Brigadoon
I imagine many younger audience members may be drawn to Brigadoon because it inspired the TV series Schmigadoon. I feel compelled to start by saying that “inspired” is where the similarities end. To show the breadth of influence this 1947 musical has had, you could also credit it as inspiring Outlander, Field of Dreams, Doctor Who, and, more recently, Shucked.
This is a slight reimagining of the original. Here, two World War II American fighter pilots crash-land and, in search of the nearest town, stumble upon Brigadoon; a village magically protected from the outside world. In this adaptation, the transition from lost tourists to soldiers works extremely well, especially when you consider the stark contrast between the horrors of war and the peaceful, idyllic Brigadoon. While I loved this shift, it does bring the concept a little closer to Narnia, though I must admit, I only made that connection in hindsight, not while enjoying the show.
Regent’s Park Open Air Theatre is the perfect venue for this production. See it now; if it ever moves indoors, some of the magic will inevitably be lost. Brigadoon is set in the Scottish Highlands, and being surrounded by the park’s natural sounds, the wind in the trees, and the slow-setting sun is simply perfect. The action is meant to unfold over the course of a single day, ending with nightfall, and here, that transition happens naturally before our eyes; magical, atmospheric, and simply perfect under the open sky.
Jessica Hung Han Yun’s lighting design beautifully accents features of Basia Binkowska’s set. This must be especially challenging given the constantly shifting light levels outdoors. The set symbolically represents rolling hills, providing multiple levels and angles for the cast, along with rock pools that seamlessly blend the stage with the audience. A waterfall stage left would occasionally switch on and off; while visually appealing, its irregular use was a little puzzling. With today’s technology, water curtains, it could have been a real showstopper. The backlit panelling at times looked stunning, though from my seat I was distracted by a blue working light leaking through for much of the performance - probably just knocked into the wrong position.
From the start, the tone is set as cast members appear in the gangways playing drums and bagpipes. Costumes mix modern practicality with vintage tartan, mostly in greens and yellows.
There’s a nostalgic charm to Brigadoon that recalls old Hollywood-style musicals. Morag Stark’s dialect coaching ensures the pilots sound fresh from the war, with that authentic mid-century American tone, while the rest of the cast deliver convincing Scottish accents. The songs give the performers room to showcase their talents; some numbers verge on operatic. Danielle Fiamanya (Fiona MacLaren) and Louis Gaunt (Tommy Albright) shine particularly brightly. One song, ‘Come to Me, Bend to Me’ bears a striking resemblance to ‘The Music of the Night’ despite being written some forty years earlier.
The choreography, by Drew McOnie (also the show’s director), ties the whole piece together. There are delightful traditional moments such as the Scottish sword dance alongside elegant partner work and pure dance sequences that allow the audience time to breathe. These moments move the story forward or underscore its more tragic turns.
Nic Myers’ Meg Brockie is a joy; flirtatious, bold, and funny. On a side note, a moment where a male cast member removed his shirt drew a wolf whistle from the audience, prompting laughter. While taken in good humour here, I suspect reactions would be far less light-hearted if this happened to a female performer, something worth reflecting on.
Overall, this is a charming, heart warming, and graceful production that glows with nostalgia, rich in atmosphere, and utterly magical in its setting.
This show was reviewed on the 11th August 2025 at Regent's Park Open Air Theatre, London where it runs until the 20th September 2025. Tickets here: Brigadoon | Open Air Theatre
Review written by Valentine Gale-Sides
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Photo credit : Mark Senior
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