Gordonstoun's bears the hallmarks of a high school offering: mixed ability and tampering with the script to give kids fairer parts. Ensemble pieces generally did not stand up and many a vocal line was omitted. The more difficult ones were hit-and-miss, the top note in ‘Mama Who Bore Me (Reprise)’ was faintly audible. Harmonies were not always quite there. Male entrances were generally late and then vastly overpowered by louder (and more numerous), sometimes pitchy female vocals. The addition of female lines to male songs did not work and, on a technical level, Sater and Sheik probably wouldn't be happy. Robotic choreography is a given. Unresolved accents, recurrent mispronunciation, plus slightly incorrect lyrics gave the impression of a thematically trivial approach to directing.The above said, I am hypercritical and a huge fan of this musical. I still give it four stars. The positives are plentiful and more significant: the male lead, Melchior (Oscar Macdonald) is phenomenal. Utterly phenomenal. His compelling performance was touching, mature and sensitive. Not once did he even threaten to stray from the score, his voice floating up and down where required with sophistication and flair. The occasional overuse of vibrato detracted somewhat from the sincerity. The fourth star in my rating is for him; the way is certainly paved for this 'fledgling scientist' to crack open musical theatre, should he wish to. Inanna Pinheiro-Gibsone's Wendla is also an asset, intelligently presented, fantastically acted and vocally competent. Her death is felt sharply, so in her early exit she does her job well.Other cast members stand out for their individual strengths but simply are not 'triple threats'; Tom Williams, while frequently flat and poor in pitch, encapsulates everything in the character of Moritz, with a great nervous energy and genuine fear and confusion. Laura Barnes as Ilse and Josh Hall as Georg complete the foursome of capable singers, Barnes' solos sultry and Hall's savoury. Adult Male and Female (Ali Baxter and Millie Mountain) merit mention for their versatile and often hilarious range of characters.Directorially speaking, there's a clever opening and nice use of the neighbourhood girls. Reallocation of solos to the more able is appreciated. Ensemble numbers that work well are Touch Me and Song of Purple Summer, especially supported by solos from Barnes and Hall.The choreography is at least well-rehearsed and mostly in time. ‘Totally F*****’ reaches a deserved rebellious climax. The live band could have come right off the West End, such is their triumph in timing.Overall frustrating and frustratingly good - pervaded by the charm and enthusiasm of the cast, this has to be seen.