthew Whiteford and directed by Rachel Klein and deploying an eight strong cast drawn from across the United States and right here at home in the UK the show is fun if gory romp through one person’s obsession with the 80’s culture and more specifically horror movies. Horror movies that paved the way for the “Scream” and “I know what you did last summer” franchises.

While the show is packed with energy and catchy tunes it does need some refining in the writing to avoid the plot starting to go round in circles. The performance we saw was beset with sound issues especially in the balance between head mics and the backing tracks. Given the intimacy of the space being used perhaps multiply mics need not be used, then again this is a very much a rock musical! Im sure as the show beds into its run it will come good.

If you’re looking for a fun, late musical romp that delivers everything it sets out then I was teenage she-devil is a must add to any fringe goer’s diary. There may well also be life ahead outside of the fringe for a show that’s got plenty of spark in it too! One worth catching for sure!

I Was a Teenage She-Devil, Upper Theatre at The Space @Niddry Street (Venue 9) For more info go to: I Was a Teenage She-Devil | Edinburgh Festival Fringe

Brett Herriot at the Festivals

Sauna Boy, Theatre 3 at The Space @Surgeons Hall (Venue 53) Review:

**** 4 Stars

Delivered with a raw intensity 

Shining a light into the often-dark world of working in a Sauna, especially a gay sauna could lead to many old tropes being re-treaded. However, Sauna Boy is a step apart as its semi-autobiographical with acclaimed writer and director Dan Ireland-Reeves reflects on his time working in a gay men’s sauna on England’s south coast. 

Dan has navigated a world of Lust, friendships and unorthodox working relationships and has seen the power of true friendships outweighing the darkest of sexual desires from men who see saunas as nothing more than a way to satisfied there most depraved wishes.

This 70-minute play pitch perfectly in its evening slot is delivered with a raw intensity that grips from the off thanks to Ireland-Reeves capturing performance that embraces strong language, nudity and a lighting quick pace that belies its 70th minute run time. There are a couple of moments where the narrative does start to repeat itself but the execution of the performance to drive home the cost of the choices made retains the audiences undivided attention with ease. 

The Fringe by its very essence is the testing ground of theatre to push its boundaries and “Sauna Boy” achieves that with grace and style and is a play that is deeply personal as it relatable to all of us who simply wish to be love. The dark side of working in the adult industries in laid bare in a show that wears its heart on its sleeve and will leave you touched in many ways. Engrossing fringe theatre doesn’t come any better so be sure to see the show before it closes its Fringe run on Saturday 16th August.

Sauna Boy, Theatre 3 at The Space @Surgeons Hall (Venue 53) For more info go to:https://www.edfringe.com/tickets/whats-on/sauna-boy