edinburgh – A Young(ish) Perspective

REVIEW: Matthew Bourne’s The Red Shoes

Published on April 16, 2026April 15, 2026 by Lia WalshLeave a comment

A exquisite production exploring the challenges of artistry and celebrating the joy of dance

Something very special happens when an artist decides to explore a story about their own craft. It often means that the story is told with heart, passion, and nuance, and that’s one of the things that makes Matthew Bourne’s telling of The Red Shoes so mesmerising – one of the many things. This is a show about what it takes to be an artist, and what it takes from those who must create.

Matthew Bourne is known as a visionary in modern ballet, so it’s no surprise that this production features some truly spectacular choreography. It will also come as no surprise that the dancing itself is superb, as Bourne’s company New Adventures seems to have some of the finest young dancers an audience is likely to see. Cordelia Braithwaite, whose dancing is beautifully delicate and yet powerful, plays the rising star, torn between the love of a struggling composer and success as a ballerina. While the entire company is exquisite, a special mention is due (as is becoming increasingly the case in New Adventures productions) to Jackson Fisch, who moves with such grace, precision, and character specificity as to be simultaneously chameleon and unmistakable.

Bernard Herrmann’s music, orchestrated by Terry Davies, is rich, textured, and powerful storytelling all on its own. Were the visuals not so spectacular, one might even be tempted to close their eyes and focus on the swells and detailed arrangements (listen out for the harp – under-utilised in most orchestras and put to incredible effect here).

The production is simple, realistic and stylish, as are the costumes. A spinning curtained proscenium arch is used to separate the dancer’s experience onstage from the chaos that occurs behind it. The story is told clearly, with immense feeling and a focus on the pure joy of ballet.

While this is a story that explores the highs and lows of creativity, the result is a show that wholly celebrates the art of dance. As the artists perform the challenging choreography with soul and passion, the challenge for the audience is not to grin with glee.

The Red Shoes is at Festival Theatre until 18th April 2026.

REVIEW: Three60 World’s Evolution

Published on April 13, 2026April 12, 2026 by Will OsbonLeave a comment

A highly skilled and thrilling dance showcase that struggles greatly to deliver on its storytelling promises.

After its initial Glasgow showcase in 2022 and its reimagining in 2025, Scottish Street Dance troupe Three60 is now taking “World’s Evolution” on tour. This dance fusion show promises multiple styles of dance as well as a story that follows the journey of humanity. But does it succeed in this mission? It’s a mixed bag.

There is no denying the ability of these performers. From popping, krumping and tutting, to African and Caribbean dance, the technique is off the charts here. This show is stuffed with styles, and the group does a great job at alternating the pace and energy of the show as these styles fluctuate. Performances here are stronger when the group performs as a collective. Earlier sections of the show relied on duets, solos or disconnected sequences, where the group feels more like performers running in and out of scenes as opposed to a collective telling a story together. These sections are still strong, but the final three songs pull together some fantastic footwork and synchronicity that feels like the shows cherry on top. In part this felt like a wonderful finale, but it also, in part, felt like a missing component only realised in the last ten to fifteen minutes.

The show was structured into a series of episodes, krump heavy nearer the beginning and through the middle, but with more variation around the edges. While the arrangement of episodes feels somewhat off, the show still succeeds in delivering eye-catching set pieces. This is done through design elements and embodied choreography that discretely communicated new ideas. One performer adopted a mother earth style costume and other performers adopted large duster / trench coats, indicating individuals shrouded by a dystopian existence. On the other hand, performers at one point danced in a party-like setting with intermittent mimed drinking interspersed throughout, indicating a struggle with alcohol and substances. In general, Three60’s use of costume, small props and choreography, as well as lighting choices, communicated plenty about the themes and ideas of World’s Evolution; technology, desire, female solidarity, loneliness, and more. These were expansive episodes, some more successful than others, the most visceral by far being the sequences covering themes of loneliness and female solidarity.

While these dancers are highly skilled and a thrill to watch, and while certain design elements add some meaning to the dances, much of this structure is decidedly communicated through repetitive royalty free footage, voice samples and visual text. This separates up each dance sequence and is a common practice in Hip-Hop showcases. Unfortunately, these video elements and samples do not add anything to that which the choreography communicates readily on its own. Because of this, images of nuclear bombs and ticking clocks, sporadic text reading “Love”, “War”, “Poverty”, and even a distracting voice line from The Dark Knight Rises, feels rather superfluous.

What “World’s Evolution” promises is a highly technical dance fusion show and a journey through humanity and a story of the world. Indeed, if you are looking for the former, you will be pleased. These performances are highly skilled and choreography does a perfectly good job at communicating its ideas. For the latter, what we instead receive are episodes that embody themes and ideas only. For a dance showcase, this is realistically still quite the accomplishment. But any promised attempt at coherent narrative is unfortunately lost. Perhaps some more focus in the future on using inter-scene video elements in order to lay out a narrative, one which cannot be (and is not already) communicated through the dancers, will help deliver on this promise and ultimately elevate the piece further.

REVIEW: The High Life: The Musical – Still Living it!

Published on April 10, 2026April 9, 2026 by dougalthomson94Leave a comment

An absurd, over the top spectacle, full of fun

“This overacting is exhausting…but not for us”

From the moment the show starts, until its frenetic conclusion, it is impossible not to be drawn into the camp and joyous spectacle. Whether you’re a fan of the series or a complete newcomer, there is something for everyone. This is where the production really soars, it takes every member of the audience along on the journey, no matter what your relationship is to the series.

The first act is a love letter to the series, celebrating each returning character and setting up intrigue for the second act, brought on by Hurricane Fud. The second act contains a twist that cannot be guessed. It is utterly absurd, and feels like something straight out of League of Gentlemen, yet it is incredibly easy to accept and jump straight on board with.

The writing is solid, Alan Cumming and Forbes Masson jump straight back into the fun that made the series so beloved, and the addition of Johnny McKnight is very welcome. McKnight’s fingers are all over the script, and really help it to shine on stage, embracing moments of pantomime and clever asides to keep the audience laughing and entertained. The trio blend together incredibly well, and the musical numbers are perfectly catchy. Is the plot entirely coherent? No. Does it need to be? Absolutely not.

Cumming and Masson also shine in the reprisal of their roles of Sebastian Flight and Steve McCraken, jumping straight back into characters not seen for over thirty years. Masson brings an energy that does not wane throughout the show, and Cumming arrives with an undeniable charisma that keeps all eyes fixed on the stage. Even when faced with resistance from the audience during the crowdwork, the pair keep us invested.

The most rapturous laughter was often brought on by Patrick Ryecart, who brings the surreal Captain Hilary Duff back to life. With a multitude of costumes and delightfully irreverent turns, Ryecart steals the scene with his hilariously befuddled captain. The undisputed star of the night, however, is Siobhan Redmond, who has a show stopping entrance as Shona Spurtle. She is absolutely superb and flies high throughout the show delivering an assured performance that is simply impossible to look away from.

The supporting cast is equally impressive, jumping into the over the top nature of the show and keeping pace with the core cast throughout. Rachael Kendall Brown is wild and wonderful as Kylie, and Kyle Gardiner is a lot of fun to watch switch between various states as Mylie. Lousie McCarthy puts together an impeccable performance as Heather Argyll, and the ensemble of Ross Baxter, Lauren Ellis-Steele, Ciara Flynn and Grant McIntyre are wonderful as an all singing, all dancing cast of characters.

What sits in the memory the strongest, is the undeniable pride in the Scottishness of the piece. With so many Scottish institutions involved, it was always going to be the case, and Alan Cumming in particular shines as a passionate representative of what is possible in giving Scottish Theatre to Scottish performers. Maybe, with a name to lead the charge, this can kickstart a renaissance of Scottish Theatre, and allow audiences to see more and more of the new and diverse creatives out there across Scotland.

Whether you love the series or Scotland or an absurd hour of escapism and spectacle, this show delivers.

The High Life: The Musical – Still Living it! Is on at The Festival Theatre until the 11th April before continuing to tour around various venues in Scotland.

REVIEW: Ruddigore: The Witch’s Curse

Published on April 3, 2026April 3, 2026 by Will OsbonLeave a comment

A fun and freaky production that succeeds in what it sets out to do.

To take on a Gilbert and Sullivan production as a student group in the medium-sized space of Bedlam Theatre is, at first glance, a big swing. EUSOG’s “Ruddigore” indeed is a big swing, and thankfully an enjoyable and mostly successful one.

Mostly every element in this production is working together like a well-oiled machine. This is an achievement worth stating in of itself: many Off-West End and West End productions struggle to balance their plates this well. What results is a nearly three-hour evening at the theatre that flies by with all the fun it’s having, as goes the adage.

Though, some figures certainly deserve singling out. Choreography by Rachael Steel and Roisin Collins is impeccable. Huge ensemble sequences are kept unique enough to remember, while being thematically and aesthetically cogent. A clear standout dance number occurred during the Act 2 opening, in which an incredible Tango-Esque duo performance unraveled, as well as the Opening Act 1 mime-influenced episodes in which three players are murdered at some typewriters. Steel and Collins’ choreography remains interesting throughout, ever changing yet ever consistent.

Musical direction by Franky Leony-Murphy was also consistent and creatively decisive. A beautiful mixture of strings, flutes and appropriate synth created a Scooby Doo style atmosphere. This band sparsely missed a beat, keeping up a distinct performance from start to finish. Each song felt full and this aesthetic worked perfectly well for the piece at hand. Music often conducted the beginning and ending of scenes, in the best case creating a dynamic bookending, but occasionally creating blank spaces onstage while actors waited for cues. Still, these intersections were fun and well meaning enough to forgive.

Finally, design elements were well orchestrated, but occasionally failing. The set, led by Audrey Nicholls and Isla Duffy, was decisively minimal. Some gauze with embedded frames created a doorway for dramatic entrances and windows into alternate scenes. It was a gorgeous set. Yet, with props also being minimal, what resulted was a stage design that relied heavily on performer embodiment to bring the town of Ruddigore to life. Unfortunately, this wasn’t entirely effective; by the second half, it was certainly hard to tell what was happening where and when. In conjunction with tech elements that were at times subtle, flashy and affecting, and at others a little over-abundant, perhaps some further focus on visual design elements in the future will elevate this piece further.

The homogeneity of the cast was overwhelming. For Directors Lewis Eggeling and Bea Temmink to accomplish such a well organised collective performance is a huge feat. Some standout vocal performances came from lead Maia Jones and Nina Berbeck, both handling challenging pieces with ease. Standout acting came from Poppy Hunter and Natalie Rengger, who created an awfully impacting set of half-funny, half-creepy twins, and my personal highlight of the night, Julie Girardin’s performance, which was equal parts silly and technical. Girardin’s utterly unabrasive and effective characterization led to a comfortable presence on the stage, sharp sometimes and soft at others – a perfectly appropriate approach for the character of “Richard Dauntless”.

While incisive direction felt at times absent, with true characterization only being accomplished by a handful of cast members (and with comic beats being missed in the second half because of this), it is hard to feel too troubled by this. G&Ss are silly, melodramatic trope-parodies, and every performer quite agreed on that premise. What results is a seamless evening of theatre that, yes, has room to improve, but ultimately understood the assignment.

REVIEW: The Constant Wife

Published on April 2, 2026April 2, 2026 by nebularis85Leave a comment

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: Death on the Nile

Published on March 26, 2026March 26, 2026 by omarydawnLeave a comment

“A sharp, funny and genuinely gripping whodunit. The kind of show that reminds you why live theatre just hits different.“

Kicking off the theatre year with a show like this feels like a real win. Going in with very little knowledge of the story – aside from the promise of a murder, a famous detective, and some comedic moments – makes the experience even more exciting. It is the kind of production that leaves audiences leaving the auditorium energised and already looking forward to what else the year might have in store.

Ken Ludwig’s adaptation gets the balance just right. It’s witty and genuinely funny, but never at the expense of the tension that drives the mystery forward. The production knows when to make you laugh and when to make you lean forward in your seat, and it moves between the two with ease..

Mark Hadfield is a joy as Poirot. His performance is warm, sharp, and his comic timing is a definite highlight. One of the most memorable moments comes in the final act, as Poirot pieces together the truth behind the murder while the cast act out flashbacks around him in real time. It’s inventive, engaging theatre and theatrical storytelling that just would not work the same way on screen.

Across the board, the cast deliver strong performances, but Esme Hough stands out as Jacqueline de Bellefort. She is absolutely magnetic in the role and brings a layered intensity that elevates every scene she’s in.

The writing also deserves credit for how well it handles the show’s many suspects. Each character is carefully positioned to keep the audience guessing, with clever moments of misdirection that is tight and the payoff is satisfying. Even without prior familiarity with the story, it’s easy to stay engaged and invested in the mystery.

Visually, the production makes excellent use of the Festival Theatre stage. The set is both stylish and practical, allowing the action to move smoothly between locations without disrupting the flow. Sound design plays an equally important role, subtly building atmosphere and tension throughout. It’s one of those elements that might not always be front of mind, but it contributes significantly to the show’s overall impact.

Crucially, this is a production that feels very accessible. There’s no need to be a dedicated Agatha Christie fan to enjoy it. The storytelling is clear, the characters are distinct, and the world is easy to step into from the outset. At its heart, it’s simply an entertaining and well-crafted piece of theatre.

With a cast that clearly enjoys the material, thoughtful creative choices, and a script that keeps audiences guessing right to the end, this makes for a strong start to the theatre year.

Death on the Nile plays at Capital Theatre until 28th March. Tickets are available here.

REVIEW: Witches Corner

Published on March 24, 2026March 24, 2026 by Iona GoodallLeave a comment

A wild, witchy blend of past and present feminist struggle.

“Bob’s your uncle, Fanny’s a witch!” runs the refrain of the amateur witchfinders in Encapulus Productions’ play Witches Corner. It’s an unabashedly feminist telling of a local, historical story with universal themes of the struggle of women to be heard by a patriarchal society that will do all it can to keep them silent.

The Pittenweem Witch Trials of 1704 isn’t a story many people will know well, although it’s easy enough to guess – women falsely accused, outsiders turned into scapegoats, and a boy who lied getting away scot free. But through Eilidh Smith’s script we examine the depth behind historical fact, introducing the brash Beatrice Layng (Sydney Mulligan), the first accused; the clinical (and sadistic) Patrick Cowper (Alannah Skellett), the minister who led the hunt; and the desperate Janet Cornfoot (Gracie Spencer), throwing herself to the mercy of people who would never believe her. She also links it with the modern day through a present-day Pittenweem girl (Lori Stott) and her grandmother (Lorna MacFarlane), who both uncover the story of the past and relive it.

The ensemble cast alternate roles throughout the play between victims and perpetrators, comedy and deep grief, set to songs composed by Rona Johnston. The play thrives when it lives at the extremes of these emotions. The amateur witchfinders previously mentioned (played by a foul-mouthed Lorna McFarlane and an effortlessly funny Sydney Mulligan) had the audience roaring with some audience interaction in demonstrating witchfinding techniques – Alannah Skellett’s song as Father Cowper had a sinister, sexual energy – and Gracie Spencer’s final solo song as Janet was tear-jerking and powerful. However, the play sometimes struggled to bridge the gap between the high and low points, with some scenes not quite hitting their comedic marks.

It also felt like the play was full of characters and events, and perhaps could have been stronger by focusing on just 2 or 3 stories of victims, allowing us more time with them – Sydney Mulligan late in the play had a great monologue as a beautiful girl, cast aside and eventually hunted once no longer desired – but I don’t ever think we heard her called by her name in the script, nor did she interact with the other characters.

The production was kept moving throughout by atmospheric on-stage music from the 5 cast members and seamless costume changes. The symbolism of the crosses hanging one by one on the backdrop as each woman fell victim to the hunt was simple, but hung as a constant reminder of the village’s loss.

Witches Corner is a rollercoaster of a story that, despite a touch of girlboss-feminism slant, forces recognition of the suffering of women for nothing more than being themselves. In 1704 and in 2026, in Pittenweem and across the country, witches need to stick together.

This show has finished its run. Find more at the Scottish Storytelling Centre here – https://www.scottishstorytellingcentre.com/

REVIEW: The Boy At The Back Of The Class

Published on March 22, 2026March 22, 2026 by Will OsbonLeave a comment

An entertaining and educational piece of children’s theatre that struggles to adapt fully to the stage.

The Olivier Award nominated The Boy At The Back Of The Class has taken the festival theatre stage and, in some ways, offers a gentle incline into Imaginate Festival’s presence in Edinburgh. This new play offers a glimpse into the exciting future of children’s theatre. There is a lot to praise, a lot to be excited by, and a lot that in the end falls short.

There are many qualities of The Boy At The Back Of The Class well worth raising up. Namely, that this is the exact kind of story needing to be told to young and receptive audiences in an era of misinformation. This can be a tired compliment (often only superficially adding to the criticism), but here it is true. Seemingly centralising the story of “Ahmet”, a young boy who joins a London school after fleeing Syria, this play takes on the mammoth task of educating (while entertaining) younger audiences on the current refugee climate. It succeeds, but not without stumbles.

Firstly, this set design by Lily Arnold is impeccable. Utilising an open space, versatile props, P.E. climbing frames and a cubic neon border, this set is adaptable and transformative; it hasn’t been done this well since The Curious Incident Of The Dog In The Night-Time. Performances are consistent and necessarily high energy, with a great wealth of comic performances (highlights being Abdul-Malik Janneh as “Michael” and Evie Weldon as “Clarissa”) and heart-felt performances (highlights being leads Serkan Avlik as “Ahmet” and Sasha Desouza-Willock as “Alexa”). Humorous moments and sharp choreography by movement director Kloé Dean, as well as a second half that reads Roald-Dahl-Esque, makes for a swell evening that is educational, visually impressive and entertaining for all ages.

The Boy At The Back’s biggest downfall, however, is its structural ambition. The play’s second half is engaging and provocative. This is done through impressive commentary on the media and its role in political action (and how kids of all ages can ask the right questions), as well as surprising but poignant descriptions of immigration hurdles. This, combined with accelerating action and a Queen of England Ex Machina, makes for a second half that is equal parts moving and stimulating. Unfortunately, the first half doesn’t succeed in the same ways.

While we are informed that this is Ahmet’s story (including an Act One finale where Ahmet yells “Why doesn’t anyone understand me?” – the audience now understanding Ahmet for the first time), the first act centralises Alexa, who describes Ahmet as “The Boy At The Back Of The Class”. This, plus “lion eyes” descriptions that come off as dated orient-style rhetoric at best, leads the first act into a rambling, action-less nose dive. At times there is room for engaging discussions on the “Stop The Boats” epidemic. However, the script mostly resorts to an ill-fitting Matilda style villain for conflict and an “it’s okay to be different” message in order to cross the finish line, potentially diluting its point and punch.

The first act finale indicates a turning point. Yet, it doesn’t truly deliver on its promise: to tell Ahmet’s story, as opposed to the world around him defining him. What results is an important show, with inspiring political confidence, humour and energy, but one that has to employ less than suitable tactics in order to exist. The audience, filled with all ages that night, leant forward at its heavier sections. Kids are smart, and also evidently more hungry for genuine information than ever. That said, more trust in this adaptation’s core concepts in the future may elevate this play from educational and entertaining to utterly revolutionary.

REVIEW: Saxophone Dreams with Jess Gillam

Published on March 15, 2026March 15, 2026 by Will OsbonLeave a comment

An enlightening evening of passionate musicians and contemporary pieces.

It is very reassuring to see that seats are being filled due to current talent like Jess Gillam, Ben Glassberg and their orchestral group to celebrate and perform a range of contemporary work. Saxophone Dreams as part of the Scottish Chamber Orchestra’s New Dimensions concert series was an evening of equally educational and emotionally moving orchestral performance.

The evening consisted of seven compositions, starting with Anna Clyne’s Sound and Fury. This was a fiery beginning to the evening, and an engaging listen. Like river rapids, the composition twisted, picking up and losing pace when needed. Off putting notes and frantic playing from strings and woodwind were the highlight of the piece, finalising with a quotation from Shakespeare’s Macbeth. This piece was a gentle introduction into the possibilities of contemporary composition, including script quotations, discordance sounds and pace changes.

To follow was a shorter piece, Lyric for Strings by George Walker, which was a compact and multifaceted piece. Performed only by string instruments, where plucking is used to evoke percussion and sections of violin mimicked singing, this was an exhibit of what is possible through reduction and minimalism. Therefore, a fitting piece for the show’s introduction.

Glassberg, the orchestra’s conductor, then illuminated the show’s programme: contemporary pieces, many of which inspired by Gillam’s playing and intended for her to play. Then, Gillam joins the Orchestra to perform Dani Howard’s Saxophone Concerto, arranged specifically for Gillam. What followed was a jaunty number that swelled over time, as the saxophone drove the orchestra and accelerated it toward a rise of strings and percussion, opening up into a vast landscape of noise. A fantastic end to the first half.

After the intermission, the orchestra started with Entr’acte by Caroline Shaw, which was a delightfully discordant piece. The orchestra performed the piece with a growing ferocity, taking the song’s volume from soft to very loud. Musicians played like cars passing by. Strings attacked slowly, climbing into an entrance and then spattered out with distant plucking. Filled with silence, this was a discomforting and unpredictable piece, but was an exciting welcome back.

After this, Jess Gillam rejoined to perform saxophone for The Celtic by Dave Heath and Rant! by John Harle. Starting with The Celtic, this piece contains three movements, with the third and final movement being particularly emotionally moving. The piece tells the story of bustling London life, then a deep yearning, then the beauty of Scotland and London coming together. Funnily enough, the saxophone section moves from disagreement, to agreement, to harmony with the orchestra from movement to movement. This was an extremely well composed piece, and a very personal one, which this orchestra brought to life beautifully.

The evening concluded with Rant!, the most technical piece of the evening. Speaking briefly with Gillam after the show, she explained how there is always some anticipation leading up to the performance, much like performing a monologue in a piece of theatre. As for the piece itself, it was an ecstatic performance with apparent western influences. Gillam pulled her parts off with technical brilliance, and by the end the audience was on their feet.

With Gillam’s technical brilliance, Glassberg’s controlled conducting, and an orchestral group full of talented musicians, each with solos and moments to shine, this was a well-organised evening of contemporary work. Each song was placed in the right way, to introduce, move, celebrate and educate about the wealth of new work out there.

Find more work by the Scottish Chamber Orchestra here: https://www.sco.org.uk/

REVIEW: One Day the Musical

Published on March 14, 2026March 15, 2026 by nebularis85Leave a comment

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 27^th February to 19^th April 2026 in Edinburgh.

Author: Judith Neeson