Category Archives: What’s on APRIL


The Citizens Theatre has announced details of the premiere of McLuckie’s Line – a  new play about the pitfalls of the acting trade written by playwright Martin Travers and actor Martin Docherty – which runs from 25 Apr – 28 April in the Citizens Theatre Circle Studio.

McLuckie’s Line is a brutally honest monologue packed with humour which delves into the wounded soul of unemployed actor Lawrence McLuckie, played by Martin Docherty.

McLuckie is a compulsive gambler, who we find waiting nervously in a claustrophobic corridor of a Glasgow hospital for the phone call he’s been waiting for his whole life. Recently diagnosed with cancer and unable to take the oppressive silence of waiting with other people dreading treatment, McLuckie reflects on his life, on death, and on what it feels to be working class and talented in a business that is more than ever the domain of the privileged few.

The play explores important subjects including men’s health, loneliness, grief, coming to terms with loss and the will to survive. However, it is also packed with humour: crazy actresses, nosy neighbours, reprobate mates, a wee wren in a housing scheme, a Spanish speaking horse, a gun toting Elvis impersonating bookmaker and a greyhound called Flight Delay.

Martin Docherty has previously appeared in Still Game, Rab C Nesbit, Dear Green Place, River City, Gary: Tank Commander, Father Brown and Cloud Atlas with Tom Hanks. Marty Goes To Hollywood, a documentary featuring Martin as himself, won a BAFTA Scotland New Talent Award in 2015

The writing of the play was inspired by a Brian Cox interview in The Stage where the Dundee born actor said of the class barrier in accessing a career in theatre: “For someone like me, starting now would have been virtually impossible.”

Martin Travers explained the salience of McLuckie’s Line for an industry in which many struggle to make ends meet.

“Actors are lucky if they work six months of the year. The play opens up the world of an actor as he struggles with himself and coping with not working. This will ring true to every actor who has ever acted. I’m not sure how much audiences realise the mental strength and grind that goes into giving a brilliant performance night after night.

“Most theatre actors can only make about £15,000 in a good year, most playwrights and directors scrape by on the breadline. But it’s our cultural responsibility to allow them to make more work, and to learn to get better at what they do, to entertain better and connect with people on a deeper level. The fear is that theatre becomes a middle class plaything like it was before the 1960s.”

“McLuckie’s Line is something of a love letter to Scottish theatre and it’s been so rewarding to feel that we’ve given every working class actor a voice on stage, in order to let the world know that if we don’t start looking after them, we’ll lose them.”

£1.00 from every ticket will be donated to MacMillan Cancer Support. On Wednesday 25 April £5.00 tickets will be offered for Equity, BECTU, Scottish Society of Playwrights, Musicians’ Union members.

Tickets are available from the Citizens Theatre’s website or by calling the Box Office on 0141 429 0022.

WHAT’S ON APRIL: Russian rising-star Pavel Kolesnikov accompanies Czech National Symphony Orchestra at Usher Hall for Beethoven’s Fourth Piano Concerto

Russian pianist Pavel Kolesnikov is one of the most exciting young musicians in the world today and will be performing the complex beauty of Beethoven’s Fourth Piano Concerto alongside the Czech National Symphony Orchestra. The Orchestra, celebrating their 25th birthday this year, will also stun the Usher Hall audience with an all-powerful rendition of Schubert’s Unfinished Symphony along with what is widely regarded at Dvorak’s greatest symphony, the 7th.

Czech National Symphony Orchestra and Pavel Kolesnikov

Sunday Classics at Usher Hall

Lothian Road, Edinburgh

Sunday 22 April, 3pm

Door time: 2:00pm

Start time: 3:00pm

Schubert Symphony No.8 ‘Unfinished’
Beethoven Piano Concerto No.4
Dvorak Symphony No.7

Ben Palmer Conductor
Pavel Kolesnikov Piano

More info and tickets available at:

NEWS: 200 musicians and singers bring full power of Mahler’s ‘Resurrection’ symphony to Usher Hall

The full drama of Mahler’s all-embracing second symphony comes to life in performance in a way that very few recordings can hope to capture. With enlarged orchestral forces and a 140-strong choir this work is truly epic, offering up the composer’s apocalyptic vision of life, death and the hereafter.

Bruckner Orchester Linz spans 200 years of tradition and excellence. The Orchestra is joined by the Leeds and Sheffield Philharmonic Choruses, both with illustrious histories of their own.

The task of leading this huge orchestra is that of the world-renowned German conductor Markus Poschner. A German Conductor’s Award winner, he is regularly invited to lead the world’s best orchestras, specialising in the symphonies of Mahler, Brahms and Beethoven.

With 200 musicians and singers on stage together performing Mahler’s momentous work in the wonderful Usher Hall acoustics, get ready for a mind-blowing Sunday Classics experience.

Bruckner Orchester Linz

Usher Hall, Lothian Road, Edinburgh

Door time: 2:00pm

Start time: 3:00pm

Mahler Symphony No.2 ‘Resurrection’

Markus Poschner Conductor
Leeds Philharmonic Chorus
Sheffield Philharmonic Chorus
Brigitte Geller Soprano

Tickets available at: 

WHAT’S ON APRIL: The Mark of the Beast at Platform

The Mark of the Beast is a bold new spoken word performance in Scots and English from theatre maker and performer Martin O’Connor. Inspired by Glasgow’s relationship with alcohol and addiction and created in partnership with those in varying stages of recovery from alcohol addiction, the performance explores temptation, morality, and social attitudes towards the ‘demon drink.’  The Mark of the Beast premieres at Platform, Glasgow and runs from Friday 13 April – Sunday 15 April 2018.

It’s the morning efter the night before, Yer suddenly sober and know the score

Ye leave yer pals and decide to walk it, Cos yer still in charge. A total rocket

The Mark of the Beast looks at early experiences of being drunk; family parties; teenage socialising and over indulgence through sound, spoken word and dark humour. It addresses Scottish male identity and questions the role that alcohol plays in society. Following Martin’s research in Islay about the temperance movement, and influenced by the experiences of those who credit their sobriety to a religious or spiritual awakening, the piece looks at temptation, morality and judgement taking inspiration from the Book of Revelation.

The Mark of the Beast develops Martin’s exploration of Scots language as seen in his previous solo spoken word performances; Theology, created for the Arches Behaviour Festival in 2014, and last year’s Building a Nation with Glasgow Life and National Theatre of Scotland. Through these works, Martin has begun to create a unique style of writing and performing in the form of an idiolect – a mixture of high and low registers, Scots, English and Gaelic, poetic and prosaic; reflective of our own ways of speaking. Martin has established a reputation for fast paced Scots which is both entertaining and politically astute.

Martin O’Connor says: “I’m excited to be finally presenting the final version of The Mark of the Beast, which is the coming together of my spoken word and the recorded stories collected from participants around Glasgow. It is important to share these life experiences with new audiences and to experiment with the relationship between recorded and live material. It also feels like an important step in my practice as I continue to explore the place of marginalised voices in performance and the poetry of Glaswegian Scots.”

This new work is the result of three years of development, initially with the artist development programme Team Effort at IF, and an early version was showcased at Rally and Broad. In 2015 Martin further developed the work at Platform’s Outskirts Festival and the Scottish Mental Health Arts and Film Festival event Headspace. Platform subsequently invited him to collaborate with sound artist Nichola Scrutton and The North East Recovery Community (NERC) to work across six recovery community cafes, collecting experiences from participants in recovery from alcohol addiction. O’Connor and Scrutton created a sound installation Good Days Bad Days at Platform, which will inform the soundscape for The Mark of the Beast.

The piece is designed by Fergus Dunnet, and directed by Martin O’Connor with input from other directors and a choreographer.

The Mark of the Beast is produced in association with Platform and will also tour to:




Presented by Martin O’Connor and Platform

Friday 13 April, 7pm

Saturday 14 and Sunday 15 April, 2pm

Ages 16+

Tickets: £8.50/£5/£4 (Local Links)

Box Office: 0141 276 9696

WHAT’S ON APRIL: Company of Wolves presents Unbecoming – part theatre show, part live gig, this new piece focuses on women and individual, group and societal expectation, obligation and desire

Scottish Theatre makers Company of Wolves premiere this new cross disciplinary solo work from Anna Porubcansky presented through song, movement and text. Part theatre show, part music gig, Unbecoming is an invitation to a private world, a unique and delicate space where pretence slips away.

The second of the company’s 2018 productions, Unbecoming invites audiences into the twisting corridors of a woman’s mind. Private, gritty, surreal, this piece uses traditional song, ethereal vocal soundscapes, myth, and dynamic movement to peel back the layers of expectation, obligation, and desire to look at what is left underneath.

Anna Porubcansky said of Unbecoming: “This project started when I became a mother. It was in its most simple form an attempt for me to understand how love and rage, two very consuming emotions, could simultaneously course through my body.

“I read Sylvia Plath, Anais Nin, Pauline Reage. I listened to lullabies and laments, heavy metal and riot grrl punk. I sought the sensuous, the angry, the compassionate.

“I am a woman, and now I am a mother. That is my lens. We are living in a time where the everyday reality of what women have had to put up with for centuries is starting to be talked about. We need to talk about it more. We need to slip into the dark corners of the feminine psyche and feel what it’s like to live there. No more hiding, no more pretty smiles, no more grin and bear it.

Unbecoming is a scream from the ether.”

Friday 20 and Saturday 21 April 2018

Cumbernauld Theatre, Kildrum, Cumbernauld, North Lanarkshire, Scotland, G67 2BN

7.30pm | £8 | Box office: 01236 732887

Saturday 28 April 2018

Platform (as part of Outskirts Festival), 1000 Westerhouse Rd, Glasgow G34 9JW

3.30pm – 11pm | £10 (£7.50) concession (Full Day Festival times and ticket) | Box office: 0141 276 9696

Thursday 31 May – Saturday 2 June 2018

Hidden Door Festival, Leith, Edinburgh (Old State Cinema)

7pm on 31 May | 7:15pm on 1 June | 9pm on 2 June | £16 / £13 concession for Evening Festival Ticket from 6pm-midnight or £24 (£20) conc for Whole Night Ticket from 6pm-3am | Box office:

Friday 15 June 2018

The Barn, Burn O Bennie, Banchory, AB31 5QA

7.30pm | £8 (£5) concession in advance |  Box office: 01330 825431

Wednesday 20 June 2018

Beacon Arts Centre, Custom House Quay, Greenock, PA15 1EQ

7.30pm | £8 (£5) conc  |  Box office: 01475 723723


Platform’s annual Outskirts Festival returns to the venue on Saturday 28 April 2018 bringing together the best in music, performance and visual art. Running from 3.30pm till late, Platform’s festival of multi art-form experimentation features a vibrant programme of events to intrigue, excite and inspire.

Outskirts uses all available spaces in the building, including the theatres, library and swimming pool, providing a unique festival atmosphere with food and drink available throughout the day.

Outskirts 2018 builds on Platform’s supportive and welcoming artistic programme with emerging companies presented alongside international artists, working together, developing relationships and pushing boundaries; celebrating collaboration and exploration.

Oliver Pitt (Golden Teacher) and Barry Burns (Radiophrenia) will perform this year’s Easterhouse Conversation – a collaborative composition commissioned by Platform. Conceived in 2015 it seeks to document stories, ideas and moments in the lives of the residents of Easterhouse. Using material recorded solely within Platform and based around a series of interviews the pair will create a fragmented and hallucinatory sound portrait combining the sounds of the building with the stories of those who use it.

James Kelman and Tom Leonard, two of the leading writers of their generation, will read extracts from their work. The session will be introduced by Joey Simons, who has been researching the work of the Irish poet, novelist and playwright Freddie Anderson. A friend and contemporary of both James Kelman and Tom Leonard, Anderson was a long-time resident of Easterhouse and an influential figure in left-wing culture in Glasgow from the 1950s until his death in 2001. This event will offer an exclusive opportunity to hear from two of the city’s most original voices and shed light on one of Easterhouse’s own.

Platform is delighted to welcome Glasgow International 2018 to Outskirts and festival-goers have the opportunity to see art works and events throughout the day.  Jessica Ramm’s new body of work, Personal Structures, has been developed with Platform through workshops and events and is informed by her own childhood in an 80’s squatting community. The structures she creates will present new versions of familiar domestic spaces re-staging an urban environment that resembles Easterhouse.  Henry Coombes is creating a new piece of work for Outskirts – a mixture of performance, spoken word, moving image and sound providing an insight into his photography and painting practice. Janie Nicol and Ailie Rutherford present IN KIND, a temporary pop up installation. A collaborative action research project, IN KIND will look at the hidden economies of Glasgow International 2018, focusing on and examining the “below the waterline” economy of the arts.

Taking over the swimming pool, Glasgow based artist collective Love Unlimited present Social Event. Artists will create sculptures, artworks and performances in and around the pool and the audience can view the work from within the water.

KOR! Records, an independent record label creating music projects for young people with additional support needs is presenting a new piece, KOR! Records vs Breakfast Muff, together with the thrillingly uncompromising DIY punk pop trio Breakfast Muff.  Geraldine Heaney of KOR! Records says:  “The plan is for Breakfast Muff and KOR young musicians to come together to rehearse and find out where we collide, where we cross over and what disruption we can create together. With many different influences, personalities and styles this promises to be an exciting collaboration.”

Sarah Hopfinger presents the first showing of her new dance theatre project Unlikely Duets involving artists and community members working creatively together to devise duet performances, exploring dialogue and the idea of building bridges.  Unbecoming is a solo performance in song, movement and text created and performed by Anna Porubcansky and produced by Company of Wolves. Part theatre show, part music gig Unbecoming is an invitation to a private world, a unique and delicate space where pretence slips away.

Irish singer and multi-instrumentalist Brigid Mae Power comes to Platform having just released her second album The Two Worlds.  She confronts the personal and the political in her music with a timeless magic, intense directness and hauntingly honest reflection. Her debut album received widespread praise: “A startling voice, at once fluttery and steadfast, that has come out the other side of something, touching transcendence on the way.” The Guardian

Our lifelong relationship with music and memories is at the heart of this year’s Festival. Performer and artist Laurie Brown is bringing Analogue to Outskirts; a sound installation exploring connections with his personal collection of cassette tapes. Analogue is a place to contemplate the story of the many sounds which have become the soundtrack to his life. The Festival is also hosting Turntable, by Michael John McCarthy and Martin O’Connor, which invites listeners to explore the contents of a touring record case, whilst reflecting on the importance of music in their lives. Join Michael John as he plays some records; celebrating memory, identity, family and the joy of music.

Other visual art highlights include works in development presented by Birthe Jorgenson and Sogol Mabadi. Home Where Home is Not will take over the sound recording studios and live rooms to create an immersive installation featuring sound and performance.

Pop up performances and interventions taking place throughout the day include Art Scrubber presented by Glasgow based performance artist Kate Clayton and Jane Fondue and the Raclettes offering making and creating workshops for all ages.

Food and drink is available all day from Platform’s cafe bar with pop up food from Soul Food Sisters.


#Outskirts Festival

Saturday 28 April

3.30pm – late

£10 / £7.50

Under 16s free / / 0141 276 9696 (opt 1)

Platform is running a return bus from Mono, Kings Court to the Outskirts festival. Please pre book to ensure a space – either purchase your £5 ticket from Mono in person or email to reserve your place.

Platform, 1000 Westerhouse Road, Glasgow, G34 9JW

Image: Julia Bauer

NEWS: Grease is back! 40th Anniversary Re-Issue in cinemas April 19th

One of the world’s best-loved movie musicals is back to celebrate its 40th Anniversary and will be screened at Cineworld’s three Glasgow sites on April 19th.

It’s 1958, summer is over and the hormonally-charged seniors of Rydell High are reluctantly returning to school, ready to fall back in with old friends and trade stories of the previous months’ conquests. Danny Zuko, leader of a local greaser gang called the T-Birds, brags to his crew about nights of passion spent on the beach with a mystery girl.

Elsewhere, sweet Sandy Olsson – the new girl in town – is taken under the wing of the no-nonsense Pink Ladies and shares fond memories of a brief romance with an unknown sweetheart. When it turns out that Danny and Sandy’s mismatched tales are about each other, Sandy is humiliated and Danny has to win her back.

To do so, he’ll have to negotiate all of the romantic rites of passage a teenager in America’s golden age could imagine: jiving school dances, awkward drive-in movies, deadly drag-races and the looming threat of graduation.

The much-loved classic is back and will be screening at Cineworld 7 Renfrew Street, G2 3AB, Glasgow, Forge Shopping Centre, 1221 Gallowgate, G31 4EB, Glasgow and Silverburn Shopping Centre, 763 Barrhead Road, G53 6AG, Glasgow on April 19th at 8pm.

Details here:

Images courtesy of Park Circus/Paramount


Oliver Mears, Director of Opera at The Royal Opera, directs a new production of Tchaikovsky’s Eugene Onegin to close Scottish Opera’s 2017/18 season.

This sweeping tale of unfulfilled love opens in Glasgow on April 27 before touring to Aberdeen, Inverness, Edinburgh and Belfast.

Not heard on Scottish Opera’s main stage since 1993, Tchaikovsky’s soaring score is the most radiant of Russian lyric operas. Adapted from Pushkin’s classic verse novel, Eugene Onegin is a deeply moving tale of unrequited love and high society life. When Tatyana, a young country girl, is introduced to the arrogant Eugene Onegin, she is besotted and confesses her love, only to be rejected and humiliated. Onegin flirts with Tatyana’s older sister Olga, who’s engaged to Vladimir Lensky, Onegin’s only friend, setting off a series of tragic events.

Scottish Opera’s Music Director, Stuart Stratford conducts a cast of international talent. Award-winning Welsh soprano Natalya Romaniw (Rusalka 2016) sings Tatyana, and former Jette Parker Young Artist Samuel Dale Johnson (The Marriage of Figaro 2016) is Eugene Onegin. Peter Auty (Flight 2018) is Vladimir Lensky and former Scottish Opera Emerging Artist Sioned Gwen Davies (Flight 2018) is Olga. Scottish Opera Emerging Artist Alexey Gusev (Iolanta 2017) sings the role of Captain.

Joining Oliver Mears’ team is award–winning set and costume designer Annemarie Woods, lighting designer Fabiana Piccioli and former Scottish Ballet Artistic Director, choreographer Ashley Page. Eve Mutso, former Principal Dancer with Scottish Ballet, is the Dancer.

Also appearing in the production is George, a 7-year-old cob, who makes his stage debut as Onegin’s horse.

Oliver Mears said: ‘Onegin has everything: breathtaking music, heart-rending poetry, and the drama of passionate characters who live and breathe as we do. With its richly poetic atmospheres and endlessly inspired melodic invention, the opera is one of the greatest Russia has to offer – and, like an apparition from the past, once heard this beautiful opera haunts our dreams. We are lucky to be making this production with an outstanding cast of mainly young singers who will bring all of their energy and commitment to Tchaikovsky’s great score.’

Stuart Stratford added: ‘Onegin is the most iconic of Russian operas and is the one held in highest affection by all Russians. It has a unique blend of the lyric and dramatic and features one of the greatest scenes ever written for soprano. Tatyana is a complex and vulnerable character and we are fortunate to have rising star, Natalya Romaniw, giving her interpretation to a role with which she is already closely associated. Onegin is a piece I know really well, having studied it as a student in St. Petersburg. Every time I return to it, the music still feels fresh and I am always in awe of the emotional depth that it provides.’

Those who wish to discover more about how the production was created can attend Eugene Onegin Unwrapped, one-hour tasters delving further into the show, as well as Pre-show Talks. Audience members with visual impairments can enjoy the full opera experience at audio-described performances, which have a live commentary describing the action on stage without compromising the music.

Theatre Royal Glasgow, 282 Hope Street, Glasgow G2 3QA

Fri 27 Apr, 7.15pm

Sun 29 Apr, 3pm

Thu 3 May, 7.15pm

Sat 5 May, 7.15pm


Eugene Onegin Unwrapped

Wed 2 May, 6pm

Eugene Onegin Pre-show Talk

Sat 5 May, 6pm

Eugene Onegin Touch Tour

Sat 5 May, 6pm

Eugene Onegin Audio-described performance

Sat 5 May, 7.15pm


Three 15-minute operas, composed by the winners of Opera Sparks –  the competition launched in 2016 to find Scotland’s most talented young composers and writers – are being performed by Scottish Opera’s Connect Company in April in celebration of its 10th anniversary, and as part of the Year of Young People 2018.

Connect, Scottish Opera’s youth company for 16 to 21 year old singers, instrumentalists and stage managers, joined by professional soloists Lise Christensen and Hazel McBain, will take to the stage on Saturday 7 April, at 2pm and 7pm, to perform Maud by composer/librettist Henry McPherson; Little Black Lies by composer/librettist team Matthew Whiteside and Helene Grøn; and Then To The Elements by Lewis Murphy and Laura Attridge. Olivia Fuchs directs, with designer Karen Tennent transforming SWG3’s newest venue, Galvanizers, a 6000 square foot warehouse into an exciting performance space.

The winners, announced in January 2017, were awarded a commissioning fee of £3,500 and receive mentoring support throughout the creative process.

Maud by Henry McPherson, founding member of Glasgow-based artists’ collective Crosslines, is a modern retelling of a traditional folk tale. Little Black Lies, composed by Glasgow-based Matthew Whiteside, explores the stories we tell ourselves in order to cope better with reality, and has a libretto by Danish playwright and poet, Helene Grøn. Then To The Elements takes its inspiration from Frankenstein, and is a modern tale of parenthood written by Lewis Murphy, graduate of the Royal Conservatoire of Scotland and a Glyndebourne Young Composer in Residence, and Laura Attridge, a director and writer from Glasgow.

Open to young composers who are Scottish or based in Scotland, the Opera Sparks entries were judged by a panel consisting of Derek Clark (Scottish Opera’s Head of Music), Olivia Fuchs (Opera Director), Christopher Gray (Director of Scottish Opera’s Connect Company) and Stuart Stratford (Scottish Opera’s Music Director), with Scottish Opera’s General Director, Alex Reedijk, as convener.

Jane Davidson, Scottish Opera’s Director of Outreach and Education, said: ‘It is very exciting for Connect to be able to celebrate its 10th anniversary in April, coinciding with the 2018 Year of Young People, with three new commissions by talented young composers and librettists. Over the past 10 years, we have invited over 500 young people from all over Scotland to experience being part of Scotland’s only opera programme for young people, as part of our commitment to creating a lasting legacy for the future of the artform.

‘The Opera Sparks trilogy will be the last conducting role for Connect’s outgoing director Chris Gray. He has spent the past 10 years nurturing, inspiring and challenging young musicians to achieve the best possible results in a learning environment that perfectly balances minimum levels of pretension with maximum levels of fun and enjoyment – all underpinned by a great deal of hard work and commitment.’

Olivia Fuchs said: ‘Opera Sparks is made up of three little gems, all very different and written in diverse musical languages.  A common thread links them thematically, however, as they explore the psychological journeys of individuals having to deal with the complexities of our contemporary world.

Performed by a talented group of young people, audiences will be immersed in a magical world of storytelling in the atmospheric Galvanizers warehouse.’

The Year of Young People 2018 is a year-long programme of events, activities and ideas to celebrate the young talents, personalities and achievements of those aged eight to 26.

Performance Diary


Galvanizers, SWG3, 100 Eastvale Place, Glasgow G3 8QG

Saturday 7 April, 2pm and 7pm

Tickets are available through TicketWeb


By phone: 0844 477 1000

NEWS: Brand-new production celebrating the life of Mary Shelley to tour Scotland this spring

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.

Directed by Peter Clerke and written by Stewart Ennis, The Monster and Mary Shelley is an atmospheric, moving, and at times darkly comic exploration of fear.

June 1816 – the year without a summer. At the age of 18, having recently watched her premature baby die, Mary Shelley has a ‘waking dream’ and begins to write a story that will haunt and define her for the rest of her life.

An atmospheric, moving, and at times darkly comic exploration of fear, incorporating elements of music hall, melodrama, horror and teenage rebellion with a pulsing contemporary cinematic score, The Monster and Mary Shelley explores the life of this celebrated author – the Gothic Girl who electrified the world.

The production opens at the Tron Theatre in Glasgow on Friday 20th April, with an additional performance on Saturday 21st April. Following performances at The Tron the show will tour to Platform, Glasgow (Wed 25th Apr), Macrobert Arts Centre, Stirling (Thu 26th Apr), The Byre Theatre, St. Andrews (Wed 2nd May), Beacon Arts Centre, Greenock (Thu 3rd May), Eastgate Theatre and Arts Centre, Peebles (Fri 4th May), The Brunton, Musselburgh (Sat 5th May), Mull Theatre, Tobermory (Mon 7th May), Skye Theatre – Sabhal Mòr Ostaig, Isle of Skye (Wed 9th May), Universal Hall, Findhorn (Fri 11th May) and Lyth Arts Centre, Wick (Sat 12th May).

The Occasion Theatre’s Co-Artistic Director Peter Clerke directs. Peter studied at the Ecole Philippe Gaulier in Paris and was a founder member and Co-Artistic Director of benchtours (1991 – 2009) directing or performing in all of their productions. He was also Co-Founder and Artistic Director of Lung Ha’s and spent five years at Edinburgh’s Theatre Workshop. From 2009 – 2015 he was the Artistic Director of Blue Apple Theatre, Winchester, one of Southwest England’s leading learning disability arts organisations.

Peter said:To create a work around the life of Mary Shelley has been a process of mining a rich, deep vein. While the many excitements and joys of her life were always paralleled with sadness and loss, Mary Shelley never lost sight of her beliefs in human dignity, equality and libertarianism. She was a woman many years before her time and maintains a striking resonance in the present day. We have tried, throughout, to make a work that both celebrates her life, whilst also reflecting her continued relevance to the 21st century.” He added: As a company, The Occasion is very excited to be touring this show to communities across Scotland, from the Borders to Caithness, from Renfrewshire to Fife. We strongly believe in making theatre which is accessible to all. This tour very much realises our ambitions and we greatly look forward to welcoming audiences, throughout the country, to spend a night with Mary… and her Monster.”

The Monster and Mary Shelley is written by Stewart Ennis. Stewart was a founding member of benchtours and has worked with many Scottish theatre companies. Originally trained as a performer at East 15 and the Ecole Philipe Gaulier, he is also Creative Writing tutor at HMP Shotts. Other plays include, The Dark Room, The Taking of Zena Charbonne, One Straight Line, and Robert Burns Celtic Complex. His first novel, Blessed Assurance will be published by Vagabond Voices in September 2018. Stewart said: ” ‘My workshop of filthy creation’ is how Victor Frankenstein describes the room where he assembles his creature. Appalled that his creation is not as beautiful as he had imagined, and failing to recognize its heart and soul, he immediately abandons his ‘catastrophe’. If the show that we have created for you in our ‘workshop’ is not always beautiful, that will be no catastrophe, but I do hope that it will have heart and soul.”

Catherine Gillard plays Mary Shelley. Catherine studied at Sydney Acting School and the Ecole Philippe Gaulier in Paris. She was a founder member and Co-Artistic Director of benchtours (1991 – 2009). Recent projects include Kill Me Now (Melanie Stewart Dance Theatre/Philadelphia Live Arts Festival), Apocalypse and The Taking of Zena Charbonne (The Occasion).

Richard Williams composes. Set and costume design is by Ali MacLaurin with Lighting Design by Paul Froy.

Tour Dates and Listing information

The Monster and Mary Shelley

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.

Fri 20 – Sat 21 Apr

Tron Theatre, Glasgow


Tickets: £11/£8.50 conc.

Box Office: 0141 552 4267


Wed 25 Apr

Platform, Glasgow


Tickets: £8.50/£5 conc./£4 Local Links

Box Office: 0141 276 9696


Thu 26 Apr

Macrobert Arts Centre, Stirling


Tickets: £12.50/£10.50 conc./£5.50 students

Box Office: 01786 466 666


Wed 2 May

Byre Theatre, St. Andrews


Tickets: £12/£10 conc.

Box Office: 01334 475000


Thu 3 May

Beacon Arts Centre, Greenock


Tickets: £12/£10 conc.

Box Office: 01475 723 723


Fri 4 May

Eastgate Theatre & Arts Centre, Peebles


Tickets: £14/£12/£16 U15s


Sat 5 May

The Brunton, Musselburgh


Tickets: £13.50/£11.50/£8.50 U18s


Mon 7 May

Mull Theatre, Tobermory


Tickets: £10/£8


Wed 9 May

Skye Theatre, Isle of Skye


Tickets: £14/£12 Members/£7 Students and Young People/Seasons Free


Fri 11 May

Universal Hall, Findhorn


Tickets: £12/£10 Concs./£8 U16s


Sat 12 May

Lyth Arts Centre, Lyth


Tickets: £14/£12/£6

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