Category: Brett Herriot Review

***** (5 Stars)

“Calls to the child like heart in all of us!”

The beloved 1991 Disney animation Beauty and the Beast would launch the Mickey Mouse company into a glorious revival renaissance period that would see the film achieve classic status. The film would also become Disney’s first venture into live stage adaptations and the tale as old as time would become an Olivier award winning smash hit.

The show is now available to local theatre companies across the UK and Edinburgh’s long running Edinburgh Music Theatre brings the tale to life for a week long run at the Church Hill Theatre in a stunning production that truly calls to the child like heart in all of us.

 Beauty and the Beast with Music by the legendary Alan Menken, lyrics by the late Howard Ashman and Sir Tim Rice featuring a book by Linda Woolverton tells the tale as old as time of a prince forced to live under a enchantment due to his selfish ways only to discover that the power of true love can set him and his servants free.

EMT’s production beautifully captures the spirit of the animated original thanks to the ingenious use of a giant video wall featuring animation creative designs from the shows Director Louise Sables. Sables also ensures her top drawer cast are sprinkled in enough stage magic so it delivers to a professional level befitting any theatre in the country.

Performances are universally excellent with Wallis Hamilton Carmichael as Belle and Seb Schneeberger as Beast leading the company with beguiling performances that capture the characters beautifully and they have the vocals to match too. Andrew Hally’s “Cogsworth” and Peter Tomassi’s “Lumiere” are comedy joy and shine every time there on stage. Special mention must go to Lauren McAnna as “Mrs Potts” whose pathos rich delivery of the title song brings tears to the eyes in a stunningly emotional moment. Every Disney story needs a good baddie and Louis Delaney delivers in spades as “Gaston” he walks a fine line of villainy but succeeds thanks to his onstage partner “Le Fou” played with a wonderful physicality by the sublime Sean Vannet.

David Bartholomew’s “Maurice”, Sheona Dorrian’s “Babette”, Mia Hatch’s “Chip” and Sarah Louise Donnelly as “Madam de la Grande Bouche” all shine whenever they grace the stage as does Lindsay MacLaren, Elizabeth Martin and Amanda Woodhouse as “Les Filles”. The principals are joined by a twenty two strong ensemble company who truly bring Belles world to life especially when delivering Chanel Turner-Ross inventive and well executed Choreography.

Musically the show is a triumph with musical Director Libby Crabtree ensuring every ounce of emotion from the score is felt by the audience thanks to the peerless vocals onstage and gorgeous nine strong pit orchestra under her baton, it’s truly the cherry on the cake.

Production wise EMT has delivered well within the constraints of the intimate theatre that the church hill is. Jacob Henney’s lighting design captures the magic of piece perfectly and Rhys Tuner’s Sound design is faultless ensuring every lyric and note is heard with ease and never overpowers.

The unmitigated high point of the show has to be Lauren McAnna’s (alongside playing Mrs Potts) staggering Wardrobe design. The costumes knock the eye out and while they capture the essence of the original look of the Broadway show they also feel fresh and relevant for a show which has celebrated its thirtieth anniversary and incredible achievement for a local company.  

EMT’s Beauty and the Beast is everything you could wish for and so much more and is a perfect evening of musical theatre magic that rightly deserves its standing ovations and sold out performances its currently enjoying.  You never know you might just be lucky enough to get a return ticket for an EMT show that will go down in history as setting the bar to stratospherically new heights! Wonderful stuff indeed.

EMT Presents Beauty and The Beast, Church Hill Theatre, Edinburgh, runs until Saturday 5^th April, For more information and tickets go to: Beauty and the Beast – Edinburgh Music Theatre

***** (5 Stars)

“The true heart of the ocean of comedy musicals!”

James Cameron’s 1997 motion picture retelling of the Titanic disaster featuring the beguiling love story of Jack and Rose has been parodied many times but none more successfully than in 2017 when Titanique debuted in Los Angeles.

Featuring a book by Tye Blue, Marla Mindelle and Constantine Rousouli this comedic tour de triumph retells the movies story from the point of view of Celine Dion, Played by the stunning Lauren Drew in the performance of lifetime. It’s a one hundred minute long romp blending Dion’s hit songs with up to date musical and cultural references in a show that simply can’t fail to raise a smile with its joyful heart.

This show directed by book writer Tye Blue features an outstanding ensemble cast lead by Drew as Dion and everyone of them shine and no wonder as it features the very best of the current generation of west end stars.  Rob Houchen “Jack Dawson” and Kat Ronney “Rose DeWitt Bukater” are everything Leo and Kate were and so much more delivering excellent comedy timing and honey soaked vocals throughout. Darren Bennett “Victor Garber”, Charlotte Wakefield “Molly Brown” and Stephen Guarino “Ruth DeWitt Bukater” equally shine and make the most of there on stage time.  Every show needs a good baddie and west end star Jordan Luke Cage delivers in spades as “Cal Hockley” he enshrews panto villainy but captures the comedic potential of the character beautifully.

In the role of Seaman/Iceberg is strictly come dancing break out star Layton Williams who works hard especially in drag as “Iceberg” but as with all the shows Williams does heis simply being himself on stage rather than a character, that being said he does himself awfully well! Rounding out the onstage company are three powerhouse vocalists, Adrianne Langley, Madison Swan and Rodney Vubya who bring extra sparkle and magic to the songs which are delivered in polished style by musical director Adam Wachter and his four piece onstage band.

Production wise this is a show that can hold its head up high with any of the bigger productions and theatres in the west end and proves that while the Criterion is one of the more intimate venues it’s a beacon for the arts. Gabriel Hainer Evansohn and Grace Laubacher’s scenic design perfectly captures the essence of Titanic’s grandeur but also the golden era of musical theatre. This is enhanced by Alejo Vietti stunning costume design that perfectly recreates Jack and Rose from the film alongside the other characters but also ensures Layton looks stunning in full stockings, Heels and silver glittering drag. Paige Seber lighting design makes the most of the Criterion’s stage and auditorium and gives true musical glamour to the whole show which is ably supported by the excellent sound design from Lawrence Schober.

Titanique was due to have limited run in the west end but has proven so popular it’s been extended into 2026 and its the true show of the moment and brings to the stage the one thing we need more than any other right now in our lives and that’s Laughter! This is a joyous extravaganza that is the true heart of the ocean of comedy musicals and long may its heart go on! Unmissable! So grab those tickets now!!!

Titanique, the Criterion Theatre, London booking until January 2026, For more information and tickets go to: Titanique the Musical

*** (3 Stars)

“A Fun Night Out! ”

Debuting in 1983 the pop music compilation album known as “Now, that’s what i call music” issued its first album featuring the hit singles from the pop charts it would mark the start of a 43 year odyssey that continues today as in April of this year Now That what I call music volume 120 will be released. The Albums released three times a year chart the change in music styles alongside its evolving audiences and the popular culture they evoke but can a compilation album sustain a full blown musical? Well Royo productions give it a good try with mixed results.

With a book written by Pippa Evans inspired by a Screenplay titled “The Video Help Service” the show tells the story of “Gemma” Nina Wadia in superb form, and “April” Sam Bailey, the 2013 X Factor winner, who are best friends throughout the 80’s who are reunited at a school reunion and discover the years have been both emotionally and physically harsh as secrets are revealed and the realisation that true friendship can survive no matter what. It’s all very soap opera material delivered by a solid cast who dealing with an overly long and aft clunky script, deliver solid performances.

Wadia and Bailey lead the cast in style with Wadia showcasing her incredible acting chops handling both comedy and pathos with ease and Bailey delivers incredible vocals as she belts out70’s 80s and 90’s bangers with ease. Special mention goes to Nikita Johal as Young Gemma and Maia Hawkins as Young April who manage to emulate the younger versions of the main characters with ease and both deliver excellent vocals. Across the board the 18 strong ensemble cast deliver the myriad of characters well with special credit going to Kieran Cooper as “Younger Tim” and others, he has real comic ability and catches the eye when on stage thanks to a collection of hilarious wigs.

Directed and Choreographed by Craig Ravel Horwood the show whips along a cracking pace and it doesn’t feel like the two hour a forty five minute mammoth it is, and there is a plethora of set pieces throughout with “Video Killed the Radio Star” being a particular highlight with snappy choreo delivered in style. However the show relies on too many outdated troupes, a potential gay coupling is reduced to camp fodder and a sparkling dance break features a same sex couple but there shoved to the back partially obscured by the set which feels more half hearted than a full throttle moment of diversity.

Production wise the show is great with Tom Rogers and Toots Butcher’s Set and Costume design delivering well and it shines under Ben Cracknell’s Lighting design that captures both pop concert style lighting alongside intimate moments with ease. Adam Fisher’s sound design is excellent with every note sung being heard perfectly and is beautifully balanced against musical director Georgia Rawlins excellent five piece pit band.

The show does feature special guest stars with Edinburgh being treated to Toyah Willcox performing live on stage in the middle of act 2 in the ever reliable dream sequence. (Willcox rotates with Sinitta, Sonia and Carol Decker across the UK Tour) she brings much needed energy to the show lifting the second act to its third star but even she can’t save the clunky story and its obvious these 80s icons are shoe horned in for name value and they get an easy shift with just one song late in Act 2 then appearing for the walk down and bows. That being said Toyah delivers in Spades.

Now that’s what I call a musical delivers everything it says it should, a fun and camp night out filled with music that shaped many a generations childhoods. However the script needs serious work to both shorten it and tighten it up. There is no need to rely on outdated stereotypes and some of the cast need to watch those accents as too often we are getting Birmingham via Australia and South Africa and its a little jarring.

That being said, tickets even for the best seats are keenly priced and it’s a given that weekend shows will be packed out. The audience on opening night of the Playhouse run were on there feet at the end enjoying an extended mega mix and that’s when it becomes clear that the show has real heart it just needs some refining and polishing to make it shine. For a fun night out head for the playhouse and grab those tickets now.

ROYO  Presents ,Now That’s What I Call A Musical, Edinburgh Playhouse runs until Saturday 1^st March, For more information and tickets go to: NOW That’s What I Call A Musical Tickets | Edinburgh Playhouse in Edinburgh | ATG Tickets

 UK tour continues.

***** (5 Stars)

“A joyous night of musical theatre!”

Starting its creative life as a motion picture in 2005, starring Chiwetel Ejiofor and Joel Edgerton, inspired by the true story of WJ Brooks LTD, a family shoe factory in Northampton who faced closure until they starting making women’s shoes for men.  The film garnered popular successes which lead in 2013 to the film being adapted into a stage musical.

Debuting at the Bank of America Theatre in Chicago in 2012 with book by iconic Harvey Fierstein and music and lyrics from pop legend Cyndi Lauper the show became a global success both with audiences and critically and would go on to enjoy Broadway, London’s west end as well as touring productions.

Its story of diversity, acceptance, love and understanding speaks to the humanity in us all and now the show is back in a brand new production from Curve Theatre Leicester who are enjoying an ongoing golden period of reinterpreting musicals into to beguiling masterpieces that never fail to be triumphant.

Directed by the great Nikolai Foster this is a production which surpasses the original by opening the show up to a newer generation by expanding the casting in a reflection of the modern society we find ourselves in.

Performances from the twenty plus strong cast are uniformly excellent.  Lead by the incredible Johannes Radebe (Strictly come dancing stalwart) as “Lola” he brings new intimacy and truth to the role which captures from the off and proves he is a triple threat. Radebe forms a capturing partnership with Dan Partridge as “Charlie Price”. Partridge delivers well especially in the non music driven dramatic moments and he makes the expansive playhouse auditorium seem intimate during these touching scenes. Special mention must also go to Scott Paige as “George” who is pure comedy joy that stays on the right side from over indulgent.  The highlight has to be the expanded “Angels” Kofi Dennis, Ru Fisher, Liam McEvoy, Ben Middleton, Ashley-Jordan Packer who are often joined by the wider cast in certain numbers in delivering a drag infused extravaganza thanks to polish performances and fabulously delivered Choreography from Leah Hill

Production wise ROYO and Curves production is a complete triumph. Robert Jones Set and costume design delivers in style capturing a totally new look for the show whilst also embracing its heart and boy does the cast embrace those fabulously sparkly high heeled boots.  The set moves effortlessly from factory to night club and more thanks to it clever design and an exquisite lighting design from Ben Cracknell that culminates in a riotous rainbow of colours for the finale.  Musical Director Sioned Evans and there six strong pit band bring out the best in the refreshed musical arrangements and Adam Fisher’s sound design ensures every note, lyric and line is heard in crisp clear style.

It’s clear that this production is bound for the west end because of its rich heart, a story that speaks to us all coupled with the fact that practically the entire Playhouse run is sold out alongside many of the venues on the tour is a testament to the shows enduring popularity.

Kinky Boots is truly a joyous night of musical theatre that celebrates the best in each and every one of us both on and off stage and the company deliver an unforgettable evening of musical theatre that rightly has the audience on their feet as the curtain falls to the strains of the song Just Be! And just be sure to do what you must to get into the Playhouse this week for a Kinky Boots that’s been re-heeled, retooled and is simply better than ever.

ROYO & Curve Presents Kinky Boots the Musical, Edinburgh Playhouse runs until Saturday 22^nd February, All evening performances are sold out with limited ticket available for matinees for more information and return tickets go to: Kinky Boots Tickets | Edinburgh Playhouse in Edinburgh | ATG Tickets

 UK tour continues.

*** (3 Stars)

“Filled with Comedy Joy”

Edinburgh University Footlights theatre company mark there thirty sixth year with their first production of 2025 with the 2008 smash hit musical 9 to 5 based on the original 1980 motion picture that sent Dolly Parton’s career into the stratosphere. Debuting in Los Angeles at the Ahmanson Theatre the show would transfer to Broadway at the Marquis Theatre before arriving in the UK for an Initial tour then a lengthy run in the west end at the Savoy Theatre.

The musical faithfully transfers the motion picture to the stage thanks to the films writer Patricia Resnick returning to write the book and Dolly Parton providing the music and lyrics. It s a 90% new score but Parton’s hits “Backwoods Barbie” and the titular “9 to 5” both feature in the show.

The Footlights produce a fabulously camp take on the show filled with wonderful comedic performances but the technical issues especially with sound are weighing the overall production down.

Performances across the board are excellent, with the company being lead in style by Orly Benn as “Violet” who gives the character real depth and conviction but can also deliver lovely vocals. Richeldis Brosnan’s “Judy” has a rich naivety that transform into inner strength that’s a joy to watch. Fiona Foster channels her inner Dolly in wonderful style in the role of “Doralee” dressed in bubble gum pink with a sassiness the shines!. Taking on the role of “Mr Hart” is Levi Jones who gives the heartless chauvinist the right touch of evil and has the vocal ability to carry the role off.

The principals are joined by an excellent 12 strong ensemble company who make the most  of every moment in the spotlight to shine especially when delivering Lyss Britton choreography which adds real polish to the show. Co Directors Ellie Jackson and Max Middleton have delivered well on the comedy and getting the production cracking along at a snappy pace although they need the cast to work on accents at the moment the majority are more Edinburgh’s southside than South of the Bronx in New York City. The exception is Fiona Foster who smashes a southern accent with ease.

Production wise it’s a mixed bag, Tom Beazlay’s lighting design lifts the show endlessly and makes the most of Serena Hopkins and Lucy Henderson’s set design. Millie Franchi and Joceyln Law’s costume design works well, but it doesn’t always evoke 1979 east coast America but it does add quality to the show and gives the production a clever look all of its own.

The major problem is sound. Jack Oldcorn design should work well given the volume of head microphones being used but the operation on opening night pulled the show down. Volume levels went from ear shatteringly loud to mic’s not being on at all. The majority of the performance the levels were set far too high leading to vicious feedback adding to the problems.  The vocals on stage too often overpowered musical director Eric Roger’s excellent 12 piece pit band who delivered in spades and the sound department did balance the band excellently.

Footlights production of 9 to 5 is filled with comedy joy and delivers a good night of musical theatre fun for the price of its tickets but the company need to get the sound sorted as a four star show is within its grasp. For now stumble out of bed and pull yourself a cup of ambition and head to the Pleasance Theatre for tickets!

EU Footlights Presents 9 to 5 the Musical, The pleasance Theatre, Edinburgh runs until Saturday 15^th February for more information and tickets go to: 9 to 5 The Musical tickets on Tuesday 11 Feb | Edinburgh University Footlights | FIXR