Tag Archives: Robbie Fraser

REVIEW: Sleeping Beauty – Platform, Easterhouse

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Playwright Lewis Hetherington presents a refreshing new take on the traditional tale of Sleeping Beauty at Platform this Christmas. Addressing the fact that in the regular re-telling poor beauty is either off stage or in her bed sleeping throughout most of the production. This time our “B” (Yolanda Mitchell) is a feisty teenager with an independent spirit, confined by her loving dad Jimmy (Irene Allan) (who loves to dress up and impersonate Elvis) to the family mattress shop, but B longs for bigger things and a world outside the four walls. She sneaks out every night to the local woods with her trusty dog Rocket (Itxaso Moreno) looking for adventure. There is, of course, a curse, but there’s a twist in the tale that you’ll have to go along and find out.

This is an atmospheric, engaging fairy tale where gripping storytelling is at the front and centre of the production. There are moments of real darkness and light throughout. There are also plenty of the usual panto tropes to satisfy the traditionalists: an evil queen (Jo Freer) and her sidekick (Julia Nsimba); a spooky forest; magical creatures; puns a-plenty.  It’s chock-full of familiar hits with cleverly re-written lyrics all sung by the hugely talented, fine-voiced cast. The cast are strong and cohesive and drive the action along. The fantastic set by Claire Halleran is relatively simplistic but fills the stage perfectly and looks gorgeously creepy. The set is also complemented by creative lighting by Michaella Fee. Lewis Heatherington’s Sleeping Beauty delivers throughout and serves us up the much-wanted happy ending.

The economical running time (just over an hour) is perfect to keep the tiniest audience members fully engaged and the ticket prices are affordably priced for many. This is (slightly non-) traditional storytelling at its best. Platform in Easterhouse is a true gem in the East End and the constant, consistently highly quality of their productions deserve to be seen by as wide an audience as possible, Sleeping Beauty is no exception.

Runs until 23rd December – tickets here: Sleeping Beauty : Platform (platform-online.co.uk)

REVIEW: Amadeus and the Bard – Scottish Opera Production Studios, Glasgow

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We’re invited to a night out at Poosie Nansie’s Inn, on of Robert Burns’ favourite hostelries, in Mary McCluskey’s Amadeus and the Bard.

Subtitled 18th Century Cosmic Brothers, this mixture of story and song, explores the lives of Scotland’s best-loved poet and Austria (and the World’s) most revered composer, Mozart and sheds light on the often startling similarities between them. Burns’ traditional Scottish folk tunes are blended with some of Mozart’s most popular arias. Tam O’ Shanter sits alongside The Magic Flute, A Red, Red Rose alongside The Marriage of Figaro.

McCluskey’s production is like a great, big all encompassing hug. From the moment the audience enters greeted by the cast, clad in their authentic looking, late 18th Century garb, to the last notes ringing out, the audience feel more like participants than on-lookers. The engaging performers, the songs, poems and script are delivered so warmly and invitingly that you can’t help be captivated.

The parallels between these two seemingly disparate men are cleverly woven together and delivered inventively. The mixture of professional performers both singers and an actor, and members of Scottish Opera Young Company, blend seamlessly to create an enchanting evening’s entertainment. Particularly of note are baritone Ross Fettes, a current student at the Royal Conservatoire of Scotland, a gifted young singer with a bright future ahead of him, and fellow RCS student, soprano Erin Spence, whose voice and artistry leave a lasting impression, Miss Spence has a rare talent of being able to act convincingly as well as deliver the songs with conviction. Tenor James McIntyre too throws himself fully into his multiple roles. It would be churlish though, not to acknowledge the quality of the entire cast, who are excellent.

That a national company is producing smaller-scale but highly engaging, original and appealing productions is to be lauded – more of this please.

Images: Sally Jubb