Peppa Pig: My First Concert is a fun and interactive introduction to a live orchestra will take Peppa Pig fans on a magical musical journey. Peppa visits Glasgow on the 9th and 10th of February.
This production is based on Entertainment One’s popular animated television series, Peppa Pig, and gives children a chance to experience their first concert in a way that is truly meaningful to them. Specially designed for the youngest audience members, this allows them, together with Peppa, to discover an orchestra for the first time. Perfect for little ones, to capture their imagination and introduce them to a whole new world of music.
We talk to our favourite little piggy, Peppa Pig, before she goes back on the road with the second leg of her first ever concert.
So Peppa, are you excited to be going to a concert with your family this summer, and of course to see an orchestra for the first time?
Yes. Oink! Oink! Hee Hee Hee! I’m very excited to visit all these new places and I hope I get to make some more nice friends.
Have you been to a real-life concert before?
This is my first one! I can’t wait to see all the instruments being played on stage and hear all the different sounds they make.
Who are you going to the concert with?
Mummy, Daddy and George will also be there with me. I think we might even get to join in!
What are you looking forward to the most about the concert?
Listening to all the lovely music and joining in on all the songs I already know, like my favourite, the ‘Bing Bong Song’!
What’s your favourite instrument?
My favourite instrument is the French horn. It looks so fun to play and the noise it makes is so loud! I think George is probably going to like the drums the best.
She’s been dubbed the ‘godmother of Scottish comedy’ and numbers Billy Connolly among her fans. Now, Janey Godley is set to spread her appeal across the nation as this quintessentially Glaswegian comic takes the Soup Pot Tour over the border and down south. “There will be a different demographic politically at these shows, but remember Nicola Sturgeon gets it in the neck from me as well. I will have to speak slower and make sure that it’s not all about just hating the Tories, though that will be difficult. But by and large, people who come to stand-up are open-minded people, they tend not to be died-in-the-wool Brexiteers who hate the Scottish.”
This tour has Janey wielding a variety of talents, as she delivers the kind of forthright stand-up which has earned her a strong reputation on the comedy circuit and a loyal band of followers. But she will also be displaying her skills at improv, as she stands by a screen and narrates adlibbed voiceovers of people (many of whom are today’s crop of politicians), giving them a heavy Scottish accent and inventing a story, many of which involve making soup for the community.
“The soup pot is very universal: if you’re in Australia, America, Brazil, France Germany or Alaska, and someone dies or gets married, people will make soup. The soup pot is the hub of the community. When somebody died near us when I was a kid, somebody would make the big soup pot so all the visitors had something warm to drink and eat. It’s part of us all being in it together. Of course, that was before people discovered they were gluten free and worried about being allergic to lentils.”
Janey first discovered that she could develop this new strand of her career on the night of the Scottish Independence vote in 2014. “I first did the voiceovers live at the Wild Cabaret club in Glasgow where the big screens were up. When the news came through and it was all looking a bit bleak, we turned the volume down and I started talking over the top of people. The audience loved it and I realised this was something I could do really well.”
She then poked fun online at the likes of Theresa May, Ruth Davidson and Nicola Sturgeon, replacing their talk of policy and elections with chat about big Isa and her soup pots. A recent piece she did on Kim Kardashian (largely mocking her for walking backwards) also went down spectacularly well, while clips of supermodels, Pathé newsreels and Fanny Craddock (the original celebrity chef) are given the Godley treatment. “I started off doing it for me, really. I liked the fact that I could give those politicians a whole new background persona and the idea that they might have these ordinary conversations; I love the idea of that normalcy which cuts through all that bulls**t. The ones that are the hardest to do are of Katie Hopkins, because the audience just boo like they’re at a pantomime.”
Since the voiceovers took off, an unusual trend started which reminded Janey of the halcyon days of Spitting Image when politicians would tune in avidly on a Sunday night, desperate to see if they had been captured in wax and caricatured in song. “MPs will say ‘are you going to do me?’ I’d like to do some international ones; I do Trump but I want to do Australian and Canadian politicians. There’s a lot of fodder to go on.”
When she started performing comedy in the mid-90s, there were very few female acts kicking about, but Janey Godley has now become a standard bearer in Scotland for young women who might fancy a career in stand-up. “I did Have I Got News For You and I was the first working-class Scottish female comic to do that: the first and last. There are girls from Glasgow who saw comedy and it would be Kevin Bridges and Frankie Boyle, so they all thought ‘that’s not our job, that’s for Scottish men’. But when they see me and they see someone like Fern Brady, they think ‘yeah, that’s also a woman’s job.’”
Recently, Janey has ramped up her acting CV, appearing in Wild Rose (staring Jessie Buckley, Julie Walters and Sophie Okonedo) about a young woman trying to make her way in the world of Country music, and has written and directed a short film entitled The Last Mermaid. She’s also had a one-woman play run Off-Broadway, and will be on TV screens soon playing the lawyer of Martin Compston’s character in Traces, a crime drama from an original idea by Val McDermid.
But for now, she’s enjoying making people laugh all over the country with both her no-holds barred stand-up and the unique nature of these new voiceovers. “The most important thing is that this has never been done before, no other comic in the world is doing this. I’ve been doing stand-up for over 20 years but it took a Tory called Theresa to make me famous.” Mrs May might now be virtually out of the public eye, but the moment has surely arrived for Janey Godley to take centre stage.
Foil Arms and Hog will be heading to the King’s Theatre, Glasgow on Sunday, 23rd February 2020. Here they talk about their new show Swines.
Sean Finegan, as befits his status as the straight man in the Irish sketch group Foil Arms and Hog, is the spokesman for the trio off stage. It makes life easier for us to speak directly, he says, adding drily: “Otherwise I might say something witty and you’d attribute it to one of the other guys.”
We chat about their latest show, Swines, which is touring the UK after a sell-out season at the Edinburgh Fringe, but first Finegan explains how the trio met and got their distinctive name.
Finegan (Foil), Conor McKenna (Arms) and Sean Flanagan (Hog) were studying at University College Dublin (reading architecture, engineering and genetics respectively) 12 years ago, when they met through their shared love of performing.
“We were friends through the drama society but it was Sean Flanagan writing a play based on Father Ted that led to us forming the group,” says Finegan. “He was Dougal, I was Bishop Brennan and Conor was Father Ted. We had permission to tour round Ireland from [Father Ted’s creators] Graham Linehan and Arthur Mathews, and when the play finished we decided we should do a sketch show together.”
And the memorable name for the trio came out of good-humoured banter. “We came up with loads of naff names that punned on the word ‘sketch’ and rejected them. And then we were at a party one night and we were slagging each other off and came up with them.
“I’m the straight man, so I’m the foil; Conor is all arms and legs and very clumsy on stage; and Sean always hogs the limelight and steals all the laughs. They’re roles that we very easily fall into on stage.”
Finegan admits that some of the sketches they wrote and performed back then “we wouldn’t get away with now, they were quite insulting to all sorts of people”, but that over the years the humour has become more sophisticated.
That’s probably down to their work ethic; they write separately and then meet almost daily to develop the ideas. “Ideas get torn to shreds in the process and then we jump on to the idea and add more jokes and develop them. It sometimes takes months to nail a sketch.” Do they ever argue? “Well there are three of us, so it usually works out as two-to-one. No one has ever stormed out, put it that way,” Finegan laughs.
Finegan recalls when the group started out. “In the UK there’s a big sketch comedy scene but in Ireland that doesn’t exist. In our early days a lot of people would see three guys come on stage looking like Boyzone or something and they’d be instantly against us. But performing on the same bill with stand-up comics, we learnt so much about audience interaction. As any stand-up comic will tell you, you need to engage with the audience quickly and get them on your side.
“So we learnt pretty quickly and our comedy has become a sort of weird hybrid of sketch and messing with the crowd.”
But Foil Arms and Hog’s audience interaction is not cruel or humiliating. “I hope we’re not,” says Finegan, “because the intention is to bring everyone on board as it can be terrifying for some people [to be picked on]. But we love doing it because you never know what the audience may do, and we get a bit of a buzz from it. It’s the element that makes every show unique.”
In their second year at the Fringe they saw Edinburgh Comedy Awards winner Dr Brown (clown performer Phil Burgers). “I think we had thought clowning was the ‘honk honk’ kind of thing but then we realised that it’s about going with the flow. A couple of years later we attended one of his courses and it’s one of the toughest things I’ve ever done. It was brilliant stuff.
“It helped us so much on stage, particularly when things go wrong, as we might get to a funnier place with those skills we learned.”
Foil Arms and Hog have a dedicated following that they have built up over 11 Edinburgh Fringe shows, and for the past six years have posted short films on YouTube – they have clocked up an astonishing one million hits and have nearly 950,000 followers on Facebook. They have a broad demographic and, as Finegan says: “When we look out into the audience and see people from eight to 80 it gives us such a buzz. We have people tell us after a show that their son or daughter has found us online and introduced them to our comedy, and they come to see us together. It’s great.”
Thanks to YouTube, the group’s reach is global – and sometimes unexpected, says Finegan. “We were worried that one recent sketch – about Irish people not really being able to speak Irish – may not necessarily appeal to non-Irish people. But then we got an email from a fan in Sri Lanka saying he loved it because, ‘We’re all forced to learn Tamil when we go to school, it’s exactly like this’.”
But Swines – like all Foil Arms and Hog’s live shows – doesn’t contain any sketches fans may have seen online. “Some people may think they’re going to see the YouTube videos performed live on stage, but absolutely not. We make a point of never performing the online videos live. What works online usually doesn’t work on stage. It’s a very different kind of comedy, and much more surreal live.”
They also have more songs in their shows now than when they started. “They crept in,” Finegan jokes. “My singing’s certainly improved – the lads were carrying me in the beginning – but Conor is a very good singer and Sean knows all about harmonies because he’s been in choirs and stuff. The songs help the flow of the show and we like doing them. Who knows, in 10 years’ time we may be topping the charts.”
After seven years out in the pop wilderness, Snow Patrol are set to make triumphant return with their brand-new album, Wildness. Drummer Jonny Quinn talks chaos, the joy of live performance, and reveals just why it’s taken then so darn long.
In life, there are several milestones that swirl up an array of complex and conflicting emotions. Your first day at school, your wedding day, or the birth of your first child, and, if you’re a musician, the release of every single record throughout your career. “It’s a combination of trepidation, excitement and relief,” says Snow Patrol’s drummer Jonny Quinn, of the impending release of Wildness, the band’s seventh studio album.
Adding: “People as what you hope for the record, but the truth is that you just down know. It’s mostly just a relief to be back at it and playing gigs after five-and-a-half years. And so far, everyone seems to be really happy that we’re back.”
You might wonder why artists of such esteem would be feeling any doubts given their triumphant track record. This is the band whose major label debut, Final Straw, was certified five-time platinum in the UK and eventually sold over three million copies worldwide. Whose anthemic hits, Chasing Cars and Run, were the antidote to a generation’s glorious melancholy. Who have successfully held their own for over two decades in industry which has slowly been coming apart at the seams around them.
Inherently humble, it’s not surprising that the Northern Irish rockers haven’t ridden back into the music scene on a gold chariot fuelled by hype and braggadocio, however much of their introspection seems to be down to the sheer amount of time that has passed since Fallen Empires (their last album). Seven years in the music industry is a long time, particularly when those years have been some of the most turbulent for labels and artists alike. However, if there was ever a time the world needed a Snow Patrol album to galvanise and uplift our spirits, it’s now, and fortunately, Wildness is fits the bill perfectly.
Emotionally complex, intelligent and bruisingly honest, the album skimps on none of Lighbody’s soaring melodies. The lead single Don’t Give Up is a straightforward call-to-arms for the lost and weary, Life on Earth is an existential triumph, and the entire record vibrates with an earnest, open rawness. “‘Wildness’ being that the world feels wilder. There feels like there is more chaos than there used to be,” explains Quinn. “A lot of the songs are also about Gary’s own depression and frustration about not being able to write songs and that fear that hits everybody at some point, in a creative sense.”
For lead singer Lightbody, the last few years have been particularly brutal as his ongoing battle with alcohol abuse and depression manifested itself in crippling writers block. Quinn reveals that the band actually were in the studio around two years ago with most of the musical aspects of the album in place, but Lightbody simply couldn’t verbalise his experience. “Maybe he was trying to write songs without having a reason to, and he’s not that kind of writer. So, there was a big gap. But it had to be right; the songs couldn’t be forced,” concludes Quinn.
Certainly, Wildness wouldn’t be the record it is had Lighbody not dug so deep, for that kind of vulnerable grace and candour cannot be faked. In his own words, the 41-year-old frontman says it is the first record he has written where he didn’t just ‘ask a bunch of questions’, adding: “I actually tried to figure out why I was unhappy, why I feel out of place, why I’m afraid.”
Now fully recovered, Lighbody and co. are eager to release the record and crack on with what is arguably the most rewarding part of the process, touring. “That’s what we’ve been doing for 20 years and we’ve all missed that part of it. We like the studio but getting to go out and play all over the world is the most thrilling part,” says Quinn.
“We also put a lot into the live aspect of it, and I want people to walk out of shows feeling like it changed their life a little bit, and they forgot about everything that was bad that day… playing live and having that experience is really special.”
But before the band leave us to traverse the world, there is one burning question that needs to be asked: Are Snow Patrol back for good this time? “Yes,” replies Quinn emphatically. “We won’t have another seven-year break this time.”
SNOW PATROL RETURN WITH THEIR NEW ALBUM WILDNESS ON MAY 25TH VIA POLYDOR RECORDS
Scottish actor Kieran Brown has an enviable theatrical CV, having appeared in Phantom of the Opera, Love Never Dies, Les Mis, Wicked and our own Glasgow King’s Theatre pantomime, to name just a few. He’s a member of the hugely successful Barricade Boys and a concert star in his own right. Kieran from Larbert, returns home to Scotland this week to appear in Titanic – The Musical at Glasgow King’s and at Edinburgh Playhouse from June 12th – 16th. I had a chance to catch up with him about life onboard the world’s most famous ship before it sets sail in Glasgow!
Can you tell us a bit about what we can expect in Titanic the Musical?
It is a multiple Tony award winning musical written by American composer Maury Yeston with book by the late Peter Stone. It tells the tale of some of the real life passengers and crew onboard the ill fated ship. It was first produced by Danielle Tarento with direction from Thomas Sutherland and musical staging by Cressida Carre at the Southwark Playhouse in London, before transferring to the Charing Cross Theatre, and then crossing the Atlantic to Canada. This is the first major professional production of the show in the UK. I should state, it has absolutely NOTHING to do with the 1997 James Cameron movie…! It has a stunning score with not a hint of Celine Dion..!
What about your role?
I play First Officer William McMaster Murdoch, who was essentially second in command of the ship, and was in charge at the time it hit the iceberg. He was Scottish, from Dalbeattie. He was treated quite unfairly in the film (which Cameron apologised for), but this is a much more sensitive treatment of his character. He very much blamed himself for the tragedy that unfolded. In actual fact, there were a great number of factors which led inevitably towards the sinking. It’s fascinating to learn throughout the show exactly what went on, but without ever placing judgement on anyone…
What songs or scenes should we particularly look out for?
The opening is really pretty epic..! It’s about 20 minutes long, and doesn’t pause for breath..! To be honest, it is such a stunning score and the sound of our 25 strong ensemble make accompanied by our 6 piece orchestra under direction of musical wizard Mark Aspinall is incredible! The audience are frequently blown away by the wall of sound that washes over them. It’s so humbling to be part of it!
How has the show been received as it’s toured around the country?
Phenomenally. Instant standing ovations practically every show. There’s the odd grumble about people expecting the film onstage, but those who have either informed themselves or allow our beautiful touching story to be told are usually left very affected by it. It’s a very emotional night at the theatre – because it’s not just a film – it’s true – I often wonder if people have forgotten that! We all know the ending of course but the final scene features direct quotes from the survivors – It’s very touching, but ultimately uplifting.
What’s life like on tour/backstage with such a large cast?
It’s been a while since I’ve toured and I actually enjoy it. We have a very mixed company age wise, but we do genuinely all get on great, and organise nights out, day trips to the countryside castle hunting etc. It’s a very supportive company onstage and off, and it’s a real joy to share this experience with them all.
Why should we come along to see the show?
It’s a story we all think we know, especially those who have seen the film (much of which was fiction), so I think it’s important to retell the story with tremendous respect and honour those who died (and survived). It’s not tap dancing and feathers, there are no hydraulic lifts and razzle dazzle spectacle, but there is a poignant layered story, accompanied by a beautiful, beautiful score, told by one of the most talented bunch of actors and musicians I’ve had the honour to work with. I think of all of the jobs I’ve done, this really ranks as one of those I’m most proud of. I love it. And I am particularly proud to be telling this story at the Kings in Glasgow. Last time I was here I was riding a magic carpet as Aladdin! I love the city (I lived and studied here at the RCS) and it feels very much like home. I’m curious to see how Scottish audiences respond to it…
Any roles you’d love to perform/shows you’d like to be in that you haven’t yet?
To be honest I’m keen to do a play – it’s been 7 years since I last did a play (The Woman In Black in Vienna). I love singing and musicals, but I’d love to do something where I don’t have to worry about my singing voice for a while..!
What’s been your favourite role to date?
I think playing the Phantom probably ranks as a major career tick and I was lucky that I managed to get on a lot during my two years at Her Majesty’s. The feeling I had inside when I stepped on to take my bow at the end of my first show was something I can’t really describe..!
What’s next after Titanic?
Who knows! The life of a jobbing actor..! TBH we are all loving this Titanic experience so much we are all hoping it may not be ending mid August in Hamburg! Crossing everything there is another life, whether continuing the tour or sailing into the west end, who knows…!
You can catch Kieran in Titanic – The Musical at Glasgow King’s Theatre from Monday 28 May until Saturday 2 June 2018 – tickets here
Edinburgh Playhouse from Tuesday 12 June until Saturday 16th June 2018 – tickets here.
In celebration of 200 years since the publication of her most famous novel Frankenstein, The Occasion Theatre has announced the Scottish tour of their new production exploring the life of Mary Shelley.
Director Peter Clerke, writer Stewart Ennis, and performer Catherine Gillard gives us some insight into the production that begins at the Tron Theatre on 20th April.
What drew you to a play about Mary Shelley?
Peter: Firstly, the details of her life; which was remarkable. The more you discover about what she achieved and lived through, the more fascinating she becomes as a person. Then there’s the whole period through which she lived, a time of enormous scientific discovery, of philosophical and cultural change. She was at the forefront of this new, bold world; a world rich with possibilities for dramatisation and of great relevance to the present day.
What can people expect when they come to see The Monster and Mary Shelley?
Catherine: An entertaining production which celebrates the fascinating life of Mary Shelley and asks questions about how and why she went about writing her most famous novel. As a one woman performance the story is told from Mary’s point of view using different incidents from her life, but we look at these from a contemporary view – as if Mary was here today and looking back from now. This isn’t a naturalistic drama – it’s an atmospheric and abstract interpretation of what she might be thinking today looking back.
Peter: It’s been a fascinating show to work on and the contributions from everyone involved – writer, musician, actor, set and lighting designers – have been immense. We think it’ll entertain, introduce a very significant writer and thinker to a new audience and, hopefully, provoke a few questions along the way.
How did you approach writing The Monster and Mary Shelley?
Stewart: I read a couple of biographies of her including an early one by Muriel Spark, who revisited and revised her Mary Shelley biography throughout her life. Then of course, when we discovered that 2018 was the 200th anniversary of the publication of Frankenstein, along came a never-ending stream of books, articles, lectures, radio documentaries etc. That said, this was never going to be a straightforward historical drama with an actress dressed up in period costume, telling us Mary Shelley’s life from the day she was born until the day she died. It was more a case of forming an impression of Mary Shelley that allowed us to be playful with her but which also felt truthful and respectful, and figuring out how this extraordinary woman’s life and work had relevance for us today.
Rehearsal image: Stewart Ennis
The play explores some of the events in Mary’s life that led to the creation of Frankenstein. How do you weave humour into this at times tragic story?
Stewart: I think that a creative spirit like Mary Shelley must have had a sense of humour; her letters and journals suggest as much. Yes, there was a great deal of tragedy in her life, and a lot of it is explored in this show, but it feels important not to define her by it, or in some way to present her as tragic or as a victim. She lived a life and she dealt with her troubles, and like any human being, humour is one way of dealing with that. The style of the show also helps in that respect. The language is quite anachronistic but we have also included readings from Frankenstein, songs, and theatrical elements from her time, such as melodrama.
Catherine: We have to remember that Mary Shelley was a teenager when she wrote Frankenstein. She didn’t lead up to writing this book with the idea that it would define her – she was just living and coping with everything that life threw at her. And it wasn’t all wonderful – her mother died shortly after Mary’s birth; her father remarried soon afterwards and Mary didn’t get on particularly well with her new stepmother; she was well educated then bundled off to Scotland around the age of 14; and then she met Percy Bysshe Shelley who was already married. They fell in love and ran away to Europe. She was sixteen! She wanted her own life, she was a teenager – she must have been pretty wild and that on its own gives a humour. A spark of life, not just a tragedy. All this plus the fact that she was hanging out with artistic, radical libertarians – they were all for challenging the norms. There had to be funny stuff going on!
Having delved into the life Mary Shelley, what do you most admire about her?
Catherine: I found it extraordinary that by the age of 25 Mary had lived through the loss of her mother, 4 children and her husband, not to mention the suicide of both her half-sister, Fanny and her husband’s first wife, Harriet. Her ability to cope with this level of tragedy and continue to live and work in a society where female writers were still not accepted was amazing. Most of all I admire her imagination and intelligence – to write a novel that continues to fascinate and spark ideas to this day is an astonishing achievement.
How relevant is Mary Shelley today?
Peter: Very – perhaps, unfortunately. The issues that she was most concerned with, of equality, freedom of expression and acceptance have progressed in the past 200 years but, in the #Metoo campaign, ‘fake news’ scandals and the continuing persecutions of minority communities these are still very live issues. Mary Shelley was undoubtedly ahead of her time; we, it can perhaps be argued, are somewhat behind.
What are your views on the original Frankenstein novel?
Stewart: I first read it about thirty years ago and to be honest only had a vague recollection of what it was all about. I had been brought up on the countless Frankenstein films (the Boris Karloff Universal, the Christopher Lee Hammer, the Mel Brooks and the Abbot & Costello) all of which coloured my vision. It was one of the real pleasures of this process to go back to the original novel (or novels, she did a major rewrite many years later) and discover/be reminded that the creature is not some lumbering mute monstrosity with bolts through its neck, but agile in body and in mind and with such a deep longing to be loved. You could say that he – the creature – is a product of an absolutely terrible, brutal, loveless upbringing and his actions are a reflection of that. It’s a more complex book than I think people imagine, and if our play moves people to read the novel, then I’d be delighted.
Atmospheric, moving and darkly comic with a pulsing, cinematic score, this is a contemporary voyage into the life of Mary Shelley – the Gothic Girl who electrified the world. Presented by The Occasion Theatre.
Glasgow Theatre Blog had the chance to talk to Rebecca Norris, co-creator of The Wedding Reception coming to Eastwood Park Theatre this May.
Tell us a little bit about the play.
The Wedding Reception is a unique immersive theatrical dining experience. It invites you to be a guest at a surprise wedding reception for newlyweds William and Kate. You join the family (and a few uninvited guests) through two hours of a muddled attempt at traditional wedding celebration rites where nothing seems to go as planned. They cry, laugh and dance, and hopefully you will too! (maybe not the cry bit).
And your role…
Four actors play nine roles in The Wedding Reception. I play two roles: Lynn (the mother of the bride) and Marge (the groom’s aunt). Lynn is a great role to play She’s a wonderful and warm northern lady. A bit of a mum to everyone and will talk about anything. Nothing is off limits with Lynn. Aunt Marge is much colder. A stuck up ‘wanna-be’ who’s faked most things in her life to get her where she is today.
How has the play been received so far, has it been different in different locations?
The Wedding Reception has been performed all over the UK, including Scotland and Wales – although this is our first time in Glasgow. We have even been lucky enough to do tours across Australia and a show in Singapore. Depending on the location, we change a few references in the show for audiences to relate to but on the whole we’ve found wherever we are the universal truth is that everyone loves a good wedding so everyone always has a great time.
What is life like backstage on tour?
Backstage on tour can be a bit crazy, really. We have a lot of quick costume changes throughout the show so backstage can be manic. Especially when we are out and about on tour and the size of our changing area can vary quite some bit. We’ve all been very close together in some shows.
Touring can be demanding, how do you keep your performance fresh/look after yourself when you’re having to travel as well as perform on stage at night?
Keeping this show fresh isn’t so much of a challenge, as it’s very different to traditional theatre shows. The audience members are not just watching a show, they become an integral part of it so with their input we never perform never same show twice. It certainly keeps us all on our toes. Good planning and keeping it all in good fun is key to staying healthy and fighting fatigue on the road. We spend a lot of time in each other’s company so trying find ways of making long journeys and mundane jobs fun is really important.
Can we go back a bit and talk about what inspired you to become an actor and the path you took to become one?
I didn’t get into acting until quite late – I was 30 before I’d even considered it. Although I remember having a love of theatre when I was younger, I never considered it to be an option. It was only by chance that I did a workshop in Brighton which actually changed everything. Suddenly my sole focus and drive was on acting. I went to drama school and worked full-time while attending to fund myself. Once I graduated I tried to make sure each job I got would lead to another until it became my full-time job and I’ve never looked back.
Any advice for aspiring performers?
It’s never too late! If it’s something you have a passion for then go get involved. Maybe do some courses and see where it takes you.
Finally, why should people come along to see the play? And where else can we see it?
Everyone should come to see this play! – though it’s PG, because of some sexual innuendo and partial nudity. That aside, each show is truly different as audiences react in various ways to being swept up in the raucous action. Whatever happens though, one thing’s for sure – it will be an unforgettable experience.
You are all invited to the most madcap marital celebration of them all and get to eat a 3-course meal as well.
We are playing at Carmichael Hall in Eastwood Park Theatre on Saturday 12 May at 7:30pm.
Classic kids’ tale with a modern twist, Little Red Riding Hood is coming to Eastwood Park Theatre on Saturday 13 February at 3pm.
From the creative team behind the hugely popular Hairy Maclary Show, Little Red Riding Hood is a fun, original musical for children, with live music and loveable characters.
The show has toured from Edinburgh to Hong Kong and Singapore and comes to Eastwood Park Theatre as part of its 45th anniversary programme.
Recommended for pre-school children, the show features a forest full of family fun as Scarlet and her side-kick Stanley the Squirrel try to outwit Walter the Wolf.
Zoe Halliday, from Milton on Campsie, studied at the Royal Conservatoire of Scotland’s musical theatre course. She will play the lead role of Scarlet and Glasgow Theatre Blog caught up with Zoe to find out about the show.
Tell us a little bit about the play.
The play follows the story of 16yr old Scarlet who is lives in the woods with her father. Not having many friends and feeling a bit alone has left Scarlet longing for an adventure which falls into her lap (literally) in the form of letter from her grandfather. After some indecision about her own bravery Scarlet embarks on the quest her grandfather has sent her. Along the way she meets some wonderful forest friends including Stanley the Squirrel but also faces someone hairy not so nice enemies! The story is a whirl wind of adventure with catchy tunes all the way!
And your role…
I play the fearless “Scarlet”
How has the play been received so far, has it been different in different locations?
The play did a run over Christmas at Roxy Assembly in Edinburgh. The audiences were fantastic and got right into the spirit of the show by singing along and joining in the madness.
What is life like backstage on tour?
It is exciting! Every day we are in a different theatre/venue and face whatever challenges that presents. Whilst it can be hard going being away from family and friends we have become really close as a cast and always manage to have a laugh! Bringing the show to new audiences every day is really special and even better when you have a strong, fun filled cast.
Touring can be demanding, how do you keep your performance fresh/look after yourself when you’re having to travel as well as perform on stage at night?
I wish I could say I eat lots of vegetables and exercise regularly but that would be a lie. The performance is fresh every day because it’s my job and I love doing it. That and some orange Lucozade and we are laughing.
Can we go back a bit and talk about what inspired you to become an actor and the path you took to become one?
I decided I wanted to become an actor very early on. I loved dancing as a young child and was inspired by my mum who had her own dance school. I had grown up with old school musicals and dance films. I think I watched Seven Brides for Seven Brothers so many times the video broke!
When my parents put me in stage school at 10 it just all made sense.
At the age of 13 I was one the first cohort of the Preparatory Musical Theatre programme at the Dance School of Scotland were I studied all through my high school years. I then went onto study a BA in Musical Theatre at the Royal Conservatoire of Scotland at just 17yrs old.
Any advice for aspiring performers?
If you really want it, it is worth waiting for. The performing arts is an extremely hard industry but worth every ounce of effort!
Finally, why should people come along to see the play? and where else can we see it?
You should come and see Little Red Riding Hood for some exciting, fun and catchy enjoyment! Life isn’t as fun without a little adventure!
The first tour of new Robert Burns show Ae Fond Kiss, is touring around Scotland this February. Featuring many of Burns’ famous poems and songs, including Red, Red Rose, Ae Fond Kiss and Auld Lang Syne, it will be a show to remember whether you love literature or just want to find out a bit more about the Bard.
Rabbie Burns is played by Paul Beeson who will guide you through the show with amusing and poignant interactions with key characters, played by cast members Gilchrist Muir, Shawney Henderson and Zoe Halliday. Glasgow Theatre Blog had the chance to catch up with Paul to answer some quick questions about the show.
Tell us a little bit about the play.
Ae Fond Kiss is a play with songs that tells the fascinating story of the life of Robert Burns. It does this using modern original verse, interspersed with Burns’ traditional writing and songs; a Burns’ Greatest Hits if you will! We get to meet the family, friends and (many) women who shaped his life and work along the way.
And your role…
I play Robert Burns himself, at various ages and stages of his life… it is a challenging role but one I am relishing playing!
How has the play been received so far, has it been different in different locations?
The last time the play was produced was nine years ago during the Edinburgh Fringe Festival, where it was performed at the Mining Museum in Newtongrange. It was received extremely well then; however being outside the city centre meant it did not get the audience it truly deserved. This newly staged version boasts a completely new set and directorial approach, and will touring in major venues across the country.
What is life like backstage on tour?
Being part of a small-scale touring company is incredibly rewarding and so much fun – if a little challenging at times! The cast and stage manager are responsible for driving the tour vans between venues, unloading and building the set before a performance and loading the set back in the vans afterwards… oh, and performing of course! It’s a valuable experience, as everyone involved takes ownership of the production to make it the best it can be and becomes completely invested in it. You do feel like you are in a little tour bubble at times, as you are living the show (and in each other’s pockets) almost 24 hours a day… but that’s why we love it so! Your cast mates become like family and some of my greatest friendships have been made this way.
Touring can be demanding, how do you keep your performance fresh/look after yourself when you’re having to travel as well as perform on stage at night?
Every audience is different and responds in different ways… some are incredibly noisy and responsive, some are absolutely silent! As performers, we respond to the energy the audience creates and feed off it, so every performance is fresh in that respect. Also, when you get on the road after the rehearsal process, you start to find the moments that the audience really love and perhaps moments that pass them by. We have to tweak moments like these to ensure we are doing the piece justice and that can keep us on our toes!
As for looking after yourself, it’s finding a balance in your touring life… Eating healthily can be tough when the only eatery near your hotel is a fast food joint! I try to make sure I get enough sleep, drink lots of water, eat a banana for energy and regularly steam the vocal chords… and you just have to be careful that the post-show socialising doesn’t get too out of hand!
Can we go back a bit and talk about what inspired you to become an actor and the path you took to become one?
I chose to do Higher Drama when I was in 6th year at high school. I had no aspirations, needed another subject to study and thought Drama would be fun (and if I’m completely honest, a bit of a skive!) After the first few lessons, I realised how much fun it was and it was far from being easy… it was also the first time in my life I found something I felt I was really good at and capable of taking further. A good friend of mine had left school a couple of years before and done a Year Out Drama course in Stratford-Upon-Avon. So, after I left school, I applied and was accepted, then progressed to Drama college the following year.
I became a Drama teacher a few years after graduating, as I struggled to find work and decided to get a full time job where I could use my skills. I taught for ten years before getting back into performing. Towards the end of my teaching career, I began dabbling in amateur theatre and remembered my love of performing… the pull was too much for me!
Any advice for aspiring performers?
It may be a cliché, but never give up, believe in yourself and be prepared to work extremely hard! When I first left college, I think I was too lazy to truly pursue a career in performing… you have to be proactive, the work won’t come to you! Every performer is unique, so play to your strengths. Do not shy away from what makes you ‘you’. Take risks when you can… Despite my performing experience, I had a fear of singing in front of an audience until very recently… and I am 38! I have had to work very hard to get past that and I am all the better for it.
Finally, why should people come along to see the play? and where else can we see it?
Ae Fond Kiss has everything; it’s entertaining, heartfelt, funny, sentimental, sad, exciting… it is crammed full of facts about Burns’ life, so everyone will learn something they never knew before… some of the poems and songs will be familiar to the audience and participation is encouraged… and everyone loves a bit of Burns don’t they!
Ae Fond Kiss is touring around Scotland this February and comes to Eastwood Park Theatre on Tuesday 13 February. Tickets cost £15 standard and £12 for concessions and are available to book now: www.eastwoodparktheatre.co.uk/boxoffice.
The ex-members of Hotel California, KT Tunstall and Fish’s bands, return to the touring circuit with this new exciting project, The Police Sting Show. Touring Scotland throughout October and November and finishing this year’s tour at Eastwood Park Theatre on Saturday 25 November, the show features re-worked, fresh versions of all the iconic Police and Sting solo album songs in a 100-minute show featuring an acoustic Sting section.
Gus Boyd, who performs as Sting, talks about what we can expect and what’s coming up next year.
Why do you think the Police’s music still has such an enduring appeal?
Basically, because they are great timeless songs that have lasted that initial audience generation and being listened and liked by our children’s generation.
How long has it taken for you to perfect your portrayal of Sting/The Police?
I started working stripping back the songs on acoustic guitar just under two years ago.
Added in a drummer and bass player 18 months ago and we created our own interpretations and style for the 24 songs that we currently play.
Tell us what we can expect from the show?
Not copies of the songs but our own style and fresh take, but still retaining the integrity and the song message.
Do you find audiences differ as you travel around the country?
They are all fans of The Police and Sting Music but do differ in age demographic especially in the regional areas.
It’s great to see the young generation enjoying the songs alongside people of their parents ages!
The Police/Sting Show will be at Eastwood Park Theatre on 25 November at 7.30pm as part of the UK tour.
