Category: Brett Herriot Review

***** 5 Stars

“A Beguiling Exploration of Self, Gender and Sexuality “

Returning to the venue that saw its development during its early days and following a critically acclaimed run at the 2025 Edinburgh Fringe Festival, Homo(Sapien) written, produced and performed by the truly gifted and cute Conor O’Dwyer takes up a slot in Capital Theatre’s The Studio Spring season and not only marks a fitting marking of LGBT History Month but it’s a beguiling exploration of self, gender and sexuality.

O’Dwyer arrives on stage in the character of “Joey” full of sparking energy as Joey is on the cusp of penetrative sex for the first time. Just as the moment almost comes to pass Joey Proclaims that he is a “Bad Gay”. Joey doesn’t need sex he needs to discover himself and his place in the world. What follows is a flash back story of Joey’s life balancing being Irish, Gay and the battle with religion as well a family who may not understand or worse allow bigotry to blind them to the articulate human being that Joey is.

Directed by Jen McGregor this is truly a captivating hour of autobiographical theatre that blends comedy, drama and a deep-seated sense of truth that makes it endlessly captivating to watch. McGregor’s direction is assured and she places both O’Dwyer talent and the truth of the writing at its heart.

O’Dwyer is a consummate performer landing the comedy with ease and his ability to move between characters is seamless but it’s his ability to express a deep-seated reality within the piece that captures the audience he delivers a finely nuanced performance that indicates there is much to come from this stellar performer.

Production wise its simply staged, using just three chairs and a flower bedecked cross but is beautifully lit by Abbie Lowe and features a gorgeous underscore by Manus McGuire and East West Fiddles. This is very much a slice of the fringe brought to audiences on cold winters night but fills the audience’s heart with hope and the power of self-discovery that believing in oneself anything is possible.

Homo(Sapien) is a play that wears its heart on its sleeve yet captures everything The Studio was set up to achieve, giving space for new writing to develop and new performers to shine and this is one play that does that in spades so head to The Studio for the last few tickets to the final performance.

Homo(Sapien), The Studio, Edinburgh, The production runs until Saturday 14^th February for more info go to: https://www.capitaltheatres.com/shows/homosapien/

“West end worthy moments! “

*** 3 Stars

Kiss Me Kate with music by the iconic Cole Porter and book by Bella and Samuel Spewack is approaching its 80^th anniversary since its debut at the Shubert Theatre in Philadelphia prior to its Broadway opening at the New Century Theatre in December of 1948.

Written as Porters response to the success of Rodgers and Hammerstein’s Oklahoma! Kiss Me Kate is essentially a show within a show as we watch now divorced couple Fred Graham (a taught leading man performance from Ewan Robertson) and Lilli Vanessi (Nina Birbeck in fine bitchy form) trying to get along as they perform Shakespeare’s The Taming of the Shrew. Add to the mix a secondary love story and 1940’s gangsters we end up with a parable of Shakespeare’s finest comedy retooled for a more modern generation.

The inherent problem with Kiss Me Kate and the reason its not often performed by amateurs and pro’s alike is the writing hasn’t stood the test of time all that well, two generations have passed since its creation and its attitudes and mentality don’t stand up all that well to modern audiences combined with the fact the show runs at a shade over three hours it’s a challenge and them some. However, its one which director William Freebairn has taken to with gusto.

Freebairn has whipped his 19 strong ensemble company into a well drilled cohort even if some of the end results are uneven. Performances from the leads are excellent with both Robertson and Birbeck leading the company in accomplished style. The same is true of Elham Khosravipour and Dan J Bryant as Lois Lane and Calhoun respectively especially Bryant has a real talent for comedy characters. The company shine especially brightly when delivering Caitlin Visser and Lyss Britton co choreography. They push both the company and constraints of the church hill stage to it limits and deliver west end worthy moments especially in “Another Op’nin, Another Show” and “Too Darn Hot”

Speaking of “Too Darn Hot” whilst the choreography is sublime special credit goes to the gorgeous Aaron Venter as Paul who delivers the song with great skill and an impassioned performance. Sadly, it was let down spectacularly by the awful sound quality. Co Sound designed by Sam Burgess and Luke Hardwick. There were major sound issues throughout the performance with balance, clarity and feedback running riot. Some mic levels were set blisteringly loud others didn’t have enough volume. Sadly, for Venter his Microphone completely broke down and while he did the right thing and raised his game and projection the sound desk persisted in leaving his microphone live drowning him out spectacularly with popping and banging a plenty complete with roaring loud moments when the Mic did kick in sporadically. They would have been better in killing the mic and letting Venter deliver the sparkling number without the sound massacre he endured. To Aaron Venter’s credit he still delivered the number in style.

Sound aside the production elements deliver well with Lily Goodchild’s lighting design delivering an old school feel that benefits the show and Danby Lee and Charlie Smith set design also makes the best of the space available. Eloise Robertson’s costume design captures the era but would have benefited with more variation. The true cherry on the cake is musical director Emily Smith and her 15 strong pit band who are utterly sublime especially Percussionist Ethan James who is given free reign with his Jazz Skill.

The Footlights Kiss Me Kate has a fourth star in its grasp and delivers much for a show that’s very much from a by gone era but the audience cant help but be won over by the cast who give it there all and deliver an entertaining evening of musical theatre.

Edinburgh University Footlights presents Kiss Me Kate, Church Hill Theatre, Edinburgh runs until Saturday 14^th February, for more information go to: Kiss Me, Kate – Tickets | Fienta

“A comedy pathos masterclass! “

**** 4 Stars

Marking a decade since the inception of Mischief Theatre Company which debuted with the global hit “The Play That Goes Wong” which spawned “Peter Pan Goes Wrong” comes the third in the trilogy as the Cornley Drama Society return to the Cornley playhouse for “A Christmas Carol” which goes very wrong indeed to hilarious effect.

Based on Dickens classic tale of redemption of the titular “Scrooge” who is visited by the three ghosts of Christmas on the evening of Christmas eve Mischief deploy their comedy “Gone Wrong” formula, but this time rely on comedy of words as opposed to slapstick although the show does have its slapstick moments. It’s the reliance on word comedy as opposed to over the top visual slapstick that does give the show its own unique flavour but equally give rise to moments that sail close to repeating itself.

Written by Henry Lewis, Jonathan Sayer and Harry Shields with both Lewis and Sayer taking to the stage as Robert and Dennis respectively. The Christmas Carol story is present but wrapped up in the aft seething world of jealousy that often pervades the amdram world and that’s what drives the comedy. A perfect blend of university players (think that was the week that was) meeting fringe theatre in a comedic masterclass.

The 10 strong ensemble company shine without ever overplaying their roles Henry Lewis is stellar as Robert his booming voice reminiscent of Brian Blessed is pitch perfect as the ghost of Christmas present along side Robert the wannabe “Scrooge”. Daniel Fraser is also a delight as “Chris” who takes the role of Scrooge and acts to a great extent, as the straight man to the companies’ jokes, he has sublime physicality and his moment where he breaks the fourth wall are genius. The entire performing company do deliver in spades. What sets Christmas Carol goes wrong apart from its sister shows in the trilogy is this show has a gorgeous touch of pathos weaved through it which is touching and makes the show sparkly just that little brighter.

Director Matt DiCarlo has mined the script and rung every comedic moment out of it and ensures his well-drilled company deliver the play at a cracking pace that feels perfect for the 2 hour and 15 minutes run time. Libby Todd’s set design walks the line of professional theatre and amdram perfectly to the point the show would feel equally at home in a church hall as does the environs of the beautiful Festival Theatre. This is boosted by David Howe’s Lighting design and Alexandra Faye Braithwaite’s sound design. Both Lighting and Sound design cleverly blur the lines of professional and amateur theatre peppering the designs with enough technical niggles that add to the comedy but give the overall show a sense of realness. Special mention must go to Roberto Surace and their inspired Costume Design that add the cherry to top of this comedy cake.

Christmas Carol Goes Wrong delivers everything it should and makes a laughter filled treat on these dark late winter nights and proves there is still much that can wrong in the funniest of ways for a company whose star is still very much on the rise! So, head to the Festival and grab those last tickets and may god bless us! Everyone!

Mischief presents Christmas Carol Goes Wrong, Festival Theatre, Edinburgh runs until Saturday 14^th February, for more information go to: Christmas Carol Goes Wrong – Capital Theatres

Christmas Carol Goes Wrong UK Tour continues until Sunday 1^st March 2026 and the production will call at the King’s Theatre Glasgow from 17^th to 22^nd February.

“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 16^th to the 18^{th 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.

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.

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.  

“Still the ultimate feel-good night out “

**** 4 Stars

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 Rocky Horror Show, The Edinburgh Playhouse, Runs until Saturday 10th January 2026 for additional info and tickets go to: The Rocky Horror Show Tickets | Edinburgh Playhouse in Edinburgh | ATG Tickets