Tag Archives: Richard Conlon

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

🎭 A TOP SHOW IN MARCH 2024 🎭

DON’T. MAKE. TEA.

★★★★★

Soho Theatre

DON’T. MAKE. TEA. at the Soho Theatre

★★★★★

“a bold, razor-sharp comedy about what it really means to test someone”

Don’t. Make. Tea. is a dystopian satirical comedy set in 2037 directed by Robert Softley Gale and written by Rob Drummond. We meet Christine Dunlop (Gillian Dean) an ex-copper with OPMD who is losing her eyesight and mobility. As per the policy of “Accessible Britain”, she is being assessed on her disability benefits. Chris now finds herself the subject of interrogation in a Kafkaesque appointment with the sweet but sickly assessor Ralph (Neil John Gibson). The first part of the play focuses on establishing the premise of the assessment and takes it time exploring Chris’ life and her situation. Humour is squeezed out of the interview as she tries to navigate the questionnaire and lie detector with the sad realities of the present dominating the conversation. She is forced to perform the most horrible use of ‘heads, shoulders, knees and toes’ to date before a hugely climactic twist closes the first act.

The show makes an impressive use of tech and accessibility devices. It is audio-described by Able (Richard Conlon), a cross between ‘Siri’ and ‘Hal 9000’ who aids Chris but also spies on her. He delivers diegetic commentary throughout with wit and charm “Ralph looks like he’s had a hard life”. On the screen (provided by Chris’ accessibility benefits) is a sign language interpreter who translates the characters’ speech. The second act sees Chris experience hallucinations. Able, now embodied as her doting neighbour, and the BSL interpreter resembling Chris’ mother Francis (Emery Hunter), assist Chris in her predicament. We later meet Ralph’s supervisor and spouse, Jude (Nicola Chegwin), an oppositional and flawed woman who uses a wheelchair and is the creator of the ‘Work Pays’ system.

The set (Kenneth MacLeod) depicts a “tidy but tasteless” flat, as described by Able. Light blue details subtly depict the reach of “Accessible Britain”; the large screen, ‘Able’ speaker, the electrical outlets and even the front door button- which could all be taken away as a result of the assessment. Ralph’s assessment tools also painted the same clinical ‘NHS’ blue. The set is not all that it seems, with some fun surprises included. Lighting serves to accentuate the emotional state of Chris with vibrant colours (Grant Anderson) and spotlights. The screens sell the futuristic setting and add high quality effects (Jamie MacDonald).

Drummond uses a theoretically perfect future to highlight the problems of today whilst utilising accessibility features in an original and comical execution to a riveting premise. The characters are all as flawed as the systems they support and fight – with exception to Able and Francis, who make a great double act. Laughs originate from pithy observations and well-crafted gags equally. The midway turn in tone elevates the piece from satirical drama into absurd unpredictable thriller. By the end, the audience is left with the sobering note of the lengths Chris is forced to go. Don’t. Make. Tea is a bold, razor-sharp comedy about what it really means to test someone.


DON’T. MAKE. TEA. at the Soho Theatre

Reviewed on 27th March 2024

by Jessica Potts

Photography by Andy Catlin

 

 

 

 

Previously reviewed at this venue:

PUDDLES PITY PARTY | ★★ | March 2024
LUCY AND FRIENDS | ★★★★★ | February 2024
AMUSEMENTS | ★★★★ | February 2024
WISH YOU WEREN’T HERE | ★★★ | February 2024
REPARATIONS | ★★★ | February 2024
SELF-RAISING | ★★★★★ | February 2024
FLIP! | ★★★★ | November 2023
BOY PARTS | ★★★★ | October 2023
BROWN BOYS SWIM | ★★★½ | October 2023
STRATEGIC LOVE PLAY | ★★★★★ | September 2023
KATE | ★★★★★ | September 2023
EVE: ALL ABOUT HER | ★★★★★ | August 2023

DON’T MAKE TEA

DON’T MAKE TEA

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