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“A Banger of a Show!”

**** 4 Stars

The sixty fourth annual Edinburgh Gang Show makes its fourth and final appearance at the Edinburgh Festival Theatre this week with a new generation of the gang delivering a feast of variety entertainment, from comedy to ballet to big west end numbers the gang  deliver a banger of a show as they bow out of the Festival Theatre in wonderful style.

Co-Directed by Andy Johnston and Louise Neal (with Johnston also writing the bulk of the material), Co Choregraphed by Louise Williamson and Jemma Crawford and Co Musically directed by Andrew Thomson and Fraser Hume (with Hume making his debut conducting the polished 12-piece gang show pit orchestra).

The Gang set there stall out early with a blistering opening section featuring the traditional Jamboree Overture and a stellar opening section title “The big Time” using the titular song from “Mack and Mabel” performed with gusto by Ellie Budd. This then flows into “Why do we do it” a section that expands on the self-belief that Gang Show is the best in Edinburgh and allows the gang to take pot shots at the local Edinburgh theatre companies to great comic effect. Variety is the name of game and director, and writer Johnston has now perfected the formula that shows the Gang off to their best advantage.

Act 1 was a little stilted on opening night, something which will tighten up naturally as the run beds in but Act 2 is when the show becomes a real four-star affair. Especially so in “Rolling” where Eliza Finlay displays remarkable vocal skill taking on Adele’s “Rolling in the Deep” she has a vocal maturity that belies her years. “The Story of Tonight” brings raw emotion and pathos to the show as Rory Pickin, Molly Haddow, Ewan Arnold and Jessica Hicks perform the Ben Platt and Lin Manuel Miranda musical crossover mash up “Found Tonight” that blends Hamilton with Dear Evan Hansen. This is a spine-tingling moment that brings the 250 strong gang together and showcases the power the gang have too not only entertain but move their audiences.

The Choreographers also deliver a variety of dance styles from pop to jive and even Core Du Ballet and the dance ensemble shine every moment there on stage. Musically the show is on sound footing with conductor Fraser Hume keeping the 250 strong cast and 12 strong orchestra together with ease. Special mention must also go to Alan Hunter and his wardrobe team who deliver a plethora of costumes running into the 100’s that befit the beguiling variety theme with ease.

Production wise James Gow’s and Andy Johnston’s lighting design delivers in spades from a riot of colour to 70’s disco chutzpah and even intimate moments that capture the eye. This is boosted by Lee Murphy’s inspired video design. Sadly, there were major issues with sound on opening night that blighted most of the show with popping a plenty and some vocals rendered inaudible there was also some balance issues. The Gang show does have a tight window in which to achieve there get in and technically set up the show but its clear that serious work on sound is needed to give the Gang the sound design they deserve.

The finale of the 2025 show is a loving farewell to the Festival Theatre but also an emotionally driven moment as the gang announces there going home for the 2026 show following the renovation of the Edinburgh King’s Theatre. It made all the more potent in that the cast of the 2026 show will have never performed in the company’s traditional home. As the curtain fell its clear that the Gang are going to continue to reinvent themselves while embracing their lineage long may they do so as they continue to roll along on a crest of a wave delivering the biggest and best variety show in the capital.

Edinburgh Gang Show 2025, Festival Theatre, Runs until Saturday 8^th November for tickets go to: Edinburgh Gang Show 2025 – Capital Theatres

***** (5 stars)

“A Triumphant Reinterpretation!”

Thirty-six years after debuting in London’s west end at the Theatre Royal Drury Lane and coming on the 50^th anniversary of the fall of Saigon in 1975 critically acclaimed producers Sir Cameron Mackintosh and Michael Harrison have joined forces to bring a new production of the critically acclaimed Miss Saigon to the stages of the UK and my word what a triumphant reinterpretation it is.

Miss Saigon with Book and Lyrics by Alain Boublil and Claude-Michel Schonberg and additional Lyrics by Richard Maltby Jr and Michael Mahler is a sung through musical retelling of Giacomo Puccini’s opera Madame Butterfly. Setting the action across three years from 1975 to 1978 in Saigon at the culmination of the Vietnam War which would see the fall of Saigon. Modern era GI “Chris” a capturing performance imbued with strength and honesty from Jack Kane, meets and falls in love with Saigon Native “Kim”, a remarkable professional debut from Julianne Pundan while visiting a Saigon strip bar run by a manipulative “Engineer” the simply show stealing Seann Miley Moore, who is clinging to his American dream at all costs. Kim and Chris are thrown back together in Bangkok, but time has moved on and Chris comes with a wife “Ellen”, an assured and emotional performance from Emily Langham and Kim has secrets and truths to reveal herself which sets the stage for a story that looks at the fragility of love and how far one woman will go to make a better world for herself and those she loves.

This production of the show is subtitled “The Legend Reborn” and Director Jean-Pierre Van Der Spuy and his team have truly delivered on that promise. This is a thrilling and emotionally charged version of the show just waiting to be embraced by a new generation of audiences across the country. Performances from the 22 strong ensemble cast are uniformly excellent and the lead artists are outstanding. Special mention must go to Dom Hartley-Harris in the role of “John” who gives a powerhouse rendition of “Bui Doi” and brings a strong truth to the role. Pundan’s performance as “Kim” is truly remarkable, her voice feels like it belongs to someone far older than her years. Jack Kane’s “Chris” is everything and more and delivered flawlessly. However, the true standout is Seann Riley Moore’s “Engineer” his performance truly redefines the character and he must surely by the consummate “Engineer” of his generation, pulsating physicality, a hint of nastiness and the perfect blend of queerness it’s an outstanding performance from start to finish. The remaining cast bring equal levels of commitment to character and vocal performances, and they deliver Chrissie Cartwright and Carrie-Anne Ingrouille’s inspired choreography with great skill and polish.

Production wise this Miss Saigon is nothing less than a true west end production on tour with Andrew D Edwards Set and Costume design giving the show a whole new world to inhabit and its stunning in its detail and yes that magical moment with a helicopter is still very much there. Edwards design is boosted by the most emotional projection design by George Reeve which gives the over all show a rich cinematic feel. Bruno Poet delivers an award-winning lighting design that brings out the show’s darkest moments as well as the Broadway glitter of “The American Dream”. Adam Fisher’s sound design is the cherry on the cake with an inventive surround sound feel that reaches into the soul of the audience. The balance between performers at the outstanding 12 strong pit orchestra under the baton of Musical Director Ben Mark Tuner is faultless and the score has never sounded my lush or intricate as does now.

Miss Saigon: The Legend Reborn delivers on its promise in spectacular style allowing the show to inhabit a new world that grips current fans but also opens the show to a more modern world and reaffirms the musicals’ ability to both move, educate and entertain in equal measure. When the time comes many years from now for Miss Saigon to be revived or reinvented once more it will be hard to beat this production. So, head to the playhouse for the very few tickets that remain as the heat is very much on in Miss Saigon.

Michael Harrison in association with Cameron Mackintosh Presents Miss Saigon, Edinburgh Playhouse, Edinburgh runs until Saturday 1^st November for more information and tickets go to: Miss Saigon Tickets | Edinburgh Playhouse in Edinburgh | ATG Tickets

Miss Saigon UK Tour Continues, and the production will call at His Majesty’s Theatre Aberdeen from Tuesday 3^rd March to Saturday 7^th March 2026 and the King’s Theatre Glasgow from Tuesday 9^th to Saturday 20^th June 2026.

***** (5 stars)

“Beguiling and Enthralling”

Created as a rock opera concept album in 1970,Sir Andrew Lloyd Webber’s and Sir Tim Rice’s retelling of the last week in the life of Jesus Christ would debut on stage in 1971 in New York on Broadway at the Mark Hellinger Theatre before coming to London’s west end at the Palace Theatre the following year. Loosely based on the gospel accounts of the passion of the Christ the musical focuses on Jesus and Judas and the world that surrounds them. Dealing with control, manipulation, truth, divine power and humanity its powerful material which continues to capture audiences to this day.

Falkirk Bohemians directed by Calum Campbell, musical direction by Crawford Moyes and Choreography by Natalie Tedesco deliver the finest local production of the show to be seen, it’s a show that’s beguiling and enthralling in equal measure. Callum Campbell clearly knows his source material as his vision delivers a stripped back production set in a dystopian netherworld and the show is packed with peerless performances across the board.

Alex Wheeler as “Jesus” turns in an astonishing take on the lead role that captures from the off and he has the vocal chops to deliver ever single note with power and clarity that rings around the town hall auditorium. He is matched in style by Paul Allison’s “Judas”, Addison truly gets under the skin of the conflicted apostle and his performance of “Judas’s Death” brings the audience to a wrapped silence with its spine-tingling power. Hannah Parsons “Mary” also shines with a true understanding of the character and gorgeous honey soak vocals to match. Jamie Montieth “Caiaphas” has a simply outstanding vocal range, and his bass notes rock the foundations of the venue. Special mention must go to Kenny Walker as “Herod” a character that’s too often parodied against either Rik Mayall’s or Julian Clary’s turns. Walker makes the role his own in a simpering and seething motherload of camp and baby tantrums! Wonderful stuff.

The team and MM Sound and Lighting have outdone themselves with an incredible multi layered Set featuring steel towers and trussing that’s beautifully lit and captures the heart of this rock opera. This is bolstered by great sound design, although there was a blimp in act 2 it was soon back on form.

The 11 strong orchestra under the baton of musical director Crawford Moyes are faultless and deliver the score with polished perfection so much so that the music feels like it’s a full symphonic orchestra at work. Given the musicians are cascaded across the set on those steel towers makes it even more remarkable the quality of the music that has delivered.

The 35 strong ensemble company shine brightly when delivering Natalie Tedesco’s inventive and richly envisioned choreography which is boosted by Kristin Campbell and Rebecca Harding’s fitting costume design.

Falkirk Bohemians have brought a production of the show which takes it back to its true heart allowing incredible performances to shine equally allowing the story to speak to a new generation of theatre goers.

You won’t see a better local production of Jesus Christ Superstar so do what you must to grab the last remaining tickets before crucifixion ends for good.

Falkirk Bohemians Presents Jesus Christ Superstar, Grangemouth Town Hall, Grangemouth runs until Saturday 1^st November for more information and tickets go to: Home | Falkirk Bohemians

**** (4 stars)

“A treat of a musical comedy caper!”

Linlithgow Amateur Musical Productions affectionally known as LAMP bring the curtain down on there 40^th 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 90^th 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 13^th 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!

LAMP Presents Anything Goes, Linlithgow Academy Theatre, Linlithgow runs until Saturday 25^th October for more information and tickets go to: Anything Goes – Linlithgow Amateur Musical Production