Tag Archives: 5STAR26

SCOTS THE MUSICAL

★★★★★

Scottish Tour

SCOTS THE MUSICAL

Pavilion Theatre

★★★★★

“a beautiful celebration of what it means to be Scottish”

In a world that often feels like it’s falling apart at the seams with a new disaster every day, theatre can offer us a much needed solace from the stresses of real life. Scots, a new Raw Material production in association with Beacon Arts Centre, lives up to this ethos in its entirety. Directed by Jemima Levick, Scots is a tremendous celebration of Scottish history. Bursting with energy and talent, it is a production that is sure to leave anyone who sees it positively tripping over with joy.

In what-is-not-quite-yet Scotland, many many years ago, we meet The Toilet. Not a toilet. Not their toilet. The Toilet. Played by Tyler Collins, The Toilet transports us through Scotland’s history in a spell-binding two hours of storytelling and song. With an ensemble cast of seven, each actor takes on an astonishing number of characters to lead us through Scotland’s most important historical events and ask the question at the heart of this show: What Makes a Country?

While a musical retelling of history is no new concept, both across the medium of musical theatre and in Scottish work specifically, Scots manages to get everything right. Written by Scott Gilmour and Claire McKenzie, this script is an information-packed, patter-filled delight. The music hits the way a musical should: beautifully crafted original tunes (bar the occasional wink to The Sound of Music) which drive the show forward and are pleasingly executed by the on-stage musicians. The story is not only filled with humour and educational spotlights onto some of Scotland’s forgotten heroes, but it cleverly nudges us towards self-reflection throughout. We are encouraged to observe and remember the less favourable parts of Scotland’s recent history, and Scots becomes as much a tribute to our past as it is a challenge to our future. We have no choice but to look towards ourselves and start thinking about what kind of Scotland we want to create.

What’s so impressive about Scots, right from the off, is that it is a show that knows exactly what it is. It leaps head-first into its brash and inherently Scottish humour and interaction with the audience with no apologies, immediately making it clear we are in for a chaotic ride. This precedent all the more allows the emotion of the show’s heavier moments to hit hard and leave a lasting impact. Jemima Levick’s direction is a clear reflection of her immense skill. Though there are humorous moments of disarray throughout, nothing ever feels superfluous in Levick’s direction. The tone throughout is expertly balanced, and Kenny Miller’s striking design is cleverly utilised so as to ground the story across its years but never detract from the action.

The cast are sublime. Tyler Collins as The Toilet is endlessly watchable with a kind of effortless magnetism which is clearly the result of someone who really knows their craft. The vocals throughout are incredibly well-placed, with Katie Barnett offering us a show stopping, heart wrenching number which plays perfectly to her exceptional voice. What is most captivating about the cast as a whole, however, is the sense we get of just how much fun they’re having. They radiate joy which permeates the audience in inescapable waves.

Scots is exactly what’s needed in the Scottish musical theatre landscape: an original piece of work which can support its important message with strong writing, music and calibre of team. It is a beautiful celebration of what it means to be Scottish that will leave you questioning your role in the future of this storied country.



SCOTS THE MUSICAL

Pavilion Theatre then Scottish Tour  continues

Reviewed on 18th March 2026

by Kathryn McQueen

Photography by Tommy Ga-Ken Wan


 

 

 

 

SCOTS THE MUSICAL

SCOTS THE MUSICAL

SCOTS THE MUSICAL

PUSH AND PULL

★★★★★

The Coronet Theatre

PUSH AND PULL

The Coronet Theatre

★★★★★

“Built from deceptively simple elements, it unfolds with ingenuity and emotional depth”

A table moves almost imperceptibly across the stage. A lamp filled with water glows softly in the dim light. Seated alone, a man remains still, as if caught between thought and action. With this simple yet hypnotic image, Hung Dance’s Push and Pull immediately establishes an atmosphere of quiet tension.

Created and directed by Lai Hung-chung, the work unfolds as a visually striking duet performed by Lu Ying-chieh and Lee Kuan-ling. The piece explores the delicate balance between resistance and surrender, using the physical principle of push and pull as both movement language and emotional metaphor.

What initially appears to be a sparse stage slowly reveals itself as a cleverly modular set. Tables shift, separate and reassemble, transforming the space in subtle yet surprising ways. Beneath one of these moving structures, Lu Ying-chieh gradually emerges, initially resisting the pull to leave the table.

The visual world of the piece is particularly striking. The lighting and costume concept by Lai Hung-chung works in close dialogue with the stage design, while lighting designer Tsai Chao-yu shapes the atmosphere with remarkable precision. What makes Push and Pull particularly compelling is how multi-layered it feels despite its minimalism. With only a few objects, subtle lighting shifts and two performers, the production creates a constantly evolving landscape of images.

The choreography itself draws inspiration from physical principles of force and balance, as well as philosophical ideas rooted in East Asian movement traditions such as Tai Chi. Push and pull becomes both a literal physical action and an emotional state. Bodies lean into each other, resist, yield and rebalance in a continuous negotiation of weight and trust.

At first, the push and pull seems internal. The dancers move as if navigating their own thoughts, their bodies reflecting moments of hesitation, resistance and release. Gradually, however, the dynamic evolves into something relational. What begins as an internal struggle transforms into an encounter between two individuals negotiating closeness, control and vulnerability. Who is in control? Who leads and who follows? Who becomes who? The choreography leaves these questions deliberately unresolved, inviting us to reflect on the fragile balance between intimacy and autonomy.

The performers’ physical control is extraordinary. Their bodies move with remarkable plasticity, shifting between grounded tension and fluid softness. At times Lu Ying-chieh appears almost boneless, flowing through space with a delicacy that feels impossible to define, like a feather drifting slowly through thick honey.

Sound also plays a crucial role. The score by Kuo Yu blends breath, natural textures and subtle musical pulses, creating a soundscape that feels almost organic. Rather than dictating the movement, it breathes alongside it, reinforcing the intimate dialogue between the dancers. Their movements unfold with a rare sense of attentiveness, raising a quiet question: how often do we allow ourselves to sit in vulnerability and truly listen to another person?

While the work centres on human relationships, its push-and-pull dynamics can also be read as echoing wider tensions within Taiwan’s cultural landscape. The choreography’s tension between closeness and distance, resistance and yielding echoes this ongoing search for balance.

Importantly, the piece resists offering a clear resolution. The push and pull never fully settles into harmony. Instead, the work suggests that coexistence may lie in the ability to maintain both connection and independence. Observing, listening and allowing space for another can be just as meaningful as unity.

With its haunting imagery, intelligent choreography and elegantly restrained design, Push and Pull reveals itself as a remarkably multi-layered work. Built from deceptively simple elements, it unfolds with ingenuity and emotional depth, creating a series of images that linger long after the performance ends. It is a quietly powerful masterpiece, a meditation on balance, intimacy and resistance that continues to resonate beyond the stage.

 



PUSH AND PULL

The Coronet Theatre

Reviewed on 12th March 2026

by Nasia Ntalla

Photography by LIU Ren-haur


 

 

 

 

PUSH AND PULL

PUSH AND PULL

PUSH AND PULL