Tag Archives: Beacon Arts Centre

NEWS: Following the success of Rapture Bites Lunchtime Theatre, Michael Emans will direct Patrick Marber’s Olivier Award nominated play The Red Lion starring Brookside’s John McArdle.

Following the success of Rapture Bites Lunchtime Theatre, Michael Emans will direct Patrick Marber’s Olivier Award nominated play The Red Lion starring Brookside’s John McArdle.

It will tour to 16 venues in Scotland ending with a week’s run at the Theatre Royal, Glasgow.

The Red Lion FC is an English non-league side that has dreams of the big time.

However, the club’s manager, Kidd, will stop at nothing to realise his own ambitions of achieving money and fame. So, when young Jordan, who ‘plays like a God’, joins the club, Kidd sees his golden opportunity.

One man stands in his way – the kit-man, Yates – club legend and footballing ‘hero’– has other ideas. A ‘Clash of the Titans’ ensues between Yates and Kidd over the future of Jordan and the football club.

Award-winning writer Patrick Marber’s hit play unfolds like a Greek Tragedy, transcending ‘the beautiful game’, in a tale of heroism, hubris and handballs!

The Red Lion offers a funny, profound and unmissable night at the theatre. Starring Emmerdale and Brookside star John McArdle, Brendan Charleson (Coronation Street) and rising young star Harry MacMullen.

Patrick Marber commented: I am thrilled Rapture Theatre are giving ’The Red Lion’ its Scottish premiere and very excited to see this terrific cast performing in a country that loves football with a passion.”

Director Michael Emans said: Having been a huge fan of Patrick Marber since I was at drama school, it is a fulfilment of a long held ambition to direct one of his plays. Patrick, in his writing combines humour, pathos and a sensitivity to the human experience that is deeply moving. When I first read The Red Lion in 2017, I knew that I had to direct it: the way Patrick used the milieu of the local football club as a microcosm of the wider world, to explore the themes of collective ethic versus individual ambition and the way the play articulated the need and desire to both be heroic and to have heroes in your life, I found to be totally compelling.

We seem to live in world of villains both political and otherwise so a play that focuses on heroes, tragic heroism and the hubris of the individual feels prescient. Like all the best tragedies it also very very funny!  I hope that audiences, like me, can fall in love with this wonderful play!”

Alongside the production Rapture will be running a series of post-show discussion panels. Rapture is working in partnership with Show Racism the Red Card (SRTRC) to help raise awareness of issues such as racism, sexism and bullying, which can still occur within the game of football.

These post-show events will offer a great opportunity to engage with community groups and audiences and promote the significant work Show Racism The Red Card undertake, as well as discussing the themes raised within the play. Rapture want to provide an insight into the philosophy, passion and behind the scenes workings of a football club.

The panels will consist of Director Michael Emans, members of the cast and invited guests from local football clubs and SRTRC.

TOUR DATES

Palace Theatre Kilmarnock Preview 8 May & 9 May 7.30pm

Brunton Theatre, Musselburgh 11 May 7.30pm

Howden Park, Livingston16 May 7.30pm

Tolbooth, Stirling18 May 8pm

Motherwell Theatre 20 May 7.30pm

Beacon Arts Centre, Greenock 23 May 7.30pm

Lanark Memorial Hall 24 May 7.30pm

Harbour Arts, Irvine 25 May 7.30pm

Eastwood Park, Giffnock 26 May 7.30pm

Village Theatre, East Kilbride, 28 May 7.30pm

Ryan Centre, Stranraer, 31 May 7.30pm

Theatre Royal Dumfries, 1 June 7.30pm

Byre Theatre, St Andrews 7 & 8 June 7.30pm

Falkirk Theatre 13 June 7.30pm

Adam Smith Theatre, Kirkcaldy 15 June 7.30pm

Theatre Royal, Glasgow 18 – 22 June 7.30pm ( matinee 22 June at 2.30pm)

NB: There will be a post show discussion lasting 30 minutes at each venue

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

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

gygyg

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.