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THEATRE REVIEW: THE GIRL ON THE TRAIN (HIS MAJESTY'S THEATRE, ABERDEEN - TUESDAY 24 JUNE 2025) | THEATRE AT INFORMING BRITAIN

24/6/2025

This review of The Girl On The Train is based on the performance at His Majesty's Theatre in Aberdeen on Tuesday 24 June 2025 - 19:30.

It was Press Night at the prestigious His Majesty's Theatre in Aberdeen for The Girl On The Train, a compelling production by Melting Pot. Adapted from Paula Hawkins' critically-acclaimed novel and its subsequent film starring Emily Blunt, the play follows Rachel Watson, a woman grappling with alcoholism and sporadic memory loss as she seeks to forge a new path in life.

Laura Whitmore made an impressive debut at His Majesty's Theatre, taking on the formidable lead role of Rachel—previously portrayed by Emily Blunt on screen—in a performance that can only be described as career-defining. Best known as a television presenter (I'm A Celebrity / Love Island / This Morning) , Whitmore returned to her acting roots with remarkable poise, commanding the stage for nearly the entire two-hour runtime, leaving the spotlight for a mere fleeting moment of approximately 15 seconds or less.

The production embraced a minimalist approach, relying on a video wall as its primary backdrop and a sparse array of props—including a bed, a drinks cart, and a baby play chair. This stripped-back staging allowed the actors' performances to shine, bringing raw emotion and intensity to Hawkins' intricate narrative. A standout feature was the innovative use of a modified Rolling Room on stage, a unique and effective element that Whitmore handled with exceptional skill, adding depth to the production.

The play itself unfolded as a dark tale, interwoven with moments of violence and psychological tension, yet tempered by a subtle thread of black humour that enriched its tone.

The final scene was executed with precision, delivering a powerful climax that left a lasting impression.

Whitmore's poignant dialogue before the curtain call struck an emotional chord, viscerally resonating with the audience.

The supporting cast also deserves praise. Edward Harrison, Freya Parks, Zena Carswell, and Samuel Collings delivered performances that significantly elevated the production, complementing Whitmore’s commanding presence.

At the Curtain Call, many audience members rose to their feet in a standing ovation, a fitting tribute to the actors' captivating portrayals.

The Girl On The Train offers a gripping theatrical experience that transports its audience without ever leaving the theatre—a testament to the strength of this finely crafted adaptation.

STAR RATING: ★★★★★
A profound journey without having to leave the station.
Laura Whitmore is a juggernaut.

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THEATRE REVIEW: CRUEL INTENTIONS: THE '90S MUSICAL (HIS MAJESTY'S THEATRE, ABERDEEN - MONDAY 08 APRIL 2025) | THEATRE AT INFORMING BRITAIN

10/4/2025

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A standing ovation from a packed house.

The much-anticipated Cruel Intentions: The '90s Musical has descended upon His Majesty Theatre as part of their 2025 United Kingdom tour, delivering a captivating spectacle to Aberdeen audiences.

This theatrical adaptation, rooted in the 1999 cinematic provocateur of the same name, melds nostalgia with contemporary flair, reaffirming its enduring resonance nearly three decades after the film's release.

From the opening overture to the final curtain, the production is suffused with an eclectic array of nineties anthems, meticulously curated to evoke the era's zeitgeist.

Audiences are treated to iconic tracks from the Spice Girls, Counting Crows, Christina Aguilera, and Deep Blue Something, culminating in the indelible strains of The Verve's Bittersweet Symphony - arguably the film's sonic signature.

This musical tapestry not only amplifies the narrative but also serves as a temporal bridge, linking the late 20th Century to the present with melodic precision.

Under the deft stewardship of directors Jonathan O'Boyle and Gary Lloyd, the production pays homage to its cinematic progenitor while carving its own theatrical identity.

Fan-favorite elements - such as the intricate interplay of seduction and betrayal - are seamlessly woven into the stagecraft, preserving the essence of Roger Kumble's original vision.

However, a notable critique emerges in the diminished prominence of Sebastian Valmont's infamous journal, a narrative linchpin in the film. Its relegation to a late-act revelation feels somewhat discordant, diluting its symbolic weight until the denouement.

It would have added to the performance if the orchestra was more visible in their Orchestra Pit in front of the stage instead of being hidden away behind the aesthetics.

The Wardrobe Department, helmed by Scott Sheady and Sophie Mai-Kemp, deserves accolades for their sartorial fidelity. Their meticulous attention to detail evokes the aesthetic of the original cast - Sarah Michelle Gellar, Ryan Phillippe, Selma Blair, and Reese Witherspoon - with uncanny precision.

A standout moment is Annette Hargrove's attire during the Grand Central Terminal-inspired scene, where Abbie Budden dons a light blue ensemble that mirrors Witherspoon's iconic escalator ascent with striking verisimilitude.

This costuming triumph not only enhances visual continuity but also deepens the production's nostalgic allure, a testament to the team’s discerning eye.

The cast delivers performances of remarkable caliber, each actor embodying their role with nuanced artistry.

Nic Myers as Kathryn Merteuil is a revelation, exuding a duplicitous sophistication laced with narcissistic grandeur. Her portrayal captures the character's Machiavellian essence, rendering her both mesmerising and repellent - a true heir to Gellar's legacy.

Will Callan’s Sebastian Valmont is equally compelling, balancing libertine swagger with a poignant vulnerability that hints at his redemptive arc. His emotional transparency anchors the production's heart, offering a layered interpretation of a complex antihero.

Abbie Budden's Annette Hargrove radiates virtuosity, her resolute innocence forging a palpable chemistry with Callan's Valmont. Her performance elevates the role beyond mere archetype, infusing it with a quiet strength that resonates authentically.

Yet, it is Lucy Carter as Cecile Caldwell who emerges as the production's luminary. Her comedic virtuosity transforms the malleable ingénue into a source of unbridled hilarity, eliciting uproarious laughter from the auditorium throughout the evening. Carter's mastery of timing and physicality marks her as a standout. She stole the show.

Collectively, Myers, Callan, Budden, and Carter represent a quartet of nascent luminaries, poised to shape the future of musical theatre. Their synthesis of dramatic portrayal, vocal prowess, and choreographic finesse exemplifies the production’s high artistic standard, promising illustrious careers ahead.

A curious observation arises from the audience demographic: the presence of a substantial younger contingent, despite the show's 15+ age rating and the film's release nearly 30 years prior. This generational crossover underscores the production's timeless appeal, its themes of power, manipulation, and redemption transcending temporal boundaries. It suggests that Cruel Intentions retains a cultural vitality, captivating today's youth as it once did their predecessors, with every indication that its legacy will endure.

For those seeking an evening steeped in nineties nostalgia, Cruel Intentions: The '90s Musical is an unequivocal triumph.

A near-perfect blend of nostalgia and theatrical innovation, tempered only by minor narrative missteps.

Post-performance, I was fortunate to meet Will Callan, Abbie Budden, and Luke Conner Hall - an encounter that heightened the evening's delight. Regrettably, Nic Myers and Lucy Carter eluded my grasp (and who could blame them, even I would dodge myself if it was humanly possible); a selfie with these luminaries would have been a cherished memento.

Cruel Intentions: The '90s Musical graces Aberdeen until Saturday 12 April 2025, before advancing to New Theatre in Oxford from Tuesday 15 April 2025.

For further details, visit CruelMusical.co.uk.

STAR RATING: ★★★★☆
A nostalgic triumph and a nineties jukebox juggernaut.

A final thought before I bow out of my review.

Cruel Intentions: The '90s Musical, are you in or are you out?

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THEATRE REVIEW: SINGIN' I'M NO A BILLY, HE'S A TIM (TIVOLI THEATRE, ABERDEEN - FRIDAY 07 FEBRUARY 2025) | INFORMING BRITAIN

7/2/2025

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By Andy Gibson for InformingBritain.com.

Des Dillon's Singin' I'm No A Billy, He's A Tim took to Aberdeen's oldest stage in strong fashion on a cold Friday night in The Granite City.

To set the scene and give a brief synopsis of the plotline for those unaware of this very clever masterpiece; the play focuses on two main characters - Billy and Tim. Billy a Glasgow Rangers supporter, Tim a Celtic Football Club fan. Both are arrested on the day of a big match between the two teams. Only issue is, the Custody Suite at the Police Station they get sent to is jam-packed of other criminals so Harry, the Custody Officer, has no choice but to place them both in the same cell.

Singin' I'm No A Billy, He's A Tim is one of the most uniquely-written plays of recent times. Des Dillon has done his research on bigotry and the stigma that comes with it.

Billy and Tim leave no stone unturned when it comes to throwing out the insults but their journey over the near two-hour performance is a great way to educate people that it's perfectly acceptable to cheer on both teams.

It is a three-man play, but mainly focusing on Billy and Tim for the majority of the performance.

Scott Kyle (Billy) and Colin Little (Tim) carried the whole show from start to finish, aided occasionally by James Miller (Harry) who provided the necessary tools to assist the main characters in their progression throughout the story.

Some of the jokes went over my head but I take full responsibility for not understanding them as I'm not much of a football fan but as a non-lover of football this play had something for everybody because even I was laughing frequently over the whole performance.

It was mindblowing how Scott and Colin held it together for the entire show without a single slip up of a line. As I mentioned, this play was almost two hours long and they were on stage for the entirety. Those two performing artists should be immensely proud of themselves for memorising it all flawlessly. Utterly tremendous effort.

There is no need for any animosity between Rangers and Celtic fans and this play is one of the best ways to educate people into changing their attitudes for the better.

Singin' I'm No A Billy, He's A Tim shold be mantatory viewing for anybody thinking of joining in with the violence and hooliganism that gives football a bad name. Listen to Billy and Tim, they will teach you to sort your life out.

Even enemies can become best friends.

This play has also highlighted a very simple but important fact - with the lights off, everybody is equal and it should be kept that way when the lights get switched back on.

A hilarious education into the world of bigotry and why it should be stopped.

Go and see this performance.

Marvellous.

STAR RATING: ⭐⭐⭐⭐⭐

Hopefully the female version, Singin' I'm No A Billie, She's A Tim will be coming to Aberdeen soon.

To see if this Old Firm game is coming to a town near you, visit ScottKyle.co.uk, there are many more performances still to be performed in 2025 across Britain - and if you want to see it again in Aberdeen, the boys are coming back in November 2026.

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JACK AND THE BEANSTALK: HIS MAJESTY'S THEATRE ABERDEEN - CHRISTMAS 2024

1/12/2024

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This review is based on the 13:00 showing of Jack And The Beanstalk at His Majesty's Theatre in Aberdeen on Sunday 01 December 2024.

Panto Land has made itself in Aberdeen as Jack And The Beanstalk begins its run at the prestigious His Majesty’s Theatre until January 2025.

Alan McHugh yet again plays double duty in The Granite City’s pantomime as in addition to performing in the production, he also wrote the whole play.

You’d think with the play being called Jack And The Beanstalk, the character Jack Trot (portrayed by Michael Karl-Lewis) alongside Princess Jill (portrayed by Jemma Ferries) would be at the forefront of the story but, unusually, it was Dame Trot [Jack’s mum] and Gary Trot [Jack’s brother] (portrayed by Alan McHugh and Gary McHugh/Gary: Tank Commander respectively) who took centre stage for the majority of the performance with questionable Aberdeen-related jokes, some going down like a lead balloon, others a little dated.

Danielle Jam did a great job as The Spirit Of The Beans, telling the story in a narrator-like capacity and had great input but could work on her Aberdonian dialect because some of it sounded like those Factory Direct adverts off of the TV.

This year’s lead antagonist came in the form of Julie Coomb playing the aptly-named Mrs. Blunderbore who was the least-convincing baddie I’ve ever seen in Pantomime with her over-elaborate facial expressions and out-of-tune singing. Julie needs to unleash her inner villain a bit more.

Paul J. Corrigan played a great Pat The Cow who drove hard all the cow-related puns known to man and womankind for most of the performance. It was comical how Gary Trot pointed out a hole in the plotline in Paul’s cow costume which didn’t have any udders attached but the River City actor recovered well from it.

We had home-grown talent in the form of Michael Karl-Lewis and Jemma Ferries who should have been utilised a lot more. The role of Jack in Jack And The Beanstalk needs to be in a leading capacity, not taking a backseat to the show’s writer otherwise it should have been renamed Dame Trot With Gary And The Beanstalk. The fact they’re credited on the bottom of the billboard away from all the other lead cast members makes them seem like an afterthought which shouldn’t happen. Especially in their home city.

I appreciate the show is written months in advance but in the news recently the UK Government aren’t being kind to family-run farms - many who are striking over the terrible situation they’re in. I felt some of the story was in bad taste given current events in the news and, perhaps, could have been re-written slightly.

It didn't have much of a plot line and deviated from a traditional Jack And The Beanstalk pantomime.

Parts of the show were hard to hear as their microphone levels were being drowned out by Harry Thompson’s fantastic in-house orchestra and I’m still trying to make sense of the dialogue said in the TikTok scene.

The performance does not contain any of the scenes featured in their advert so if you’re going to see Alan McHugh as a giant roast chicken, you’ll be disappointed.

Pantomimes are mainly for the children so more up-to-date songs should be used.

Looking at the schedule, I see there are performances with a British Sign Language interpreter, and others which are Audio Described, but it would be good to have shows that doesn’t rely on 3D for most of the second half as people like me with Keratoconus struggle with viewing 3D movies and at today’s performance I didn’t get to enjoy the benefit the rest of the audience as I couldn’t see the special graphics.

You’re very welcome to purchase tickets through Aberdeen Performing Arts and tell me how wrong I am.

STAR RATING: ⭐⭐

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FAT FRIENDS: THE MUSICAL, IS OFF THE SCALE

27/5/2018

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VENUE:
His Majesty's Theatre
Rosemount Viaduct
Aberdeen

DATE:
Saturday 26 May 2018

TIME:
14:30

This is reviewing the production shown in Aberdeen, Scotland - cast members may change based on your local theatres.

Fat Friends The Musical is a wonderful revival of the original series which span 25 episodes in the early 2000's.

The programme's creator has returned to Fat Friends and penned a fantastic script with many twists for the audience in the auditorium to enjoy and really get their money's worth and I definitely got my money's worth from this particular production.

The way Kay Mellor has written this story is perfect. She has galvanised so much research and used her extensive knowledge from the hit ITV Network series into the struggles people go through each and every day regarding their weight problems.

The story is very cleverly written out from beginning to end.

The beginning we see a young woman - recently engaged - eyeing up her dream wedding dress and heartbreakingly cannot fit in it. During the play we see her desperately struggling to lose the weight as she's cruelly egged on by a career driven Julia Fleshman and goes to great lengths to reduce her already beautiful size to get into the wedding dress she desires. Not to give too much away, the ending is, as I mentioned above, perfect.

Ms. Mellor has carefully set out this story to make everyone watching be aware that being big is sexy, being big is nothing to be ashamed about and people should embrace who they are as each and every single person in the world comes in all shapes and sizes. This story reflects this and should inspire women and men into believing in themselves a whole lot more.

A cast with four strong female leads, led by; Jodie Prenger, Natalie Anderson, Natasha Hamilton and Elaine C. Smith.

Kelly Stevenson portrayed by Jodie Prenger:

Jodie Prenger; who shot to fame being victorious in a BBC talent show - I'd Do Anything - perlustrating for a new performer   to portray Nancy in an Andrew Lloyd Webber production, Oliver!, in London's West End has made the role of Kelly Stevenson her own, so much so that it took me approximately an hour to figure out that it was indeed Jodie Prenger on the stage 10 feet in front of me. I had no idea it was her. Yes, her name was written in huge lettering on the huge billboards outside His Majesty's Theatre in Aberdeen's Rosemount. Yes, her name was blatantly written on the production's programme brochure. Yes, no-one mentioned before the play began that the role of Kelly Stevenson would be portrayed by anyone else. I honestly did not realise Kelly was Jodie until we saw a video of her on the JumboTron integrated   on the set and I was sitting there saying; "wait, that blonde girl on the screen looks like Jodie Prenger" - then it dawned on me like a light bulb   switching on making the "DING" sound effect on top of my head like we see in cartoons.

Jodie played out Kelly's struggle with weight-loss   trying to fit in to a dream wedding dress fantastically. With all due respect to Jodie; she truly is an inspiration to women - and some men - by saying being big is sexy too and there's absolutely no shame in being big or as Kelly endearingly said in the musical; "fat and fabulous". Not only is Jodie a renowned singer, she has amazing ability to be an actor with the hint of comedy in there too. She's multi-talented.

Lauren portrayed by Natalie Anderson:

Natalie Anderson; who is argubly best known for playing Alicia Metcalfe in Emmerdale or Stella Davenport in The Royal, both for ITV.

Natalie Anderson's voice is mind-blowing. We heard her sing on ITV's Your Face Sounds Familiar back in 2013 when she sang as various music artists. To hear her sing live gives you goosebumps.

Natalie was fantastic as Lauren - the Zumba Instructor and runs Super Slimmers: Headingley Branch. A thirty-something virgin with a partiality   for Jewish   men. Natalie made the character look fun to be around, a good friend to many - enemy to none. Lauren, who also dreams of a princess fairy tale   wedding, is the person us 'big' people secretly hate. She's stereotypically 'perfect' in every way but still thinks her bum looks too big and needs to lose that all important 1 stone. From what we've seen from interviews and her twitter account, Natalie has an infectious sense of humour. She effortlessly transferred this in portraying Lauren beautifully.

Betty portrayed by Elaine C. Smith:

Elaine C. Smith; who is best known for her appearances in Rab C. Nesbitt as Mary "Mary Doll" Nesbitt and her STV programme, Burdz Eye View.

Baillieston, Glasgow born and bred, Elaine provided a welcomed Scottish accent in the play which made us in Aberdeen feel right at home. Elaine has starred in countless productions at His Majesty's Theatre including Calendar   Girls and a very impressive extensive amount of Christmas Pantomimes where she performed alongside River City's Jordan Young. So it's safe to say Elaine is both well-loved and equally as respected especially in the north of Britain.

The chemistry Elaine had on-stage with her co-stars is very special. She brought out the best in her fellow performers; especially her acting family members of Kevin Kennedy, Jodie Prenger and Rachael Wooding.

Elaine was great as Betty, and performed her story in the musical effortlessly. You know when you're going to watch a play and Elaine C. Smith is in it you're in safe hands for a fun night. Elaine has a brilliant way of tuning into her audience and drawing us in to the role she's portraying. Betty was no different.

Natasha Hamilton as Julia Fleshman:

Natasha Hamilton is a globally recognised singer both as part of Atomic Kitten and as a solo artist who has sold in excess of 20 million records worldwide.

Natasha was the biggest surprise of the show as far as her acting ability goes. I was aware she had starred in Christmas Pantomimes but being honest, she's known for being a singer who Lionel Richie said was "blown away by her talent". Being in Aberdeen, we don't always get the full west end cast appearing in His Majesty's Theatre therefore this was the first time I was lucky to witness first-hand Natasha's dramatical prowess and mark my words she is a very talented actor. I was mesmerised with her abilities. Natasha has done many charitable work over the years so - like everyone else in Fat Friends: The Musical - we know she has a kind heart and has the willingness to help people. Julia Fleshman only looks out for number 1 and to play a selfish, up-herself, arrogant and ruthless person must have brought Natasha completely out of her comfort zone. Don't be surprised if you see her in gripping television dramas in the future because she definitely has a future in the drama world as a serious actor.

Kevin Kennedy is another huge surprise in this production. He can sing beautifully. One amazing actor in his own right too. It was an honour to be in the same room as a British Soap Opera legend and a "sex symbol".

The other cast members are equally as fantastic; Rachael Wooding, Chloe Hart, Joel Montague, Jonathan Halliwell, Neil Hurst and Chlöe Hart were also fantastic and complimented the protagonists beautifully and provided a wonderful support not only to the main characters but also each other.

This production isn't for all members of the family as there are a lot of sexual innuendos and suggestive language but don't let that put you off, Fat Friends: The Musical is both inspirational and hilarious. And this is probably the most star-studded production I've ever seen at His Majesty's Theatre.

The only bad thing about the tour is the various cast changes per geographical location. If the production is touring the entire United Kingdom then everywhere should be shown the courtesy of having the same cast every other theatre had because different locations in Britain will have seen different versions of the production. It's unfair that other parts of Britain gets to see a different production with different cast members than we get to enjoy in Scotland. We pay the same money as everywhere else, we shouldn't be treated differently.

Nick Lloyd Webber - from the legendary musical family - has the perfect score for this musical.

The multi-talented cast drew in a standing ovation   at the curtain call.

In short; Fat Friends: The Musical is a bloody good fun day out filled with lots of giggles that's off the scale.

To find out if Fat Friends: The Musical is coming to your local theatre, please visit FatFriendsTheMusical.com.

If you liked this review make sure you give me a follow on Twitter: @AndyGibsonTV.

Images copyright: Jass Productions / Spiegel Productions / Rollem Production Company

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MAMMA MIA, WHAT A SHOW!

23/9/2017

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VENUE:
His Majesty's Theatre
Rosemount Viaduct
Aberdeen

Date:
Saturday 23 September 2017

Time:
14:30

Mamma Mia The Musical has arrived at Aberdeen's His Majesty's Theatre for the next leg of their UK tour and they did not hold back.

With a fantastic ensemble of cast, the production was filled with high energy and - of course - music from one of the most popular music groups in history, I'm talking about ᗅᗺᗷᗅ®.

With many laughs along the way, the UK tour of Mamma Mia told the story of a young girl, Sophie Sheridan, wanting to discover who she is by finding her birth-father - only problem; there's THREE potential men who it could be and with no Jeremy Kyle DNA test in the Greek isles, there was only one thing to do and that was to invite all three to her wedding.

Lucy May Barker who played Sophie and Helen Hobson who portrayed her mother, Donna, both led the incredibly talented cast over TWO HOURS of high octane action and feel-good theatre.

Emma Clifford & Gillian Hardle who played Tanya & Rosie respectively were hilarious, they worked so well together. As were Fia Houston-Hamilton (Ali) &   Blaise Colangelo (Lisa). Both pairs of performers had amazing chemistry on stage.

Not forgetting the boys. Jamie Hogarth (Harry Bright), Christopher Hollis (Bill Austin) & Jon Boydon (Sam Charmichael)   and of course Phillip Ryan (Sky), all performed beautifully in the production as well.

The Tanya/Pepper (played by Louis Stockil) scenes are what giggles are all about.

If you want to be thoroughly entertained, go and see this production.

There was only one problem with the show, I waited until after midnight and they didn't Gimmie! Gimmie! Gimmie! a man which was a bit disappointing. - I joke.

To Benny Andersson & Björn Ulvaeus    of ᗅᗺᗷᗅ® and to Mamma Mia The Musical's producer, Judy Craymer, and her team of superbly   talented production staff -   thank you for the music and giving it to me.

Images copyright: Brinkhoff/Mögenburg

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THEATRE REVIEW: THE GIRL ON THE TRAIN (HIS MAJESTY'S THEATRE, ABERDEEN - TUESDAY 24 JUNE 2025) | THEATRE AT INFORMING BRITAIN

THEATRE REVIEW: CRUEL INTENTIONS: THE '90S MUSICAL (HIS MAJESTY'S THEATRE, ABERDEEN - MONDAY 08 APRIL 2025) | THEATRE AT INFORMING BRITAIN

THEATRE REVIEW: SINGIN' I'M NO A BILLY, HE'S A TIM (TIVOLI THEATRE, ABERDEEN - FRIDAY 07 FEBRUARY 2025) | INFORMING BRITAIN

JACK AND THE BEANSTALK: HIS MAJESTY'S THEATRE ABERDEEN - CHRISTMAS 2024

FAT FRIENDS: THE MUSICAL, IS OFF THE SCALE

MAMMA MIA, WHAT A SHOW!

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