Waiting for Elvis
★★★☆☆ Roadworthy
Inverleith St Serf’s: Thur 28 – Sat 30 May 2026
Review by Thom Dibdin
St Serf’s Players take a trip off in a new direction this week, with Waiting for Elvis, Philip Goulding’s road movie for the stage, which delivers modern comedy with a nicely historical edge.
Goulding builds his play around the fact of Elvis Presley’s only steps on British soil while returning to the States after his national service in Germany. In 1960 his plane stopped over at Prestwick airport before the long haul across the Atlantic, and his fans flocked to see him.
Andrew Wilson (Roland) and Andrew Henderson (Tony). Pic Trevor Garlick.
Here, Andrew Henderson plays Tony, an Elvis-mad mechanic from Mansfield. His boss leaves him to run the garage for a few days, and at the same time Tony discovers Elvis’s planned schedule.
Add in a big American car which needs a test drive before it is returned to its owner, Tony’s sister Jean who does the garage accounts, and her best pal Sylvia who has a shine for the lad – and you have the perfect set-up for a crazy – but just about believable – road trip.
thoroughly rounded
Henderson is great as Tony, buying into all the traits of a young man of that era to build a thoroughly rounded character, one who is also capable of a certain level of discovery over the course of the trip. And it helps that he has a good ear for accents and mimicry.
Dionne Wilson has a bit less to work with as Jean, but ensures that all the hints of her own back story come across clearly – at least to the audience; but long before any of the other characters are aware of them.
Camden Moroney-Smith (Sylvia), Dionne Wilson (Jean) and Andrew Henderson (Tony). Pic: Trevor Garlick.
Talking of being unaware, Tony is more than oblivious to his little sister’s best pal. Camden Moroney-Smith does a great job as Sylvia. She brings a flash of brightness on stage and does exasperation to a fault, as her knowing and teasing interactions with Tony float way over his head.
Without turning this into a wisecracking documentary, director Jack Paterson ensures that the production captures much of the essence of the time, when the world was still in the grips of fuddy-duddy attitudes, but was also on the cusp of something new.
Popular music was changing, as were people’s attitudes, while fashion was beginning to step away from post-war austerity. Goulding is very much aware of this and in part, uses it and plenty of popular references as a framework.
historic details
However, Paterson doesn’t always manage to get over the two main issues with Goulding’s script. Despite its road trip basis, it is actually very static. This is not then helped by the fact that a lot of the historic details need to be told.
As such, there is a little bit too much standing around chatting, meaning that the filling in of back stories can appear a little clunky. This is not always helped when the projection level from the actors drops, as they talk to each other rather than delivering their lines to the audience.
Rona Arnott (Mrs Ballentyne, right) with Dionne Wilson, Camden Moroney-Smith and Andrew Henderson. Pic: Trevor Garlick.
That said, the whole piece is very funny, and the central trio take their laugh lines with panache. They are very well supported by an ensemble of Glen Sutherland, Rona Arnott and Andrew Wilson, who play a variety of characters they meet on their journey.
Andrew Wilson could afford be a touch more louche as Tony’s boss, Roland, but brings a commendable singing voice to his later appearance as a Liverpudlian hitch-hiker and solid demeanour to the American serviceman guarding the perimeter fence at Prestwick.
plenty of space for broad comedy
There is little flesh to the character roles, which gives the actors plenty of space for broad comedy. Rona Arnott plays up to the caricature splendidly as Mrs Ballentyne, a little old farmers wifie when the trio seek a field to crash in for the night.
Glen Sutherland also knows how to play to the gallery, with a suitably over-the-top policeman inspecting the strange vehicle when they stop for a comfort break behind the bushes, and a gruff Mr Grimley, owner of a petrol station.
Glen Sutherland (Mr Ballentyne) with Andrew Henderson. Pic: Trevor Garlick.
However, Sutherland does a lot more with Sylvia’s uncle Mike – at whose cottage they stop for a bite to eat. The revelation of why his name should no longer be mentioned at home is subtly done, telling much more to a modern audience than the naive young things in the car can ever imagine.
Trevor Garlick and Glenn Liddall’s set is of a representative nature, rather than making any attempt to emulate reality, although the campfire is nicely done. Which just makes the costumes, by Alison McCallum, Sheila Paterson and Rona Arnott, pop even more. Jean and Sylvia’s dresses are particularly eye-catching.
wry comment
Keith Grady and Gordon Hughes’ lighting helps keep the continuity straight, while Jack Paterson’s sound and music adds greatly. Having Elvis numbers to cover the scene changes is obvious but very sensible, while occasionally giving a wry comment on proceedings.
This is slight step away from St Serf’s Players usual productions, but it certainly keeps the tradition of strong, accessible drama with wee bit of a bite and a broad popular appeal. And most importantly, it is a good night out.
Running time: Two hours and 10 minutes (including one interval).
Inverleith St Serf’s Church Centre, 1a Clark Road, EH5 3BD.
Thursday 28 – Sunday 30 May 2026.
Evenings: 7.30pm.
Tickets and details: Book here.
St Serf’s Players Website: www.stserfsplayers.org.uk
Facebook: @stserfsplayers
Instagram: @stserfsplayers
Andrew Wilson as Elvis. Pic: Trevor Garlick.
ENDS
