The Singer (The Lemon Tree, Aberdeen) Review by Joann Watt

There are some shows you watch, and there are others you experience. The Singer, currently playing at The Lemon Tree in Aberdeen, is very much the latter. There is an interesting story behind the production itself. The Singer originally began as a short film created by writer and director Cora Bissett and Deaf artist Jamie Rea, before being developed into the full stage production we see today. The finished show brings together Dundee Rep Theatre, Solar Bear and Aberdeen Performing Arts, with music and lyrics by KT Tunstall. It premiered at the Edinburgh Fringe in 2026, where it picked up a highly deserved Scotsman Fringe First award – quite an achievement before even making its way to Aberdeen.

From the moment the production begins, there is a wonderful sense that you are about to experience something a little different. Funny, uplifting, emotional and full of heart, The Singer tells a beautiful story centred around the Deaf community, music, friendship and British Sign Language. It gently challenges the way we think about communication while never losing sight of what makes theatre so enjoyable – great characters, brilliant performers and plenty of laughter.

Jamie Rea is superb as Joe. There is a quietness to his performance that speaks volumes. Joe doesn’t need to fill the stage with noise to command it. His hands, face and movement do the work, and watching him experience music physically rather than through sound gives the character a completely different relationship with the songs around him. There is vulnerability in Rea’s performance, but also determination, humour and an unmistakable sense of identity.

Dylan Wood brings an entirely different energy as Andy. He is likeable, funny and wonderfully engaging, and Wood gives Andy enough flaws to make him feel completely believable. His musical performance adds another layer to the character, while his chemistry with Rea gives the central relationship much of its warmth. Their friendship feels genuine, and it is easy to become invested in their journey.

Then there is Hannah Jarrett-Scott, who is quite simply a force of nature. Her ability to transition between multiple characters is genuinely effortless. One moment you are watching one personality and, seemingly in the blink of an eye, she has transformed into somebody completely different. A change of voice, posture, expression or the smallest physical gesture is enough to make you believe an entirely new character has appeared.

Hannah is a comedy powerhouse. Her timing is impeccable, and she has a brilliant understanding of physical comedy. She knows exactly when to hold a look, when to exaggerate and when to simply let the audience react. What makes her performance even more impressive is her ability to move from comedy into more heartfelt moments without losing the authenticity of the characters she creates. She brings an incredible amount of energy to the stage and is undoubtedly one of the highlights of the production.

Petre Dobre brings another wonderful energy to the ensemble. There is a real playfulness and theatricality to his performance, and alongside Hannah he contributes to some of the show’s most entertaining moments. The cast work beautifully together, creating a sense that the stage is constantly alive with something new waiting around the corner.

One of the most beautiful aspects of The Singer is the way it introduces audiences to the Deaf community and British Sign Language. BSL isn’t treated as something separate from the performance; it is woven naturally into the storytelling alongside the spoken word, music and movement. It becomes another way for the characters to express themselves, and the production allows the audience to appreciate just how rich and expressive communication can be.

There is something particularly poignant about a show called The Singer exploring music from a Deaf perspective. It makes you question what it actually means to hear a song. Music doesn’t necessarily have to be experienced through sound alone, and the production manages to communicate that idea without ever feeling like it is trying too hard to make a point.

The music, with original songs and lyrics by KT Tunstall, gives the production its pulse. There are moments where the atmosphere feels like a live gig, followed by quieter and more intimate sections where the characters and their relationships come to the forefront. The music never feels like it has simply been placed into the story for the sake of having songs; it feels like another part of the characters’ world.

The visual side of the production deserves plenty of praise too. Jenny Booth’s set and costume design creates a vibrant and flexible environment that allows the story to move effortlessly between different moments and locations. The set never competes with the performers, but it gives the production a strong visual identity, while the costumes help bring the different characters to life.

Emma Jones’ lighting design adds another layer of atmosphere. The lighting shifts beautifully between the more intimate scenes and the larger musical moments, helping to create the feeling of a gig while still allowing the quieter parts of the story to breathe. When the music builds, the lighting helps make the stage feel bigger, brighter and full of possibility.

Cora Bissett’s direction brings all of these elements together with confidence. There is a lot happening within The Singer – music, comedy, BSL, captions, movement and emotional storytelling – but it never feels as though one element is fighting for attention. Everything has its place, and the production moves at a pace that keeps the audience engaged while still giving the more emotional moments time to land.

Ultimately, The Singer is a heartwarming and beautiful story about connection. It is about finding your voice, understanding somebody else’s and discovering that communication can take many different forms. It makes you laugh, it makes you smile and, in places, it catches you completely off guard emotionally.

What I particularly loved is that the production never feels like it is giving the audience a lesson about the Deaf community or British Sign Language. Instead, it simply invites us into another world and allows us to experience the story alongside its characters. By the time the curtain comes down, you may find yourself thinking differently about music, communication and what it really means to listen.

With a fantastic cast, beautiful design, wonderful music and a story full of heart, The Singer is a genuinely memorable night at The Lemon Tree. And with Hannah Jarrett-Scott delivering a performance that is funny, fearless and effortlessly versatile, there is certainly plenty to applaud.

The Singer doesn’t ask you to listen differently. It simply gives you another way to hear.