Category: Brett Herriot Review

***** (5 stars)

“A Triumphant Reinterpretation!”

Thirty-six years after debuting in London’s west end at the Theatre Royal Drury Lane and coming on the 50^th anniversary of the fall of Saigon in 1975 critically acclaimed producers Sir Cameron Mackintosh and Michael Harrison have joined forces to bring a new production of the critically acclaimed Miss Saigon to the stages of the UK and my word what a triumphant reinterpretation it is.

Miss Saigon with Book and Lyrics by Alain Boublil and Claude-Michel Schonberg and additional Lyrics by Richard Maltby Jr and Michael Mahler is a sung through musical retelling of Giacomo Puccini’s opera Madame Butterfly. Setting the action across three years from 1975 to 1978 in Saigon at the culmination of the Vietnam War which would see the fall of Saigon. Modern era GI “Chris” a capturing performance imbued with strength and honesty from Jack Kane, meets and falls in love with Saigon Native “Kim”, a remarkable professional debut from Julianne Pundan while visiting a Saigon strip bar run by a manipulative “Engineer” the simply show stealing Seann Miley Moore, who is clinging to his American dream at all costs. Kim and Chris are thrown back together in Bangkok, but time has moved on and Chris comes with a wife “Ellen”, an assured and emotional performance from Emily Langham and Kim has secrets and truths to reveal herself which sets the stage for a story that looks at the fragility of love and how far one woman will go to make a better world for herself and those she loves.

This production of the show is subtitled “The Legend Reborn” and Director Jean-Pierre Van Der Spuy and his team have truly delivered on that promise. This is a thrilling and emotionally charged version of the show just waiting to be embraced by a new generation of audiences across the country. Performances from the 22 strong ensemble cast are uniformly excellent and the lead artists are outstanding. Special mention must go to Dom Hartley-Harris in the role of “John” who gives a powerhouse rendition of “Bui Doi” and brings a strong truth to the role. Pundan’s performance as “Kim” is truly remarkable, her voice feels like it belongs to someone far older than her years. Jack Kane’s “Chris” is everything and more and delivered flawlessly. However, the true standout is Seann Riley Moore’s “Engineer” his performance truly redefines the character and he must surely by the consummate “Engineer” of his generation, pulsating physicality, a hint of nastiness and the perfect blend of queerness it’s an outstanding performance from start to finish. The remaining cast bring equal levels of commitment to character and vocal performances, and they deliver Chrissie Cartwright and Carrie-Anne Ingrouille’s inspired choreography with great skill and polish.

Production wise this Miss Saigon is nothing less than a true west end production on tour with Andrew D Edwards Set and Costume design giving the show a whole new world to inhabit and its stunning in its detail and yes that magical moment with a helicopter is still very much there. Edwards design is boosted by the most emotional projection design by George Reeve which gives the over all show a rich cinematic feel. Bruno Poet delivers an award-winning lighting design that brings out the show’s darkest moments as well as the Broadway glitter of “The American Dream”. Adam Fisher’s sound design is the cherry on the cake with an inventive surround sound feel that reaches into the soul of the audience. The balance between performers at the outstanding 12 strong pit orchestra under the baton of Musical Director Ben Mark Tuner is faultless and the score has never sounded my lush or intricate as does now.

Miss Saigon: The Legend Reborn delivers on its promise in spectacular style allowing the show to inhabit a new world that grips current fans but also opens the show to a more modern world and reaffirms the musicals’ ability to both move, educate and entertain in equal measure. When the time comes many years from now for Miss Saigon to be revived or reinvented once more it will be hard to beat this production. So, head to the playhouse for the very few tickets that remain as the heat is very much on in Miss Saigon.

Michael Harrison in association with Cameron Mackintosh Presents Miss Saigon, Edinburgh Playhouse, Edinburgh runs until Saturday 1^st November for more information and tickets go to: Miss Saigon Tickets | Edinburgh Playhouse in Edinburgh | ATG Tickets

Miss Saigon UK Tour Continues, and the production will call at His Majesty’s Theatre Aberdeen from Tuesday 3^rd March to Saturday 7^th March 2026 and the King’s Theatre Glasgow from Tuesday 9^th to Saturday 20^th June 2026.

***** (5 stars)

“Beguiling and Enthralling”

Created as a rock opera concept album in 1970,Sir Andrew Lloyd Webber’s and Sir Tim Rice’s retelling of the last week in the life of Jesus Christ would debut on stage in 1971 in New York on Broadway at the Mark Hellinger Theatre before coming to London’s west end at the Palace Theatre the following year. Loosely based on the gospel accounts of the passion of the Christ the musical focuses on Jesus and Judas and the world that surrounds them. Dealing with control, manipulation, truth, divine power and humanity its powerful material which continues to capture audiences to this day.

Falkirk Bohemians directed by Calum Campbell, musical direction by Crawford Moyes and Choreography by Natalie Tedesco deliver the finest local production of the show to be seen, it’s a show that’s beguiling and enthralling in equal measure. Callum Campbell clearly knows his source material as his vision delivers a stripped back production set in a dystopian netherworld and the show is packed with peerless performances across the board.

Alex Wheeler as “Jesus” turns in an astonishing take on the lead role that captures from the off and he has the vocal chops to deliver ever single note with power and clarity that rings around the town hall auditorium. He is matched in style by Paul Allison’s “Judas”, Addison truly gets under the skin of the conflicted apostle and his performance of “Judas’s Death” brings the audience to a wrapped silence with its spine-tingling power. Hannah Parsons “Mary” also shines with a true understanding of the character and gorgeous honey soak vocals to match. Jamie Montieth “Caiaphas” has a simply outstanding vocal range, and his bass notes rock the foundations of the venue. Special mention must go to Kenny Walker as “Herod” a character that’s too often parodied against either Rik Mayall’s or Julian Clary’s turns. Walker makes the role his own in a simpering and seething motherload of camp and baby tantrums! Wonderful stuff.

The team and MM Sound and Lighting have outdone themselves with an incredible multi layered Set featuring steel towers and trussing that’s beautifully lit and captures the heart of this rock opera. This is bolstered by great sound design, although there was a blimp in act 2 it was soon back on form.

The 11 strong orchestra under the baton of musical director Crawford Moyes are faultless and deliver the score with polished perfection so much so that the music feels like it’s a full symphonic orchestra at work. Given the musicians are cascaded across the set on those steel towers makes it even more remarkable the quality of the music that has delivered.

The 35 strong ensemble company shine brightly when delivering Natalie Tedesco’s inventive and richly envisioned choreography which is boosted by Kristin Campbell and Rebecca Harding’s fitting costume design.

Falkirk Bohemians have brought a production of the show which takes it back to its true heart allowing incredible performances to shine equally allowing the story to speak to a new generation of theatre goers.

You won’t see a better local production of Jesus Christ Superstar so do what you must to grab the last remaining tickets before crucifixion ends for good.

Falkirk Bohemians Presents Jesus Christ Superstar, Grangemouth Town Hall, Grangemouth runs until Saturday 1^st November for more information and tickets go to: Home | Falkirk Bohemians

**** (4 stars)

“A treat of a musical comedy caper!”

Linlithgow Amateur Musical Productions affectionally known as LAMP bring the curtain down on there 40^th Anniversary year with a spritely new production of the Cole Porter Classic, Anything Goes running this week in the towns Academy Theatre.

Anything Goes recently marked its 90^th Anniversary with the original show debuting on Broadway at the Alvin Theatre (Now the Neal Simon Theatre) it would spawn no less that three film adaptations 1936, 1956 (The Bing Crosby classic) and 2021. It’s also been adapted for tv three times.

It was the widely successful 1987 Broadway revival that continues to be used today with music and lyrics by Cole Porter and a new book by Timothy Crouse & John Weidman based on the original by P.G. Woodhouse & Guy Bolton its that version that LAMP directed by Hannah Easton, Choreography by Hayley Fleming and Musical Direction by Eddie MacLennan bring to the stage in a show that is truly a treat of a musical comedy caper.

The show tells the story of Billy Crocker (Mark Wilson in a peerlessly delivered performance) who stows away aboard the S.S American as it sails across the Atlantic from New York To London he falls in love with Hope Harcourt (Mhairi Urquhart in fine form) but she is being forced by her overbearing mother to marry someone else. America’s 13^th most wanted criminal Moonface Martin (John Knox in a show stealing performance) is also aboard and Billy enlists him to win the arm of his true love. What follows is situation comedy in musical form of false identities, cross wires and wondering if true love will win out! Fame, infamy and human spirit in a show that’s still as funny now as it was all those years ago when it debuted.

The impressively large cast deliver a punchy performance across the board, and the leads are all excellent especially Mark Wilson, his Billy Crocker has real charm, and a honey-soaked vocals. John Knox really does steal the show a comedic tour de force turn. Mhairi Urquhart brings a lovely sense of innocence to the role of Hope Harcourt and Fiona Scott nails the role of Reno Sweeney perfectly turning in a brassy and bravura performance.

The company truly do shine especially in the show piece full cast show stopping numbers, Blow Gabriel Blow is the sparkling jewel in the show and gives any west end or touring company a run for there money. There are some issues with accents though, not everyone is up to delivering the American accents but many cast members really need to choose one accent and stick with it throughout the show.

Production wise John Knox’s set design makes the best of the space and gets the balance between nautical ship and luxury liner right. This is enhanced by MM Sound and Lighting, Lighting design. The lighting especially brings a rich pallet of colour. The sound had a few sticky moments but soon smoothed out and the balance between the onstage performers and the excellent 9-piece pit orchestra under the baton of musical director Eddie MacLennan is faultless.

Lamp have delivered a show that is fitting to see out their anniversary year and you can’t help leaving the theatre with smile and humming the tunes. It clear those on stage are reveling in the spotlight and that infectiousness is greeted warmly by the audience for show that provides a quality night of musical theatre! Well done LAMP for proving for 40 years and many more to come that Anything Goes!

LAMP Presents Anything Goes, Linlithgow Academy Theatre, Linlithgow runs until Saturday 25^th October for more information and tickets go to: Anything Goes – Linlithgow Amateur Musical Production

**** (4 stars)

“A Powerful reflection of a modern world.!”

The late and legendary Pulitzer Prize award winning author Harper Lee’s greatest work is undoubtable the transformational, To Kill a Mockingbird which this year marks its 65^th anniversary of its publication. The book which is based on Harper’s own life was an immediate critical and audience success. It would go onto achieve wider acclaim following the 1962 motion picture adaptation starring the Great Gregory Peck as “Atticus Finch”.

Mockingbird was first adapted for the stage in 1990 by Christopher Sergel in a production that continues to run annually in May of each year in Monroeville, Alabama the home of Harper. That production would tour the UK Several time.

In 2018 Aaron Sorkin would adapt the book again for a brand-new production for Broadway at the Schubert Theatre directed by Bartlett Sher. This production would be nominated for 9 Tony Awards and would transfer to London’s West End and now it is enjoying a UK tour calling at the Festival Theatre for a week’s run.

Sorkin’s adaptation is not without controversy as it moves the focus more fully onto Atticus Finch (John J O’Hagan covering for the indisposed Richard Coyle who delivers an emotionally charged powerhouse performance) as opposed to Scout Finch (The divine Anna Munden) as in the original book.

This is story of racial divide, bigotry, and truth set in 1930’s Alabama as Lawyer Atticus Finch takes on the case of Tom Robinson a black man falsely accused of rape in an America that’s divided in many senses and despite the sixty five year gap between the book being published and today the play proves to be a powerful reflection of a modern world especially in the politically divided modern America of today.

Performances from the entire twenty-four strong cast are uniformly excellent with O’Hagan especially shinning in the lead role, his physicality and delivery is complete and its clear by his emotions at the curtain all just how much he gives the role in a finely nuanced performance. Aaron Shosanya brings a silent strength to his role as Tom Robinson. Special mention must also go to Dylan Malyn as Dill Harris. Malyn is making his professional debut delivering a character although rich with comedy has a deep sense of truth brought about by the characters mental difficulties truly an astonishing performance.

Production wise Miriam Buether’s set design is grand and effective in its visuality but its does feel a little clunky and adds time to an already long running time, but it visualizes the time period of the story wonderfully well. The same is true of Ann Roth’s incredibly detailed costume design and captures the cross section of America in the 1930’s in minute detail. Scott Lehrer’s sound design is faultless and composer Adam Guettel music brings a richness and flow to the over all production.

To Kill a Mockingbird continues to be an impassioned exploration of the human condition and remains timely as it is timeless, and this new production ensures a quality evening of drama that speaks across the generations. Unmissable theatre at its best.

To Kill a Mockingbird, Festival Theatre, Edinburgh runs until Saturday 25^th October for more information and tickets go to: To Kill a Mockingbird – Capital Theatres

The UK Tour continues for the remainder of 2025 and into the Spring of 2026. The production will call at the King’s Theatre Glasgow 4^th – 8^th November 2025.

*** 3 Stars

“Stylish but lacks the Wow Factor! “

The RKO motion picture classic “Top Hat” starring Fred Astaire and Ginger Rodgers made its debut ninety years ago in 1935 becoming a treasured movie for tap dance the world over. Seventy-six years later in 2011 that Matthew White and Howard Jacques adapted the film for the stage embarking on a UK tour prior to an engagement in London’s west end at the Aldwych Theatre.

It’s that production which the Chichester Festival Theatre have revived for a new UK tour, directed and choregraphed by acclaimed director Kathleen Marshall. It’s a stylish production but really does need more of the wow factor to engage its audience over its admittedly long run time.

Telling the story of American tap dancer Jerry Travers (a polished performance from Phillip Attmore) who arrives in London to star in new show produced by Horace Hardwick (James Hume in fine form) only to fall in love and attempting to woo Dale Tremont (Amara Okereke). What follows is a comedy of errors wrapped up in big Hollywood production numbers featuring 18 songs (four more than the original movie) from the iconic Irving Berlin.

Featuring a 26 strong company of accomplished dancers and actors this show has lashing of style with great performances throughout with special mentions going to leads and none more so than Sally Ann Triplett in the role of Madge Hardwick. Triplett gives a comedy driven tour de force and captures the audience every moment she is on stage. While the company can perform the roles with style there are some accent issues, so we get New York via London and Glasgow which does jar a little. Overall coming in at the three hour mark they show lacks the “wow” moments that are present in more modern musicals that would engage the audience more fully for the duration of the shows run time.

Production wise it’s a visual treat with Peter McKintosh’s set design clearly conveying the golden era of Hollywood film making although there was a technical show stop on press night following a fault with the automation element of the set. Tim Mitchell’s lighting design is lusciously delivered and really makes Yvonne Milnes and Peter McKintosh award winning costume design truly sparkle. 

The show is anchored by a terrific eleven-piece pit orchestra conducted by Musical director Stephen Ridley who deliver the beautifully nuanced score with skill. However, Paul Groothuis sound design needs to be cranked up as in a rare example, especially for the Playhouse the sound isn’t loud enough and the balance between musicians and performers needs a little refining. 

Top Hat the musical does deliver value for the ticket price and there is an innate charm to seeing a beloved movie classic once again on stages around the United Kingdom. Loaded with stunning tap dancing and wholesome family comedy this is a Top Hat with a little polish that would truly be Top Drawer!

Irving Berlin’s, Top Hat the Musical, Edinburgh Playhouse The production runs until Saturday 4^th October for more info go to: https://www.atgtickets.com/shows/top-hat/edinburgh-playhouse/

UK Tour continues with the production visiting the King’s Theatre Glasgow from 3^rd to 7^th February 2026 and His Majesty’s Theatre Aberdeen from 10^th to 14^th March 2026.