Tag Archives: Julie Wilson Nimmo

REVIEW: The Snaw Queen – Tron Theatre, Glasgow

This review was originally written for The Reviews Hub.

The news that Johnny McKnight was back at the helm of the Tron panto for 2016 was met with almost universal relief. After a slight misstep last year, Scotland’s king of modern panto is back in Glasgow and The Snaw Queen marks a return to the top-class festive form that audiences have come to expect from the acclaimed Glasgow theatre.

While it may appear from the title that there’s some connection with the Hans Christian Andersen fairy tale, the reality is an eye-wateringly colourful, glitter-strewn, often incoherent romp – and it’s none the worse for that. Kristine Cagney Kringle and her toy workshop are flat-out preparing for the festive season. However, there’s a magic mirror, that if broken will plunge Weegietown into a Christmas-less eternal winter. Poor sweet Rudolph succumbs to the evil magic of the mirror and transforms into the Snaw Queen (a Marilyn Monroe look-alike in an eye-popping, diamante-strewn, flesh coloured body suit). Kristine, Elvira the Elf and Olive (the other reindeer) embark on an, at times, psychedelic journey to obtain the magic ingredients needed to reverse the spell. Throw into the mix Elvis the Elf, a giant pink bunny, a monochrome My Fair Lady-inspired number set on Glasgow’s infamous underground, an hilarious ‘disco dolly smack down’ and theatrical in-jokes about the National Theatre of Scotland’s James Plays and Broadway blockbuster Hamilton, and you may well get the impression that this isn’t your average panto – you’d be correct.

McKnight is a master of treading the fine line between zany fun for the babes and naughty humour for the grown ups and while it’s mind-bendingly confusing at times, it’s also hysterically funny. The humour never lets up and the sheer energy of the cast drives the action along at a fair lick. Traditionalists will be happy to know that the obligatory sing-along, sweetie throwing and audience harassment are all here.

It may not be the biggest pantomime in town, either in terms of size or budget, but the Tron always punches far above its weight in terms of entertainment. If its kaleidoscopic colour and surreal storytelling you’re after, all with a social conscience thrown in and belly laughs from start to end – then this will be your bag. A riot for the senses and a welcome relief from this grey old world we live in.

Runs until 7 January 2017 | Image: John Johnston

REVIEW: And The Beat Goes On – Tron Theatre, Glasgow

It would seem at first glance that a play about a pair of Sonny and Cher obsessives would be the perfect excuse for a night of high camp glitz and glamour, more sequins than substance, but Stef Smith’s new work,And The Beat Goes On proves to be a much darker and more satisfying beast.

It’s 1989, somewhere in the US, behind the closed doors of their breeze block garage, ex-pat Scots Peter (Johnny McKnight) and Lily (Julie Brown) spend their evenings recreating the entire TV back catalogue of the outrageously clad singing duo, but the arrival of new neighbour Joan (Julie Wilson Nimmo), a Molly Ringwald-esque vision in Barbie pink satin, sees Peter and Lily’s fragile existence start to disintegrate.

The explanation for this eccentric behaviour, the reasons that Peter and Lily are living a life “beyond normal” is slowly unravelled in Smith’s economical 75 minute work. The greatest strength of the piece (apart from the obvious chemistry between long-term collaborators McKnight and Brown) is the establishment of a sense of tension and unease from the very first moments and the air of mystery is maintained to the end: tiny hints are dropped into the dialogue, just when we thought it was predictable the clues which led us down one path veer us off onto another.

To say any more would reveal all, but safe to say, it plays upon the thirst for works like Gone Girl and draws upon real-life events and prompts commentary on the shelf-life of what was once news-worthy, and the world in which we live where “tragedy is tedious”.

This is an intriguing and thoroughly satisfying work, an accomplished piece of writing, briskly directed and beautifully acted (save for Julie Wilson Nimmo’s American accent, which is forgivable given the character).

Don’t be fooled by the high camp publicity posters, “a little darkness didn’t do anyone any harm”, Lily declares, indeed, in the case of And The Beat Goes On, a little darkness goes a hell of a long way to restoring your faith in new writing in Scotland.

Runs until 28th March at the Tron Theatre then touring

This review was originally written for and published by http://www.the public reviews.com at: http://www.thepublicreviews.com/and-the-beat-goes-on-tron-theatre-glasgow/

REVIEW: Miracle on 34 Parnie Street – Tron Theatre, Glasgow

This review was originally written for and published by http://www.thepublicreviews.com at http://www.thepublicreviews.com/miracle-on-34-parnie-street-tron-theatre-glasgow/

There’s no denying Johnny McKnight’s theatrical credentials: writer of hits such as The Incredible Adventures of See Thru Sam and Wendy Hoose; director of Blithe Spirit for Perth Theatre and Carmen Redux for Scottish Opera; undisputed ‘King of Panto’ with hit after hit here at Glasgow’s Tron Theatre, The Lyceum in Edinburgh and Stirling’s macrobert, to name a (very) few. This year McKnight asks us simply to believe, taking the much-loved 1947 movie Miracle on 34th Street and reworking it for a Glasgow audience in Miracle on 34 Parnie Street.

Things are not quite going as smoothly as planned at Glasgow’s favourite department store T.J. Confuse: Santa has turned up to work in the grotto but to everyone’s surprise Santa isn’t a he, but a she (with a platinum beehive to rival the late Amy Winehouse). To add to the mayhem, Kristine Cagney Kringle, gloriously played by McKnight himself, is claiming to be the real deal, but the sceptics just won’t believe and Kristine finds herself in court and on a mission to restore to the masses, the real meaning of Christmas.

It’s camp, it’s kitsch and punctuated throughout by original songs from Ross Brown which range from traditional panto sing a-long to pop and R&B and it’s all dressed up in eye-popping designs from Kenny Miller.

The cast of six work their socks off, actor/choreographer Darren Brownlie particularly impresses as the up-tight, commercially focussed store manager Mr. Bellhammer as does the ever reliable Julie Wilson Nimmo in multiple roles, Michelle Chantelle Hopewell as Chantelle possesses a stunning R&B powerhouse singing voice but does less well when delivering her lines, her accent obscuring much of her dialogue. But there was never going to be any doubt who was going to be the star here: McKnight (clad in what can only be described as a Kim Kardashian/Maria Carey mash-up) has the most finely tuned comic timing and razor-sharp wit you will find on any stage anywhere. That he genuinely seems to love what he’s doing is a delight to watch.

Writer/director/star McKnight has his finger firmly on the pulse of panto, perfectly pitching each show to its target audience and this is no exception, you would be hard pressed to find a greater number of local references than this, even the title references the theatres address. The storyline is cleverly multilayered and speaks volumes about crass commercialism and of sexism – hell, this is a more stirring, rallying cry for feminism than any you could wish for. It is peppered with witty one-liners (and more than the average share of ad-libs as McKnight picks on the audience and his fellow actors foibles to hysterical effect), however, as much as this theatre is known for its more cerebral Christmas content, the line: “that’s too meta, even for The Tron” gives you some idea of the usual audience, it’s hard to shake the feeling that it maybe goes a little too over the heads of the typical tiny panto-goer, save for the fart jokes of course. That said, they were a-whooping and a-hollering at the musical numbers and booing and hissing in all the right places.

If it’s something different than the usual run of the mill fairytale with chart hits shoe-horned in that you’re looking for, then look no further than Parnie Street – head on down to the Tron and just…believe!

Runs until 4 January 2015