Category: Brett Herriot Review

**** (4 Stars)

“Filled with a joyous community heart!”

The word Icon is aft overused but in the case of the late Legendary Dolly Parton she is truly is, was and always will be an Icon of music, acting and her philanthropic endeavours. Her breakout triumph in the cinema was the 1980 smash hit motion picture 9 to 5 which saw Dolly joined by Jane Fonda and Lily Thomlinson as three empowered 1970’s women who seek to teach there sexist autocratic male boss a lesson that a women’s place is anywhere she wants it to be.

Twenty-eight years after the release of the movie, Parton would return to the world of 9 to 5 with a musical adaptation for the stage that would prove to be a smash hit with runs on both Broadway and London’s west as well as UK Tours. Now the rights to the show are available for local companies and Linlithgow Amateur Musical Productions (LAMP)take on the challenge as a tribute to Dolly and deliver a show that’s filled with a joyous community heart.

Featuring a book by Patricia Resnick and music and lyrics by Dolly Parton including many of her hits such as the title “9 to 5” and “Backwoods Barbie” the musical retells the movies plot faithfully with lashing of comedy and spirited dancing and Lamp deliver it well and with style.

Directed by Claire Withnell, Choreography by Sarah Louise Donnelly and musical direction from Eddie MacLennan the company field an impressive 44 on stage performers and everyone get there moment to shine thanks to Donnelly’s inventive Choreography that makes the most of the tight space on stage. Withnell’s direction sets a cracking pace, and she brings out the best of the comedy and gives the show the right amount of pathos and emotion in the right places. MacLennan’s eleven strong pit orchestra are well polished and can really belt out those Dolly Parton classics with ease.

While performances across the board are good, the accents are very wayward with many being more central belt Scotland than the skyscrapers of downtown Los Angeles, if you’re going to work in accent, you really must stick with it all the way through and don’t let it drop. That said the stellar trio of Siobhan Smith “Violet Newstead”, Hannah Allan” Doralee Rhodes” and Fiona Scott as “Judy Bernly” are a triumph, perfectly capturing the film originals whilst giving the characters their own spin and all three are gorgeous singers. Rebecca Holmes turns in a comedy tour de force performance as “Roz Keith” that’s a joy to watch. John Knox steals the show as the heartless “Franklin Hart Jr” he is hysterical and never drops character even during the bows!

While there may have been sound niggles aplenty the company showed real commitment that shone through and they were backed by a great technical team. CF Sound and Light sound and lighting design delivered well and brought John Knox’s clever 1970’s infused set to design to brilliant life. The costume team added the cherry on the cake bringing to great breath to a plethora of 70s outfits with ease.

Lamp’s production is a fun filled night of musical theatre that’s the perfect celebration of its creator and is a potent reminder of just how talented Dolly Parton will always be and thank god we have her body of work to celebrate her legacy and Lamp have added to that legacy with a quality production that’s well worth the ticket price! So don’t miss out.

9 to 5, The Musical, Linlithgow Academy Theatre, Linlithgow, runs until Saturday 24^th October 2026. For more information and tickets go to: Linlithgow Amateur Musical Productions event tickets from TicketSource.

***** (5 Stars)

“A Timeless Scottish Comedy Classic!”

Legendary Scottish actor, comedian, playwright and writer Tony Roper recently celebrated his 85^th Birthday to mark the occasion he announced he would direct his greatest work one last time to mark its impending 40^th anniversary and his retirement from directing the show. The show is of course the cherished theatrical treasure “The Steamie” featuring songs by David Anderson and new production comes to Edinburgh’s Kings theatre as part of the inaugural season since reopening with a programme that celebrates the best of Scotland’s theatrical arts and proves once again that The Steamie is nothing less than a timeless Scottish comedy classic.

Originally staged by “Wildcat” at the Crawfurd Theatre, Glasgow in 1987 it was an instant success that would a see a television adaptation screened on Hogmanay 1988 featuring Scottish acting royalty Dorothy Paul, Eileen McCallum, Katy Murphy, Sheila Donald and Peter Mullan the play featuring songs and music takes the audience on a nostalgic journey back to the Glasgow wash houses (The Steamie) of the 1950’s were women were women and friendships are cemented in a show which has a beautiful heart and some of the most joyous observational humour ever written. Who knew “Could I have another tattie” would become so famous!

Over the last four decades numerous productions have been staged including an over-the-top mega show at the Glasgow SSE Hydro and even a production featuring a cast of drag performers. Now the 2026 production comes to the King’s Edinburgh for a weeklong run and delivers a flawless joy de Vere performance that makes the show sparkle just as brilliantly as the original.

A stellar cast of Lousie McCarthy “Dolly”, Alice Cleland “Margrit” Eden Barrie “Doreen”, Lesley Mackie “Mrs Culfeathers” and Paul J Corrigan as “Andy” combine together to deliver a comedy acting masterclass that’s rich in laughter as well as nostalgia and not a swear word is uttered between them thanks to Ropers incredible writing, he knows it works and that influences his beguiling direction which allows his cast to both embody and embrace the characters.

The entire cast deliver beautifully, and each get a moment in the spotlight that touches the heart whether it’s a monologue or song its clear this cast are revelling in the show. The cast are backed by a flawless production team.

Kenny Miller’s Set and Costume Design allows ’1950s’ Glasgow to come vividly to life and brings out the true heart of the piece that lets the audience see through the rose-tinted veneer of nostalgia to the reality of 1950’s life as opposed to today when the washing Is turning on a machine in our kitchens. Emma Jones Lighting design is nothing short of stellar ably supporting every emotion across the show. Paul Smith for apex acoustics sound design is equally excellent with pitch perfect balance between performers and Musical director Ross Brown’s musicians.

The Steamie remains timely as it is timeless! And this new production ensures everything that’s beloved and treasured about the play is right there on stage, funny, warm and full of heart it’s a show which will continue to enchant audiences for the next 40 years and behind and for that we are all truly grateful to the genius of Tony Roper!

As the song goes “It wont be long before the bells, time just over takes you” don’t let it over take you and grab what few tickets remain for a show which will lift your spirit and your heart in equal measure and you will leave the King’s smiling from ear to ear! Nothing comes close to bettering it! Wonderful stuff indeed.

The Steamie, The King’s Theatre, Edinburgh until Saturday 10^th October 2026. For more information and tickets go to: The Steamie – Capital Theatres

The 2026 Tour continues, with the production visiting Pitlochry Festival Theatre 20^th -24^th October, Dunfermline Alhambra Theatre 29^th – 31^st October before culminating at the King’s Theatre Glasgow 2^nd to 14^th November for more information go to: https://rerrterr.com/

**** (4 Stars)

“Full of Heart and Pride! ”

After all the celebrations The King’s Theatre Edinburgh inaugural autumn and winter season, since its transformation,  gets underway with a programme of productions that celebrate the best of Scotland across the generations which makes Raw Materials new hip hop musical “Wallace” an excellent choice and Edinburgh audiences get an exclusive preview of the show as its not scheduled to tour fully until autumn 2027.

Written by Rob Drummond with music and lyrics by hip hop award winning artist and DJ Dave Hook, this is a musical that’s heavily influenced by the great Lin-Manuel Miranda (In the Heights and Hamilton) and tells the story of the life of Scotland’s greatest advocate for independence and freedom William Wallace (1270- 1305).

Most people will only know the story of Wallace thanks to the 1996 Mel Gibson motion picture “Braveheart” the only problem being that the movie was mostly fabrication for dramatic purposes, this stylish musical lifts the lid on the real Wallace and the first war of Scottish independence from his stunning win at the Battle of Stirling Bridge to a shocking defeat at the Battle of Falkirk which lead to his death at the hands of King Edward the 1^st.

This is a musical that’s full of  heart and pride on wears it proudly on its sleeve, and engages from the off by not being a history lesson with musical but a powerfully written piece that draws comparisons between the World of Wallace in the 13^th Century and our modern world were those who are enriched and in positions of power continue to launch futile wars its aft sobering and emotional.

Performances from the six strong cast, Madeline Grieve “Wummin”, Dave Hook “DJ/Wallace”, Kimberly Mandindo “Wummin”, Ross Mann “Scotsman”, Patricia Panther “Wummin” and Manasa Tagica “Sassenach” are excellent all deliver flawless turns soaked in hip hop rhythms to great effect.

Production wise it’s a fabulous set design from Neil Haynes which is brought to even further vivid life by Derek Andersons full throttle lighting design. Garry Boyle sound design is equally as good but given much of the score is delivered by Hook’s live DJ skills it’s probably easier to get such a good balance. Victoria Brown costume design also triumphs in blending historic period piece with hip hop flavours in abundance.

Wallace was developed as part of Oran Mor’s A Play, A Pie and a Pint series  and at times the show still feels like it’s a work in development and while O’Loughlin’s direction is pacey the piece especially in act seems a little bloated and with a brief act 2 perhaps it should be performed as a one act musical but that could change as the show continues to develop.

Wallace is filled with adult language and truly embodies the spirit of hip hop although it also includes rock and pop in its score the show is truly engaging leaving catchy tunes in the memory long after the curtain falls. The greatest joy of the show is the way it holds up a mirror to today. For a man who died 721 years ago what have we has a humanity and society learnt from his life? As it appears for too many those In power continue to make the same mistake.

One thing that is no mistake is splashing out on a ticket for this show as you will leave royally entertained and I’m excited to see how the show develops ahead of its full tour next year.

Wallace A Musical, The King’s Theatre, Edinburgh until Saturday 3^rd October 2026. For more information and tickets go to: Wallace – Capital Theatres

**** (4 Stars)

“A Glittering Compassionate Encounter”

Wladziu Valentino Liberace known to the world as simply “Liberace” passed away nearly forty years ago; he died as he lived a walking contradiction. A man who lived a lie in full view of the world that would see him attain the title “Mr Showmanship”. While his talent was never in doubt, his private life became something of a legend that would see the pianist not only hurt all those he fell in love with, but most strikingly of all he hurt himself the most.

Forming part of Alan Cumming’s inaugural season as artistic director of Pitlochry’s Festival Theatre, Cumming makes his co-directorial debut alongside Ben Occhipinti with the world debut of “I’ll being Seeing You” written by the critically acclaimed Martin Sherman (whose greatest work “Bent” is approaching its 50^th Anniversary) with Sherman also making his professional acting debut at 87.

The play goes far beyond the depth of the 2013 HBO movie to find out what really lay behind the candelabra and discover the man who was so staunchly conservative in his political and religious beliefs that he would hide his obvious self-evident homosexuality behind a series of remarkable lies. Liberace could have made a difference in a massive way but chose rampant Capitalism and bathing in jewels, glitter and celebrity instead.

Sherman’s script is wonderfully executed, shining the light of the modern era via the role of “Writer” played with dexterity by Free Fee his performance really sums up the clash between the world of today and the world of Liberace’s life. Examining the court cases “Liberace sued the Daily Mirror for implying he was homosexual and remarkably won the case” That reflection is transposed later in the play with Martin Sherman himself taking over the role of the “Writer”, so both sides of the argument are given full view.

Performances are excellent and Bafta, Tony and Olivier award winner Simon Russell Beale gives a tour de force turn as Liberace completely immersing himself in the role he sparkles behind the piano but equally revels in delivering a truly conflicted and flawed human being. Fra Fee delivers a knockout turn as the younger “Writer” with great physicality while Sherman’s elder “Writer” giving a deeply emotional performance. Its this central character pairing that carries a play which is very much a glittering compassionate encounter of the gay generations.

Joining the leads are Anne Lacey in a comedic joy filled turn as Mother/Heidi, Ali Watt as Chauffeur/Hunk (a thinly disguised Scott Thorsen) and Adam Kashmiry as Hunk all of who shine in there moments in the spotlight with Ali Watt’s “Hunk” giving the audience much to think about as it clear Thorsen was the love of Liberace’s life but what a price he paid.

Production wise the show is highly impressive, Tim Hatley’s design captures the glitter and sequins and flying of the high points of Liberace professional life but balances it with dour reality of the “writers” flat with guile, ease and style. This is boosted by Grant Anderson’ stellar lighting design that has the wow moments balanced perfectly with dark reflective ones.

While Cumming’s and Occhipinti direction is free flowing and harnesses the comedy to make the truthful moments even more shocking. There does feel at times the play is a little bloated and could be achieved in an hour in a production which is running at one hour and twenty minutes.

That being said; The theatre in the hills is producing a stellar season and “I’ll be seeing you” is corner stone of that creative flair for telling the story of a man who was once the most famous man in the world but is now condemned to this history books as flawed human being  who hid his sexuality and Aids diagnosis behind a wall of lies that would ultimately tumble down on him in death.

Funny, Taught and emotionally open this a stellar piece of dramatic theatre that hopefully has more life ahead following its run at Pitlochry for now grab those tickets.

I’ll Be Seeing You, Pitlochry Festival Theatre, Pitlochry until Sunday 11^th October 2026. For more information and tickets go to: I’ll Be Seeing You | Pitlochry Festival Theatre

**** (4 Stars)

“Anarchic Delight!”

It’s a rare treat to be able to see a production of Richard O’Brien’s Legendary Rocky Horror show outside the confines of the professional touring production as the rights have been tightly controlled since the show’s inception back in 1973 where it debuted at the Royal Court Theatre Upstairs in London.

53 year later following numerous productions and of course the beloved movie adaptation Rocky Horror continues to entertain the globe with its heavy mix of sexual liberation, tribute to the b-movie pastiche, audience participation and good old rock and roll!

Edinburgh University Theatre Company bring the show to the intimate Bedlam Theatre and deliver a production that’s filled with anarchic delight. Even with director Hunter King’s choice to use a more gender-blind approach to casting, there are moments that shine and capture the heart and essence of Rocky Horror more fully than the current UK tour does.

Performances are overall excellent with Lil Hodge leading the company as Dr Frank ‘N’ Furter they deliver a performance that’s dripping in knowing sexual lust, but it does need more of an injection of masculinity to sell the fact Frank is a sweet transvestite and sexually open to all comers. That being said, Hodge belts out the songs with a stunningly strong vocal.

Charlotte Senior and Max Middleton play the stories central star-crossed lovers Janet Weiss and Brad Major in fabulous style harnessing the comedy, great vocals and a sense of innocence with easy.

Dani J Bryant is a revelation as Riff Raff, enshrewing a slight nod to Richard O’Brien’s original creation but taking it out in the comedic universe with a honey soaked vocal they practically steal the show with there high energy performance. The same is true of Bea Lermite and Gemma Leach as Magenta and Columbia respectively they really get there characters over in great style.

Also making the most of there stage time are Oliver Mason “Narrator”, Aisling Ni Dhochartaigh “Dr Scott”, Ewan Robertson “Eddie” and Hattie Summers as “The Usherette” they bring joy and dedication to their performances and Oliver Mason in particular handles the audience shout outs with ease.

The true highlight of the show is Frank ’N ‘ Furter’s creation “Rocky” played by the gorgeous Josh Chamberlin and while he might not be the body builder type used in the professional production, he brings a charm, wonderful physicality and stunning vocal ability to the role. Its almost a cheeky Chappy interpretation with a wonderful dash of innocence and he doesn’t look half bad in a Basque and stockings too boot.

The principals are joined by an 8 strong ensemble of ghouls who revel in delivering Naomi Jessiman’s inventive choreography. Hunter Kings direction is fast paced and really latches into soul of the piece and it’s wonderful to see the full show being performed rather than the heavily abridged pro tour.

Production wise the team acquit themselves well with Kiran Mukherjee’s lighting design making the best of the space although could be sharper on the cues especially during lighting strikes. Eric Rogers Sound design does work despite a few glitches and achieves a great balance across musical director Emily Smith 6 strong on-stage band with special mention going to James Reinhardt on Tenor Saxophone who puts the cherry on the cake of this show.

This is really a student company production that revels in the heart of the show and produces a truly entertaining evening of musical entertainment although its only Max Middleton as Brad Majors who dawns the high heels at any point! A Cuban or cowboy heel does not make a stiletto! But you can’t help but be won over by the sheer enthusiasm of the company and with cheep bar in the venue this is a riot of fun night out! You won’t go wrong in hitting the Bedlam and doing the time warp if you can get a gold dust return ticket.

Richard O’Brian’s, The Rocky Horror Show! The Bedlam Theatre, Edinburgh Runs until Saturday 26^th September 2026. Including special midnight performances, SOLD OUT For more information and return tickets go to: Richard O’Brien’s The Rocky Horror Show | Bedlam Theatre