Category: Brett Herriot Review

**** (4 stars)

“Visually Awe Inspiring”

Beyond Broadway Experience mark there tenth anniversary production by turning to Footloose a partial juke box musical debuting in 1988 with music by Tom Snow (amongst others) and lyrics by Dean Pitchford and a book by Pitchford and Walter Bobbie and they deliver a production that is visually Awe Inspiring.

Based on the 1984 motion picture featuring Kevin Bacon it tells the story of Ren McCormark a teenager from inner city Chicago who at his mother behest moves to Baumont Utah, where he encounters a community still struggling with a tragedy that has led the towns minister, the Revered Shaw, to ban dancing it’s all its forms. What follows is a battle of wills, humanity’s forgiveness and ultimate redemption.

Its fertile material and one that’s popular with many companies but can it work for Beyond Broadway who field a massive production that in captures all 17 lead roles but also adds a 183 strong ensemble cast which delivers many awe inducing moments on the eye but equally for its awesomeness it becomes a moving mass of humanity on its own. 

Performances across the board are uniformly excellent with directors Murray Grant, Drew Gowland and Malcolm J Burnett producing a well drilled company that deliver every inch of Grant’s, Laura Proudfoot’s and Sarah Kerr’s inspired choreography with polished pizazz. Bobby Duncan’s “Ren” is everything and more that you could wish for with a gorgeous voice and excellent physicality and he plays well against Rhianne McAllister’s Aerial Moore. She delivers beautiful vocals and a unique turn on the character. Special mention must go to Harry Aspinall as Rev Shaw Moore. He truly takes the character on a journey of emotional discovery yet gives him a rich understanding heart. Aspinall has truly grown into a very accomplished performer. 

For all that’s good about the principals its when the rest of the 200 strong company join the stage that shows the productions power and weakness in equal style. While it beguiling to see such a large company take the stage. The company is so big it becomes a seething mass of humanity and makes individuals hard to pick out. Then again, the extremely large cast is one of the wow factors.

Production wise it’s a breath of fresh air, the decision to blend Neo- Expressionism painted art with the overall production via use of live video screens is an inspired decision that takes the show to a whole new level. This is boosted by Keigan Hawthorn’s excellent lighting design. MM Productions sound design is also on the money and delivers a perfect balance between the cast and musical director Linda Stewart and her 8 strong on-stage band.

This is a Footloose that’s filled with heart but once the audience member accepts just how awesome a large cast looks it does comes across how little so many performers can, actually be used but then again that’s musical theatre in all its glory.

Beyond Broadways production of Footloose raises the bar and never let’s go and that has to be applauded. Wonderful stuff indeed. 

Beyond Broadway Experience presents Footloose, Festival Theatre Edinburgh run ended.

**** (4 stars)

“A joyous nostalgia filled production!”

Following their debut in 2024 with an excellent production of “Legally Blonde” Edinburgh based Find Your Light productions return to the church hill theatre with their 2025 production of Grease. Giving themselves just two weeks to mount and stage a fully produced book musical.

This year they tackle a show that’s eternally popular with local companies the 1971 musical which would gather global success as a motion picture in 1978 and the company prove that Grease is still the word and delivering a joyous nostalgia filled production.

This well paced and excellently co-directed production from Stephen Graham Martin and Hannah Ferrier Baker featuring stealthy choreography from Charlotte Henshall puts performances at its heart yet still delivers big musical moments thanks to its well drilled cast.

The 40 strong ensemble deliver in spades especially the principal cast with Ethan Reilly and Emila Smart taking on the titular roles of Danny Zuko and Sandy Dombrowski and they deliver charming performances with impressive vocals to match. They carve a unique take on the characters that doesn’t rely on the well known Travolta and Newton John performances and make the characters their own. Special mention must go to Ruaridh Laidlaw as Eugene his comedy timing is second to none and he shines especially in the moments where his visual comedy sails across the footlights. An additional special mention must go to James Gilbert who led the company in last year’s legally blond and returns in the guest roles of Vince Fontain and Teen Angel respectively. His performance captures from the off and he proves just how good his vocal abilities are. 

Production wise the company have made the very best of the intimate space of the Church Hill Theatre with a creative set that brings the world of Rydell High to life, and this is boosted by a terrific lighting and sound design from MM Sound and Lighting. Miranda Burns also brings style to show with a faultless costume design.

We were lucky to see a special preview performance ahead of the opening night and the only real criticisms that could be resolved is the majority of the cast just need to slow the pace, let the comedy land because directors Graham Martin and Ferrie Baker have given the show a real comedy heart and it’s a shame not to let the audience get the chance to enjoy those moments fully. 

Find Your Light was born out of a wish of the performers who come from across the portfolio of parent company SJM productions to take part in a full book musical and the company continue to impress as they empower the next generation of musical theatre performers to reach their potential and that has to be applauded.

Find Your Lights production of Grease truly delivers a quality night of musical theatre from a cast who truly shine on stage, and they shine all the brighter thanks to the professional theatre makers who are working hard to produce the show.

So, what you waiting for? Grab those last remaining tickets and find out for yourself that thanks to Find Your Light, the Grease is still very much the word!

Find Your Light presents Grease, Church Hill Theatre, Edinburgh runs until Saturday 19^th July for more information and tickets go to https://fienta.com/s/grease

***** (5 stars)

“The Evita of our Times!”

The renaissance of the works of Andrew Lloyd Webber continue in theatres across London and the world and acclaimed director Jamie Lloyd continues his critically acclaimed work of not only reviving productions but totally reinventing them for audiences who are clamoring  to grab those gold dust tickets.

Jamie Lloyd is truly an impressive symbol of an impassioned new generation of theatre makers who thrills in blurring the lines between live on stage action and live camera work whilst deploying strip backed sets, he allows his talented casts and musicians to carry the load. It worked beautifully on Sunset Boulevard. However can he repeat the feat on Lloyd Webbers 1978 Olivier award winning adaptation of Argentina’s Eva Peron’s Life namely Evita? The answer is a resounding yes and he and his extraordinary cast deliver an Evita of our times!

The story of Eva Peron’s life from the quite backwaters of Argentina to becoming the spiritual leader of the nation is one filled with the dramatic power of love, self belief and ultimately human sacrifice wrapped around a world gripped by a political power play. That power play is now directly reflected in our modern day world and Jamie Lloyd harnesses all that power in this production that lives up to and defies the hype that surrounds it especially that magical moment on the balcony of the London Palladium over looking Argyle Street. 

Performances are across the board are uniformly excellent, none more so than Rachel Zegler making her west end debut as Eva Peron she gives a performance that crackles and sparkles with energy throughout from Eva’s hip and trendy young days to the ball gown and diamond bedecked moment of raw power as she implores those to “don’t cry for me Argentina” Zegler understanding of Eva’s power over the people shine through in an outstanding vocal performance that moves the palladium audience to both wrapped silence and thunderous ovations throughout the performance. She is joined by Diego Andres Rodriguez as “Che” who matches Zegler in a performance filled with raw power and tenacity with gorgeous honey soaked vocals he truly makes the character is own. 

James Olivas brings an understated dignity to his turn as “Juan Peron” but also gives the character a marvelous multi faceted dimension as Juan battles between holding power over the people, his love for Evita and his carnal desires for other women. Aaron Lee Lambert brings comedy and light to his turn as “Augustin Magaldi” and gives the overall show wonderful balance and symmetry. 

The principal cast are joined by stellar and well drill thirty strong ensemble, every one of them west end worthy and beyond as they deliver both the people in inhabit Evita’s life but also every fancy of Argentinean Humanity and the sparkle while delivering Fabian Aloise’s polished Choreography that blends Latin, ballroom and musical theatre themes with ease.

This Palladium production is a partial revival of the 2019 Regent’s Park open air theatre production also directed by Lloyd, which was due to transfer to the Barbican, but the pandemic scuppered those plans so it’s a joy to see the original creative team reuniting to deliver a flawless technical production. 

Soutra Gilmour’s Set and Costume Design is utterly sumptuous as it is stripped back, the bleachers rising high above the Palladium stage with Musical director Alan Williams stellar 17-piece orchestra positioned on the top delivering Lloyd Webber’s score in thrilling style. The orchestra and indeed cast are given an epic sound design from Adam Fisher that brings every note and lyric by Lloyd Webber and Sir Tim Rice to vivid life. This is topped off by Jon Clark’s incredible lighting design that harnesses both open spaces and intimacy with ease. Special mention must go to Tom Durrant who leads the video team. It’s a thrilling addition to the show and the fact that Jamie Lloyd has restricted the video use to very select moments further enhances the show and truly that moment on balcony must be seen from within the palladium to understand its grandeur and power. 

The Palladium production of Evita is not a refreshing of the show more a complete reinvention that seeks to engage the audience by showing the true power and grace of its story coupled with outstanding award worthy performances from the entire company all wrapped in the creative drive of one of the most visionary directors of this new generation.

The show is selling out with ease and is undoubtedly the hottest tickets of London’s summer season! The truth is we have always loved her, so what wrong with you! rush to the Palladium for what few tickets are left and be forever changed by the raw intense power of EVITA!

Evita, The London Palladium runs until Saturday 6^th September for more information and tickets go to: https://www.evitathemusical.com/

Please Note Rachel Zegler does not perform at all performances as Bella Brown will perform the Role of Eva Peron on selected dates.

**** (4 stars)

“Captures childhood dreams in the most magical of ways”

Legendary composer Andrew Lloyd Webber’s astonishing back catalog of shows are enjoying a critically acclaimed revival’s at venues across London and around the world. The trickiest to stage of his shows marked its 40^th anniversary in 2024 with the conception of a brand new immersive production at the purpose built theatre, The Troubadour at Wembley Park (Formally the fountain studios). The show is of course Starlight Express!

Originally debuting in 1984 Starlight express is a musical based on a child hood dream and a fascination with trains. For context Webber tried to adapt the Thomas the tank engine stories prior to Starlight without much success only to achieve a genre defying musical that pushed the boundaries of both performances and venues.

40 years later Starlight is back at Wembley in production that oozes every penny of its massive budget and beautifully captures childhood dreams in the most magical of ways.

As has been the tradition the show features an updated score and some tweaks to the characters, Poppa is now gone and replaced by Momma, a captivating performance from jade Marvin whose rich vocals bring enchanting warmth to the character. Also the role of “Control” is no longer just a voice but an enchanting child cast who perform in rotation.  Director Luke Sheppard has also blurred the gender roles in the casting with previous male characters being played by females and vice versa whilst also embracing a non binary approach is also to be commended.

Performances are uniformly excellent, although at the performance we saw there was a slight feeling of a long week of performances catching up with the company, it was a Sunday after all, that said every performance was west end worthy. Jeevan Braich as “Rusty” leads the company with a soulfoul interpretation that captures the characters hopes and desires extremely well. The same is true of Sophie Naglik’s “Pearl” who gives a charming take on a prince charming role. Starlight express is after all a parable on Cinderella! Olivia Ringrose and Asher Forth deliver an inspired “ugly sister” pairing as “Greaseball” and “Electra” respectively giving them just enough edge to be a baddie but still likeable by the youngest members of the audience. The principals are joined by an outstanding thirty strong ensemble including swings who show real flair in performing while on roller skates. Special mention has to go to Nicky Wong Rush as “Tassita” who gives a sassy and capturing performance every moment there on stage. Also to Charlie Russel, Jamie Addison and Dante Hutchinson as “Marshals” with death defying stunt’s a plenty.

Production wise this is a total triumph that’s only achievable by having a purpose built venue to work with, Which has allowed set designer Tim Hatley to build an immersive world for Starlight to inhabit and my word does it knock the eye out. It’s further boosted by Andrzej Goulding’s astonishing video design coupled with Howard Hudson’s beguiling lighting design that take the breath away. Gareth Owen’s bespoke sound design ensures every nuance of the show is heard perfectly as is musical director Laura Bangay’s polished off stage band.

Starlight express’s original costume design already set the bar extremely high, so how do you top it and bring it into 2025? Well costume designer Gabriella Slade has achieved the impossible with costumes that redefine the show in awesome style but still allow the incredible roller-skate wearing company to deliver Ashley Nottingham’s Choreography with detailed accuracy. The production also benefits from the shows original creative Dame Arlene Phillips returning as Creative Dramaturg.

Four decades on Starlight Express is still imbued a with a child like heart filled with joy, laughter, imagination and adventure in equal measure and explores the lighter and fun side to Webber’s writing. It also expresses his love for his own children especially Nick, Andrew’s son whom he wrote the show for and now acts as a tribute to his late son. One thing is for sure only you have the power within you to embrace the starlight and make an express journey to Wembley to enjoy a truly magical production!

Starlight Express, Troubadour Wembley Park Theatre, London, The production is currently scheduled to run until March 2026 for more information and tickets go to: https://www.starlightexpresslondon.com/

***** (5 Stars)

“Redefines the power of musical theatre to explore one’s self!”

The Tony and Olivier award winning Dear Evan Hansen marks its 10^th anniversary since its debut at the Arena Stage in Washington DC in July 2015 with its first UK Tour and it makes its final stop at the Playhouse Theatre for a week long run with a production that captures the heart of its audiences and simply redefines the power of musical theatre to explore one’s self and the world around them.

This critically acclaimed musical with book by Steven Levenson and music & lyrics by Benj Pasek and Justin Paul has enjoyed lengthy runs both off and on Broadway at the Second Stage and Music Box theatres plus a three year run in London West end at the Noel Coward Theatre brought a new generation of theatre goers to the world of musical theatre. Thanks to it’s fresh and relevant score and massively moving story that explores the life of Evan Hanson, a simply astonishing performance from Ryan Kopel, a high school senior with social anxiety, who following a harrowing tragedy at his school invents a relationship that links him to the victim and there family in a moving exploration of connections, social media and mental health in a 24/7 digital world were words can hurt and heal in equal measure and they can also so easily take on a life of their own.

This production has lost none of its raw power and emotional punch thanks to an outstanding cast who deliver faultless and flawless performances throughout. Kopel is revelation as Hansen bringing a brilliantly judged physicality to the role along with emotional depth and stunning vocal his is a pure west end worthy turn. The same is true of Alice Fearn in the role of Heidi Hansen her ability to explore the life journey of the single mother who doesn’t see her child fully until it’s almost too late is beguiling to watch. Stepping into the role of Connor Murphy is Will Forgrave who turns in a polished and truthful performance as the character that blurs the line between reality and truth. Connor’s family have the most emotionally honest journey in the show with Helen Anker “Cynthia Murphy”, Richard Hurst “Larry Murphy” and Lauren Conroy “Zoe Murphy” delivering utterly convincing performances of a family struggling to put the pieces back together and all three shine in both there solo moments and when the share the stage together they somehow make the vast expanses of the Playhouse auditorium feel like your own front room and you feel honored to be a fly on their wall such an incredible talent indeed.

Production wise this is nothing less than triumph with Morgan Large’s Set, Costume and Co Video design harnessing the best of the west end production and adds to the shows over all power. This is boosted by Matt Daw excellent lighting design that blends perfectly with the shows modern setting. Tom Marshall’s sound design does get there in the end but the start of the performance it felt like the sound needed turned up but this is merely an opening faux pa that’s easily fixed. The balance between cast and Musical Director Michael Bradley’s nine strong pit band is excellent and adds the cherry to and incredible musical theatre cake.

Director Adam Penford has put emotional honesty at the heart of this production and proves that the very best of modern musical theatre is not simply viewed and enjoyed but experienced and that’s what Dear Evan Hansen does so brilliantly well.  Its Mantra that sometimes being just who and what we are is more than enough is a potent statement for modern times in which we live.

Theatre that touches the heart doesn’t come any better than this so do what you must to grab what little tickets remain as the tour ends at the Playhouse as who knows when Dear Evan Hansen will be waving through the window once more.

Dear Evan Hansen,  Edinburgh Playhouse, Runs until Saturday 5^th July2025. For more information and tickets go to: https://www.atgtickets.com/shows/dear-evan-hansen/edinburgh-playhouse/

The UK Tour ends and the conclusion of the Playhouse run.