The premiere of “One Day: The Musical” at the Royal Lyceum Theatre in Edinburgh has sparked a debate over access and equity in arts criticism. A group of fifteen Scottish theatre critics have voiced their concerns regarding what they describe as a “London-centric” reviewing policy implemented by the theatre and its co-producer, Melting Pot. The controversy centers on the decision to initially invite only Scottish-based critics to the press night, with a separate event planned for national UK publications coinciding with the show’s anticipated transfer to London’s West Finish.
The musical, adapted from David Nicholls’s beloved 2009 novel, follows the intertwined lives of Emma Morley and Dexter Mayhew over two decades, revisiting them each year on the same date – St. Swithin’s Day. The story, which has previously been adapted into a film and a popular Netflix series starring Ambika Mod and Leo Woodall, explores themes of love, loss, and the passage of time. This stage adaptation, featuring music and lyrics by Abner & Amanda Ramirez, and directed by Max Webster, aims to capture the emotional depth of the source material. Jamie Muscato and Sharon Rose star as Dexter and Emma, respectively, bringing the iconic characters to life on stage.
The core of the dispute lies in the perception that the tiered invitation system devalues the perform of Scottish critics and, by extension, the Scottish theatregoing audience. The critics argue that the decision implies a belief that national publications hold greater importance than their Scottish counterparts. This sentiment was articulated in a letter sent to the Royal Lyceum’s board of directors, where the critics stated that the move “suggests not only that critics in Scotland are less important than critics in London, but likewise that audiences in Edinburgh are less important than audiences in London.” The letter emphasizes the importance of robust critical engagement with theatre produced in Scotland as part of the nation’s public life.
A Two-Tiered System Raises Concerns About Equity
The Royal Lyceum Theatre, a publicly funded institution, has a long history of producing and presenting high-quality theatre in Scotland. Co-productions, like the one with Melting Pot for “One Day: The Musical,” are increasingly common, allowing for larger-scale productions and wider reach. While, the critics’ letter argues that such collaborations should not come at the expense of inclusivity and equitable access for Scottish-based critical voices. They contend that excluding these voices from the initial critical discourse undermines the value of the Edinburgh run and suggests it is merely a precursor to the London premiere.
Melting Pot, in a statement responding to inquiries about the limited press access, explained that the decision was driven by a desire to build anticipation for the West End transfer. They stated that the Edinburgh presentation would be followed by a London run and that they were “building a new piece of event theatre here and it takes time.” This explanation, however, did little to quell the concerns of the Scottish critics, who viewed it as prioritizing London-based media over their local counterparts. The critics also pointed out that Edinburgh theatregoers are paying up to £55 for tickets to observe a production that is being presented as a “preview” for a future run, raising questions about the fairness of the situation.
The Lyceum’s Response and the Broader Context of Theatre Criticism
The Royal Lyceum Theatre responded to the criticism on Monday, acknowledging the concerns raised by the Scotland-based critics. They expressed their appreciation for the role these critics play in the UK’s arts and culture ecosystem and stated their understanding of the commercial rationale behind their co-producer’s decision to prioritize publicity for the London run. The theatre emphasized the importance of co-productions in enabling them to create ambitious work like “One Day: The Musical,” which has broadened their audience reach. They also indicated a willingness to engage in dialogue with industry peers about the financial challenges of balancing artistic ambition with equitable access for critics.
This situation highlights a broader debate within the theatre industry regarding the concentration of critical influence in London. While London remains a major hub for theatre, there is a growing recognition of the importance of fostering a more diverse and geographically representative critical landscape. The Scottish critics’ letter reflects a desire to ensure that Scottish theatre is not overshadowed by its London counterpart and that Scottish audiences are afforded the same level of critical attention as those in the capital. The incident also touches upon the evolving role of theatre criticism in the digital age, with questions arising about the influence of online reviews and social media alongside traditional print and broadcast media.
The Cast and Creative Team Behind the Adaptation
“One Day: The Musical” boasts a talented cast and creative team. Jamie Muscato, known for his roles in “Heathers the Musical” and “Rent,” portrays Dexter Mayhew, while Sharon Rose, who has appeared in “Hamilton” and “The Lion King,” takes on the role of Emma Morley. The supporting cast includes David Birrell as Stephen, Dan Buckley as Ian, and Miracle Chance as Tilly. The adaptation features a book by David Greig, additional lyrics by Jeremy Sams, choreography by Carrie-Anne Ingrouille, set and costume design by Rae Smith, and musical supervision and arrangements by Nigel Lilley. The production team’s collective experience underscores the ambition and scale of this new musical adaptation.
The creative team has aimed to translate the intimate and emotionally resonant narrative of Nicholls’s novel to the stage. The musical utilizes a non-linear structure, mirroring the novel’s episodic approach, to capture the ebb and flow of Dexter and Emma’s relationship over two decades. The production’s design elements, including the set and costumes, are intended to evoke the various settings and time periods depicted in the story, from the bustling streets of Edinburgh to the vibrant cultural landscape of London. The music and lyrics are designed to enhance the emotional impact of key moments in the narrative, exploring themes of love, loss, and the search for meaning.
The Future of Theatre Criticism and Co-Productions
The controversy surrounding “One Day: The Musical” raises important questions about the future of theatre criticism and the dynamics of co-productions. As theatres increasingly rely on collaborations to produce ambitious work, it is crucial to ensure that these partnerships do not come at the expense of equitable access for critics and audiences. The Royal Lyceum Theatre’s willingness to engage in dialogue with industry peers is a positive step, but further action may be needed to address the underlying issues of geographical representation and critical influence.
The incident also underscores the importance of supporting local arts criticism. Scottish-based critics play a vital role in documenting and interpreting the country’s vibrant theatre scene, providing valuable insights for audiences and contributing to the cultural discourse. Ensuring that these critics have access to new productions and the opportunity to share their perspectives is essential for fostering a thriving and inclusive theatre ecosystem. The debate sparked by “One Day: The Musical” serves as a reminder that access to critical evaluation is not merely a professional concern for journalists, but a matter of public interest and cultural equity.
As “One Day: The Musical” prepares for its West End transfer, the theatre industry will be watching closely to see how this situation unfolds. The outcome could have significant implications for the way productions are reviewed and promoted in the future, potentially leading to a more equitable and representative system of arts criticism. The Royal Lyceum Theatre has stated its commitment to delivering world-class theatre in Edinburgh and welcomes further discussion on the financial challenges of achieving this goal. The next step will be to see how the theatre addresses the concerns raised by the Scottish critics and what measures it takes to ensure that future productions are reviewed in a fair and inclusive manner.
The show is currently running at the Royal Lyceum Theatre in Edinburgh, with performances scheduled through March 28, 2026. Tickets and further information are available on the Royal Lyceum Theatre’s website. The West End premiere date has not yet been announced, but is expected later in 2026.
Key Takeaways:
- A dispute has arisen over the Royal Lyceum Theatre’s decision to initially invite only Scottish critics to review “One Day: The Musical.”
- Critics argue the policy is “London-centric” and devalues the work of Scottish-based journalists.
- The Royal Lyceum has acknowledged the concerns and expressed a willingness to engage in dialogue.
- The incident highlights broader issues of equity and representation in theatre criticism.
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