Tag Archives: Tommy Ga-Ken Wan

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

IT WALKS AROUND THE HOUSE AT NIGHT

★★★★

Southwark Playhouse Borough

IT WALKS AROUND THE HOUSE AT NIGHT

Southwark Playhouse Borough

★★★★

“a well-conjured fright fest, a confident piece of storytelling and a wholly entertaining experience”

The play that brought writer Tim Foley to award-winning attention was Electric Rosary, which featured a robot nun. With this new work, he sticks with matters spiritual but turns his attention to the classic haunted house mystery.

We’re talking ghosts, shadows, ancient curses and the portrait of a sickly child.

This is obviously a one-man play, that man being the dynamic and companionable George Naylor. Only he isn’t alone, is he? Because there is Pete Malkin and Joshua Pharo and Tom Robbins as well.

They are, in turn, sound designer, lighting and video designer, and set designer. They deserve upfront credits because they work wonders. The production is sensational in all interpretations of that word, filling the black box with sufficient jump-scares, crashes, whoops, and spooky backdrops to create something akin to a theme park ride.

Then there’s director Neil Bettles who has taken a cinematic script and devised an evening packed with theatrical trickery to match Foley’s fireworks.

To the story then, and the small seed which grows and keeps growing until, at one point, you think: enough with the new things. We’re beginning to lose our way.

Which is an apt analogy. For Joe (Naylor), a down-on-his-luck actor, has been commissioned by sinister toff David Linden to walk around the eerie perimeter of Paragon House in period costume to frighten his nieces who are staying for the holidays.

Doesn’t turn out like that, of course, because Joe fears he is not the only one making the mysterious trudge through the dense thickets and lonely trails. There may be two people circling the house. Or maybe three. And maybe not even people at all.

Announcing a character called The Dancer (Oliver Baines) upfront doesn’t give the game away but does suggest we are not alone in unusual and kinetic ways.

Joe wants to leave, but he fancies David and he’s getting paid an astronomical sum. Also, there’s a strange compulsion to untangle this knotty puzzle. Because Paragon House was demolished decades ago according to Google, and who is that man at the window?

Critics of Electric Rosary declared that Foley tried to cram too much into the second half. He avoids part of that problem here by not having a second half at all – no interval snifter to settle the nerves – but he does insist on wringing the cloth dry in search of a topper. The plot, like the forest, gets thicker and more impenetrable the further we wander in.

However, there’s no escaping the grip of this play: it is a well-conjured fright fest, a confident piece of storytelling and a wholly entertaining experience if your idea of fun involves a growing sense of menace.

 

IT WALKS AROUND THE HOUSE AT NIGHT

Southwark Playhouse Borough

Reviewed on 9th March 2026

by Giles Broadbent

Photography by Tommy Ga-Ken Wan


 

 

 

 

IT WALKS AROUND THE HOUSE AT NIGHT

IT WALKS AROUND THE HOUSE AT NIGHT

IT WALKS AROUND THE HOUSE AT NIGHT