Category: Brett Herriot Review

*** (3 stars)

“Filled with magical Whimsey”

Edinburgh based BTC Productions (previously Balerno Theatre Company) celebrate their silver jubilee year with a brand-new pantomime production of the classic tale, Beauty and The Beast, written and directed by Lewis Baird, choreographed by Sophie Douglas and musical direction by James McCutcheon which takes to the stage of the Church Hill Theatre Edinburgh for a week long run.

This is a panto that is filled with magical Wimsey in spades however its also a show that’s far too long and plot heavy which is more an issue with the writing as the dedication to the plot reduces the ability to include real panto ingredients. Act one coming in at one hour twenty-five minutes is excessively long for panto and Baird must trust in his writing that even the smallest audience member knows of the plot of beauty and the beast thanks to the Disney classic movie and dial the plot back in order to deliver true panto magic. That said the resetting of the story to “Auld Reekie” and altering the leads to Belle McTavish, a stellar performance from Kirsten Keggie and Dame Brenda McTavish a totally show stealing performance from George Mackie is ingenious in bringing the show to the company’s hometown.

Performances are uniformly excellent with George Mackie’s “Dame Brenda” really being the scene stealing triumph as he delivers an Edinburgh Dame with a big heart, excellent comedy timing and sails close to be almost drag queen with ridiculously high heels but he always lets the fact there is man in the dress shine through. Kirsten Keggie is wonderful as “Belle” with honey-soaked vocals and when “that” ball gown is revealed with a nice touch of magic it brings the aahs a plenty from the audience. Mark Jones brings Prince Sebastian/ The Beast to life with a performance that’s rich in character, while Jones is admittedly gorgeous looking as the prince he really sinks his teeth into the role of the Beast giving it just enough edge to be scary but not terrify even the smallest child. Comedy comes by the bucketload thanks to Michael Davies inspired “Hector” and Roman Mitchell’s couthy “Senga” (Mitchell will alternate the role with Iona Irving). It’s a Tweedle dee, Tweedle dumb pairing that brings true joy to the show. Adding magical sparkle is Debbie Spurgeon as the “Enchantress” with a lovely voice and true aptitude to present a fairy godmother with charm and grace. Every panto needs a band and Jessica Russell delivers an evil laugh and enough villainy in the role of the “Baroness” and she is joined by her hench man “Squire Jimmy” played with a deft comedy touch by Malcolm McFadyen.

The principals all get there moment to shine especially in the quadrilogy of panto sketches featured in the show. The Ghost gag is given a “Traitors” make over to great effect and Mackie and Davies go full throttle in pre interval kitchen cooking sketch. Act 2 see a fabulously funny take on the great Dean Park’s “Wee Andy Webbers Scottish Medley” and trust us this panto features one of the very best “12 days of Christmas” routines you will see in panto land this year!

The principals are joined by an excellent 9 strong Ensemble adult cast alongside two alternating sets of panto babes who make the most of there on stage time and shine especially when delivering Sophie Douglas’s inspired and fresh choreography that’s blended well with the abilities of her performers. There are moments were a tad more dance could be used to lift the show yet still further. Musically its everything you want from a panto with musical director James McCutcheon and his excellent four-piece pit band adding that essential panto ingredient wonderfully well.

Production wise MM Sound & Lighting have delivered a flawless sound and light design that makes the most of the Church Hills often limited abilities. Accompanied by a striking video wall design from SLS Productions and scenic artistry of Sophie Dalton its really brings the magical panto world of “Auld Reekie” to life in style.

Baird, Douglas and McCutcheon have got the very best from there committed cast and the company have a passion for delivering the best panto possible it just needs tweaking by removing some of the plot, adding a dash more panto fun with an extra sketch or two whilst bringing down the run time then 4 stars and more are within the companies grasp.

For now, BTC Productions Beauty and the Beast have produce a show packed with heart, fabulous comedy and some impressive wow moments that insures this is more than just a tale as old as time!

BTC Productions present Beauty and the Beast, The Pantomime, Church Hill Theatre, Edinburgh runs until Saturday 6^th December for more information and tickets go to: Balerno Theatre Company

***** (5 stars)

“A Joyous Anniversary Spectacular!”

Twenty years ago, in 2005 now critically acclaimed and award-winning pantomime producer Michael Harrison was handed the reigns of Newcastle’s and the North’s biggest pantomime at the beloved Theatre Royal. Harrison a local lad took a chance on bringing in a then unknown father and son circus comedy duo Clive Webb and Danny Adams and their unique brand of mayhem to join top of the bill star Jill Halfpenny in a production of that years Cinderella. They went to the ball and dreams came true as Newcastle audiences took Danny and Clive to their hearts. They returned the following year for Jack and The Beanstalk. Then in 2007 the duo was so popular they topped the bill themselves and were joined by the modern-day Danny La Rue of Dames, the simply incredible Chis Hayward and the magical trio were complete! Pop sensation Joe McElderry joined them in 2021 to make Newcastle a 4 top of the bill iconic show.

2025 sees Danny and Clive celebrate their 20^th season at the Theatre Royal in a brand-new production of “Aladdin” which proves to be a five-star joyous anniversary spectacular. Aladdin as a title has lost favor amongst panto producers due to the difficulties it faces with racial and cultural misappropriation. Director and co-writer Michael Harrison with co-writer Ed Curtis have done what panto is born to do! They have reinvented the story by moving the show away from peeking to magical land of pantomania and made a gorgeous celebration of both panto and Danny and Clive’s twenty years at the helm and its all the better for it. Spoiler alert! This is Aladdin as you have never seen it and you’re going to love it.!

Danny Adams in the performance of his life, leads the show as “Aladdin” in his quest for true love of Princess Jemima, the gorgeous Billie-Kay. His mum Mother Goose, played to perfection by the glamourous Chris Hayward (yes, no widow Twankey in pantomania!) and her husband Mr Goose, Clive Webb face their own challenges with priscilla the golden goose (acclaimed skin performer Olivier Moriarty) helping them to keep theatre royal in pantomania open and the pennies coming in. They are helped by the spirit of the ring, the wonderfully camp and the silky-smooth vocals of Joe McElderry alongside the Genie of the Lamp, Mick Potts who takes his idiot character to a whole new level. Together the seek to win over Old King Cole, Wayne Smith, to let Aladdin win his heart’s desire and the gang also must banish evil in the form of the Wicked Witch of Wallsend played with joyful villainy by Rachel Stanley.

While the story is unconventional it works beautifully! And there is just enough story to wrap round what is essentially a greatest hits of panto sketches from the last twenty years. Performances are sublime and faultless across the board. Danny Webb works out of his skin, and it shows and he and Joe McElderry have developed a wonderful on stage partnership with Joe giving as good as he gets with some tasty one liners and double entendre’s while Adams brings the comedy McElderry brings the vocals and it’s a match made in heaven. Clive Webb also delivers wonderfully well especially a fantastic “haunted house” sketch, and the team shine in what must be the countries best “If I were not in pantomime” sketch. The finest glamorous dame of them all Chris Hayward shines especially bright this year in a non-ending plethora of stunning frocks, a hilarious strip routine and some wonderful musical numbers that glue the show together. Mick Potts lifts his idiot character to new heights thanks to his mastery of physical comedy and it’s a joy as the Genie of the ring, Wayne Smith, Rachel Stanley and Billie-Kay are slightly underused but do shine during there moments they do get on stage and Smith has an unforgettable tache! That has the audience in hysterics.

The principal cast are joined by a stellar eight strong ensemble cast who shine especially when delivering Ashley Nottingham’s exquisite choreography that adds the cherry to this pure panto perfection of pantomime cake.

Production wise this is simply a west end production with Andrew Exeter delivering a brand-new set design that takes the show over the rainbow thanks to the set’s beauty and the beguiling lighting design from Ben Cracknell. Cracknell’s lighting design also brings out the very best of Teresa Nalton’s costume design! (with additional costume design by James Macier & Chris Hayward and additional specialty design and construction by Mike Coltman) trust us every single panto character features somewhere among the adventures of Aladdin in pantomania. Matt Peploe’s sound designed is flawless and the balance between performers and musical director Andrew Hilton and his six strong stonking pit orchestra is pitch perfect. It well seeing this is an anniversary spectacular with no less that three gigantic effects being used from those clever boys at Twins effects! Mythical creatures a plenty, Firey scares and yes, a carpet that flies! Simply incredible!

Michael Harrison has produced a panto which embraces twenty years of rich history but also retools it for the future ahead! It’s clear how much the Theatre Royal means to both him, Danny and Clive and the most emotionally moving scene in panto “the panto hall of fame” says it all! and must be the jewel in this year’s show. While Harrison also now directs and produces the London Palladium its clear there are many adventures ahead for him, Danny, Clive and the entire team at the Theatre Royal as they prove this brand-new Aladdin really is a Panto that’s is absolutely Genie-us!

Aladdin, Theatre Royal, Newcastle runs until Sunday 18^th January 2026 for more information and tickets go to: Aladdin | Newcastle Theatre Royal

The Theatre Royal Newcastle and Crossroads Pantomimes have confirmed the 2026/27 pantomime will be a spectacular new production of “Jack and The Beanstalk!”.

**** (4 stars)

“A big splash of a panto!”

Critically acclaimed and award winning panto creator and director Michael Harrison brought The Little Mermaid to life last year at Newcastle’s Theatre Royal and now that awesome production makes its Scottish debut at the home of Glasgow panto The Kings with a new book written by Harry Michaels and Alan McHugh with additional material by Kings legends Elaine C Smith and Johnny Mac. Directed by Kathryn Rooney the Glasgow team deliver a big splash of a panto for the festive season.

The Little Mermaid is most closely associated with the 1989 Disney animation but is actually a fairy tale written by Hans Christian Andersen in 1837 and this panto version leans more to the Disney movie telling the story of life under the ocean waves as Ariel, The Little Mermaid ( Jasmine Jules Andrews) longs to be part of the world above and feel the true love of Prince Eric (The gorgeous Benjamin Lockhart) whom she saved from drowning following his falling overboard on a stormy night at sea. Living in the world of the ocean floor is Queen Mary (The iconic Elaine C Smith) John Crabstix (Johnny Mac and the height of his panto powers) and the mayor of Atlantis (Darren Brownlie who delivers a camp panto masterclass). Queen Mary has a sister, but she has turned to the side of evil due to her unending selfishness, Ursla the Sea Witch! (play to panto villainy perfection by Hannah Jarrett- Scott). When Ariel arrives above the waves to capture the heart of the prince Queen Mary and Johnny Crabstix find themselves in a race against time to save Ariel from the evil Ursla but also to ensure true love comes out on top and help Ariel to find the princess with in.

This is a panto that delivers everything it should and more and performances across the board are universally excellent. Its clear the show is geared to Elaine C Smith and Johnny Mac who are now a beloved part of the King’s panto pantheon whose lineage goes back nearly 65 years. Elaine C Smith proves again why she is the most respected female dame and panto headliner in the country and boy does she still have the vocal chops to belt out the songs with gusto. Johnny Mac is sublime in the lead comic role, a role which he has made all his own and its clear he is enjoying himself every moment he is on stage. The duo is never better than when delivering panto sketches including “Chocolate Bars”, the “trunk of truth” and a fabulous retake on the 12 days of Christmas routine which cleverly uses the under-water world to its full advantage. What stands out most is while Smith and Mac may lead the cast, it’s a team effort and every one of the six strong principal cast get there moment to shine. Special mention must go to Darren Brownlie who channels a remarkable Alan Carr impersonation and shows he isn’t scared to send himself up when Elaine C Smith takes “River City” in her sights to hilarious effect.

The principal cast are joined by a flawless and polished eight strong ensemble who shine especially when delivering Jane McMurtrie’s excellent choreography which often embraces a Scottish flavor to great effect.

Production wise it’s a west end affair Andrew Exeter’s bubble infused set design is wonderful and beautifully lit by Matt Davies beguiling Lighting design. The lighting also brings out the best in the fabulous costume design by Teresa Nalton (with specialty costume design by Mike Coltman and additional costume design by Ron Briggs) that brings a myriad of sea creatures to life in glittery fashion. Greg Clarke’s sound design is pitch perfect and brings on the point balance between musical director Neil MacDonald’s stellar six strong pit orchestra and the cast on stage. The cherry on this panto cake is the stunning special effects from The Twins Fx that sees a sea horse take flight in spectacular style.

The Little Mermaid is a panto that delivers everything it says it should, often delivering so much more but the show comes in at 2 hours 10 minutes including a 20 minute interval and because of the incredible pacing the show feels even shorter to the point it feels like an extra sketch could have been added to make it fully satisfying. The tradeoff is, compared to some years, the Glasgow King’s have a panto with a story at its heart and its truly a magical adventure well worth the ticket price and ensures the Glasgow Kings panto remains the jewel in the crown of Scotland’s biggest city. Pure Panto Magic indeed.

The Little Mermaid, King’s Theatre, Glasgow runs until Saturday 4^th January 2026 for more information and tickets go to: The Little Mermaid (Pantomime) Tickets | King’s Theatre, Glasgow in Glasgow | ATG Tickets

The King’s Theatre Glasgow and Crossroads Pantomimes have confirmed the 2026/27 pantomime will be a spectacular new production of “Aladdin”.

***** (5 stars)

“A Glorious triumph of the human spirit”

Anna Mae Bullock born November 26^th, 1939, in Brownsville Tennessee saw abuse from her earliest years from an uncaring mother and aft violent father this abuse would colour her childhood and journey into adulthood. Anna Mae was blessed with a voice that would transcend the modern musical world. That world would come to know Anna Mae Bullock as the legendary Tina Turner a woman who fought the odds and searing domestic abuse to release herself and find true love and share her vocal gifts with generations of fans.

The Tina Turner story is one of finding hope in a hopeless situation, strength, sheer human will to survive and discovering the true power of believing in oneself. Tina, The Tina Turner Musical which is produced by the late Tina Turner herself is musical which tells Tina’s life warts, and all accompanied by the songs which brought her fame and coloured her life. Its also a musical which corrects many of the “dramatic effect” changes used in the 1993 motion picture “What’s Love Got To Do With It?”. Its rare musical that pulls no punches but delivers the truth thanks to incredible performances and skilfully written book by Katori Hall with Frank Ketelaar and Kees Prins.

Directed by the great Phyllida Lloyd and featuring a stellar cast this is a musical thats truly a glorious triumph of the human spirit and that’s thanks to the central performance of Jochabel Ohene MacCarthy as Tina (she alternates with Elle Ma-Kinga N’Zuzi) McCarthy’s performance is nothing less than faultless and finely nuanced as she lives Tina’s life on stage in front of your eyes its truly beguiling to watch. The moment “Tina” discovers her inner strength to fight back is awe inspiring and touches the heart in an overwhelming way. Credit must also go to David King-Yombo who has the unenviable task of bringing “Ike Turner” to life, a clearly violent and insecure man dealing with his own demons but allows his own selfish desires to excuse his vile behaviour. Its King -Yombo’s incredible talent that allows him to turn in a performance that’s breath taking in its range, eschewing panto villain for the truth the Ike was a very flawed human being. The principals are joined by an excellent 25 strong ensemble who brings Tina’s world across the decades to life with ease. Although on the odd occasion there are couple of instances of vocals being over pushed but it doesn’t detract enough to lose a star. While there is a few vocal bubbles the company deliver Anthony Van Laast’s sublime Choreography with passion and procession in equal measure

Production wise this is a west end production on tour with Mark Thompson’s set and costume design delivering in spades as Tina’s fifty-year journey is brought vividly to life. Bruno Poet’s lighting design is faultless and the moment half a dozen mirror balls spring to life is a stroke of genius that bedecks the massive playhouse auditorium with shimmering stars. This is boosted by Jeff Sugg’s inventive and capturing projection design which adds a rich layer of depth to the overall show.

Newin Steinberg’s sound design is of the highest quality balancing the performers with musical director Sarah Burrell’s ten strong onstage bad with ease. Musically this show is everything you could want and so much more with all of Tina’s hits from Nutbush City Limits to Simply the Best being delivered in style. It’s also wonderful to see Tina’s lesser-known hits including “I don’t want to fight no more” being use in a powerful exploration of storytelling.

Phyllida Lloyd has delivered a musical that transcends the Genre and always keeps the truth of Tina Turner’s life at the centre point of the story. This musical has become the enduring legacy for the late Tina Turner and stands as testament to everything this incredible lady brought to the world.

As the curtain fell to a rousing standing ovation and the audience get there chance to sing and dance along to a mega mix its shines through that the great Tina Turner truly was Simply the Best! Wonderful stuff indeed!

Tina, The Tina Turner Musical, Edinburgh Playhouse, Edinburgh runs until Saturday 22nd November for more information and tickets go to: TINA – The Tina Turner Musical Tickets | Edinburgh Playhouse in Edinburgh | ATG TicketsTina, The Tina Turner Musical UK Tour continues until April 2026

“A Banger of a Show!”

**** 4 Stars

The sixty fourth annual Edinburgh Gang Show makes its fourth and final appearance at the Edinburgh Festival Theatre this week with a new generation of the gang delivering a feast of variety entertainment, from comedy to ballet to big west end numbers the gang  deliver a banger of a show as they bow out of the Festival Theatre in wonderful style.

Co-Directed by Andy Johnston and Louise Neal (with Johnston also writing the bulk of the material), Co Choregraphed by Louise Williamson and Jemma Crawford and Co Musically directed by Andrew Thomson and Fraser Hume (with Hume making his debut conducting the polished 12-piece gang show pit orchestra).

The Gang set there stall out early with a blistering opening section featuring the traditional Jamboree Overture and a stellar opening section title “The big Time” using the titular song from “Mack and Mabel” performed with gusto by Ellie Budd. This then flows into “Why do we do it” a section that expands on the self-belief that Gang Show is the best in Edinburgh and allows the gang to take pot shots at the local Edinburgh theatre companies to great comic effect. Variety is the name of game and director, and writer Johnston has now perfected the formula that shows the Gang off to their best advantage.

Act 1 was a little stilted on opening night, something which will tighten up naturally as the run beds in but Act 2 is when the show becomes a real four-star affair. Especially so in “Rolling” where Eliza Finlay displays remarkable vocal skill taking on Adele’s “Rolling in the Deep” she has a vocal maturity that belies her years. “The Story of Tonight” brings raw emotion and pathos to the show as Rory Pickin, Molly Haddow, Ewan Arnold and Jessica Hicks perform the Ben Platt and Lin Manuel Miranda musical crossover mash up “Found Tonight” that blends Hamilton with Dear Evan Hansen. This is a spine-tingling moment that brings the 250 strong gang together and showcases the power the gang have too not only entertain but move their audiences.

The Choreographers also deliver a variety of dance styles from pop to jive and even Core Du Ballet and the dance ensemble shine every moment there on stage. Musically the show is on sound footing with conductor Fraser Hume keeping the 250 strong cast and 12 strong orchestra together with ease. Special mention must also go to Alan Hunter and his wardrobe team who deliver a plethora of costumes running into the 100’s that befit the beguiling variety theme with ease.

Production wise James Gow’s and Andy Johnston’s lighting design delivers in spades from a riot of colour to 70’s disco chutzpah and even intimate moments that capture the eye. This is boosted by Lee Murphy’s inspired video design. Sadly, there were major issues with sound on opening night that blighted most of the show with popping a plenty and some vocals rendered inaudible there was also some balance issues. The Gang show does have a tight window in which to achieve there get in and technically set up the show but its clear that serious work on sound is needed to give the Gang the sound design they deserve.

The finale of the 2025 show is a loving farewell to the Festival Theatre but also an emotionally driven moment as the gang announces there going home for the 2026 show following the renovation of the Edinburgh King’s Theatre. It made all the more potent in that the cast of the 2026 show will have never performed in the company’s traditional home. As the curtain fell its clear that the Gang are going to continue to reinvent themselves while embracing their lineage long may they do so as they continue to roll along on a crest of a wave delivering the biggest and best variety show in the capital.

Edinburgh Gang Show 2025, Festival Theatre, Runs until Saturday 8^th November for tickets go to: Edinburgh Gang Show 2025 – Capital Theatres