Tag Archives: King’s Theatre

NEWS: 9 to 5 Returns to Glasgow King’s

Currently playing in London’s West End, the producers of 9 TO 5 THE MUSICAL have announced the musical will play the King’s Theatre, Glasgow from Tuesday 8 – Saturday 12 October 2019. Casting will be announced soon.

9 TO 5 THE MUSICAL features a book by Patricia Resnick, the legendary film’s original screenwriter, and an original Oscar, Grammy and Tony award-nominated score by country legend and pop icon Dolly Parton. It tells the story of Doralee, Violet and Judy – three workmates pushed to boiling point by their sexist and egotistical boss. Concocting a plan to kidnap and turn the tables on their despicable supervisor, will the women manage to reform their office – or will events unravel when the CEO pays an unexpected visit? Inspired by the cult film this hilarious new West End production is about teaming up, standing up and taking care of business!

9 TO 5 THE MUSICAL is written by Patricia Resnick, with music and lyrics by Dolly Parton. It is directed by Jeff Calhoun, choreography by Lisa Stevens, design by Tom Rogers, lighting design by Howard Hudson, sound design by Poti Martin, video design by Nina Dunn, original arrangements by Stephen Oremus & Alex Lacamoire, original Broadway orchestrations by Bruce Coughlin, musical supervisor, reductions & extra arrangements by Mark Crossland, musical direction by Andrew Hilton and casting by Victoria Roe.

Dolly Parton presents 9 to 5

King’s Theatre, Glasgow

Tue 8 – Sat 12 Mar

Tue-Sat, 7.30pm

Wed, Thu, Sat: 2.30pm

0844 871 7648*

www.atgtickets.com/glasgow

*calls cost up to 7p per minute plus your phone company’s access charge

 

REVIEW: Matthew Bourne’s Swan Lake – King’s Theatre, Glasgow

It isn’t hyperbole to say that Matthew Bourne’s Swan Lake changed the face of classical dance forever. Retaining Tchaikovsky’s original score, the rest of the ballet is turned completely on its head. For all its fantasy, in Bourne’s hands the story takes on a much more ‘human’ form. Instead of the Odette/Odile/Siegfried triangle it is now the tale of a melancholic, maternally rejected prince whose emotional demise we track through the course of this exquisitely conceived and delivered production. It is a dark and at times sinister tale of repression and sexual fantasy, punctuated throughout with clever humour. It is also, of course, that show with the gender swapped swans: instead of the prettily prancing pens, it’s a herd of predatory and powerful cobs sizzling with electricity and a large dose of menace. In ridding the story of its expected gender roles it has much more power.

Literally seen by millions around the world, it returns in 2019 with a fresh new (though not radically changed) look for the 21st Century at the hands of original designer Lez Brotherston, with a new lighting design from Paule Constable and with a few of the more tired background characters refreshed. This is a show that even without the changes can withstand multiple re-visits.

The stage bristles with life from curtain up and with intriguing choreographic ideas and mesmerising sequences of movement throughout, it is impossible not to be captivated. Dominic North’s Prince is beautifully danced and emotionally poignant and Max Westwell has a formidable presence, ensuring a searing and memorable performance as the Swan/Stranger.

Tchaikovsky’s 1875/6 score is re-ordered here and is sufficiently varied that a modern interpretation of the story can hang on it perfectly. It is fundamentally beautiful whichever order it is played in, and in whatever era its ballet is set.

Ballet snobs will hate it, but you would need to be emotionally and artistically devoid to fail to appreciate the visual spectacle and the sheer originality of storytelling and staging. Nearly a quarter of a century on it remains as utterly perfect as it ever was. Unmissable.

Runs until 9 March 2019 | Image: Contributed

This post was originally written for the Reviews Hub

NEWS: BRAND-NEW PRODUCTION OF CURTAINS STARRING JASON MANFORD COMES TO GLASGOW

“CURTAINS” will run at the King’s Theatre in Glasgow from Tuesday 10 March until Saturday 14march 2020 as part of a UK tour. Further casting is to be announced,

From the Tony Award-winning creators of ‘Cabaret’ and ‘Chicago’, this production tells the story of Jessica Cranshaw, star of the new Broadway-bound musical Robbin Hood, who has been murdered on stage on opening night! The entire cast and crew are suspects. Time to call in the local detective, Frank Cioffi, who just happens to be a huge musical theatre fan. With a nose for crime and an ear for music, Frank has his work cut out trying to find the killer whilst giving the show a lifeline.

Detective ‘Frank Cioffi’ will be played by stand-up comedian, writer, actor, radio and television presenter Jason Manford. Jason has many theatre credits to his name including playing ‘Caractacus Potts’ in the UK Tour of “Chitty Chitty Bang Bang” and ‘Leo Bloom’ in the UK Tour of “The Producers”. His London theatrical credits include playing ‘Pirelli’ in “Sweeney Todd” at The Adelphi Theatre and ‘Nathan Detroit’ in “Guys and Dolls” at the Royal Albert Hall. In 2017 Jason released his debut album “A Different Stage” which reached Top 10 in the UK Charts. He has toured internationally as a stand-up comedian, and is a popular face on UK television having appeared on programmes including “Live At The Apollo” (BBC One), “Michael McIntyre’s Comedy Roadshow” (BBC One), “QI” (BBC Two), “Big Fat Quiz of the Year” (Channel 4) and “8 Out of 10 Cats” (Channel 4). Jason was nominated for Best Actor at the Royal Television Society Awards for his role as ‘Marty’ in the BBC One drama “Ordinary Lies”.

The producing team is made up of Dan Looney, Adam Paulden and Jason Haigh-Ellery for DLAP entertainment. The production was originally produced on Broadway by Roger Berlin, Roger Horchow, Daryl Roth, Jane Bergere, Ted Hartley and Center Theatre Group. The American Premiere was produced at The Ahmanson Theatre by Center Theatre Group, LA’s Theatre Company.

Music is by John Kander, lyrics by Fred Ebb (“Cabaret” and “Chicago”), book by Rupert Holmes, original book and concept by Peter Stone with additional lyrics by John Kander and Rupert Holmes.

Curtains

King’s Theatre, Glasgow

Tue 10 – Sat 14 Mar 2020

Mon-Sat, 7.30pm

Wed & Sat, 2.30pm

0844 871 7648*

www.atgtickets.com/glasgow

*calls cost up to 7p per minute plus your phone company’s access rate

NEWS: Calendar Girls casting confirmed @ King’s Theatre

RUTH MADOC, REBECCA STORM, SARAH JANE BUCKLEY, JULIA HILLS, JUDY HOLT & LISA MAXWELL TO JOIN KAREN DUNBAR

KING’S THEATRE, GLASGOW

Tuesday 11 – Saturday 22 June 2019

David Pugh & Dafydd Rogers are delighted to announce the cast for Gary Barlow and Tim Firth’s musical comedy, CALENDAR GIRLS The Musical at the King’s Theatre in Glasgow.

Based on the true story, the film and the award-winning play by Tim Firth, CALENDAR GIRLS The Musical will run at the King’s for two weeks this summer as part of a major UK tour.

Joining the previously announced Karen Dunbar as Cora is Ruth Madoc as Jessie, Rebecca Storm as Chris; Sarah Jane Buckley (Blood Brothers and Kathy Barnes in Hollyoaks) as Annie; Julia Hills (Doctor Kemp in Broadchurch, Annabelle Shrivener in The Archers) as Ruth; Judy Holt (Cold Feet, Scott & Bailey) as Marie and Lisa Maxwell (panellist on Loose Women; Tracey Donovan in Hollyoaks, Samantha Nixon in The Bill and various roles in The Les Dennis Laughter Show and The Russ Abbot Show) as Celia.

Also in the cast are Phil Corbitt as John, Ian Mercer as Rod, Sebastian Aberneri as Colin, Alan Stocks as Denis, Pauline Daniels as Lady Cravenshire, Ellie Leah as Miss Wilson, Danny Howker as Danny, Isabel Caswell as Jenny and Tyler Dobbs as Tommo.

The critically acclaimed and award-winning production played a six-month London season at the Phoenix Theatre in 2017, and, before that, this musical comedy played sold-out seasons in Leeds and Manchester.

Gary Barlow and Tim Firth grew up in the same village in the North of England and have been friends for 25 years.  With Take That, Gary has written and co-written 14 number one singles, has sold over 50 million records worldwide and is a six times Ivor Novello Award winner. Tim has won the Olivier Award and UK Theatre Award for Best New Musical, and the British Comedy Awards Best Comedy Film for Calendar Girls.

CALENDAR GIRLS THE MUSICAL is inspired by the true story of a group of ladies, who decide to appear nude for a Women’s Institute calendar in order to raise funds to buy a settee for their local hospital, in memory of one of their husbands, and have to date raised almost £5million for Bloodwise. This musical comedy shows life in their Yorkshire village, how it happened, the effect on husbands, sons and daughters, and how a group of ordinary ladies achieved something extraordinary.

Facebook: @thegirlsmusical @kingsandtheatreroyal

Twitter: @thegirlsmusical @glasgowkings

NEWS: CASTING REVEALED FOR UK PREMIERE OF AMÉLIE

French-Canadian stage and screen star Audrey Brisson is confirmed to play the iconic altruist Amélie Poulain in the UK’s first musical adaptation of the much-loved, five-time Oscar®-nominated film during its run at the King’s Theatre in Glasgow.

Telling the story of the imaginative and shy romantic with a gift for helping others, Amélie The Musical will be performed from Monday 19 until Saturday 24 August as part of a UK tour.

Audrey Brisson said: “Bonjour, je m’appelle Audrey Brisson et c’est avec un immense plaisir que je m’apprête à jouer le rôle d’Amelie Poulain. That is to say, I am really looking forward to sharing this journey filled with imagination and quirkiness that Amélie will concoct for us. Until then, à bientôt. (Have a raspberry on me!)”

Audrey Brisson’s theatre credits include: The Elephantom, Pinocchio and Pericles (National Theatre), Midnight’s Pumpkin and The Wild Bride (Kneehigh), The Lion, The Witch and The Wardrobe (Kensington Gardens), Dead Dog in a Suitcase & Other Love Songs (Kneehigh), Romeo and Juliet (Rose Theatre, Kingston), The Flying Lovers of Vitebsk (Kneehigh), The Grinning Man (Bristol Old Vic), The Strada (UK Tour & The Other Palace). Her film credits include: Hereafter directed by Clint Eastwood and W.E. directed by Madonna. Television includes: Outlander (Amazon), Money (BBC Two). Radio includes the title role in Amy Dorrit (BBC Radio).

Audrey trained at the Central School of Speech and Drama. She also studied Classical Singing at Cegep St-Laurent, Canada. As a child and teenager, Audrey worked extensively with Cirque Du Soleil as a vocalist and acrobat. She performed in their international tours of Reinvente, Quidamand and the Cirque Du Soleil 30th Anniversary Concert.

Further casting is to be announced.

Amélie is the story of an astonishing young woman who lives quietly in the world, but loudly in her mind. She secretly improvises small, but extraordinary acts of kindness that bring happiness to those around her. But when a chance at love comes her way, Amélie realises that to find her own contentment she’ll have to risk everything and say what’s in her heart. Although times are hard for dreamers, Amélie is someone to believe in…

With music by Hem’s Daniel Messé, lyrics by Nathan Tysen and Daniel Messé and book by Craig Lucas, this new musical adaptation of the five-time Oscar®-nominated film written by Jean-Pierre Jeunet and Guillaume Laurant, will be directed by Michael Fentiman.

The original film, Le Fabuleux Destin D’Amélie Poulain, was released in 2001, starring Audrey Tautou and Matthieu Kassovitz. Taking over $33 million in a limited theatrical release, it is to date the highest-grossing French-language film released in the United States, and one of the biggest international successes for a French film. Amélie won Best Film at the European Film Awards, four César Awards in 2002 (including Best Film and Best Director), two BAFTA Awards (including Best Original Screenplay), and was nominated for five Academy Awards, including best foreign language film.

Amélie The Musical was first staged in California in 2015 and was described as an ‘enchanting act of theatrical reinvention’ (The Los Angeles Times).

REVIEW: Benidorm – King’s Theatre, Glasgow

An admission must be made, despite being familiar with the success of Benidorm over the course of its ten series run, this reviewer has never actually seen an episode of the sun, sea and sangria soaked hit ITV comedy. However, it’s evident from the deafening applause that greets each beloved character as they step onto the stage, that I am firmly in the minority. That said, ignorance of the TV show is no barrier to enjoying the bawdy antics of the barmy sun-seekers.

The action takes place after a threatened takeover of ownership of the resort and the staff fearing for their jobs. Things at the Solano hotel couldn’t get any worse, when word gets out that undercover hotel inspectors are here from their proposed new owners, farcical antics, and mistaken identity ensues with a few song and dance routines thrown in for good measure.

The chemistry that has no doubt built up over the ten year run of the programme is evident in the slickness with which the whole production runs. Every gag lands perfectly and there’s an ease between the lead actors that can only be easily achieved through familiarity. Jake Canuso gets the loudest cheers of the evening as lothario Mateo and displays his formidable physical skills from his previous life as one of Europe’s top dancers (the Flamenco sequence is fabulous). One gripe would be that he is seriously underused, though, in an ensemble cast, writer Litten has given everyone onstage equal chance to shine. Tony Maudsley as Blow ‘n Go salon owner Kenneth sports his trademark saucy slogan T-shirts and eye-wateringly tight shorts and along with Canuso, is an undoubted audience favourite. Adam Gillen is also a treat as naïve hairdresser Liam.

Mark Walters’ transforming set is a triumph, it brings the warmth of Spain and the vibrancy of a cheap and cheerful holiday resort gloriously to life. It transitions between hotel reception, poolside, the Blow n’ Go salon and Neptune’s Bar with ease. The costumes are pitch perfect too and the whole thing is beautifully lit by Ben Cracknell.

As with the TV show, this is not for the easily offended, the jokes are adult in content, though nothing that would embarrass your granny too much, and subtlety has been thrown to the wind throughout. It plays like a 1970s British sitcom. The story is as slim as Mateo’s hips but, that said, this is firmly aimed at the audience it attracted in the millions over the decade long run of the ITV show. The auditorium is packed to the rafters and while it certainly won’t be to everyone’s taste, it has to be applauded for knowing its audience well and delivering the goods for its fans.

As TV to stage adaptations goes, this is the perfect example of how it should be done.

THIS REVIEW WAS ORIGINALLY WRITTEN FOR THE REVIEWS HUB.

WHAT’S ON FEBRUARY: TEASER FOR NEW TINA TURNER PRODUCTION WHAT’S LOVE GOT TO DO WITH IT? COMING TO GLASGOW

The team behind a brand-new show celebrating the music of Tina Turner have released a video to showcase the exciting new production.

The debut tour of What’s Love Got To Do With It? launches in February 2019 promising to be the ultimate tribute show – with more than 50 dates already secured.

Finishing touches are now being put to the show, which stars Elesha Paul Moses (Whitney – Queen Of The Night, The Voice, The X Factor) as Tina Turner and showcases 50 years of hits.

Tickets are on sale now from www.cuffeandtaylor.com

What’s Love Got To Do With It? is presented by live music and theatre promoters Cuffe and Taylor. Director of Theatre Touring, Ben Hatton said: “We can’t wait for What’s Love Got To Do With It? to hit the stage across the UK in 2019 and 2020.

“This new clip of the show is a great teaser showing just how fantastic Elesha and the cast will be. We think she’s Simply The Best, and you will too.”

In this brand-new touring theatre show, audiences can expect a night of high energy, feel-good rock-and-roll featuring Tina’s greatest hits performed by the amazing vocal talent of Elesha Paul Moses (Whitney – Queen Of The Night, The Voice, X Factor) supported by a full 10-piece live band.

Speaking about playing Tina Turner, Elesha said: “I am absolutely thrilled to be touring the UK with What’s Love Got To Do With It? This is going to be a magnificent show and one that truly celebrates the incredible music and career of Tina Turner.

“Tina is a great persona to emulate on stage. I have performed as her many times over the years so to now be the lead in a show that will travel all over the UK and celebrate everything about her is an amazing opportunity and one I’m really looking forward to.”

In a breath-taking career spanning more than 50 years, audiences can look forward to hearing stunning musical arrangements of Tina’s most-loved classic hits including Private Dancer, What’s Love Got To Do With It?, Proud Mary, River Deep, Nutbush City Limits, Simply The Best and many more. This not-to-be missed musical experience is a stunning celebration of one of the greatest female singers of our time.

WHAT’S LOVE GOT TO DO WITH IT?  TOUR DATES 2019

February    

Wed 27th EDINBURGH, USHER HALL

Thu 28th GLASGOW, KING’S THEATRE

March   

Fri 1st ABERDEEN, MUSIC HALL

 

 

REVIEW: Nativity! The Musical – King’s Theatre, Glasgow

The clocks have gone back, Hallowe’en and Bonfire Night are over, so, of course, Christmas is here. Seven weeks early, but who’s complaining when it’s the stage version of Bafta Award-winning Debbie Isitt’s hugely loveable 2009 movie, Nativity?

For those familiar with the big-screen trilogy, the stage plot is lifted entirely from the first film. Mr. Maddens (Scott Garnham) is a less than effective primary school teacher, having previously been an even less than successful actor. With the festive season approaching, the school Nativity show looming and a broken heart courtesy of his ex-girlfriend Jennifer (Ashleigh Gray) who dumped him to pursue her career dreams in Hollywood, things can’t possibly get worse. Unfortunately they do. Competition arrives in the form of his former best friend, Gordon Shakespeare (Andy Brady), who is now receiving plaudits for his festive extravaganzas at a rival primary school. Maddens declares that a Hollywood producer is coming to film his Christmas show, needless to say they’re not, and mayhem ensues, aided and abetted by hyperactive classroom assistant Mr. Poppy (Simon Lipkin).

With such well-loved source material, the cast need to step up and fortunately they more than match, and in some cases exceed that of the film. For West End theatre buffs, this is dream casting. Scott Garnham is entirely believable as the lovelorn Mr. Maddens with a gorgeous voice to boot, Ashleigh Gray makes her mark in the relatively small role of Jennifer and manages to showcase her phenomenal vocal skills, Andy Brady is a suitably manic Mr. Shakespeare (his Herod is a gem) but it is the utterly irresistible Simon Lipkin as Mr. Poppy who thoroughly steals the show. Lipkin is a star in everything he’s in and here he gets to showcase his formidable talents while still bringing out the best in everyone around him.

But what about the kids?, after all, this really is a children’s show. The local children cast as the pupils of Oakwood Primary School are drilled to perfection, but the pupils of St. Bernadette’s are truly phenomenal. Added to an already spectacular cast, there’s also an irresistible pooch called Cracker to crank up the cute factor.

The production values are high and the set looks as good as anything your likely to see on a West End stage, and the choreography from the always reliable Andrew Wright is perfectly reflective of that of children in 2018. The roster of musical numbers has been significantly upped from the half a dozen songs in the movie and each is a catchy delight.

Nativity! starts on a high and the entertainment factor never diminishes for the entire running time. It knows how to tug at the heart strings without becoming over schmaltzy, you’d need to be hard-hearted indeed not to be touched by this. This is a show of infinite quality from start to finish and stands head and shoulders above most festive offerings.

It preaches a laudable message of the power of a positive mindset and that sometimes the good guys can win in the end. Ultimately it’s a festive, feel-good, feast for the eyes that fills you with the warm and fuzzies.

Beg, borrow or steal to get a ticket, this really is an unmissable show.

Runs until November 2018 | Image: Richard Davenport

This review was originally written for The Reviews Hub. The UK’s leading and most prolific digital portal for the performing arts. With 150 reviewers spread across the UK, managed by 10 editors, The Reviews Hub publishes reviews, previews, features and interviews on entertainment throughout the whole country.

 

REVIEW: Summer Holiday – King’s Theatre, Glasgow

Taking as its source the classic 1963 Cliff Richard movie, Summer Holiday is a feather light piece of escapism for all the family with a hard-working, talented cast and more than a few much-loved, familiar tunes.

It’s yet another miserable British summer, when Don and his fellow London bus mechanics persuade their bosses to let them borrow a double-decker bus to escape the grey skies. They set off for the south of France. On they way, they encounter a trio of female singers (the Do Re Mi’s) who have broken down on the way to a gig in Athens. Thrown into the mix is an American singing sensation (Barbara) disguised as a boy, on the run from her over-bearing mother and her agent. Cue some old-fashioned frolics and farce.

First turned into a stage musical in 1996, it has become a favourite of amateur dramatic societies up and down the UK, and as a work that’s fondly regarded by the great British public, it is ripe for a revamped professional tour. In order to ensure mass appeal, some of Cliff’s earliest releases have been shoe-horned into the song list along with those culled from the soundtrack of the movie. It must be said that there are more than a few that are pure filler, and unnecessarily extend the running time without adding much entertainment value, but for the most part the hit songs are a winner: Do You Wanna Dance, The Young Ones, Move It, Living Doll, Bachelor Boy and the famous title song get the audience on-side the moment the first bars ring out.

The energy level of the cast is critical in a work as lightweight as this, and thankfully they are giving their all. Their commitment to their roles is universally deserving of praise. In the ‘Cliff Richard’ role of Don, Ray Quinn is a hugely reliable, likeable and sure-footed leading man, he’s more than proved his chops in the singing department, but he’s also a gifted dancer. His trio of mates: Rory Maguire (Cyril), Billy Roberts (Steve) and especially the hugely talented Joe Goldie (Edwin) provide solid support, each singing, dancing, acting and breathing life into their roles with energy.

The Do Re Mi’s prove a likeable trio and Alice Baker (Alma) Laura Marie Benson (Angie) and especially Gabby Antrobus (Mimsie) do their best with the slim material they are given. Sophie Matthew is pleasant enough but unremarkable as Barbara and Becky Bassett as her mother Stella, is at least two decades too young to play the part.

Racky Plews choreography is as reliable and inventive as ever and is executed with precision and energy throughout. The scene to Move It in particular, is cleverly realised with ski poles and pairs of Heelys.

The minimal (read for that cheap looking) set doesn’t do much for the production, it is played out to a stark black background throughout which lends no sense of place, it is clear all the money has been spent on the realisation of the double decker bus, which is thankfully effective.

The script is weak and the characters are utterly two-dimensional, however, the fact that the cast are clearly giving their all makes up for the short-comings in the writing. The humour gets to the levels of mildly ‘seaside saucy’ and there are some lazy stereotypical ‘Johnny Foreigners’ replete with dodgy accents, if you’re being kind you could say it’s a hark back to a more innocent and simplistic time, less kindly you could call into question the taste/judgement levels of the production team. Criticism could also be made of an all-white cast in a musical in the UK in 2018.

It’s simplistic, it’s undemanding but it’s ultimately good old-fashioned, feel-good fun.

Runs until 3 November 2018 | Image: Contributed

This review was originally written for and published by The Reviews Hub

WHAT’S ON FEBRUARY: Ian Hislop and Nick Newman reunite for Trial by Laughter

Trial By Laughter
Mon 11 – Sat 16 Feb
Kings’s Theatre, Glasgow
Tickets from £13

Following critical acclaim for The Wipers Times, Ian Hislop and Nick Newman have once again taken inspiration from real life events for their new play Trial by Laughter.

William Hone, the forgotten hero of free speech, was a bookseller, publisher and satirist. In 1817, he stood trial for ‘impious blasphemy and seditious libel’. The only crime he had committed was to be funny. Worse than that he was funny by parodying religious texts. And worst of all, he was funny about the despotic government and the libidinous monarchy.

« Older Entries