Review: EU Footlights' Talk It Out

Edinburgh University Footlights, Talk It Out

Rating: ★ ★ ★ ★ ★

Last Friday (March 20th 2026) I exploited my privileges as a reviewer for this publication to take my friend to a much needed therapy session - a self-help group gathering at Pleasance Theatre. While this might not sound like a traditional ‘girls night out’ activity, The Edinburgh University Footlights’ newest production made therapy seem like an outrageously good time.

In addition to mental health, Talk It Out explores themes of love, sex, and identity, comprising a dangerous cocktail that, if not handled correctly, is guaranteed to leave a bitter taste. To the audience’s delight, director Sophie Davis approaches these heavy themes with care, restraint, and the precise amount of humour to deliver a sizzling musical that shocks and provokes, but never offends. In its essence, Talk It Out is a vibrant collage - from heartfelt ballads to energetic group numbers and star-making solos, musical directors Pen Hughes, Kieran Penman, and Isaah Majid generously present the audience with the best of what musical theatre has to offer. The show lovingly stitches together some of the greatest hits from the stage to tell a heartfelt story of a group of misfits’ first self-help group meeting. Each song is organically woven into the narrative and every change made is seamless and intentional - a testament to the team’s deep understanding and love of musical theater. Choreographer Amelia Brenan’s work springs from the same love - her expansive repertoire of styles (including jazz, ballroom, burlesque, hip-hop, and tap), intricate blocking and use of levels inject the show with undeniable energy that brings each song to life. Her ambitious work on Talk It Out is the culmination of years of experience and is fitting last hurrah for one of Edinburgh's most prolific theater personalities. With careful work with music, dynamic choreography, and sensitive storytelling, the production team of Talk It Out has created a truly unforgettable experience. Their work synthesises student theater par excellence - ambition, passion, and creativity - and it was honoured by a near-flawless performance.

In this production Showchoir lives up to its reputation for presenting its performers with ‘exciting challenges and diversity on singing and movement’. Challenges which this young, passionate, and sickeningly talented cast navigates with ease, charm, and plenty of ‘zazz’. With a solo number for almost every castmate, the show is filled to the brim with powerhouse performances. Eedie Baker-Thompson’s charmingly obnoxious rendition of ‘Shy’ is what every theater kid strives for. Her dynamic vocals and energetic performance exude charisma befitting a Broadway star. Hattie Sumners’ rendition of ‘I Don’t Know How to Love Him’ exemplifies the production’s tongue-in-cheek approach to musicals - her performance seamlessly combines earnest with comedic moments that successfully deliver the solo’s punchline. Sumners’ comedic talent is also enjoyed in her duet with Jasper Fuller, where they transform ‘No Reason' from  Beetlejuice into a quarrel between a Tumblr witch (Sumners) and a straight-up no-nonsense overly-politically aware guy (Fuller). Jasper Fuller’s ‘You Stupid Bitch’ is an over-the-top comedic goldmine: their elastic vocals take the audience on a journey with each ‘bitch’ presenting a surprise; Fuller’s castmates acting as a gospel-esque choir contribute to the gripping melodrama of the performance; the build up to the final ‘bitch’ - absolutely phenomenal work. Fuller’s acting talent allows them to believably portray their character as flawed and relatable. Emma Bland’s performance is similarly tender: their soft and romantic voice shine in ‘I Love Betsy’ and ‘Wishing for the Normal’, providing moments of sincerity that are refreshing amidst the string of comedic numbers; with that being said, Bland’s little ‘Single Ladies’ dance was still one of the show’s funniest moments. ‘Stars and the Moon’ is another combination of heart and comedy: Martha Keegan’s voice is as rich as the men her character dreams of; during her solo, she operates with a wide emotional apparatus, believably illustrating her character’s  growth. 

Aarya Gambhir's voice cast a spell on the audience for the second time this season. The repertoire of songs she performed (including ‘All Girl Band’ and ‘All Of My Friends Are Whores’) allowed her to showcase her amazing vocal range. During her solo (‘When I Sing In My Car’) she exudes the charm of the lead in a Disney movie. The only flaw in her performance is that no one was convinced that someone with her talent can be this shy. Minnie Cross treated the audience to an absolutely impeccable performance: everything from their grandiose vocals to their uncompromising dancing and magnetic facial expressions show the makings of a star; even when in the background, their expressive face and sharp movements render them a certified scene-stealer. 'Loud' and ‘Zazz’ were two of the strongest numbers of the night and Cross was at the center of both. My personal highlight of the night, however, was Hannah Whelan and Max Middleton’s ‘Let’s Run Away Together’. Whelan’s precise, merciless rendition of one of the most challenging songs in  Death Becomes Her is a triumph. With sharp comedic timing, bold vocals and absolutely maniacal facial expressions, she is seductive in the most perfectly unsettling way. Max Middleton proves to be a courteous scene partner, balancing out Whelan’s insanity. But he can afford this luxury after his explosive solo in the opening of Act Two: during his performance he perfectly embodies the theatricality and cocky confidence of ‘What The World Needs’ and he wears it well - the (theatre) world truly needs someone like him. Tilda Dyer’s lovably quirky performance of ‘Accidente Prone’  also deserves praise, with the bit where she simulates singing with a bitten off tongue being particularly hysterical. In a similar vein, Naomi Jessiman’s ‘Nobody Does It Like Me’ is an earnestly enjoyable showcase of the actor’s rich vocals in a more expressly comedic number. Jessiman navigates the choreography, stunts, and vocal challenges embedded in her number with charm and vigour that result in an undeniably captivating performance.

Compliments are in order for Gemma Leach’s sad tapping in ‘Settle for Me’ and outstanding talent for melodramatic performances. Hannah Shaw also deserves praise for her balance of comedy and restraint and impressive delivery of the fast lyrics in ‘Disconnected’. Méabh Downey is strong comedically and vocally in both her solo and her duet with  Erin Willis, who on her hand makes a strong debut in Showchoir. 

When the cast gathers once again for their final song, the audience is brought back to reality. While initially ending such an outrageous musical spectacle with a song as sincere and grounded as ‘For Now’ might appear to be tonal whiplash, I view it as the production’s most intelligent decision. The group number constitutes a strong finale that reminds the audience that therapy is a process, not a solution. And this reminder resonates, as it is not only a poignant reminder of the reality of working through one’s problems, but also as it reiterates that Talk It Out is not just a damn good time, but rather a show with a pulsating heart that will long be remembered by its audience.

If you or someone you know is struggling mentally, immediate help is available:

• Breathing Space: call 0800 83 85 87 for anyone is Scotland feeling low or anxious

• Samaritans: call 116 123 for free, 24/7, confidential emotional support

• Midlothian Mental Health Crisis Line: 08001182962