★★★½

“Truly a vocal performance to be proud of”

The award winning Shanay Holmes celebrates her illustrious West End career with her first ever solo concert. Showcasing stunning vocals ahead of her debut album release later this year, it’s a fitting moment to reflect – even if a touch more variety in setlist and staging would lift the night further.

Performing with the superbly balanced Royal Philharmonic Concert Orchestra, conducted by the exceptional Chris Poon, Holmes opens a vivid window into her creative inspirations and career to date. Spanning ‘The Sound of Music’, ‘Cabaret’, ‘Annie’, ‘Get Up, Stand Up!’, ‘MJ the Musical’, ‘The Bodyguard’ and more, Holmes moves seamlessly across styles without ever losing her signature flair.

Each song receives a unique interpretation, subtly shaded with pop, soul, gospel and jazz influences. Other songs are more playful, such as the big band rendition of ‘I Could Have Danced All Night’. And it wouldn’t be a Holmes concert without some gutsy showstoppers, such as ‘People’ and of course the iconic ‘As Long As He Needs Me’ from the 2024 revival of ‘Oliver!’ where Holmes originated Nancy. Though for me the night’s standout has to be the heartrending ‘Maybe’ from Miss Saigon – chills.

Holmes demonstrates impeccable vocal control throughout, building from an impressively quiet, shimmering head voice, to a rich, full throttle belt with ease and precision. Her vocal agility is equally formidable, dispatching outrageously complex runs with effortless skill. Truly a vocal performance to be proud of.

Despite Holmes’ undeniable vocal prowess, other elements could use refining. The setlist is almost exclusively ballads, and often a touch slower than popular versions, giving the evening a more reflective tone than you’d expect from a powerhouse belter – though this does have the advantage of showcasing Holmes’ full range. A little more movement would be welcome, as Holmes remains relatively static aside from a couple of freer numbers. A few lyrics go astray, which is forgivable but noticeable with such a well known programme. Holmes’ acting comes into its own in the second act, finishing on a high with a full throttle ‘Everything’s Coming Up Roses’ that all but demands she take on Mama Rose later in her career.

Design-wise, the pared back staging puts Holmes front and centre, framed cleanly by the orchestra. Varied lighting design creates the necessary drama, with bold colour transitions adding shape and momentum. The sound design captures her stunning range, though perhaps underpowers bigger moments at times. Holmes’ wardrobe is genuinely show stopping, from a dramatic red ensemble – complete with puff sleeves and a sweeping train – to a spangly white number that glitters under the lights.

Shanay Holmes’ first live concert delivers absolutely stunning vocals, even if other elements could use a touch more refinement. Her vocal skill is undeniable and I’m excited to see what she does next.

THE UNLIKELY PILGRIMAGE OF HAROLD FRY

Theatre Royal Haymarket

★★★★★

“balances spectacle with subtlety, and resonates with emotional depth”

The chances we miss often haunt us hardest. ‘The Unlikely Pilgrimage of Harold Fry’ is a tender, heartbreaking, profoundly human new musical offering new chances for those brave enough to take them.

Weighed down by years of regret, Harold Fry learns an old friend is dying. Though initially hesitant, Harold realises there may be time to put one thing right. So begins an unexpected journey, rekindling the joys of living on the way. But can he reach her in time – and what truths await if he does?

Rachel Joyce’s ‘The Unlikely Pilgrimage of Harold Fry’, adapted with Peter Darling and Katy Rudd, with dramaturgy by Nick Sidi, is a profound exploration of pain, forgiveness and renewal. A strikingly honesty portrait of self made prisons, it creates and unravels Harold’s uneasy mythology with impressive insight. Yet for all its gravity, it glows with warmth and humour. The writing, rich in subtext, excels at showing rather than telling – though later exchanges feel less nuanced, such as Maureen’s sudden absolution from a stranger and Kate’s unlikely departure from the pilgrimage. However, Harold and Maureen’s final scene restores the play’s understated humanity, closing with an authentic and unforgettable resonance.

Katy Rudd’s award winning direction, with Jamie Manton and Nicky Allpress, evolves with Harold. Early Brechtian elements – deconstructed set, ever-present ensemble, freezeframes – evoke a fractured existence, while later scenes bring realism and new life. The Balladeer’s shapeshifting nature is seeded with care, haunting Harold before vanishing at key moments. Chris Fisher’s illusions are brilliantly unsettling, while Timo Tatzber’s puppeteering is irresistibly endearing. Overall, the production balances spectacle with subtlety, and resonates with emotional depth.

With music and lyrics by Passenger, and additional contributions from Jeremy Holland Smith and Phil Bateman, the score is delicious, weaving country, smooth jazz, and pop into a cohesive folk sound. The careful construction builds and eases tension beautifully, with surprise chords underscoring emotional breakthroughs. Beautiful harmonies abound, including with the dog! The orchestra brings the score vividly to life under the baton of musical director Chris Poon and deputy Caitlin Morgan.

Tom Jackson Greaves’ choreography, assisted by Nell Martin and Edwin Ray, cleverly contrasts stillness with full blooded ensemble movement, weaving a rich mix of styles that celebrate the many paths to joy and fulfilment.

Samuel Wyer’s design, with Joseph Bisat Marshall (associate set and costume), Paule Constable (lighting), and Ash J Woodward (video), is cohesive, polished, and rich in symbolism. Circles recur from the proscenium arch to the performance space to the barrels, evoking cycles of change and unity. The barrels themselves carry additional meaning, while the circular arch becomes the frame through which we view Harold’s life. The tonal palette reveals stark differences, with Harold’s muted greys giving way to vivid sunsets, while Maureen stays stuck. Blake’s influence in the intense watercolour skies is clear. The only slight drawback is the sound design by Ian Dickinson and Gareth Tucker for Autograph, with voices occasionally struggling against orchestral swells. Still, the overall design grounds and drives the narrative with striking beauty.

The cast is outstanding. Mark Addy nails Harold Fry’s mix of bumbling charm and sincerity with no nonsense wit and warm vocals. Jenna Russell gives a beautifully nuanced Maureen Fry, compressing decades of resentment into a faded figure with crystalline vocals. Noah Mullins makes a dazzling West End debut as the commandingly mercurial Balladeer, delivering stunning vocals. The whole ensemble shines with vivid characterisations, powerful singing, and Tatzber’s enchanting puppetry.

Catch ‘The Unlikely Pilgrimage of Harold Fry’ while you can – this is a journey you won’t want to miss.

Tag Archives: Chris Poon

SHANAY HOLMES LIVE IN CONCERT

★★★½

Cadogan Hall

SHANAY HOLMES LIVE IN CONCERT

Cadogan Hall

★★★½

“Truly a vocal performance to be proud of”

SHANAY HOLMES LIVE IN CONCERT

Cadogan Hall

Reviewed on 11th July 2026

by Hannah Bothelton

SHANAY HOLMES

SHANAY HOLMES

SHANAY HOLMES

THE UNLIKELY PILGRIMAGE OF HAROLD FRY

★★★★★

Theatre Royal Haymarket

THE UNLIKELY PILGRIMAGE OF HAROLD FRY

Theatre Royal Haymarket

★★★★★

“balances spectacle with subtlety, and resonates with emotional depth”