Tag Archives: Glasgow

NEWS: Tramway announces autumn season

Tramway returns this Autumn with a vibrant, diverse, and dynamic programme from renowned international artists, experimental performers closer to home from the theatre and dance worlds, and a spectacular exhibition programme. Performances promise something for everyone, from dance and experimental theatre fans, to art lovers, families, and the local community, on their streets.

There’s an ambitious international strand across programming. The venue is hugely excited to bring renowned French artist and set designer Phillipe Quesne to Glasgow with Farm Fatale (7 October); a magical post-human parable featuring five scarecrows, and offering a deeply topical ecological message in poetic form.

Meanwhile, Australian artists Club Ate present a colossal artwork, IN MUVA WE TRUST, which will be projected onto Tramway’s façade from The Hidden Gardens on Friday 28 October, presented as part of an evening experience which also includes a live DJ set, and Cade and MacAskill’s highly acclaimed The Making of Pinocchio, which will be performed on both 28 and 29 October. The Glasgow-based duo can expect a warm homecoming for this true tale of love and transition told through the story of Pinocchio.

The season is packed with exhilarating performance moments, including UTOPIAN (T&Cs apply) by Symoné (Saturday 24 September). Described as a surrealistic circus, and a queer-positive experience ‘inspired by raves and power play’, it also promises – according to one delighted reviewer, ‘a buzzing club atmosphere, amazing visuals and exceptional circus skills.’

The international strand is picked up again in Tramway’s main gallery, with a solo exhibition by Polish artist Iza Tarasewicz. She utilizes raw materials and rural systems of production to create complex spatial installations that draw connections between cellular, social, agricultural, and celestial interactions. Polish dancer and choreographer Pawel Sakowicz will present a new work responding to the forms and rhythms of the exhibition, in the gallery at its preview on the evening of 7 October (and again on Saturday 22 October, and Saturday 5 November).

Ahead of this, Tramway is delighted to present a new exhibition of work by the Glasgow artist Norman Gilbert (1926-2019) who lived and worked in Glasgow’s southside for over sixty years, painting intimate, domestic scenes of his wife Pat, their four children and an extended family of friends and neighbours.

Gilbert’s vibrant and formally diverse paintings are characterised by bold, inventive colour palettes and flat areas of vivid pattern which sit next to one another in exuberant combinations. Along with his paintings, the exhibition includes black and white studies, as well as textiles, objects, and ephemera from the artist’s studio. His exhibition previews on Friday 2 September.

Pagrav Dance Company will kick off the performance season and continue the Tramway Beyond Walls strand on Saturday 3 September, with a free people-pleasing show devised by Urja Desai Thakore and Hetain Patel: Deva, performed outside the southside’s Langside Hall, playfully challenges myths and expectations of the South Asian body through Indian dance.

Expect more outdoors fun from procession performance STRUT Kids by MHz (Wednesday 5 October) while back indoors Tramway favourites Barrowland Ballet will entertain across the generations with a programme of live and filmed dance performances created within the local community (5 and 6 November).

More shows to look out for include the Artist Voice showcase (Saturday 19 November) from Project X Dance, champions of platforming Artists of Colour; and White and Givan’s exquisite dance performance Worn (Friday 11 November), which explores how the body is affected by the experiences, marks and scars that make us.

Jenny Crowe, Tramway Senior Manager, said: “We’re excited to present an ambitious Autumn and Winter programme featuring the very best international and homegrown artists across dance, performance and visual art. Our Tramway Beyond Walls programme continues with Deva, and the dazzling STRUT Kids, taking performance direct to local audiences, whilst our exhibition programme includes Iza Tarasewicz’s mesmerising large-scale installations and Norman Gilbert’s paintings providing an intimate snapshot of Glaswegian family life.”

September – November 2022 at Tramway and across Glasgow. Visit tramway.org for booking information.

 

(PART OF TRAMWAY BEYOND WALLS)

Najma Hussein Abukar – Conversations about Art and Exile

Outdoor sites across the Southside of Glasgow

29 August – 25 September 2022

FREE

An outdoor photographic exhibition investigating the experiences of Scotland-based artists in ‘exile,’  recounting their lived experiences and aspirations.

 

 

(PART OF TRAMWAY BEYOND WALLS)

Pagrav Dance Company – DEVA

Outside Langside Halls, Shawlands

Saturday 3 September

Performances at 12 noon and 2pm

FREE
ALL ages

 

Symoné presented by Scissor Kick – UTOPIAN (ts & cs apply)

Tramway, 25 Albert Drive, Glasgow G41 2PE

Saturday 24 September

7.30pm

£8/6

Ages 16+

(PART OF TRAMWAY BEYOND WALLS)

MHz – STRUT KIDS
Outdoor performances across Southside streets
Wednesday 5 Oct, times and routes to be announced
FREE
Outdoor dance procession STRUT returns to Glasgow this autumn, and this time it’s the kids’ turn to
strut their stuff and show us their moves, as theatre makers MHz work with local schools.

 

Philippe Quesne – Farm Fatale

Tramway, 25 Albert Drive, Glasgow G41 2PE

Friday 7 October, 7pm

£12/9

Ages 12+

 

Pawel Sakowicz (live performance)

Tramway, 25 Albert Drive, Glasgow G41 2PE

Friday 7 October, Saturday 22 and Saturday 5 November, various times

FREE

 

Cade and MacAskill – The Making of Pinocchio

Tramway, 25 Albert Drive, Glasgow G41 2PE

Friday 28 and Saturday 29 October, 7.30pm

£10/7*

Ages 16+

A true tale of love and transition told through the story of Pinocchio – and a theatrical and cinematic spectacular.

 

Club Ate – IN MUVA WE TRUST

Tramway (The Hidden Gardens), 25 Albert Drive, Glasgow G41 2PE

Friday 28 October, from 9.30pm

£3/2*

Ages 12+

*Discounted double bill tickets are available for The Making of Pinocchio and IN MUVA WE TRUST (28 October only) £11/8

 

Barrowland Ballet presents

Tramway, 25 Albert Drive, Glasgow G41 2PE

Saturday 5 November, 7pm

Sunday 6 November, 3pm

£3
ALL ages

 

White and Givan – Worn

Tramway, 25 Albert Drive, Glasgow G41 2PE

Friday 11 November, 7.30pm

£8/6

Ages 12+

 

Project X Dance – Artist Voice 2022

Tramway, 25 Albert Drive, Glasgow G41 2PE

Saturday 19 November, 7pm

£5/3

 

 

EXHIBITIONS

 

Norman Gilbert

Tramway, 25 Albert Drive, Glasgow G41 2PE

Saturday 3 September 2022 to Sunday 5 February 2023

Preview 2 September

A major retrospective of the Glasgow South Side artist Norman Gilbert (1926-2019).

 

Iza Tarasewicz

Tramway, 25 Albert Drive, Glasgow G41 2PE

Saturday 8 October 2022 to Sunday 29 January 2023

Preview 7 October (including live performance by Pawel Sakowicz)

The first solo show in Britain for the renowned Polish artist traces her own agricultural origins

 

 

WHAT’S ON: Chichester Festival Theatre’s landmark production of South Pacific comes to Glasgow

Julian Ovenden and Gina Beck reprise their roles from the Chichester Festival Theatre production and lead a sensational cast of over thirty including Rob HouchenJoanna Ampil and Sera Maehara. Featuring a full orchestra, this ravishing musical is set to be the must-see theatrical event of the year.

Boasting one of Rodgers & Hammerstein’s most memorable scores, this much-loved Tony and Pulitzer Prize-winning musical features songs such as Some Enchanted Evening, I’m Gonna Wash That Man Right Outa My Hair and Bali Ha’i.

Music by Richard Rodgers

Lyrics by Oscar Hammerstein II

Book by Oscar Hammerstein II and Joshua Logan

Adapted from the Pulitzer Prize-winning novel Tales of the South Pacific by James A. Michener.

Live at:

Theatre Royal Glasgow

Tue 4 Oct – Sat 8 Oct 2022

WHAT’S ON: SCOTTISH PREMIERE AND FIRST FULLY-STAGED UK PRODUCTION OF GROUNDBREAKING OPERA AINADAMAR TAKES PLACE THIS OCTOBER

On 29 October, the Scottish premiere and first fully-staged UK production of Ainadamar takes place at Theatre Royal Glasgow, before transferring to Festival Theatre Edinburgh in November.

Ainadamar, (the Spanish pronunciation of the Arabic name ‘Ayn al-dam’, meaning ‘The Fountain of Tears’), by Argentinian composer Osvaldo Golijov and acclaimed American librettist David Henry Hwang, explores the life and work of playwright and poet Federico García Lorcawhose anti-fascist stance and open homosexuality led to his death in 1936 at the hands of Franco’s Nationalists during the Spanish Civil War.

Combining opera with flamenco dance and song, this new co-production with Opera Ventures (Breaking the Waves 2019 and Greek 2017), Detroit Opera, The Metropolitan Opera and Welsh National Opera, is directed by Olivier Award-winning choreographer and director Deborah Colker and designed by Jon Bausor. Known for her intensely physical dance work with Cirque du Soleil and the 2016 Olympics Opening Ceremony, as well as her own Companhia de Danca, Deborah is making her much-anticipated opera directorial debut.

Scottish Opera Music Director Stuart Stratford conducts the internationally celebrated mezzo-soprano Samantha Hankey in the role of Lorca. The story, which reimagines the political drama of the early 20th century, centres around Lorca, his muse Margarita Xirgu, sung by Lauren Fagan, and her student Nuria, sung by Julieth Lozano.

Director Deborah Colker said: ‘I believe I do like challenges. After so many creations, I find myself facing my first opera ever, and this fascinates and challenges me. Quoting the composer Richard Wagner, opera is the total art work.

Ainadamar is about love, freedom, friendship and death. Reflecting the intense Spanish spirit, the characters journey through memory, delirium and reality. I felt committed to Lorca’s poetry and to the idea of consecrating his history. Through the music created by Golijov, fulfilled with the Spanish spirit, I brought the soul and vitality of flamenco.

‘The relevance and contemporaneity of Lorca’s poetry is impressive. Lorca lingers through the centuries: born in the 19th century, dying in the 20th century and influencing us with his poetry in the 21st century. Ainadamar shows through its characters that the poetry and the struggle will perpetuate through time.’

Composer Osvaldo Golijov said: ‘I loved witnessing Deborah Colker’s gestation of this thrilling new production of Ainadamar. Her vision, together with Stuart Stratford’s kinship with Deep Song (cante jondo, traditional Andalusian music), the musical roots of Ainadamar, have revealed to me new dimensions in the opera.’

Those who wish to discover more about how the production was created can attend Ainadamar Pre-show Talks, which delve into the detail of the opera. Tickets are free but should be booked in advance. Audience members with a visual impairment can enjoy the full opera experience at Audio-described performances, which have a live commentary describing the action on stage without compromising the music. There are also free Touch Tours of the set, and a live audio introduction before the start of the performance.

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: Educating Rita – Theatre Royal, Glasgow

There’s an undeniable affection for Willy Russell’s 40-year-old, Pygmalion-like drama Educating Rita, from the great British theatre-going public. Originally commissioned by the Royal Shakespeare Company and staged at what is now the Donmar Warehouse, it saw a much-loved and much-lauded film adaptation in 1983 starring Julie Walters and Michael Caine.

The story of 26-year-old, married, Liverpudlian hairdresser Rita (actually Susan) and her foray into the world of academia on an Open University course, and her tutor Frank, a career academic faded and jaded by university life, seeking solace in drink, this OU tutorship paying nicely for his alcoholic fix. Each feeds from the other: Rita’s world expands as she is exposed to the bohemian lifestyle of the students and Frank is energised by Rita’s lust for life. Each shines a light on the other: some truths are exposed, some assumptions shattered and inevitably, both Rita and Frank undergo changes, not necessarily for the better.

Four decades on (admittedly with a bit of updating from Russell himself for the 21st Century and this 40th anniversary tour) it still feels relevant, maybe depressingly so. Is it really still as hard for working class women, or those living in poverty to better themselves as it was in 1980? The ‘them and us’ world so prevalent then, is frighteningly familiar today.

Jessica Johnson and Stephen Tompkinson reprise their roles from the last national tour. Tompkinson’s natural hang-dog expression is perfectly suited to the world-weary Frank and he has time and time again proved himself to be one of the country’s most adept stage actors. Johnson’s Rita (Susan) is hugely likeable but her accent wavers frequently and her projection is such that it leaves you straining to hear much of her dialogue. That said, it is deservedly a British theatre classic, and still well worth watching.

Image: Robert Day

This post was originally written for The Reviews Hub

 

NEWS: The Glee Club Go Bananas to Mark First Anniversary

The Glee Club Glasgow served up a slice of comedy gold last night at their eagerly awaited first birthday bash. An edible pair of The Big Yin’s ‘big banana boots’ took centre stage and proved to be the icing on the cake at the popular comedy club’s celebratory show.

Guests were able ‘to fill their boots’ with slices of the eye catching life-size birthday cake which was created by award-winning Scottish cake designer 3D cakes. Handcrafted from toffee sponge and airbrushed to depict detail, the comedy cake was the brainchild of The Glee team who voted Billy Connelly’s famous fruity booties their favourite Scottish comedy icon.

A stellar line-up of Scottish comics entertained the crowd throughout the evening, including the award winning Mark Nelson, the hilarious Christopher KC and Ashley Storrie and up and coming stars Christopher Macarthur-Boyd and Shona Lawson . Freshly made food, drinks and a lively after party ensured that a fun-filled evening was had by all to mark the one year milestone.

Since opening its doors in early 2019, The Glee Club Glasgow has welcomed a raft of top comedians to its stage, including Sean Lock, Joel Dommett, Larry Dean, Janey Godley, Suzi Ruffell, Tom Stade, Fern Brady, Rosie Jones, Gary Meikle and Des Clarke. In addition to its popular weekend shows, the club has hosted a series of sell-out events such as book tours, drag shows and a hugely successful series of Christmas and Hogmanay comedy nights.

To further fly the flag for Glasgow’s thriving creative and entertainment industries, The Glee Club partnered with leading Scottish festivals throughout the year to deliver a series of unmissable events including Celtic Connections, Glasgow Film Festival and Glasgow Comedy Festival.

The Glee Founder Mark Tughan commented: “Billy Connelly has some pretty big boots to fill in terms of Scottish comedy, so what better way to celebrate our first year in the city than by paying tribute to him with our wonderfully banana’s cake.

We opened the club to showcase and support stand-up comedy in the city and we are thrilled that our first year has been such a success. Glaswegians are known for their humour, so the top notch acts that the club has attracted and sold out shows really is testament to this. Our team is incredibly excited to bring more must-see shows to the city and fly the flag for Scottish comedy’”.

The Glee Club Glasgow’s 400 seater interior, is theatre-style with great views to the round Glee stage, plus excellent lighting, acoustics and atmosphere. An extensive menu of delicious freshly made food and a great quality drinks offering enables guests to enjoy both an evening of entertainment and dining experience under one roof.

Prices: Friday night tickets £11 / students £8 / ticket + food £20, Saturday night tickets £17 / students £8 / ticket + pizza + drink £27

The Glee Club box office: 0871 472 0400 / info@glee.co.uk

www.glee.co.uk

www.facebook.com/gleeglasgow, www.twitter.com/GleeClubGlasgow

www.instagram.com/gleeclubglasgow

REVIEW: God of Carnage – Theatre Royal, Glasgow

As with her almost universally acclaimed 1994 play Art, Yasmina Reza’s God of Carnage is another comedy of middle class manners. This time, as it was in Art, the behaviour of the seemingly sophisticated adults involved descends into something akin to a playground fight, all the more ironic, as that’s precisely what’s brought them together in the first place.

Alan and Annette’s 11 year-old son Henry has had two teeth removed, incisors to be precise, by fellow pupil Freddie. The two sets of parents meet in that frustratingly PC way to civilly decide what action should be taken to facilitate the children having “a reckoning” and to teach them about “the art of co-existence”. As the alcohol is increasingly imbibed, the adults’ best intentions go by the wayside and the mud starts to get slung and everyone’s true colours come to the fore.

Reza has a masterful touch at highlighting the foibles of the middle classes and delivering them with a punch, but it needs a strong cast to deliver. As author Veronica (currently writing a book about Darfur) Elizabeth McGovern is seemingly the voice of reason, pushing the apology/reconciliation agenda between the two boys. Household goods salesman husband Michael (Nigel Lindsay) doesn’t quite fit seamlessly into this middle class idyll, a bit rough around the edges his loyalties are tested and exposed as the evening progresses. McGovern takes a little while to hit her stride, but she ramps up the emotion and elicits the laughs as the piece reaches its conclusion. As always, Lindsay delivers an absolute masterclass in comic acting, each word and action perfectly timed, as does Simon Paisley Day as driven lawyer Alan, when not throwing well-timed barbs, he’s barking advice to his clients down his constantly ringing phone, the ever-impressive Samatha Spiro as “wealth manager” Annette, is, as always, on-point.

The dialogue is as expected, razor sharp, Reza knows her audience well, and while this couldn’t be described as cutting edge, it is hugely entertaining, escapist fun, scratching the surface of the well-polished veneer of the middle class. Well worth an evening of your time.

Review originally written for The Reviews Hub

INTERVIEW: Peppa Pig talks ahead of ‘Peppa Pig: My First Concert’ UK Tour

Peppa Pig: My First Concert is a fun and interactive introduction to a live orchestra will take Peppa Pig fans on a magical musical journey. Peppa visits Glasgow on the 9th and 10th of February.

This production is based on Entertainment One’s popular animated television series, Peppa Pig, and gives children a chance to experience their first concert in a way that is truly meaningful to them. Specially designed for the youngest audience members, this allows them, together with Peppa, to discover an orchestra for the first time. Perfect for little ones, to capture their imagination and introduce them to a whole new world of music.

We talk to our favourite little piggy, Peppa Pig, before she goes back on the road with the second leg of her first ever concert.

My First Concert opens in February – for all tour dates, visit: https://www.peppapiglive.com/my-first-concert.php

So Peppa, are you excited to be going to a concert with your family this summer, and of course to see an orchestra for the first time?

Yes. Oink! Oink! Hee Hee Hee! I’m very excited to visit all these new places and I hope I get to make some more nice friends.

Have you been to a real-life concert before?

This is my first one! I can’t wait to see all the instruments being played on stage and hear all the different sounds they make.

Who are you going to the concert with?

Mummy, Daddy and George will also be there with me. I think we might even get to join in!

What are you looking forward to the most about the concert?

Listening to all the lovely music and joining in on all the songs I already know, like my favourite, the ‘Bing Bong Song’!

What’s your favourite instrument?

My favourite instrument is the French horn. It looks so fun to play and the noise it makes is so loud! I think George is probably going to like the drums the best.

 

  • 9 – 10 February 2020
  • GLASGOW
    Royal Concert Hall
  • 0141 353 8000
  • BOOK NOW

 

INTERVIEW: Foil Arms & Hog

Foil Arms and Hog will be heading to the  King’s Theatre, Glasgow on Sunday, 23rd February 2020.  Here they talk about their new show Swines.

Sean Finegan, as befits his status as the straight man in the Irish sketch group Foil Arms and Hog, is the spokesman for the trio off stage. It makes life easier for us to speak directly, he says, adding drily: “Otherwise I might say something witty and you’d attribute it to one of the other guys.”

We chat about their latest show, Swines, which is touring the UK after a sell-out season at the Edinburgh Fringe, but first Finegan explains how the trio met and got their distinctive name.

Finegan (Foil), Conor McKenna (Arms) and Sean Flanagan (Hog) were studying at University College Dublin (reading architecture, engineering and genetics respectively) 12 years ago, when they met through their shared love of performing.

“We were friends through the drama society but it was Sean Flanagan writing a play based on Father Ted that led to us forming the group,” says Finegan. “He was Dougal, I was Bishop Brennan and Conor was Father Ted. We had permission to tour round Ireland from [Father Ted’s creators] Graham Linehan and Arthur Mathews, and when the play finished we decided we should do a sketch show together.”

And the memorable name for the trio came out of good-humoured banter. “We came up with loads of naff names that punned on the word ‘sketch’ and rejected them. And then we were at a party one night and we were slagging each other off and came up with them.

“I’m the straight man, so I’m the foil; Conor is all arms and legs and very clumsy on stage; and Sean always hogs the limelight and steals all the laughs. They’re roles that we very easily fall into on stage.”

Finegan admits that some of the sketches they wrote and performed back then “we wouldn’t get away with now, they were quite insulting to all sorts of people”, but that over the years the humour has become more sophisticated.

That’s probably down to their work ethic; they write separately and then meet almost daily to develop the ideas. “Ideas get torn to shreds in the process and then we jump on to the idea and add more jokes and develop them. It sometimes takes months to nail a sketch.” Do they ever argue? “Well there are three of us, so it usually works out as two-to-one. No one has ever stormed out, put it that way,” Finegan laughs.

Finegan recalls when the group started out. “In the UK there’s a big sketch comedy scene but in Ireland that doesn’t exist. In our early days a lot of people would see three guys come on stage looking like Boyzone or something and they’d be instantly against us. But performing on the same bill with stand-up comics, we learnt so much about audience interaction. As any stand-up comic will tell you, you need to engage with the audience quickly and get them on your side.

“So we learnt pretty quickly and our comedy has become a sort of weird hybrid of sketch and messing with the crowd.”

But Foil Arms and Hog’s audience interaction is not cruel or humiliating. “I hope we’re not,” says Finegan, “because the intention is to bring everyone on board as it can be terrifying for some people [to be picked on]. But we love doing it because you never know what the audience may do, and we get a bit of a buzz from it. It’s the element that makes every show unique.”

In their second year at the Fringe they saw Edinburgh Comedy Awards winner Dr Brown (clown performer Phil Burgers). “I think we had thought clowning was the ‘honk honk’ kind of thing but then we realised that it’s about going with the flow. A couple of years later we attended one of his courses and it’s one of the toughest things I’ve ever done. It was brilliant stuff.

“It helped us so much on stage, particularly when things go wrong, as we might get to a funnier place with those skills we learned.”

Foil Arms and Hog have a dedicated following that they have built up over 11 Edinburgh Fringe shows, and for the past six years have posted short films on YouTube – they have clocked up an astonishing one million hits and have nearly 950,000 followers on Facebook. They have a broad demographic and, as Finegan says: “When we look out into the audience and see people from eight to 80 it gives us such a buzz. We have people tell us after a show that their son or daughter has found us online and introduced them to our comedy, and they come to see us together. It’s great.”

Thanks to YouTube, the group’s reach is global – and sometimes unexpected, says Finegan. “We were worried that one recent sketch – about Irish people not really being able to speak Irish – may not necessarily appeal to non-Irish people. But then we got an email from a fan in Sri Lanka saying he loved it because, ‘We’re all forced to learn Tamil when we go to school, it’s exactly like this’.”

But Swines – like all Foil Arms and Hog’s live shows – doesn’t contain any sketches fans may have seen online. “Some people may think they’re going to see the YouTube videos performed live on stage, but absolutely not. We make a point of never performing the online videos live. What works online usually doesn’t work on stage. It’s a very different kind of comedy, and much more surreal live.”

They also have more songs in their shows now than when they started. “They crept in,” Finegan jokes. “My singing’s certainly improved – the lads were carrying me in the beginning – but Conor is a very good singer and Sean knows all about harmonies because he’s been in choirs and stuff. The songs help the flow of the show and we like doing them. Who knows, in 10 years’ time we may be topping the charts.”

Contributed by Veronica Lee

 

REVIEW: Snow White and the Seven Dwarfs – SEC Armadillo, Glasgow

The panto-going citizens of Glasgow raised a cheer when the cast of the SEC Armadillo’s pantomime Snow White was announced. The almost universally adored Greg McHugh – he of the much-missed Gary, Tank Commander would star as court jester Gary, his TV co-star Leah MacRae would play Nanny McWee his mother (not sure the lovely Leah should be best pleased at that!), River City’s Frances Thorburn would be our heroine Snow White and a doyenne of British comedy acting, the wonderful Doon Mackichan would be the evil Queen Lucretia.

The quality cast, coupled with the sheer scale of the spectacle, add up to the city’s most fabulous, funny festive offering. There’s a camaraderie from the cast that just radiates to the audience, who are on-side with the high jinks from the start. McHugh is undoubtedly the star and his antics as the cheeky but naïve Gary are the highlights of the show, but there are star turns a-plenty, especially from Mackichan who is an absolute treat as the evil queen.

The only negative notes are a troupe of mildly horrifying looking woodland animals whose costumes look like they’ve been culled from the leftovers of the abattoir, all the more incongruous in such a spectacularly glitzy show and the auditorium itself, whose vast size does tend to engulf any audience reactions.

Definitely the most spectacular panto in town and certainly the most star-studded.

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