Category: Brett Herriot Review

*** 3 Stars

“Stellar Performances “

The Beyond Broadway Experience marks a decade of epic productions with a return to its home at the festival theatre for its 2026 production, The Little Shop of Horrors. There formula of deploying a 200 strong cast has given some of the most breath-taking choreographic moments across the years which is thanks to company’s directors choosing show titles which work in hand in hand with the ballooning up to such a large cast size.

That makes the choice of performing Little Shop of Horrors with book and lyrics by the late Howard Ashman and music by the critically acclaimed legend Alan Menken more surprising and equally tough a choice.

Directors Drew Gowland and Murray Grant have a passion for the show itself, but the reality is the show is written to be performed by a core cast of 9 so deploying a cast of 200 was always going to be challenge and it’s a challenge that comes at the cost of the show itself.

Performances are stellar especially the leads, Huck Whittle brings a truth and geekish understanding the role of “Seymour Krelborn” he has the acting chops for the part and lovely vocal to boot. Jennifer Ford as “Audrey” gives a performance that’s the opposite of the legendary Ellen Greene and delivers a sassy and strong interpretation of the character with an excellent vocal ability to boot. Harry Aspinall is fabulous as Mr Mushnik delivering a performance dripping in comedy draw straight from the show’s comic book roots.

Little shop is, in itself a tribute to the 60 girls group sand is written to feature a three part harmony girls group in the vain of the Supremes. Crystal (Kirsty Montgomery), Chiffon (Emma Sembatya) and Ronette (Millie Wilson) and while all three deliver well with a modern visual make over the effect is diluted by making this a 12 strong girl group with characters the company have created just for this production and its ends up being more a modern Greek chorus that a 60’sdoo whop girl trio.  That said visually and vocally it pops on stage.

The company get the story across and the choice of casting Rhianne McAllister as Audrey II as in vision character rather than relying on puppetry does for the most park work well and she does deliver a powerfully evil performance.

With 23 named parts in the production that leaves an ensemble of 177 and my word when there all on stage it is spectacular and Grant’s Choreography (with additional choreography from Laura Proudfoot, Liam Gillespie, Kieran Lynch and Frazer Beckles) delivers the wow moments the company are so renowned for. However, Lewis Byfield’s lighting design see’s many of them dancing in the dark as they aren’t lit. Musically the show is also on a solid footing thanks to musical direction from Linda Stewart and Greg Davidson and Stewart also leads a fabulous five strong onstage band.

Production wise the company make the most of expansive spaces of the Festival Theatres Giant stage, yes, the Audrey II planet is a little underwhelming but having McAllister’s stealthy Invision performance makes up for it. Byfield’s lighting design works well for the most part, but those big dance numbers do need to be lit better to see the huge cast at work a scene at end of the show featuring the cast dancing in the stalls was completely unlit which is a shame. Greg Young’s Sound design is excellent with an excellent balance between performers and the live band. TFC Scenic set design whilst simplistic works well and allows for the large amount of space a 200 strong cast need to deliver the high energy dance performances that pepper the show.

This is a little shop of Horrors that has a lot of love and passion poured into it especially by the talented cast. However, this might the one show that doesn’t fit the beyond broadway formula as well as the others have. That being said, the company have successfully delivered the eye popping choreographic moments that only they can and with the company also staging shows in Aberdeen and in Swansea alongside confirmation the company will return to the Festival Theatre in 2027 with “Wonderland The Musical” it’s clear The Beyond Broadway Experience will continue to push the boundaries of what is achievable by a massive cast drawn from the next generation of talent.

The fact the show is rehearsed and produced to a professional scale in just two weeks is an impressive achievement and while clearer directorial choices may have served the show better but what is delivered is a thrilling and impassioned production that allows the talent on stage to shine brightly! and still makes it well worth the ticket price.

The Beyond Broadway Experience presents, Little Shop of Horrors, Festival Theatre, Edinburgh, The production runs until Saturday 25^th July for more info go to: https://www.capitaltheatres.com/shows/little-shop-of-horrors/

***** (5 Stars)

“Emotional and Powerful the Production everyone will be talking about!”

Edinburgh based Find Your Light productions return for their 2026 season with a brand-new challenge for 28 young, up and coming performers they have just two weeks to go from meeting for the first time to staging a fully realised musical production to a professional standard, can it be done? This time the show of choice is the critically acclaimed modern musical smash hit Everybody’s Talking about Jamie and my word the company deliver a show packed with astoundingly mature performances that touch the heart. This show bleeds emotion and power in a production that everyone will be talking about!

Everybody’s Talking About Jamie the 2017 musical adapted from Jenny Popplewell’s critically acclaimed BBC documentary, Drag Queen at 16 which threw the spotlight onto teenager Jamie Campbell in his quest to wear a dress to his school prom. Featuring a score by Dan Gillespie Sells and book & lyrics by Tom MacRae this is a true coming of age musical that deals with matters of the family heart, prejudice on many levels alongside bullying as Jamie seeks to escape the darkness and become the Drag Queen inside.

Directed by Stephen Graham- Martin with Choreography and Musical Direction from Charlotte Henshall it’s a brave show to pick as its story speaks to the heart of both the 28 strong company but also the audience. Especially in this production which features a stripped back and emotionally truthful performances from the entire cast whilst also delivering the glamour and comedy of the drag world but effortlessly keeping it real, which is a true achievement for the entire company.

Performances across the board are simply excellent, however the leads in the show are bound for great things in the performance arts industry. Rory Pentland (who will alternate with Olly Freeman-Ferguson) plays Jamie New with an emotional breath and depth that belies his years. His vocals are rich and fulsome, but his acting skill is breath-taking with the emotions of Jamie’s heart being explored with incredible maturity and truth. His performance of “My Man, Your Boy” is heart rendering as it beautiful. The same is true of Isla Nisbet (who will alternate with Brook Dunbar) as Jamie’s mother Margaret New. This is the trickiest role in the show given that both Pentland and Nisbet are around the same age bracket in reality but Nisbet delivers a convincing, heart renderingly impactful performance throughout. Her take on “He’s My Boy” is the shows pure 5 star shimmering moment in motion that brings a tear to all who witness it.

Speaking of 5 star moments special mention must go to Lucymarie McEvoy as Pretti Pasha and her show stopping take on “Beautiful” that’s sung from the heart and although simply directed by Graham Martin delivers the real heart of both the song and the show.

The show also embraces its drag world setting with the inclusion of up-and-coming professional drag queen Cherry West alias Sam Carlin taking on the dule role of Hugo/ Loco Chanelle. Carlin delivers a wealth of comedy talent and lush vocals, and the company have cleverly ensured that whilst aesthetically the character looks like Cherry, they are very much Hugo and Loco throughout.

Joining Carlin in high heels are Robbie Wilkins (Laika Virgin/ Levi), Fionn Cameron (Tray Sophisticay/ Jamies Dad) and Ruaridh Laidlaw (Sandra Bollock/ Mickey)  they bring comedy joy and prove they can move in the heels especially when delivering Henshall’s fast paced and fresh chorography. Also, thanks to clever double casting they show off great acting chops too.

Dylan Hynd as Dean and Eve Morrison as Miss Hedge have the challenge of playing baddie parts however they deliver them with conviction and unlike “Jamie’s Dad” they get a redeeming happy ending that has the audience cheering them on come the final curtain.

Production wise, it’s hard to believe the show as brought together in just over a week prior to opening. A clever rotating set and a pair of portals are used to make the most of the space on stage at the Churchill Theatre accompanied by a technicoloured riot of a lighting design from Edinburgh based LA Create. Owen and Chris at LA Create also deliver a flawless sound design. Miranda Burns inspired, inventive and fresh Costume design adds professional polish to this production, Burns choices bring out the best in both performances and the shows story.

Find Your Light’s production of Everybody’s Talking About Jamie gets to the heart of Jamies story in a way in which the professional production often doesn’t. It’s performed by a company many of whom are living there own Jamie journey in real life. It’s a production rooted in the truth that we are all uniquely special and deserved to be love for who and what we are! One thing is for sure there is a lot of love in this show, and you must do what you can to grab one of the last remaining tickets and find your own little bit of glitter in the Gray! Camp, Gay, Honest, with a rich heart everything Jamie should be! wonderful stuff indeed.

Find Your Light Presents, Everybody’s Talking About Jamie, The Church Hill Theatre Edinburgh, Runs until Saturday 18^th July 2026. For more information and tickets go to: Everybody’s Talking About Jamie – Tickets | Fienta

**** 4Stars

“ A joyous nostalgia filled evening of musical joy “

There can’t be an 80’s movie classic that hasn’t at some point been adapted into a stage musical, the one film cannon that seemed the most unlikely to be given the stage treatment is 1984’s The Karate Kid starring the late Pat Morita as Mr Miyagi and the still youthful Ralph Macchio as Daniel Larusso.

Debuting in 2022 in St Louis the Karate Kid the musical see’s the return of the motion pictures screen writer Robert Mark Kamen to write the book with music and lyrics composed by Drew Gasparini, directed by Amon Miyamoto and featuring choreography from Keone and Mari Madrid. It’s a musical that succeeds because it stays true to the spirit of the original, retelling the timeless tale of good over adversity and the discovery of what a person can do if they find balance and self-belief in ones self. The musical also cleverly stays with in the 80’s world many of us remember in our childhoods. The songs and score have a terrific 80s pop feel and are delivered in style by both cast and a stellar ten strong pit orchestra under the baton of Musical Director Chris Poon.

Performances are excellent with the cast being lead in style by Adrian Pang as Mr Miyagi who delivers a performance that brings out the best of Pat Morita’s original film interpretation but also makes the character more human. The gorgeous Gino Ochello makes his professional stage debut as Daniel Larusso as well as having an uncanny resemblance to Macchio he brings a youthful innocence to the role but also possesses a beautiful singing voice. The leads are joined by a 14 strong ensemble many of whom appear in featured roles. Special mention goes to Sharon Sexton as Lucille Larusso, Daniel’s erstwhile and hard-working mother. Her voice is on point, and she brings real emotional valour to the part.

Production wise this is a west end worthy production with Derek McLane’s Scenic design blending San Francisco with the Orient with ease however there was a set malfunction in that the automated screens came in to far onto stage, so the audience got to see the magic of live theatre to often as the crew changed set between scenes. That said the set is beautifully lit by Bradley King with additional inspired support from Peter Nigrini’s projection design. Ayako Maeda’s lush costume design brings fresh life to 80’s americana and Kai Harada’s sound design is faultless.

Karate Kid the musical works as a musical adaptation as it doesn’t pretend to be something its not, its clearly a work of passion for both the company and the production team, blending a cherished story with classic elements of theatre, especially the use of a physical Greek chorus that ultimately delivers a joyous nostalgia filled evening of musical joy and a night well worth the ticket price. 

So why not head to the festival theatre and grab a ticket for journey to an 80’s classic and discover your true self all over again! Wonderful stuff.

The Karate Kid, The Musical, Festival Theatre, Edinburgh runs until Saturday 27thth June for more information and tickets go to: https://www.capitaltheatres.com/shows/the-karate-kid/

The UK Tour continues and the Production will visit the Theatre Royal Glasgow  Tuesday 30^th June to Saturday 4^th July 2026

***** 5 Stars

“Boundary Bending Ballet Perfection!“

For over half a century the world renowned “Trocks” have inspired, entertained and brought laughter to generations of ballet fans. The company formed in 1974 as an artistic response to the Stonewall uprising putting men at the very heart of classical ballet which has been retooled for modern audiences with a helping of comedy. There can’t be a fan of theatre who has not heard of  Les Ballets Trockadero a ballet company that transcends the ballet artform and has made a generation of dance fans adore them.

The company mark there 50^th anniversary with a new UK tour which is nearing its conclusion with two nights in Edinburgh followed by a visit to Aberdeen with a programme that combines there classic Le Lac Des Cygnes (Swan Lake, Act II) as There first act followed by a second act that combines DON QUIXOTE  Pas de Deux, GO FOR BAROCCO  and THE DYING SWAN concluded with a third act featuring VALPURGEYEVA NOCH (“WALPURGISNACHT”). The programme is inspired and delivered with true class and faultless performances from the entire company.  The true highlight must be Robert Carter as Olga Supphozova in the Dying Swan, which is simply beautifully danced and mines every ounce of comedy from the piece. He leaves the audience wanting more with his beautifully executed piece.

The “Trocks” are masters of there craft all the gentlemen are gifted students of the ballet and each of them know how infuse the right amount of comedy into each performance. This is no night at the Royal opera house in London’s Covent Garden, but a night of ballet born of the loft rooms and supper bars of 1970’s New York that seeks to do nothing but raise laughter and entertain.

Entertain they do, accompanied by a lush orchestral soundtrack, stunning costumes and great lighting the Trocks once again prove that the Ballet is for everyone and the artform can inspire, education and entertain in equal measure to any other.

Fifty years of entertaining and producing boundary bending ballet perfection ensures the audience keep returning to wherever and whenever this magical New York troupe performs. At just over 2 hours including 2 intervals it’s a perfectly judged performance that has love of the ballet at its heart.

For a quality evening of comedy ballet danced by the worlds best dancers this is the show for you and long may the Trocks rein supreme! Last few tickets remain so grab them before there gone!

Les Ballets Trockadero de Monte Carlo, Festival Theatre, Edinburgh runs until Wednesday 17th June for more information and tickets go to: https://www.capitaltheatres.com/shows/les-ballets-trockadero-de-monte-carlo/

The UK Tour continues and the Production will visit His Majesty’s Theatre Aberdeen  Friday 19^th and Saturday 20^th April.

***** 5 Stars

“Heartfelt, Endearing and Deeply Moving! “

Marking 75 years of theatre making at the heart of the gateway to the highlands The Pitlochry Festival finally welcomes Alan Cumming’s inaugural season as Artistic Director with a heartfelt, endearing and deeply moving production of “Once” with music and lyrics by Glen Hansard and Markéta Irglová and a book by Enda Walsh, Once is the Tony Award-winning musical based on John Carney’s much-loved 2007 film.

Premiering in New York in 2011 at the American Repertory theatre prior a transfer to Broadway at the Bernard B Jacobs Theatre the production would go on to win eight Tony Awards including Best Musical, Once now makes its debut in Scotland at Pitlochry. Reuniting the original creative team to bring this modern and generational classic to the stage, opening Alan Cumming’s inaugural season in as style that see’s the venue transformed with renewed creative flair for the future.

Once tells the story of Guy (The sublime Dylan Wood), a disillusioned street musician ready to leave his songs behind, and Girl (Lydia White in emotional honest performance), who challenges him to believe in his talent. With the support of an unconventional group of friends and fellow musicians, they embark on creating an album together. Along the way they discover themselves, there sense of place alongside love and where the heart belongs a potent mix that’s handled beautifully by acclaimed director John Tiffany.

Tiffany has blended his two lead stars with a beguilingly talented eight strong ensemble of actor/musicians to create a company that bleeds passion and truth in every scene. This is one of those rare utterly faultless productions that doesn’t retool the show but reshapes it with passion for the venues home and new generation of theatre goers it seeks to attract.

Performances are uniformly excellent throughout with gorgeous vocals aplenty and the decision of director John Tiffany to make the show inherently Scottish pays off in spades. Production wise the show is a triumph with Bob Crwoley’s design evoking many a Scottish pub with ease with credit to the in-house team at the Theatre for a wonderfully, realised set and costume design. The pub is beautifully lit by lighting designer Natasha Katz and the moments of soliloquy have perhaps some of the most evocative lighting ever created in “Once”.  Clive Goodwin’s sound design is also beautifully realised.

Much was riding on Alan Cumming picking the right show with which to launch his inaugural season at the theatre, not just to prove his artistic vision but as a creative expression that the changes he has made are for the better and set the Pitlochry Theatre on a renewed sense of self and that after 75 years the theatre at the gateway to the highlands is still creative melting pot that exceeds far beyond its stage.

Once is show that once seen is never forgotten and This Pitlochry Festival production will transcend time as uniquely special and individual production that will last long in the memory of all those who have good fortune to see. So why not head for the highlands and grab what very few tickets remain before falling slowly for the shows charms yourself! and if you get there early enough you might get a chance to head onstage and share a pint with the other locals! wonderful stuff.

Once, Pitlochry Festival Theatre, Pitlochry runs until Saturday 27^th June for more information and tickets go to: Once | Pitlochry Festival Theatre