Tag Archives: King’s Theatre

REVIEW: Grease The Musical – King’s Theatre, Glasgow

The first new production in 25 years, and with the promise of a return to the gritty, raw, original 1971 production, the odds would seem stacked in favour of this Leicester Curve production of Grease, one of the world’s most beloved musicals. However, spectacularly bad casting, lacklustre energy levels and poor vocals, render what should be a corker of a show, into a two and a half hour yawn-fest.

It’s 1959, Rydell High, and a dozen angst ridden teenagers negotiate the ups and downs of high school life: break ups, make ups, peer pressure and pregnancy scares, with a raft of familiar tunes wrapped around the action (if not in the order that fans of the movie are used too).

Principal among the faults of this production is the casting: Dan Partridge’s Danny Zuko is a non-descript leading man, he lacks any presence, his accent is appalling (something that seems endemic in the cast), and his singing voice even worse, and unforgivably there is absolutely no chemistry with the woefully underused Martha Kirby as Sandy, who manages to elevate proceedings in the few occasions she’s on stage. It is absolutely baffling why she would ever fall in love with this loser in the first place. Louis Gaunt is a charismatic Kenickie who makes his mark (the young actor seems as if he would be a much better fit as Danny). Of note too is Natalie Woods, who has a lovely voice and a nice presence as the body-conscious Jan, less successful are Rhianne-Louise McCaulsky as Rizzo, who looks thoroughly bored throughout and Darren Bennett, who provides an uncomfortable watch as the boob-grabbing old letch Vince Fontaine, the performance smacks of 1970s Benny Hill/Freddy Starr, not memories you’d want to evoke in 2019.

Are we are so far removed and so distanced from the times in which this is set, that it fails to resonate? Is that the main issue? There’s a moment in the cheesy dialogue when after a break up and a make up between Danny and Sandy where her asks her: ‘don’t you want my ring?’ you can almost hear the female audience cry: ‘no thanks I’d rather have a career’. The entire show plays out like a badly disjointed series of unrelated scenes and the lack of drive doesn’t help. On a positive note, Colin Richmond’s gymnasium design is effective, if simplistic and Guy Hoare’s lighting design tonally compliments it – it should be said though, that it’s particularly heavy on the dry ice.

The entire production from start to end lacks impact, there isn’t an ounce of sparkle and the lack of energy and commitment of the cast is astonishing. One could argue that it’s impossible to make Grease boring, but boy does this production succeed in achieving just that.

Runs until 31 August 2019 | Image: Manuel Harlan

NEWS: CASTING ANNOUNCED FOR ON YOUR FEET! THE STORY OF EMILIO AND GLORIA ESTEFAN

Casting has been confirmed for ON YOUR FEET! The Story of Emilio and Gloria Estefan, which plays at the King’s Theatre, Glasgow from Monday 2 until Saturday 7 March 2020.

ON YOUR FEET! is the inspiring true love story of Emilio and Gloria and charts their journey from its origins in Cuba, onto the streets of Miami and finally to international superstardom and features some of the most iconic pops songs of the era, including Rhythm is Gonna Get You, Conga, Get On Your Feet, Don’t Want To Lose You and 1-2-3.

Direct from the West End, Philippa Stefani will play Gloria Estefan, George Ioannides Emilio Estefan, Madalena Alberto will play Gloria Fajardo and Karen Mann Consuelo.

Philippa Stefani played ‘Mimi’ in the recent national tour of Rent. She has also played Daniela in In The Heights at King’s Cross Theatre. Her other theatre credits include the original London casts of Wicked at the Apollo Victoria and I Can’t Sing and Sister Act, both at the London Palladium. She has also appeared in High Society at the Old Vic and Ghost at the Piccadilly Theatre.

George Ioannides has appeared in the West End productions of Annie and Mamma Mia! and was most recently seen as Eduardo Cortez in An Officer and a Gentleman at Curve, Leicester and on national tour.

Madalena Alberto’s West End credits include the title role in Evita at the Dominion Theatre and Grizabella in Cats at the London Palladium. She has also appeared as Fantine in the 25th Anniversary tour of Les Miserables and was most recently seen as ‘Giulietta’ in Aspects of Love at the Southwark Playhouse.

Karen Mann’s many credits include Golde in the national tour of Fiddler on the Roof opposite Paul Michael Glaser, Marley in Scrooge at Curve and Mother Superior in Sister Act also at Curve and on national tour. Her extensive work at the Watermill Theatre in Newbury includes Gladys in Copacabana, Viv in Spend Spend Spend and Mrs Lovett in Sweeney Todd, which transferred to both the New Ambassadors Theatre and Trafalgar Studios.

Completing the cast will be Sharif Afifi, Hollie Cassar, Francisco Del Solar, Laura Friedrich Tejero, Francesca Lara Gordon, Yonly Leyva Desdunes, Olivia Kate Holding, Elia Lo Tauro, Gabriella-Rose Marchant, Martin McCarthy, Alicia Mencía, Ciro Lourencio Meulens, Clayton Rosa, Julia Ruiz Fernandez, Slaap, Dawnita Smith, Despina Violari, Nathan Zammit and Alain Zambrana Borges.

Gloria Estefan has sold over 100 million records worldwide and is the most successful Latin crossover performer in the history of pop music.  In addition to her 38 number 1 hits across the Billboard charts, Gloria recorded the Oscar-nominated song ‘Music of My Heart’ and has received numerous honours and awards over the course of her illustrious career. Emilio Estefan is a founding member of the pioneering Miami Sound Machine, who created a brand new Latin crossover sound – fusing infectious Cuban rhythms with American pop and disco. Combined, they have won a staggering 26 Grammy awards.

 

Amélie – King’s Theatre, Glasgow

Amélie:The Musical is based on Jean-Pierre Jeunet’s 2001 Academy Award-winning movie about eternal altruist Amélie Poulain, whose desire to help others, through a series of simple acts of kindness, prevents her from finding love. Amélie escapes her dysfunctional childhood and unhappy home life to work as a waitress in a Paris café where she encounters a rag-tag bunch of bohemian misfits, whose lives she sets out to make that little bit better. This 2019 musical version has been significantly re-worked for the UK tour after a less-than-successful and hugely curtailed run on Broadway in 2017, where it ran for only 56 performances after a hefty 27 days of previews.

Any production has to compete with the visually arresting movie and the tobacco-stained design by Madeleine Girling, with gorgeous lighting by Elliot Griggs, largely succeeds in distancing itself from the iconic big-screen version and establishing itself as its own visual entity. It does however exploit many Gallic clichés in its presentation of the Montmartre café where the action takes place. That said, it is an absolute treat to behold.

The film is a series of quirky vignettes from Amélie’s childhood to her life in Paris (the journey necessary to understand Amélie’s future motivations) and as a result there’s a lot of time spent establishing the back story, resulting in the first act of the musical taking its time to come together and hit its stride. The second act is more cohesive and as a whole it manages to almost replicate the entire movie storyline in the confines of a small-scale, fixed set, an impressive feat.

There are an astonishing 35 musical pieces in total, and if any gripe remains with the show, it’s the lack of variety in style and tone of much of the music, motifs are repeated just a tad too often. Yes, many are gorgeous, and they are perfectly played and sung by the actor/musicians, but many add nothing and arrest the progress of the narrative rather than advance it.

The cast are universally first class, Audrey Brisson (Amélie), a Cirque du Soleil veteran is a less soft but compelling version of our heroine and Danny Mac as the object of her unrequited admiration Nino, is sure-footed throughout.

Amélie seems to have largely overcome its previous faults. It’s a tad too long, something which seems to be endemic in most musicals, and there are a few too many musical intervals, but it looks beautiful and is imaginatively staged, with a plethora of tiny, quirky details to delight. And where else can you see ‘Elton John’, some people-sized, singing and dancing figs,  a suicidal goldfish, a Brazilian carnival dancing gnome and a leading lady coming and going by flying lampshade?

Runs until 24 August 2019 | Image: Contributed

This review was originally written for The Reviews Hub 

NEWS: Crowd-funder campaign to support spoof documentary FOH (Front of House) filming at King’s Theatre Edinburgh

CROWDFUNDER CAMPAIGN LAUNCHED TO MAKE NEW EPISODES OF SPOOF DOCUMENTARY ‘FOH’.

Tom Read Wilson, Harriet Thorpe, Grant Stott and Andy Gray join the cast of mockumentary series ‘FOH’, filmed at the iconic King’s Theatre Edinburgh.

FOH, the spoof documentary that charts the ups and downs of life working front of house in a theatre has started a Crowdfunder campaign to make three brand new episodes featuring a starstudded cast. Edinburgh writer and director Andrew Dyer filmed the pilot for FOH two years ago which quickly gained over 50,000 views online and developed a strong fan base.

The show was inspired by his time working front of house in London and at the King’s and Festival Theatres in Edinburgh. On how the pilot came to be:  “Working front of house is a great place for people watching as the audiences are completely different from one show to the next and there is always a brilliant mix of staff working. Over the years I started to take note of funny situations that would happen and characters that stood out and it seemed only natural that a fly on the wall comedy was the best way to share some of them!”

Dyer is an Edinburgh native, he studied acting at Queen Margaret University before training at the Royal Academy of Music in London. He turned his hand to writing and directing comedy in 2014 where he developed his first Edinburgh Fringe show with comedy partner Michelle Whitney who he met while studying at RAM. (Whitney also features in ‘FOH’ as Linda the Front of House Manager.)

The pilot proved so popular that he has decided to create more episodes, with some famous faces now joining the original cast, and is turning to crowdfunding where they need to raise £8,000 to make three short episodes. “We made our pilot on basically zero budget and pulled in a lot of favours to do so and as proud as we are of our pilot we are not able to produce more episodes in the same circumstances. We want to pay for our professional cast and crew as well as cover the various production expenses so any donations made would be greatly appreciated but even just a ‘like’ and ‘share’ to spread the word will go a long way!”

‘Celebs Go Dating’ star Tom Read Wilson is the latest to join the line up of star cameos that includes Harriet Thorpe (‘Absolutely Fabulous’, ‘The Brittas Empire’) and King’s Theatre panto stars, Andy Gray and Grant Stott. 

The King’s where ‘FOH’ is filmed (but not set) is an Edinburgh institution and has been welcoming audiences since 1906. The new episodes will be made in advance of the theatre’s major redevelopment in 2021.

You can find out more about ‘FOH’ and make a donation by visiting: https://www.crowdfunder.co.uk/foh-the-mockumentary.

The original episode can be viewed on their Facebook page: https:// http://www.facebook.com/fohthemockumentary

“If you’re a theatre fan I hope you will enjoy ‘FOH’ but I also hope that anyone who has ever worked a customer service job can relate to the people in the show or recognise similar situations they’ve experienced!”

REVIEW: The Rocky Horror Show – King’s Theatre, Glasgow

There are few other shows so beloved or so enduring as the Rocky Horror Show. It’s a summer Monday evening and the theatre is packed from floor to rafters with fans clad in their best Columbia, Magenta, Rocky, Brad, Janet and even a few Frank N. Furter costumes for the latest tour of this nearly 50-year-old show.

The audience is in full-on participation mode and the excitement before curtain up is tangible. The second the Usherette (a fabulous Laura Harrison, who also doubles up as Magenta) steps onstage, the audience is raring to go. Every infamous call back is on cue, every moment for joining in is taken – this is a crowd that knows every word and every step to every song and is here to enjoy the night to the fullest.

There are many reasons why Rocky Horror has been performed almost continuously since its creation in 1973 – the big hits come thick and fast, the dialogue is cheeky and cheesy in equal measure, it never takes itself seriously, but the talent and commitment of the cast and the quality of Richard O’Brien’s genius writing means that under the 1950s B-Movie veneer, this is a show of quality.

Boy band royalty, Blue’s Duncan James steps into Frank’s glittered platforms and satin corset and boy does he give it his all. From entrance to exit he looks like he’s living his best life and judging from the ear-splitting reception from the audience they are loving every minute along with him. James is ably supported by dance royalty Joanne Clifton, who again demonstrates how multi-talented she is, singing and acting as Janet and there’s strong support from a fine-sounding James Darch as Brad. While Rocky Horror veteran and fan-favourite Kristian Lavercombe is indisposed tonight, his understudy Andrew Ahern is a revelation as Riff Raff and Philip Franks, arguably one of the finest narrators in the world of Rocky Horror, returns.

There are few shows that pack more entertainment into two hours, and few that stand up to repeat viewing like Rocky Horror. Hands-down one of the best musicals of all time and with this first-rate cast, it would be a crime to miss it.

Runs until 17 August 2019 | Image: Contributed

This review was originally written for The Reviews Hub

REVIEW: Hair – King’s Theatre, Glasgow

While Hair has lost its shock value and the antics seem risible to a 21st Century audience, the celebratory and catchy songs still stand the test of time and the committed cast of this 50th Anniversary tour throw themselves fully into the action.

After a 15 minute delay and an unannounced change of leading man, we’re whisked to 1967 New York, where the shadow of the Vietnam War looms over the whole of the US, but particularly the East Village,where Berger (Bradley Judge) and his band of subversive misfits are railing against the world. It’s only Claude (Paul Wilkins) who doesn’t fully buy in to the Hippie counterculture, conflicted between turning on, tuning in and dropping out (to paraphrase Timothy Leary) and fulfilling his duty to his country after being drafted into the Vietnam War.

The plot is scant and there are times when the dialogue is reduced to merely shouting out anti-establishment phrases, so the songs need to be strong to sustain interest. There are plenty of stand-outs: Aquarius, Easy to be Hard, Good Morning Starshine, Let The Sun Shine In and the title track Hair, to name a few. The only gripes would be that there are so many of them – several could be chopped without being detrimental to the show. There’s also a lot less audience interaction – this is not as immersive as expected, at times, it seems more fun for those on stage than for the audience.

The design by Maeve Black, complimented by Ben M Rogers’ lighting does evoke a trippy hippie camp and the costumes are largely on point, these are the final dates of a long tour, so the increased tattiness adds to the atmosphere.

The energetic and accomplished cast clearly give their all and play a large part in bringing the audience in. 

It doesn’t have the impact that it once had and the shock value has gone, even the full-frontal nudity barely raises an eyebrow, but it stands as a window to another time and provides some insight on a pivotal time in social history. It is still worth seeing as a cultural landmark – it, and the shows that followed in its wake, widened the boundaries, gave voice to the youth of the day and changed the theatrical landscape forever.

This review was originally written for The Reviews Hub.

INTERVIEW: Duncan James on stepping into Frank-N-Furter’s platforms this month in Glasgow

What made you say yes to playing Frank-N-Furter in The Rocky Horror Show?

It’s been a dream role of mine for a long time. I heard they were doing The Rocky Horror Show and I think Frank-N-Furter is one of the best roles you can play in musical theatre. It’s such an iconic role and the show has such a loyal following. It’s such a wonderfully written show and I thought ‘Wouldn’t it be great to play Frank?’ I rang my agent and said: ‘I hear they’re casting The Rocky Horror Show can you get me an audition?’ He did and so I went in, did the audition and got a recall. When I went back, I said to myself ‘I’m gonna get this’ and I did. I was really lucky because I fought off lots of competition from other well-known actors who were up for the part. I was like ‘No, no, no, this is my part!’ so when I got it, I was really proud of myself.

The Rocky Horror Picture Show
©The Other Richard

What are most enjoying about playing Frank?

Everything! And of course, he has one of the best entrances in musical theatre. The reaction you get from his opening number Sweet Transvestite is amazing because it’s such a great song and you come out in a cloak, then take the cloak off to reveal his really out-there outfit. It’s a great moment.

Can you relate to him in any way?

For me it’s more about having fun rather than relatability. The part of Frank-N-Furter is so twisted and so dark and that’s such fun to play. I mean, he’s essentially a psychopathic doctor who wants to create a man for his own pleasure and he’ll kill whoever gets in his way. Coming from Hollyoaks where I got to play a serial killer I thought it’d be great to then go and play Frank – to explore that dark, twisted mind again of someone who is living on the edge, someone who isn’t afraid to do what he has to do to get what he wants. That kind of character is really fun to play.

Credit : Johan Persson

Presumably with this role you’re very comfortable in heels?

I am, yes, and I love getting dressed up every night, putting on the corset, the fishnets and heels. It’s such an empowering moment because when I walk out on that stage, I feel huge compared to the other cast members. I feel like I’m towering above everybody and instantly I get that sense of command that Frank has. [Laughs] And of course I’m not shy so I love strutting round. I’m really embracing it. Also, I have a bit of a fascination with drag queens and drag artists. I’ve become a huge fan of RuPaul’s Drag Race. It’s like my number one guilty pleasure. I cannot miss an episode of any of RuPaul’s stuff.

Do you do much ad-libbing in response to the audience shout-outs?

There’s none of that from me. The only person who’s allowed to do that is The Narrator. They are the only ones who get to heckle back. I can do an eyebrow raise or a little smirk because, apart from The Narrator, Frank is the only one who’s allowed to acknowledge the audience.

What sort of shout-outs have you had so far?

There’s a lot of rude stuff and I got to do a scene in bed with Ben Adams from A1 when he was in the show. So it’s two boyband members in a bed, which is quite funny and prompts quite a few amusing shout-outs.

Why do you think The Rocky Horror Show has endured?

I think it’s down to the genius of Richard O’Brien. He created The Rocky Horror Show back in the 70s when it was really taboo to talk about certain subjects and having a man dressed up as a transvestite was unheard of. It was like ‘What on earth is this Tim Curry guy doing?’ It was banned in some countries because they thought it was completely wrong and it had a tough start because a lot of people didn’t know how to take it. A lot of people found it in bad taste but that was a sign of the times, of course. As attitudes towards sexuality, sex and transgender issues have changed we’ve become a lot more open-minded and liberal, haven’t we? It’s fantastic that we now embrace shows like The Rocky Horror Show. It’s great that this show in particular has stood the test of time. It seems to be getting bigger and bigger, with more and more people getting dressed up to come see it as well as knowing the story and shout-outs. The show gains more and more fans every time it goes out on tour.

When it comes to musical theatre, what have been your favourite roles?

I’m really lucky that I’ve gotten to do so many great shows. I loved playing Billy Flynn in Chicago. That’s a great role and I was lucky enough to play him again in the West End revival last year. I got to work with Alexandra Burke, who I adore, and we had great chemistry together. I loved playing Tick in Priscilla because it’s one of the most incredible, most liberating roles. Me having a child and being a gay man, I really related to the character. And The Rocky Horror Show is really good fun. It’s one of those shows where you get on stage every night and just have a really good time. It doesn’t feel like having to go to work and the audiences love it. The music is great, Frank’s words are so delicious and the way the story is told is just brilliant. I’m living my best life right now.

The Rocky Horror Picture Show
©The Other Richard

Do you have any plans to work with Blue again?

Definitely. As long as people want to come see us there’ll always be Blue. We’re very lucky that we get to travel all over the world. We get to play sold-out arenas wherever we go and we get to have these amazing trips away. We were in Bahrain recently then we went to Singapore and Malaysia, which was wonderful – to be able to travel to these countries with my friends and get up on stage and sing songs that everybody knows.

When it comes to theatre, do you have any pre- or post-show rituals?

This show consumes quite a lot of preparation with the make-up, the wig and everything. I have my little routine of doing my make-up, getting the wig put on, getting into the costume and then I’m on stage. There’s not a lot of time to think or prepare. After a show I take it all off then spend up to an hour at the stage door signing stuff and having pictures with everybody. There are always so many people at the stage door, which is lovely and I always want to make sure to give time to everybody. By the time I get home after that it’s like 11.30pm and I’m knackered.

What’s the one thing you couldn’t be on tour without?

My pillow goes everywhere with me. I cannot sleep in a hotel room without it because I can’t stand those horrible synthetic pillows you usually get. I have a proper old-school, feathered, heavy pillow which goes with me everywhere.

You’re bringing the show to the King’s Theatre, Glasgow. Does it have any significance for you?

Me and the Blue boys performed in Glasgow when we were on tour with Wet Wet Wet and we were the first act to ever play in their brand-new arena, which was great. The audiences were great too. I do find that the further north you go the rowdier they get.

The Rocky Horror show is coming to the Kings Theatre August 12 – August 17 2019 starring Duncan James (Blue) and Joanne Clifton (Strictly Come Dancing).

REVIEW: Madagascar The Musical – King’s Theatre, Glasgow

Madagascar, the much-loved, 2005 Dreamworks’ movie returns to Glasgow in its musical form, just in time to catch the school holiday crowd.

Our familiar friends from New York’s Central Park Zoo: Alex, ‘the king of the urban jungle’ (2016 X-Factor winner, Matt Terry), Marty the rapping zebra (Posi Morakinyo), Melman the hypochondriac giraffe (Connor Dyer) and Gloria the sassy hippo (Hannah Victoria) and, of course, King Julien the Lemur (Kieran Mortell) are all here, supplemented beautifully by Max Humphries’ penguin puppets and a colourful set design from Tom Rogers.

For the few who don’t know the story, it’s Marty’s tenth birthday, and when he finds that penguins Skipper, Kowalski, Rico and Private have decided to escape, he begins to long for ‘the wild’. After following the penguins out, Alex, Gloria and a reluctant Melman try to persuade their pal to return. Unfortunately, things don’t go to plan and the quartet find themselves on a boat bound for Africa.

It would be hard not to like this, Madagascar is as engaging a story on stage as it is on screen and has enough multi-layered humour to satisfy both adults and children alike. The songs are catchy, especially the ear-worm I Like To Move It, it’s delivered with humour and conviction and it boasts a small but top-notch cast to boot.

Matt Terry, despite what your prejudices might be about TV talent show winners, has a fine, strong voice, carries off the choreography with style, has an engaging personality and can act. He is ably supported by Morakinyo, Dyer and Victoria, who, again, perform with energy and commitment and keep the tiny audience members gripped throughout. The penguin puppeteers not only breathe life and character into their feathered characters but double and triple up on an array of human and animal parts and Kieran Mortell, of course, makes his mark as the hysterical tyrant King Julien.

For a production so seemingly simple there are small but notable details, chief among them Fabian Aloise’s choreography, which goes from urban/street in New York to more African/Tribal tinged in Madagascar.

This isn’t Pulitzer Prize-winning writing, it’s a simple story of friendship, but it’s perfectly-pitched to its audience and remains engaging and entertaining for all ages, throughout.

Runs until 4 August 2019 | Image: Scott Rylander

This post was originally written for The Reviews Hub 

NEWS: Shane Ritchie Joins Layton Williams in reprising their roles for UK tour of Everybody’s Talking About Jamie

Casting has been confirmed for Everybody’s Talking About Jamie, the smash-hit, critically acclaimed West End musical which will run at the King’s Theatre, Glasgow next year as part of the UK tour.

Credit : Johan Persson

Taking to the stage at the popular city centre venue from Monday 8 June until Saturday 13 June will be Layton Williams (Bad Education, Billy Elliot the Musical) as Jamie New and Shane Richie (EastEnders) as Hugo / Loco Chanelle. Both Layton and Shane will be reprising their roles from the West End production.

LISTINGS

Everybody’s Talking About Jamie

King’s Theatre, Glasgow

Mon 8 – Sat 13 Jun 2020

www.atgtickets.com.glasgow

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

NEWS: EVERYBODY’S TALKING ABOUT JAMIE COMES TO GLASGOW AS PART OF ITS FIRST UK TOUR

KING’S THEATRE

MONDAY 8 JUNE – SATURDAY 13 JUNE 2020

Everybody’s Talking About Jamie, the smash-hit and critically acclaimed feel good West End musical is coming to the King’s Theatre, Glasgow next year.

After taking the West End by storm the hit production will run from Monday 8 until Saturday 13 June 2020.

Jamie New is sixteen and lives on a council estate in Sheffield.

Jamie doesn’t quite fit in.

Jamie is terrified about the future.

Jamie is going to be a sensation.

Supported by his brilliant loving mum and surrounded by his friends, Jamie overcomes prejudice, beats the bullies and steps out of the darkness, into the spotlight. With catchy songs by lead singer-songwriter of The Feeling, Dan Gillespie Sells, and book and lyrics by writer Tom MacRae, this funny, fabulous, feel-good, musical sensation has been wowing audiences and critics alike. Sixteen: the edge of possibility. Time to make your dreams come true.

Director Jonathan Butterell saw the Firecracker documentary film ‘Jamie: Drag Queen at 16’ the true story of Jamie Campbell and his mother, Margaret.  This inspired him to create this musical which is a dramatised portrayal of a period in Jamie’s life but is not a faithful account. Certain events and characters have been fictionalised.

Everybody’s Talking About Jamie opened at the Sheffield Crucible in 2017 and is currently playing at the Apollo Theatre in the West End, booking until 25 January 2020. As well as receiving 5-star reviews, Everybody’s Talking About Jamie has won 8 major theatre awards, including the UK Theatre and WhatsOnStage Awards for Best New Musical and the Attitude Culture Award 2017, and was nominated for 5 Olivier Awards. Most recently the show won Best Original Cast Recording at the 2019 WhatsOnStage Awards.

Everybody’s Talking About Jamie was screened live from the Apollo Theatre into over 500 cinemas across the UK, Ireland and select European territories on Thursday 5 July 2018, it was screened in cinemas across the US, Canada and Australia in November 2018 and then there was an encore cinema screening across the UK on 29 January 2019. Everybody’s Talking About Jamie won the Event Cinema Campaign of the Year at the Screen Awards 2018. The official West End cast recording was released digitally worldwide and on CD in the UK last year.

Everybody’s Talking About Jamie is also to be made into a major film by Sheffield based production company Warp Films completing the fairy-tale journey from a 16-year-old approaching a documentary maker to hit West End Show and now the big screen.

LISTINGS

Everybody’s Talking About Jamie

King’s Theatre, Glasgow

Mon 8 – Sat 13 Jun 2020

www.atgtickets.com.glasgow

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

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