Allan Stewart has been in show business for sixty years and came bouncing on stage like a youngster. He is 70 now but has the moves of a 40 year old and he fits well with the Andy Pickering Orchestra and no one would deny them a whole musical show but this the Big Big Variety Show and here we are in the grand old Kings Theatre Edinburgh for reportedly his last.

His Panto season will continue for 2020-21 of course in Sleeping Beauty and revealed a new role as lead in Sister Act coming soon to the Festival Theatre this April. His Panto chums Grant Stott and Andy Gray loom large in the variety setting and the comedy routines are well received with many fans in the audience. As the MacRobert brothers they have created characterisations that remain fresh and hilarious. Additional guests make variety though and the lovely Mari Wilson opened the show with a set that included songs from her current album – a great arrangement of Don’t Sleep In The Subway along with her hit singles Cry Me A River and the smash Just What I Always Wanted.

Comic Mick Miller recently seen in Last laugh In Vegas (with Bobby Crush and Cannon & Ball) had two slots and his droll Liverpool humour had the audience in stitches. Allan himself closed the show with his great vocal range and a series of impressions so rapid that we need a screen behind him to illustrate with great timing. We look forward to the team for Scotland’s favourite pantomime, we know Sister Act will excel and Andy & Grant revealed a return to the Gilded Balloon at Fringe time.

Variety is back for this week only and so much more to look forward to.

Kings Theatre Edinburgh till March 14

Based on the 1994 animated film, the stage show has become the highest-grossing musical in history. Instantly the animals are highlighted and grab our attention with towering giraffes to springing antelopes, strutting zebras and a massive stomping elephant sweeping through the aisles towards the stage, the opening scene of Disney’s The Lion King is perhaps the most iconic of musical beginnings

This version of The Lion King – directed by Julie Taymor. This is set in the Serengeti Plains and with an African rhythm firmly thumping at its heart, the story follows young lion Simba on his journey to become King of Pride Rock. Along the way he faces a number of obstacles – from his jealous, devious uncle Scar (played by Richard Hurst), to a trio of snarling hyenas and his own crippling self-doubt. Dashaun Young as Simba and Jean-Luc Guizone as his father Mufasa give, passionate performances, while Matthew Forbes is excellent in his portrayal of Zazu, Mufasa’s aide and reluctant babysitter for Simba.

The beauty and enchanting nature of the production lies not only in the talented cast but also in the use of mesmerising masks and puppets. There's an effortless harmony between performer and puppet, enhanced by the excellent choreography of Garth Fagan; the hunting dance of the lionesses is particularly graceful and hypnotic.

The iconic music and lyrics by Elton John and Tim Rice is excellent with classic tracks including Can you feel the love tonight and I Just Can’t Wait to Be King .

Overall, this is an engrossing production, with generous, festive-sized portions of heart and pride.

We knew what we were going to before walking in the Theatre, those well- known Xmas song’s and love. The two main singers Kerry Ellis and John Owen Jones managed to perform several of the classics quite well but their attempt at was dreadful where Jones could not make the notes.

What kept the night in full swing was the Capital Voices Choir and the outstanding Robert Emery.

Robert surprised the audience with his excellent voice and rendition of songs. Both Kerry and John kept referring to last night’s performance where they had been performing in Glasgow. They were trying to persuade the audience that Edinburgh could beat Glasgow. I would suggest that the best cover of the night was of Boney M’s ”Mary’’s Boy Child” where the choir could show off their talent. The show really needed to have a Compare to keep the show going.

The crowd did eventually get upon their feet and dance along wearing their Santa’s’ hats that they had tucked in pockets or handbag’s.

My kids gave me a few years ago one of those fridge magnets with the inscription “I may be old but I got to see all the cool bands”. Well for the most part that is absolutely true but I never got to see Steve Hackett / Peter Gabriel era Genesis. Tonight Steve, alongside his current Genesis Revisited Band line-up gave the packed house exactly what they were looking for a fine balance between Steve originals culled from the current album At The Edge Of Light, highlights from his terrific album Spectral Mornings (can it truly be celebrating it’s 40th anniversary and if yes how is that possible?) plus in all it’s complex glory the entire Selling England By The Pound album.

When you think about it an album released in October 1973 could potentially sound dated in the extreme but tonight it had all the freshness and wonder as the time my ears first enjoyed it. I feel that it is the measure of the quality of the writing from a band who were, arguably working towards their absolute peak, which allows us in 2019 to sit in joyous rapture as these sounds enveloped us. However I rush ahead of myself.

Every Day got us underway and right from the off whomever was at the F.O.H. sound desk had the measure of the room getting the balance just about perfect quickly. Vocals were crystal clear in the mix sitting within the instrumentation which also had been configured really well. A quick triplet of current tracks Under The Eye Of The Sun/Fallen Walls and Pedestals plus Beasts In Our Time followed before we went back forty years to The Virgin And The Gypsy a beautiful almost acoustic harmony drenched aural feast.

At this point I should point out that up to this stage and indeed through to the close of the first set the “lead vocalist” Nad Sylvan was almost completely absent from the proceedings. Steve and the rest of the band, Rob Townsend all things woodwind, percussion and some keys, Roger King keyboards, Jonas Reingold bass and Craig Blundell drums, all shared vocal parts.

The remainder of the set comprised a very cut down version of Tigermoth, Spectra Mornings, Horizon (from 1972’s Foxtrot), a very lovely The Red Flower Of Tachai Blooms Everywhere and finally Clocks-The Angel Of Mons.

And so the second set began as expected with the entire SEBTP album played in the original order the tracks appeared on the album. I will not list everything but there are four very long songs including Dancing With The Moonlit Knight, the epic Battle Of Epping Forest and The Cinema Show. Even the very first hit single Genesis had I Know What I Like (In Your Wardrobe) was given an extended jazz infused work out.

Throughout this segment of the show Nad handled most of the vocal duties. He did not attempt to do a copy of Peter Gabriel’s somewhat unusual stage persona. Instead he opted for a nuanced theatrical interpretation of the complex lyrics. He mustered a sly look here or there, measured movements of his arms, legs and body along with a toss of his long white hair and, most importantly, a good grasp of the idiosyncratic elements of speech and the delivery required of those lyrics.

Following a huge round of applause at the end of the album Steve regaled us with the fact that one song he particularly enjoyed working on with Peter during the sessions for SEBTP was a song called Déjà Vu. It never got quite finished and was dropped from the album. However many year later Steve completed the music adding Peter’s lyrics and this was performed for us tonight. I could hear why it could have fitted in to the concept and sound of SEBTP but at least we could enjoy it played live.

By this time in the evening the band needed to raise the bar once more and the piece chosen was Dance On A Volcano. How could they top that explosive bit of music? Well I guess it was no surprise that it was a mash up of Myopia / Los Endos / Slogans and Los Endos.

What an evening of entertainment we had. Nearly three hours of superb musicianship, music, sound and lighting. I don’t know how anybody could have failed to be impressed. It proved to me that the combination of Prog Rock sitting alongside of elements of Folk and Jazz can still enrapture an audience completely. Our music business has changed beyond all recognition over the last seventy years. The way many youngsters, and indeed those more advanced in their years consume music leaves much to be desired. I sure am glad I’ve been around to enjoy such a wealth of inventive progressive developments in music but my thoughts go back to that fridge magnet…’damn but I saw all the great bands’.

Graeme Scott

If 42nd Street was a complete Brexit and election diverting fun evening out by contrast Sir Matthew Bourne’s production of Romeo and Juliet, set in a dystopian near future Verona, was not. That is not to say that this show was not good, in fact I would rate it extremely good, it is just this was dark and indeed very dark.

I was lucky enough to have seen this show in Sadler’s Wells back in August and was curious to see how well it looked on-screen. This production is so far removed from the likes of Shakespeare, Zeffirelli or indeed West Side Story as to be almost unrecognisable. However the essential elements of young ultimately tragic lovers kept apart by unstoppable forces of a society railing against them remain as always.

You are not quite sure whether the setting is a prison or some sort of clinical hospital for the troubled but the starkness of the set, all black and white tiles, barred doors, fences and windows completely reinforces the thought that this is not a place to be.

Inmates, forced by a regime, into a drugged submission the feeling of despair is heightened by the darkness of Prokofiev’s musical score. From the off the production captures your attention and defies you not to pay attention. Not for the faint hearted Matthew Bourne’s dancers breathe new life into what preconceptions we hold about a story so well known.

Gone are the warring families. Instead when Romeo’s uncaring politician parents deliver him into such a place it is clear that he is a troubled boy full of ticks, repetitive movements and the inability to interact socially often associated with Autism.

The shock he encounters when delivered here is gut wrenching as he is surrounded by “inmates” white clad marching around pounding their fists, arms pulled up and stamping feet generating a frustrated energy. The young cast run and twist and fly around the stage in mesmerising movement. You feel for these “inmates” with a real visceral ferocity, that what is being heaped upon them is wrong and completely in-human.

The guards headed with brooding evil by Tybald (Dan Wright) control all aspects of life inside. You get the impression very quickly that predatory sexual advances are taken regularly and with impunity as is clear when Tybalt takes advantage of inmate Juliet.

As with previous Matthew Bourne productions there is a constant fluidity to all of the moves the dancers make. Flowing seamlessly together at times bodies seem to be almost one.

When Romeo (Paris Fitzpatrick) and Juliet (Cordelia Braithwaite) begin their romance at a dance social, once the guards leave the room, there is so much pent up sexual energy exuding from the inmates that you can cut the atmosphere. The strict, and very separate formalised dancing gives way to wild abandon. However right in the middle of the room stand our two titular characters in an almost chaste and innocent way oblivious to the sexual mayhem surrounding them.

Later after sneaking outside their passions overtake them in a sequence where, lips locked in an extended embrace, they move as one covering the entire stage. The integration and choreographed imagination of these two brilliant dancers was most certainly a highlight. Clearly in love their romance inspires a wonderful outpouring of support from fellow inmates.

Alas though, as a drunken Tybalt arrives it signals the onward downturn towards the inevitable tragic end which waits.

So the setting may have been different, and the interpretation was certainly full of invention but with a brilliant cast, working to extremely high standards, with classy choreography this was one not to be missed.

Graeme Scott

You may well be wondering why I am writing a review for a show in Plymouth and the answer is simple. You can take this as a preview as this particular production, by Sir Matthew Bourne’s New Adventures Company, will be winging its way into Edinburgh’s Festival Theatre next May 19th – May 23rd. It seems a long ways off but we all know how quickly time passes.

There is of course a further strong Scottish connection in that Moira Shearer, who danced her way to international stardom in the 1948 Michael Powell & Emeric Pressburger original film, was born in Dunfermline. That classic take based on a Hans Christian Anderson fairy tale, where the titular shoes possess a power over the wearer to never stop dancing, is so well known as to need no in-depth explanation from me. The film garnered Academy Awards, Golden Globes Awards and BAFTA nominations and wins making it one of the most successful British films ever.

Before going further I should point out that I am absolutely not an expert on ballet or dancing. I simply enjoy the skills of the dancers but can pass no comment on the accuracy of different steps or movement. To my eyes the company was brimming with talent. The set was both simple and sumptuous allowing us the audience the unique perspective of being party to both the show and the show within a show taking place on the stage. We see the Lermontov Ballet Company rehearsing and performing their own shows as the set revolves around them.

The role of the doomed flame haired dancer Victoria Page fell to Ashley Shaw with Adam Cooper as Boris Lermontov, Harrison Dowzell as composer Julian Craster. All the cast members worked truly hard throughout and the actual The Red Shoes ballet sequence was quite brilliantly staged. This section of the story in the film was full of vibrant colour but here Matthew Bourne has chosen to revert to black and white with the characters performing almost like silhouettes against a backdrop of ever changing images indicating the passing of the seasons as Victoria is unable to stop dancing.

As the evening progresses we pass through the different stages of Victoria falling in love with Julian, the jealous reaction of Boris and of her eventual demise torn as she is between her love for her husband Julian and the love of art in the form of possessed shoes. It is within the actual story telling where I have to say that for me this production stumbles.

In a film you obviously have dialogue which moves the story along. Characters are clearly defined within the roles being played. However throughout much of this production I struggled to identify who was who. Many of the male roles in particular seemed to blur in part due to the similarity of the costumes being worn. Oddly this was not a problem in Romeo & Juliet where everybody was clothed the same way (see my previous review). Were it not for the occasions when Julian was seen holding what was meant to be musical manuscripts then he could have often been anybody.

I don’t know whether Ashley Shaw actually has flame red hair or if it was a wig but at couple of points there were clearly two red haired dancers on stage doing similar routines. During the extended routines where we saw the “shoe maker” dancing as the devil dressed in a red and black suit he clearly looked similar to Lermontov. So much so that I thought he was meant to be portraying the jealous side of Lermontov being danced by Adam Cooper but no. Slightly later Lermontov was on stage at the same time. Perhaps it was in part due to where I was actually sitting in the theatre but it was all a bit confusing.

Having said that you will most likely be thinking that I did not enjoy the show and would not recommend it and that is absolutely not the case. We have come to expect that Matthew Bourne productions are exciting, vibrant, stimulating and challengingly different but not so much this one. Here he has tried to stick closely to the original screenplay and it felt kind of flat as a result. For sure this was the opening of what is a long and extensive national and international tour and I feel certain that by the time it reaches Edinburgh many of the shortcomings will have been ironed out.

The production values are still high and the cast are terrific as befits a tour of this magnitude. There are plenty of humorous moments early on and also during the London Music Hall section with a delightful parody of Wilson & Keppel’s (without Betty) own parody of the Sand Dance. Of course it was dance which we all came to enjoy and that was there in abundance. It is beyond me how these super talented dancers will be able to do this night after night. They truly are supreme athletes in every sense of the word.

When you go you can sit and enjoy the spectacle coming out afterwards having been thoroughly entertained but do please pay attention.

Will I be there in the audience when May comes around? I will most certainly will be and hope many of you reading this will be as well.

Graeme Scott

Two very different West End productions hove into Scotland this week in terms of cinema viewings and how different were the experiences. 42nd Street closed its run back in January of this year and this was a chance to get up a close and personal view and what a delight it was. Set during the early 1930s depression era New York featuring Bonnie Langford as the aging, and most certainly past her best, Dorothy Brock as the “star” of an upcoming musical Pretty Lady under the direction of the fictional director Julian Marsh.

When the show’s star is forced to drop out of the production, Marsh calls on unknown chorus girl Peggy Sawyer (Clare Halse), who takes to the stage a “youngster” and comes back a “star”. With a classic score of musical theatre standards including "We're in the Money", "Lullaby of Broadway", "42nd Street" and "About a Quarter to Nine", this heart-warming musical provides exceptional tap routines and classic comedy.

Looking back to simpler times may be considered a bit naff in today’s world but come on folks when a very large cast are dancing and tapping their collective hearts out on a stage with a huge overhead mirror displaying moves very clearly nodding in the direction of Busby Berkeley I would defy you not to be enthralled.

Clare Halse is delightfully wide-eyed as the chorus girl getting her break but it was her fancy footwork that captured this reviewer’s respect. Her flashing feet flicker and fly around the stage as the taps crack out at dizzying speed. Bonnie Langford finally gets to strut her stuff, matching her younger onstage rival step for step, kick for kick and tap for sensational tap. Truly marvellous to behold.

The male lead was played by Ashley Day as Billy Lawlor. He already looks like a 1940's heartthrob but his rich voice is equally beautiful and he was more than capable in the feet department as well.

Halse and Day's final extended dance-off in the climactic 42nd Street had me holding my breath. The entire stage becomes an illuminated staircase bedecked with a full cast in sequins tapping their hearts out. It is an explosion of pure, joyous nostalgia that also confirms why a show like this is needed right now.

Extraordinary for sure but ever so slightly disappointing in that we were not seeing it “live” which brings with it an atmosphere of involvement and communion completely missing inside a cinema.

Graeme Scott

This show relates to the popular film, when Tick, a Drag Queen receives a call from his wife to come to Alice Springs to meet his son. Tick decides to go on a very long journey across Australia along with his drag club friends, Bernadette and Adam aboard their old bus, Priscilla.

The music instantly has the audience with classics from the 1970’s and 80;s, all performed fantastically. The audience were singing, dancing all the time and on their feet to tracks like “Go West” and “YMCA”. Lots more from those eras that audiences love, were sung. There’s lots of humour and some real laugh out loud moments.

Joe Mcfadden known for his theatre role in “Chitty,Chitty Bang, Bang” and TV credits including “Holby City” brings a great performance. There are some touching moments too, when the trio encounter some prejudice along the way and how their friendship gets them through and his son is willing to accept him, his Dad for who he is.

This is a good show and worth visiting.

**** (4 Star)

“Give yourself over to absolute pleasure” declares the tantalising Dr Frank’N’Furter – and Edinburgh was ready to involve themselves in Richard O’Brien’s camp cult classic.

This show is still filling up theatre seats with freaks and geeks. We follow the newly betrothed, all-American Brad Majors (James Darch) and Janet Weiss (Joanne Clifton) travelling to visit their college professor Dr Scott (Ross Chisari) when a flat tyre forces them towards the light of a nearby castle to seek assistance.

Greeted by Riff Raff (Kristian Lavercombe), it’s an evening they’ll never forget as they encounter weird residents Magenta (Laura Harrison), Columbia (Miracle Chance) and guests who are gathered to celebrate Dr Frank’N’Furter (Duncan James) showing his latest experiment.

There certainly were members of the audience who are regular visitors to the show, because of the involvement they were having, shouting at cast on the stage.

This was played out with the tongue firmly planted in cheek and backed by a toe-tapping soundtrack, erotic clothing and suggestive script. Although some of the music may not be known to all of the audience, we can guarantee everyone knows “The Timewarp” which definitely brings everyone on their feet singing and dancing.

The small cast manage to ensure a polished performance. In very strong voice is Duncan James who is the sweet transvestite. His vocals finally and his acting brought the Monday night audience into a frenzy as he successfully makes the role his own.

The Rocky Horror Show is an eye-opening, hilarious and entertaining evening especially around Halloween.

The Illegal Eagles have been performing together for many years proving their talent. They can do a fantastic achievement of, letting us here a professional cover of the music from the Eagles.

The band consists of Phil Aldridge, Keith Atack, Al Vosper, Trevor Newnham, Garreth Hicklin and Greg Webb.

This show at the Edinburgh Playhouse was the start of their 22 venues they will be performing at. The show began with their rendition of “Take It Easy” which enabled the audience to agree they were here to listen and enjoy very good covers of the American Legends.

After numerous songs we all know and love from most of the band, we were given stories about Glenn Frey and Don Henley’s writing skills.

In the second hour the band were asking the audience to stand up and assist with the singing and also put the lights on their phones as we all sang and swayed to “Desperado”. My favourite song was “The Last Resort” which is from the album “Hotel California”.

The band then gave their excellent singing of the title track “Hotel California” to finish the show, and told the audience they will be back to Edinburgh next year, can’t wait.

***** 5 Star

Graeme Logan

We all remember the film the King and I with the music from Rodgers and Hammerstein, where this week we are given a chance to recall the stage version at the Edinburgh Playhouse.We are prepared to be transported to Siam where the King is fearful of being thought barbaric, and engages an English teacher to educate his many wives and numerous children.

Anneleene Beechey plays Anna the schoolteacher who dares to stand up to the monarch, and it is easy to see why the production has been acclaimed on Broadway with a Tony and at the London Palladium where it was a sell-out success. Beechey’s perfect voice opens the show and her performance was fantastic. This will continue touring for at least many months to come. The costumes that we see Beechey wear, must weigh dozens of kilos putting more pressure on her.

The leading role is one forever linked to Hollywood star Yul Brynner and must be hard for anyone to step into, but Jose Llana does so with charisma.

His expressions, his singing and his whole presence were key to the success of the musical which contains so many well-known numbers, and he continues to play the role with the same energy on this UK tour. Songs include Whistle a Happy Tune, Getting to Know You, and Shall We Dance with a company of over 50 world-class performers and accompanied by a full-scale orchestra.

They are very ably supported by those playing other roles such as Cezarah Bonner as Lady Thiang, Ethan Le Phong as Lun Ta and Paulina Yeung as Tuptim who are truly not the only ones worthy of mention, but it would be foolhardy to try and recite the whole cast here!

All of the royal children are totally enchanting , it is lovely to see and hear that two of the members of the cast come from Performing Arts in Edinburgh.

The show runs at the Playhouse until the 26th October.

Mamma Mia The Musical has arrived in Edinburgh for a ten-day run at the Edinburgh Playhouse. This has become now a world’s favourite party shows. The musical was adapted by two members of the Swedish pop superstar group ABBA – Benny Andersson and Bjorn Ulvaeus.

I have always felt that you never have to be a massive fan of Abba music to head out for a sing along and a possible dance. Even if you have never seen the film or musical before, I always feel this is very entertaining. It is always obvious that the audience are there to enjoy themselves when you see very decorative costumes.

The show begins with 20-year-old Sophie Sheridan – played by Emma Mullen – preparing for her wedding on a Greek island with her single mother Donna, played by Sharon Sexton. Sophie never knew her father and her Mother would never tell her, but Sophie wants to know, whoever he is to give her away on her big day. Donna, on the other hand, has tried to forget the events of 21 years ago when she conceived her daughter, principally because she’s unsure who the father is. There is a possibility of one in three men that her Mother had a relationship with at the time! Sophie discovered this when finding a trunk which held secrets of her possible Dad. Sophie decides to invite all three of them who may be her Dad.

There was no cast that was known to me, but I would say the the performances from everyone were great. Sharon Sexton’s portrayal as Sophie’s mother was definitely the best and worth seeing the show for Sexton’s voice and the enthusiasm she showed in her role.

Obviously during the musical there is going to be several Abba songs that you know and may sing along to including “Mamma Mia”, “Thank You For The Music”,” Take a Chance On Me” and “Knowing Me Knowing You”.

Mamma Mia is a show that will have your feet tapping and hands clapping. Certainly, the sell-out audience at the Playhouse loved it and the standing ovation for the cast at the end was fully deserved.

The story of Emilio & Gloria Estefan has come to the stage with an electric performance in On Your Feet all this week. What a journey it was too from Cuba to Miami to the world as the struggles with family and record companies got in the way before worldwide crossover to mainstream and the acclaim they richly deserved.

Directed by two-time Tony Award winner Jerry Mitchell the show firstly is the love story of Emilio and Gloria and the family with her controlling mother played by Laura Friedrich Tejero and sister Rebecca (Francesca Lara Gordon). Gloria then convinces Emilio that her talents need to be in his boy band and so forming the Miami Sound Machine. Philippa Stefani as Gloria was wonderful throughout with some challenging vocals and complex choreography by Olivier Award winning Sergio Trujillo. When she was centre stage all eyes were on her and ably supported by her Emilio played by George Ionnides in Act One and Sharif Afifi in Act Two.

So, would Gloria leave her home to tour with the band and would the audiences accept a Latino Cuban beat to the world of disco and dance? The music played live with an on stage eight-piece band were bang on form led by MD Danny Belton with extreme

trumpet & flugelhorn from Matt Yardley bringing an authentic beat to these well-known hits. Dr. Beat was amazing, Rhythm Is Gonna Get You so memorable and Conga was sensational getting the audience on their feet and partying with the cast in the stalls.

Lighting was of the highest standard making the old theatre into a club and even after her tragic traffic accident becoming a sobering moment she bounced back to the American Music Awards on the invite of Dick Clark before a rousing finale that included Everlasting Love and Turn The Beat Around among a medley of hits.

Gloria & Emilio sold over 100 million records in her time and gathered 26 Grammy Awards and what an insight by them to bring their story to the Edinburgh stage for us all to relive the story and the magical music.

Edinburgh Festival Theatre till October 12th

I have often pondered that question and I’m sure the capacity audience at the Daisy in Underbelly have said the same. How do I know? Well every inner quip and phrase from Musical theatre were met with knowingly approval.

That helps but even the most obsessed theatre fan would enjoy the unfolding sketches on offer in this revue already a West End Wilma approved show. Each song is like a standard – spoken and sung at times in the Gilbert & Sullivan or Flanders & Swann style. There were times when there were more words per line that either. After the scene setting intro song, The Audition comes next and every imaginable scenario is explored and accurately delivered. The tiny stage must have restricted the movements of the three actors as they took their solo at the front or skillfully danced together accompanied only by composer & MD Alexander S. Bermange on keyboard, static but equally vocal at times and perhaps even more so on my visit due to cast illness.

One wonders with costume changes, a live band and a bigger costumed cast this could lead to endless possibilities and expansion, but it is what it is, an entertaining Fringe show and widely acclaimed. ‘I Want To Sing’ shows off the differing style and the title song is a joyous excursion.

Director Chris Whittaker got so many things right in this faultless performance. So, a love of Musical theatre is expected but anyone can enjoy these observations from the world beyond the stage so enjoyed by cast and audience alike.

The first sign of the category of ‘interactive theatre’ can put off the most confident of Festival fans but this is not Al Murray Pub Landlord, Frankie Boyle or even Jason Bryne taking the mince out of the front row.

This immersive theatre is more dimensional as we are the guests at Stacey’s wedding. You have to be from the bride’s side as the groom’s family were not invited and that is just one sub-plot in this Imagination Workshop production of which there are many. These experienced four actors carry it beautifully as they fully change roles and costumes skillfully and believably as the fast pace continues. I saw a similar production in Las Vegas.

Stacey is the lovely bride played by Nerine Skinner and in each of her three roles excels in every way – wait for her solo vocal which almost stops the show. Best man Ray (Hayden Wood) keeps the whole show together with his patter, photographic memory of audience names and of course his slap stick. Otis Waby is the groom and is the straight man in the piece until his past catches up with him big style. Helen Colby’s main role is Mother of Bride Lynn and she works the tables in the room playing an older lady but with great skill.

As this is a wedding reception, we do get cake & coffee and 2 courses of the standard expected from the Principal Hotel although the ticket still had ‘George Hotel’ as it was called some years ago. There is a cash bar for drinks and the ladies at my table fully joined in the celebrations with several bottles of Prosecco at £30 a bottle, sported fascinators and summer dresses, but hey we are all at a wedding right? It was hard not to join in with songs and dance and this adds to the fun. The title says it all with both confetti and chaos kept together with our confident and highly talented cast.

Written and performed by Tony Delicata of Italian descent we would expect he would know about the Mafia, the Mob and even the Sinatra connections. It turns out he does, and this unique show is both informative and entertaining. Tony has been associated with a few Sinatra Fringe shows of course beginning with his Sinatra: The Final Curtain sell out production in 2013 & 2014 then Dean Martin Christmas Show (featuring Frank) for two years after that.

Being Frank About Sinatra is very different to these though being a solo show for starters and peppered throughout with songs and visuals. This is the Sinatra story from the dark side revealing something for everyone even the diehard fans and there are many. For occasional fans though this will be all new of course and rarely discussed and so a lot of preparation has gone before this show takes to the stage. The songs are great too and who could not like Nice N’ Easy, (Theme From) New York New York or even a new arrangement of My Way.

Delicata examines the movie years too with a memorable collage on screen, his beginnings in Hoboken NJ and his final years whereby I witnessed a few tears in the audience. The main story though is how the Mob played a part in the Sinatra career from the Dorsey years, the casino years and the Kennedy era. This show can go further and after all the Best Is Yet To Come.

Paradise in the Vault till Aug 25 19:50

A well- known story can always bring audiences to the Fringe. This was no exception. Our first character known simply as “Man in Chair”, he addresses the audience, eager to share one of his favourites. In this case it is the fictional 1928 Broadway hit, The Drowsy Chaperone. Settling into his armchair to listen, the musical quite literally bursts to life in his apartment.

The musical itself concerns the wedding of Broadway star Janet Van De Graaf to the handsome Robert Martin. With Van De Graaf declaring she is willing to give up stardom for love. Although the wedding is derailed to save his Follies in which she stars. Add a couple of gangsters looking to ensure their boss’ investment in Feldzieg’s show is protected, a surprise visit by an aviatrix, and the requisite ditzy chorine, the meta madcap is near endless.

As the over-the-top musical plays out around him, Derek Ward who plays Man in Chair regales us with some wry observations on the music, story, and actors. But while there is a risk the sarcasm will wear thin, there is an aura of pure joy as he listens and watches the musical play out.

Perhaps surprisingly, for the uninitiated at least, this musical’s title comes via one of the musical’s characters. Referring to the chaperone of the bride, the descriptor comes early as she declares champagne makes her drowsy.

The show is well produced, casted and certainly worth going to see Kingdom Theatre Company for their last production in the 2019 Fringe Festival. The musicians play a good and strong part in the whole 2 hours. If you wish good value for money as well in a Fringe show, then you are seeing this.

The show runs until Saturday 24th at 7.50pm in the Greenside@Nicholson Square.

I was assuming when going to this event, that I would be seeing and listening to 4 or 5 guys performing classic hits from the Eagles. Instead I am disappointed with a married couple murdering hits I have always liked.

Although Mrs Boyd had a very strong voice, her husband Angus was frequently out of tune. They did manage a reasonable cover of Lying Eyes. They attempted to cover Hotel California but, this is too good a track for an amateur couple to attempt.

He did try and get the audience to sing along, which was probably to drown his out.

This was only on for 1 night and filled a 100 seat room.

They have other evenings including covers of hits from Sting, Bowie, The Beatles and Queen. I can only assume they will be better. I will in future read about shows in detail before attending them.

I vaguely remember the movie some years ago and I did hear this was to become a musical and most unusual then to see this as a Fringe production and not a theatre space – actually the Spiegeltent Palais Du Variete at Assembly Square Gardens.

With no ‘name’ stars announced that would warrant a touring UK production the quality stamp here was the producer – Bill Kenwright Ltd and the hint that this was a try out prior to a West End production. That certainly helped sales and the buzz and the fact that the show had a degree of success in the US as an Off-Broadway production in 2017. But this is Fringe 2019 with a typical 10 minute ‘get in’ time and includes set, musicians and radio mics. To facilitate this the set was minimal, a catwalk, several entrance stairs and two luxury sofas in from of the partially hidden band.

The cast were young, fit and immaculately prepared for an almost non-stop musical. Based in Manhattan the plot involves step-siblings and a bet to deflower the headmaster’s daughter and all the sub-relationships that get in the way. Comical and sexy at times the 1990’s pop songs woven into the story actually do suggest a Bittersweet Symphony. The hint of pop dance too came through as these well-rehearsed young voices carried the songs with ease. We had Kiss Me, Breakfast At Tiffany’s, Torn, Bye Bye Bye and Genie In A Bottle to remind the 90’s audience of their youth from the teen hit selection.

In the end the minimal set was adequate, and the actors were truly amazing in their parts and the confined space. Can’t wait for the big production now.

Assembly Spiegeltent George Square Gardens 20:30 till Aug 25

FlamencoNova produced by Tuflamenco at theSpace Triplex is a genuine excursion into the world of Flamenco and Bossa Nova. In the caldron that is Triplex in Hill Place (British Theatre Guide called it the hottest venue at the Fringe) to a degree added to the atmosphere of what is a great introduction to the Brazilian culture.

With singers Sergio Prazeres, Danielo Olivera and Inmaculada Montero we capture the intensity of expression of the language and range and at times flamenco dancer Mayte Beltran adds to the visuals on a tiny stage but dominating the scene. The overall effect is stunning with multi-guitarists strumming, picking and mesmerising with hands a blur.

Additional sax by Nick Gould is a bonus and adds to the Bossa Nova but I was left begging at the omission of that most iconic of pieces (Girl From Ipanema) given the talent and instruments on stage and just a month after the death of Brazilian guitarist and composer João Gilberto.

Till Aug 24 TheSpace Triplex 22:50

This is about Helen Wood's quest to visit every National Trust property and become the NT's biggest superfan.

We are told from Helen about her parents bringing her up visiting NT properties and how she decided to set herself a challenge to visit 100 properties in a short space of time. This show would be a massive attraction to NT members or non- NT members, who have discovered that most of their properties close down for the winter, volunteers who frequently jump at you in the rooms you are visiting, or the mentioning of Cream Teas.

Helen has also included mentions about items for sale in their gift-shops and keeping us up to date with the properties she has managed to visit but, they are closed or just about to shut. She also makes quips of even car-park problems. She does try to keep the audience involved asking who has visited this property or that. We are also told us of the difference against the Scottish National Trust.

A lot of thought has gone into the writing of this and definitely worth going to.

Helen Wood has written this show after appearing at the Fringe last year with her show The O.S Map Fan Club, exploring the male-dominated world of map-making.

This show will run most days until the 26th at 3pm.

Ciaran Dowd was successful last year in winning the comedy award for Best Newcomer 2018 for his show Don Rodolfo. This year is his follow-up, Padre Rodolfo. This story Don has stopped being the guy who put’s “ass” into “assassin” and has now found God. We are told how he arrived at this stage in life and how the Pope called him to Rome to attend a seminary. We see how he was tested by a nun who was sent to teach him ways of the cloth.

Beelzebub himself rears his head, Padre Rodolfo – sometimes father, often Daddy – must summon his faith to cast the dark lord into the shadow realm.

Dowd gives a narrative, who is so laid-back that he forgets his lines several times. The mentions of religion in the first section work okay, in Rodolfo’s opening sermon.

The structure of the show becomes very repetitive and static. The middle section is remarkably baggy for something so light-hearted, as Dowd is not good at acting. There were silly stunts and audience participation are soon ditched for lots of heavy narrative description, with every gag about fisting, bumming and cheese getting increasingly boring.

The most amusing part was Roldolfo’s owl sidekick, and gives much-needed variety to the hour, not least in a dramatic ending. If only Dowd could exorcise the busy narrative and saggy script.Although, the show seemed to go down well with most of the audience and a good applause was given.

This show is at the Pleasance Courtyard at 21.45 until Sunday 25th August.

Keith Moon was the legendary drummer of rock band The Who and as with all legends died tragically young due to his excesses. While similar tales across the Fringe like Amy Winehouse and Eva Cassidy tell biographic stories writer and performer Mick Berry (now that is a pop star name) has taken a different approach.

This is no tale of the 60’s pop world, this is a show and performance with live drumming for all to hear. Mick has taken his show across the US and returns to the Fringe triumphant. His likeness to Moony is uncanny, he is fit and, can mimic the voice and his drumming is convincing too. Not as manic as we remember Keith Moon but good enough to drum over classic backing tracks like My Generation, Can’t Explain, Baba O’Reilly and extracts from Tommy. The climactic Won’t Get Fooled Again can close any show and the power and the volume confirms this.

We hear of who it started in the High Numbers days to getting the hits, the hotel stories and some celebrity tales of which there are many. We do get an insight into the man; we even get some rudiments of offbeat drumming but more importantly we experience the great music The Who produced. Moony would have approved.

Till Aug 26 at 17:15 Gilded Balloon Teviot

Kingdom Theatre Company are premiering this show which tells us about a diary from a “rock star” Marshall Stax. During this story, we are told about famous names who Marshall has come across in the music business and his involvement he has had with those stars. The show is led by vocalist Linton Osborne, who was a member of the Scottish rock band Nazareth, who had top 40 hits including My White Bicycle and Gone Dead Train in the 1970’s. The show also is accompanied with Craig Dunlop on guitar. We hear music from the very early 60’s by artists in those days to rock music in the 70’s. Linton does hard to get the audience involved in the show and that does help grab people’s attention.

The show was written by Linton Osborne and John Murray. The show is very original with images of old rock-stars whilst we are hearing the story and music from Linton. There are original songs written by Willie Logan.

This needs more promoting than currently to pull a bigger audience than there was.

The Kingdom Theatre Company have three other productions at this years Edinburgh Fringe including a return of “The Keltie Clippie” and two new shows “Cameron Young Magic” and “The Drowsy Chaperone”.

Rock Idle runs until 8th August at 7.50pm at Greenside, Nicholson Square.

Jenner’s store in Edinburgh is an institution. It still seems lavish and prestigious today standing out like a Harrod’s among mass production outlets. An insight into the story behind Scotland’s oldest department store is back at the Fringe this year as Tea With Mr Jenner invites us to an audience with Mr Jenner, played by Sandy Queenan in store, in character and live in the shop itself. Limited to just 10 round the table in the original boardroom on the fourth floor we gain an insight to what has gone before.

So here we are in the wood panelled boardroom of this iconic institution, a cherished setting and a rarity for a Fringe event more used to tents, bunkers and warm attics

You see Charles Jenner was a real person and his story is historically correct and an insight as to this magnificent store all came about. We hear of his humble drapery business in Leith, his home life and how the business developed. Afternoon tea was exquisite and with numerous top ups from waitress Miss MacDonald (played by Hannah Collins) we had time to hear of her story too and how the employees in 19th century Edinburgh spent their day. As expected the food on offer was top fayre; daintily cut square sandwiches with various fillings, fresh scones with cream and preserves followed by tartlets and macaroons. To finish a new confection according to Mr Jenner – Edinburgh Rock.

Attention to detail was notable from the Wedgewood china crockery, Arthur Price Silverware to the wind-up gramophone playing when we entered the room. The stories were colourful and interesting and delivered with good humour and character from both the cast. The intimacy of the setting all helped, the ambience of the surroundings (and Scotts Monument view) was unique and the audience enjoyed a pleasant experience in good company along with the finery of afternoon tea.

Mr Jenner himself would have approved.

Valvona &Crolla at Jenners till Aug 24 (not 18) at 13:00 & 15:30

A great tv show returns to the Fringe after a sell out run in 2017. The show just as we probably all remember is hosted by Clive Anderson and many legends of improv comedy work out for an hour at full pace.

The show will feature Marcus Brigstocke and Phill Jupitus, alongside original improv legends, as part of its Edinburgh Festival Fringe 2019 line-up. Accompanied on the piano by multi-instrumentalist Kirsty Newton

It tends to split into quick fire games of 2 (eg every answer must be a question ) or 4 (eg guests at a dinner party) but the best part was the 2 songs made up on the spot about the audience member brought on stage and the big finale about the maths teacher from Forfar who wanted to go to space.

Thursday night’s line-up included Tony Slatterly, known to wider audiences from Casualty and Coronation Street. Steven Frost, Ruth Bratt and Sally Hodgkiss.

Whose Line is it anyway Live at the Fringe will change daily – no two shows will be the same can be fully promised. The show will be at the McEwan Hall every night until 26th at 8pm.

It’s not a predictable format which means you don’t know what you are going to see and shouldn't be disappointed.

Nigel Ng takes you through his life in the UK as a Malaysian immigrant. He tells about subjects that mean a lot to him both big and small from “how to retain one’s cultural identity when in a foreign land ?” to “is Wagamama actually Asian ?”

Having seen a few minutes of Nigel on the press day of the Pleasance, I was enthusiastic to see his full show. I was extremely disappointed with this full show. Although during his hour, he told the previous jokes that I had heard from him and new to the crowd, that would be the only attraction to the show. I felt that Nigel was mostly picking at members of the audience and frequently kept going back to these people to pad out his show.

His show is at the Pleasance Courtyard, Room Bunker Two at 18.45 until 25th August.

Mark returns to the Fringe for 2019 many years now since winning the inaugural Scottish Comedian of the Year Award in 2006, just after his first ever open-spot. Mark, host of BBC Radio’s smash-hit The Good, the bad and the Unexpected.

This time Mark returns with his new show entitled Brexit Wounds. If you are not into Politics, don’t let the title sway you from going to see the show. Although Mark does start and end the show with his feelings on how the whole matter seems to be completely taking over the entire news bulletins and affecting our lives. We are generally asked how we voted “leave” or “remain”. Mark wants to know if anyone out with the UK is in the audience and what those members of the audience think of the Pantomime that has and is going on. Some of the comments that appealed to the audience were regarding Spain: they are welcome to Gibraltar, all we would like is to see the monkeys every few weeks, or if anyone would want to attack Spain then this would be easy in the afternoon when the Spanish are asleep.

The show also changes topic with comments about adult toys which his children had come across under their parent’s bed.

His humour is so sharp with comments about the audience in another show which is currently being performed at the same time.

Definitely worth going along to.

The show runs every night at the Gilded Balloon until the 25th (not Monday 19th) at 8pm

Gary Edward Jones, although a singer songwriter in his own right decided that after hearing his Dad playing the music of Paul Simon and then becoming a fan himself, he has brought this show to the Fringe. Gary does not just recite the music but pieces it well as he also tells the story of Paul Simon. The show reminds us of the music of “Tom and Jerry” and the then success of Simon and Garfunkel. From there Gary takes us forward to successful tracks including “Graceland”. I thought the excellent renditions of the Boxer and Homeward Bound certainly proved that this was worth coming to watch and listen. We are also possibly learning, through the show what a turbulent life Paul Simon underwent including his music partnership and his homelife. It is very impressive to keep watching Gary playing a large variety of guitars from this half Maltese and half Liverpudlian. The audience were certainly impressed with his show and this could be heard with the praise he was being given by them, on the way out. The room was nearly filled and I would suspect this will be the case for the rest of his run.

Having heard Gary’s show, I am now interested in hearing songs he has written and sung.

The show runs every afternoon until the 26th August (not 12th) at 3.35pm in the Assembly George Square Studios.

I always think that a tribute to singer/songwriter Billy Joel must be a massive struggle but, this time there was not a problem here. This energetic five- piece band led by talented piano-vocalist and musical director Joe Revell began the crowd singing one of Joel’s classic hits “My Life” which got the audience tapping their feet and starting to sing-along. A large compilation of tracks were performed from Joel’s albums from the seventies and eighties. I feel a very good cover of “Scenes from an Italian Restaurant” was performed. Although we are not told a story about the songs and there is very little chat with the audience, this band did prove their talent.

Supporting Revell were 4 other talented musicians with Will Innes frequently grabbing the audience attention with his superb energetic drum-playing. The remainder of the band were Lorna Thomas on bass, Tolek Konior on guitar and Tom Pickles on Saxophone.

This show is being performed every second night until the 24th August at the Space, Niddry Street at 7.30pm.

Well you quite possibly have heard of the movie of the Bodyguard? Maybe even the Whitney Houston soundtrack songs? Theatre fans too will know of the touring stage show which did the rounds some years ago? Well nothing can prepare you for this new touring production starring Alexandra Burke – it is sensational.

Nothing can prepare you for the opening number from the word go the theatre explodes into song with fire, lights from everywhere, sparkling dancers and Alexandra belting out the disco hit in an atmosphere more akin to a stadium rather than our ‘up close’ packed theatre. What a start and the pace and sets constantly move more than anything seen previously on a British stage.

If you are unfamiliar with the story Ms. Burke takes the role made famous by Whitney Houston in the 1992 movie Rachel Marron who is a single mom to young Fletcher while being a Grammy winning superstar. After a stalker threatens her by getting into the dressing room, she hires former secret service agent Frank Farmer as extra security. Her sister Nicki is also a singer but only in karaoke bars so a bit of sibling envy exists. Of course, Nicki too is a formidable singer as played by Micha Richardson. Frank (Benoit Marechal) naturally falls for Rachel within this cat & mouse game with Phil Atkinson as the Stalker and a body to die for. The twists and encounters mean plenty song opportunities, most of which we know like I’m Every Woman, So Emotional and How Will I Know.

Along the way we get show stoppers like One Moment In Time and of course a momentous I Will Always Love You which brought cheers and an ovation for Alexandra’s performance on the night. Following the curtain calls, one more costume change for our star as she returns for an encore of I Wanna Dance With Somebody, shared with the ensemble and a timeless soundtrack song turning the old Playhouse to the nightclub you always dreamed about.

This new production is directed by Thea Sharrock with every effect in the book, lighting that will leave you breathless and unlike anything seen before.

Edinburgh Playhouse till July 20

“The skies were filled with unreal fire; blue, burnt with amber, red, orange and yellow. This fire was no natural thing. It clawed across the sky, and below it all life shivered and retreated. The land lay scorched, the mountains and glens trembling.”

And so, with vivid description and fervent prose, begins Robert Reid’s debut novel White Light Red Fire. The story, set within the third age on the island of Andore, begins with the ambition of Oien, an ancient alchemist, who forges an alliance with the tyrant King Dewar to overpower the northern land of Bala to harvest its othium. The power to resist is gifted to one man, Alastair Munro, a farmer from humble beginnings. The only man who can supress the red fire.

White Light Red Fire, fifteen years in the making, is inspired by the Scottish Wars of Independence in the 1300s and heralding from the border town of Hawick, Reid’s vibrant love of history shines within his fictional world of Andore.

The main character, Alastair Munro, could be well be described as a warrior poet with dialogue that’s both heartfelt and succinct and you can’t help but appreciate the meditative intent of Reid within its delivery. Battle scenes are well researched and authentic with a detailed approach to historical research undertaken by Reid to the point where scenes play out easily in your head. Within this story you yearn for what is to come.

Featuring a cast of intriguing and interesting characters to support Munro in his defence of Bala. The inclusion of the character of land is featured in the story hinted by the richness of the map at the beginning of the book. Each individual community within Andore is marked by distinct character and you feel like you’re met another person as they are introduced. Within the imagination of the reader, the story is bright, visual and vivacious and I’m curious as to how this would manifest on screen or if the whole geography of the map will be featured in further stories.

If you’re looking for another world to occupy the gap left by the Seven Kingdoms of Game of Thrones I can’t recommend a better place to visit than the island of Andore. White Light Red Fire is a heady, consuming and inspiring blend of history, fantasy and folklore and is homage to the dedication and inspired storytelling of Robert Reid. Pick up a copy and prepare to commence battle.

Robert Reid will be interviewed on K107 by Lisa May Young on Wednesday, 10th July 2019 at 12pm.

Book Trailer https://youtu.be/X_WJJs-Ckrg

Amazon https://www.amazon.co.uk/White-Light-Red-Fire-nations-ebook/dp/B07PXSD8Z7/ref=la_B07PVPTGYT_1_1?s=books&ie=UTF8&qid=1562405313&sr=1-1

What a sensation Hair was when it first became a stage musical. Opening as a festival piece in New York in October 1967 it moved to a large NYC club after an audience member Michael Butler financed the move. Re-writing the story and adding more songs it became a Broadway hit a year later before opening in London courting controversy due to the nudity and censor. This just added to the fan base and so it opened in Shaftsbury Theatre after the laws changed and touring followed after that. Along the way were hit singles, not from the show but reworked pop hits for Oliver and even bigger for the Fifth Dimension with their medley from the show.

In those early days the Hippie lifestyle, the anti-war front and nudity made the show a huge success and this was all before the Woodstock Festival but certainly within the flower power peace movement peak. It is with that background that sees this revival and a 50th Anniversary. Now there are tourist trips to Vietnam and the songs and philosophy now meets a new generation in a world where student protests still make the news.

The UK tour comes to the capital this week with an impressive young cast that includes Dancing On Ice winner Jake Quickenden, Daisy Wood-Davis from Hollyoaks and X-Factor runner up Marcus Collins. The weed growing, draft dodging, peace promoting, love making storyline develops as each major cast member gets solo time which they grasp with outstanding ability. The stage set is simple, the lighting innovative for the space, choreography minimalistic but the songs make this show for sure. Opening with arguably the best known song (The Age of) Aquarius the harmony and effect was immeasurable. This production was bulging with songs with the well known getting the best reactions like Ain’t Got No, I Got Life, Good Morning Starshine, Hair and Let The Sun Shine In. The finale was a tour-de-force with participation, full ensemble, lighting effects and a full production as they reprised Let The Sun Shine In.

So new generations will discover these fashions accurately on display, examine the birth of drug culture, love ins and the birth of the anti-war peace movement through songs and the way of life as it was. A snapshot in time but don’t remind me it was fifty years since tie-dye, denims and bandana.

Edinburgh Playhouse till June 22

Where I hear you say? Well 80’s music fans will immediately acknowledge the great party song from Wham – Club Tropicana The Musical of course. For one week only the Edinburgh Playhouse brings us the sunshine, the glamour and the music of Club Tropicana and the bar did a roaring trade in cocktails too.

Starring X-Factor 2009 winner Joe McElderry, he immediately got the audience in the holiday mood by getting everyone on their feet to dance within the first five minutes. This is in fact a fun show I knew little about before seeing live on stage. He was ably supported by Nye Rees who played Robert with ease and an impressive vocal range. Kate Robbins as Cosuela was able to demonstrate her impression skills in acting and singing with numerous costume changes along the way. Her years voicing Spitting Image certainly came to the stage this week. The supporting cast too all featured at times with songs and dancing.

The story all starts at a wedding where the bride takes cold feet but still goes on holiday for the honeymoon with her two pals. Meanwhile the jilted groom goes off with his two mates to the same resort and the same Club Tropicana hotel. Meanwhile at the hotel they hear of an inspector coming to check them out so they are on alert amid all the relationship issues and songs. The music makes the show though with some memorable dance scenes like Feels Like I’m In Love and the Bucks Fizz choreography on Making Your Mind Up.

The big production on (ABCs) The Look Of Love shows what a magnificent song that is and rightfully reprised later on too. Take On Me (the Aha song) is given a good airing too in an extended form and Frankie’s Relax is worth waiting for as the show closes. Other hits include I Could Be So Good For You, Fantastic Day and Addicted To Love plus a megamix to finish the show with all the lighting effects, dance athletics and uptempo tunes. I found Church Of The Poison Mind a strange choice in the megamix and I do not recall hearing the title song at all! What we do get is a fun evening of joyous music and cool dance in 80’s summer wear and surely that puts us all in a happy mood.

Edinburgh Playhouse until June 15

Rock Of Ages could well be billed as a feel good rock music stage show and in many ways that is exactly what it is. 1980’s rock anthems woven into a club story on Sunset Strip is enhanced with a – as they say in the trailer ‘a musical needs a lurve story’. Chris D’

Arienzo devised the scenario after hearing producers were looking to develop such a concept. He auditioned and won and in his own words ‘the show I pitched is almost exactly what you see on stage now’.

Rock Of Ages opened in 2005 in a club on Hollywood Boulevard, moved to a Las Vegas hotel then off-Broadway by 2009 before being hailed as a Broadway success with nearly 2500 performances in six years. This brand new UK touring production stars Antony Costa as Stacee Jaxx, Kevin Kennedy (Curly Watts) as Dennis and Zoe Birkett (X-Factor) as Justice. Despite these star names the show’s success hinges on the likeable Lonny (Lucas Rush) who narrates the proceedings while flirting with the audience and Sherrie (Jodie Steele) who dreams of making it big in Hollywood only to end up in the Venus Gentlemen’s Club as a stripper (convincingly too).

Heavy Rock and Glam set the scene and the fashions and the music played live reflects this. The debauchery and sexism of the era are shown in the stage attitudes, wise cracks and costumes. Credit to MD Liam Holmes for his keyboards and arrangements but also to lead guitarist Drew Lowe for some note for note solos from that time.

Ballads like I Wanna Know What Love Is, Every Rose Has Its Thorn and Keep On Lovin’ You only tease us for the big anthems like The Final Countdown and Here I go Again. We get music from Poison, Bon Jovi, Pat Benatar, Twisted Sister, Styx, Foreigner, Europe and Whitesnake but the closing Don’t Stop Believin’ by the entire company is a fitting finale: powerful, loud and bang on the money.

Odd fact: Def Leppard’s title track Rock Of Ages? Not featured in the show.

Edinburgh Playhouse until May 4

ILLEGAL EAGLES

ALHAMBRA, Dunfermline

April 05th 2019

What is the difference between going to see Illegal Eagles and Eagles?

The answer is very simple a huge amount of money. The most costly tickets for the upcoming Eagles tour are well over £500. In Dunfermline on Friday night I was thoroughly entertained by the Illegal Eagles for under £30. No contest at all. Formed around twenty years ago the current line-up consists of Tony Kiley drums, Trevor Newnham bass & vocals, Gareth Hicklin piano & guitar & vocals, Mike Baker vocals & guitar & piano, Christian Philips vocals & guitar and finally Greg Webb vocals & guitar. In terms of accuracy and interpretation of all those classic songs we know and love so well you simply couldn’t slide a sheet of paper between the two bands. Really you have to trust me on this point as they are tremendously strong in all areas of musicality. However close the harmonies are required to be these guys nailed them completely. It should be said though that whilst they are a tribute band they are not just copyists.

There is enough space within the songs for self expression and within reason extemporising whilst remaining true in spirit to the fabulous original tracks. The atmosphere throughout from the stage was respectful whilst also enjoying good bit of crowd banter and humour. As you would expect over the course of a two hour plus show there could be few people, in the almost capacity house audience, who did not hear that special song they wanted.

So yes Heartache Tonight, Peaceful Easy Feeling, Desperado, Take It To Limit, New Kid In Town, Lyin’ Eyes, Life In The Fast Lane, Tequila Sunrise etc plus a couple of rarer cuts in Good Day In Hell and Midnight Flyer and of course something about a dark desert highway were all present and correct. For me though the highlight was beyond doubt an extraordinary version of the monumental track The Last Resort with five shared lead vocals. Absolutely outstanding! So for sixteen great nights go see Illegal Eagles or you could choose just once with the Eagles.

Graeme Scott, K107FM

Ever since Jamie & The Giant Peach captured young hearts the work of Roald Dahl has been held as a benchmark in great story telling. His Charlie & The Chocolate Factory became Willy Wonka and the Chocolate Factory and set new standards until the Dahl family estate approached RSC (Royal Shakespeare Company) in 2003 to see if they should like to write a musical about Matilda, an extraordinary school girl with a great mind and fascinating powers. RSC accepted the challenge and commissioned playwright Denis Kelly to adapt the book into a stage script. Five years later and appointed director Matthew Warehus was ready to make this a musical but not before he asked comedian Tim Minchin with his cleaver wordplay to write the songs.

By 2010 it was ready to be staged and won the Evening Standard Best New Musical Award then a record-breaking seven Olivier Awards. This touring version began one year ago and to date 9 million people have seen the show worldwide. There are many aspects to this show which features comedy, great music and a continuing story dreadful parenting and a bully of a Head Mistress at school.

The strengths are in the performances with young Scarlett Cecil starring in a most demanding role as Matilda and gaining a deserved standing ovation for a faultless performance. Her school pals engaged in a most electrifying dance sections. Seen from all parts of this large theatre the positioning and sequencing were superb featuring desks, training mats and swings. Toby Mocrei, Ben Pike, Alfie Sanderson, Toby Hales, Lillie Downton, Aiya Augustin, Lily Van Veen and Darcy Kelly all thoroughly deserve credit as even their curtain call was sequenced on scooters.

Elliot Harper as Miss Trunchbull was comically menacing and the slight frame of Carly Thomas was a much loved and believable Miss Honey the teacher.

Tim Minchin songs feature throughout with the most memorable being the full ensemble on Revolting Children sung on the desks, Naughty sung by Matilda and the most dramatic opening to Act Two with When I Grow Up. Although quite a simple stage set the lighting effects were revolutionary as supplied by White Light Ltd and placed by the company known as Unusual Rigging. Being school holidays this extended run will still be in high demand with additional matinees on Wednesdays and Saturdays, but miss it at your peril.

Edinburgh Playhouse until April 27

It is all about Joseph just now as this week Jason Donovan announced he will return to the show – not as Joseph as he did 28 years ago though but as Pharaoh in a new West End production which will also star Sheridan Smith as the Narrator and newcomer Jac Yarrow as the lead. The news comes at a time as the new 2019 touring production directed by Bill Kenwright comes to Edinburgh for one week only.

This was the original Andrew Lloyd Webber & Tim Rice production and has lasted the sands of time to still thrill audiences and a new generation of followers. Sir Tim once told me (when we met at the Edinburgh Book Festival) that the original show was for a school production and lasted just 15 minutes. Who knew it would become a favourite on the musicals circuit and starred not only Jason Donovan but Donny Osmond, Lee Mead and Phillip Schofield. Now the touring show has Jaymi Hensley, who had previous success in 2013 with his band Union J on X-Factor. Who would have thought it? Young Jaymi excelled in this famous role handling the big production numbers with ease and some very critical audiences assessing his masterful performance of Any Dream Will Do, the most enduring song from the show.

So what is new to this ensemble? Well I noticed some slick choreography throughout this time around with Gary Lloyd adding to the original work by Henry Metcalfe who is still around and playing Jacob in the show and it was just fabulous. Narrator Trina Hill gets some challenging big songs throughout while Andrew Geater plays Pharaoh as a convincing Elvis as we expected.

One More Angel In Heaven and Coat Of Many Colours both remind us of what a great show this is and after the reprise the Club versions with mega lighting effects and dance remains the best ending of anything on stage. An emotionally overwhelmed Jaymi thanked his Edinburgh audience on opening night and I can see this young man reaching for new heights real soon

Edinburgh Playhouse till March 23

Sarah Darling

Oran Mor Glasgow

March 12th 2019

Sarah Darling is at a point in her career where it begins to become a bit of a problem for her in respect of what material to start to leave out of a structured setlist. So tonight with only a couple of old cuts from her first two or three albums the set mostly comprised material from 2017’s Dream Country and the soon to be released, June 07th, Wonderland.

The audience responded well to the new songs which Sarah is road testing including the initial taster single Call Me that certainly leant more towards the Pop side of her repertoire and the new single Fire which is much harder to pigeonhole with layered vocals and a rolling kind of gait. I have to be very up front here and say I really like this girl and her music so perhaps I’m just a touch biased.

However I have no problem in getting behind the general sound and direction she is carving out. It blends elements of Pop, Country, Americana and yes Folk together in a lush soundscape which draws you in and wraps around you like a comfort blanket. Until the Wonderland album is released songs like Diamonds, Light It Up, A Boy Like You and indeed London Fog will have to remain only in the fog of memory. Unlike the familiar strains of the glorious Halley’s Comet, Stargazer, Where Cowboys Ride and the ever beautiful Montmartre, the latter done stripped back wonderfully during a solo acoustic section of the set.

Here we were exposed to the simple straightforward beauty of Sarah’s voice and eloquent songwriting. I’ve long championed Sarah within my programmes believing, rightly, that she deserves greater exposure, though secretly I like being one of the few early believers.

Graeme Scott K107FM

West Area String Orchestra and West Area Wind Band

Queen Anne High School, Dunfermline

March 16th 2019

Every now and again in this crazy world we call the music business you end up going to an event which turns out very differently to what you were expecting. We constantly hear how funding for the Arts and school budgets are being alarmingly cut from education budgets and there can be no doubt that is true. So after being invited to attend I had kind of built up in my mind that the players would be in short supply. How very wrong I was! Thanks to the programme I have just counted up the numbers and the orchestra and band contained 31 violins, 8 viola, 13 cello, 1 double bass, 8 flutes, 1 oboe, 13 clarinets, 1 bassoon, 3 tenor horns, 1 alto sax, 8 trombones, 6 trumpets and 3 sharing drums, timpani and percussion duties. Wow! Music is alive and well in West Fife. Ninety five young and enthusiastic players can make for a very full and rich sound and whilst they are not, as yet, up to full contemporary professional standards that did not matter one jot. The afternoon sets were evenly split between the shimmering strings of the orchestra and the punch of the band. Each played three pieces before handing the spotlight over to the other side. So it progressed through a very full set list of both familiar and the less so. The strings kicked off with a piece I had never heard before The Rocking Strings before moving on to Chopsticks and Bowin’ The Blues written and made famous by Sidney Bechet and Milton Mezzrow. The nicely rolling gait of Recess Boogie Woogie really brought a smile to my face before they tackled the ever sumptuous and evocative The Blue Danube the Johan Strauss masterpiece. This is a challenge to play well at any level and these kids put their hearts and soul into this gorgeous music conjuring up much of the Viennese 1800s waltz romance. The band, meantime, were rocking us with the likes of Surfin’ USA, Da Doo Ron Ron, The Magnificent Seven, Mack The Knife and Tequila. When a horn section kicks in you can really feel it and these kids delivered the goods. I’m kind of guessing here but I think the spread of ages must cover P5 up to S3 so we really are talking young. Coming together from many different schools each Saturday to practice from September they had put together a very varied setlist of nineteen songs plus one upon which the sections combined, Abba’s Thank You For The Music, which is an amazing amount of work. Some material worked better than others, and yes there were some fluffed notes here and there, but damn it all that is what can happen to the most professional of musicians. However in no way did it detract from the audience’s entertainment. It was a real pleasure to see the sheer joy of accomplishment spread over these young faces at what they had individually and collectively achieved. It reminds, and grounds, us all to the reality that those at the top of the tree had to learn their craft in much the same way that these talented kids are doing today. Obviously there is no way of telling if any individual will continue to climb the ladder to professional player or not. However, if not, that does not matter. They will all have the experience of performance and possess the wonderful gift that is the ability to make music and to be therefore able to pass that music on to others who will follow. Well done and thanks to them all for a fantastic effort and real entertainment.

Graeme Scott K107FM

Eric Brace, Peter Cooper & Thomm Jutz

Limekilns Parish Church March 05th 2019

The Bruce Arms, Limekilns March 06th 2019

Take three super talented singer songwriters based in Nashville Tennessee and put them in two very different situations and you get two very different, and yet very enjoyable, shows. What am I talking about? Well show number one began by the guys doing nine songs from within their own extensive individual and collective catalogues.

Then they were joined by the pupils from the local primary school who performed a further six sings written by the legend that is Tom T Hall specifically from the album The Songs Of Fox Hollow. Frankly the children were quite brilliant and enthusiastically got into I Love, Sneaky Snake, Barn Dance, I Like To Feel Pretty Inside, The Mysterious Fox and Everybody Loves To Hear A Bird Sing.

The following evening and yet another sold out venue but this time there was no kids’ element. Specifically the material was drawn from the new album Riverland sitting alongside songs from all the back catalogues. Now I think it would be fair to say that quite a few audience members had never heard these songs or indeed the guys themselves attending only out of curiosity.

However, after being drawn in by the quality of the musicianship, songs along with the stories behind them, they left with huge smiles on their faces and clutching copies of CDs. It is always hard to pick out highlights but for me C&O Canal, River City, Wait A Minute, Hartford’s Bend, If I Had A Nickel, Angels Share, To Be A Steamboat Man plus the Tom T song I Flew Over Our House Last Night shone like beautiful sunlit beacons set against the languid flow of the mighty Mississippi.

Graeme Scott K107FM

I think we all know the music from Frankie Valli and the Four Seasons?

Ask any music fan and I expect Rag Doll and Sherry will spring to mind and can be sung out loud while others from a different era can quote from (Oh What A Night) December 1963 or the disco explosion that was Who Loves You and some can only site Grease the movie title track which was a Valli solo project and ignored on this musical stage.

So the songs are familiar and the success of Jersey Boys on stage and all the associated copies that followed mean a lot to live up to. The answer was not immediate either as the original group who practised under a street lamp certainly did have the harmonies but they had still to exploit Valli’s falsetto and they had no hits or even a record deal. This all changed with the introduction of Bob Gaudio (played by Declan Egan). He was an inspirational writer and already had a US hit with Who Wears Short Shorts, a hit in the UK for Freddie & The Dreamers.

It should be noted that New Jersey is no Beverly Hills. We see the deals, the loan sharks, the mob and the scams. Diluted I expect for a stage production or swept over neither. When the hits come they come in quick succession too with Sherry, Big Girls Don’t Cry and Walk Like A Man all scoring high and presented as a concert presentation with suits, mics and choreography. This was impressive and unlike say Mamma Mia and others where they try to make them lyrically part of the story for effect, but here a pure vocal performance and it is this sound that makes the show outstanding. Michael Watson (as Frankie) is amazing in range and sustain and fronting the three other harmonies the sound has never been better. Without these guys the story and the show would be nothing.

Songs that were marginal in the UK such as Working My Way Back To You or Bye Bye Baby were given new prominence while the latter will forever be associated in these parts by the UK hit version by the Bay City Rollers. After the initial hits we hear more of the internal squabbles, the tax and loan problems and the diverting Frankie Valli solo project. They then came together for a reunion for the Rock N’ Roll Hall Of Fame and triumphed once more before a great sing-along ending with Who Loves You sung by the full company. Jersey Boys had lived up to the acclaim and again conquered Edinburgh.

Edinburgh Playhouse till March 2

Cameron Mackintosh Productions

Les Misérables

Festival Theatre Edinburgh JANUARY 23rd 2019

As a writer just sometimes you come up against a show which causes you many problems when attempting to write a review. I mean come on, when you think about just what could I possibly write which has not already been written countless times before and by many much more qualified or eloquent than I? Oh to hell with it I’m just going to do what feels correct. There can’t be many people who do not know the story behind this show. How it was almost universally slated by critics when it first hit the stage of Barbican way back in 1985. However to paraphrase part of Victor Hugo’s novel the public rose up and took Les Mis’ to their collective hearts with the result that it is now beyond doubt the most successful musical of all time. This was my third time of seeing the stage show and by far this particular production is the best ever for me. The physical set, lighting effects and costumes were at once familiar and yet refreshed. The orchestra sound and cast vocals where I was sitting were absolutely crystal clear so a great job all round by the audio crew. The statistics surrounding this show are staggering for example did you know that there are over forty different cast recordings available? There are 392 complete costumes and 31 wigs and each night it takes approximately 101cast and crew to stage Les Mis’ in each of the 42 different official productions currently running worldwide. How crazy is that? So back to Edinburgh last week and this fabulous show. There are too many superlatives I could use to say what is in my mind. Instead I’ll restrict myself to saying that the cast were absolutely wonderful throughout. Killian Donnelly and Nic Greenshields star as Valjean and Javert plus Katie Hall as Fantine, Joining them on stage were Sophie-Louise Dann as Madame Thénardier, Martin Ball as Thénardier, Harry Apps as Marius, Tegan Bannister as Eponine, Will Richardson as Enjolras and Bronwen Hanson as Cosette. The ensemble throughout are so strong and it was kind of interesting to pick out who would be understudy for the principles should the need arise. Let me tell you there was real strength in depth to be found in the ensemble. I freely admit to becoming more than a little bit emotionally connected with the performances and yes I had to wipe away the odd tear here and there. Thunderous was the rightful response from the Festival Theatre audience to what we all witnessed. Seldom if ever have I come out from a theatre production really and truly wishing I had another ticket for the next show. It will be patently obvious to you all that I loved this production. True it was not cheap to go at £65 a pop for my tickets but when you sit later reflecting on what you got for your money it was truly great value and a fabulous night out. Now where did I put the CD version? I need another fix!

Raw Material Productions

Glasgow Girls

Perth Theatre Perth February 02nd 2019

First staged back in 2012 by NTS Glasgow Girls is back on tour around Scotland. Whilst I was very aware of the background true story of a group of secondary school girls who banded together protesting successfully against the outrageous policy of forced repatriation to supposedly “safe” home countries of asylum seekers long settled in Scotland to be honest I had concerns about how it would sit as a piece of musical theatre. I need not have worried. The songs mixing as they do a little bit of Robert Burns alongside of quite cutting edge street beats from MC Soom T, Patricia Panther, John & Gerry Kielty and indeed director Cora Bissett in no way give this production some of the saccharine schmaltz often found in musicals.

David Greig’s writing brings forth all the indignation felt by these youngsters upon learning that one of their pals has been forcedly removed, along with her family, in the middle of the night by immigration officials and transported hundreds of miles away to await deportation despite having lived and settled here for years whilst applications for asylum were agonisingly slowly processed. This is a body of work which still today carries a strong emotional punch making you think deeply whilst also celebrating these girls as a group fighting with all the passion and real anger of youth for what they believe in.

Perhaps in these crazy mixed up times, post the Independence and Brexit referendums our local, national and world political masters should be made to watch a production like this to show that most right thinking people are not afraid of those who seek asylum. It can not be right to tear asunder lives rebuilt over years in safety, transporting to what amounts to immigration jails those children slowly gaining confidence with new lives, friendships and education following unimaginable traumas. As a society we have to be better than that.

This production is raw (sorry) and very basically staged, Indeed you might even say a tad scrappy and most certainly improvisational however that completely matches what it could and was most probably was like when the real girls started their campaign. They must not have had a clue as to how to organise and protest from their school in Drumchapel. Encouraged by their teacher, played here with a sense of world weary yet still passionate power, by Callum Cuthbertson and also showing the support gathering around the girls by the local community portrayed sardonically by Terry Neason they show moves swiftly through the time period. Beginning in the school and ending up both at the Scottish Parliament Holyrood and involving Westminster.

Whilst they did achieve some success by the very nature of placing the real story in 2005 it could be viewed as just history. If history teaches one thing it is that it can, and does, very often repeat. We are still today grappling with many of the same problems. Maybe overall the girls did not achieve a total happy ending but damn it all they tried and did fight for what they believed in. Hopefully we can continue to show that Scotland is a welcoming society where, should there be a hint of social injustice taking place in 2019, then somewhere there will be another group of angry and defiant young people willing to step up to the plate.

This show is a complete buzz of energy and angry passion throughout, filled with warmth, moving compassion and shot through with wonderful Glasgow vernacular self deprecating humour. The young cast throw themselves collectively into their roles with strong voices and cool dance moves. You will come out uplifted but also with a sense of unease at what is also wrong with society. This was no fairy tale just real life and a strange mix that I had never felt from a musical before. I highly recommend you try to catch it as it does the rounds of venues.

The big show at the biggest theatre this year is the Kinky Boots musical. Winning every musical theatre award they will be in residence in Edinburgh until January 5th next year. You may recall the movie which was based in a true story? Well the stage version was written by Tony Award winner Harvey Fierstein and the songs are all by the amazing Cyndi Lauper so how can this lose? At the Adelphi Theatre in the West End this show has won three Olivier Awards, the London Evening Standard BBC radio 2 Audience Award and three WhatsOnStage Awards so now we have the UK tour.

The show follows fall and rise of Price & Son, a shoe company in Northampton as inherited by Charlie Price played by Joel Harper-Jackson. As the company faces bankruptcy in comes Lola (Kayl Ushe) who transforms the fortunes when they start to manufacture stiletto heel boots for men cross dressers. Although the story surrounds Charlie the show becomes a vehicle for Lola with some great lines and big show songs.

The set is quite stunning transforming exteriors to the moving machinery in the shoe factory and from offices to catwalk and nightclub. UK choreography by Darren Carnall is quite excellent with moving conveyor belts and the drag queens sequence all performed with impossible heels for authenticity. Charlie Allen was the understudy for Nicola’s part and proved an inspired choice for the part. Hats off to Lola though with a varied songbook from ballad to big show songs handled with apparent ease. By the time the Milan catwalk show came on the full house audience were on their feet to a fully original soundtrack by Cyndi Lauper when it would have so easy to include some of her own hits they were clearly not needed.

The fast moving show has its sub plots too with Charlie clashing with his girlfriend as they moved to London plus Lola and the tussle with sexist Don (Played by Demitri Lampra) to the degree of a boxing match as an aside. This could have been unnecessary but the diversion was brilliant with song and vision away from the main story. ‘You can change the world when you change your mind’ is the moral to take home and surrounding this a wonderful family night out.

Edinburgh Playhouse till Jan 5

All soul music fans will be familiar with the Tamla Motown label as this was the marque of quality. Starting out in Detroit Michigan the whole project was from Berry Gordy with a borrowed $800 and a vision to produce a sound that became Motown. His ‘hands on’ approach was evident in the artists, musicians, writers and music releases that shaped America. He had been a featherweight boxer yet he inspired the talent of Stevie Wonder, The Jackson Five, Marvin Gaye and particularly Diana Ross. Assembling a ‘house band’ of professionals they created the Motown Sound and convinced US radio to play black artists which they did resulting in a string of hits. They did become the sound of young America. How this translates to the stage could be quite a challenge but Berry Gordy himself collaborated in the writing which was based on his own memoirs.

After Broadway and West End success the UK tour had to be of a high standard both in design and in the casting as the US tour grossed $20million in just sixteen weeks. The fast moving colourful set moved from the Detroit office to concert halls and to the streets. Using backdrop and projection we immediately were involved in the atmosphere from Martin Luther King & Walter Cronkite broadcasts to images of the times and finally to actual footage of the Motown 25th Anniversary show which closes the show. Edward Baruwa as Gordy has his struggles with staff, contracts and under pressure to sell his assets to the majors who are cherry picking his roster with unbelievable offers. These are critical moments in the show as is the decision to move the company to Los Angeles and gambling and borrowing to ensure Diana Ross could transform into a movie star.

Along the way we can hear the great music condensed into workable bites or disguised in medleys. The Jackson 5 are auditioned then appear with their first three hits complete with the dance moves that won our hearts and lifted the Edinburgh audience to a higher level. Synchronised choreography is a key factor when we see the Four Tops and Temptations but not needed in the cameos where the sound and image is enough to show Rick James, Mary Wells or even Teena Marie. Karis Anderson as Diana Ross has a huge part as she developed from no hits-Supremes to Superstar. Nathan Lewis as Smokie Robinson appears throughout too as a Gordy writer and confidant and we see Marvin Gaye played by Shak Gabbidon-Williams develop into a social commentator against the wishes of his boss.

There are over 50 Motown hits in the show and big numbers like Dancing In The Streets and Ain’t No Mountain High Enough are big moments and with a massive cast of talent and big sound from the 11 piece band led enthusiastically by Griff Johnson whose animations shows he clearly loves his role. We all did in fact and a worthy standing ovation resulted as the whole ensemble was on stage for the Anniversary reunion.

Edinburgh Playhouse till Dec 8

Back in the post-punk days as the 1970’s was drawing to a close a new craze took the young people by storm. The world of disco transformed nightclubs, fashion, music and dance and this was ably exploited in the movie Saturday Night Fever, produced by Robert Stigwood with music by The Bee Gees. Not that the Gibb Brothers initially bought much into it but they did share the same management company RSO and wrote five songs for the soundtrack. They added 2 which were already released and arguably they were the best as Jive Talkin’ and You Should Be Dancing were already floor fillers. More Than A Woman appears twice sung by them plus Tavares and The Trammps Disco Inferno sums up all that was glorious about the disco days. Made as a teaser for Grease John Travolta was already a TV star when he took the role.

Nik Cohn wrote the movie soundtrack and Robert Stigwood himself with Bill Oakes adapted the story for the stage with spectacular success. The UK tour is directed by Bill Kenwright and even this has evolved as we now have a live Bee Gees tribute on stage for live interpretations of the songs. Edward Handoll takes the falsetto vocals with Alastair Hill and Matt Faull harmonising. These guys were terrific on their own overshadowing the numbers sung by the lead characters. In a non stop colourful first half we open with Stayin’ Alive, feel the Night Fever and close with You Should Be Dancing. I honestly wondered what could be left for the post interval climax. The fashions are great as the boys all have the flares and the ladies mix all other trends of the day. There are many great dancing moments especially from our dance hero Tony Manero played by Richard Winsor. He breathlessly dances throughout in the signature moves we came along to see and all in unison with the ensemble. His well toned body was well appreciated by the ladies in the house especially when he stripped to get into the iconic white 3-piece suit for the dance competition. Kate Parr (Stephanie) is the main dance partner and Anna Camplin plays Annette with some more good dance moves.

The set moves from the the Brooklyn Bridge to Tony’s kitchen, he paint store to the 2001 Odyssey club with mirrored backdrop, illuminated floor (remember the movie?) and mirror balls to send sparkles all across the mighty Playhouse Theatre. By the time the final dance mix was on the whole house was on their feet reliving their Saturday nights – they had caught the fever.

Edinburgh Playhouse till Oct 27

Because of the title of the show, this obviously is a tribute to the music career of Rod Stewart. The first half we are given the chance of discovering Rod’s childhood when he was born in 1945. He had 2 choices in life, become a footballer or a singer. He discovered football was not his strong point at a very early age and he would need to go for a singing career. We are shown Rod Stewart’s early struggle in the 1960’s when joining the Jeff Beck Group, he managed to make a working relationship with Ronnie Wood. Eventually the Faces come together, then release of his album “Every Picture Tells a Story and Rod has success as both a solo performer and with the Faces.

After Maggie May the hits just kept coming.

During the show Paul Metcalfe who has been involved for nearly 20 years singing Rod Stewart songs and has been involved in putting this show together. The audience are on their feet from the first song. Paul has several costume changes during the show which the audience love.

In the second half we are there to see Paul Metcalfe and his band perform all the classic songs that we want to hear. The likeness of the voices would make you think that you are at a Rod Stewart concert.

The show has had a lot of thought put into this when being performed in Scotland when we hear a little opening of “Fields of Thyme”. There are excellent backdrops of history from old music magazines including Melody Maker and New Musical Express.

This show is currently touring the UK and if you are a Rod Stewart fan then I would definitely recommend to go and sing along to.

It is anniversary week and in what seems a lifetime ago it was 55 years ago this week when The Beatles played two shows in Kirkcaldy in what was the old Carlton cinema. 1963 was their breakthrough year too and they were so young, exciting and prolific as they checked in to Park Road as they already had three chart toppers that year and were just one week away from the career defining performance on national television as they played Sunday Night at the London Palladium whereby the following day the term Beatlemania was in the press coined by the Daily Express. This week it is John Lennon’s birthday too and that has not gone unnoticed

by the UK tour of Let It Be. This was the long running musical from the West End set up like a Beatles concert at the various stages of their career.

Playing live with additional keyboards from MD Michael Bramwell there is no room for error as it’s all about the music apart from some visuals during scene changes where we are treated to newsreels and TV ads from the 1960’s such as Capstan cigarettes. For this tour they imagine what might have happened if a reunion took place for John’s birthday in 1980 and this takes up the second half of the show. They open with seems like the full Royal Variety Show from November 1963 including the banter and jokes ‘those in the cheap seats clap your hands and the rest of you rattle your jewellery’ included. The early short million sellers like She Loves You and I Wanna Hold Your Hand are amazing to experience in the theatre as at the time the screaming would never let the audience hear them back in the day. We switch to Shea Stadium for a set then the Apple rooftop for the final shows together with Get Back, Revolution and a storming The End with John Brosnan as George on guitar and authentic beats from Ben Cullingworth as Ringo.

The second half was even better received than the opening as we now heard songs never performed as a group. There were many highlights like Band On The Run, Watching The Wheels and the rock n’ roll medley of Roll Over Beethoven, Rock and Roll Music and Long Tall Sally. The stand out moments for me were both in the second half as Emanuele Angeletti as Paul performed a note perfect Blackbird acoustically on a stool and when Michael Gagliano as John delivered a flawless Imagine at the piano, now what a Beatles song that could have been.

The opening night audience were on their feet and were rewarded with two encores of Let It Be (it had to be there) and a sing-along Hey Jude.

Edinburgh Playhouse till October 13

Benidorm Live at first look could be a travel show, you know the sort enjoy some Sangria and get holiday offers on the night. Anyone who has enjoyed the TV series since 2007 and thrilled as they won two National Television Awards plus BAFTA nominations however will flock to see the cast on stage. They did not disappoint either reminding me at times when I saw Carry On London on the stage and at last witnesses the screen characters come to life. There are acknowledged parallels here too says writer Derren Litten even with the techniques of the star entrances being staggered to allow the audience the expectation and recognition as they came on.

All aspects of the hit TV show are here as the scenes switch seamlessly from Blow & Go hair salon to hotel reception to poolside to Neptune’s Bar. Each transition brilliantly choreographed with cast movement, music bridge and animated set. The story surrounds the threatened closure of the hotel and hotel inspectors being present but undercover. Along the way there are numerous flirtations, dating and more double entendre than even the Carry On series ever attempted. Hilarity is continuous from this most professional of actors with some musical numbers we all know and love from the whole ensemble or from club singer Asa Elliott playing himself.

Jake Canuso as Mateo is every bit the gigolo he is on screen, Sherrie Hewson as manager Joyce is delightful, Janine Duvitski as Jacqueline has some killer comedy lines, Liam (Adam Gillen) is convincingly persecuted, Shelley Longworth as Sam we need to see more of and Tony Maudsley as camp Kenneth dominates the stage with his presence and comic timing.

A huge cast, well written script and colourful holiday set had the whole house on their feet at the finale as they came back for a curtain call and a brilliant night of comedy theatre.

Edinburgh Playhouse till September 22