Writers: Baden Burns, Aeddan Sussex and Sarah Burns
Composer: Baden Burns
Director: Baden Burns, assisted by Aeddan Sussex
Something sinister lurks beneath the cheerful veneer of Little Boo Boo’s General Hospital. Children keep disappearing around blood test time, and suspicion falls on the vampire-punning Dr. Acula (Ash K-B). When Nurse Mel (Stephanie Cubello) notices the pattern, she rallies her colleagues to investigate, unaware that the good doctor has romantic designs on Miss Lacey (Lucy Appleton), the eternally agreeable cleaner who stands to inherit Transylvanian oil fortunes.
But Dr. Acula faces unexpected competition for Miss Lacey’s affections: Potty (Baden Burns), the singing, dancing, talking pot plant perched on his desk, who has fallen head-over-leaves in love.
Potty the Plant is theatrical chaos in the best possible way—part children’s TV show, part camp gothic mystery, part West End musical. Think Rocky Horror meets Little Shop of Horrors with a hefty dose of Hairspray’s exuberance, all wrapped in pantomime tradition. The humour veers between juvenile silliness and surprisingly dark territory (who knew paediatric vampirism could be this funny?), but the tonal juggling act succeeds brilliantly.
At the show’s heart is Potty himself—essentially a glorified sock puppet that resembles Kermit the Frog’s awkward teenage years. The simple design proves unexpectedly endearing, brought to vivid life by Burns’s vocal tour de force: a raspy, helium-tinged East Coast accent brimming with infectious enthusiasm that makes this plant impossible to resist.
Burns’ score matches his performance’s energy. While clearly influenced by musical theatre classics (you’ll find yourself playing “name that tune” with half the numbers), each song stands confidently on its own merit. They range from amusing to downright hilarious, with melodies as infectious as anything you’d catch in a hospital. The title track particularly excels as an earworm masterpiece—don’t be surprised if you’re humming I’m Potty the Plant long after leaving the theatre.
This is theatrical comfort food: a daft story told with genuine love and boundless enthusiasm. Check your sensible side at the door, embrace your inner child’s silliness, and prepare for an absolute blast. Sometimes the most ridiculous premises bloom into the most delightful entertainment.
Runs until 28 June 2025, then returns to the Edinburgh Fringe
