Linlithgow Amateur Musical Productions affectionally known as LAMP bring the curtain down on there 40th Anniversary year with a spritely new production of the Cole Porter Classic, Anything Goes running this week in the towns Academy Theatre.
Anything Goes recently marked its 90th Anniversary with the original show debuting on Broadway at the Alvin Theatre (Now the Neal Simon Theatre) it would spawn no less that three film adaptations 1936, 1956 (The Bing Crosby classic) and 2021. It’s also been adapted for tv three times.
It was the widely successful 1987 Broadway revival that continues to be used today with music and lyrics by Cole Porter and a new book by Timothy Crouse & John Weidman based on the original by P.G. Woodhouse & Guy Bolton its that version that LAMP directed by Hannah Easton, Choreography by Hayley Fleming and Musical Direction by Eddie MacLennan bring to the stage in a show that is truly a treat of a musical comedy caper.
The show tells the story of Billy Crocker (Mark Wilson in a peerlessly delivered performance) who stows away aboard the S.S American as it sails across the Atlantic from New York To London he falls in love with Hope Harcourt (Mhairi Urquhart in fine form) but she is being forced by her overbearing mother to marry someone else. America’s 13th most wanted criminal Moonface Martin (John Knox in a show stealing performance) is also aboard and Billy enlists him to win the arm of his true love. What follows is situation comedy in musical form of false identities, cross wires and wondering if true love will win out! Fame, infamy and human spirit in a show that’s still as funny now as it was all those years ago when it debuted.
The impressively large cast deliver a punchy performance across the board, and the leads are all excellent especially Mark Wilson, his Billy Crocker has real charm, and a honey-soaked vocals. John Knox really does steal the show a comedic tour de force turn. Mhairi Urquhart brings a lovely sense of innocence to the role of Hope Harcourt and Fiona Scott nails the role of Reno Sweeney perfectly turning in a brassy and bravura performance.
The company truly do shine especially in the show piece full cast show stopping numbers, Blow Gabriel Blow is the sparkling jewel in the show and gives any west end or touring company a run for there money. There are some issues with accents though, not everyone is up to delivering the American accents but many cast members really need to choose one accent and stick with it throughout the show.
Production wise John Knox’s set design makes the best of the space and gets the balance between nautical ship and luxury liner right. This is enhanced by MM Sound and Lighting, Lighting design. The lighting especially brings a rich pallet of colour. The sound had a few sticky moments but soon smoothed out and the balance between the onstage performers and the excellent 9-piece pit orchestra under the baton of musical director Eddie MacLennan is faultless.
Lamp have delivered a show that is fitting to see out their anniversary year and you can’t help leaving the theatre with smile and humming the tunes. It clear those on stage are reveling in the spotlight and that infectiousness is greeted warmly by the audience for show that provides a quality night of musical theatre! Well done LAMP for proving for 40 years and many more to come that Anything Goes!
The late and legendary Pulitzer Prize award winning author Harper Lee’s greatest work is undoubtable the transformational, To Kill a Mockingbird which this year marks its 65th anniversary of its publication. The book which is based on Harper’s own life was an immediate critical and audience success. It would go onto achieve wider acclaim following the 1962 motion picture adaptation starring the Great Gregory Peck as “Atticus Finch”.
Mockingbird was first adapted for the stage in 1990 by Christopher Sergel in a production that continues to run annually in May of each year in Monroeville, Alabama the home of Harper. That production would tour the UK Several time.
In 2018 Aaron Sorkin would adapt the book again for a brand-new production for Broadway at the Schubert Theatre directed by Bartlett Sher. This production would be nominated for 9 Tony Awards and would transfer to London’s West End and now it is enjoying a UK tour calling at the Festival Theatre for a week’s run.
Sorkin’s adaptation is not without controversy as it moves the focus more fully onto Atticus Finch (John J O’Hagan covering for the indisposed Richard Coyle who delivers an emotionally charged powerhouse performance) as opposed to Scout Finch (The divine Anna Munden) as in the original book.
This is story of racial divide, bigotry, and truth set in 1930’s Alabama as Lawyer Atticus Finch takes on the case of Tom Robinson a black man falsely accused of rape in an America that’s divided in many senses and despite the sixty five year gap between the book being published and today the play proves to be a powerful reflection of a modern world especially in the politically divided modern America of today.
Performances from the entire twenty-four strong cast are uniformly excellent with O’Hagan especially shinning in the lead role, his physicality and delivery is complete and its clear by his emotions at the curtain all just how much he gives the role in a finely nuanced performance. Aaron Shosanya brings a silent strength to his role as Tom Robinson. Special mention must also go to Dylan Malyn as Dill Harris. Malyn is making his professional debut delivering a character although rich with comedy has a deep sense of truth brought about by the characters mental difficulties truly an astonishing performance.
Production wise Miriam Buether’s set design is grand and effective in its visuality but its does feel a little clunky and adds time to an already long running time, but it visualizes the time period of the story wonderfully well. The same is true of Ann Roth’s incredibly detailed costume design and captures the cross section of America in the 1930’s in minute detail. Scott Lehrer’s sound design is faultless and composer Adam Guettel music brings a richness and flow to the over all production.
To Kill a Mockingbird continues to be an impassioned exploration of the human condition and remains timely as it is timeless, and this new production ensures a quality evening of drama that speaks across the generations. Unmissable theatre at its best.
To Kill a Mockingbird, Festival Theatre, Edinburgh runs until Saturday 25th October for more information and tickets go to: To Kill a Mockingbird – Capital Theatres
The UK Tour continues for the remainder of 2025 and into the Spring of 2026. The production will call at the King’s Theatre Glasgow 4th – 8th November 2025.
Where has 2025 gone too! Once again here at Scotsgay Arts we are looking forward to the festive season that will be with us before we all know it and that of course means our traditional preview of the best pantomimes and Christmas shows on offer around the country and further afield!. Our selection is of course just the tip of the ice berg as venues up and down the country provide a plethora of festive treats for your viewing pleasure! We hope you pick one of our choices! And you can be assured we will be reviewing the biggest and best of the offerings too! So let’s get to it with our exclusive preview!
EDINBURGH!
Jack and the Beanstalk, Festival Theatre Edinburgh.
The Kings Edinburgh Panto team will mark their final season at their temporary home of the Festival Theatre with the Giant Pantomime Spectacular! Featuring the legendary team of Allan Stewart (Dame May Trott), Grant Stott (Fleshcreep) and Jordan Young (Jack) returning for a sky high adventure. They will be joined by Clare Gray (Pat the Cow), Gail Watson (Spirit of the Beans) and Amber Sylvia Edwards as Princess Jill.
With spectacular special effects, the gorgeous London palladium set and stunning costume this promises to be a gigantic farewell to the Festival Theatre filled with comedy, music and the biggest beanstalk you will ever see!
Crossroads Presents Jack at the Beanstalk, Festival Theatre Edinburgh, Saturday 13th December 2025 – Sunday 11th January 2026 for more information and Tickets go to: Jack and the Beanstalk – Capital Theatres
Snow White, Summerhall, Edinburgh
Summerhall in collaboration with Edinburgh Acting School present their debut pantomime with a family friendly take on the Classic fairytale!. Packed full with comedy, music, audience participation and sparkling costumes which puts Summerhall at its heart its promises to be a very special pantomime adventure and features ensemble children drawn from the local community!
Summerhall and Edinburgh Acting School Present SNOW WHITE, Summerhall Edinburgh, Thursday 11th December – Sunday 14th December 2025 for more information and tickets go to: Snow White comes to Summerhall – Summerhall Arts
Cinderella: A Fairytale, The Royal Lyceum Theatre, Edinburgh
The Royal Lyceum theatre company continue their traditional Christmas shows with a brand new take on the classic fairytale! Cinderella. Filled with magic and adventure Sally Cookson’s celebrated adaptation of Cinderella will delight the whole family in a new production from The Lyceum. With music and puppetry, this festive story adds a magical flutter of wings to happily ever after.
Cinderella: A Fairytale, The Royal Lyceum Theatre, Edinburgh, Thursday 27th November 2025 – Saturday 3rd January 2026 for more information and tickets go to:Cinderella: A Fairytale | Lyceum
Beauty and the Beast, Portobello Town Hall, Portobello
Stage door entertainment return for their third annual outing of Panto at the Porty Town hall with a tale of Love, Laughter and enchantment that promises to be a beast of a pantomime. Producers have confirmed a brand new Writer and Director will be joined by a brand new cast!
Filled with much-loved music, and hilarious comedy, Beauty and the Beast will take centre stage at the Town Hall, and promises to be an unforgettable theatrical event. So, sit back, relax, and be our stage door’s guest this Christmas!
Glasgow Pantomime royalty Elaine C Smith and Johnny Mac head under the sea to the depths of the ocean in an exhilarating and enchanting theatrical extravaganza. The Little Mermaid is producer Crossroads pantomimes newest production making its Scottish debut at the home of pantomime in Glasgow.
Darren Brownlie is also confirmed to be returning in the role of Dishy Fishy being joined by Hannah Jarrett-Scott, Jasmine Jules Andrews and Benjamin Lockhart with spectacular new sets, sparkling costumes and lashings of comedy, music and special effects this is a panto that you will be longing to be part of their world!
Glasgow’s Tron Theatre continue there magical mix of Christmas show and pantomime with the brand new Gallus in Weegieland written by acclaimed panto dame Johnny McKnight, Directed by Sally Reid , Design by Kenny Miller and composed by musical director Ross Brown this promises to be the most unique and magic filled panto adventure.
WEEGIELAND: a winter wonderland populated with strange-talking creatures, a maniacal power-hungry Queen and her son Knavey (quite possibly the hottest Harry Styles rip-off the pantosphere has ever seen).
Will Gallus ever find their beloved Dinah The Cat? Will Knavey declare his love for Gallus and live happily ever after? Or the will the evil Queen of Hearts stop true love in its tracks by demanding OFF WITH THEIR HEADS? Find out in this year’s Tron Panto.
Gallus in Weegieland, Tron Theatre Glasgow, Wednesday 19th November 2025 – Sunday 4th January 2026.
Jock and the Beanstalk, Pavilion Theatre, Glasgow
Imagine Theatre chalk up there third year in charge of the annual panto extravaganza at the Pavilion Theatre Glasgow with Jock in the Beanstalk a brand new take on the classic tale featuring all your fav Pav panto pals: Liam Dolan, Grado, Stephen Purdon, Scott Fletcher, Jack Jester, Jennifer Neil, Craig Glover and Valissa Scott.
Come and see if Jock can defeat the giant, win the heart of the girl he loves and turn the Trots’ fortunes around. Once again, the Pav panto will have all the ingredients for a perfect family panto; with a dastardly villain, a hapless comic and a hilarious panto dame, as well as fabulous musical numbers and bags of Clydeside chaos!
Crossroads Pantomimes present the fairy godmother of all pantos with Cinderella heading to the Granite City this Christmas with Joe McFadden and Dawn Steele leading the company alongside returning panto favourites!
Aberdeen’s favourite Dame Alan McHugh returns to the stage alongside writing and directing the show. He is joined be acclaimed panto comic actor Paul J Corrigan and Danielle Jam alongside those ugly sisters Julie Coombe and Helen Logan.
Filled with gorgeous costume, magical effects and a sparkling set join the gang for a magical rags to riches adventure!
Crossroads presents Cinderella, His Majesty’s Theatre, Aberdeen. Saturday 29th November 2025 – Sunday 4th January 2026 for more information and tickets go to: Cinderella | His Majesty’s Theatre
Snow White and the Seven Dwarfs, The Tivoli Theatre Aberdeen and The Webster Theatre, Arbroath.
The Fairest Pantomime in the land comes to both The Webster Memorial Theatre, Arbroath and the Tivoli Theatre, Aberdeen this Christmas!
Charming Entertainment are delighted to present a brand new production of Snow White and the Seven Dwarfs this Christmas with sparkling costumes, beautiful scenery, a sensation all singing and dancing cast and of course a laugh a minute script!
Will the wicked Queen Dragonella remain the fairest in the land or will Snow White with skin as white as Snow, hair as black as ebony and lips as red as rose become the fairest in the land and win the heart of the handsome Prince with a little help along the way from 7 little friends!
The home of panto in the highlands, The Empire Theatre at Eden court once again collaborates with Imagine Pantomimes for a magical take on Snow white!
When the Wicked Queen’s magic mirror declares that Snow White is the fairest in the land, she is overcome with jealousy. Will Snow White’s friends be able to help save her from the Queen’s fury, letting them all live happily after?
Enjoy a wickedly good time at a classic family panto packed full of hilarious slapstick humour, audience interaction, hit songs, sensational dancing and plenty of festive joy.
Snow White, Eden Court Theatre, Inverness, Wednesday 3rd December 2025 – Sunday 4th January 2026 for more information and tickets go to: Snow White | Eden Court
FIFE
Oor Wee Mammy McGoose, Kings Theatre Kirkcaldy
The Best Wee Panto in Scotland returns with a Brand Spanking New Production that looks set to scale new Heights and become our Best Wee Panto Ever!
“Oor Wee Mammy McGoose” will feature all the magic and mayhem you have come to expect from our five star pantos together with marvellous music, stunning sets, lashings of laughter, maybe a wee tear or two, and a extra special story with it’s roots firmly set in the Langtoun.
And what would a King’s Wee Panto be without Fife’s favourite ever Dame – the legend that is Mr Billy Mack, starring in the title role. Joined by the rest of our brilliant cast, Mark McDonnell and Sarah Brown Cooper, and featuring this year, the totally awesome star of the West End and original Langtoun Girl, Shona White and Ross MacKenzie!
Oor Wee Mammy McGoose, Kings Theatre Kirkcaldy, Thursday 4th December – Saturday 10th January 2026 for more information and tickets go to: Pantomime | The King’s KDY
AYR
Aladdie, The Gaiety Theatre, Ayr
Written by Fraser Boyle, co-writer of The Gaiety’s 5-star panto hits Mother Goose (2024) and Cinderella (2023).
Less the Far East, more the very, very far East of Ayrshire, the Ancient McMinger Dynasty rule the land from their seat of power in Old New Cumnock Town. Aladdie’s adventures catapult him into deep trouble he can’t get out of alone – thank goodness then for family – and an Ayrshire family at that!
Will Aladdie ever win the hand of Princess Destiny? Will Abanazar rule the land as the greatest Magician the world has ever known? And will Widow Twunkey ever manage to scrub the Royal Smalls to Empress Oonagh McMinger’s most exacting standards?
Magic, mayhem, mischief and even Maybole abound in this re-telling of an old tale – this isn’t Aladdin. It’s Aladdie!
Aladdie, The Gaiety Theatre, Ayr, Saturday 29th November 2025 – Sunday 4th January 2026 for more information and tickets go to: Aladdie – The Gaiety Theatre Ayr
Now a couple of picks from south of the border!
NEWCASTLE
Aladdin, Theatre Royal, Newcastle
2025 sees Newcastle’s favourite panto duo Danny Adam’s and Clive Webb chalk up their 20th consecutive year leading the Theatre Royal accompanied by the legendary dame Chris Hayward and now firm favourite Joe McElderry .
Acclaimed producer and Director Michael Harrison is delivering a brand new production of Aladdin the which you have never seen the likes of before! Fusing together the Aladdin story with a glorious romp through pantoland!
With brand new sets and costumes designed especially for the Theatre Royal, This Aladdin Promises to be a Genie-us of panto!
Crossroads present Aladdin, Theatre Royal, Newcastle, Tuesday 25th November 2025 – Sunday 18th January 2026 for more information and tickets go to: Aladdin | Newcastle Theatre Royal
LONDON
Sleeping Beauty, The London Palladium, London
This Christmas will mark a decade since Crossroads pantomime revived the legendary London Palladium Pantomimes to critically and award winning acclaim and what better pantomime to mark the anniversary than a brand new production of Sleeping Beauty
Starring Catherine Tate, Palladium pantomime royalty Julian Clary, and making his debut Jon Culshaw. Sleeping Beauty also see the return of Paul Zerdin, Nigel Havers and Rob Madge.
With spectacular new sets, costumes and the very specialist of special effects the west end’s biggest Christmas show , now seen by over 1,000,000 people, will celebrate the 10th anniversary in magnificent style!
There we have it! Just we picked just 12 shows from the hundreds around the country! From the smallest town halls to the London Palladium be sure to give yourself a festive treat this Christmas and visit your local theatre!
Four young men – a poet, a painter, a musician, and a philosopher – struggle to make a living in Paris. It’s Christmas Eve, freezing cold, and they are cold, hungry, and penniless. Rodolfo, the poet, burns some of his manuscripts for a fleeting moment of warmth while Marcello, the painter, thinks longingly of Musetta, his former lover. Schaunard, the musician, and Colline, the philosopher, arrive with some food to share. Their landlord hears them horsing about and comes demanding the rent they owe him, but they distract him and slip away to join the fun in the streets outside. Only Rodolfo remains, trying to finish something he’s writing.
A knock at the door heralds the arrival of a young woman who lives upstairs: her candle has gone out and she needs to relight it. She then drops her key and can’t find it again – both candles have now gone out… In the darkness the two collide, and Rodolfo realises she is very cold – her hand feels frozen. He tells her about his writing: she tells him she embroiders flowers for a living, and that although her name’s Lucia, everyone calls her Mimi. The two fall in love, and go out to join Rodolfo’s friends at the Café Momus.
The streets are full of people rushing to complete last-minute errands, sitting enjoying themselves, or simply watching the world go by. Mimi meets Rodolfo’s friends: Marcello is in agonies watching Musetta with Alcindoro, her latest elderly admirer. He realises he still loves her: together they and the others disappear, leaving Alcindoro to foot their bill.
A couple of months later, things aren’t so rosy. Mimi is constantly distressed by Rodolfo’s irrational jealousy, and tells Marcello she is going to leave him. Rodolfo in turn confesses that he’s worried about Mimi’s increasingly poor health. The two lovers agree to stay together till the spring comes, but Marcello and Musetta break up again.
Spring has come, and Marcello and Rodolfo try to pretend they don’t miss the two women. Schaunard and Colline arrive with food to share, but they are interrupted by Musetta, who says Mimi is dangerously ill. Musetta leaves with Marcello, intending to pawn her jewellery to pay for some medicine and a doctor. Schaunard and Colline go to pawn Colline’s overcoat, leaving the two former lovers to remember happier times. The others return, but only in time to witness Mimi’s death.
This production – a revival of André Barbe and Renaud Doucet’s 2017 production for Scottish Opera – is, in the main, absolutely superb, as is the lighting design of Guy Sinard. The show opens with a crowded scene in present-day Paris, with tourists waving selfie-sticks, pawing through antique shops’ offerings, and listening to a street singer. A young woman with a pink knitted hat sits and listens to an old gramophone record – the lights dim and she is transported back into the past, to the garret where two young men are trying not to freeze to death…
So far, so good – though I guess if Mimi dies at the end of the opera, how can she be in Paris looking back at her past life…? [it’s opera, don’t ask awkward questions!] The time-travelling is infinitely more jarring at the start of the second half – we’ve gone back in time, so why bring us back for a mostly incomprehensible present-day scene with migrants and protesting dairy workers which then somehow mutates to the street scene between the four lovers?
The intimate scenes are superb – each of the six major characters is real, passionately alive and wanting to feel all the intensity of the emotions sweeping through them. The crowd scenes are handled brilliantly – one could see them many times and still find new bits of business one hadn’t seen before. The chorus, and the newly-formed children’s chorus, are all magnificent. The principal soloists all have gorgeous voices, and Scottish Opera’s orchestra under Stuart Stratford played as thrillingly as ever – though I could wish that, at the most intensely emotional moments, they hadn’t swamped the singers’ top notes. Mario Chang and Hye-Youn Lee were an excellent pairing as Rodolfo and Mimi, though I found Roland Wood and Rhian Lois’ Marcello and Musetta a much more engaging duo – loving to hate and hating to love each other, they kept stealing the show. Edward Jowle had already impressed me in his roles in the double bill Scottish Opera presented earlier this year: he did so even more as Schaunard. Callum Thorpe’s voice was a joy to hear, and he made the most of Colline’s contributions – especially his farewell to his coat.
The real problem I have with this opera is the conflict I feel between what the music is saying and the reality of what’s being presented on stage. When I was younger [and especially when in love] I wallowed in the lush romantic music – love sweeps you off your feet and conquers everything, it’s the most important thing in life… And then I matured, and slowly and painfully learned that being swept off one’s feet isn’t the best basis for a sound relationship, so that I can’t watch something like Bohème without an internal critical commentary on the main protagonists’ behaviour. But then – they were young, and foolish, and maybe I need to be a bit more charitable: after all, I made some utterly appalling life decisions when I was their age…
Suffice it to say that, despite all my internal grumpiness, it was a splendid evening, overriding all my objections and showcasing the very best that Scottish Opera has to offer. Come and relish the joy of being alive, and in love; marvel at the overflowing energy of the crowd scenes; and shed a tear [or several] at the sad bits. Let this glorious production and Puccini’s heartrending music carry you away to the land where all that matters is love: save reality for another day.
La Bohème, Scottish Opera, Theatre Royal, Glasgow, Runs until Saturday 25th October for more information go to: La bohème | Scottish Opera
The Production will also visit His Majesty’s Theatre Aberdeen Wednesday 30th October – Saturday 1st November, Eden Court Theatre Inverness Thursday 6th November – Saturday 8th November and the Festival Theatre Edinburgh Friday 14th November – Saturday 22nd November.
In the middle of turbulent times, an hour’s music in the quietly brilliant acoustic of Northesk church was more than welcome – it was a gift beyond price.
Canadian guitarist Tim Beattie began his programme with Philip Glass’s Partita. Originally written for solo double bass, Tim arranged this group of pieces for guitar. I always think I hate Philip Glass’s music, and then come across something I really like – an object lesson in not judging a book by its cover, eh? The guitar’s wonderful warm tone and resonant bass sang through music that started off sounding amazingly Spanish – but then weirdnesses crept in in the harmonies [rather as in Poulenc’s songs]; there were pauses, as though the composer had had a sudden thought interrupting the flow of notes; quietly reflective passages; gentle quirkiness. The whole work was full of surprises and a delight to listen to.
We were then invited simply to relax and let the next three sets of pieces wash over us – which we were more than happy to do. Dances by seventeenth century Spanish composer Gaspar Sanz, pieces from Scottish lute music manuscripts, and four ‘Shakespearean pieces’ for lute from the time of Elizabeth I of England, flowed over us in a gleaming stream. Tim used his capo to shorten his guitar’s strings and produce a sound more like that of a lute – quieter, gentler, still clear but also slightly muffled: dance music for smaller, more intimate rooms.
The Spanish dances were delightful: lively, stately, and with some very interesting rhythmic oddities. The Scottish ones were instantly recognisable as coming from a wide-open misty landscape, with a sub-text of melancholy and longing – with some really extraordinary chords towards the end. As Tim said, hard to believe they were written four hundred years ago… The English dances which followed were more flowing and comfortable, still with moments of melancholy: and the wonderful Dowland Sick tune, in which melody and accompaniment twined gorgeously round each other, brought back memories of long-ago singing Dowland songs with my lutenist friend.
The final piece in Tim’s recital was JS Bach’s Prelude, fugue and allegro, BWV 998. This might have been written for the lute [though the music goes beyond the instrument’s range] or possibly for the lautenwerck, a keyboard instrument with a lute-like body, whose strings were plucked rather than hammered. Whichever is the case, the piece has been appropriated by guitarists – and it’s easy to see why, as it’s a phenomenal work which gives the guitarist the opportunity to display their talents to the full. Back with the full, rich guitar sound, the prelude was architecture made visible; the fugue’s simple theme became a multi-layered, joyful creation, with melodies wrapping themselves around each other and then joining together in chordal passages; the allegro was a burst of merry, rippling joy, singing loudly and then quietening into shining pianissimo passages.
The conclusion of the Bach brought a storm of applause from the audience, who didn’t want to let Tim go. His encore was sublime – I have no idea what it was but it moved me deeply: the long silence after the piece concluded indicates that everyone else felt exactly the same.
My notes say hold it against your heart and sing through it – and this is exactly what Tim Beattie did with his guitar this lunchtime. I hope he comes to the Brunton again soon – if he does, I’ll be there!
Tim Beattie, guitar, Music at the Brunton: lunchtime concerts, Northesk church, Musselburgh, RUN ENDED
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