Category: Brett Herriot Review

***** 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

**** 4 Stars

“A True Thriller Chiller! “

Multi award winning and Olivier award nominated “2:22, A Ghost Story” embarks on a new UK tour following five runs at some of London’s west ends most intimate theatres including the Gielgud, The Criterion and the Lyric  and calls at the Edinburgh Playhouse  for a week long run and delivers a production that remains a true thriller chiller of a show!

Written by Danny Robins and Directed by Matthew Dunster & Gabriel Vega Weissman, “2:22 A ghost story” tells the story of Jenny (Shvorne Marks) who believes her new home is haunted, but her husband Sam (James Bye) isn’t having any of it. They argue with their first dinner guests, old friend Lauren (Natalie Casey) and new partner Ben (Grant Kilburn). Can the dead really walk again? Belief and scepticism clash as we are asked, is everything as it appears to be or does something feel strange and frightening, and that something is getting closer, so they’re going to stay up… until 2:22… and then they’ll know. Or will they?

Performances across the board are excellent with all four principals investing in their characters and all deliver finely nuanced and intricate performances. They are all utterly believable both as married couples and individuals. Special attention should go to James Bye who is a marvel at delivering the minute details that if watched closely could reveal the truth of what’s happening.  The reality is this piece works so well due to the stellar writing that’s the perfect blend of kitchen sink drama meets the spectre of something which lives beyond on the vail of life and to see it delivered by such a stellar cast reminds the audience why the play is so successful and has packed audiences into the west end and around the UK.

The only drawback of this performance was the choice of venue, the massive Edinburgh Playhouse at nearly 3000 seats is simply too big to generate the intimate nature of the play which sees it at its best, that said its brave choice to play the space and credit to the Playhouse for programming the play and expanding a programme in the venue that’s aft musical heavy.

Production wise Anna Fleischle set design is excellent and pure quality in equal measure bringing to life the front room of a suburban London town house with ease although it very heavily “brought in” which much of the Playhouse stage swathed in black cloth. Lucy Carter’s lighting design is excellent adding real depth to the show. Ian Dickinson’s sound design is on the money and both Carter’s and Dickinson’s work allows those scare and jump moments to work beautifully. Special mention to Chris Fisher for his illusions design that adds that extra mythical sparkle that’s the cherry on the cake.

2:22 is a ghost play that blends the classic elements of an Agatha christie thriller with an audience of the Netflix generation and does it remarkably well and that makes it endlessly entertaining so hurry along to the Playhouse and grab a ticket for a show that will not only leave you shaken and stirred but deep in conversation long after the curtain has fallen. Wonderful stuff indeed.

2:22, A Ghost Story, Edinburgh Playhouse until Saturday 30^th May, for more information and tickets go to: https://www.atgtickets.com/shows/2-22-a-ghost-story/edinburgh-playhouse/

The Productions UK Tour will continue until July 2026.

**** 4 Stars

“Packed with Wow Moments! “

A modern musical that’s become a beloved favourite of Scottish audiences is without doubt Sunshine on Leith featuring the music of The Proclaimers written by Stephen Greenhorn (Yes the mind behind BBC Scotland’s River City) the show debuted in 2007 at the stellar Dundee Rep followed by a big screen adaptation in 2013. The West Yorkshire Playhouse would produced a reworked version of the show in 2018 and its that production which local company Stage Door Entertainment have brought to the stage just a stone’s throw down the road from the heart of Leith itself at the Portobello Town Hall. They deliver a show rich in character and packed with wow! Moments!

Telling the story of Ally (Ewan Robertson) and Davy (Aaron Khachaturian) two Leith lads who return from deployment in the middle east to try and pick up home life where they left off! Encountering family issues and affairs of the heart that can someone times be more of a battle than that of the front lines. Can hope of a better life and the power of love be enough to see them through to civvy street? this show explores that journey with great warmth and generosity of spirit.

Directed by Lisa Goldie with musical direction from Tommie Travers and Choreography by Aiden O’Brien Stage doors production wears its heart firmly on sleeve getting great performances from the large 7 strong principal company and nearly 30 strong supporting and ensemble cast.

Robertson and Khachaturian deliver powerful performances throughout the show leading the company in style with Khachaturian having an utterly gripping knack for character acting. Malcolm Milne and Lindsay McDougall as “Rab” and “Jean” are a convincing elder couple struggling with the revelation of long hidden secrets and leaning well into Greenhorns soap style writing of the script. Ellie McConachie and Monique Crisell as “Liz” and “Yvonne” deliver the vocal highlights of the show with rich vocal sounds being delivered by both with real charm. Erin Aitchinson as “Eilidh” has a tricky job as the character is shoe horned into the story as a plot device rather than a character with depth, but she delivers well.

The ensemble shines every moment there onstage especially when delivering O’Brien’s inventive choreography. As a whole company, that the show delivers spine tingling moments with “Sunshine On Leith” and “Letter from America” becoming haunting moments of truth that touch the soul.

Musical Director Tommie Travers has eeked out every harmony from the score and his polished company deliver them with true style that echoes around the town hall and all this backed by his stellar eight strong pit band featuring a magnificent string trio that’s rarely heard or seen in other productions.

There were opening night nerves across the company with dropped lines peppering the performance, but the tightness of the company was clear as they carried on through using just the right touch of comedy to smooth over the edges.

Production wise its less even, its great to see Stage door really open up the Town Hall stage stripping it back to expose the wings but also using a wonderful simple setting of cloudy sky and Edinburgh Iconic skyline backed against it. Its all beautifully lit by Heather Rolland’s inspired lighting design that brings the beauty of the venue out as much as it does the emotional depths of the show. Simon Ferguson’s sound design suffered most from opening night glitches but considering he was brought in last moment to fill the roll it’s a great achievement given the size of the job at hand and when it comes to the big wow moments he delivered well.  Special mention also must go to Lesley O’Brien’s magnificent wardrobe design that captures Leith life with detail, style and truth.

Stage door have a real treat of show on there hands if they can speed up the transitions (the show comes in at nearly 3 hours end to end) between scenes getting it slicker and workout the kinks in the sound the show will ooze real flair and give that musical cherry on the cake.

So, what you waiting for? You don’t have to walk 500 miles to get a ticket for a terrific night of musical theatre, but you might walk 500 miles more if it sells out before you get there!

Stage Door Entertainment presents, Sunshine On Leith, Portobello Town Hall  Runs until Sunday 24th May, for more information and tickets go to: https://www.stagedoorentertainment.co.uk/tickets

**** 4 Stars

“A Taught Thriller of a Musical! “

Based on the 1992 motion picture of the same name, The Bodyguard, the musical has become a fan favourite in musical theatre circles and now embarks on its 5^th tour of the United Kingdom. Featuring a book by Alexander Dinelaris and featuring the music of the original motion pictures star, Whitney Houston, it remains a faithful screen to stage transfer of the film original albeit the time frame is moved forward to the present day rather than the original 1992 setting. (The musical debuting in 2012).

Telling the story of fictional pop star Rachel Marron (Sidonie Smith) who is being stalked by a crazed gun man (James -Lee Harris) forcing her record management to bring in security specialist and bodyguard Frank Farmer (Adam Garcia) to protect both Rachel, her son Fletcher and sister Nicki Marron (Sasha Monique). The situation grows ever more complicated as emotions and affairs of the heart come into play it what remains a well written taught thriller of a musical.

Performances are somewhat uneven to be fair, Sidonie Smith’s take on Rachel Marron does succeed in the emotional moments thanks to her great acting skills, but her vocals don’t always match, it could well have been tiredness but the vocal quality wasn’t the strongest and the diction and clarity even less so ultimately delivering more of underwhelming performance that should be delivered by the lead role. Sasha Monique is the opposite, great acting, powerful honey-soaked vocals and a performance rich in truth and emotional honesty she lifts the show to the fourth star on her own. When watching the show is almost as if Monique and Smith should swap rolls and play each others characters to achieve a better overall production. Adam Garcia is a triumph as Frank Farmer exuding a Hollywood leading man charm with ease and for someone who has great vocal ability in the one song he does perform is delivered to great comedic effect. James- Lee Harris as “The Stalker” delivers everything the character should and gets the audience jumping at all the right moments.

The nine strong principal company are joining by a well drilled 11 strong ensemble company who sparkle especially when delivering Karen Bruce’s inspired period choreography. Director Thea Sharrock has shown great skill in blending those tense moments with joyous pop musical numbers with ease.

Production wise the show is as fresh as ever with Tim Hatley’s Set and Costume design being on point (although there was a little issue with drape rails malfunctioning so we could see the crew changing the set) and its beautifully lit by Mark Henderson lighting design. The sound is pure quality with Richard Brooker’s sound design delivering a faultless balance between performers and musical director Charlie Ingles 6 strong pit band beautifully well. The cherry on the cake is Duncan McLean’s Video Design which brings just enough flavour of the original motion picture to make the stage version zing!

 The Bodyguard continues to deliver a fabulously fun evening of musical theatre that come the inevitable sing along finale has the audience on its feet following the moment the audience waited for with bated breath, “I will always love you”  proving this is a show that has everything and will continue to wow audiences around the country! You wont go wrong by heading to the Playhouse and grabbing a ticket for your very own “One Moment time”!

The Bodyguard, The Musical,   Edinburgh Playhouse, Runs until Saturday 23^rd  May, for more information and tickets go to: The Bodyguard Tickets | Edinburgh Playhouse in Edinburgh | ATG Tickets

The Productions UK tour continues, and the show will visit The King’s Theatre Glasgow Monday 25^th – Saturday 30^th May 2026.

**** 4 Stars

“Brimming with old school theatre charm! “

One of Edinburgh’s longest running local companies Southern Light return to the Festival Theatre for there last full scale musical at the venue before returning to the revamped King’s Theatre in the spring of next year with a production of the musical classic Guys and Dolls with music and lyrics by Frank Loesser and book by Jo Swerling and Abe Burrows and the company deliver a production briming with old school theatre charm!.

Guys and Dolls debuted in November 1950 at the Richard Rodgers Theatre (Then the 46^th Street Theatre) following a trial at the Shubert theatre in Philadelphia and gained instant success becoming a beloved classic over the following 75 plus years. There was a motion picture adaptation in 1955 featuring Marlon Brando and the show has been revived or reinterpreted numerous times over the year and is firm favourite with local companies up and down the country.

It’s Intriguing that Edinburgh’s oldest local company have taken on the show for the first time, Directed by Andy Johnston with Musical Direction by Fraser Hume and Choreography from Janice Bruce the creative team have delivered a joyful show by allowing the writing and performances to shine through rather than to reinvent a practically perfect musical wheel.

Performances are uniformly good across the boards with the nearly 70 strong ensemble cast shining in every moment under those bright lights. The leads are excellent Greg McCafferty-Thomson’s “Sky Masterson” is understated but intelligent and he has the vocals to really sell his songs. Olivia Hall as “Sarah Brown” brings a naive charm to the role that works beautifully especially as she blossoms towards the end of the show. John Bruce is in fine form as “Nathan Detroit” giving him the right edge guile to match the comedy.  Speaking of comedy, Fionn Cameron is a smash as “Nicely – Nicely John” delivering a triple threat package! His comedy skills match his vocal and dancing abilities with incredible agility he is wonderful to watch. Special mention must go to Lara Kidd as “Miss Adelaide” a true leading lady performance in the vein of Ethel Merman. Kidd shines from the off and has a voice that’s as at home in the west end as it would be on Broadway.

While performances are great there is an issue with pacing and the show does feel sluggish with the over all run time coming in at the 3-hour mark, to many pauses made the show feel its length, however this will undoubtable tighten as the show continues to bed into its run.

Production wise Southern Light have delivered a highly worthy production with Andy Johnston’s set design helping the production along no end. This is boosted by Lee Murphy’s video design which gives the show an almost animated feel which adds to the joyous comedy of the piece. James Gow’s Lighting design hits the mark beautifully from the evocative sewers to the bright lights of Broadway to the simplicity of the prayer hall Gow’s designs add a rich beauty to the piece.

Paul Smith (Apex Acoustics) sound design is on the money balancing the large cast against Humes 16-piece orchestra who incidentally bring a rich full sound quality to the timeless score. The real cherry on this guys and dolls cake is Sandra Summers utterly sublime costume design thats pure quality and charm in equal measure.

Southern Light have ensured they have bowed out of the Festival Theatre in style with a production that oozes quality with Johnston Direction bringing out both the best in the writing and the performances. If the pacing could be just that much sharper so it zips along it would be all the better for it. For now, don’t sit down too long or even rock the boat! Head to the Festival Theatre and grab what tickets remain!

Southern Light Presents Guys and Dolls, Festival Theatre, Edinburgh Runs until Saturday 16th May, for more information and tickets go to: Guys and Dolls – Capital Theatres

Southern Light have confirmed they will return to Edinburgh’s Kings Theatre in May 2027 for a new production of Titanic the musical.