Once Musical Review: How Pitlochry’s Revival Turns a Tony Winner Into a Quiet Masterpiece

Los Angeles, June 1, 2026 — When *Once*, the Tony-winning musical about love and music in Dublin’s pubs, returned to the stage at Scotland’s Pitlochry Festival Theatre this May, it did so with a radical twist: no spectacle. No glitter. No grand orchestral swells. Just a scuffed barroom set, actor-musicians playing their own instruments, and a story that unfolds with the quiet urgency of a secret kept too long.

This stripped-down revival—directed by John Tiffany and produced as the inaugural show under new artistic director Alan Cumming—isn’t just a throwback to the musical’s 2012 Broadway debut. It’s a deliberate rejection of the genre’s usual trappings, offering instead a raw, intimate experience that feels less like a Broadway show and more like an evening spent in a Dublin pub, listening to strangers share their stories over whiskey.

The result? A production that critics are calling “the most reluctant of musicals”—one that resists the showstopper moments Broadway audiences expect, instead trusting in the power of its songs, its actors’ chemistry, and the quiet magic of a love story told in near-real time.

An Anti-Musical in the Best Sense

*Once* was always an outlier. Based on John Carney’s 2007 indie film (which won an Oscar for its original song “Falling Slowly”), the musical’s book by Enda Walsh and songs by Glen Hansard and Markéta Irglová were designed to feel spontaneous—not like a polished Broadway show, but like a love letter scribbled on napkins in a backroom.

That spirit is preserved in this Pitlochry revival, where the production team—including original director Tiffany and set designer Bob Crowley—has stripped away even the minimalist trappings of the Broadway version. The stage is a single barroom, its wooden panels and scuffed mirrors suggesting years of stories told and half-finished songs. There are no elaborate set changes, no dazzling costumes, and no over-the-top choreography. Instead, the cast—all actor-musicians—perform on acoustic instruments, their playing woven seamlessly into the narrative.

Key Takeaway: Here’s *Once* as a folk tale, not a spectacle. The absence of razzmatazz isn’t a flaw; it’s the point. The musical’s power lies in its authenticity, and this production leans into that with a confidence that feels rare in today’s theater landscape.

Leading Roles That Feel Like Real People

At the heart of the story are Dylan Wood as Guy, the Dublin musician struggling to find his voice, and Lydia White as Girl, the Czech immigrant who helps him discover it. Their chemistry is electric, but what’s most striking is how grounded their performances feel. Wood, though not the strongest singer, brings a raw vulnerability to Guy’s journey, while White’s portrayal of Girl—complete with a convincing Czech accent—adds depth to a character who might otherwise feel like a stereotype.

The supporting cast, too, shines. The ensemble’s preshow singalong—a tradition since the original Broadway run—invites the audience into the story before the first note is played. It’s a clever touch that reinforces the musical’s folk roots and reminds viewers that this isn’t just a show; it’s an experience.

Songs That Feel Like Secrets

The music in *Once* is where the magic happens. Arranged by Martin Lowe, the songs—from the haunting “If You Want Me” to the bittersweet “Falling Slowly”—are delivered with an intimacy that makes them feel like private confessions. The production resists the temptation to turn these moments into showstoppers, instead letting them breathe.

Steven Hoggett’s movement sequences, too, avoid the high-kicking energy of traditional musical theater. Instead, they’re angular and precise, rooted in physical theater rather than spectacle. It’s a choice that pays off: the show never feels like it’s trying too hard, which is precisely why it feels so real.

A Standing Ovation for a Reluctant Musical

Reviews from the Pitlochry run have been overwhelmingly positive, with critics praising the production’s “pleasing slickness and economy of means”. One reviewer for *Edinburgh Music Review* noted that the show’s stripped-down approach makes it a “low-key pleasure”, one that welcomes audiences in rather than cajoling them.

The standing ovation at the May 28 matinee performance was a testament to the production’s impact. It’s a rare feat for a musical to move audiences so deeply without relying on flashy production values, but *Once* has always been about the story—not the spectacle.

A Model for the Future of Musical Theater?

This revival isn’t just a nostalgic throwback; it’s a blueprint. In an era where Broadway musicals often prioritize spectacle over substance, *Once* at Pitlochry proves that audiences still crave authenticity. The production’s success raises an key question: Could this be the future of musical theater—a return to the intimacy of the pub, the living room, the backroom where stories are shared and songs are sung for the love of them?

Alan Cumming, the new artistic director of Pitlochry Festival Theatre, has made it clear that this revival is just the beginning. With a 75-year history behind him and a reputation for bold programming, Cumming’s vision for the theater includes more unconventional, audience-centered productions. If *Once* is any indication, audiences are ready for it.

Frequently Asked Questions

• Is this the same *Once* as the 2012 Broadway musical? Yes, but with key differences. The Pitlochry revival uses the original creative team (director John Tiffany, set designer Bob Crowley) and retains the stripped-down, intimate approach that defined the Broadway production.
• Why is *Once* called an “anti-musical”? It defies traditional musical theater conventions—no grand orchestras, no elaborate sets, no showstopper numbers. Instead, it focuses on raw storytelling and acoustic music.
• Will this production transfer to London or Broadway? As of June 2026, no official announcements have been made about future transfers. However, the success of this revival could pave the way for additional productions.
• What makes this revival different from the original film? The musical expands on the film’s story, adding depth to the characters’ journeys while keeping the same folk-music aesthetic. The stage production also allows for live interaction, making the experience more immersive.

Your Turn: Have You Seen *Once*?

If you’ve caught this revival at Pitlochry Festival Theatre—or any other production of *Once*—we’d love to hear your thoughts. Does this stripped-down approach work for you, or do you miss the grandeur of traditional musicals? Share your experiences in the comments below.

And if you’re planning a trip to Scotland, now’s the perfect time to visit Pitlochry. With its stunning landscapes, thrilling adventures, and world-class theater, it’s a destination that offers something for everyone.