Tag Archives: Easterhouse

REVIEW: Sleeping Beauty – Platform, Easterhouse

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Playwright Lewis Hetherington presents a refreshing new take on the traditional tale of Sleeping Beauty at Platform this Christmas. Addressing the fact that in the regular re-telling poor beauty is either off stage or in her bed sleeping throughout most of the production. This time our “B” (Yolanda Mitchell) is a feisty teenager with an independent spirit, confined by her loving dad Jimmy (Irene Allan) (who loves to dress up and impersonate Elvis) to the family mattress shop, but B longs for bigger things and a world outside the four walls. She sneaks out every night to the local woods with her trusty dog Rocket (Itxaso Moreno) looking for adventure. There is, of course, a curse, but there’s a twist in the tale that you’ll have to go along and find out.

This is an atmospheric, engaging fairy tale where gripping storytelling is at the front and centre of the production. There are moments of real darkness and light throughout. There are also plenty of the usual panto tropes to satisfy the traditionalists: an evil queen (Jo Freer) and her sidekick (Julia Nsimba); a spooky forest; magical creatures; puns a-plenty.  It’s chock-full of familiar hits with cleverly re-written lyrics all sung by the hugely talented, fine-voiced cast. The cast are strong and cohesive and drive the action along. The fantastic set by Claire Halleran is relatively simplistic but fills the stage perfectly and looks gorgeously creepy. The set is also complemented by creative lighting by Michaella Fee. Lewis Heatherington’s Sleeping Beauty delivers throughout and serves us up the much-wanted happy ending.

The economical running time (just over an hour) is perfect to keep the tiniest audience members fully engaged and the ticket prices are affordably priced for many. This is (slightly non-) traditional storytelling at its best. Platform in Easterhouse is a true gem in the East End and the constant, consistently highly quality of their productions deserve to be seen by as wide an audience as possible, Sleeping Beauty is no exception.

Runs until 23rd December – tickets here: Sleeping Beauty : Platform (platform-online.co.uk)

REVIEW: Enough of Him – Platform, Glasgow

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Glasgow-based, writer May Sumbwanyambe’s Enough of Him is the first in a series of planned works based on the historical experiences of Black people in Scotland.

This first work is based on the life of Joseph Knight, a young Guinean man brought to Jamaica and enslaved to Sir John Wedderburn on the Ballendean Estate near Inchture in Perthshire. A young man who was, to a degree, successful in arguing that Scot’s Law could not support the status of slavery. After being inspired by the Somerset v Stewart case in 1772, Knight seeks his own freedom, culminating in his own legal battles in the 1770s.

Sumbwanyambe’s work deals less with the historically significant legal case and the cause of Abolitionism, rather the personal relationship between Knight and Wedderburn.

Played out in front of a backdrop of Alexander Nasmyth’s Landscape, Loch Katrine, atmospherically lit by Emma Jones (it breathes Jamaican fire and dreich Scottish skies in equal measure) and to an unsettling soundtrack from composer John Pfumojena, there is a discomfort that pervades the whole work, a claustrophobia and unease.

Regardless of how often Wedderburn proclaims, “my boy”, “my Joseph”, or invites Knight to dine at his table much to the chagrin of the lady of the manor, plays chess with him or discusses Plato, it is abundantly clear who is master and who is most definitely servant.

Matthew Pidgeon is flesh-crawlingly abhorrent as Wedderburn, both in his dealings with Knight and in his intimacy issues with his desperate wife (Rachael-Rose McLaren). Catriona Faint delivers a tower of strength performance as servant Annie, the object of Knight’s affection and his future wife. Crucial to the play’s success is Omar Austin’s central performance as Knight. He exudes a quiet power and dignity throughout despite walking the tightrope of his mercurial master’s emotions on a daily basis.

By no means a comfortable watch. It thrusts a mirror in our faces: on the surface there may seem to be plenty to pat ourselves on the back about Scotland’s seemingly enlightened attitude towards slavery in the 18th Century (and this triumph in the law courts) but the reality was far, far murkier.

An enlightening, unsettling, uncomfortable but masterfully written play from Sumbwanyambe. There is much to look forward to if promised works on Robert Wedderburn, James McCune Smith, Frederick Douglass, Ira Aldridge and Tom Johnson are produced.

Continues on tour to Cumbernauld, Musselburgh, and Perth.

Images: Sally Jubb

REVIEW: Rocket Post – Platform, Easterhouse

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The story of the Rocket Post (the subject of two films and this stage production) is a long-told but largely forgotten Scottish legend.

It’s July 1934 in the Western Isles and there’s a crowd gathered on a sandy beach to watch German scientist Gerhard Zucker. Zucker wants to connect the world and believes the future of communication is rockets, more specifically, rocket post. He chooses a 1600 metre flight path between the Isles of Harris and the (now) unpopulated Scarp to deliver his cargo. Zucker loads the letters, lights the fuse and… well, what could possibly go wrong? Plenty as it happens. The gunpowder fuelled rocket disintegrates into a hailstorm of singed paper confetti and he only has three days to fix it.

Revived from the original 2017 National Theatre of Scotland production, this utterly charming musical play aimed at children aged six plus, combines, to great effect: storytelling; puppetry; clever and captivating props, and a mix of songs old and new in German, Gaelic and English.

It is a story of hope and optimism, of faith in the future, traditional versus new, the status quo versus change, life at home or venturing into the big wide world as well as a subtle musing on the effect of technology that resonates down the years. Amid great scepticism and a little anti-German sentiment from the local population, Gerhard pursues his dream and along the way inspires local woman Bellag to see beyond her horizons.

The mark of success for this production is its ability to appeal to its wide-ranging audience. The smallest members are awe-struck at the storytelling and stage craft, and the writing is highly amusing and has a cleverness that has much to be appreciated by the adults. The cast (David Rankine, MJ Deans and Ailie Cohen) have a magnetism that draws you in and keeps you enthralled. Utterly, utterly charming, it leaves you with a feeling of warmth as you step out into the cold Autumn night.

Reviewed on 24 October 2022 and continues touring | Image: Contributed

REVIEW: W-hat About? – Platform, Glasgow

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An ageing Scottish hat maker is preparing for a visit from his teenaged Italian granddaughters who he hasn’t seen since they were toddlers, in Fuora Dance Project’s beautifully crafted dance drama, W-hat About?

An international, intergenerational tale of misunderstanding, memory and remembrance, it moves from awkward introductions, communication mishaps, teenage strops, ultimately to acceptance and celebration where the family members’ mutual creativity brings them together to remember the person they have loved and lost.

Played out on a simplistic but extremely imaginative set, the choreography is exquisite, expressive and eye-catching, it is also perfectly crafted to capture the imagination of the tiny audience members for whom it was created. That said, it is equally vibrant for the grown ups too. The way in which the language barrier is represented, the contrast between granddad’s lilting Scots and the rapid-fire Italian of the teenage girls is cleverly done. The use of shadow play is also hauntingly beautiful as the story reaches its conclusion.

At just 45 minutes long, W-hat About? is an exemplary piece of children’s theatre: filled with clever visuals, arresting choreography and a story that captures the hearts and minds of both young and old.

Continues on tour around Scotland.

This review was originally written for The Reviews Hub

REVIEW: The Monster and Mary Shelley – Platform, Glasgow

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The Villa Diodati near Lake Geneva. Summer, but not any old summer. This was 1816, dubbed “the year without summer”, incessant rain, thunder and lightning, cock’s crowing at noon and orange snow covering the mountainsides. Months previously Mount Tamboro in Indonesia had erupted, spewing clouds of volcanic ash northwards, but this is the 19th Century, news travels slowly, superstition, not science still abounds. These sinister, portentous happenings lend an almost supernatural aura to events at the Villa. So, when Lord Byron challenges the gathered company to write a ghost story, it is no wonder that this special set of circumstances gave birth to both John Polidori’s The Vampyre, the tale that inspired Bram Stoker’s Draculaand Mary (Godwin) Shelley’s enduring masterpiece, Frankenstein.

Celebrating the 200th anniversary of the publication of the novel, theatre company The Occasion take us on “an outlandish trip through the mind of one of literature’s most influential imaginations”. In doing so, they address the oft asked questions and rumours that have endured surrounding the writing of Frankenstein. How could a women, let alone an 18 year old, write this? It was really Percy Bysshe Shelley who wrote it. But this is no ordinary 18 year old. The daughter of feminist and philosopher Mary Wollstonecraft and philosopher William Godwin, this was a child born for greatness. A woman who, as a small child, received a tiny lectern as a present so she could join her father’s intellectual salon. Laudably, The Monster and Mary Shelley shines a light on the life of Mary. Did she write Frankenstein as a direct result of her unconventional past, or despite it? Tellingly she shouts to the monster, “you, you were the light relief”.

Stewart Ennis’ captivating script sparkles, weaving the contemporary with the classical. There’s high melodrama, horror and a huge dose of comedy. It also draws parallels between celebrity then and now, the hacks of the day following the perceived debauchery at the Villa Diodati as keenly as every move of a Kardashian. There’s also an ear-pleasing contemporary score from Richard Williams.

Catherine Gillard delivers a tour de force performance as Mary. Switching from child to teenage rebel to adult dealing with love, lust and loss. This is a well-judged piece of writing, one that will appeal to those interested in the historical events in the colourful life of Mary, and appeal to young audiences thanks to its quick, modern and witty prose. Highly recommended.

Reviewed on 25 April 2018 then touring | Image: Marc Marnie

THIS REVIEW WAS ORIGINALLY WRITTEN FOR THE REVIEWS HUB.

 

 

REVIEW: Ricky McWhittington – Platform, Easterhouse, Glasgow

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Senga McWhittington presides over the Oldie Weegie Sweetie Shoppie in dear old Glasgow town, but her son Ricky has different ambitions – he’s set to head to the bright lights of the big city. When Senga’s shop becomes over-run with vermine, all under the control of the stinky Queen Rat, Senga needs her boy back to help save the day. Helped by Fairy Gallus Alice and a cast of colourful pals, will the shop be saved, will Ricky fulfil his destiny and will Senga get her man? That’s the story of Ricky McWhittington, this year’s festive offering from Platform.

Every panto trope is here: the goodies and the baddies to cheer and hiss and boo; the rhyming dialogue; the fantastically clad panto dame ready to harass some unsuspecting (male) audience members; a young couple falling in love, some up-beat pop numbers to dance to, and the traditional ‘cloot’ so we can sing along together at the end.

This is a panto full of charm and heart and perfectly pitched to its young, local audience. The cast are universally excellent, the acting so good, the tiny audience members know exactly who to boo and hiss for from the start, and hearteningly the girls kick ass and can stand their ground against any foe.

This is a panto who knows its audience well – both child and adult friendly, the audience is fully engaged from start to end. An absolute charmer from a fantastic cast, in a wonderful theatre with the friendliest and most welcoming staff in the city.

Tickets are almost sold out, so be fast, details here: http://www.platform-online.co.uk/whats-on/event/392/

 

REVIEW: Rudolph – Platform, Easterhouse, Glasgow

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Esmerelda is one unhappy chicken, not only does she want to be called Joyce now, she’s also in no mood to provide the much needed eggs for the poor storytellers Christmas dinner – two poor storytellers who have no cards and no presents either. Esmerelda decides that she’ll only lay an egg if the pair re-tell her favourite story, that of Rudolph the famous red-nosed reindeer.

Rudolph (for pre-schoolers) is as far removed from the brash, candy-coloured pantomimes on offer around the city, this is the gentlest of storytelling, played out on a beautiful, naturalistic cottage-yard set, illuminated by the most beautiful lighting effects from Sergey Jakovsky.

While it does tend to stray on the side of the bizarre – there’s a strange ‘birthing’ sequence for Rudolph and Olive (the other reindeer) relishes her torment of poor Rudolph at reindeer school, it’s a gentle introduction into modern theatre for the tiniest of audience members.

The highlight of the night is when the only song of the evening plays from the radio Edwin Starr’s HAPPY Radio and the tiny dancers in the auditorium burst into life. The creators would do well to take note of the effect of music on young children – it speaks to their very soul. At only 45 minutes long it should fly by but it lacks the necessary life it takes to make it a real hit with its target audience, there’s a lot of restlessness around. A work of quality but not without its faults.

Runs until 17 December at various times

Tickets from £4.50 (local links) /£5/ £8.50

https://platform-online.ticketsolve.com/shows/873580110/events/128296769?_ga=2.1147190.662329583.1512841957-1557944836.1492164954

Sun 10 Dec
2:00pm—3:00pm
Tues 12 Dec
10:00am—11:00am
Tues 12 Dec
1:15pm—2:15pm
Weds 13 Dec
10:00am—11:00am
Weds 13 Dec
7:00pm—8:00pm
Thurs 14 Dec
10:00am—11:00am
Fri 15 Dec
10:00am—11:00am
Sat 16 Dec
10:30am—11:30am
Sat 16 Dec
2:00pm—3:00pm
Sun 17 Dec
2:00pm—3:00pm

REVIEW: Shrimp Dance – Platform, Glasgow

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Shrimp Dance began with conversations between dancer Paul Michael Henry and marine biologist Dr. Alex Ford. Ford had shown that Prozac levels in the rivers and coastal waters of the UK are now so high they’re affecting the behaviour of shrimp, with the creatures abandoning their dark habitat to swim up towards the light to be eaten by predators.

Henry describes it as “a great wave of human sadness sent out to sea”. Utilising Butoh dance theatre and self-composed music, Henry performs a hypnotic hour of dance drama. The themes explored are huge: ecological crisis, mental health and consumerism, yet the moves are minute and precise – the sheer range, expressiveness and emotional impact of these are a testament to Henry’s considerable skill.

Performed as part of the Scottish Mental Health Arts Festival, it opens up conversations on how mental health and its treatment can have a wider global impact and how the arts can be an avenue through which these conversations can be generated.

Utterly compelling, the astonishingly talented Henry has much to say and hopefully the dialogue will continue.

 

REVIEW: The Sunshine Ghost – Platform, Glasgow

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Loosely based on the 1935 Rene Clair film, The Ghost Goes West, The Sunshine Ghost from Richard Ferguson (the pen name of conductor and RCS guest lecturer Richard Lewis) and Andy Cannon, (founder of Wee Stories Theatre for Children) is a work in progress, a co-production between Scottish Theatre Producers and Edinburgh’s Festival and King’s Theatres. The cast of six developing the work as they tour Scotland.

It’s 1958 and love-struck US billionaire, Glen Duval buys a Scottish castle and ships it across the Atlantic for his fiancée, Hollywood astrologer Astrobeth, only to discover that the castle’s ghost refuses to be parted from his ancestral home. Mayhem ensues between Ranald the ghost, Duval’s archaeologist daughter and her soon-to-be-step-mother, including curses, ship-wrecks, a séance, a swipe at Donald Trump, and a Scottish history lesson on Bonnie Prince Charlie, via Prestonpans to the battle of Culloden!

While a work in progress, it runs at a very fully formed two and a half hours. The problem is there are just too many songs, many of them merely filler. There are no costume or set changes to cover and a fair number of them fail to advance the plot in any way. That’s not to say that they are unpleasant or unentertaining, they’re not. Most are evocative of those black and white Saturday afternoon movie musicals of the 40s and 50s, a bit cha-cha-cha and samba-like, there even seems to be a new genre invented – 1950s rap! There’s also an under the sea parody with some fabulously funny lyrics. We could however be doing with a few less songs, a greater variety of musical styles and the story moving at a faster pace.

There’s huge scope for comedy in the story and with the characters. There are some great comedic moments, especially when pianist (and composer) Richard Ferguson gets his chance to shine as the Library of Congress librarian – with comic timing like that he’s woefully underused behind the piano. It’s great fun as it is but the whole thing would be elevated if it tipped even further towards comedy.

The performances are universally solid and the set and props as they are – are cleverly utilised. It’s easy to see how this could be scaled up to a full-blown touring musical – with the rolling hills of Scotland and the castle looming in the moonlight, it could be a tartan shortbread tin of nostalgia.

With shades of The Ghost and Mrs Muir and Blithe Spirit, this has HUGE potential: it just needs a few less songs, more musical variety and more comedy and it could easily be a winner.

Production images: Eoin Carey

SEAT REVIEWS: Platform, Glasgow

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OVERVIEW:

Platform, Easterhouse is a 210 seat tiered auditorium.

There are ten main rows of tiered seats with a gallery row directly behind that separated by a rail. Two small sets of slip seats are also located on this level.

The seating is unreserved, however, this is not an issue as the sight lines from all seats in the auditorium are excellent and the size of the auditorium is such that in any seat, you feel close to the action.

The legroom is good, there is a footboard at the back of each seat to prevent kicking the one in front.

The seats are straight backed with arm rests and firmly upholstered.

IF YOU HAVE A REVIEW OF A SEAT IN THIS THEATRE PLEASE CONTACT glasgowtheatreblog@gmail.com or on Twitter @LaurenHumphreyz for your review to be added.

**PLEASE GET IN TOUCH EVEN IF THE SEAT YOU SAT IN HAS ALREADY GOT A REVIEW – WE WANT ALL OPINIONS OF THE SEAT – VIEW/LEGROOM/COMFORT/TEMPERATURE/IS SEAT OFF-SET OR DIRECTLY BEHIND ONE IN FRONT/ IS IT OK FOR TALL or SHORT THEATRE-GOERS? LET US KNOW.

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