BRIGADOON

Regent’s Park Open Air Theatre

★★★★

“The music and dance are the highlights, stylishly adding extra layers of the story onto the dialogue”

Lerner and Loewe’s “Brigadoon” hasn’t been performed in London for over thirty-five years, and the word, from some quarters, seems to be that there must be a reason for this. In short, though, Drew McOnie’s magical interpretation at Regent’s Park Open Air Theatre is a strong counterargument as to why it is definitely high time for a revival. Adapted and (kind of) updated by Rona Munro it almost makes sense of its impossibly whimsical narrative but, and goes along with it, creating an enchanting mix of music, dance and drama. We are swept up into the fantasy of it all, which in itself is quite a feat. It is the sort of plot that, if closely analysed, the holes picked in it would cause it to collapse completely.

The echoing sound of a big drum kicks off the evening, followed by haunting bagpipes. Basia Bińkowska’s multi-levelled, lush and heather-wrapped set merges into the park’s natural background. Two American fighter pilots appear over the brow of the hill. The romantically inclined Tommy (Louis Gaunt) is wounded while the more down-to-earth Jeff (Cavan Clarke) is rather unsuccessfully trying to get their bearings. They have literally dropped out of the sky and according to their map they appear to be nowhere. From this ‘nowhere’, however, the village of Brigadoon appears out of… well… nowhere. We have no alternate but to suspend our disbelief – the effect is quite intoxicating as we are surrounded by the glorious harmonies of the villagers. McOnie’s choreography is beautifully balletic, yet it somehow belongs to the world of Scottish reels and bagpipes too.

Brigadoon only exists for one day every one hundred years, thanks to a divine spell cast by the local minister two hundred years previously to protect it from the outside world. The townsfolk are forbidden to leave, otherwise the village would disappear forever. An outsider can only stay if they fall in love with a local, so strongly enough that they are prepared to give up everything for their love; ‘…after all, laddie, if ye love someone deeply, anythin’ is possible!’. The pilots spend pretty much all of act one unaware of this phenomenon, but when they discover it, have quite different reactions. This is very much a fairy tale, but also a love story burning away at its heart, with enough shades of darkness to prevent it from being too honey dewed.

The music and dance are the highlights, stylishly adding extra layers of the story onto the dialogue. Occasionally the movement is extraneous but always spectacular, held together by musical director Laura Bangay’s twelve-piece orchestra that mixes the traditional with the contemporary. The ensemble is just as vital as the lead players who generously never pull focus from the energy that floods the stage. Gaunt’s performance is quite believable (even if his story isn’t) in his depiction of an unwavering belief in love, that is also prone to moments of self-doubt, while Clarke’s pragmatic Jeff challenges but also accommodates his co-pilots idiosyncrasies, culminating in a deeply moving finale. The excellent Georgina Onuorah gives intensity and grace to Tommy’s love interest Fiona, while Nic Myers’ flirty Meg teases with, and confuses, Jeff with uncertain sex appeal. Jasmine Jules Andrews and Gilli Jones, as the newlyweds Jean and Charlie, are an enchanting couple. Danny Nattrass, as the tragic, lovesick Harry, matches an agile personality with a true talent for dance. Like the entire cast, the movement clearly defines the emotions and intentions of the characters.

All set against Jessica Hung Han Yun’s mystically atmospheric lighting, the evening is a delight throughout. The sumptuous score is at once familiar, yet fresh, with favourites such as ‘Almost Like Being in Love’, ‘The Love of My Life’ and ‘There but for You Go I’ sealing the message. It is a glorious tribute to the power of love. Like the unwitting co-pilots who wander into Brigadoon, we cannot fail to be moved and entertained by this production. It is unashamed escapism, but once we’re hooked, we don’t want to escape it.

BRIGADOON

Regent’s Park Open Air Theatre

Reviewed on 12th August 2025

by Jonathan Evans

Photography by Mark Senior

Last ten shows reviewed at this venue:

NOUGHTS AND CROSSES | ★★★ | July 2025

SHUCKED | ★★★★★ | May 2025

FIDDLER ON THE ROOF | ★★★★★ | August 2024

THE SECRET GARDEN | ★★★ | June 2024

THE ENORMOUS CROCODILE | ★★★★ | May 2024

TWELFTH NIGHT | ★★★★★ | May 2024

LA CAGE AUX FOLLES | ★★★★★ | August 2023

ROBIN HOOD: THE LEGEND. RE-WRITTEN | ★★ | June 2023

ONCE ON THIS ISLAND | ★★★★ | May 2023

LEGALLY BLONDE | ★★★ | May 2022

BRIGADOON

BRIGADOON</h3

★★★★

“a highly polished jewel that reflects the words and music – a sparkling blend that tugs at our emotions”

Allegedly Beethoven’s last words were “I shall hear in Heaven”. However fitting this sounds it is, in fact, an invention. It does epitomise his struggles with his deafness, though, and its lyrical mysticism is the perfect title for Tama Matheson’s play with music that explores the life of the German composer. It is a remarkably detailed look into, not just the pivotal landmarks of his journey through life, but also a glimpse into his soul. Particularly his frustrations, challenges, regrets and lost loves. In tune with the title, the tragedy of his deafness is given weight. To a lesser extent, but still emphasised, his self-inflicted ailments are brought to the fore. Beethoven’s actual recorded last words were “Pity, pity – too late” (another potential contender for the play’s title?) in response to an ill-advised gift of twelve bottles of wine from his publisher, despite cirrhosis of the liver being one of the reported causes of death.

Matheson’s account is faithfully chorological, and follows the twists and turns with a meticulousness that does lead to quite a long evening. Nearly forty compositions punctuate and underscore the spoken word, played by the ‘Quartet Concrète’ (violins, viola and cello) led by Jayson Gillham on piano. With a couple of exceptions, these are Beethoven’s compositions; some more familiar than others. The musicianship is outstanding and, against the Italianate backdrop of Holland House and surrounded by the park’s formal gardens, is truly magical.

We quickly learn that, for Beethoven, ‘art is not a choice’. Like his contemporary, Mozart, music was drummed into him from an early age by a tyrannical father. In a drunken state, Johann van Beethoven would beat the young Ludwig, ironically pushing him into becoming ‘another Mozart’. Nevertheless, Ludwig rose above this with passion and an iron will, even though perpetually riddled with self-doubt. The cradle-to-grave odyssey we are presented with is choc-a-bloc with dates, references, facts and embellished anecdotes. In danger of being over-expositional it is rescued by the fine performances of the trio of actors that tell the tale. Matheson takes on the role of Beethoven. A charismatic central performance with his rich voice, he is more than capable of displaying the passion of the composer. Robert Maskell is equally imposing as Franz Wegeler (among many other characters), Beethoven’s physician and biographer. Suzy Kohane gives a remarkable performance as fellow composer Ferdinand Ries – again slipping into many other roles.

The programme offers helpful subtitles, like chapter headings, against each of the musical composition’s descriptions, which does indeed help us through the concentrated twists of Beethoven’s life story. Described as ‘half music, half drama’, we are treated, among the potted history, to some beautiful music. It is rendered all the more remarkable, and tragic, set against Beethoven’s hearing loss. The play’s title does inform the central theme of his obsession with his deafness. An obsession that nevertheless fuelled his ambition and creative drive.

The second act adopts a lighter tone, with some moments of humour that could almost stand as comedy sketches in themselves. The English Chamber Choir, which strangely remained onstage throughout the first act without being used, opens act two. But is then again underused – given voice only once more. The overall balance of the show could be adjusted slightly – it is a very wordy production that sometimes lets our attention slip. Yet its style cannot be faulted; a highly polished jewel that reflects the words and music – a sparkling blend that tugs at our emotions. Passion is at its heart, and the passion with which Matheson approaches his subject is conspicuous. His choice of music is deliberate and considered, echoing and informing the plot. Like Beethoven himself was intent on breaking away from the established form, this show is a unique variation on the genre.

“There have been, and always will be, thousands of princes. There is only one Beethoven”. These are the composer’s own words. A touch self-aggrandising maybe, but it cuts to the chase. “I Shall Hear in Heaven” cuts to the core of the personality behind the composer, with elaborate insight and unforgettable music.

Tag Archives: Jonathan Evans

BRIGADOON

★★★★

Regent’s Park Open Air Theatre

BRIGADOON

Regent’s Park Open Air Theatre

★★★★

“The music and dance are the highlights, stylishly adding extra layers of the story onto the dialogue”