Tag Archives: King’s Theatre

NEWS: The Sound of Music tour confirms its cast

The Sound of Music, launches its 2018 tour around the UK on Tuesday 9 January with a stop at the King’s Theatre in Glasgow from Tuesday 22 until Saturday 27 January.

Returning to the iconic role of Maria that has won her rave reviews previously is The Voice finalist Lucy O’Byrne. Joining Lucy as Captain Von Trapp is former EastEnders actor and West End star Neil McDermott. Neil is delighted to join this production of The Sound of Music having previously played the role of Rolf at the London Palladium.

Lucy O’Byrne who returns to the iconic role of Maria, became a household name when she was the runner up of BBC One’s The Voice in 2015. With Will.i.am as her mentor Lucy made history as the first classical signer to reach the final, impressing the nation with her stunning range. She won rave reviews for her performance as Maria Von Trapp in the 2016 UK touring production of The Sound of Music, being hailed as “quite possibly the best Maria since Julie Andrews herself” (The Scotsman) .  Following the tour Lucy won the coveted role of Fantine in Cameron Mackintosh’s world record-breaking musical phenomenon, Les Misérables which she performed in the West End until earlier this year.

Neil McDermott takes the role of Captain Von Trapp, famously played by Christopher Plummer in the much-loved film. Neil played the recurring role of Ryan Molloy in EastEnders between 2009 and 2016. Other television appearances include The Royal, Rosemary & Thyme, Doctors and Casualty. As well as his work on the small screen, Neil is a regular on the stage, with starring roles in the West End including Chief Weasel in The Wind in the Willows (London Palladium); and Lord Farquaad in Shrek (Theatre Royal Dury Lane).

Further casting includes Megan Llewellyn as Mother Abbess, Howard Samuels as Max, Jordan Oliver as Rolf and Katie Shearman as Liesl. The rest of the company comprises of Zoe Ann Bown, Lucy Miller, Tammy Davies, Chrissie Perkins, Holly Willock, Jon De Ville, Kara Lane, Pippa Winslow, Sam Newman, Andy Hawthorne, Joel Baylis and Lewis Barnshaw.

It all began with the story of the Trapp Family Singers and Baroness Maria von Trapp’s 1949 autobiography, which inspired Richard Rodgers, Oscar Hammerstein II, Howard Lindsay and Russel Crouse to create a Broadway musical in 1959.

The Sound of Music tells the true story of the world-famous singing family, from their romantic beginnings and search for happiness, to their thrilling escape to freedom as their beloved Austria becomes part of the Third Reich at the start of WWII.

The unforgettable score features some of the most memorable songs ever performed on stage, including ‘Edelweiss’, ‘My Favorite Things’, ‘Do-Re-Mi’, ‘Climb Ev’ry Mountain’, ‘So Long, Farewell’ and of course, the title song, ‘The Sound of Music’.

The Sound of Music

King’s Theatre, Glasgow

Tue 22-Sat 27 Jan 2018

Tue-Sat evenings, 7.30pm

 Wed, Thu & Sat matinees, 2.30pm

www.atgtickets.com

0844 871 7648* calls cost up to 7p per minute 

NEWS: PRINCIPAL CASTING ANNOUNCED FOR STING’S DEBUT MUSICAL

Principal casting has been announced for the UK premiere of The Last Shipthe acclaimed musical by the internationally renowned musician Sting – which will run at Glasgow’s Theatre Royal from Monday 18 until Saturday 23 June.

The production has a TONY-nominated original score and lyrics composed by Sting. It launched in Glasgow at the end of last year at Fairfield Heritage Centre in Govan with an exclusive acoustic performance and Q&A from Sting.

The show is directed by Lorne Campbell, the artistic director of Northern Stage and has set design by the Tony Award-winning 59 Productions – team behind the video design for the 2012 London Olympic Games.

The casting of Joe McGann (Jackie White), Charlie Hardwick (Peggy White), Richard Fleeshman (Gideon Fletcher) and Frances McNamee (Meg Dawson) has today been announced.

Joe McGann, perhaps best known for his lead role as Charlie Burrows in the comedy series The Upper Hand, has had a wide career spanning theatre, television and film. Theatre credits include Elf (Plymouth Theatre Royal/ Bord Gais Energy Theatre, Dublin, Dominion Theatre, West End, and Lowry, Salford); The Rise and Fall of Little Voice (UK Tour); Calendar Girls (three UK tours), Olivier! (London Palladium), Tevye in Fiddler on the Roof (UK Tour, 2008), Nathan Detroit in Guys and Dolls (ATG UK Tour, 2006).

Charlie Hardwick played Val Pollard from 2004 to 2015 and again in 2017 in the ITV soap opera Emmerdale. For this role, she won the 2006 British Soap Award for Best Comedy Performance. Stage credits include Hyem (Theatre 503/Northern Stage) and Double Lives (Live Theatre).

Richard Fleeshman is a familiar face on our stage and screens having been acting since the age of 12 when he played the role of Craig Harris in Coronation Street for four years. A talented singer-songwriter, Richard’s stage roles include Sam Wheat in Ghost the Musical, a part he originated and played in the West End on Broadway, Sky Masterson in Guys and Dolls (UK Tour) and Bobby Strong in Urinetown (original West End production).

Frances McNamee is currently appearing alongside Kelsey Grammer in Big Fish (The Other Palace). Other stage credits include The Mother (Tricycle), Love’s Labour’s Lost, Love’s Labour’s Won (RSC), Punishment

Without Revenge (Arcola/Theatre Royal Bath/Belgrade Coventry), Pride and Prejudice (Regent’s Park), A Midsummer Night’s Dream (Royal and Derngate), The Borrowers (Northern Stage), Epsom Downs (Salisbury Playhouse), The Phoenix of Madrid, The Surprise of Love (Theatre Royal Bath) and Les Misérables 20th Anniversary Gala Performance (West End). Her film credits include Love in Fifteen Minutes.

Jimmy Nail, who was to take the role of Jackie White, is no longer performing in The Last Ship. He said: “I was very much looking forward to appearing in Sting’s ‘The Last Ship’, particularly here in my home city. Sadly that’s not to be. I would like to thank the production in allowing FACT, the charity of which I’m a patron, to benefit from the planned gala charity event. To anyone who has purchased a ticket, please, go see the show and give this vessel the launch it so deserves. You’ll hear some of the finest musical works ever composed for the stage.”

Karl Sydow, producer of The Last Ship, said: “After protracted negotiations carried out in good faith we regret to announce the production’s offer of employment to Jimmy Nail has been withdrawn.  All at The Last Ship thank him for his generosity and enormous contribution during what has been an eight year journey.”

Lorne Campbell, Northern Stage’s Artistic Director said, “I am delighted to be welcoming Joe McGann, Charlie Hardwick, Richard Fleeshman, Frances McNamee and the rest of the company to Northern Stage for The Last Ship. Alongside some wonderful old friends of the company, we welcome some remarkable new performers from across the U.K. We are all hugely excited to move into rehearsal and to bring this incredible score and epic story to audiences across the UK and Ireland.”

The Last Ship, which was initially inspired by Sting’s 1991 album The Soul Cages and his own childhood experiences, tells the story of a community amid the demise of the shipbuilding industry in Tyne and Wear, with the closure of the Swan Hunter shipyard.

When a sailor named Gideon Fletcher returns home after seventeen years at sea, tensions between past and future flare in both his family and his town. The local shipyard, around which the community has always revolved, is closing and no-one knows what will come next, only that a half-built ship towers over the terraces. With the engine fired and pistons in motion, picket lines are drawn as foreman Jackie White and his wife Peggy fight to hold their community together in the face of the gathering storm.

This personal, political and passionate new musical from multiple Grammy Award winner Sting, is an epic account of a family, a community and a great act of defiance. The Last Ship features an original score with music and lyrics by Sting as well as a few of his best-loved songs; Island of Souls, All This Time and When We Dance.  It is the proud story of when the last ship sails.

 

The Last Ship

Theatre Royal, Glasgow

Monday 18-Saturday 23 June 2018

Mon-Sat eves, 7.30pm

Wed & Sat mat, 2.30pm

www.atgtickets.com/glasgow

0844 871 7647 *calls cost up to 7p per minute plus your phone company’s access charge

NEWS: Shrek stomps into Glasgow King’s

SHREK THE MUSICAL® will be stomping into Glasgow this autumn as producers of the hit musical are delighted to announce additional Scotland dates due to popular demand. Following the critically acclaimed opening of the new UK and Ireland tour in Edinburgh, the larger-than-life production will be arriving at the King’s in Glasgow from Tuesday 25 September until Saturday 6 October.

Leading the cast as beloved swamp-dwelling ogre ‘Shrek’ will be Steffan Harri, having previously starred in the original UK tour of SHREK THE MUSICAL® and actor and recording artist Amelia Lily as Princess Fiona, who will perform her only Scottish date at King’s Theatre Glasgow. They will be joined by Marcus Ayton as Shrek’s wisecracking sidekick ‘Donkey’ and Samuel Holmes as pint-sized villain ‘Lord Farquaad’.

The company of fairy-tale characters will include Adam Baker, Ethan Bradshaw, Michael Carolan, Joseph Dockree, Will Hawksworth, Sarah-Louise Jones, Reece Kerridge, Thomas Lee Kidd, Amy Oxley, Jemma Revell, Lucinda Shaw, Sam Stones, Adam Taylor, Jennifer Tierney, Sophie Wallis, Francesca Williams, Laura Wilson and Kevin Yates.

Caro Newling (Co-Producer, Neal Street Productions) said: “When we saw the wonderful reception we had in Edinburgh over the Christmas season, we knew we couldn’t miss the opportunity to give Scottish audiences another chance to see Shrek and all his fairytale friends. Since Shrek the Musical’s West End debut in 2011 we have opened our doors to nearly 2 million audience members nationwide and now it’s great to be back on the road with a brand new version of this uplifting show.”

Nick Salmon (Co-Producer, Playful Productions) said: “I am thrilled that the show has reunited many of the talented team members who have been involved in the production since day one. Nigel has gone from being Lord Farquaad, in the West End to directing our touring production and Steffan, who was previously one of our hilarious Three Pigs, has stepped triumphantly into Shrek’s ogre-sized shoes. We also welcome our new cast members, including Amelia Lily as Princess Fiona who will have her only Scottish performances in Glasgow.’

Nigel Harman returns as director, having made his directorial debut on the first ever tour. Since then Nigel has gone on to direct Lunch & The Bow of Ulysses (Trafalgar Studios) and, most recently, Kelsey Grammer in Big Fish The Musical (The Other Palace). Best known for his stage and television work, Nigel originated the role of Lord Farquaad in the West End, winning the Olivier Award for Best Performance in a Supporting Role in a Musical.

Steffan Harri starred in the first ever UK tour of Shrek the Musical, covering the role of Lord Farquaad. West End theatre credits include Les Misérables (Queen’s Theatre), Spamalot (Playhouse Theatre) and Children of Eden (Prince of Wales Theatre). Steffan also played Lyn in Welsh language soap opera Rownd a Rownd.

Amelia Lily first rose to fame on The X Factor, finishing third on the eighth series in 2011. Her debut single You Bring Me Joy reached number two on the UK Singles Chart. Theatre credits include playing the Narrator in Joseph and his Amazing Technicolor Dreamcoat (UK Tour), Whatsername in the West End premiere of Green Day’s hit punk rock musical American Idiot (Arts Theatre & UK Tour) and Shout! (Winter Gardens Blackpool). Most recently Amelia was runner up in the 2017 edition of Celebrity Big Brother.

Marcus Ayton’s recent credits include Sammy Davis Jr in The Rat Pack Live, Ray Charles in A Tribute to the Brothers Live and Joseph and the Amazing Technicolor Dreamcoat (UK Tour).

Samuel Holmes recently appeared as George in the UK Tour of The Wedding Singer. Other stage credits include Mrs Henderson Presents (Theatre Royal Bath; Noel Coward Theatre), Water Babies (Curve Theatre), Spamalot (Playhouse Theatre), Kiss Me Kate (Chichester Festival Theatre) and Crazy for You (Regent’s Park Open Air Theatre; Novello Theatre).

Join our unlikely hero Shrek and his loyal steed Donkey as they embark on a quest to rescue the beautiful (if slightly temperamental) Princess Fiona from a fire-breathing, love-sick dragon. Add the diminutive Lord Farquaad, a gang of fairytale misfits and a biscuit with attitude, and you’ve got the biggest, brightest musical comedy around! Featuring all new songs as well as cult Shrek anthem I’m a Believer, SHREK THE MUSICAL brings over 100 much-loved fairytale characters, plus a 14-foot dragon, to life in an all-singing, all-dancing extravaganza.

Shrek the Musical

King’s Theatre, Glasgow
Tue 25 Sep-Sat 6 Oct
Evenings: Tues-Sat 7pm
Matinees:  Sat 29 & Sun 30 September; Wed 3, Thu 4 & Sat 6 October
www.atgtickets.com/glasgow
0844 871 7648* calls cost up to 7p per minute plus your phone company’s access charge

Twitter/ Facebook/Instagram: @ShrekUKTour

 

REVIEW: Elf – King’s Theatre, Glasgow

elf musical logo

The festive season is off to a grand start with The Pantheon Club’s production of Elf. Based on the 2003 Will Ferrell movie, Matthew Sklar, Chad Beguelin, Thomas Meehan and Bob Martin’s musical version is a treat for the whole family and bound to become a holiday favourite.

Motherless toddler Buddy Hobbs crawls into Santa’s sack by mistake and is transported to the North Pole where he grows up to be one of the elves working in Santa’s toy factory. Standing several feet taller than his fellow ‘elves’ Buddy finds out he’s actually human and return to New York to find his father. Dad is firmly on the naughty list and Buddy endeavours to help his dad and New York City re-discover the true meaning of Christmas.

Pantheon’s amateur production is high on production values (it puts many recent professional touring productions to shame) and impressive in its casting. Graeme Wallace is outstanding as the naïve Buddy, his comic timing and assured vocals are on-point throughout. He is ably supported by a universally impressive ensemble. The acting, vocals, choreography and its execution are of professional quality.

No it’s not the most demanding show, it’s not going to win any awards for the quality of the writing, and the tunes are pleasant but not spectacular, but it’s the kind of show that will warm even the hardest of hearts and set you up perfectly for the festive season ahead. A triumph for the Pantheon Club (dare I start an appeal for a repeat run? Same time, same place – next year).

Image courtesyPantheon Club.

NEWS: KING’S AND THEATRE ROYAL GLASGOW LAUNCH NEW “LOCAL HEROES” OFFER 2 FOR 1 TICKETS

The King’s Theatre and Theatre Royal have launched an initiative that will reward local heroes of Glasgow and beyond.

The city centre venues, which are operated by Ambassador Theatre Group, will offer 2 for 1 tickets on selected shows and performances running in January 2018 to those working for Scottish Fire and Rescue, Scottish Ambulance, Police Scotland, RNLI, RAF and the Armed Forces. The offer will also be available to Teachers and those working in the NHS.

The move came when the two theatres, who work closely with Tickets for Troops to provide tickets for Armed Forces, wanted to extend their offer to more of Scotland’s heroes.

James Haworth, Theatre Director, at the King’s and Theatre said: “I’m extremely proud that our venues are offering this as a way of thanks to those who have dedicated their lives to helping others.

“Whether you be a nurse; a firefighter; a lifeguard; police officer; armed forces member; teacher or doctor, I hope you will take advantage of this and enjoy a fabulous trip to our theatres on your very well earned night or afternoon off.”

To claim the offer, all heroes have to do is quote LOCALHERO when booking at the box office, over the phone or online then show a valid work ID badge or payslip when collecting tickets.

AVAILABLE PERFORMANCES AND BOX OFFICE CONTACT DETAILS

The main box office is based at Theatre Royal and handles sales for both venues. The box office at Theatre Royal is open Mon-Sat, 10am-6pm while the King’s box office opens 90 minutes before a performance for collections and on-the-night sales.

KING’S THEATRE

Phone: 0844 871 7648

www.atgtickets.com/venues/kings-theatre

 

Sleeping Beauty

Sat 2 Dec 2017 – Sun 7 Jan 2018

Selected January performances, please see box office for full details.

 

Someone Like You: The Adele Songbook

Tue 9 Jan 2018, 7.30pm

 

Vampire Rock: The Ghost Train

Thu 11 Jan 2018, 7.30pm

 

Queen of the Night

Fri 12 Jan 2018, 7.30pm

 

Tango Moderno

Tue 16 – Sat 20 Jan 2018

Local Hero available on Wed and Thu performances

 

The Sound of Music (tbc)

Tue 23 –Sat 27 Jan 2018

Local Hero available on Wed and Thu performances

 

THEATRE ROYAL

Phone:  0844 871 7647

www.atgtickets.com/venues/theatre-royal-glasgow

Scottish Ballet: The Nutcracker (tbc)

Thu 4 – Sat 13 Jan 2018

 

Hedda Gabler

Mon 15 – Sat 20 Jan 2018

Local Hero available on Tue, Wed and Thu performances

 

Strangers on a Train

Mon 22 – Sat 27 Jan 2018

Local Hero available on Tue, Wed and Thu performances

REVIEW: Slava’s Snow Show – King’s Theatre, Glasgow

It’s nearly a quarter of a century since Slava Polunin debuted his Snow Show. Described by Polunin as “a comical meditation on life, death, and the beauty of the universe”, it’s been a hit in over 80 countries, along the way becoming a 20th and now 21st Century theatrical classic.

At a purely surface level, there is much to wonder at: both adult and child can revel in the unfolding beauty of the visual effects, and the finely detailed clowning, but there is so much more to marvel at in the subtle subtext. The thread of longing, loss and loneliness threads its melancholy but beautifully affecting and touching way through the whole evening. Polunin himself has expressed his desire to extend the boundaries of clowning and “dive into tragicomedy, to measure the extent to which one can fuse drama with language”, and he thoroughly succeeds: the ghosts of Gogol and Beckett are evident in the over-arching atmosphere of the evening.

The vignettes, play out to an eclectic but emotive soundtrack. Highlights include the spider web that engulfs the entire stalls of the auditorium, the giant colourful bouncing balls let loose on the crowd that bring out our inner child, the beautifully touching sequence with a coat-rack, and the stunning, snow storm finale to Carl Orff’s Carmina Burana.

The meaning behind each set-piece will almost certainly be over the heads of the children and it bears noting that small portions of the action could be unsettling for the youngest audience members, but it is breathtakingly beautiful and the awe on the faces of the children as the action unfolds is a delight to see. It is also proof that the language and art of clowning is truly universal.

To feel part of the show make sure you are sitting in the stalls, if you are happy to be an onlooker then the circles and gallery are the place for you, and don’t stay out of the auditorium too long at the interval as the mayhem continues in grand style.

Proof that thoughtful, gentle and truly beautiful theatre has global appeal.

Runs until 11 November 2017 | Image: Vladimir Mushukov

 

REVIEW: The Steamie – King’s Theatre, Glasgow

There’s a nostalgia for and great expectations of any production of Tony Roper’s Glasgow classic, The Steamie, and audiences can rest assured that this 30th anniversary production does the much-loved work complete justice.

Hogmanay, a Glasgow wash house. The race is on to get the laundry done before the midnight bells. As the 1940s give way to a new decade, the four women: Dolly (Libby McArthur), Mrs, Culfeathers (Mary McCusker), Margret (Carmen Pieraccini) and Doreen (Fiona Wood) chew the fat, share the details of their lives and provide much-needed support to one another as they reflect on their hard lives, their hopes and dreams, and their often, useless men.

Heralded for its reflection of real Glasgow women’s lives, the camaraderie between these women delivers as many laughs as tears, a more perfectly pitched piece of writing you would be hard to find. Roper is a master manipulator of your feelings: just as the sentimental tears roll down your cheeks, a killer comic line is delivered so precisely that your emotions are tugged in completely the opposite direction.

Fans will be glad to know the now legendary Galloway’s mince routine is still as hysterical as is always was, as are Dolly’s peat bath purge and the imaginary telephone conversation, iconic scenes that have a firm place in Scottish theatre goers hearts.

That a play about a public wash house, set in a time when a sense of community and neighbourliness still existed, a world that is beyond the ken of a vast portion of the audience, still has the ability to pack out a two week run in a theatre is testament to the quality of the writing. Roper’s expert grasp on the rhythms of his native tongue, make this play as sharp today as it has ever been. Nostalgic it may be, and Glaswegian to its very core, however, the themes of friendship, loneliness and of womanhood transcend the years.

The roles are perfectly cast, these women deliver a masterclass in acting (and singing) and Roper’s own direction ensures it remains tight and true to the original.

You will be hard-pressed to find a work that tugs at your heart strings and equally make your heart soar. A classic, and deservedly so, this 30th anniversary production is simply unmissable.

Runs until 4 November 2017 | Image: Douglas Robertson

This review was originally written for The Reviews Hub at: http://www.thereviewshub.com/the-steamie-kings-theatre-glasgow/

REVIEW: Crazy For You – King’s Theatre, Glasgow

Based on the 1930 musical Girl Crazy, (where Ethel Merman made her stage debut and turned Ginger Rogers into a star overnight) and utilising the glorious back catalogue of the Gershwin brothers, Crazy For You was reworked in the 1990s by Ken Ludwig to recreate the golden age of Hollywood and Broadway musicals.

This Watermill Theatre production starring Tom Chambers, Charlotte Wakefield and Caroline Flack, stops off in Glasgow this week on its UK tour.

New York boy, Bobby Child works in the family bank, he’s sent to Deadrock, Nevada to foreclose on a failing theatre. However, stage-struck Bobby harbours a secret desire to be a song and dance man. Instead of shutting down the business, he disguises himself as Hungarian theatre impresario Bela Zangler, and utilises the classic ‘let’s put on a show right here!’ device. There are multiple plot twists and the old ‘boy-meets-girl, girl-hates-boy-on-first-sight’ too.

Despite Ludwig’s attempts to beef up the original material, the characterisations are so thin they are positively see-through and the storyline is frankly, barmy. It’s also a mystery why, with one of the richest back catalogues in musical history, that it’s been padded out with some of the least well known Gershwin tunes.

The big hitters that remain from the original Girl Crazy are glorious: Embraceable You, I Got Rhythm and But Not For Me as are Someone to Watch Over Me from Oh, Kay! and They Can’t Take That Away From Me from Shall We Dance, there are also some tantalising snippets of An American in Paris.

The Watermill Theatre has had mixed success with the actor/musician approach employed here. The cast of 19 certainly fill up the King’s Theatre’s tight stage, but under Paul Hart’s fussy direction, they are more of a curse than a blessing. It’s all just a bit too busy visually, and the poor women who are having to give their all while hoofing are doing it while holding on to a trumpet or a violin.

Diego Pitarch’s multi-level set serves the production well, with smooth and simple transitions it transforms into Deadrock, New York, the theatre and the saloon. Howard Hudson’s clever lighting adds depth, warmth and atmosphere.

Where it does win out is in the casting of Chambers (Bobby) and Flack (Irene). Chambers looks as if he’s having a ball throughout. For someone who dreamed of being Fred Astaire as a little boy, those dreams have certainly come true. Flack is clearly talented and her American accent remains on-point throughout, but it’s a mystery that such an excellent dancer, barely gets to display what she can do. Wakefield, has an excellent singing voice, however, it’s not a singing voice entirely suited to this material, with the arrangements of the songs she sings straying into more modern territory, she also, for reasons that are hard to pinpoint, isn’t easy to warm to. The ensemble, provide excellent support throughout.

The energy levels are high from all, but despite this the second act drags and suffers from unnecessary filler material, both in song and in dance routines.

This is a corny piece of fluff, with an excellent, hard-working cast, and in some ways a welcome escape from the grim world outside, but ultimately that certain stardust that makes a production truly spectacular, is missing.

Runs until 21 October 2017| Image: Richard Davenport

This review was originally written for The Reviews Hub: http://www.thereviewshub.com/crazy-for-you-kings-theatre-glasgow/

SEAT REVIEWS: King’s Theatre, Glasgow

OVERVIEW:

The King’s Theatre, Glasgow is a 1785 seat theatre on four levels.

It comprises (from floor up): Stalls, Grand Circle, Upper Circle and Gallery.

686 seats in the STALLS

320 seats in the GRAND CIRCLE

278 seats in the UPPER CIRCLE

501 seats in the GALLERY

The theatre also has a number of boxes.

The theatre is almost always busy and consequently is extremely hot. Wear layers, bring a (non-electric) fan. It is an Edwardian building with no air-conditioning.

INDIVIDUAL SEAT REVIEWS:

STALLS: Aisles at left and right side of auditorium, no central aisle. 

ROW INDIVIDUAL SEAT REVIEWS
A 24 – Front row, the orchestra pit is in front of this row separated by a railing. This seat is just off-centre so avoids the problem of the musical director standing directly in front of you. The view is excellent and the neck ache not so bad from being so close to the action. You can see every minute detail from here.
B
C
D
E
F
G
H
J
K  29/30 – Good view, over on left hand side of auditorium facing stage. Overhang of grand circle above head. Could be problematic if very tall people in front.
L
M
N
O
P 1/2 – The legroom is good, No. 1 seat on the aisle, but the circle overhangs above you and therefor gives you a restricted view. It’s almost like a letter box effect. The looming roof above personally made me feel a bit claustrophobic. Price of ticket usually reflects any problems.
Q
R
S
T
U

GRAND CIRCLE: Comprises only eight rows. The seats are curved with an aisle down the middle and two side aisles. 

ROW INDIVIDUAL SEAT REVIEWS
A
B
C
D 8/9 – On the curve, good, slightly side-on view but can see almost all of the stage. Problems may arise if a tall person sits in front where you will have to squint between the shoulders of the people in front.

10/11 – good leg room. On the curve, view fine as long as the person in front is not too tall. Depending on the set design the view of the right side of the stage from the auditorium is blocked a little.

30/31 – on the left hand curve. Good view can generally see above/ between the people in front. OK leg room.

E 8/9 – on right hand curve, slight side on view, but great view of stage. Legroom a little restricted.

12/13 – good view of stage, decent leg room.

22 – 22 is the aisle seat and allows you to stretch your legs. Straight on view of the stage. View blocked by average-sized person in front despite seat reviewer being 5ft 8 inches tall. Could lean into aisle to see most of stage (some still blocked on left hand side).

23 – Decent leg room, view restricted to between the heads of 2 people in front – seat reviewer 5ft 2 inches tall.

31/32 – middle of curve on left hand side. Good view, slightly side on. Legroom OK for the average sized person.

34/35 – on curve on left hand side looking towards stage. View was a bit restricted by taller people in front, which resulted in a lot of peering side to side to catch all of the action.

F 31/32 – on curve on left hand side of grand circle. Decent view as people in front not very tall. Legroom not brilliant but bearable.

34/35 – on curve on left hand side of circle. Good view, better than F31/32. Legroom good as where it curves around allows for more knee room.

G
H

UPPER CIRCLE:

ROW INDIVIDUAL SEAT REVIEWS
A
B
C
D
E
F
G

GALLERY: 

ROW INDIVIDUAL SEAT REVIEWS
A
B
C
D
E
F
G
H
J
K
L
M

BOXES:

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.

NEWS: Madagascar to go wild in Glasgow next August

Go Wild! as Selladoor Worldwide and Hartshorn-Hook announce that their brand-new stage adaptation Madagascar – A Musical Adventure is coming out of the zoo and into Glasgow as part of a UK tour.

Join Alex the Lion, Marty the Zebra, Melman the Giraffe, Gloria the hip hip Hippo and, of course, those hilarious, plotting penguins as they bound onto stage of the King’s Theatre on Monday 6 August until Saturday 12 August.

This musical adventure of a lifetime will have eight performances at the King’s, including three matinees.

Tickets are on sale to Theatre Card members now and go on general sale on Friday 20 October 2017.

Based on the smash DreamWorks animated motion picture, Madagascar – A Musical Adventure follows all of your favourite crack-a-lackin’ friends as they escape from their home in New York’s Central Park Zoo and find themselves on an unexpected journey to the madcap world of King Julien’s Madagascar.

Alex the lion is the king of the urban jungle, the main attraction at New York’s Central Park Zoo. He and his best friends – Marty the zebra, Melman the giraffe and Gloria the hippo – have spent their whole lives in blissful captivity before an admiring public and with regular meals provided for them. Not content to leave well enough alone, Marty lets his curiosity get the better of him and makes his escape – with the help of some prodigious penguins – to explore the world.

This wacky adventure for the whole family is brought to life by Selladoor Family, the producers behind James And The Giant Peach, Seussical and The Owl And The Pussycat and Hartshorn – Hook, producers of the Olivier Award winning Rotterdam, Murder Ballad, Urinetown and American Idiot . Madagascar – A Musical Adventure will be directed by award winning Kirk Jameson who is thrilled to be working alongside Selladoor again having directed their 2013 revival of Seussical: The Musical at the Arts Theatre.

David Hutchinson, Executive Creative Producer of Selladoor says “One of our key principals at Selladoor is to aim to engage young people to come to the theatre and to help to encourage a whole new generation of theatre-goers, and Madagascar promises to do just that. We are delighted to be bringing these much-loved crazy characters to life on stage in an exciting caper for all of the family”

Filled with outlandish characters, adventure galore and an upbeat score, Madagascar will leave audiences with no choice but to “Move It, Move It!”

LISTINGS

Madagascar

King’s Theatre, Glasgow

Mon 6-Sat 12 Aug 2018

Mon-Sat, 7.30pm

Wed, Thu & Sat matinees, 2.30pm

www.atgtickets.com/glasgow

0844 871 7648* calls cost up to 7p per minute plus your phone company’s access charge

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