A chorus of discontent is rising from Scotland’s theatre critics following a decision by the Royal Lyceum Theatre in Edinburgh and its co-producer, Melting Pot, to limit initial press access for their new musical adaptation of David Nicholls’ beloved novel, One Day. The production, which premiered on Wednesday, invited only Scottish-based publications to the press night, with a separate event planned for national critics coinciding with a planned West End transfer.
Fifteen theatre journalists have signed a letter addressed to the Lyceum’s board of directors, expressing their concern over what they describe as a “divisive move” that raises “uncomfortable questions” about the value placed on Scottish critical voices and audiences. The critics argue that the two-tiered invitation system implies a disparity in importance between reviewers and theatregoers in Scotland and London. The musical, based on the 2009 novel, follows the intertwined lives of Emma and Dexter over two decades, beginning on their graduation night in Edinburgh.
The letter states that the decision “suggests not only that critics in Scotland are less critical than critics in London, but similarly that audiences in Edinburgh are less important than audiences in London,” and asserts, “Clearly, this is not the case.” Critics are concerned that the limited access creates the impression that the Edinburgh run is merely a preview for the West End, despite Edinburgh audiences paying up to £55 for tickets, according to the Lyceum’s website.
Melting Pot responded to inquiries about the limited press access, explaining that the Edinburgh presentation is followed by a West End run and that “building a new piece of event theatre…takes time.” They added that the opening at the Lyceum has been “fantastic” and they are “so looking forward to another moment when the show transfers to the West End.”
Concerns Over Public Funding and Artistic Debate
The critics’ letter emphasizes the Lyceum’s status as a publicly supported institution, arguing that its function should be “vigorously reviewed and debated as part of Scottish public life.” They acknowledge the increasing role of co-productions in Scotland’s theatre landscape but maintain that excluding Scottish-based critics from that debate is unacceptable. The letter stresses that co-productions should enhance, not diminish, the scope of critical engagement with theatrical work.
The signatories include prominent Scottish theatre critics Mary Brennan, Mark Brown, Anna Burnside, Neil Cooper, Dominic Corr, Thom Dibdin, Joyce McMillan, Fergus Morgan, Natalie O’Donoghue, David Pollock, Arusa Qureshi, Allan Radcliffe, Hugh Simpson, and Simon Thompson, as well as Mark Fisher of The Guardian. The fact that the letter was signed by critics both invited and excluded from the initial press night underscores the widespread concern within the Scottish theatre community.
The production itself has garnered positive early reviews from Scottish publications. Arts Review Edinburgh gave the musical five stars, calling it an “immersive experience,” even as The Herald awarded it four stars, describing it as “full of heart and soul.” Broadway World and The Scotsman also gave the production four-star reviews, praising the “exhilarating” performance and “gorgeous vocals,” respectively.
What’s Next for “One Day: The Musical”?
The Royal Lyceum Theatre has been contacted for further comment but has not yet responded. The musical is scheduled to run at the Lyceum until April 19, 2026, before its anticipated transfer to London’s West End. The outcome of this dispute could have broader implications for how productions involving Scottish theatres engage with national critical infrastructure and prioritize local voices. The situation highlights the ongoing tension between regional and national arts ecosystems and the importance of ensuring equitable access for critics and audiences alike.
The debate surrounding the reviewing policy for One Day: The Musical underscores the vital role of theatre criticism in shaping public discourse and supporting the arts. What are your thoughts on the importance of regional theatre criticism? Share your opinions in the comments below.
