Tag Archives: Musical

NEWS: GLASGOW GIRLS TO MAKE KING’S THEATRE DEBUT

Cora Bissett and David Greig’s life affirming Scottish drama, Glasgow Girls is to run at the King’s Theatre, Glasgow next year.

The production, which is based on real life events, will make its debut on the big stage from Tuesday 15 – Saturday 19 January 2019.

Filled with song-and-dance-filled this true story tells of seven feisty Glaswegian teenagers, whose lives change forever when their school friend and her asylum-seeking family are forcibly taken from their home to be deported. They are galvanised to fight for her rights, inspiring a whole community to unite behind its residents.

Glasgow Girls was an Edinburgh Festival Fringe sell out in 2016 and winner of the Amnesty International Freedom of Expression Award.

James Haworth, Theatre Director of the King’s, said: “I am especially excited to welcome this local production to the King’s Theatre in January.

“Glasgow Girls has become a cultural staple in the city and it has proved itself more than worthy of its praise and accolades to date.

“I just know our audience will love this show and I invite anyone who considers themselves a Glasgow Girl or Glasgow Boy to come along and see this spectacular production.”

Glasgow Girls is presented by Raw Material in association with Regular Music.

LISTINGS

Glasgow Girls

King’s Theatre

Tue 15 – Sat 15 Jan 2019

www.atgtickets.com/glasgow

REVIEW: An Officer and a Gentleman The Musical – King’s Theatre, Glasgow

Another day, yet another iconic 80s movie is adapted as a stage musical. This adaptation of An Officer and a Gentleman by Douglas Day Stewart (with Sharleen Cooper Cohen) of his own original 1982 screenplay, is a cheesy, overblown but ultimately likeable production with a plethora of hits of the decade.

For those unaware of the original source material, An Officer and a Gentleman follows the story of a group of new recruits at the United States Naval Aviation Training Facility in Pensacola, Florida, and the band of local factory women who strive to hook one of these would-be officers in an attempt to escape the drudgery of their dead-end jobs. Principal among them is the relationship between troubled Navy brat Zack (Jonny Fines) and “townie” Paula (Emma Williams). Oh, joy, another story where a man has to ‘rescue’ a woman in order to give her a better life, I hear you cry, and while hackles may rise in 2018, it just about gets away with it due to its early 80s setting and the corniness with which it’s delivered.

The action takes place on a dull but functional set by Michael Taylor. The colours, drab blues, brown and greys are evocative of the workers situation and the Naval Base but, are a trifle uninspiring to the eye. It does however change smoothly, quickly and effectively between the many locations in the story.

The whole score could be a Now That’s What I Call The 80s album and there are some stomping anthems: Livin’ on a Prayer (given the volume it deserves), Alone and I Want to Know What Love Is and a corking version of We Don’t Cry Out Loud from Williams and Rachel Stanley as her mother Esther, but, there are some baffling arrangements that are less easy on the ear: Heart of Glass and a caterwauling Kids in America to name two.

The greatest asset of the production is its actors, there are some knock-out performances from a refreshingly representative cast in age, gender and race. There are no weak links, veteran Ray Shell is highly effective as Drill Sgt Foley, and the central quartet of Williams and Fines as Paula and Zack and Ian McIntosh (who delivers an emotive performance and has a beautiful voice) as Sid and Jessica Daley as the hard-hearted Lynette are all excellent.

This is not going to challenge your intellect but, was never intended to. It is a piece of easy escapism that will entertain both fans of the film and those new to the story.

Runs until 15 September 2018 | Image: Manuel Harlan

This review was originally written for The Reviews Hub

NEWS: Anita Dobson to star as Miss Hannigan in Annie at Glasgow King’s

Anita Dobson will star as Miss Hannigan in the musical ANNIE playing at The King’s Theatre from Monday 15 – Saturday 20 April 2019 as part of a UK tour.  Further casting is to be announced.

This production recently ran for an extended season in the West End following a sell-out tour of the UK and Ireland in 2015/16, as well as a recent sell-out season in Toronto.

As Angie Watts in EastEnders, Anita Dobson created one of the most popular characters in television winning numerous awards. Her West End theatre credits include Madame Morrible in Wicked, Mama Morton in Chicago, Mrs Meers in Thoroughly Modern Mille, Chris in Calendar Girls, Joan Crawford in Bette and Joan and Nancy in Frozen at the National Theatre for which she was nominated for an Olivier, Evening Standard and London Critics Award. Her film credits include London Road.

Set in 1930s New York during The Great Depression, brave young Annie is forced to live a life of misery and torment at Miss Hannigan’s orphanage. Determined to find her real parents, her luck changes when she is chosen to spend Christmas at the residence of famous billionaire, Oliver Warbucks. Spiteful Miss Hannigan has other ideas and hatches a plan to spoil Annie’s search…

With its award-winning book and score, this stunning new production includes the unforgettable songs It’s the Hard Knock Life, Easy Street, I Don’t Need Anything But You and Tomorrow.

“ANNIE” has Music by Charles Strouse, Lyrics by Martin Charnin and a Book by Thomas Meehan. ANNIE is directed by Nikolai Foster with set and costume design by Colin Richmond, choreography by Nick Winston, lighting by Ben Cracknell and sound design by Richard Brooker. ANNIE is produced by Michael Harrison and David Ian.

ANNIE

King’s Theatre, Glasgow

Mon 15 – Sat 20 Apr 2019

Mon-Sat: 7.30pm

Wed, Sat: 2.30pm

www.atgtickets.com

0844 871 7648

REVIEW: The Band – King’s Theatre, Glasgow

Firstly, a fact needs to be stated that this is not the Take That story. The words Take That are never uttered in the entire two and a half hours of the show. You would also be mistaken for thinking that the boyband recruited from the BBC reality show Let It Shine were the crux of the production, and while they feature large, they are far from the centre of the story.

Instead, it’s a story of five friends that spans 25 years. A story of growing up, love and loss, opportunity unfulfilled, of hope, peppered throughout with the hits of the biggest British boy band of the past quarter of a century. It is also more story with music rather than jukebox musical.

Writer Tim Firth clearly has the target demographic in his sights. The mature version of these 90s teens are the heart of the show. Take That the soundtrack to their lives. The pop culture references abound: Smash Hits posters on bedroom walls, Top of the Pops, Ceefax, cassette taping Top of the Pops, it unashamedly taps into the unquenchable thirst for nostalgia.

This is clearly a show of two halves: the central quartet of Heather (Emily Joyce), Rachel (Rachel Lumberg), Claire (Alison Fitzjohn) and Zoe (Jayne McKenna) are fine actresses with a wealth of talent, and it is only when the story fully centres on this quartet that it achieves any real depth. Tim Firth’s dialogue for the mature characters is utterly believable, it is less so for their teenage versions, where it is largely contrived and one-dimensional.

The quartet’s younger selves are played by Katy Clayton (Heather), Faye Cristall (Rachel), Sarah Kate Howarth (Claire) and Lauren Jacobs (Zoe) with Rachelle Diedricks as teenage pal Debbie. Their schoolgirl antics, while familiar, are a tad contrived and their diction is poor, rendering most of the lines a garbled mush. The first half also suffers from a strange selection of Take That songs that don’t exactly fit the narrative. With a back catalogue as fine as this, the choices seem plain odd.

‘The Band’ as played by Five to Five: A.J. Bentley, Nick Carsberg, Curtis T. Johns, Yazdan Qafouri, Sario Solomon prove just how good Take That were, and still are. These songs, while seeming easy to sing, just aren’t, and the quintet while having a solid go at it, never fully do the songs justice.

For anyone who has ever seen Take That live, the set design will look familiar. The production values of the band who are the producers of the show are replicated here. It’s big and bold and the stage is jam-packed with effects.

This show has had it’s fair amount of flak, its detractors have been many, but there’s a fundamental question to be asked: are they the target audience? I am pretty sure that the producers made no claims to enlighten or educate. Indeed, the programme notes say it’s a “love letter to the fans”. It’s intended for the Take That fandom, if you’re here and you’re not a fan of Take That, I’d question your choices. Sometimes theatre is made just to be entertaining. But, this reviewer is very much the target demographic, like most of the audience, knowing the words to every one of these tunes and willing this to be a joy, and while the second half was superior to the first, it ultimately doesn’t do enough to overcome its faults. I am sure The Band will be a satisfying night’s entertainment, a piece of pure escapism and nostalgia for many and it may fulfil its brief as ‘a love letter to the fans’, but for this audience member, there are more feelings of disappointment than delight.

Runs until 7 July 2018 | Image: Matt Crockett review originally written for and published by The Reviews Hub.

 

REVIEW: Side Show – West Brewery, Glasgow

Based vaguely on the true story of British-born conjoined twins Daisy and Violet Hilton, vaudeville performers of the 1920s and 1930s, Side Show isn’t your average, jaunty musical. Instead it’s the story of two women with very different inner lives, forever joined, whose hopes and dreams are subsumed by the other, their individual potential never to be fulfilled.

Violet wants a home, a husband, a ‘normal’ life, Daisy desires fame, fortune and the bright lights of the Orpheum circuit. Those whose care they’re in, their only aim – to make as much money as possible exploiting them. Would-be impresarios  Terry and Buddy enter their lives, to, on the surface, help the twins escape their side show lives, only to in turn exploit them for their own ends.

The cast of self-proclaimed ‘freaks’ who populate the side show include a bearded lady, the Cannibal King, a human pincushion and a lizard man. Played here by a cast of actor/musicians in minimal costume/makeup.

Having the distinction of having failed twice on Broadway, this 1997 musical is rarely seen and it is easy to see why. The faults lie entirely with the writing and not the performers.

Act One plods and it takes until well in to act two for it to hit any kind of dramatic stride. It barely scratches below the surface of these complex women’s lives. There’s a lack in variation in tone, too many songs and a discomfort at the subject matter that doesn’t sit well with the modern psyche. The book is quite frankly, badly written and the lyrics tediously bombastic.

What is a winner is the cast. Despite fighting with an overly loud band (that sounded frequently out of tune) and questionable acoustics (although in a hugely atmospheric venue) that deadened the lyrics almost entirely, the cast gamely fight on. Their quality never in question. On the occasions they managed to break through the cacophony they are sublime. Their harmonies glorious. Grace Galloway is magnetic as twin Daisy, overshadowing the less effusive (as her character dictates) Violet from Emma Harding. Callum Marshall’s (Sir) vocals are unfortunately drowned out by the band and the lyrics are lost in the important first few songs that establish the plot. None of this is Marshall’s fault as he is visibly projecting. The ensemble are talented, but it sounds as if musicianship is not their forte and the playing space is sprawling (long and narrow) leading to the audience’s focus dancing all over the room uncomfortably.

A brave attempt but it doesn’t feel fully thought through by the production team. What seems like a match made in heaven – unusual, atmospheric venue and a musical set in the 20s/30s about side-show freaks – doesn’t work in reality. There are practicalities that need to be thought out when you present to an audience. Their viewing experience is paramount. If the sound is distorted by the venue and the staging renders watching it a physical feat, you are doing a disservice to your viewers and also your actors, whose undeniable talent is masked through no fault of their own. All of this added to the fact that Side Show just isn’t a very good show, makes this a rare misstep from RCS.

Performances at West Brewery until 23rd May 2018.

NEWS: Rock of Ages returns to Glasgow in January

As part of a major UK tour, ROCK OF AGES will play at the King’s Theatre, Glasgow from Tuesday 22 – Saturday 26 January 2019.

ROCK OF AGES is an LA love story lavished with over 25 classic rock anthems. Lose yourself in a city and a time where the dreams are as big as the hair, and yes, they can come true!

This hilarious musical comedy features the songs, including We Built This City, The Final Countdown, Here I Go Again, Can’t Fight this Feeling and I Want To Know What Love Is, played loud and proud by an awesome live band.

Now a global smash with extensive runs in London’s West End, on Broadway and in Las Vegas, the show has also been made in to a star studded Hollywood movie.

ROCK OF AGES has a book by Chris D’Arienzo and Arrangements and Orchestrations by Ethan Popp. It is directed and choreographed by Nick Winston (The Royal Variety Performance, Annie and The Wedding Singer) designed by Morgan Large (The Woman in White, Top Hat and The Christmasaurus) and has lighting design by Ben Cracknell (Young Frankenstein, Sunset Boulevard and Annie).

 

LISTINGS

Rock of Ages

King’s Theatre, Glasgow

Tue 22 – Sat 26 Jan 2019

Mon-Sat, 7.30pm

Wed & Sat, 2.30pm

www.atgtickets.com/glasgow

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

NEWS: Saturday Night Fever is back!

Marking 40 years since its famous UK cinema release, SATURDAY NIGHT FEVER is reimagined and revitalised in a big new music and dance spectacular at the King’s Theatre in Glasgow.

Running from Tuesday 20 – Saturday October, the production will pay homage to the movie, while promising more drama, more music and hot new choreography, which is sure to have audiences on their feet and dancing the night away.

The 1977 Travolta classic movie was an instant hit when it was released in cinemas, and the album is still one of the best-selling movie soundtracks of all time.

SATURDAY NIGHT FEVER tells the story of Tony Manero, and his reckless, yet thrilling road to dancing success. It features the Bee Gees greatest hits including Stayin’ Alive, How Deep Is Your Love, Night Fever, Tragedy and More Than a Woman as well as 70s favorites Boogie Shoes, Disco Inferno and many more.

Saturday Night Fever

King’s Theatre, Glasgow

Tue 16 – Sat 20 Oct 2018

www.atgtickets.com

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

NEWS: Theatre Royal announces The Bodyguard as this year’s Christmas show

Glasgow’s Theatre Royal, have announced that the international smash hit musical, THE BODYGUARD will open its UK tour at Theatre Royal, Glasgow this Christmas.

The show will run from Monday 3 December until Saturday 29 December giving audiences plenty of time to catch the sensational production as it hits all the right notes during the festive season.

The Bodyguard’s month-long run at Theatre Royal follows the success of previous festive seasons including  2015’s Jersey Boys 2016’s The Commitments and last year’s Mamma Mia!

James Haworth, Theatre Director at Theatre Royal, said: “I’m delighted to confirm that the Christmas show at Theatre Royal this year will be The Bodyguard.  It’s an emotionally charged thriller that our audience will just love.

“Shows like The Bodyguard have become a staple in our festive programme and a visit to Theatre Royal at Christmas is becoming a tradition for many.

“If this production goes down as well as Jersey Boys, The Commitments and Mamma Mia!, our audience will be in for a very merry 2018.”

THE BODYGUARD is Based on Lawrence Kasdan’s 1992 Oscar nominated Warner Bros. film starring Whitney Houston and Kevin Costner. The original stage adaptation, directed by Thea Sharrock with book by Oscar winning (Birdman) Alex Dinelaris, had its world premiere at the Adelphi Theatre in London’s West End in 2012 and was nominated for four Olivier Awards.

A sell-out 18 month UK and Ireland tour followed, before the show returned to the West End at the Dominion Theatre. THE BODYGUARD has also played in the Netherlands, Germany, South Korea, Canada, Italy, Australia and China and can currently be seen in Stuttgart, Madrid and on tour throughout France and the United States.

Former Secret Service agent turned bodyguard, Frank Farmer, is hired to protect superstar Rachel Marron from an unknown stalker. Each expects to be in charge; what they don’t expect is to fall in love.

A romantic thriller, THE BODYGUARD features a host of irresistible classics including Queen of the Night, So Emotional, One Moment in Time, Saving All My Love, I’m Your Baby Tonight, Run to You, I Have Nothing, I Wanna Dance with Somebody and one of the biggest hit songs of all time – I Will Always Love You.

LISTINGS

MONDAY 3 DECEMBER – SATURDAY 29 DECEMBER 2018

THEATRE ROYAL, GLASGOW

www.atgtickets.com/glasgow

ON SALE 6 MARCH 2018

 

REVIEW: The Rat Pack Live From Las Vegas – King’s Theatre, Glasgow

Aiming to recreate the heyday of Frank Sinatra, Dean Martin and Sammy Davis Jr, The Rat Pack Live From Las Vegas has the potential to be a huge crowd-pleaser. The show, created by Mitch Sebastian has been doing the rounds both on tour and in the West End since 2002 with little change to its seemingly successful formula.

It’s the early 50s, the Sands Hotel and not only are the Rat Pack in town but Jazz legend Ella Fitzgerald is too. While it aims to create that Las Vegas glamour, the set is simplistic: the band on a raised platform, a grand piano, some stools and a representation of the Sands famous logo, are all that decorates the set, so it’s down to the music and the performers to sell the show.

First impressions are good, the band, under the tight musical direction of Matthew Freeman, are outstanding: crisp and pin-sharp, they recreate the sound of the best of the big bands, Freeman also has a fine, fine touch on the piano. Garrett Phillips as Frank Sinatra also makes his mark, recreating Sinatra’s sonorous tone perfectly as well as his idiosyncratic phrasing, although he’s entirely wooden as he moves around the stage. David Hayes has captured some of the voice, but is the least co-ordinated Sammy Davis Jr you are likely to see – for a man renowned for his dancing skills, you can’t help think they could have tried a little harder in the casting and while a heavily panstick-ed Nigel Casey has Dean Martin’s shtick down-pat and moves well, he is often over-powered by the band. Nicola Emmanuel as Ella Fitzgerald makes a fleeting appearance and while entirely competent, fails to make much of an impression.

While there is a fair representation of the main trio’s biggest hits: I’ve Got You Under My Skin, Mr Bojangles, That’s Amore, to name a few, there are some less well known numbers that will either delight or frustrate. In the case of this reviewer, it frustrates somewhat. With three (and with Fitzgerald, four) artists with such rich back catalogues, there is space to make this an evening of out-and-out highs, however, the uneven nature of the song choices means the evening never really hits its stride. That coupled with some utterly cringe-worthy linking dialogue and an attempt at humour in the second act, that falls flat on its face – you can feel the tumbleweed slowly making its way across the stage – you can’t help feel that it’s all an opportunity missed.

There’s undoubtedly talent on the stage, both in the singers and musicians, but their potential is not being exploited. It’s time to get rid of the sexist, racist and homophobic banter and while there’s an argument that it’s reflective of the era represented, it’s just lazy, especially with a cast with so much to give musically – less chat, more music please. These artists and they way they sang these songs can speak for themselves. An overhaul is needed to get the most from the music and the cast. Still an enjoyable evening if you concentrate on the music and ignore all the filler.

Runs until 10 February 2018 | Image: Betty Zapata

This review was originally written for The Reviews Hub here

REVIEW: London Road- Royal Conservatoire of Scotland Chandler Studio Theatre, Glasgow

That anyone thought that a musical about the serial murders of five sex workers in sleepy Ipswich in 2006 would be suitable source material for a musical, might rightfully have been called utterly misguided – thoroughly insensitive, in fact, but that’s the premise for Alecky Blythe and Adam Cork’s London Road.

Delivered verbatim style, the lyrics are culled from interviews that creator Alecky Blythe conducted with the real inhabitants of London Road. The musical a reflection of how the residents, sex workers and media dealt with the terrifying and sensational events unfolding around them.

This work defies every preconception you might have about it. It is thoughtful, intelligent and utterly compelling and there’s not a whiff of exploitation or sensationalism throughout (neither the killer, Steve Wright (dubbed the Suffolk Strangler) nor his victims appear (save for a ‘blanket over the head’ moment when Wright is rushed to the courthouse). Each group involved are given their voice, no matter how unpalatable or un-PC it might be. The honesty and raw truth of it all is what sets it above its contemporaries. The plaudits the work received on its debut at the National Theatre, utterly deserved.

The work is in the safe hands of the 3rd year BA Musical Theatre students at the Royal Conservatoire of Scotland, under the direction of Philip Howard, and their quality and commitment to the work, make it unmissable. The large ensemble cast is faultless. The set design from Meghan Grieve, suitably dark and atmospheric, with an abundance of beautifully realised tiny details, the choreography by EJ Boyle is innovative and eye-catching. The only gripe would be the ear-splittingly loud band which overpowers the vocals and drowns out the lyrics at times.

This is a work of the utmost quality and a refreshing change to the lightweight musical theatre fluff that abounds – tickets are like gold dust, but if you can secure one – you won’t regret it.

Runs until 1 December 2017

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