Category: Brett Herriot Review

**** 4 Stars

“A Generational Treat of A Show! “

Debuting in 2014 at the Hampstead Theatre London then transferring to the west end at the Harold Pinter Theatre, this semi-autobiographical musical telling the story of the early days of Ray Davies and the seminal 60’s pop/rock group The Kinks would enjoy a two-year run before embarking on its first UK tour. Now ten years after that first tour the show is back on the road around the UK approaching the end of the tour itself the show stops at the Edinburgh Playhouse delivering a generational treat of a show!

Featuring Music and Lyrics by Ray Davies, a book by Joe Penhall and directed by Edward Hall this is a production that takes the actor musician style to a new level with an incredibly gifted cast of talent bringing the myriad of characters to life. The show is admittedly too long and the point that the members of the band were extremely unhappy to be in said band is over laboured towards the end. The story is engaging and the collection of Kinks hits deployed is incredible and carry the show no end.

“You Really got me”, “Dedicated follower of fashion”, “All Day and All of the night” and of course “Waterloo Sunset” all feature amongst other classics. All of which are performed with panache and procession by the lead cast Danny Horn (Ray Davies), Oliver Hoare (Dave Davies), Harry Curley (Pete Quaife) and Zakarie Stokes (Mick Avory) who make up the Kinks on stage and all prove their abilities as musicians and actors with ease. Especially Danny Horn who imbues the humanity of the real Ray Davies with incredible skill and truth and he captures every moment he is on stage.

Performances across the board are uniformly excellent for a tight and well drilled ensemble especially when delivering Adam Cooper’s 60’s soaked yet sparky choreography. Edward Hall’s direction is equally as taught but gives way to true emotional depth at the require moments. That said, the use of “Audience Run In” is utterly exhausted and so must be the cast given the size of the Playhouse auditorium they have a lot of distance to cover across the show.

Production wise the show is a joy with Miriam Buether’s set and costume design summing up 60’s counterculture with ease and delivers some of those iconic looks with deft skill which is boosted by Rick Fisher’s tremendous lighting design using an inspired lighting rig to give the show a quality 60’s feel. Matt McKenzie’s sound design has its moments too, bringing out the sharpness of the intimate moments, then letting rip with rock concert level sound when the band really up the ante and rock out.

Sunny Afternoon is a show that doesn’t deliver a juke box musical by the numbers but a show which places the music at the heart of the production to tell Ray Davies story, yet it lingers a little too long but this is a show with depth and truth and gives a shimmering insight into the legend that is Ray Davies who at 81 is still living an authentic life of a rock star on his own terms. The show speaks to a generation of rock fans and to those well beyond and is truly worth to price of ticket to view this particular waterloo sunset!

Sunny Afternoon, The Kinks Musical, Edinburgh Playhouse, Runs until Saturday 9th May, for more information and tickets go to: Sunny Afternoon Tickets | Edinburgh Playhouse in Edinburgh | ATG Tickets

The Productions UK tour continues with its final leg  and the show will visit Inverness at the Eden Court Theatre from 12^th to 16^th May.

*** 3 Stars

“ A Show with depth and truth!“

Cited as the greatest love story in country music the marriage of June Carter and icon Johnny Cash has been explored in literature and in motion pictures now it gets the musical theatre stage treatment in a production that not only explores the reality of the couple’s life but also pays homage the music the defined the Cash American song book.

Featuring a book by Des McAnuff (who also directs) and Robert Cary with Music and Lyrics by Johnny Cash, June Carter Cash and others the production also involves the couple’s son John Carter Cash as Story advisor alongside music supervisor/arranger.  The inclusion of John Carter Cash is central as the story is taken from his viewpoint as the show’s main narrative.

The life story of countries first couple has been well documented and this production achieves a rare intimate and emotional insight into the couple beyond the music although the script does get a little clunky and does repeat itself especially around the well documented addiction problems of the Cash family the writing needs to be more nuanced and streamlined to gain the additional depth that would see the overall show sore.

Performances across the board are excellent especially the leads Christopher Ryan Grant (Johnny Cash) and Christina Bianco (June Carter Cash) who deliver stunning vocal turns backed up with powerhouse acting abilities especially during those tense dramatic family moments. Grant has an uncanny resemblance both visually and vocally to the real cash its really capturing to watch. Ryan O’Donnell brings understated to emotion to the role of John Carter Cash and mines the show for both comedy and true emotions to wonderful effect. The principal cast are joined by a stellar 13 strong ensemble who shine in every moment none more so than when delivering Byron Easley inventive choreography.

Music wise the show is a triumph with over thirty songs spanning the career of the cash family featured throughout the show from “ A Boy Named Sue” Via “Folsom Prison Blues” to “ I walk the line” and of course “Ring of Fire” there is everything for a cash fan to enjoy. Vocals are peerless and musical director Connagh Tonkinson 6 strong band excel. The highlights in the show musically are the moments the country numbers blend with a more musical theatre flavour. The standout being the inclusion of the Nine Inch Nails song “Hurt” which Johnny Cash covered later in his career and life, its inclusion in the show gives real depth and truth to the piece.

Production wise the elements do gel together although Robert Brill set design is clearly made for small venues its simply dwarfed on the Festival Theatre with heavy black drapes needed to bring the set in. That said its beautifully and evocatively lit by Amanda Zieve lighting design. Peter Fitzgerald’s sound design is excellent on the band but there are a couple of niggles with the cast but its most likely just opening night and will soon tighten up. Special mention to Safrina Bush inspired costume design which truly brings the show to life.

There is a sparkling heart within in The Ballad of Johnny & June which if tapped into would see it soar into the hearts of musical theatre audiences and not just die-hard Carter and Cash fans. For now, it’s a show which delivers well in a constrained formula that the real Johnny Cash would have tried hard to break out of. That said it still delivers bang for the ticket money! So Walk the line to the Festival Theatre and treat yourself to a ticket.

The Ballad of Johnny & June, Festival Theatre, Edinburgh, Runs until Saturday 2^nd May, for more information and tickets go to: https://www.capitaltheatres.com/shows/the-ballad-of-johnny-and-june/

The Productions UK tour continues and the show will visit the Glasgow Pavilion Theatre 13^th to 22^nd August.

**** 4 Stars

“ Pure Comedy Joy !“

Life long friends Alan Cumming and Forbes Masson came to prominence in the 80’s as Victor and Barry two Kelvinside men with a blistering array of comedy and songs. While Victor and Barry never got there break in TV the characters were effectively turned into Sebastian Flight (Cumming) and Steve McCracken (Masson) for six legendary episodes of the 1995 modern comedy classic “The High Life”

The High Life takes viewers inside the world of Air Scotia and its staff as Steve and Sebastian do battle with Hitler in tights Shona Spurtle (Siobhan Redmond) the purser and the clearly insane Captain Hilary Duff (Patrick Ryecart) it was a mix of slapstick, observation and clever repartee along with the most catchy theme tune that made the High Life a comedy treasure for a generation.

Now following a 30-year delay Steve and Sebastian along with Shone and Captain Duff are back! In a brand-new musical which is pure comedy joy. Coproduced by the National Theatre of Scotland, Dundee Rep and in association with Capital Theatres and Aberdeen Performing Arts, and featuring a Story, script and Lyrics by Cumming, Masson and Johnny McNight and Directed by Andrew Panton, Air Scotia is under threat of complete closure, but can our boys save the airline, there jobs as well as sorting out the demented Captain Duff? The audience find out as they go along on a genius comedy ride and yes that catchy theme tune is back too.

The High Life delivers in spades in world that has moved on across the three decades, but Cumming and Masson reflect this in there older but not wiser characters which still fit into a modern Scotland. The show holds a mirror up to where we are now compared to 1995 and while Scotland is a changed land the humour remains timeless, and the songs give more depth that was ever possible before.

Performances are excellent with Cumming and Masson in terrific form especially when delivering selected moments from the original tv show and the cries of “oh dearie me” and they shine brightly as they perform the frothy songs with Glee. The entire principal cast are faultless as one would expect but so too are the 7 strong ensemble who help flesh out the story wonderfully well. There are great comedy chops all around. The show however does loose its way slightly in the overly long second act, but you can’t help being charmed by it none the less.

Director Andrew Panton has rediscovered the true heart of The High Life and retooled it for today’s generation to great success. The show also features sharp chorography from Emily-Jane Boyle. Production wise the show is a real charmer Colin Richmond’s Set and Costume design is on point using great creativity to bring the air scotia Boeing aircraft to life in the confines of the Festival Theatre Stage. Grant Anderson’s Lighting design is bang on the money as is Tom Penney’s sound design although the mics could be turned up a little at the start.

The High Life the Musical really is still living it and recaptures the magic of the original and sure isn’t a load of pif paf pof and is proving to be a smash hit with tickets in extremely short supply and believe me a joyous comedy night out awaits those who have successfully got a boarding pass! So what you waiting for! step aboard a Boeing going high and live the High Life once more yourself! Wonderful stuff!

The High Life, The Musical, Festival Theatre, Edinburgh, Runs until Saturday 11^th April  for more information and tickets go to: The High Life – Capital Theatres

The Production will tour Dundee, Aberdeen, Inverness and Glasgow!

**** 4 Stars

“Captures the heart of the original beautifully!“

The Eternally popular pop musical Footloose based on the 1984 motion picture is chalking up its 28^th anniversary since its debut in 1998 at the Richard Rodgers Theatre on Broadway. Adapted for the stage by Dean Pitchford &Walter Bobbie and featuring music by Tom Snow with lyrics by Dean Pitchford, the musical tells the story of Ren McCormack (Sean Vannet) and his mother Ethel (Denise Trenor) who following the departure of Ren’s Father are forced to move to middle America to live with relatives in the town of Bomont. A town that’s troubled by a tragedy that befell it four years previously where dancing is banned, and the local reverend rules the roost.  What unfolds is an exploration of self, love, loss and dealing with grief and the unifying power of dance as an expression for our emotions.

Edinburgh based EMT revisit the production having staged it back in 2010 with new take on the show directed by Clare Wooton, choreographed by Flick Hannah and with musical direction from Emily Paterson in a production that captures the heart of the original beautifully.

The show is packed with excellent performances especially from the leads, Sean Vannet who delivers an emotionally honest turn rich in depth and character, he has great acting chops. The same is true of Tara McCullough as Ariel Moore her gorgeous voice soars and she captures the angst of teenage years excellently. Joshua Clarke’s Rev Shaw Moore could use a little more force, but he delivers a character whose internal conflict is portrayed with sensitivity. Denise Treanor is a pitch perfect single mother as Ren’s mum Ethel her performance is rich in wisdom. Special mention must go to Sarah-Louise Donnelly (Rusty), Anna Spence (Urleen) and Wallis Hamilton Carmichael (Wendy-Jo) an incredible female trio who blend their harmonies to perfection and makes “Somebody’s Eye’s” a stand out song in the show.

Director Clare Wooton and Choregrapher Flick Hannah have ensured every member of the 35 strong ensemble cast get there moment to shine but that said the decision to have the wonderful Robbie Noble, who is excellent as Chuck Cranston, perform as a featured dancer is jarring as one minute he is a baddie the next a beloved town member and it doesn’t quite work although Noble is an accomplished dancer.

Flick Hannah’s Choreography is a joy, perfectly capturing the original look and feel but refreshing it to give EMT a show that’s uniquely theirs. Musical Director Emily Paterson has done well on the music front ensuring the songs are delivered to the best of their abilities and backed by a fabulous seven strong pit band.

Both cast and band are supported by a faultless sound design from Blue Parrot productions which blends effortlessly with Lucas Milton’s lighting design combined with Chloe Bingham simple but effective Scenic design. The decision to use raised platforms helps no end and ensures while visually simple the story is delivered in excellent style.

EMT have brought a production of Footloose that delivers everything it should giving the audience a wonderful evening of musical theatre to enjoy. With a short run planed, head to the church hill theatre and get what few tickets remain, and you too can cut loose!

EMT Presents Footloose the Musical, Church Hill Theatre, Edinburgh, Runs until Saturday 4^th April  for more information and tickets go to: Box Office – Edinburgh Music Theatre

***** 5 Stars

“Rule breaking, pop odyssey that continues to defy time! “

When two unknown writers, who had never written anything musical in their lives put pen to paper and delivered “Six” to the 2017 Edinburgh Fringe could they have foreseen just how epic their creation would become? Well Toby Marlow & Lucy Moss history brought to life story backed by an epic pop score has just refreshed it’s cast and continues to prove that it’s a pure theatrical treat.

The production has finally found its forever west end home at the intimate Vaudeville Theatre on the Strand following its debut at the Arts Theatre in 2017 before transferring post covid to the Lyric Theatre. Now as the show prepares to mark its decade on the west end the 2026 company has been unveiled at a Gala performance.

Six is a pop concert revue show that takes us inside the lives of the six wives of King Henry VIII, Catherine of Aragon (Adrianne Langley), Anne Boleyn (Marisha Morgan), Jane Seymour (Jessica Aubrey), Anne of Cleves (Freya Karlettis), Katherine Howard (Leesa Tullet) and Catherine Parr (Nia Stephen).

The joy of this show is that its nothing to do with Henry VIII  but the woman who shaped his life, its ultimately a tale of empowerment, one of which that’s more potent given that even in today’s modern world, there simply isn’t enough strong females roles available. Six more than makes up for it with its stellar cast. These are performances that transcend the art form and the cast are universally excellent. That said Adrianne Langley performs “No Way” with such passion and style it literally burns its way into your memory and proves what a west end leading lady she is.

Production wise, Six Nails it with fast flowing direction from Lucy Moss and Jamie Armitage, Sharp and concise Choreography from Carrie-Anne Ingrouille that makes the most of Emma Baileys set design which makes the most of the Vaudeville intimate spaces which is boosted by Tim Deiling’s epic stadiumesk lighting design. Credit also to Paul Gatehouse sound design that brings the concert feel very much to life.

Creatively Gabriella Slade remarkable and award worthy costume design is the element that blends ancient historical characters into a modern world, think 16^th century meeting little mix it a true joy to behold.

Six continues to pack them at the Vaudeville and is currently extremely limited for its upcoming Scottish venue dates with people literally losing their heads trying to beg, borrow or steal a ticket.  What truly sets Six apart, is that it remains so fresh and inventive and for once it truly puts female empowerment at its very heart. Even the band lead by the incredible MD Beth Jerem proves no man can do what this collection of ladies can.

Six is a rule breaking, pop odyssey that continues to defy time for a generation of theatre goers that continues to speak across the generations, its legacy is already in the writing and this is one joyous 80 minutes of theatre you will want to see again and again, sadly for Scotland tickets are flying out the door but might you just be able to snag a gold dust ticket!

SIX, The Vaudeville Theatre, London, Production is currently booking until January 2027 for more information and tickets go to: London | Six The Musical | Official Site

SIX UK Tour production will visit Edinburgh’s Festival Theatre Tuesday 15^th to Saturday 26^th September for more information go to: SIX the Musical – Capital Theatres

The production will then transfer to Glasgow’s Theatre Royal from Tuesday 29^th September to Saturday 3^rd October for more information go to: Six Tickets | Theatre Royal Glasgow in Glasgow | ATG Tickets