Tag Archives: Beacon Arts Centre

NEWS: Tally’s Blood to tour again after twenty-year hiatus

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Twenty years after it was last seen in full-scale production, The Gaiety Ayr, Perth Theatre and Cumbernauld Theatre Company are combining to present a brand-new tour of Ann Marie Di Mambro’s modern Scottish classic Tally’s Blood.

Directed by Ken Alexander, who also directed the 2003 production, Tally’s Blood will open in Perth Theatre from Thursday 21 until Saturday 30 September 2023 before touring to Beacon Arts Centre, Greenock; Cumbernauld Theatre at Lanternhouse; Eastwood Park Theatre, Giffnock; Macrobert Arts Centre, Stirling and Theatre Royal, Dumfries, concluding its run at The Gaiety from Wednesday 1 until Friday 3 November.

There is hardly a town or city in Scotland that doesn’t have its own Italian café, chippy or ice-cream parlour. And it’s in one of these much-loved establishments that the story of Tally’s Blood starts…

Lucia can wrap her aunt and uncle around her little finger, cry to order, and she doesn’t like going to school. She likes Hughie though, so much so that they seal their friendship with a secret ceremony in the storeroom of her family’s ‘Tally’ shop – aided by an illicit bottle of ‘ginger’.

Auntie Rosinella loves Lucia like all the children she never had, but will anyone – particularly a ‘Scotch’ boy – ever be good enough for the girl she loves ‘best in the whole wide world’’?

As their childhood camaraderie blossoms into romance, Lucia and Hughie face more challenges than their countries taking opposing sides in the Second World War.

Told with heart and humour, Tally’s Blood follows the lives of an Italian immigrant family in Scotland, from the 1930s through to the 1950s, in a sweeping tale of poverty, passion and prejudice that travels from the west of Scotland to the sun-baked Italian countryside.

First performed at the Traverse Theatre, Edinburgh in 1990, Tally’s Blood is a Set Text for National 5 English.

Welcoming the new tour, announced on Italian Liberation Day – 25 April 2023 – Ann Marie Di Mambro said:

“Of all the pieces I’ve written in the last 30+ years Tally’s Blood is closest to my heart. It delves into my own Scottish-Italian heritage and the stories I was told growing up. I’m very excited at the prospect of a tour marking the 20th anniversary of the last production and I’m delighted that Ken Alexander is returning to direct it once again.”

Ken Alexander said:

“I have been keen to revisit the play for some time as it has become something of a Scottish classic, known by people across the country but infrequently produced.

It is a piece that, although set between the 1930s and 1950s, has a lot of contemporary resonances – particularly those around multiculturalism and the immigrant experience, and contemporary issues that make us question what brings us together and what pushes us apart in society. However, the thing that appeals to me most is the huge heart that is contained in Ann Marie Di Mambro’s play – drawn very closely from her own family experience as Italian immigrants that settled in Scotland. Her storytelling is full of warmth, nostalgia and affection without ever being overly sentimental. Audiences can expect a rattling good story, laughter, tears and a good night out!”

Jeremy Wyatt, Chief Executive of The Gaiety said:

“Tally’s Blood is about a key part of Scotland’s history, and the strong bond between Scotland and Italy.  And it’s also about the immigrant experience so it’s about Scotland’s present too. On top of that it’s funny, with a dash of romance.  No wonder it has a special place in the hearts of so many people I speak to.”

Fraser Morrison, Creative Producer at Cumbernauld Theatre said:

“At Cumbernauld Theatre we recognise the strengths of working in partnership and are delighted to join forces with Perth Theatre and Ayr Gaiety. This powerful and poignant play immediately captured our attention as it explores key themes that are not only relevant to our modern society today, but also resonate deeply with us as a Scottish community. We are confident that this story will strike a chord with our local audience who appreciate stories rooted in truth and authenticity, and who value the power of connection. Furthermore, this collaboration provides a unique opportunity for school groups to engage with our Creative Learning programme alongside this work, and for the general public to enjoy a modern Scottish classic. We look forward to embarking on this exciting journey with our partners and sharing Tally’s Blood with audiences across Scotland.”

Nick Williams, Chief Executive of Perth Theatre and Concert Hall said:

“We’re delighted to be working in partnership with our friends at The Gaiety and Cumbernauld Theatre Company to bring Tally’s Blood to the stage again. Twenty years since it last toured, I’m sure that Ken Alexander’s new production will provoke warm memories from its many fans and resonate with a new generation of young theatre lovers who are just discovering this poignant love story with its enduring themes and relatable characters.”

Tickets for Tally’s Blood will go on sale this summer, with further information and cast announcement to follow.

REVIEW: Scottish Opera Orfeo & Euridice – Beacon Arts Centre, Greenock

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Gluck’s innovative, influential and hugely popular Orfeo & Euridice is the latest production from Scottish Opera’s Young Company.

Scottish Opera – Orfeo & Euridice © Julie Broadfoot

Following Gluck’s own lead, (he produced three versions of this work to suit the differing tastes of the audiences it was presented to and the voices singing it: Vienna 1762, Parma 1769 and Paris 1774) the company presents its own English language version for its young cast. Starting with the original Viennese version, it splits the role of Amore into three mischievous Cupids and Amore’s Act 1 aria is re-arranged for trio and chorus. It utilises Euridice’s Act 2 aria from the Paris version but with chorus and Gluck’s famous ballet music features the entire company.

Scottish Opera – Orfeo & Euridice © Julie Broadfoot

This whole production is a treat for both the eyes and the ears. It takes the best of the three versions to present a ‘greatest hits’, audience-pleasing edition. Musically it is simply beautiful and the young singers lead by professionals Daniel Keating-Roberts (Orfeo) and Jessica Leary (Euridice) display immense talent and promise for the future. Keating-Roberts counter-tenor can be an acquired taste, but entirely fitting for the role. Leary is glorious sounding as Euridice.

Scottish Opera – Orfeo & Euridice © Julie Broadfoot

Visually, Finlay McLay’s design, though minimalistic, packs a punch and Roy Herd’s lighting design is simply gorgeous – atmospheric and evocative.

Scottish Opera – Orfeo & Euridice © Julie Broadfoot

At 75 minutes running time, with a familiar subject matter (the myth of Orpheus), beautiful and undemanding music, inventive design and execution, this is an ideal introduction to opera. Not only is it an impeccably staged and delivered production, the Young Company shows hope for the future of opera in Scotland.

REVIEW: The Collection – Motherwell Theatre, Motherwell

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This article was originally written for and published by The Public Reviews at: http://www.thepublicreviews.com/the-collection-motherwell-theatre-motherwell/

Writer: Mike Cullen

Director: Michael Emans

The Public Reviews Rating: ★★★½☆

Mike Cullen’s The Collection is a tale of desperation, conscience, poverty, avarice, inevitable tragedy and depressing relevance and resonance, despite being written almost twenty years ago. After ten years, Bob Lawson (Jimmy Chisholm) is at the top of his “profession”, something to be proud of you would think, well it would be, were it not for the fact that his “profession” is debt collection. But Lawson’s life is shattered forever when one of his female clients commits suicide. Charting the sordid dealings and the financially, morally and spiritually bankrupt characters who pass through the collection agency’s doors, this is a grim tale for our grim times.

The smell of testosterone and desperation hangs heavy in the air and Cullen’s work wears its influences on its sleeve: the gritty dialogue, grim humour and male egos at their worst, particularly in the interactions between the wholly repellent hard man Joe played with chilling detachment by David Tarkenter and naive new boy Billy (Tam Dean Burn) can’t help but remind one of the work of David Mamet.

The dialogue is, as expected raw, the humour black and the drama intense, however, there is an overwhelming sense of inevitability and predictability about the whole affair. The storyline, whilst compelling never fully develops: it makes no comment on the causes of debt nor does it offer any solutions or judgements, and the portrayal of women as easy victims, willing to sell themselves for “a mutually beneficial business agreement” is quite frankly, offensive.

The small cast of actors more than makes up for its faults though, and Jimmy Chisholm’s central performance as Lawson is flawless. Tam Dean Burn too, turns in a convincing portrayal of the eager to impress new employee Billy who, despite initial reservations, throws the conscience he once had to the wind, in order to impress his boss.

Nearing the end of a national tour, this company is a well-oiled machine, both the scene changes and the interactions between the actors are seamless, slick and well-honed. Entertainment it is not, rather it is an often bleak but utterly compelling portrayal of an all too real and hellishly common problem enacted by a hugely talented cast.