Category: Brett Herriot Review

**** 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.

**** 4 Stars

“A Generational Treat of A Show! “

Debuting in 2014 at the Hampstead Theatre London then transferring to the west end at the Harold Pinter Theatre, this semi-autobiographical musical telling the story of the early days of Ray Davies and the seminal 60’s pop/rock group The Kinks would enjoy a two-year run before embarking on its first UK tour. Now ten years after that first tour the show is back on the road around the UK approaching the end of the tour itself the show stops at the Edinburgh Playhouse delivering a generational treat of a show!

Featuring Music and Lyrics by Ray Davies, a book by Joe Penhall and directed by Edward Hall this is a production that takes the actor musician style to a new level with an incredibly gifted cast of talent bringing the myriad of characters to life. The show is admittedly too long and the point that the members of the band were extremely unhappy to be in said band is over laboured towards the end. The story is engaging and the collection of Kinks hits deployed is incredible and carry the show no end.

“You Really got me”, “Dedicated follower of fashion”, “All Day and All of the night” and of course “Waterloo Sunset” all feature amongst other classics. All of which are performed with panache and procession by the lead cast Danny Horn (Ray Davies), Oliver Hoare (Dave Davies), Harry Curley (Pete Quaife) and Zakarie Stokes (Mick Avory) who make up the Kinks on stage and all prove their abilities as musicians and actors with ease. Especially Danny Horn who imbues the humanity of the real Ray Davies with incredible skill and truth and he captures every moment he is on stage.

Performances across the board are uniformly excellent for a tight and well drilled ensemble especially when delivering Adam Cooper’s 60’s soaked yet sparky choreography. Edward Hall’s direction is equally as taught but gives way to true emotional depth at the require moments. That said, the use of “Audience Run In” is utterly exhausted and so must be the cast given the size of the Playhouse auditorium they have a lot of distance to cover across the show.

Production wise the show is a joy with Miriam Buether’s set and costume design summing up 60’s counterculture with ease and delivers some of those iconic looks with deft skill which is boosted by Rick Fisher’s tremendous lighting design using an inspired lighting rig to give the show a quality 60’s feel. Matt McKenzie’s sound design has its moments too, bringing out the sharpness of the intimate moments, then letting rip with rock concert level sound when the band really up the ante and rock out.

Sunny Afternoon is a show that doesn’t deliver a juke box musical by the numbers but a show which places the music at the heart of the production to tell Ray Davies story, yet it lingers a little too long but this is a show with depth and truth and gives a shimmering insight into the legend that is Ray Davies who at 81 is still living an authentic life of a rock star on his own terms. The show speaks to a generation of rock fans and to those well beyond and is truly worth to price of ticket to view this particular waterloo sunset!

Sunny Afternoon, The Kinks Musical, Edinburgh Playhouse, Runs until Saturday 9th May, for more information and tickets go to: Sunny Afternoon Tickets | Edinburgh Playhouse in Edinburgh | ATG Tickets

The Productions UK tour continues with its final leg  and the show will visit Inverness at the Eden Court Theatre from 12^th to 16^th May.

*** 3 Stars

“ A Show with depth and truth!“

Cited as the greatest love story in country music the marriage of June Carter and icon Johnny Cash has been explored in literature and in motion pictures now it gets the musical theatre stage treatment in a production that not only explores the reality of the couple’s life but also pays homage the music the defined the Cash American song book.

Featuring a book by Des McAnuff (who also directs) and Robert Cary with Music and Lyrics by Johnny Cash, June Carter Cash and others the production also involves the couple’s son John Carter Cash as Story advisor alongside music supervisor/arranger.  The inclusion of John Carter Cash is central as the story is taken from his viewpoint as the show’s main narrative.

The life story of countries first couple has been well documented and this production achieves a rare intimate and emotional insight into the couple beyond the music although the script does get a little clunky and does repeat itself especially around the well documented addiction problems of the Cash family the writing needs to be more nuanced and streamlined to gain the additional depth that would see the overall show sore.

Performances across the board are excellent especially the leads Christopher Ryan Grant (Johnny Cash) and Christina Bianco (June Carter Cash) who deliver stunning vocal turns backed up with powerhouse acting abilities especially during those tense dramatic family moments. Grant has an uncanny resemblance both visually and vocally to the real cash its really capturing to watch. Ryan O’Donnell brings understated to emotion to the role of John Carter Cash and mines the show for both comedy and true emotions to wonderful effect. The principal cast are joined by a stellar 13 strong ensemble who shine in every moment none more so than when delivering Byron Easley inventive choreography.

Music wise the show is a triumph with over thirty songs spanning the career of the cash family featured throughout the show from “ A Boy Named Sue” Via “Folsom Prison Blues” to “ I walk the line” and of course “Ring of Fire” there is everything for a cash fan to enjoy. Vocals are peerless and musical director Connagh Tonkinson 6 strong band excel. The highlights in the show musically are the moments the country numbers blend with a more musical theatre flavour. The standout being the inclusion of the Nine Inch Nails song “Hurt” which Johnny Cash covered later in his career and life, its inclusion in the show gives real depth and truth to the piece.

Production wise the elements do gel together although Robert Brill set design is clearly made for small venues its simply dwarfed on the Festival Theatre with heavy black drapes needed to bring the set in. That said its beautifully and evocatively lit by Amanda Zieve lighting design. Peter Fitzgerald’s sound design is excellent on the band but there are a couple of niggles with the cast but its most likely just opening night and will soon tighten up. Special mention to Safrina Bush inspired costume design which truly brings the show to life.

There is a sparkling heart within in The Ballad of Johnny & June which if tapped into would see it soar into the hearts of musical theatre audiences and not just die-hard Carter and Cash fans. For now, it’s a show which delivers well in a constrained formula that the real Johnny Cash would have tried hard to break out of. That said it still delivers bang for the ticket money! So Walk the line to the Festival Theatre and treat yourself to a ticket.

The Ballad of Johnny & June, Festival Theatre, Edinburgh, Runs until Saturday 2^nd May, for more information and tickets go to: https://www.capitaltheatres.com/shows/the-ballad-of-johnny-and-june/

The Productions UK tour continues and the show will visit the Glasgow Pavilion Theatre 13^th to 22^nd August.

**** 4 Stars

“ Pure Comedy Joy !“

Life long friends Alan Cumming and Forbes Masson came to prominence in the 80’s as Victor and Barry two Kelvinside men with a blistering array of comedy and songs. While Victor and Barry never got there break in TV the characters were effectively turned into Sebastian Flight (Cumming) and Steve McCracken (Masson) for six legendary episodes of the 1995 modern comedy classic “The High Life”

The High Life takes viewers inside the world of Air Scotia and its staff as Steve and Sebastian do battle with Hitler in tights Shona Spurtle (Siobhan Redmond) the purser and the clearly insane Captain Hilary Duff (Patrick Ryecart) it was a mix of slapstick, observation and clever repartee along with the most catchy theme tune that made the High Life a comedy treasure for a generation.

Now following a 30-year delay Steve and Sebastian along with Shone and Captain Duff are back! In a brand-new musical which is pure comedy joy. Coproduced by the National Theatre of Scotland, Dundee Rep and in association with Capital Theatres and Aberdeen Performing Arts, and featuring a Story, script and Lyrics by Cumming, Masson and Johnny McNight and Directed by Andrew Panton, Air Scotia is under threat of complete closure, but can our boys save the airline, there jobs as well as sorting out the demented Captain Duff? The audience find out as they go along on a genius comedy ride and yes that catchy theme tune is back too.

The High Life delivers in spades in world that has moved on across the three decades, but Cumming and Masson reflect this in there older but not wiser characters which still fit into a modern Scotland. The show holds a mirror up to where we are now compared to 1995 and while Scotland is a changed land the humour remains timeless, and the songs give more depth that was ever possible before.

Performances are excellent with Cumming and Masson in terrific form especially when delivering selected moments from the original tv show and the cries of “oh dearie me” and they shine brightly as they perform the frothy songs with Glee. The entire principal cast are faultless as one would expect but so too are the 7 strong ensemble who help flesh out the story wonderfully well. There are great comedy chops all around. The show however does loose its way slightly in the overly long second act, but you can’t help being charmed by it none the less.

Director Andrew Panton has rediscovered the true heart of The High Life and retooled it for today’s generation to great success. The show also features sharp chorography from Emily-Jane Boyle. Production wise the show is a real charmer Colin Richmond’s Set and Costume design is on point using great creativity to bring the air scotia Boeing aircraft to life in the confines of the Festival Theatre Stage. Grant Anderson’s Lighting design is bang on the money as is Tom Penney’s sound design although the mics could be turned up a little at the start.

The High Life the Musical really is still living it and recaptures the magic of the original and sure isn’t a load of pif paf pof and is proving to be a smash hit with tickets in extremely short supply and believe me a joyous comedy night out awaits those who have successfully got a boarding pass! So what you waiting for! step aboard a Boeing going high and live the High Life once more yourself! Wonderful stuff!

The High Life, The Musical, Festival Theatre, Edinburgh, Runs until Saturday 11^th April  for more information and tickets go to: The High Life – Capital Theatres

The Production will tour Dundee, Aberdeen, Inverness and Glasgow!