Category: Brett Herriot Review

**** (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. 

***** 5 Stars

“An Impassioned Triumph! “

Six decades after the original 15-minute pop cantata, Andrew Lloyd Webber’s and Tim Rice’s most enduring legacy to not only musical theatre but to generations of childhoods is Joesph and the amazing Technicolor dreamcoat.

Telling the biblical of Joesph from the book of Genisis the pop infused score and bubbly story have seen over 20,000 productions take place in schools up and down the country alongside the professional productions most successfully the 1991 revival that saw Jason Donovan reach superstar status. It’s that version using the 1995 musical score that Stage Door Entertainment bring to the stage of the portobello town all in a production that’s brimming with impassioned triumph! 

Directed and choreographed by Lisa Goldie and Aidan O’Brien and musical direction by Tommie Travers puts a thirty strong adult cast accompanied by forty-four strong children’s cast split into two teams centre stage and the company give it their all and it’s clear to see their joy and passion float over the footlights.

Performances are universally excellent especially the principals with Ewan Robertson leading the cast as “Joesph” in a turn that imbues innocence with stunning vocals. The same is true of Monique Crisell as “Narrator” her unique spirit and beguiling vocal ability really do glue to show together wonderfully well. John Lauder brings maturity to the role of “Jacob” while Connor Byrn dials up his best Elvis vocals in the role of “Pharaoh” and delivers musical comedy with ease.

Production wise this is a show that truly nails it with resident Head of wardrobe and costume design Lesley O’Brien simply out doing herself with a blistering array of costumes that dial into the heart of the original 70’s show cultural look whilst retooling it for a modern audience. Her take on the iconic dreamcoat is without doubt the true visual money shot of the show a tremendous achievement. Laura Hawkins lighting design delivers a Technicolor riot of visuals truly befitting of the show which is accompanied by Ian Cunningham’s effect sound design.

One of the true highlights of this production is hearing the timeless score performed flawlessly by an incredible fourteen strong live orchestra under the baton of the show’s musical director Tommie Travers. Every single note is finely nuanced in a groundswell of musical joy that fills the town hall with musical magic.

Stage door have a truly delivered a joyful production of a musical classic that will enchant its audiences both young and old and with very few tickets remaining you better Go, Go, Go to ensure you grab one and enjoy a truly fabulous technicolour show!

Joseph and the Amazing Technicolor Dreamcoat, Portobello Town Hall, The production runs until Saturday 27^thSeptember for more info go to: https://www.ticketsource.co.uk/stagedoorentsuk/e-qdredm

*** 3 Stars

“Taught and Oft Gripping! “

Patricia Highsmith’s novel, The Talented Mr. Ripley marked its 70^th anniversary this year following its debut in 1955 it would go on to global recognition thanks to the 1999 motion picture adaptation directed by Anthony Minghella starring Matt Damon and Jude Law.

Following the most recent 2024 television adaption for Netflix, the psychological thriller comes to the stage for the first time in a taught and oft gripping production adapted and directed by Mark Leipacher and it makes a stop at the Edinburgh Festival Theatre for a weeklong run to kick off the venue’s autumn programme of plays.

The cast are sublime especially the leads with Ed McVey taking on the title role of Tom Ripley and Bruce Herbelin-Earle as Dickie Greenleaf respectively telling the story of Ripley a Conman who gets in over his head went sent to Italy to induce Greenleaf into returning home to the United States at his father’s requests. Ripley finds deeply hidden emotions rekindled as he swept along by Greenleaf’s playboy lifestyle. Leading to killer consequences as we discover is it ever truly possible to get away with murder and live with the guilt.

McVey and Herbelin-Earle are truly capturing in the roles making use of the many opportunities to break the fourth wall as McVey often Narrates the story as well giving the character of Ripley a multi-dimensional personality. Special mention must also go to Maisie Smith (yes, she has left the angst of Walford and Eastenders far behind) as Marge Sherwood. Marge is Dickie Greenleaf lover but is snared in Ripley’s web of lies as she tries to discover the truth, and Smith gives an impassioned performance.  The principal cast are joined by a seven strong ensemble who bring to live the dozens of characters that inhabit the world of Ripley and they do so with incredible talent although there are odd occasions were accents are not what they should be.

Production wise it’s a stripped back affair with Holly Pigott’s set and costume design being clearly influenced by acclaimed west end and Broadway director Jamie Lloyd, with lighting bars exposed and the bulk of the action centred on a raised platform centre stage. Zeynep Kepekli’s lighting design leans into the overall design incredibly well but the moments of blinding light that evokes golden era Hollywood does become jarring due to excessive use. 

Max Pappenheim’s sound design should work on paper but on the execution on press night there were major problems with the sound operation. It’s clear the cast are wearing microphones but there not always on when they should be or there popping and banging at will. The sound balance also needs looking at as there is a soundscape in the show, but the balance is off kilter so much, so members of the audience were checking to ensure their mobile phones were off having not realised its the sound within the show before them.

The Talented Mr. Ripley offers an engaging night of drama with polished performances throughout along with a pace that whips along but the technical elements need to match that standard to bring the show up to the four star that’s clearly with in it.

Have you felt like someone was watching you? well check out The Talented Mr. Ripley to see a chilling reflection of that often-Macabre feeling.

The Talented Mr. Ripley, Festival Theatre, Edinburgh The production runs until Saturday 20^th September then the UK tour continues, for more info go to: https://www.capitaltheatres.com/shows/the-talented-mr-ripley/