Category: Brett Herriot Review

**** 4 Stars

“A Show That Truly Rocks!“

It’s hard to believe that acclaimed rock musical, We Will Rock You is approaching its 25^th anniversary since its debut in London’s West End at the Dominion Theatre in May 2002 with music by the iconic band Queen and book by Ben Elton the show would run for 12 years before finally closing in 2014. There have been several productions since including tours and a West End revival.

The show has been released for local and amdram companies to perform and right now it feels like every single local Scottish company have managed to get their hands on the rights. Now Edinburgh based The Bohemians bring their production of the show to the hallowed ground of the capital cities Festival Theatre and my word this is a show that truly rocks!

Set 300 years into the future The musical tells the story of a renegade group known as the Bohemians who struggle to restore the free exchange of thought and culture in a vaguely Orwellian society. Earth is now the iplanet that evil Khashoggi (a wickedly evil performance from Max Mitchell) and Killer Queen (the utterly faultless Rosie Sugrue) seek to control the iplanet by banning all music. Can Galileo (an inventive take from Colin Sutherland) with the help of on, off and on-again lover Scaramouche (a blistering performance from Rebecca Driver) tap into the power of the rock gods to save both themselves and the world from such evil? You soon find out in a show which is packed with Queen hits and delivered by a company who ooze passion for performing.

Ben Eltons writing is aft clunking in a show that becomes more a tapestry of set pieces with which to hang the story on, but it works brilliantly especially by the Bohs who harness the comedy and power of the music with in it.

Performances are uniformly excellent with Sutherland leading the company in style his Galileo is the perfect blend of geek meets naivety, and he has the rock vocals down to a tee. The same is true of Drever’s Scaramouche as well as Sugrue’s awesome vocal powers as Killer Queen. Special mention must go to Ryan Livingstone as “Brit” my word does he look every inch like he has just walked out of Aerosmith and straight on to the Festival Theatre Stage clad in a leather Kilt his vocals and style are pitch perfect for this show.

Director Malcy J Burnett has delivered well considering the onstage company totals nearly 70! Performers that’s some achievement given the show features around 18 actual named parts, but he makes the most of the expansive space of the Festival Theatre to ensure they all get there moment to shine. Speaking of shining Choreographer Fiona Burns has delivered the impossible with this huge company who deliver her routines with true style and polish. Musical director Finlay Turnbull has delivered a triumphant job; he and his fabulous seven strong onstage band are the driving force of this show and keep an eye out for Cal Gardner on drums living his best life!

This we will rock you only has a couple of niggles one is the Transitions between scenes which needs to be sped up as the audience are left for lingering moments in the darkness and these moments to tend to build up and cause the show to drag a little.  Production wise the company have used the vast space offered on the Festival Stage to their advantage utilizing a fabulous giant video screen with design by Scott Davidson and Malcy Burnett that gives the show its future feel with ease. Scott Davidson also delivers a west end worthy Lighting design that goes from intimate moments to stadium spectacular with ease. Sam O’Neil’s sound design does work but needs a little more refining in order to ensure mics are going live in time and a better balance between performers and band but once the show beds in it will no doubt tighten naturally.

Mhairi Summers and Elaine Dawson’s costume design is the cherry on this rock explosion of talent! Embracing both rock and matrix dystopian world with ease.

The Bohemians can hold there heads high they have a delivered a We Will Rock You the captures the heart of the original, if they can get those transitions a little more snappy and balance the sound then a fifth star is within there grasp for now head to the Festival Theatre and let this awesomely talented company rock your soul!

The Bohemians present We Will Rock You The Musical runs until Saturday 28^th February, for more information and tickets go to: We Will Rock You – Capital Theatres

“Soars into the Audiences Hearts! “

**** 4 Stars

Pop Icons of the 90’s and 00’s Faye, Claire, Lisa, Lee and “H” redefined the power of bubble gum pop as “Steps” shaped a generations childhood and became the soundtrack to many a teenager’s heart. Now the expansive back catalogue of Steps hits has been brought together in a brand-new musical with a book by Shaun Kitchener.

Telling the tale of life in the costal supermarket Better Best Buys and the staff who work there who are of course a close band of friends who seek a summer of love and beyond but is it a dream that’s better best forgotten? or can they truly take a chance on a happy ending? Well, the answer is we get a musical cram packed full of pop classics in a life affirming tale that while light on dramatic bite soars into the audiences’ hearts as they relive the best of their youth.

Lara Denning turns in a finely nuanced performance as “Caz” her dream of adopting lies shattered as her husband walks out her, “Neeta”, Rosie Singha in fine form is in love with “Ben”, Ben Darcy but can’t find the words to confront her feelings. Then there’s “Robbie”, that gloriously cute Blake Patrick Anderson, who is scared to commit to a boyfriend until fabulous drag queen “Jem”, played by River Medway in a show stealing performance, comes into supermarket and Robbie’s heart. Throw into a mix an evil boss who wants to turn Better Best Buys into holiday condo’s and we get a battle of hearts and minds as well as the battle for there jobs.

Yes, Kitchener’s book is cliché central, but it works and is at times very moving as well refreshing to see relationship spanning both heteronormality and the rainbow spectrum with ease. The story really does match up the mantra of Steps Themselves. Directed by Rachel Kavanaugh she delivers well putting the music at the heart of the show but also making the best of the story that the show hangs on. Matt Cole delivers epic choreography throughout ensure those classic dance moves beloved by generations is blended well into routines that pack plenty of poppy fizz. Tom Rogers set design take bubble-gum to the next level with powder pink and blues in abundance and its beautifully lit by Howard Hudson effective lighting design.  Gabriella Slade also delivers the good with a fantastic costume design especially in “River Medway’s” over the top solo number its gloriously camp and gay in equal measure. Adam Fisher’s sound design takes a couple of numbers to settle in, there were some balance issues with onstage performances being drowned out by Musical Director Georgia Rawlins sublime six strong pit band, but it does balance out eventually.

Here & Now is a musical that wears its heart on its sleeve and is a joyous celebration of not only Steps but also how their music continues to transcend time and with a story that’s straight from coronation street it makes it accessible and easy to watch. There is no tragedy in this show as its very much a sparkling night of musical fun.

So make sure your not a deeper shade of blue and 5,6,7,8 your way to the Playhouse as this is the final Scottish Stop for the debut UK tour and I assure you Here & Now will send you into the evening with a smile on your face as your remember just how good those songs are! Altogether now! “Love’s got a hold on my heart!”

Here & Now, A Brand New Musical, Edinburgh Playhouse runs until Sunday 1^st March, for more information and tickets go to: Here & Now – The Steps Musical Tickets | Edinburgh Playhouse in Edinburgh | ATG Tickets

The UK Tour Continues

***** 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.