Brigadoon AT REGENT'S PARK OPEN AIR THEATRE, LONDON

A Charming Evening of Classic Theatre in an Enchanting Setting

I had the pleasure of attending the final performance of Brigadoon at Regent’s Park Open Air Theatre, an utterly fitting venue for this whimsical and romantic musical. Going in, my knowledge of the show was limited, I knew it was set in Scotland and had a rather unusual storyline, most of which I’d learnt from the satirical TV series Schmigadoon! on Apple TV. You're transported the instant you arrive as you're welcomed into an immersive setting. Even before entering the theatre, the setting casts a spell. Twinkling fairy lights weave through the trees and blooming flowers, setting a magical tone that perfectly complements the world of Brigadoon. Once inside, Basia Binkowska’s set design continues the enchantment.

The stage features a modern wooden structure that rises diagonally in three tiers, cleverly suggesting the Scottish Highlands. The uppermost level is decorated with greenery and flowers, creating the impression of a hilltop. Beneath one side of the structure, the orchestra nestles behind a gently flowing water feature, a beautiful and calming addition. The surrounding trees, visible beyond the stage, blend seamlessly into the design, making the natural environment feel like an extension of the fictional village of Brigadoon.

The story of Brigadoon is quite unique. It begins with two World War II pilots, Tommy and Jeff, who find themselves stranded in the Scottish Highlands after a crash landing. While trying to find their way home, they unexpectedly discover Brigadoon, a mysterious village that only appears for one day every hundred years. During their brief stay, they learn that they can remain in Brigadoon permanently, but only if they fall in love within that single day before the village disappears again for another hundred years.

Credit: Mark Senior

Brigadoon features music by Lerner and Loewe, known for classics like My Fair Lady, Gigi and Camelot. While the score is pleasant, it may feel somewhat dated to contemporary audiences, with few truly memorable tunes that linger long after the performance. The standout, and probably the most well-known song is “Almost Like Being in Love,” a timeless number that has been covered by many artists over the years. One delightful aspect of this production was the inclusion of a traditional overture, a rarity in modern musicals. I’ve always appreciated overtures as they give the orchestra a moment to shine and offer the audience an early taste of the show’s musical landscape. This overture was particularly thrilling, featuring two bagpipe players who marched from the back of the audience down to the stage, accompanied by booming drums reverberating through the crowd, an exhilarating and immersive way to set the tone for the evening.

While I found the music overall to be pleasant but somewhat dated and lacking in excitement, the choreography by Drew McOnie brought a vibrant energy that truly elevated the production. McOnie’s work is exceptional, he masterfully conveys the emotions of the story through movement, seamlessly blending classic musical theatre steps with contemporary dance styles. This fusion helps modernize the show and connect with today’s audiences. For me, the choreography was the highlight of the evening, without the stunning dance sequences, I might have left feeling underwhelmed. Instead, it was the dynamic and expressive choreography that made the experience memorable and well worth attending.

Credit: Mark Senior

Louis Gaunt and Cavan Clarke take on the roles of WWII pilots Tommy Albright and Jeff Douglas, respectively, and both deliver strong performances. Gaunt shines as the romantic lead, effortlessly capturing Tommy’s journey from light-hearted wanderer to lovestruck outsider. He brings natural charm to the role, with a warm, expressive singing voice that suits the character perfectly. His performance balances carefree optimism with emotional depth, particularly in the more dramatic moments, where he handles the heightened emotion with sincerity and theatrical flair. Cavan Clarke plays Jeff as the more sceptical of the two, often questioning the surreal nature of Brigadoon and Tommy’s growing affection for it. Clarke captures his sarcasm effectively while still allowing glimpses of vulnerability to surface as the story progresses. His singing voice is strong, though the role doesn’t offer many chances to fully showcase his vocal range. Still, his performance brings depth and contrast to the duo.

Taking on the roles of the pilots’ potential love interests are Danielle Fiamanya as Fiona Maclaren and Nic Myers as Meg Brockie. Danielle was an absolute delight to watch, her gentle presence combined with a playful spark made her instantly endearing. She delivered her lines with warmth and authenticity, supported by a soft Scottish accent that felt natural and well-sustained. Her singing voice was exquisite, clear, controlled and resonant throughout the open-air auditorium. Her gentle, almost operatic tone was a highlight, particularly during a touching duet with Tommy in Act II, where the characters face the possibility of parting. While both performers delivered the number with heartfelt emotion, some of the final notes faltered slightly, likely due to the bittersweet emotion of closing night. Although this added a layer of charm and sincerity, it did slightly undercut the full impact of the song’s climax. Nic Myers once again proved herself a standout performer. In the more comedic role of Meg Brockie, she showcased impeccable comic timing and sharp delivery, bringing consistent energy and wit to every scene. Her vocal power is undeniable, rich and commanding, though the demanding choreography at times worked against her voice. The high-energy routines, which included acrobatic stunts during most of her numbers, seemed to take a toll, occasionally making it difficult for her to sing at full strength. Still, her performance was thoroughly engaging and both Myers and Fiamanya stood out as the evening’s most memorable highlights.

Credit: Mark Senior

Caught in a romantic entanglement within Brigadoon are the characters Harry Beaton, Charlie Dalrymple, and Jean Maclaren. When we first arrive in the village, it’s the day of Charlie and Jean’s wedding and joy and anticipation fill the air. However, Harry is deeply in love with Jean and is heartbroken and jealous over her impending marriage. Danny Nattrass takes on the role of Harry with striking intensity. A captivating performer, he stands out in every dance sequence, his movement is graceful, precise and fuelled by emotion. His presence on stage is magnetic and his commitment to the choreography is unwavering. Equally impressive is Gilli Jones as Charlie Dalrymple, who brings charm and warmth to the role. Like Nattrass, Jones is a skilled and confident dancer and both performers execute the choreography with energy and finesse. Their vocals are also well-matched to their characters, gentle, clear and sincere. As Jean Maclaren, Jasmine Jules Andrews is utterly enchanting. Her sweet, youthful energy is infectious and she brings a soft vulnerability to the role that makes her instantly likeable. She is a graceful dancer with a lovely singing voice, making her performance both heartfelt and memorable.

As previously noted, the true highlight of the production is its outstanding choreography and the consistently high standard of the dance sequences. These are brought to life by a superb ensemble, with each performer dancing with grace and precision. I was especially impressed by Bethany Tennick in the role of Kate. Though Kate is a smaller speaking role, Tennick’s magnetic stage presence and participation in the ensemble sequences made her stand out. Her limited lines were delivered with impeccable comedic timing and made a strong impression, making her one of my standout performers of the evening.

Overall, Brigadoon offers a charming evening of classic musical theatre. I appreciated the effort to modernise the production through contemporary dance styles, though the show remains very much rooted in its original era. Regent’s Park Open Air Theatre provides an ideal setting for this revival, its atmosphere enhances the story in a way that might not translate as effectively to a traditional indoor venue. The cast delivered strong, committed performances throughout, even if the source material doesn’t always give individuals the space to fully steal the spotlight. Still, much like the mystical town itself, Brigadoon may vanish from the spotlight for a time but it likely won’t take another hundred years to return.

⭐⭐⭐

SEAT REVIEW

Venue: Regent's Park Open Air Theatre, London

Seat location: Upper Centre, Row N, Seat 29.

There isn’t a bad seat in this theatre! I’ve sat right at the back before and still had a clear, unobstructed view. This particular seat was especially good as it's close enough to see the performers’ facial expressions clearly, yet far enough back to take in the full stage. The seating is comfortable with decent legroom. Just a tip... it can get quite chilly as the evening goes on, so be sure to dress warmly!