Moving On – Paradise in Augustines

There is something wonderfully Fringe-like about Moving On. An Edinburgh company writes an entirely original musical, assembles seven actors and a three-piece live band, fills a stage with removal boxes and ghosts, and gives us two hours of spooky, silly and surprisingly touching musical theatre. I admire the ambition before we even get started, and happily, much of that ambition pays off.

Happy Sad Productions’ show is written by Amber Docherty, Roza Stevenson and Josh Wood, with music by Wood. Stevenson directs, Docherty is assistant director, Murron Goodall provides costumes and Cormac Cameron-Finn designs sound. Wood also leads the excellent live band on keys, alongside Abby Bailey on trumpet and keys and Alistair Sealy on trombone.

Paradise in Augustines’ main hall is a definite asset. The seating is comfortable, well spaced and properly raked, with good sightlines. At the Fringe, where two hours in the wrong chair can become an endurance event, I have absolutely no problem settling in here for a full-length musical.

Siblings Robin, Davie and Sam, played with infectious energy by Robyn Yarwood, Benji Gibbs and Bo Gourley, run Mortimer Removals and arrive to clear Arcane Manor following the death of their former teacher. It rapidly becomes apparent that some previous occupants have not entirely moved on.

The first half is particularly strong: lively, freewheeling and enjoyably frantic, with a simple, effective set and sound and lighting doing everything required of them. Characters establish themselves quickly and confidently, helped enormously by some very enjoyable musical numbers from Yardwood and Gibbs.

Maggie Goodall’s Hattie, appearing in white all sass and 1920’s glamour, is a particular highlight and her opening number is a belter. Goodall has a beautiful singing voice and gives her ghost real character, warmth and presence. Jack Mailer’s DJ is equally great fun, swaggering his way through every appearance, while Sandy Bishop’s Geoffrey brings considerable dramatic and vocal weight to the second half.

The central concept is clever: the ghosts cannot simply tell the living how they died but discover they can sing about it. Well, this is a musical. What else would you expect?

The second half inevitably has more explaining to do and occasionally loses some of that first-half momentum. Several melancholy songs arrive rather close together and I wonder whether a little reshuffling might keep the musical energy flowing. But these are relatively minor reservations in a show that continues to entertain and, importantly, has enough heart to make its more reflective moments count.

Eventually Hattie, DJ, Geoffrey and Mrs Crustwell, played by Iona Wood, become part of an increasingly mad resolution. A lovely twist involving Geoffrey changes the complexion of what has gone before, while some clever false endings keep us guessing right to the finish. Is it contrived? Absolutely. But what self-respecting musical doesn’t deserve a little glorious contrivance before sending everyone home happy?

What ultimately wins me over is the sheer good nature of Moving On. There is a tremendous amount of work, talent and commitment on display here, from its writers and performers to the musicians and technical team. Creating an original musical is no small undertaking; bringing one back to the Fringe, expanding it and continuing to develop it deserves congratulations.

This is home-grown musical theatre made with imagination, enthusiasm and considerable affection. It has good songs, engaging performances, a proper live band and ghosts having far more fun than dead people reasonably should.

Very much in the spirit of the Fringe, and very easy to like.

Playing until August 30th 2026, https://www.edfringe.com/tickets/whats-on/2026MOVINGO

Reviewer: Greg Holstead (assisted by Chris Cowie)

Reviewed: 27th August 2026

North West End UK / Theatre Muse UK Rating:

Running time – 2hrs (including interval)