Ross Bevan

REVIEW: Fleetwood Unchained

Published on March 30, 2026March 30, 2026 by Ross BevanLeave a comment

Jaw-dropping instrumentals and amazing vocals, Fleetwood Unchained achieve impressive feats in this fitting tribute

As one of the most iconic bands of all time, paying tribute to Fleetwood Mac in any form is no easy task. However, Fleetwood Unchained have risen to this challenge with gusto and put on a sensational performance at The Beacon Arts Theatre. With each member mirroring a member of the original band, this group really went the extra mile to make the evening special.

There was unfortunately a single caveat within this otherwise excellent concert. To my deep dismay, there was one song throughout the night that unfortunately wasn’t up to scratch and that was sadly the opening number, The Chain. This is one of, if not the greatest hit Fleetwood Mac ever produced, so it was truly a shame that this wasn’t at 100% as this song in particular can never be played at anything less. However, to offer some grace, it sounded as if there were some technical issues with the sound, specifically with the lead guitarist’s instrument. It can be extremely off-putting being onstage when there are tech issues and there was a noticeable problem that made the whole thing sound off, so it’s completely understandable under the circumstances. That being said, that classic bass line was still perfect.

A fluke in an otherwise superb lineup, it’s not an exaggeration to say that every other song was incredible. With each Unchained member paying homage to the original lineup, the Stevie Nicks of the evening gave us some stunning renditions. It feels strange to call any song on one of the top 10 best-selling albums of all time underrated but Gold Dust Woman always seems to be less appreciated than the other hits on Rumour. This version could have been mistaken for the original as this performer channelled her inner Stevie, even donning her own golden shawl for the occasion. Later, she switched out the shawl for a top hat, wowing the Greenock audience with sensational vocals on Rhiannon alongside the band’s Christine McVie and Lindsey Buckingham. The singer honouring McVie blessed the crowd with a touching cover of Songbird. The emotion she sang with was so deep it could be felt throughout the theatre and her voice was simply beautiful.

These songs mean a great deal to so many, with numbers such as Songbird getting very vocal approval from the crowd before they’ve even started. Therefore, finding people who can do the music justice is imperative. It’s how tribute acts rise or fall and the ability of Unchained to rise in almost every single scenario was impressive. The man honouring Buckingham did not disappoint in this regard, not in vocals or as a musician. Big Love was a display of exceptional talent from this performer, the guitar solo being an example of his particularly gorgeous work.

As is the case with most artists, the band pulled the final song fakeout, exiting the stage claiming to be done only to return for more (following a superb drum solo). This was to great cheers from all as the night concluded with Don’t Stop and Go Your Own Way, two Titans from Rumours’ pantheon of classics. These were, without question, the perfect songs to end on. They’re absolute showstoppers and numbers that give every member of the group a chance to shine. Plus, as a general rule of thumb, it’s always good to pick something that everyone will know the words to.

Overall, Unchained succeeded in honouring Fleetwood Mac. Though they did not have the strongest of starts, it only got better from thereon in. Everything that followed was a roaring success and the passion of this group is what makes the act work. They gave their all and proved that a rocky beginning does not have to define an entire performance.

The Chain is the only thing that kept this from a perfect rating but everything else was near perfection. Brilliant vocalists and absurdly talented musicians across the board.

REVIEW: An Evening With Gregor Fisher

Published on March 29, 2026March 29, 2026 by Ross BevanLeave a comment

Fisher’s flair for storytelling and absurd humour had the audience in fits of hysteria

Fans filled out the theatre as legend of stage and screen Gregor Fisher sat with Nigel West to discuss his life, career and everything in-between. Having always been known for his sly wit and particular brand of Scottish humour, Fisher hasn’t missed a beat and is just as funny as ever.

Before discussing his famous roles or really anything about his career, he reminisced over his childhood growing up in Scotland. From tales of almost drowning in sewage after taking unnecessary shortcuts to his multiple attempts to skive school, Fisher painted a vivid picture of his early days of mischievousness. However, he also delved into conversation regarding his relationship with his mother and recanted the interesting tale of asking where he was baptised. A conversation about family baptisms, young Fisher did not expect to be met with silence when posing the question, especially after asking as second time. Choosing to “give it up as a bad habit”, Fisher left the topic alone until his Mum knocked on his door one day (a very uncharacteristic action in a house where people came and went as they pleased without much concern). Fisher re-enacts the bashful way in which his Mum sat down with him and told him that the reason they didn’t know where or if he was baptised was that he was adopted. This came as quite the shock to the 14-year-old and it was never spoken of again. When West asked him how he took the news and if it caused him to act out in any way, Fisher admitted that there were times after where it could have caused him to be less than kind to his Mum which he states, “I’ll bitterly regret till the day I die”. It is clear though how much love and affection he had for, stating as the evening went on how she would always come to see him in any stage work he did. He also gave the audience an anecdote about what was said the first time she met his wife, Vicki Burton. Ever the impressionist, Fisher did his best version of her voice as he quoted, “Aren’t you aiming a bit high?”

It all worked out though as the two were eventually married, even if West did playfully hint that “she gave him the runaround” for a while beforehand. The two met on a production of A Midsommer’s Night Dream, with Fisher going on to do various other stage roles in productions such as The Importance of Being Earnest, Chitty Chitty Bang Bang and The Wizard of Oz, the show that led to Fisher and West’s first encounter as the director hired him to play The Cowardly Lion. We were even treated to renditions of songs from both these musicals, showing that despite his claims he took these jobs as “tax breaks”, he still remembers the work fondly. That was not the only rogue joke made about his past work as Fisher candidly referred to the popular rom-com Love Actually as a “skidmark”. Despite not believing much in the script, he seemed to at least enjoy his time spent with his fellow actors on the project.

Fisher’s most famous role, of course, is playing the titular character in iconic Scottish sitcom Rab C. Nesbitt. When asked why he thought the show worked, he mentioned he’d never quite understood the how or why. He spoke about how if people could work that out, “they’d have the Holy Grail for good television”. This prompted and audience member to loudly exclaim, “YOU ARE THE HOLY GRAIL!” This was a sentimental moment in the evening and while Fisher seemed to slightly play up his emotion for laughs, it was clear to see he was genuinely touched by this comment. That character absolutely still lives in people’s hearts as when West turned to the audience for questions, many revolved around the hit show. When asked if he would ever return and if the character would still work in this day and age, his response was “Never say never”. A more specific question revolved around whether there were plans for a skit involving Rab following the Tartan Army to this year’s World Cup. Though he hadn’t thought of it, Fisher was quick to mention that this was a very good idea, even stating he may pitch this. Another idea he appreciated, in which the entire audience were in sound agreement, came from one of the final audience questions in which a woman asked if he “could save us and finally give us a good Hogmanay this year”. Having only recently returned to living in Scotland after living in France for several years, Fisher was unaware of the dire state of Hogmanay television, a sentiment held by all. Hearing this plea, he simply said,” I’ll write to them”. Perhaps Hogmanay celebrations may be saved after all.

Overall, Fisher’s roguish charm and at times self-deprecating humour made for a night of laughs and stimulating conversation. The way he did small character bits here and there as well as impressions of friends and family really added to the night. It was truly delightful to hear about the life of a true Scottish legend, not only as a reminder of how much he has contributed to the craft over the years but to see how much he still has to offer.

It’s arguable that even for those who aren’t longtime fans, they could have sat in that room and been turned into one just listening to Gregor Fisher talk. For those who are, this tour won’t disappoint.

REVIEW: Legends of Irish Music and Song: The Fureys Farewell Tour

Published on March 25, 2026March 25, 2026 by Ross BevanLeave a comment

The passing of time has done nothing to dull the talent of these Irishmen, absolutely sensational

Embarking on what is being dubbed as their farewell tour, The Fureys took to The Beacon stage and reminded everyone why this theatre included the word legends in the title of this show. With stories as well as songs, these talented Irishmen provided a full rundown of their 48 years as a group.

It is truly astonishing the level of quality this band are still able to play to. If 48 years in the business didn’t give it away, these are not young men, as they acknowledge themselves. They perform as if time hasn’t grazed them and to call what they do a gift would not be overselling anything. It’s not just their singing abilities, which are stellar but their abilities as musicians which sincerely amaze. The speed and intensity with which they play defies logic. The skill with which they apply their craft is not only wonderful to hear, it’s a sight to behold it. It really has to be seen to be believed and blew the audience away. There were moments throughout the evening where the floor was actually vibrating from everyone tapping their feet simultaneously.

Many of the hits from their back catalogue made it into the mix such as The Red Rose Café and The Grand Affair to great success. They also sang some of their well-known covers such as Leezy Lindsay, originally written by Robert Burns and even closed with Wild Mountain Thyme, giving the Scottish audience a taste of music from home. The Green Fields of France, a song popularized by the group, was a pensive, emotional moment and deeply moving. Eddie Furey had everyone singing along during Steal Away and From Clare To Here was one of the most beautiful musically. A personal favourite was The Old Man which really struck a chord as George Furey sang of a father/son relationship, the father having passed but how the “memories linger on”. Sweet and sentimental, this was a lovely moment in the early stage of this concert.

The Fureys also treated us to many sections that were purely instrumental and this is where their abilities as musicians shined out the most. These were often fast and furious, gaining momentum and intensity which each passing second. It was as if the 5 of them were in contest with one another, trying to see who could play the fastest. If it was a contest, accordion player Camillus Hiney probably stole the crown. How his fingers were able to move at that speed is a mystery. Perhaps the best moment of the entire night was instrumental and funnily enough, the calmest of all. The piece in question was The Lonesome Boatman. Beautiful, mysterious, enthralling, it felt as if everyone was on a journey together to some distant land. The tin whistle especially helped to create that affect. It was, unquestionably, a standout moment.

Overall, this was an incredible evening! The Fureys are indeed legends of Irish music and this was a testament to that. The band has touched many and it was felt in the audience through their cheers and every song they joined in with. There’s something about Irish music that makes you feel it in your bones, makes people feel present and The Fureys did that.

REVIEW: Scots – The Musical

Published on March 24, 2026March 24, 2026 by Ross BevanLeave a comment

This cast made sure to gie it laldie as they belted it oot for aww to hear

A show filled with laughter, songs and more than a few wee facts, Scots-The Musical is more than just a comic glance at the country. This show delves deep into Scotland’s past, its origins and its people; all told from the point of view of a toilet. THE Toilet, in fact. The very first. The Pavilion, being such a beloved theatre in Glasgow, made this the perfect venue for such an event, as the audience went on an educational, if somewhat ludicrous, journey.

Any story told by something people use to defecate in is going to be a bit mad. There’s really no way around that; it’s a pretty bold choice for a narrator. Yet, oddly perfect? It honestly sort of sums Scotland up in a brutal kind of way, or at least our humour. We do, undoubtedly, partake in a lot of toilet humour. Even the infamous “DISGUSTANG” meme gets a nod as we go through a variety of bog-related jokes. The reason for such an unusual storytelling device is that the first ever toilet was said to have been dug in Scotland. Throughout the show, The Toilet takes us on a journey through Scottish history, all beginning with the song “I’ve Seen Some Shit”. With this kind of storytelling device, you’d think all the humour would indeed be “shit”, but the audience was roaring with laughter as our narrator talked about how it had seen “a lot of arseholes”. This opening song has already become an earworm as it is incredibly catchy. It works really well to open the show, being a light-hearted, less serious number.

As previously mentioned, though, this show is about more than just laughs. This musical shows us many important figures in Scottish history, especially women underappreciated within their own time. Mary Somerville, the first-ever scientist, is one such figure. Mary gets to sing one of the most powerful numbers of the show, “I Don’t Need Your Approval”. The high notes achieved by Katie Barnett were sensational, acting as a perfect closer for Act 1. Themes of female empowerment continue into Act 2 with Annie Gibbons, a woman who was instrumental in the implementation of the first toilets in tenement flats in Scotland in 1972. She provided Raymond Young with a space to build his schematics, and this led to a movement which saw toilets be included in flats and tenements all across the country. The song “Som’dy Needs A Boot Up The Arse” accompanies this part of the story and rhymes the words “didnae” and “kidney” in an act of absolute lyricism.

One thing this show manages to do well is address Scotland’s missteps. Acknowledging that Scotland has made a lot of mistakes is actually one of the factors that will help it stand the test of time, and it can’t be stressed enough how important that is. Scotland’s not perfect. Nowhere is but especially not us. We have work to do to improve, grow, and evolve and this musical addresses that boldly, while remaining hopeful for our future. One such example of this is the homophobic attitudes towards gay people in Scotland, across time, but especially in the 1970s-1990s. We see how this led to many retreating to bathroom cubicles as a place to hide, in school, work, social settings and how the hostile environment towards the community exacerbated the AIDS crisis. It goes on to show how times have evolved, as being gay was no longer illegal in Scotland in 1980. It took over 3 decades for gay marriage to be legalised, with Scotland finally being at the forefront as the first country to do so in 2014. This is all beautifully captured in a moving song sung by characters Oscar and Daniel, “Things We Don’t Say”.

Another example of Scotland’s biggest errors that gets mentioned, in which we got “so utterly shagged” as it was so eloquently put, is when we tried to colonise the Darien region of Panama from 1698 to 1700. Known as the Darien Scheme, William Patterson took over £400,000 (roughly £60 million in today’s terms) of money taken from Scottish citizens with the intent of establishing a colony and trading route known as New Caledonia. However, it was an absolute failure, leading to the death of Patterson’s whole family as well as 2000 others due to disease and attacks from Spain, who also wished to colonise the area. This is savagely summed up in the line “Scotland backed the horse that got malaria and died”. These financial losses are ultimately what led to the formation of the union with England in 1707. Another brilliant quote that helps summarise our storied history as a country is simply, “Sometimes we’re a f—ing mess”. Harsh, but true. However, the show also states that we always get up and try again, that we never give up, and that is important. Scotland may have some work to do, but we’re doing our best, and if we can own our mistakes and learn from the past, our future can be brighter. Better.

It’s worth noting that there are a couple of excellent running gags in this show. One is the map girl, always getting in the way and always with a deranged look in her eyes. The other is the lute player, constantly trying to get away with playing an old Scottish song known as “How Can I Be Sad On My Wedding Day?” The Toilet is having none of it, which leads to some panto-like interactions as we feel sorry for the poor lute player, but eventually, she gets to fulfil her wish, and it’s worth the wait. Yana Harris had multiple roles, but this was definitely her most endearing. It should also be mentioned that Tyler Collins did superb work with all the humour throughout the night as The Toilet. He served as a perfect narrator.

Overall, Scots- The Musical is a total riot! The balance between silly and serious is just right, the songs are incredibly entertaining, and the cast is very clearly having an absolute ball. It was plain to see how much they were all enjoying themselves, which flowed through their performance and made this a memorable and enjoyable night. Gon’ yerselves!

This has Fringe energy written all over it. It’s funny, well-balanced in tone and even educational. Plus, the songs are all fabulous! Perfect length in runtime and perfect for Scottish audiences.

This show has finished its run at the Glasgow Pavilion. Find more tickets for the Glasgow Pavilion here – https://trafalgartickets.com/pavilion-theatre-glasgow/en-GB

REVIEW: Horrible Histories LIVE (AND DEAD)! – The Concert

Published on March 23, 2026March 23, 2026 by Ross BevanLeave a comment

Whether you grew up with it or are being raised with it now, Horrible Histories is perfect for all ages

There was real buzz in the air of the Theatre Royal as fans young, old and in-between gathered for Horrible Histories: LIVE (AND DEAD)! – The Concert. Based, of course, on history but also the original works by Terry Deary, Horrible Histories has been an ongoing television show since 2009 with songs written and composed by Richie Webb. As both band and cast member, Webb is a solid example of the meta, fourth-wall breaking joy this concert offers, much as Horrible Histories always has.

Now, just to get it out the way for anyone wondering, no; this does not have any of those classic original cast members from way back at the TV show’s inception. While that would also be a wonderful opportunity for an event and one many would love to see someday, that’s not what this is. The last thing I’d want is for any original fans to go in unaware and be disappointed. As many know, most of that particular group moved on to do the Ghosts show some time ago, to great success. However, this cast is truly delightful and have an exuberant approach to the work, it really comes across onstage.

The concert is not contained solely to the stage though. The audience are indeed addressed throughout and it’s especially interactive for kids. Singing, heckling, and even pantomime actions are encouraged. Chorus words appear for the songs (although frankly, nobody seemed to need them, other than perhaps the parents who have no idea what’s happening), the audience are asked to assist from their seats in question games and there is an open dialogue between the fans and whoever is onstage at the given time. The main sources for back-and-forth audience/cast interactions are Webb and Richard David-Caine’s Shakespeare, who gives a wonderfully camp performance. Being someone playing a character in a television show for kids doesn’t necessarily equate to someone who is actually good at entertaining them live so David-Caine should really be commended for terrific crowd work.

While it would be a shame to give away all the songs in store for ticket-holders, it should be noted to pay attention to the cast. Many of the famous monarchs show up in this concert, all thinking they’ll get to perform the final number of the show, thanks to a misunderstanding with Shakespeare. They all get their moments to shine, so if you were hoping to hear from Charles II, Elizabeth I, or perhaps Cleopatra, you’ll be very satisfied. My personal favourites though, had to be The Viking Song (more affectionately known as “Literally”) and without a shadow of a doubt, Boudica. Truly, the excitement was palpable. There’s a great blend of classics and more recent hits so there is definitely something for everyone.

It goes without saying but Horrible Histories has always been funny. It hasn’t lost that in this transfer to the stage or even all these years after it started. The cast have excellent comic timing and recognise that fun is the most important thing. They understand their job and they execute with maximum efficiency, giving each number, each one-liner, each facial expression 100% in terms of energy, effort and positivity. As a collective, they truly can’t be rated high enough. There are no weak links in this chain.

Now, there is some disappointing news; our host was not, in fact, a talking rat. Yes, sadly, the iconic host of the TV version Rattus Rattus, does not make an appearance. Heartbreaking to be sure and in all honestly, this did lose the concert a few points. Maybe there is an argument for a puppet being onstage the whole time and ruining the illusion of the character for children but damn it, it’s 2026! Surely there could have been a way! With all of that being said, Shakespeare still did a fine job in his role. There is a world in which they could have shared hosting duties, which absolutely could have led to some moments of comedy gold but alas, it was not meant to be. So, a note for the future would simply be this; give us the rat!

Overall, this concert was a huge success with the audience, myself included. It’s really lovely to see that in 2026, not only is Horrible Histories still going but it’s thriving. Many people probably watched those first episodes nearly 17 years ago who dreamed of days like this, where they could see these songs performed live. That day has come and let me tell you, it’s okay to still go if you were one of those kids. If you’re a 20 or 30 something who feels like they need permission to go and have fun, you’ve got it. Indulge yourself! Whether you’re 7 or 27, you’ll have a blast.

This concert’s final tour stop will be Sunderland Empire in Sunderland from Friday 17^th-Saturday 18^th April.

REVIEW: MEDEA

Published on March 21, 2026March 21, 2026 by Ross BevanLeave a comment

Harrowing and tragic, Medea defines brutality in a performance that will leave you speechless

This classic Greek tale, as with many, has a variety of versions and rewrites though perhaps none quite as harrowing as this retelling by Kathy McKean. Based on the original work by Euripdes, McKean’s work delves into the levels of deep intensity within these character’s emotions, accentuated by the talents of theatre company Raw Material. Touring this production in association with Bard In The Botanics, this performance at The Beacon Theatre was an impressive yet brutal watch.

As a Greek tragedy, it goes without saying that Medea will not be the easiest watch for some to digest but despite its harsh, and at times horrific subject matter, the compelling nature of the play makes it fly in for those with a stomach for darker themes. The intense atmosphere of this performance was felt by all as Medea spirals while the life she knows crumbles around her. Her paramour Jason, as in the Jason who sailed on the Argo and claimed the Golden Fleece, abandons her to marry the King of Corinth’s daughter. After going into a rage and threatening Jason and his new wife, King Creon exiles her and she is forced to flee with her children. However, she appeals to Creon who grants her one day before she must leave Corinth. This gives her enough time to plan her revenge.

She plans to take everything away from Jason. Luring him to their former home, she convinces him that he should take the boys so that they can have a better life. She says she will send gifts with them, in order to appease his new bride and wipe any previous slights from her mind. The gifts in question however have quite sinister properties. A cloak and crown made by her grandfather, these items were only supposed to be worn by those of her bloodline. As a descendant of the sun god Helios, Medea would not be harmed but when the princess dons them, her body begins to melt away, killing her and Creon as he attempts to aid her as she dissolves into nothingness. Medea is not through with her vengeance though. To rob him of his legacy, Medea murders her own children. Jason arrives to get them to safety so they will not be harmed for the deaths of the king and his daughter but he is too late. After seeing him broken, defeated and helpless, Medea vanishes, leaving devastation in her wake.

The end result is shocking, no doubt but what makes it even more crushing is the way her relationship to her children is handled throughout the play as well as her psyche in general. She slips further and further away from reason as the story progresses, her emotions ranging from rage at Jason’s treatment of her to pain over the loss of him. We see her feel a sense of isolation as she reckons with the prospect of having to leave this home she built with her family, with no idea where to go and almost no friends to turn to, save the Nurse. Jealousy and envy are apparent as she faces the fact this princess has stolen her life and though originally, she does not believe her to be at fault, we begin to see her turn and head down a dark, treacherous path of revenge. In all of this, she still loves her children but it is stated by the Nurse from the very beginning that she can barely look at them as she sees too much of their father in them. Ultimately, this is foreshadowing of what is to come but her decisions are never framed in a way that make us believe she doesn’t love her children. Even in the moments before her final crime, she talks about running and taking the boys with her. In the end though, she realises it is too late. Whether that be because she knows they will be killed for the deaths of the royal family or because she’s determined to take everything away from Jason at any cost is truly hard to say. Each reason has merit and it could be that either or both are true. In the end though, there is a sickening satisfaction in Medea’s reaction to Jason’s despair that shows us she got what wanted, no matter the cost. The way Nicole Cooper displays the complexity of Medea’s nature and emotions is in a class of its own

Some would look at aspects of her behaviour and defend Medea. While there is justification for her outrage at the circumstances she finds herself in, any notions of her being on the side of righteousness dies with her children. The moment we see her walk back onstage with the blood-soaked knife she used to slit their throats, there’s no amount of grace we can give the character. Which is fine because this is not a heroic story. Yes, we see that without her, Jason would not have succeeded in his famous quests and that she should have got the recognition she deserves but Medea makes it clear to Jason and the audience that he always knew what she was. There are no heroes in this story. Only flawed, broken individuals. It’s what makes it so compelling. Which isn’t to say they don’t make us feel. Isabelle Joss’ screams as the Nurse discovers the bodies make us feel that brutality. Johnny Panchaud beautifully displayed Jason’s heartache as we see him crumpled in a pile on the floor, howling. Alan Steele’s haunted memory of watching the royals melt away was one of the finest moments. We see how he was almost transfixed by it, mesmerised by the horror.

The only true issue with the performance was lack of appropriate accents. While there are moments where Greek is spoken (and in those moments we do hear tonal differences), they are few and far between and the Scottish and English voices were initially jarring to tell the truth. Perhaps if there had been prior warning, it might not have been as much of a problem and ultimately, it doesn’t affect the acting in acting in any way but there are definite hints of a different accent in the few moments that Greek is spoken which does beg the question, why not just make the choice to do that the whole time? It is however a relatively minor thing and doesn’t ruin the performance as a whole.

Overall, Medea was raw and intense. The acting on display was superb and the company did a splendid job with some very complicated material. This is definitely worth a watch for those who enjoy looking at the old myths through a more emotional lens.

This tour’s next stop is the Tron Theatre in Glasgow from Wednesday 25^th– Saturday 28^th March and closes in Eden Court Theatre in Inverness on Saturday 11^th April.

REVIEW: An Evening With Megan Murray

Published on March 16, 2026March 16, 2026 by Ross Bevan2 Comments

Scottish talent triumphs as Megan Murray launches her emotional EP on home turf!

Returning to Inverclyde after her beginnings in the Inverclyde Music Festival many years ago, Megan Murray’s concert at The Beacon Theatre was a big night for her and her music. There to officially launch her summer EP and supported by a young Scottish opening act, An Evening With Megan Murray was great triumph!

While this was not Murray’s first performance in Greenock or even The Beacon itself, she state often how big this evening was for her. Previously having performed in the theatre’s studio, this was her first time taking her music to the mainstage and with a much larger audience. One of the most enjoyable things aside from the music was how conversational this performance was. It seems any time the words “An Evening With” appear on the bill for a performance, audiences are always in for a more intimate setting where we get to know the artist better, which was the perfect setting for the launch of Murray’s self-titled EP.

Featuring 4 songs, each one is a labour of love and the passion can be felt through the lyrics. Clydebuilt is a love letter to home, to the great River Clyde and the towns that surround it. You can really feel the sentiment in the lyrics, “river that raised us”, a display of her emotional attachment to this part of Scotland and how influential it was in her creative process. Inverclyde has always been a champion of creativity, Murray’s own origins starting in Greenock at the Inverclyde Music Festival, a staple of the town’s culture that soon approaches its 100th year in operation. Tear Stains focuses on a different type of love as she ponders how missing someone and all the emotions that come with that can give us strength. Have The Heartbreak delves into how that feeling of losing someone in a relationship is preferable than to have never been with them. It’s very much a “better to have loved and lost” vibe and definitely tugs on the heartstrings as Murray laments how she’d rather this than “forfeit how you used to look at me”. A reminder that sometimes, even painful experiences can be worth it to have had such good memories in return, to have had the chance to feel at all. I’d Rather Be Alone takes an almost polar-opposite stance however as Murray gets into how being alone can
be better than being with someone else when that person makes you feel like you’re losing parts of yourself. The lyric that best encapsulates this emotion is “trying to change my lyrics to fit your rhymes”, showing how a bad relationship is not worth sacrificing yourself and who you are as a person just to make them happy. As a song about reclaiming her agency and choosing herself, this may be the standout not only of the EP but of all the songs performed throughout the evening.

Murray was not alone onstage as she was supported by her sister Emma Watson and friend Graham Deatcher. This trio are collectively brilliant and superb musicians, together and individually. The rapport between them is evident through jovial nature onstage and helped to create a relaxed environment. Aside from the EP titles, the group performed various covers, unafraid to switch up the tone as they went from songs like This Is The Life by Amy McDonald (stated as a huge source of inspiration to Murray and Watson growing up in Scotland), to their own rendition of Jolene by Dolly Parton. The audience were also treated to some pipe medleys as Watson was a former champion of the instrument in her youth and definitely has maintained that level of talent into adulthood. Deatcher’s guitar skills were also impressive, especially during the particularly fast number throughout the night. It should also be noted that Murray was fortunate enough to have a young Scottish opening act. With great support from the crowd, 14 year-old Mikey Cardona did a superb job, covering hits such as Sunday Morning by Maroon 5, Mardy Bum by the Arctic Monkeys and even tackling Heaven Knows I’m Miserable Now by The Smiths. Even when his guitar strings snapped mid-
performance, Cardona just retrieved a new instrument and carried on. If this boy carries on as he is now, he may well be headlining his own concert in the next few years.

Overall, this concert was an absolute delight! The level of Scottish talent in the room was incredibly satisfying and as a fellow resident of Inverclyde, it made my heart happy to see local musicians having such a successful night. Megan Murray’s music is excellent and feels inherently Scottish at heart. A great launch for an even better EP!

Megan Murray and her bandmates were exceptional, offering an entertaining and intimate evening of great music!

REVIEW: Two Knight Stand

Published on March 14, 2026March 14, 2026 by Ross BevanLeave a comment

Incredibly funny and the silliest of antics- these knights will have you stitches

Two Knight Stand, a production by Martyr Theatre Company, somehow managed to be both unexpected and meet expectations precisely. They were met in the sense that it was exactly the kind of silly fun I was hoping for. The unexpected came in the form of the cast for when the two knights in question rode onstage, they were in fact maidens! It also managed to be even sillier than previously imagined. In the best possible way, this trip to Riding Room in Glasgow was one of the craziest experiences.

A mix of clown and drag theatre, this two-hander is written by Moira Hamilton, who also stars as Sir Sigwin alongside Courtney Bassett as Sir Wendelgaud. When it comes to a two-hander, it’s imperative that two things be true; the writing has to be solid and so does the cast. Thankfully, this was 100% the case. The play focuses on two knights and their “rivalry”. They are locked in this apparent feud over the affections of a maiden. However, the maiden does not know they are fighting for her. In fact, the maiden isn’t even aware they exist as these two brave knights have been hiding at the top of the hill or in the bushes with a pair of binoculars. They do this every day but never actually attempt to talk to her. Well, if they don’t plan to court the maiden, then why would two noble knights spend so much time watching her? Why, to spend time with each other of course. While they would never admit it, Sigwin and Wendelgaud are infatuated with one another and no matter how much they may stare at maidens, it’s clear they only have eyes for each other. Every skirmish is just another chapter in their epic love story. Fighting actually is their love language as we see them cross blades several in many ludicrous ways, always in ways that will not actually harm each other (well, except perhaps once).

The chemistry between Sigwin and Wendelgaud is unmatched and that is largely due to the exceptional talents of Hamilton and Bassett. Their comic timing and approach was a delight to behold. More than once, the entire audience were howling with laughter and that doesn’t come without people who have a real talent for comedy. A good script is nothing without actors who understand it and have the ability to make it real. Hamilton and Bassett took us into this medieval world and managed to make everyone laugh as we all got swept up in this very silly love story.

Much of the script’s comedy is presented through double entendres and the physicality of swordplay, with the blades often getting stuck places and requiring two people to get it out. However, the humour was greatly accentuated by the work of sound designer Frederik Bang, using items such as whistles for the sounds of swords being unsheathed, tin for the sound of armour falling to the ground and his own voice in a ridiculously hilarious Duel of the Fates reference. It really adds layers to the clowning aspect of the performance and it wouldn’t have been the same without it.

The only slight issue was honestly just the seating. Riding Room is a lovely venue and in theory a really good location for performances like this but the way the chairs were stacked in so tight did lead to some discomfort. This is a hard one to get around in a small space but if there is a solve, it would really make all the difference. That being said, it did not affect the quality of the performance.

Overall, this is a riotous, raunchy work of art and even funnier than you’re probably expecting a tale of two medieval knights obsessed with each other to be. One note would be to write more stories of Sir Sigwin and Sir Wendelgaud as these characters absolutely have the potential for further adventures. The whole show was so wonderfully gay and to have more of that energy would be sublime. However, it also works well as a one-off and is a brilliant entry in the Glasgow International Comedy Festival. You won’t stop laughing!

REVIEW: A Giant On The Bridge

Published on March 12, 2026March 12, 2026 by Ross BevanLeave a comment

“Deeply emotional and slightly mad, this is a performance which stands out from the rest“

Fascinating, mad and impactful are just a few of the words one could use to describe A Giant On The Bridge. This concert-like experience mixed with spoken-word theatre blends the story of a father on his way home from prison to meet his family with that of a more traditional story of a giant and a prince. Accompanied by songs written through the “Distant Voices: Coming Home” project, this performance and its message stood out.

Based on real life events, this performance was devised from the “Distant Voices: Coming Home” project, a four-year research collaboration with the intent of shining a light on the experience of those affected by the criminal justice system. These workshops were used to give a voice to people who had previously been in prison and those still in the system, or to quote from the performance, “those who have crossed the bridge home and those yet to do so”. The use of music to tell their stories and give insight into their lived experiences feels very personal and comes from an intimate place.

The music itself is varied. Ranging from pensive and melodic in songs like “Autopilot” to more classic rock vibes in “Fuck It Button”, every song has a story to tell and they all sounded great. Despite different genres in the mix, there was a feeling of connection between all the songs. The emotional weight of these songs is felt as it was stated at the start of the show that some of the song-writing sessions became quite dark at times, understandably so. Upon speaking to co-creator and musical director Jo Mango, she stated that there were over 150 songs written throughout the workshops. Although all of them could not make it into the performance, the selection within the show is effective in helping us understand more about not only the lives of people who have left or are still in the justice system but the people that care about them.

When asked about why this narrative was blended with that of a more traditional fairytale, Mango mentioned that a common theme across the workshops with many inmates was that of heartlessness, specifically that this was how they felt towards the justice system. This lent itself well to the story of giant who had lost its heart and also created a parallel between this character and how many people saw them; as monsters. The story in question is based on the fairytale “The Giant Who Had No Heart In His Body”, though is altered somewhat from the original text. This narrative weaves through the prison homecoming by means of former inmate D’s daughter Faye, telling the story to her dad through letters. These letters are never sent by her Aunt June however as they act as a fantasised version of what has been going on in their lives while D has been in prison. While details are never explicitly mentioned, we are told that June was forced to leave her partner due to domestic abuse and she had to flea in order to shield Faye. The blend of these stories surprisingly works quite well and both narratives remain compelling. Special mention has to go to Kim Grant for the narration of the Giant’s story. Her telling of this tale was incredibly captivating which brought the whole performance up a level. All the musicians in this show were truly fantastic, everyone involved in each aspect of telling the story, through words, song and instrumental.

Overall, this was a deeply impactful performance. It did an exceptional job of highlighting the journey people go through, both in prison and after, as well as showcasing why we should focus more on reformation than punishment within the system. Plus, aside from being emotional and interesting, the music just sounded brilliant which is always a bonus. If anything, all one could really ask for was more.

The next stop on this tour will be The Studio Theatre in Edinburgh from Friday 13th-Saturday 14th March and closes at LAS Cinema and Theatre, Portree in Skye on Saturday 21st March.

REVIEW: Sailmaker

Published on March 8, 2026March 8, 2026 by Ross BevanLeave a comment

In a tale from a bygone Scottish era, there is still be a story relevant to the present

Set in 1960s Glasgow, Sailmaker focuses on a Scotland that no longer exists. While elements still linger, the country has moved on from the days of deep sectarianism, tick men and kids not staying in school past 15. However, this is not a criticism of the play. In fact, it acts as an interesting time capsule into a very different time in our collective history. What remains universal though, are the themes of grief, loss and the difficult relationship between fathers and sons, shown through The Gaiety theatre company’s production at The Beacon.

The play begins with the death of Alec’s mother and his father’s wife, Davie. It gives no time for reprieve or reflection in the way Davie tells his son and this sets the tone for the next hour and a half. It is very much a get on with it, unsentimental way of giving the news, to anyone but especially a child. Which isn’t to say he doesn’t care, but there is a quote that demonstrates Davie’s mindset at the earliest point, which carries through the story. “If you don’t stop, it can’t touch you”. Right or wrong, this is a very common approach to dealing with loss and especially in Scottish culture. The mentality that you have to keep going regardless and not let the emotions take over. While this is Davie’s approach, it isn’t necessarily the right way for Alec. Nonetheless, Alec follows suit and the two carry on without truly dealing with or even discussing their loss.

This decision impacts their relationship in a much more subtle way than one may expect. In truth, the two get on. They love each other and, in many ways, have a much more open level of emotion towards one another than many fathers and sons of that time perhaps had. That said, there are unspoken issues and the broken toy boat Alec finds towards the start of the story acts as a symbol for that. In one sense, the boat not having a sail and its inability to move is reflective of the fact they have not or simply cannot move past their grief. It is also a symbol for Davie’s apathy following the loss of his wife. A sailmaker by trade Davie could have fixed the boat at any time. He often talks of how best to fix it and that he’ll get to it soon but never does. This becomes clearer when Alec’s uncle Billy, a painter, sees the boat and instantly agrees to give the boat a fresh coat of paint and does so with speed. This isn’t to say Alec doesn’t care for his son. We see time and time again how he supports his education, his newfound faith, how he believes in Alec and does truly want the best for him. He isn’t an inherently bad father. His demons do affect his parenting, though, whether through apathy, his drinking or his gambling addiction. In his mind, I’m sure he does believe he’ll get to fixing that boat. It’s more than simply putting off a task, though. Davie just doesn’t know how to manage his own life. His distance from the emotion of losing his wife is the crux of his existence. It helps him go through life but leaves him unable to live it, unable to be present in the world, to fully connect. This is what damages his relationship with Alec the most. The boat is a symbol of Alec’s youth, but it is also a means for him to try to connect with his dad. It’s just them now, Davie is all Alec has, and he tries desperately to connect with him through the boat, but it’s as if Davie isn’t really here. A feeling which Alec alludes to within himself when describing how, upon learning of his mother’s death, it’s like he’s watching from outside his own body, as if it isn’t him. Ultimately, if the two could actually talk about their loss with one another, they’d realise they’re going through the same kind of emotions and maybe be able to help each other and finally start to heal.

One of the only times we ever see real anger or emotion from Davie is when Alec mentions the “nice lady” that Davie keeps mentioning. When an irate Alec snaps and says he should just admit he fancies her, Davie smacks his son, the only time we see him do this. On one hand, Alec just wants him to face life and reality, but when met with that reality and the fact that his wife is in fact gone, Davie snaps and lashes out at him. It shows that there really is something broken within him and his relationship with his son.

Alec’s relationship with his cousin Ian acts as an important reprieve in the early stages of the story as someone he can talk to, and is one of the more positive, grounding elements of his life. That said, Alec is searching for a kind of peace and comfort that even Ian can’t provide, which is largely why we see him turn to religion. When he can’t connect to his father and his cousin can’t relate, religion becomes a space where he seeks what’s missing. However, he doesn’t find the answers he seeks within the bible. Alec makes various comments throughout the play about something being missing, that he’s lost something. While that is in a more obvious sense, the loss of his mother, there is an argument to be made that it is also about his father. Perhaps, in some ways, he lost him the day she died.

In the end, the boat becomes the ultimate representation of Alec’s lost innocence and childhood, having to burn the boat after the electricity gets shut off in his and Davie’s home. Davie’s mismanagement of money through gambling and alcohol catches up to him, leading them to burn their possessions. Alec’s burning of the boat is saying goodbye to his childhood but Davie, he burns his old sailmaking tools. Lignum vitae, one of the hardest woods there is. It not only indicates the loss of Davie’s past life, his hopes and ideals but potentially even the loss of his relationship with his son. As the boat and the tools that would fix it burn, we’re left to wonder if they will ever fix what is broken within their relationship.

The company from The Gaiety theatre have done a tremendous job with this play. Alexander Tait played grieving son Alec in a fascinating way, and his insight into the character and the range of emotions conveyed through his performance enriched this story. Andy Clark does an excellent job in his portrayal of Davie. He seemed to relish that time period and was a very convincing Scottish dad in every sense. Paul J. Corrigan and Lewis Kerr, as Billy and Ian offered some much-needed levity to the production and also acted as an interesting contrast to the other father/son relationship in the play. In some ways, we see what Alec and Davie could have been if it weren’t for their grief, and Corrigan and Kerr display this well. Overall, the relationships within this play make it a riveting watch, and that is a testament to the exceptional level of talent onstage.

This next stop on this production’s tour is the Cumbernauld Theatre from Friday 6^th-Saturday 7^th March and ends on Wednesday 25^th March at Theatre Royal Dumfries.