Film in Footlights with Cinephile Mike
From iconic movie soundtracks turned stage revues to full-blown adaptations, I’ll be diving into what makes these stage versions tick — the performances, the music, the storytelling — and how they bring something fresh to the stories we already love.
Reviews are alphabetical!!! Keep checking back for new additions!!!
Mythos: Ragnarök
⭐️⭐️⭐️⭐️⭐️
Interactive Performance
Production Companies: The Mythological Theatre
Rating: 12+ / Run Time: 70 minutes
Language: English
Director: Ed Gamester
Writer: Ed Gamester
Starring: Ed Gamester, Howard Drake, Fin McCarthy, Louise Young, Beau Charles, Heidi Katrina, James Dunn, Same Gardiner, Daisy Jenkins and Melanie Watson
Across the cinematic universe—and not just Marvel—we’ve seen countless takes on Thor and Norse mythology. Mythos: Ragnarok brings a one-of-a-kind, wildly theatrical version of these stories, staged through the world of professional wrestling.
Loki (writer/director Gamester) sets the stage with tales of great battles and Odin’s (Drake) role in preventing Ragnarok, the end of the world as we know it. We meet Loki’s sister Gullveig (Young) and her golden children Freyja (Katrina) and Baldr (Charles), as well as Odin’s son Thor (Dunn). Power struggles erupt, and soon body slams and pile drivers determine the fate of realms. Along the way, Odin faces Surtr (Gardiner), while Loki’s children Hel (Jenkins) and Fenrir (McCarthy) clash with the golden heirs—all under the gaze of Skuld, Fate (Watson).
Across its 75-minute run, the show blends mythology, spectacle, and high-energy brawls set to a rocking soundtrack. What elevates it beyond a string of matches is the story, brought vividly to life by a game cast of wrestler-performers. Gamester’s Loki is quick-tongued and seductive, pulling the strings around him. Dunn’s Thor breaks the mold with a hilarious “himbo” energy, equal parts muscle and dimwit. And Jenkins’ Hel is a standout—her hypnotic stare and third-act intensity rival The Undertaker himself.
The action moves fast, building toward an epic battle royale that asks whether the prophecies will come true. With strong performances, athletic showmanship, and plenty of mythological flair, this production delivers a spectacle that satisfies both wrestling fans and mythology geeks alike.
All in all, Mythos: Ragnarok is pure theatrical fun—you’ll be shouting back at the ring with every move.
Review by
Cinephile Mike
Performance seen 8/17/25
Edinburgh Fringe Festival
Trainspotting Live
⭐️⭐️⭐️⭐️⭐️
Interactive Performance
Production Companies: Seabright Productions, King’s Head Theatre and In Your Face Theare
Rating: 16+ / Run Time: 80 minutes
Language: English
Director: Adam Spreadbury-Maher with Greg Esplin and Ben Anderson
Writer: Adaptation by Harry Gibson from the novel by Irvine Welsh
Starring: Andrew Barrett, Greg Esplin, Alice Glass, Craig McDougall, Olivier Sublet and Alexandra Hill, Michael Lockerbie and Conrad Williamson
From the opening techno rave to the ultimate moment of living the title, Trainspotting Live hooks you from the first seconds.
Renton (Barrett) delivers the famed "Choose Life" monologue, and we are quickly introduced to his core group of friends: Sick Boy (McDougall), Begbie (Sublet), and Tommy (Williamson). The show traces their heroin-fueled days, following their escapades from addiction to detox and back again. Renton serves as our primary narrator, offering insight into his relationships—some tragic, some comic—as he navigates attempts to get clean. Along the way, we see him draw Tommy into his orbit, strain his bond with Sick Boy, and confront Begbie’s volatile nature, which becomes even more intense in interactions with his pregnant partner.
This is a fully immersive production, placing the audience in the heart of the action—from the infamous morning-after scene where Renton soils a couch to a tragic loss affecting one of the central characters (Spud is notably absent). Each performer fully inhabits their roles, surrendering to the chaos and abandon of Welsh’s world. Barrett’s Renton is a master class in balancing comedy and tragedy, rarely leaving the stage in the intense 80-minute run while weaving through the audience. The rest of the cast also shines: Glass takes on every female role, navigating the emotional spectrum with agility; McDougall’s Sick Boy delivers a heartbreakingly strong moment toward the finale; Williamson’s Tommy provokes laughs in a memorable job interview scene before his downward spiral (NOTE: I have seen co-director Esplin play this role as well, and he delivers the same comedic timing); and Sublet’s Begbie exudes sinister energy, punctuated by a cheeky turn as Mother Superior—the main dealer in everyone’s lives.
The production charges ahead at full throttle, and the audience interaction adds an unpredictable, exhilarating layer. Having seen the show multiple times, I can attest that each experience feels unique—though if you’re in the know, you might want to avoid the infamous toilet.
All in all, this 80-minute plunge into Irvine Welsh’s world is a thrilling, immersive ride—one that leaves you eager to dive back into the party.
Review by
Cinephile Mike
Performance seen 8/11/25
Edinburgh Fringe Festival
007: Voices of Bond
⭐️⭐️⭐️⭐️⭐️
Musical Revue
Production Companies: Night Owl Shows
Rating: 12+ / Run Time: 50 minutes
Language: English
Starring: Maia Elsey
So many musical artists are synonymous with James Bond — Shirley Bassey, Nancy Sinatra, Paul McCartney, Alicia Keys, Adele, and Billie Eilish. But did you know there were other names once in the mix? Julie Andrews, Amy Winehouse, Annie Lennox, Eric Clapton… all potential voices of Bond. Surprised? This is just some of the fascinating background woven into 007: Voices of Bond, a stylish musical journey through more than fifty years of Bond theme songs.
Following the musical blueprint laid out decades ago by Monty Norman and John Barry, these themes are more than just opening credits — they build atmosphere, set up intrigue, and sometimes give us a glimpse into the villain’s mind or even Bond’s own emotional state. In this production, we meet “004,” played by the luminescent Maia Elsey, who launches the show with a powerhouse rendition of Shirley Bassey’s “Diamonds Are Forever.” From there, she guides us through the history of Bond music, delivering nearly a dozen iconic tracks with a mix of glamour, precision, and storytelling.
Having seen Voices of Bond in both 2023 and 2025, I can say the set list changes over time — just like the actors stepping into Bond’s tuxedo, the songs may shift, but the essence remains. Elsey’s performances only seem to get stronger: sultry in “Nobody Does It Better,” heartbreaking in “No Time to Die,” and consistently magnetic in her stage presence. She doesn’t just sing the songs — she makes you feel like you’re watching the title sequence unfold before your eyes.
At just 50 minutes, the show is brisk — almost too brisk — leaving you wishing for a few more deep cuts from the Bond songbook. The 2025 version also adds a welcome surprise: a cameo from Peter Marchant as “006.” His arrival brings the sole true duet of the night, a fiery “Another Way to Die,” plus a reimagined pairing on “You Know My Name" that blends both voices beautifully.
All in all, fans of Bond will delight in these songs and the structure of this short collection, as well as be fascinated at the behind-the-scenes information shared. If you are not as familiar with Bond, Elsey will change that.
Review by
Cinephile Mike
Performance seen 8/11/25
Edinburgh Fringe Festival