Category: Brett Herriot Review

*** 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/

**** (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