England, 1945. The lives of two strangers are changed forever by a chance meeting at a railway station. But this isn’t Brief Encounter…
We’re all extras in the lives of others, but the stars of our own. What happens when you pan the camera away from the leading players? Fresh from a sell-out run at the Edinburgh Festival Fringe 2025, Mark Kydd’s solo show turns the spotlight onto a supporting artist with his own surprising tale of first, forbidden love.
This Valentine’s Day, celebrate LGBT+ History Month with Our Martin in the Background: the queer love story Noël Coward didn’t write.
Speaking to Scotsgayarts.com Mark Says “Our Martin…” is the story (told in flashback) of a man who recalls working as an extra during location filming for “Brief Encounter” while simultaneously embarking on a queer love affair that echoes the relationship at the heart of the film. It’s an intimate confessional piece, reminiscent in style – inits humour and Lancashire voice – of an Alan Bennett Talking Head. I was inspired to write it by a theory that Coward may have intended “Brief Encounter” as a disguised queer love story; while I’m not fully convinced this was the case, it proved an intriguing jumping-off point for a companion piece. During such a perilous time for minority lives, I think it’s imperative that new queer writing is seen and talked about, and I really want to be part of that conversation. “
With further performances of the piece planned for venues across Scotland this is LGBT History month inspired chance to see one of the hits of the 2025 Edinburgh Fringe Festival one more time and given the intimate nature of the Story Telling Centre it’s sure to sell out! So, grab those tickets before its too late.
Our Martin in The Background, Scottish Story Telling Centre, Edinburgh, Performance on Saturday 14th February at 2pm for tickets and more information go to: Scottish Storytelling Centre
“a triumphant yet intimate exploration of a television giant “
***** 5 Stars
Recent recipient of a star on the Hollywood walk of fame, acclaimed actor and performer Alan Cumming has launched his debut season as Artistic director of Pitlochry Festival Theatre with an inaugural festival “Out in the hills” an event which showcases the great and the good of the LBGTQIA+ community and its connection to the arts, culture and life blood of Scotland especially in the town known as the gateway to the highlands.
Across three days from the 16th to the 18th of January Pitlochry Festival Theatre came alive with a collection of cultural events including Sir Ian McKellen in a rehearsed reading of Laurie Slade’s one man play “Equinox”. Television producer and acclaimed writer Russel T Davies in discussion with author Jackie Kay regarding her latest literary offering “Red Dust Road”. Crime writer Val McDermid took the stage and even a panel discussion lead by Zander Murray, Scotland’s first openly gay professional footballer.
A truly inventive and open programme of theatre, music, film, sport and dancing was topped off with an evening of conversation as Alan Cumming himself took to the stage to welcome the king of the chat shows Graham Norton to the stage for a probing of an openly gay Irish man who has built a 30 year strong legacy on tv that has seen Norton reach the top of the industry but always remained his unique self.
2026 Inaugural Out In The Hills Festival @ Pitlochry Festival Theatre
Alan Cumming arrived on stage to a tumultuous applause its clear his retooling of the festival theatre and its programming has unleased fresh life whilst embracing its heritage it feels like the venue is embracing Scotland and its diverse people better that ever. Graham Norton arrives on stage to huge warm welcome, glass of wine in hand the two kindred spirits soon settle down on the sofas as Cumming begins his gentle probing of Nortons professional life.
Norton, born Graham William Walker first came to prominence in 1992 following training at the Royal Central School of Speech and Drama, as a stand-up comedian at that years Edinburgh Fringe Festival as tea towel clad Mother Teresa of Calcutta stand up drag comedy act. Following some confusion at Scottish Televisions religious affairs department who believed Norton was the real blessed mother.
His path led to BBC radio 4 then onto the newly launched Channel 5 as stand in host of Jack Docherty’s, late night chat show. Channel 5 quiz shows would follow before Graham landed the role of Father Noel Furlong in Channel 4 now comedy classic Father Ted, featuring in just three episodes, Norton spoke fondly of his time on the show. Channel 4 was the home of his first iteration of chat show, So Graham Norton which launched in 1998. Such was his success that Norton returned to the BBC in 2001 as host of comic relief and Graham has called the corporation home ever since.
Talent search shows, how do you solve a problem like Maria, Any Dream will do, I’d Do Anything and over the rainbow became Saturday night prime time main stays, whilst in 2007 Norton brough his big red chair to Friday nights with the Graham Norton Show which still draws impressive viewing figures to this day.
Stints hosting the Bafta’s, judging RuPaul’s Drag Race UK and a revamped Wheel of Fortune have all followed. Norton’s unmitigated badge of queerness must be as the beloved voice of commentary of the Eurovision Song Contest which he has held since 2009.
Graham Norton Chats To Alan Cumming
There was much for Alan Cumming to probe, and it was a fascinating insight into a unique treasure of British television. Norton himself came across as warm and affable as he is on tv but without the constraints tv brings he did himself justice. While Cumming ensured the spotlight remained on Norton, he wasn’t averse to answering a question or two himself especially when he opened the evening up to the sold-out audience.
Many questions looked at guests on Nortons chat show, his views on sexuality in an industry he has conquered giving the audience an evening which became a triumphant yet intimate exploration of a television giant. It was intriguing that the only real subject that wasn’t raised was his connection to Eurovision but perhaps that will allow for a second evening of probing of Graham Norton at the Pitlochry Festival Theatre.
The inaugural Out In The Hills Festival has set the bar high, lets hope it becomes an annual tradition in the heart of the highlands. As for Graham Norton the best has still to come as he remains a television institution who will forever been unapologetically himself! Long me he reign!
Alan Cumming in Conversation with Graham Norton, as part of “Out in the Hills Festival”, Pitlochry Festival Theatre Run Ended.
Fifty three years and still going strong, Richard O’Brien’s cult classic tribute to the B Movies with anthemic rock and roll score including hits like “The Timewarp”, “Sweet Transvestite” and “I’m going home” continues to pack lingerie and high heeled clad audiences into theatres around the country for an evening of debauched fun.
The show makes a return visit to the Edinburgh Playhouse exactly a year since its last visit and once again delivers the goods with a thrilling performance with the only problem being that this remains the shortest version ever of the show and it’s now doing those faithful audiences a disservice. Act one comes in at a woeful 41 minutes only and act two is just 45 minutes including the traditional dance along curtain call.
Director Christopher Luscombe has now cut the show to the very bone and the talented cast deliver in spades but at a lighting fast pace it makes the show feel even shorter, us rocky horror fans want more and frankly for the ticket price they deserve it too. For that being said this is still the ultimate feel-good night out that you can have in the theatre and it’s thanks to the sheer brilliant genius of Richard O’Brien writing and the awesome performances from the excellent cast.
Returning to the Horror Show to lead the company, for his only Scottish dates, as Frank N Furter is Jason Donovan who gives a simply divine performance throughout. The Rocky Horror show has been a part of his life since 1998 and he even met his wife through the show, but Donovan has truly grown into the role and brings vigour and camp comedy aplenty to the role and his ability to reference the hedonistic days of the late 90’s is hilarious. Donovan is surely now the elder statesman to play Frank and simply put no ones does the character better than him.
Donovan is joined by a stellar cast including Haley Flaherty “Janet”, Jason Bisp “Brad”, Ryan Carter-Wilson “Riff Raff” all of whom turn in glittering performances that truly capture the heart of the show and the applies to the entire cast. Special mention goes to Jackie Clune in the role of “The Narrator” her years of stand-up comedy are clear to see, and she handles the quips and adlibs from the audience with ease and in truly hilarious style with an adult edge and her pop at President Trump is timely as it is hilarious. Also continuing to shine extra brightly is the gorgeous Morgan Jackson as “Rocky” he excels every time he is on stage regardless of if he is wearing tiny briefs or stockings, suspenders and high heels, his is a triumphant rocky filled with unique charm.
Choreographer Nathan M Wright has ensured every classic dance move is right on stage while making it fresh for a new generation of audiences. This coupled with Christopher Luscombe tight direction ensures the show flies along.
Production wise it’s as excellent as it’s ever been, Hugh Durrant’s set design captures the nostalgia of the piece bringing a nice touch of cinema to the show, and this is boosted by Nick Richings brilliant lighting design. Musically the show really rocks thanks to musical director Adam Smith’s excellent five piece on stage band coupled with Gareth Owen’s sound design ensures every note, lyric and comedy line is heard in the massive auditorium of the playhouse. Sue Blane’s costume design is pitch perfect capturing the shows iconic look with ease and kudos to the men in the company for dawning those very high heels and showing their skills so well.
This is a Rocky Horror which keeps the flame of the original burning brightly and Jason Donovan continues to show why he is the definitive Frank N Furter, but it really is time for some of those cuts and omissions were added back in, in order to deliver real value for money. For now, if you want to start your 2026 with bang then throw your stockings and heels on and head to the playhouse to time warp the night away!
The corner stone of pantomime in Yorkshire must be the iconic Alhambra Theatre in Bradford a venue which annually stages one of the longest running pantomime season’s in the country. This year see’s Snow White taking to the stage with the simply legendary Billy Pearce making his 25th appearance leading the show. It’s made even more remarkable as 2025 was a tough year for Pearce who has battled back from serious surgery and delivers a staggering performance that belies the fact he is approaching his mid 70’s.
This Snow White is nothing short of a magical comedy fuelled panto extravaganza. Written by Harry Michaels and Allan McHugh with additional material by Billy Pearce and Gareth Joyner it’s clear that Billy Pearce is simply beloved in Bradford and rightly so, playing the “Man in The Mirror” this is a show that’s built both around and for him and he delivers a pantomime masterclass. The same is true of Myra Dubois (the creation of Gareth Joyner) as Queen Lucretia who delivers one of the finest modern panto baddies. Myra isn’t a “Drag Queen” but a fully realised female comedy character akin to the late Dame Edna Everage and that allows Myra to embrace the heart of pantomime and is never happier when picking victims in the audience to lambast as well keeping the story flowing via comedy. Taking the role of Snow White is the beautiful Sarah Pearson who brings the right princess magic and vocal abilities to the role. The Gorgeous Callum Connolly takes on the role of Prince William of Wakefield and he delivers in spades with great vocals to boot. The Magnificent Seven Jamie John, Josh Bennett, Richard Blenkiron, Andy Herd, Kyle Herd, Paul Monaghan and Craig Sailsbury bring the required chutzpah to the seven dwarfs, but Jamie John is true stand out, as he joins the principals’ delivering sketches with great comic ability. Its time Jamie John reached beyond Snow white every panto season to tackle other titles and characters as he truly gets the art form and mastery of panto.
Rounding out the main cast is 80’s icon Sinitta, but it’s a bit of miss fire of casting, as Sinitta doesn’t appear to get the art of pantomime and appears often unphased to almost confused in her role of “The Spirit of Pantomime” although vocally she delivers well especially in a re-written version of her hit “So Macho” which goes down well.
The principal cast are joined by an eight strong ensemble who are polished and full of panto joy especially when delivering legendary Choreographer Stillie Dee’s inspired and panto flavoured filled choreography. The Alhambra is also one of the few crossroads pantomimes in the country to feature a team of “Babes” affectionately known as the “Sunbeams” and it really adds that special magical topping to the show.
Director Ed Curtis displays great temerity and knowledge of both Bradford and the abilities of its Star Billy Pearce and that’s what makes the show uniquely Yorkshire and so at home in its home city. Production wise the show is all quality worthy of the west end. Ian Westbrook’s inventive set design sparkles under Rory Beaton’s exquisite lighting design that brings out the best of both the show and the Alhambra’s gorgeous Auditorium. Special mention must also go to Teressa Nalton (with Additional Costume design from Ron Briggs and Speciality Costume design and construction from Mike Coltman) and her teams lush and beautiful costume design that knocks the eye out at every opportunity. Richard Brooker’s sound design is on point with every line and lyric heard with clarity and the balance between performers and musical director James McCullagh and his five strong pit band is utterly Flawless.
The cherry on the panto cake at the Alhambra must be the work of those clever boys at Twins FX you will believe this is a panto world where helicopters fly and dragons’ breath fire with equal ease and proves how far pantomime has come but for that being said, there is a rich vein of tradition running through this sublime panto offering.
This is a Snow White that delivers everything it should but it’s the joy of seeing the Legend that is Billy Pearce work that makes this an irresistible treat to try and catch before the end of its run! So head to the Alhambra now and snap up those tickets!
Snow White and the Seven Dwarfs, The Alhambra Theatre, Bradford, Runs until Sunday 18th January 2026 for tickets go to:Snow White | Bradford Theatres
Crossroads Pantomimes and The Alhambra Theatre have confirmed that Billy Pearce will return for Christmas 2026 to Bradford in “The Pantomime Adventures of Peter Pan!” Tickets go on sale in the spring.
“A Joyous celebration of all that’s good in panto! “
***** 5 Stars
The Edinburgh King’s Panto return’s one more time to the Festival Theatre owing to a delay in the revamp of the King’s the team bring Jack and The Beanstalk to Edinburgh’s biggest stage and delivery a production that’s pure west end but with the beating heart of Edinburgh’s rich panto heritage and that essential touch of magic that the triumvirate of Stewart, Stott and Young can only produce, this is a giant of panto in every respect and see’s the team leave the Festival theatre with an almighty bang.
Written by Harry Michaels & Allan Stewart, with additional material by Matt Slack, Grant Stott & Jordan Young this is a panto that’s admittedly light on story but embraces wonderfully the formula that works brilliantly at the London Palladium and that’s good old-fashioned Variety. Spectacular musical numbers blend with excellent comedy as the team blast there way through a sleigh full of sketches all wrapped around the familiar story of Jack and The Beanstalk, but the writers give the audience the credit that they know the tale inside out and that allows for a joyous celebration of all that’s good in panto to unfold.
Allan Stewart marks his golden anniversary, yes! 50 years, in panto this year, with 28 of those in frocks as dame, and he proves he still in the form of his life as Dame May McTrott makes her entrance and becomes the driving force of the show. His legs are still the best in the business and once again Stewart gets through a plethora of outrageous frocks including the biggest boobs in pantoland that leaves the audience in stitches. Grant Stott returns to his original baddie “Fleshcreep” and he simply has to step out onto stage and the boo’s ring out loud and clear and he laps them up, there isn’t better baddie to be found and Stott gives his creations the right flavour of local “ned” but still brings enough of a scary edge to give the child in all of us a thrill, he really Is the big tidy of villains. Jordan Young brings out the best in his daft laddie character as he takes the title role of Jack McTrott, and he is adored by the audience and has become a cherished corner stone of the Edinburgh panto team. Clare Gray returns as a couthy “Pat the Cow” sadly she is a little underused, but boy does she make every moment on stage count and the emotional nods to her father by Clare as well as Stewart and Stott don’t go unnoticed and adds an endearing quality to the show. Local lass Gail Watson shines as the Spirit of the Beans often great things come in smaller packages and Watson delivers in spades. Amber Sylvia Edwards brings sweetness and great vocals to the role Princess Jill.
The principals are joined by a ten strong ensemble who shine equally when on stage and never more so than when delivering Karen Martins inspired choreography. Director Ed Curtis takes the helm for his 12th panto with the Edinburgh team and fully understands what Edinburgh audiences want and delivers that in spades with a show which is tight throughout and cracks along at a great pace.
Production wise this is simply a triumph. Olivier nominated and award-winning set designer Mark Walters London Palladium set looks absolutely gorgeous on the Festival stage it sparkles like a story book come to life and is enriched by Rory Beaton’s sublime lighting design that’s every inch pure west end. Ryan Dewar delivers the goods with a fun video and projection design with a live camera sketch given a hilarious outing. Richard Brooker’s sound design is perfectly balanced with musical director Andy Pickering and his five strong pit band bringing polished music to the show.
Special mention must go to costume designer Teresa Nalton and her team, (Additional Costume design by Ron Brings and speciality costume design and construction by Mike Coltman) the costumes this year drip luxury and big budget from the get-go and encapsulates the magic of pantomime.
Speaking of magic, the cherry on this panto cake are the special effects from those talented boys at Twins FX and this year the biggest of giants and beanstalk appear to spectacular effect that has the audience gasping in wonder.
Jack and the Beanstalk delivers everything it sets out to do and that’s allowing our beloved King’s panto team to take a spectacular final bow at the festival theatre whilst delivering the perfect festive treat that’s now become beloved by generations of families.
As the curtain fell its clear all eyes are on a spectacular return home to the Kings with the debut of Pinocchio an until now unseen panto in Edinburgh but rest assured the triumvirate will be back, but my word they have a job on there hands to top this years dose of pure panto perfection that’s selling out performance after performance so you’d better rush up the beanstalk and to the festival theatre for those last remaining tickets for this year’s spectacular!.
Capital Theatre’s has confirmed that pantomime will return home to the King’s Theatre with Pinocchio from Saturday 28th November 2026 to Sunday 17th January 2027 and tickets are now on sale at: The Adventures of Pinocchio – Capital Theatres
ScotsGay Arts 