One Day: The Musical
★★★★☆ Accomplished
Lyceum: Thurs 12 Mar – Sun 19 Apr 2026
Review by Hugh Simpson
One Day: The Musical, from the Royal Lyceum and Melting Pot, is a hugely ambitious production that has a correspondingly large impact, even with the odd problem in execution.
The much-loved 2009 book by David Nicholls features Dexter and Emma, a couple who spend a (platonic) night together on St Swithin’s Day 1988 after graduating from Edinburgh University. The story then features the ups and downs of their lives and relationships, focusing on the events of 15th July in subsequent years.
Jamie Muscato and Sharon Rose as Dex and Em. Pic: Mihaela Bodlovic.
The novel has been made into both a film and a television series, and is now a musical with a book by David Greig and songs by Abner and Amanda Ramirez (with additional lyrics by Jeremy Sams). The popularity of the earlier versions had a great deal to do with this musical’s run being hugely extended long before it started.
The first thing anyone will notice about the Lyceum’s production is that the theatre has been transformed internally; the floor has been raised, with stalls on both sides of a stage that features some cabaret-style seating.
intimacy and impact
This set-up, like all of Rae Smith’s set, works beautifully. The acting space, thanks to some astonishingly quick transformations, is exceptionally versatile, and having the audience on two sides, and in such close proximity to the action, adds greatly to the intimacy and impact of the performances. The cabaret tables, while probably not strictly necessary, and occasionally causing sightline problems for some other audience members, do enhance the atmosphere.
The set and layout of One Day at the Lyceum. Pic: Mihaela Bodlovic.
The potential pitfalls of having the audience on two sides are helped by a revolving stage, some remarkable performances, and Max Webster’s sure-footed and sympathetic direction. This is allied to an adaptation by Greig of considerable charm and clear-sightedness. Which all provides a firm foundation for the songs, which are melodic and varied, and advance the plot and emotions without overstaying their welcome.
The production is going to stand and fall on the performances of its Em and Dex, and is very fortunate in this regard. Jamie Muscato’s Dexter has more than a hint of Hugh Grant about him, and his saucily foppish posh boy has enough charm to explain why the character is so attractive even when he behaves appallingly. Muscato’s singing is lucid and emotional, and helps to express the vulnerability beneath the Jack-the-lad persona.
similarly nuanced
Sharon Rose’s Emma is similarly nuanced, with a touching self-doubt beneath her outward self-possession. Rose also has a tremendously strong and emotive singing voice, which is always used in the service of the songs’ emotional content.
Jamie Muscato (Dex), Miracle Chance (Tillie) and Sharon Rose (Em). Pic: Mihaela Bodlovic.
There is a genuine believability to their relationship, which helps the audience to identify with (and root for) them, even if the smallest amount of level-headed reflection suggests that the situation doesn’t appear overly healthy for either of them.
A large and talented ensemble back up the principals, with David Birrell and Josefina Gabrielle (as Dex’s parents) particularly standing out. Miracle Chance, as university pal Tillie, also shines in a beautifully-staged wedding scene that opens the second half, and showcases the outstanding choreography of Carrie-Anne Ingrouille.
remarkably assured
Isla Walker (who shares the role of Dex’s daughter Jasmine with Ailsa Brown and Imogen Brown) provides a remarkably assured performance.
Sharon Rose as Emma. Pic: Mihaela Bodlovic.
The high production values are in evidence throughout; Bruno Poet’s lighting is wonderfully evocative, while the live band under MD Nigel Lilley are impressive, although sometimes having to battle through a sound mix that could be clearer.
There is no getting away, however, from the problems that arise from adapting a book of this nature, and making it accessible to those who haven’t read it. The narrative is by nature composed of discrete episodes, and (even leaving out a great deal of the source material) it feels like there is just too much going on.
other characters suffer
Despite the involving nature of the production, there can be a slight sinking feeling as the counter on Lewis den Hertog’s imposing screens ticks on to yet another year. The central relationship survives intact, but the other characters suffer.
Dan Buckley (Ian) and Sharon Rose (Em). Pic: Mihaela Bodlovic.
This can be seen most clearly with the other relationships in Dex and Em’s lives. Em’s sometime boyfriend, wannabe comedian Ian, comes across as cartoonish despite the best efforts of Dan Buckley.
Dex’s wife Sylvie is similarly underdeveloped. Kelly Hampson does her best in the role, but it is difficult to care too much when she sings about her relationship with Dex going downhill when we’ve seen so little of it beforehand.
thoroughly engaging
Attractive as the songs are, moreover, there are a couple where the lyrics have something of a by-the-numbers feel, even approaching the trite.
The episodic nature of the narrative means that this ultimately seems more like a series of set-pieces rather than a whole. Nevertheless, it is a thoroughly engaging production that will surely find an audience.
Running time: Two hours and 45 minutes (including one interval)
Lyceum Theatre, 30 Grindlay St, EH3 9AX
Thursday 12 March – Sunday 12 April 2026
(Previews Friday 27 February – Tuesday 10 March; Press Night Wednesday 11 March)
Run: Tues – Sat 7.30 pm; Matinees We, Sat 2.30 pm; Sun 5.00 pm
Tickets and details: Book here.
Miracle Chance as Tillie (centre) and the cast of One Day. Pic Marc Brenner.
ENDS
