Tag Archives: Easterhouse

WHAT’S ON: Downs With Love Scottish Tour

“Downs With Love” explores the subject of love and disability and challenges us to consider what we view to be “acceptable”. Can we accept seeing a couple – one of whom has Down’s and the other does not? Do we understand the complexities and issues surrounding love and disability? The play has been written around the performers and especially with Abi Brydon, the central actor. Cutting Edge Theatre have worked with Abi, taking her own feelings, challenges and experiences growing up with Down’s and creating a very real, moving performance around her.

“Downs With Love” tells the story of Beth, a young girl who has Down’s Syndrome. She lives a very independent life, has her routines and lives simply but happily. She is helped by a new support worker, Tracy and they soon strike up a friendship. On a Friday night, she goes to the pub to watch Mark, a local singer. Beth loves Mark but the problem is – Mark loves Tracy who loves both of them. Complex and challenging issues arise for all.

Abi is one of the students at the INSPIRE project. INSPIRE uses drama to help people who have additional support needs to become more confident, increase their self-esteem and improve their vocal abilities – all to help them be more confident in society.

WED 12 OCTOBER
Craignish Village Hall

Ardfern, Argyll, 19:30
In person: Ardfern Village Store
Venue Access Info here
FRI 14 OCTOBER
FTH Theatre, Falkirk, 19;30
01324 506850
Venue Access Info here
Tickets here

SAT 15 OCTOBER
Platform, Easterhouse, Glasgow, 14:00
0141 276 9696 (Option 1)
Venue Access Info here
Tickets here

TUES 18 OCTOBER 
Byre Theatre, St Andrew’s, 18:30
01334 475000
Venue Access Info here
Tickets here

WED 19 OCTOBER 
The Studio Edinburgh, 19:30
0131 529 6000
Groups 8+ 0131 529 6005
Venue Access Info here
Tickets here

THURS 20 OCTOBER
Lemon Tree, Aberdeen
Performing Arts 19:00
01224 641122
Venue Access Info here
Tickets here 

FRI 21 OCTOBER
Cumbernauld Theatre at Lanternhouse, 19:30
01236 732 887
Venue Access Info here
Tickets here

SAT 22 OCTOBER
The Brunton, Musselburgh, 19:30
0131 653 5245
Venue Access Info here
Tickets here

TUES 25 OCTOBER
Beacon Arts Centre, Greenock, 19:30
01475 723723
Venue Access Info here
Tickets here

WED 26 OCTOBER
CatStrand, Castle Douglas, 19:30
01644 420374
Venue Access Info here
Tickets here

THURS 27 OCTOBER
Eastwood Theatre, Giffnock, 19:30
0141 577 4956
Venue Access Info here
Tickets here

FRI 28 OCTOBER
CentreStage, Kilmarnock, 19:30
01563 551505
Venue Access Info here
Tickets here

SAT 29 OCTOBER 
East Kilbride Arts Centre, 19:30
01355 261000
Venue Access Info here
Tickets here

WED 2 NOVEMBER
Northern Stage (Stage 3), Newcastle,

19:30
0191 230 5151
Venue Access Info here
Tickets here

 

WHAT’S ON: Sleeping Beauty at Platform this festive season

Family friendly and packed full of fun, Platform presents a brand-new production of Sleeping Beauty – from the creative team behind the celebrated, sold-out festive show Mother Goose Fae Easterhoose­! Expect jokes, songs and raucous storytelling as everyone gets in the festive spirit and ready for Christmas!

Created for everyone over the age of 5, Sleeping Beauty takes place in ‘Mattress World’, where Big Jimmy is the King of Low Prices!  Jimmy likes to dress as Elvis to entertain the customers, but really, he’s doing it all for his daughter Beauty – just don’t call her that! She goes by B and likes nothing better than exploring the wild woods with her dog Rocket!

They seem to have everything sorted…until it emerges that an evil curse has been put on B – and life as the family know it is threatened. Will B, Big Jimmy or Rocket save the day in time for Christmas?

Book your seat for this December and come and find out!

TICKET INFO HERE

**FOR GROUP BOOKINGS PLEASE CONTACT ZARA@PLATFORM-ONLINE.CO.UK / PRE-ORDERED GOODY BAGS AVAILABLE FOR GROUPS**

Images: Iain McLean Photography

WHAT’S ON: SUPERFAN explores the physical as they take new production Stuntman on tour this Autumn

SUPERFAN are touring Scotland this Autumn with their new production of Stuntman, an
explosive physical performance by two men exploring the relationships between violence and masculinity through stunts and satire. Taking inspiration from classic and contemporary action movies such as Die Hard and John Wick to create high-octane and sometimes ridiculous fight scenes, Stuntman examines the impact that having action-hero role models has on men and boys.

He says they made my hands into bombs.

I’m waiting for him to say ‘you don’t have to do this, it’s ok. You don’t have to do this.’
Instead he says, ‘Jump on the spot. You’re shaking. We can’t let them see that you’re shaking.’

A striking, film set-inspired design by Rachel O’Neill, with sound by Richy Carey and lights from Michaella Fee, will immerse the audience in the excitement of the heightened, cartoonish fights and draw us into the performers’ personal stories of their experience with violence and aggression. With hard-hitting and entertaining theatrics, performers David Banks and Sadiq Ali introduce an up-close and personal look into their lives in an intensely physical, funny, and tender duet from men who wrestle with their relationship to violence – both onscreen and off.

Set in traverse, the audience are front and centre of the action; an intimate yet explosive duo performance juxtaposes the anger, rage, and hype that men can feel on the brink of a fight with the calm softness and tenderness of not wishing to be violent. Exploring both the heightened expectations and gentleness in human nature and masculinity, Stuntman provides the grey area and internal battle presented.

Adrenalin, tension and laugh-out-loud moments allows the audience to consider the themes of this work while watching an entertaining piece of highly physical theatre, taking away some food for thought around their relationship to violence in the media and how it influences our lives. Fusing the Pow! Biff! and Wallop! of over-the-top stunt fights with personal stories of real encounters with violence from the performers’ lives, Stuntman is for anyone who has ever enjoyed a violent action movie (but maybe felt a bit weird about it).

Director Pete Lannon says, “I’m really excited for audiences to see this new version of the show, after our 2020 tour being cancelled. The themes at the heart of it, of the complicated and painful relationships men have with violence, feel like they’ve only become more relevant in the last couple of years. I hope that we can invite people to think about it from a slightly different perspective, and also have some fun – there’s a lot of joyful silliness in the show too.”

Stuntman
Dates:
Friday 23rd – Saturday 24th September Platform, The Bridge, 1000 Westerhouse Road,
Glasgow, G34 9JW
https://www.platform-online.co.uk

Sunday 2nd October Beacon Arts Centre, Custom House Quay,
Greenock, PA15 1HJ
https://www.beaconartscentre.co.uk

 

WHAT’S ON: THE TIME MACHINE AT PLATFORM

A group of feminists sit in a hidden shelter preparing for the worst. When a member of the group brings something unexpected below ground, they begin to question what they really think the future of humankind will be.

A Time Traveller arrives in the year 802,701 and is discovering for themselves H.G Wells’ vision of what has happened to human beings.

Deeply comedic, poignant and relatable, Jordan and Skinner’s THE TIME MACHINE tells the story of what it means to face the worst-case-scenario through a female and non-binary lens. Directed by Caitlin Skinner and starring Amy Conachan, Melanie Jordan, Gabrielle Monica Hughes and Itxaso Moreno, it asks us how we imagine our futures, whether ours are different from those of the past – and if there is a feminist future, what does it look like?

PLATFORM – EASTERHOUSE

Friday 7 October – Saturday 8 October, 7:00pm / 3:00pm
https://www.platform-online.co.uk/whats-on/event/887

REVIEW: W-hat About? – Platform, Glasgow

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

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

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

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

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

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

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