Author: nebularis85

REVIEW: The Constant Wife

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Rating: 4 out of 5.

A pivotal and highly relatable piece of comic theatre

The festival theatre in Edinburgh this week presents “The Constant Wife” by stage and screen writer Laura Wade, famously well known for her TV-writing- “Rivals”- and her award-winning writing for stage performance “Home, I’m Darling”. This play has been adapted as a piece of comedic writing for the stage based on its original themes from the book written by William Somerset Maugham.

We meet Constance at the height of success, married to the perfect partner, a successful surgeon, John Middleton, in their beautifully decorated London flat, in 1927. The action dives right into the outside looking into what appears to be a perfect life. However, we learn early on that John’s infidelity has been ongoing for some time and right under Constance’s nose.

Her sister and mother share strong opinions about how this should be handled as they are aware, but believe that Constance is not. As “The Constant Wife”, Constance cleverly highlights the struggles in all women as they desire to be seen as more than a wife and a mother.

Packed with wit, hilarity and pivotal moments, the play reflects on difficulties and change, themes within the original story and their relevance today in particular the “empty nest” syndrome as children leave home and its impact on a marriage as time passes and infatuation fades.

There are stellar performances all round by this talented cast. Kara Tointon takes on the leading lady as Constance Middleton, embodying the play’s title as the constant wife. She does a great job of driving the cast through, however at times can present a little wooden in her movement and comfortability on stage. Certainly, she finds her pacing and strength as the character develops her independence more into the second act, complimented well by Amy Vicary–Smith’s brilliant performance as Constance’s unmarried sister. She is highly successful with her own business and continues to embrace every aspect of the key theme of independence and how it frees her creativity as an interior designer.

Tim Delap (John Middleton) delivers the persona of a steady husband. He commands the stage with grace and aplomb holding himself to the patriarchal standards expected of him at this time. His expectation of his wife simply to continue in her role with his devotion offered as enough for her is highly reflective of historical relationships of the 20th century.

Alex Mugnaioni (Bernard Kersal) is highly likeable and shows great comical timing during awkward moments with a simplistic, naturalistic air in his delivery. Philip Rham as butler Mortimer, when playing the piano, adds an additional charm and fun to his character, enhancing the high society ambience on stage and bringing warmth when moments truly need them. Gloria Onitri’s portrayal of Mary Louise is at times a tad melodramatic; however, it works well with her character’s frivolous and often shallow behaviour. Sara Crowe sustains a great level of energy throughout as Constance and Martha’s opinionated and critical mother. Her views encompass those of a generation who perhaps wish they had had more courage to change. Whilst her mother seems dismissive of the undoing of her daughter’s marriage, she nevertheless supports her decisions to take back her independence whatever way it may present itself. Her journey is beautiful to watch as she transforms into a supportive mother determined to understand the choices her daughters make for their own good.

The costumes are tailored beautifully and are designed by co-costume designers Anna Fleischle and Cat Fuller. Using lovely bright colours and at times relaxed casual wear the female characters embrace the theme of independence holding themselves with warmth and relaxed togetherness during challenging moments. Contrastingly the male characters hold closely to traditions with a very formal presentation at all times and are formally well turned out. They desperately try to sustain composure during entertaining and particularly stressful moments however come off more hysterical and childish than intended. The set is simple, but effective depicting elegance and art deco design trends. Transitions in time- as the action takes place in one location- are cleverly executed by set changes which are swift and never detract from the action on stage. Jamie Callum’s musical score, in addition, creates lightness and relaxing vibes when it is most needed increasing the light heartedness of the piece between scenes. Creative team director Tamara Harvey and producer David Pugh successfully bring everything together, enhancing the comedic style of the piece. The cleverly crafted and powerful dialogue compliments the direction well and incorporates Maugham’s intent behind the blueprint of how women may choose to live their lives in the future. There are some echoes of Ibsen’s Nora throughout this entertaining and quick-witted comedy.

Running from 31st March – 4th April at the Festival theatre in Edinburgh this relatable comedy drama is definitely worth a look.

Tickets here.

REVIEW: One Day the Musical

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Rating: 5 out of 5.

Profound, heartwarming, captivating and beautifully nostalgic. “One day the musical” is simply stunning in every way.

Exciting times are happening at The Royal Lyceum theatre this week in Edinburgh as they team up with highly acclaimed independent theatre and film production company Melting Pot as they bring the world premiere of “One day the musical” to the stage. Directed by Max Webster with music and lyrics designed by Abner and Amanda Rameriz the theatrical version is written by one of Edinburgh’s award-winning playwrights and former artistic director for the Royal Lyceum, David Greig. “One day the musical” truly encapsulates what it sets out to do by finding the poetry in everyday life and whole heartedly encompassing the power and warmth of nostalgia. 

Based on the novel by David Nicholls we follow the lives of Dexter Mayhew (Jamie Muscato) and Emma Morley (Sharon Rose) covering a single day over two decades from their first chance meeting at their mutual graduation party at the University of Edinburgh. Emma, a quirky outspoken and clever working-class northern girl from Leeds, is intrigued by the boyish charms of well-spoken Cotswold grown Dexter and they form an unexpected lifelong bond with many trials and tribulations in their midst. 

Emma (Rose) and Dexter (Muscato) each make one another better as they do all they can to remain friends even when stronger feelings reside, but they just cannot find the courage to trust them. 

As life rally’s on from year to year, we see timing as a frequent barrier for them navigating their own struggles as they try to find answers and a meaningful existence post-graduation. Their friendship is at the heart of this romantic comedy and is a key theme which the production strives successfully to embed throughout in its execution and delivery within its writing, musical lyrics and talented cast. 

Stunningly crafted choreography created by Carrie- Anne Ingrouille depicts themes of pain, loss and happiness effectively throughout this poignant story. Greig crafts sincere writing and true to life moments which are beautiful to watch and highly entertaining. Comical relief is well timed when these moments are at their most poignant and needed. 

The production from the start is highly immersive with its staging set in the round. Rae Smith set design and costume design complement each other in coziness and simplicity achieving what was intended by allowing the audience to feel a part of it all.  The setting allows the ensemble and the audience to feel as one. The entire experience including the interval has something immersive for everyone to enjoy. The energy of community and togetherness remains with the cleverly crafted directorial design and production choices of Max Webster and his production team.

Jamie Muscato (Dexter) and Sharon Rose (Emma) equally in character and in vocal strength lead us through their stories with each pivotal life choice we experience the emotions whole heartedly. Muscato as Dexter presents a devil may care cheeky chappy persona and it is beautifully endearing even when things take a dark turn for his character. Vocally Muscato is flawless presenting in its rawest form what it is to have everything externally and yet still feel so lost. He is complimented and balanced wonderfully by the incredible vocal range of leading lady Sharon Rose as Emma who finds truth and heartfelt warmth in every solo she delivers. Her delivery of “Ems’ One Day” is nothing short of show stopping and enthralling to behold. 

Performed with passion and vulnerability their stories mirror each other at times but also contrast in pivotal moment’s where life changes abruptly and they both still need each other’s friendship even when it hurts. Muscato and Rose bring nothing short of an endearing innocence to their creative approaches and to their interactions which is highly enjoyable to watch. 

All set, staging and props are reliant on the company’s ability to work as one unit entirely echoing the theme of togetherness and the bonds of long-lasting friendships. This wholesome piece of musical theatre is more of a love letter delivered as a play with songs where the cast, crew and audience are all part of the one strong message of togetherness and the importance of community.

Using soft singular lights dropping down from the ceiling over the audience and the stage, lighting designer Bruno Poet breaths warmth onto the stage like one’s own sitting room representing the changing eras from the 80s to the noughties. The lights are crafted beautifully as they become almost an additional character in the performance with pulsating moments representing change and tension throughout the show.

The brightness of the lights intensifies and pulse through the rhythm and beats of the fantastically produced musical score directed by Nigel Lilley. Though small the band’s powerful delivery is on point and delivers some well-designed toe tapping numbers one cannot resist tapping to with 90’s influenced nostalgia captured within its upbeat folk and pop cultured genres. 

“One day the musical” really does deliver something for everyone. You will laugh, cry and laugh out loud the whole way through and then want to do it all over again. Do not miss out on seeing this absolute must-see of a musical at The Royal Lyceum Theatre currently running from 27th February to 19th April 2026 in Edinburgh. 

Author: Judith Neeson

REVIEW: Jack and the Beanstalk

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Rating: 4.5 out of 5.

“A sparkly spectacular splendour to behold from start to finish!“

A sparkly sensation with a phenomenal cast and ensemble to boot – if you weren’t feeling Christmassy before you absolutely will be after Crossroads Pantomime production of Jack and the Beanstalk. 

This show has something for everyone. Allan Stewart, Grant Stott and Jordan Young take to the stage again as the dynamic trio strongly and effortlessly supported by Clare Gray as Pat the cow, with her quick-witted charm and well-timed comical moments. Gail Watson makes for a fun-loving Spirit of the beans adding feistiness and a sprinkle of magic with every entrance. Amber Sylvia Edwards delivers real power and passion as princess Jill with great show stopping vocals.

Ed Curtis, the director, delivers an extravaganza of colour and pomp including many laugh-out -loud moments with Young, Stott and Stewart showcasing their professionalism and skill.  Including aptly chosen and relevant for all jokes written by Stewart and Harry Michaels with additional material by Stott and Young, these moments land well with an Edinburgh audience. There are also hilariously planted mishaps written in to deliberately “rile” up an enthusiastically engaged crowd of all ages. 

At times it feels a little more royal variety show than panto, however it never deters too far from the classic tale of Jack who sells his cow Pat for a bag of magic beans where he then finds, with the help of the Spirit of the beans, they have transformed into a large beanstalk leading to the evil Giant in the sky. 

Accompanied by the well-orchestrated band conducted by MD Andy Pickering, cleverly crafted familiar songs range from all eras and are delivered excellently by all the cast. Most memorably Grant Stott opens the second half with a fantastic parody villain song “Fee Fi Fo Fum” to the music from Rocky Horror picture show’s “Sweet Transvite”. Stott just gets on with making a brilliant pantomime villain using his height to tower over and create the right level of menace. He has successfully encompassed the role of the silly baddie side kick named Fleshcreep, the Giant in the sky’s evil henchman.

All the production splendour couldn’t be better driven by anyone other than pantomime dame, Allan Stewart, playing Aunty May, Jack’s loving albeit larger than life mother. Stewart well versed in panto traditions gives us a nostalgic trip down memory lane in his song “Tea and medals” where we see how he progressed from the hero to the dame. 

Stewart creates high energy fun with well executed gags and physical comedy from start to finish. He and Jordan Young playing Jack are highly experienced and hugely entertaining as a son and mother duo. Young enhances the well-timed comedic moments with Stewart, and they bounce of each other seamlessly even when things go wrong.

The set designed by Mark Walters is a sight to behold with everything expected for a traditional pantomime of this magnitude including incredible backdrops, props and puppetry. Nothing is simply left to imagination and the level of mastery and breathtaking craftmanship is truly impressive. 

Rory Beaton lighting designer executes all the lighting and sparkle one could hope for as it encapsulates the vibes for a Christmas pantomime. Richard Brookers sound design is slick and well timed for the slapstick moments adding a great level of energy to the performance. Not forgetting Karen Martins tight and incredibly executed choreography by the ensemble. Martin gives us many impressive moments of acrobats and stylistic movement delivering the “wow!” factor one hopes to see from a skilled ensemble. 

Costume designer Teresa Nalton creates beautifully crafted costumes with lights threaded throughout for the most immersive sparkle during those key big moments and turning points within the show. 

“Jack and Beanstalk” delivers on every level of magic, laughter and fun. If you manage to see one thing before the end of 2025 or you are needing a good idea for treating someone in the new year, then make it this, “Jack and the Beanstalk, The Giant PANTOMIME spectacular” at the Festival theatre. Running from 13th December 2025 to 11th January 2026- it’s one not to be missed!


@sarahhendriecreative / @buttonnose_tinytoes

REVIEW: Beauty And The Beast @ The Churchhill Theatre

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Rating: 4 out of 5.

A fabulous performance full of warmth, laughter, sparkle and joy from start to finish!

Balerno Theatre Company (BTC) kick off our panto season in Edinburgh this year with their production of Beauty and The Beast. Setting the story against the backdrop of Auld Reekie, we meet beautiful Belle McTavish, played by Kirsten Kegg, and her quick-witted mother, the local baker Dame Brenda McTavish, played by George Mackie.

They soon embark on a magical adventure to the cursed castle of Eidyn Palace, where Prince Sebastian (Mark Jones) has been transformed into a hideous beast by a beautiful enchantress (Debbie Spurgeon). Arriving one night at his lavish ball disguised as an elderly beggar woman, she offers him a rose in exchange for shelter. His cold-hearted refusal triggers his downfall, as she casts a powerful spell over the castle and all who live there. To break the curse before the last petal of the rose falls, the prince must learn to show kindness to those less fortunate than himself.

Meanwhile, the McTavish family and the townspeople face the wicked Baroness Morag De Bagg, played by Jessica Russell, who aims to seize control of the city in Prince Sebastian’s absence. Upon her invitation to the castle, Belle must teach the unhappy Beast to be a better person and break the spell in time to stop the Baroness’ plan to take over Auld Reekie once and for all.

Kirsten Kegg does a stellar job as our heroine, adapting well into the lead role with beautiful vocals to boot. George Mackie drives the show with high energy and excellent comedic timing as the pantomime dame. Teaming up at times with Michael Davis, who plays Hector, the pair bounce off each other brilliantly and deliver some truly hilarious exchanges.

Malcolm MacFayden, playing Squire Jimmy — the evil but slightly dim-witted sidekick of the Baroness — excels with well-crafted one-liners and slapstick humour throughout. Russell’s top-class performance as the Baroness is everything a pantomime could hope for, with superb vocals and slick interactions that encourage the audience to revel in all her pomp and splendour. Pantomime traditions shine throughout, with characters venturing into the audience and keeping the energy high from start to finish.

The strong ensemble executes Sophie Douglas’s choreography with confidence. Though the stage can feel a little crowded at times, it never detracts from the sheer talent within the chorus. Special mention goes to the younger cast cameos, particularly Roman Mitchell as Senga, who delivers a feisty, comical performance and engages the audience wonderfully in the dynamic duo of Senga and Hector.

Debbie Spurgeon does a great job as the enchantress, showcasing her undeniable singing and dancing talents during her song “Ripple”. Mark Jones brings sincerity and vulnerability to the Beast, creating lovely moments of humour and connection with Kirsten Kegg. There were perhaps one or two tuning issues during larger solo numbers, but these didn’t hinder the professional execution across the cast and creative team.

Musical Director James McCutcheon leads his four-part band with great energy and enthusiasm through a repertoire of upbeat and recognisable numbers. MM’s sound and lighting design are slick and impressive, supporting seamless transitions. The colourful costumes add warmth and charm, perfect for a winter’s night of magic and joy.

Lewis Baird’s directorial choices strike a strong balance, using projections for locations and key set pieces to create quick, effective transitions. Magical moments are cleverly woven into the dialogue and character interactions, and Baird’s trust in his talented cast is evident throughout. He should be proud of the high standard of work delivered.

This pantomime will leave you feeling ready for Christmas and is not to be missed. Catch it this week at the Churchill Theatre, running from 3rd to 6th December 2025. Don’t miss out on getting your tickets!

Tickets here.

REVIEW: Showstoppers! The improvised musical

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Rating: 5 out of 5.

100% improvised- purely random. A world of endless possibilities and unmissable fun

Olivier award winning Showstoppers! The improvised musical takes improvisation to another level when they apply it to the medium of musical theatre. With a vocally superb cast and great camaraderie the production manages – incredibly!- to produce a new musical every night. The vocal range and inventiveness of the cast and crew seems limitless it makes one want to see it every night for the entire festival to see what unfolds each night and how creative our fringe cohort can be. Special mention to the casts MC for energising the audience before and shortlisting a great range of musicals to utilise in the story and the band as they manage to accompany performances beautifully without knowing what the cast will create on the spot. Last night the audience experienced an incredible journey through IKEA after dark as the cast were challenged to write a musical based on a hide and seek adventure in IKEA after it closes. The story included plot twists and interesting blossoming romances with hilarious IKEA references throughout. Who knows were tonight and the remaining nights this show will take its audience.

Showstoppers! The improvised musical is incredibly entertaining and one for all the family to enjoy so get along quick before you miss out!

Showstoppers! The improvised musical runs 30th July – 24th August.

REVIEW: Spy Movie: The Play! 

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Rating: 5 out of 5.

Unmissable, laugh a minute and silly hilarity from start to finish.


Norwhich theatre company present Spy movie: the play! running at Edinburgh Fringe Above at pleasance courtyard. This is one show which is absolutely not to be missed. The quick wit and immersive comedy is exceptional from start to finish. The plot follows Jane Blonde and Ian Flemish as they save the world from impending doom and all is executed as a play on a low budget cleverly replacing CGI with, in one word, genius solutions to stage craft and stunt doubles with multi-rolling which is also brilliantly achieved by the highly talented cast. 

The approach of intentional mistakes weaved through the plot makes it a laugh out loud performance and is a supremely funny farce with cleverly integrated one liners and puns throughout. The set uses exceptionally creative approaches to present a low budget James bond parody where shop bought props and cue cards are only some of the pure hilarity we experience all the way through. 

Matthew Howell (Mr Hugs/Albert) breaks the fourth wall from the start warming up the audience as they enter and setting the scene for what will be an exciting and comedic afternoon. If you are looking to escape to a place of simple tech and comedy at it’s most playful then Spy movie: the play! is the show for you. Don’t miss out!

Spy movie: the play! runs 30th July- 25th August

Get your tickets here: https://www.edfringe.com/tickets/whats-on/spy-movie-the-play

REVIEW: Eggs Aren’t That Easy to Make

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Rating: 5 out of 5.

“Thought provoking, raw and beautifully performed.”

The highly talented cast of Big Sofa theatre company bring their Fringe debut and LGBTQ+ new writing to the underbelly Bristo square this year.

It is an absolute must see. From the start we are immersed into the key narrative through comical montage and dialogue cleverly crafted. Queer couple Claire and Lou really want to start a family and choose best friend Dan as their sperm donor.

All hard issues are confronted, and the writing is well developed here. We are only seeing a snapshot in time as there are so many more issues this play could explore however the light comedy and romance brings relatable appeal even during tough moments and decisions.

The characters are well rounded and believable. Claire’s character is particularly excellent in her struggle to sustain an open dialogue with her best friend Dan all the while supporting and meeting the needs of her girlfriend Lou. She is at times in an impossible position and yet she delivers this role with a realness which is beautiful to watch. The small cast of 4 are equally matched with their talent and the chemistry between all the characters is both believable and highly convincing. All the characters have their own struggles and the recognition of this is communicated effectively and addressed well throughout the performance.

The pace is fast moving, with the use of a minimal set presenting a highly effective performance for the small cozy space. With aptly chosen moments for sound and lighting they all add to the intimacy and immersive atmosphere created.

This show is not to be missed packed full of its intended queer joy, humour, and romance. 

Eggs aren’t that easy to make runs 30th July – 25th August. Get your tickets here: Underbelly https://share.google/gbvF79sOiixluqLKG

REVIEW: Hospital Hour

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Rating: 4 out of 5.

“Cleverly vulnerable, high risk and shockingly raw.”

If spoken word and dark comedy are your jam, then definitely check this comedian out. Hospital Hour by Rachel Kay strives to trigger memories and open wounds from her past with such deadpan rawness it’s hard not to like her. Spanning a huge chunk of her past in one linear monologue Kay delivers it cleverly and well timed throughout. Her story is at times so hugely traumatic that unless she was in a therapy session the nature of the show itself is potentially utilising a therapeutic approach where laughter maybe the best medicine.

She is vulnerable, raw, and beautifully honest. The audience are her sounding board as she voices stages of trauma from witnessing 9/11 out of her classroom window all the way to her recent BPD diagnosis. In a world where mental health still has an attachment of fear and a lack of understanding Kay goes over and above to educate her audience about the importance of awareness when it comes to personal struggles and our responsibility to one another.

We truly never know what is going on in someone’s life and Kay reminds us of why we should always be mindful of this. She declares she is mentally ill at the start setting up a level of trust between audience and performer successfully evoking a sense of empathy as she walks us through some of the most shocking revelations of her life.

One to watch this festival. 

Hospital hour runs from 11th – 24th August at 4:20pm at the Pleasance Courtyard. Get tickets here: https://www.pleasance.co.uk/event/rachel-kaly-hospital-hour

REVIEW: Edinburgh Days

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Rating: 4 out of 5.

Vocally superb.

New musical Edinburgh Days is making waves this Fringe directed by Bafta, Olivier and Tony award nominee Bob Thomson and musically composed by Brian Spence. Thomson comes highly acclaimed with his list of accolades and decades of experience most famously ‘Blood Brothers‘ and ‘Ghost the musical’. Accompanied by the creativity of Scottish born composer Brian Spence who also presents a healthy repertoire in music and theatre.

Edinburgh Days kicks off this week at the St Brides centre. There are certainly moments when it’s incredibly moving however perhaps the pace is a little slow. Whilst the vocal talent is undeniable, there was perhaps a mid week dip in the performer’s energy. However, the delivery landed well when it mattered even though there were some technical issues with sound it never detracted from the high standard put forward by the cast.

Choreographer Caroline Inglis creates a simple but highly impactful and effective movement well suited to the atmosphere created on stage and in keeping with the stories narrative.

As the story is entirely sung it certainly is a tall order for the cast to communicate and at times was slightly difficult to follow. Perhaps more spoken dialogue could aid the pace and the scene transitions, although there were some beautiful moments acted with impressive vocals to boot.

Set design whilst sparse was generally appropriate with well sourced stage props and costumes. Sometimes movement felt a tad static and repetitive although the musical talent kept the focus throughout.

Debbie McKenna (Mary) and Louise Kenny (Jean) are equally matched as vocal powerhouses. Colin Chisholm (MacGregor) and Michael James MacDuff (Robbie) are also beautifully balanced. All 4 characters deliver some emotionally charged scenes with memorable songs such as ‘Edinburgh Days‘ and ‘One of the Best‘ receiving well deserved appreciation from the audience. Not forgetting the vocal talent of both Imogen Vickers (Catriona) and Rory Morar Jeffrey (Davey) who deliver some good chemistry during emotionally raw moments. Corran Enoch-Thoburn (Jamie) plays their onstage son and presents a high level of professionalism throughout. All of the young members of the cast deserve recognition for upholding excellent work amidst a highly professional and experienced cast.

Overall Belt of Celt Productions has presented a well packed show covering a large passage of time in 2 hours with a 15-minute interval. Edinburgh Days is certainly worth a look this festival if you are in the mood for something vocally impressive and beautifully musically arranged. 

Music and lyrics by Brian Spence

Book by Robert Johns and Brian Spence

Directed by Bob Thomson.

Edinburgh Days runs at St Bride’s auditorium until 24th August. Tickets here.

REVIEW: Sophie Garrad: Poor Little Rich Girl

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Rating: 4 out of 5.

A laugh a minute. 

Sophie Garrad is one to watch this fringe. With a successful following on social media she is hitting the ground running this festival. Garrad very quickly sets the pace of the show with her charm and quick wit. The one liners and hilarious banter with groups in the audience has you wondering is there nothing this comedian can not handle? Supremely clever use of satire is well timed and highly entertaining. Thought provoking topics are tackled with a light hearted one liner which gently mocks current issues and pressures. Garrad uses her onstage persona as a platform as self reflection as well as a mirror to society. The vibe and fast pace rhythm of the show is established and sustained as the laughter rolls out effortlessly. Garrad seems at home and comfortable from the start bringing warmth and a real sense of fun. She moves seamlessly through the narrative presenting the persona of a shallow privileged girl with a twist where her wealth comes at the cost of her father’s incarceration. Whilst she dons the appearance of a stereotypical rich girl there is nothing stereotypical about this comedians commitment to writing a great show for the fringe. A few moments are potentially pitched a little too niche as a handful of her audience may have only been aware of her upper middle class references, however Garrad manages gracefully to bring it all back down to earth with her relatable barbs helping to deconstruct the message behind the joke. There are so many take aways that land and with something for everyone this show truly is worth a look.