Tag Archives: Emily Bestow

2026

“I Was A Teenage She-Devil” at The Other Palace Theatre

Sean Matthew Whiteford’s devotion to his parody project is clear enough. Having written the book, music, lyrics, and orchestrated the show in various forms over 15 years, the hard work is impressive and went down well at the Edinburgh Fringe. The success might well depend on nostalgia; it helps to share a love of late ’80s culture and soft rock. But even if that is not your thing, it’s easy to enjoy the show’s search for cult status.

Taking on more tropes from teen movies and horror flicks than you would have thought wise, Whiteford knows his stuff. There are plenty of in-jokes about music, news, and fashion, with nods to musical theatre too. None of it is original, but the pace works, and a lot of it is very funny. Whiteford is entertaining—the kind of guy you’d like to go for a beer with.

The production, directed and choreographed by Rachel Klein, enhances the piece tremendously. The low-fi sets, designed by Emily Bestow, are to be expected but particularly fun. The costumes, so spot on, are great—well done, Juda Leah. It is with Klein’s choreography that the show takes off; taking the lead from the music, with inspiration from glam rock, MTV, and aerobics workouts, the dancing is clever and funny.

The performances are enjoyable too. Maybe a little too much care has been taken to give everyone a moment in the spotlight. The leading ladies, played by Aoife Haakenson and Ashley Goh, are suitably cute, and the former’s transformation into a She-Devil is a great giggle. Caitlin Anderson has a fantastic time as the high school villain, making use of her cheerleading pom-poms, while Sean Arkless masters his codpiece as Satan. The sillier things get, the better; take Louis Hearsey’s singing to the decapitated head of his schoolboy crush—is it “Too late” to declare his love? Erm, yes.

All the voices are strong, although the lyrics could be clearer, and if the songs are too rooted in pastiche to excite, they are carefully constructed. I Was A Teenage She-Devil is a labour of love motivated by fun, and the charm is contagious. The key is that Whiteford has convinced the cast and crew of his passion. The audience should follow.

Until 26 April 2026


www.theotherpalace.co.uk

Photo by Lidia Crisafulli

2021

“Cratchit” at the Park Theatre

‘Tis the theatrical season for Christmas carols. If you’re looking for something a little less traditional, then Alexander Knott’s new play is worth treating yourself too.

Cratchit is a spin on the Dickens classic. It uses the same characters and there are still ghosts. Bob, Scrooge’s clerk, is the focus. While the miserly master is haunted, Cratchit has his own problems to deal with.

Expanding on the poverty Dickens has already written about with legendary skill isn’t wholly successful. But taking a minor role in the original means there’s plenty of room to expand and Knott takes advantage of this.

We see an avuncular Bob at first. The surprise is that he likes a drink. John Dagleish is excellent with the audience and has fantastic charm. As Cratchit’s problems grow, the character darkens. The “painted smile” puts on as part of a cowering servility hides a good deal of anger. There are powerful moments dealing with fear and depression. And it’s a shock to see him contemplate suicide.

The role is an excellent showcase for a performer. Taking on other characters, including Scrooge, Dagleish’s acting is of the highest quality. Likewise, his co-star Freya Sharp who offers admirable support in a variety of roles.

John-Dagleish-and-Freya-Sharp-in-Cratchit-at-the-Park-Theatre-credit-Charles-Flint-Photography
John Dagleish and Freya Sharp

The script is competent, it holds attention. Knott’s own clever direction helps a great deal. It’s all going very well until the ghosts arrive. They are more future focused, fair enough, and come with surprises I won’t ruin. But the glimpses at life that restore Bob’s faith in Christmas are so rushed, they become nonsensical. Knott doesn’t give himself, his audience, or his ideas enough time.

Dagleish keeps up the good work. There is more for Sharp to do – and she does it well. And Emily Bestow’s set comes into its own – the design gets a big tick even if I’m not sure about why we visit the places evoked. If some parts of Cratchit disappoint, there’s a lot of enjoy.

Until 8 January 2022

www.parktheatre.co.uk

Photos by Charles Flint