Tag Archives: Tron Theatre

FEATURE: Tron Ambassadors 2018

Since 2003 the Tron Theatre has enabled young people to experience a range of the career opportunities available within a modern fully-operational theatre via the one-year Tron Ambassadors scheme. Through the scheme the intention is to foster deeper connections with the Tron Theatre, and the work they do both in-house and within the community, as well as an understanding of the wider theatre and creative arts industries.

The Ambassadors take part in regular workshops with Tron staff, external visitors and leading professionals to identify and develop transferable skills.  Previous Tron Ambassadors have worked with the Tron’s production, marketing and front of house departments, theatre critics, set and costume designers and professional actors and directors.

This year, as well as the excellent opportunities and insight offered on the programme, the Tron Ambassadors will also be eligible to gain an Arts Award qualification from their full participation in the programme.

This year, I was again delighted to deliver the Theatre Criticism/Theatre Blogging workshop. As well as learning about the technical aspects of running a theatre website, we looked at the opportunities/transferrable skills that can help you pursue a career in different aspects of the arts, the pros and cons of running a theatre website and how to approach writing reviews.

As ever, the breadth of talent is truly inspiring and I am delighted to feature some of the Ambassadors’ reviews of National Theatre of Scotland and Theatre Gu Leòr’s play Scotties.

Head to the reviews section or click the link HERE to read.

TRON AMBASSADORS’ REVIEWS: Scotties – Tron Theatre, Glasgow

Featured below is a selection of the reviews from this year’s Tron Ambassadors. I’m sure you’ll agree, the quality and insight is worthy of writers way beyond the years of these young people. Doubtless, ones to watch for the future.

The reviews that appear here are the unedited submissions by the writers. The writers range in age from 14 to 18 years of age.

Reviewer: Caitlin Scollin

Drawing from the real potato-picking Irish immigrants of 1936, Theatre Gu Leòr’s new play Scotties is innovative, shocking, and important to today’s audiences.

The lights go down as the play begins, and we see teenager Michael arguing with his Gaelic-speaking parents over a history project. He is tired, weighed down with homework, and embarrassed by his Gaelic heritage. After a visit from his grandmother, he falls asleep, drifting off just as figures in the distance begin to rise and sway. He is thrust into a field, and finds himself in 1930s Kirkintilloch. The audience are left just as clueless as him, as he wakes up in a completely different landscape, one that will mean more to him and his family than he could have ever expected.

Though I was initially thrown by the three different languages the play presented us with, by the end I forgot that I had once been worried by that. I could only understand the English properly, but I managed to understand the lines in different languages through the actors’ expressions. I found it captivating to watch, with so much to take in (through dialogue, movement, lighting, set, and music).

The play continues as Michael talks to Molly (the only character from the past that can see him, eventually revealed to be his own grandmother) and she explains their journey from Achill and introduces him to her “herd”. Michael stays with her for the rest of his time in the field, even when her friend professes his love for her and when their bothy is set on fire. I was enchanted by the magic in the story, and the melodic Gaelic chanting. The audience feel as if they are intruding, as the names of those who died in the fire are read out (named just once in the play as a mark of respect) and Molly weeps over the coffin. We watch her descend into isolation, refusing to even talk to her own daughter- Michael’s grandmother- as she raises her in Scotland too.

Scotties is a play about our relationship with the past, but it is also relevant to modern times. For example, the plaque placed to remember the Scotties in Kirkintilloch was immediately defaced in 2013, confirming tensions between Irish and Scottish communities even nowadays. It also tackles the issue of immigration all over the world. We begin to realise that it isn’t strictly an idea of the past, for people to flee one place to make better lives for themselves, and then be treated with hostility wherever they land. History does tend to repeat itself. The play makes a good point of talking about this in the very last scene.

Accompanied by a clever use of lighting and an interesting and efficient set, the cast dance and sing their way through a whirlwind hour and a half. One of the most memorable scenes is a dance where half the characters pick up instruments and half fall into a traditional dance that it was impossible not to smile at. The play is good at this, incorporating funny and lighthearted scenes in a heartbreaking and raw performance. I found myself crying towards the end, from where the pivotal fire was set to the very last scene.

Reviewer: Jennifer Wright

Recently I had the pleasure of seeing “Scotties” at the Tron Theatre. I had no idea that it was possible to not comprehend the language throughout the majority of a play, yet still be able to understand the raw emotion presented.

Muireann Kelly and Frances Poet’s jointly written play centres around the Glasgow teenager, Micheal (Ryan Hunter) and thoroughly explores and celebrates Scottish culture.  A school history project leads Micheal to slip into a dream where he can see clearly the lives of the boys who died in the Kirkintilloch tragedy just prior to the fire. He witnesses the final days of the boys who died as well as their experiences as Irish workers living in poverty during the early 1900s. However, Michael is only able to communicate with Molly (Faoileann Cunningham) who guides him through the past and shows what it means to be a migrant worker in Scotland in the 1930s.

While the challenge of working in multiple languages may seem daunting to some, the cast of ‘Scotties’ not only executed the play with utter passion and clarity but were also to convey to the audience the plot and dialogue through powerful acting where other actors would severely struggle to evoke anything other than complete confusion.  Every actor had their own unique and dynamic presence and complemented each other’s performance well. There was no weak link in ‘Scotties’ making for an incredibly enjoyable and emotional evening.

Although, it is not only the acting that should be applauded here; choreographer Jessica Kennedy must be recognised for her hauntingly beautiful movement that complimented the plot, dialogue, and music (by Laoise Kelly) perfectly. Moments that could easily have been glossed over became pivotal scenes due to the immaculate choreography.  Overall the creative team’s choices made a play that could have come off as confusing and predictable, an utter success. They managed to find the delicate balance between overdone and completely sporadic, resulting in a fascinatingly surreal play that truly mesmerised the audience.

“Scotties” is a truly spectacular play which explores a part of Scottish history that is not nearly talked about enough, presenting themes that are still prevalent in today’s society. This incredible show will not be soon forgotten, nor, hopefully, will the messages conveyed throughout.

Reviewer: Lucy Robinson

Scotties, by Muireann Kelly and Frances Poet, follows the story of a young boy, Michael, living in modern-day Glasgow, and his journey to rediscovering his Irish roots through his investigation of a historic fire that killed ten boys in a Scottish bothy.

Spoken in an at first confusing, but generally effective combination of Gaelic and English, it explores the background of both Irish and Scottish languages to produce a very thought-provoking piece. It cleverly drew parallels between past and present immigration, and the tension it creates within communities, which helped to make the themes much more accessible to any audience.

The set’s drab browns and greys, echoing the dreary landscape of agricultural Scotland between the wars, was offset by lighting, designed by Simon Wilkinson, that managed to transform each scene to fit the atmosphere.

Accompanied by traditional folk music that although will tug at the heartstrings of any patriotic Scot, is often haunting and eerie. Each cast member is both an actor and musician, with a particularly good piping performance from Alana MacInnes, and Ryan Hunter’s promising debut as Michael.

Reviewer: Molly Knox

Theatre Guleòr’s latest production ‘Scotties’ is a beautiful triumph that balances a tender and flowing physicality and dialogue with witty, refreshing and funny characters. The piece was inspired by a telegram, sent from Ireland following the death of ten young men from Achill in a Bothy fire in Kirkintilloch and explores not only this untold tragedy but so many valuable issues that relate heavily to today’s world.

When you first take a seat before the show begins, you are sat face to face with a stunning set (that is used throughout the show as a means of delicate and elaborate story-telling) covered in soil, a number of theatre gauzes and a simplistic set of wood furniture; these features being a bleak yet humble reminder of life’s cycle, that we all return to the earth we abide on. I particularly appreciated the use of contrast in the lighting used as it conjured up not only feelings of joy and nostalgia, but of hauntingly elegant grief. The use of live music was also very charming; the traditional Scottish and Irish instruments like fiddles, pipes and accordions made my experience all the more raw in both the light-hearted and solemn moments of the play.

Ryan Hunter’s charismatic, tongue-in-cheek portrayal of Michael, a teenage boy from modern day Glasgow, added a sense of down-to-earth comedic relief that balanced very well with the gritty, fragile aspects of the stirring plot and emotive characters. Every single actor clearly gave their all to the performance and created many moments of powerful, hard-hitting theatre. In particular, one scene between Faoileann Cunningham (playing Molly) and Colin Campbell, where both actors gave breath-taking and heart-breaking performances.

Whilst watching ‘Scotties’ I couldn’t help but notice the important issues and themes woven into the roots of the play itself- be they political or a lesson in human kindness, ‘Scotties’ had me questioning things. From the way we treat and view immigrants, to intergenerational and family relationships, to grief and loss and even the role of identity in one’s life.

Additionally, I found the use of both Scottish and Irish dialect and language alongside English to be especially effective in adding realism to the piece, and as somebody who doesn’t speak a word of Gaelic, ‘Scotties’ was completely accessible and understandable! The incorporation of more than one language into the dialogue is something uniquely brilliant to ‘Scotties’ and Theatre Guleòr’s work as a whole. The writers, Muireann Kelly and Frances Poet had clearly put an immense amount of thought into everything; from combining English and Gaelic into the production in a coherent way for both Gaelic and non-Gaelic speakers, to having a good balance of light and shade all through the piece.

Overall, after leaving the theatre from seeing ‘Scotties’ I felt refreshed by every detail of the production.  So, if you’re looking for an inspiring piece of theatre full to burst with witty perspectives and commentary on the new and old, met with a moving story that brings to light a tragedy that had been long forgotten- then I suggest you book tickets to see Theatre Guleòr’s ‘Scotties’!

For more information on the Tron Ambassadors programme visit: https://www.tron.co.uk/education/tron_ambassadors/

 

 

REVIEW: South Bend – Tron Theatre, Glasgow

The problem with actor/playwright Martin McCormick’s autobiographical (or so he claims) South Bend, is that the minute he asks the audience to “trust me”, it has the opposite effect. You desperately want to believe this tall tale, but the nagging seed of doubt is sown in those two words. That said, there’s no doubt that this is precisely what McCormick wants to achieve in his theatrical road movie.

Obsessed since childhood with the US, he dreams of the world of Saved by the Bell, The Fresh Prince of Bel Air, Blossom and Seinfeld. When he eventually arrives for a semester at college in California, his every childhood dream is fulfilled. There he falls in love. Unfortunately, his time there is limited, and he has to return home. With promises from his love to visit him in Scotland ringing in his ear, he heads home.

When time passes, and the phone doesn’t ring, he heads to South Bend, Indiana to find his girl. Unsurprisingly, things don’t go to plan. On the receiving end of hostilities from his girlfriend’s step-mother, McCormick finds himself in a domestic version of Dante’s nine circles of hell.

How much of these antics are actually reflective of McCormick’s real experiences is questionable but the quality of the storytelling is just enough to entertain. McCormick is a better playwright than actor and his delivery does detract at times, it plays like someone playing the part of McCormick, rather than the person who is supposed to have experienced this madness.

Live foley artist David A. Pollock effectively provides the on-stage sound effects and a very Glaswegian voice of reason and Jess Chanlieu is chameleon-like playing all other characters.

South Bend is ultimately an undemanding, entertaining hour of theatre, but there’s a nagging feeling that it could have been so much more.

Image: Tommy Ga-Ken Wan

REVIEW: Pride and Prejudice* (*Sort Of) – Tron Theatre, Glasgow

Sometimes a production comes along that sends you to the street with a smile on your face, The Tron Theatre Company and Blood of the Young’s Pride and Prejudice* (*Sort Of) is one (sort of).

Promising to deliver a re-worked version of the Jane Austen classic for a 21st Century audience, it certainly delivers on that front: the five-strong, all-female cast doubling and tripling up on roles male and female; a script choc-full of clever lines; a host of visual jokes; characters clad in Regency garb belting out classic pop tunes through a karaoke machine and scoffing cereal straight from the box; social parallels (unfortunately) travelling down the 200 years since the work was written, it may well strike a chord with a youthful audience, however, the production is not without its faults.

While promoted as entertaining for those unfamiliar with the work, it could be argued that much of the humour only really hits home with a knowledge of the original text, otherwise it’s rendered surface and slapstick and while, to its credit, little of the original plot is sacrificed in this re-telling, that itself is a problem, at over two hours 45 minutes, for all its ability to entertain and amuse, it is a physical marathon.

Its greatest asset is its universally excellent cast. Meghan Tyler is a particularly appealing Lizzie and the sheer joy with which the cast tackle the lengthy script, singing and slapstick can’t fail to impress.

A brave choice for adaptation, and a largely effective and highly entertaining evening’s theatre from a top-notch cast, but far from perfect.

Runs until 14 July 2018 | Image: John Johnston

This review was originally written for The Reviews Hub

REVIEW: Ma, Pa and the Little Mouths – Tron Theatre, Glasgow

It’s into the insular world of the reclusive Ma and Pa that we eavesdrop in award-winning actor and playwright Martin McCormick’s Ma Pa and the Little Mouths. The play, presented as a rehearsed reading as part of last year’s Mayfesto, now returns fully-formed to The Tron.

Ma and Pa are isolated in their high rise flat. Literally blocked-off from the outside world. Pa’s weekly shopping trips the only contact with whatever’s out there. Their days spent passing the time telling each other ever-more absurd tales. Into this world falls Neil, a woman Pa finds hiding under a car in the street outside. They give her refuge, but in the act of opening that door, their lives and hers are changed inexorably.

In turn absurdist and surrealist, but always captivating, McCormick’s piece wears its influences on its sleeve, there are undoubted nods to Harold Pinter in pace and tone, and to a lesser extent to the output of Philip Ridley, though much more palatable, of wider appeal and a whole lot less in-your-face and absolutely of Eugène Iionesco, the master of portraying the insignificance of human existence. The non-linear narrative may prove challenging to some but there’s plenty of humour to delight, the language rich and the dialogue has a hypnotic rhythm of its own. The petty resentments of a long-term relationship, deftly written by McCormick, are delivered as pithy one-liners, and thrown at each other like perfectly formed weapons.

The much-loved comedy actor Karen Dunbar (Ma) is a local favourite and having already shown her acting chops playing Winnie in Beckett’s Happy Days, at this very venue, the character of Ma, seems like a perfect fit. While she delivers the lion’s share of the laughs, there’s an air of barely hidden menace under the razor-sharp retorts. Dunbar is maturing into an actress of great depth. Veteran Scottish actor Gerry Mulgrew delivers a beautifully measured performance as Pa.

As the piece progresses, hints emerge as to the deeper tragedy that underlies this existence. At a compact 180 minutes, while challenging, McCormick’s work is always creative and utterly captivating.

Runs until 12 May 2018 at the Tron Theatre, Glasgow then at the Traverse, Edinburgh from 16-19 May 2018 | Image: John Johnston

This review was originally written for The Reviews Hub

REVIEW: The Brothers Karamazov – Tron Theatre, Glasgow

Four central performances of considerable strength mark Richard Crane and Faynia Williams’ revived production of Dostoyevsky’s The Brothers Karamazov as the highlight of the Tron Theatre’s 35th anniversary season.

Notoriously difficult to translate, thought to be un-stageable and widely regarded as one of the greatest achievements in world literature, it is a daunting task indeed to take Fyodor Dostoyevsky’s 900 page masterpiece and turn it into a play. To distil its grand themes onto a 100 minute running time, would seem like utter madness, but that is exactly what Crane and Williams have managed to do.

While impossible to reproduce the detail of the novel, or tackle all of its philosophical questions, in sticking to its most major ethical debates: faith, free will and, of fundamental importance to the work, familial relationships, this ground-breaking adaptation manages to leave its mark and provoke discourse.

The performances are quite literally grounded in the earth on the functional, compact, multi-layered circular set which is beautifully lit by Sergey Jakovsky’s lighting design.

The quartet of actors alternate roles within the play, while also delivering fundamental characterisations of the four brothers. Sean Biggerstaff (Ivan), Tom England (Alyosha), Thierry Mabonga (Dmitry) and Mark Brailsford (Smerdyakov) gel perfectly together and the differences between the four are clearly marked and beautifully realised. Biggerstaff (Ivan) particularly shines in his though-provoking speech as the Grand Inquisitor to Alyosha as Christ as does the mercurial Mabonga in his portrayal of Dmitri’s self-destruction.

This striking adaptation perfectly mixes the classic with the contemporary and lingers in the memory long after the lights go down.

Runs until 28 October 2017 | Image: Contributed

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

SEAT REVIEWS: Tron Theatre, Glasgow

OVERVIEW:

The Tron Theatre Main House is a 230 seat, tiered auditorium broken into two levels with slip seats on both sides of the upper level.

Sight lines from all seats are excellent due to the high rise between each row.

The auditorium is small enough that even at the back, the audience feels part of the action.

The only issue is the leg room if you like to stretch your legs in front. There is a base board at the back of the seat in front so, feet flat on floor, sitting upright is the only option.

The seats are a decent width and are firmly upholstered. Can be a little uncomfortable in a lengthy production.

The auditorium is comfortably heated/ventilated.

INDIVIDUAL SEAT REVIEWS:

ROW Individual Seat Reviews
AA
A
B
C
D
E
F
G
H 13 – second seat in from the aisle. Not so tight to be a problem but snug fit to person next to you.

14-  the end of the row so room for sticking uncomfortable legs out. Great view. Firm seat. Not the biggest seat but fine.

THERE IS A BREAK HERE, SEPARATING LOWER AND UPPER TIERS
I

THE SLIP SEATS

J
K 18 – View very good. Felt snug, leg room not brilliant. In a long production could be uncomfortable.
L
M
N

 

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.

FEATURE: Tron Ambassadors guest reviews

This month, I again had the chance to work with the Tron Theatre on their Ambassadors programme, delivering their theatre reviewing workshop.

The Tron Ambassadors scheme gives pupils the chance to be behind-the-scenes at a working theatre. It enables young people to make a deeper connection with the Tron Theatre and gain a better understanding of the industry. As well as providing participants with opportunities to take part in workshops, tasks, and interviewing and observing industry professionals, the Ambassadors are given opportunities to understand the transferable skills they are learning and how they can be applied to any career path they choose to take when leaving school.

Below are the reviews submitted by this year’s Ambassadors, I am sure you’ll agree the quality in many instances is equal to that of any published critic. Biographies of the writers are available at: https://www.tron.co.uk/education/work-for-schools/tron_ambassadors/

Stand By – Tron Theatre, Glasgow

Reviewer: Daniel Cawley

Stand By is an exceptionally well written and powerful piece of theatre from the pen of former police officer Adam McNamara, who reverently conveys to the audience the warts and all portrayal of the all too often hidden aspect of on the ground police work.

By looking at the strength of character of four very different personalities and how their work impacts on their personal lives, this helps humanise the people behind the uniform who, as authority figures are often perceived as indifferent and emotionless to these qualities.

With much of the action taking place within a simulated, dimly lit police van, the play, on this occasion expertly directed by Joe Douglas, draws the audience in even further through the unique and innovative use of amplified earpieces. These allow the audience to hear radio broadcasts in sync with the actors and immerses them in the tension felt by police officers on call.

With some hilarious comedic moments and strong physical theatre elements this is a show not to be missed and thoroughly deserves the rave reviews received to date.

So, don’t stand by and let this one escape, catch it while you can.

Team Viking – Tron Theatre, Glasgow

Reviewer: Daniel Cawley

Following on from its successful run at this year’s Edinburgh Festival Fringe, James Rowland brings his captivating one man show Team Viking to audiences across the country.

Using every inch of the almost bare stage and delivering his soliloquy in a black funeral suit, Rowland paints a picture of childhood memories and friendships forged, interspersed with music and rhyme, with verses becoming longer and more descriptive with each passing scene.  The main focus of the show is the personal homage Rowland pays to his friend who has asked for something special when he dies.  And special it is.

Coming quicker than any of them expected (his friend being diagnosed with an aggressive form of heart cancer at the tender age of 25), Rowland and other friend Sarah decide to re-enact a scene from all three’s favourite childhood film The Vikings and proceed to give their friend a Viking send off, casting him adrift in a boat set alight which proceeds to blow up with a ‘BOOM.’

From his hilarious rendition of body snatching from the chapel of rest before his friend becomes one with the earth, through to the genuine anguish he feels in the loss of his friend, Rowland’s expert storytelling can flip the mood from laugh out loud hilarity to sombre and reflective in a split second – leading the audience to experience a genuine emotional rollercoaster during the hour long set.

With simple and effective staging by director Daniel Goldman, this production is beautifully done and the true connotations of the story, albeit alluded to as the end not being the end, strike a chord with much of the audience.

If Team Viking is anything to go by, Rowland’s newest venture 100 Different Words For Love is a must see, even if just to see a storytelling master at his craft.

Team Viking – Tron Theatre, Glasgow

Reviewer: Harry Reid

Team Viking is the true story of narrator, James Rowland, giving one of his best friends a proper Viking burial after contracting a very rare type of heart cancer.

From the very start of the performance there’s a strong connection to the characters through Rowland’s way of telling a story. He does a brilliant job of bringing you into his life and making you feel like you are also his friend, you are talking to him and no one else. There are no other actors, which makes the whole story that much more human, it’s like a friend telling you a crazy story that happened to them.

The connection to the characters strengthens as the story progresses, with us following James into his spiral of depression. We can really see and understand the emotions that he was feeling at that time, and by the end of the production, it has you holding back tears, you really see how much James cared for his friend.

The incorporation of the song that Rowland wrote into the play is also very clever. Each time a section of the song was added, it reflects the emotions that James is feeling at that point in the story: with the happy melody at the start, giving off an innocent vibe, then with the vocal inclusion, the use of different tones of voice showed James’ emotions, and then the beat of the song being included when James was at his lowest point. At first, these musical transitions are a bit jarring and confusing, but by the end of the play the puzzle pieces connect and it makes sense.

The delivery is spot on. Rowland manages to nail every joke and strike a reaction from the audience whenever he wants, he speaks to the audience like real people, a trait that’s very admirable. Overall, Team Viking is a wonderful dive into this sentimental story in the life of James Rowland with great acting and delivery. Highly recommended – see it if it ever comes back.

Stand By – Tron Theatre, Glasgow

Personal response by Morven Little

On the days leading up to Stand By I was, admittedly, a little sceptical. The premise didn’t particularly spark any interest in me, and the topic isn’t something I tend to gravitate towards, but I tried to remain open-minded. It may not have been a show that I would have necessarily chosen to see, but nevertheless, I wasn’t entirely disinterested; the inclusion of the ear pieces was intriguing, and I was very excited to discover how the stage would be set up. And, ultimately, I was pleasantly surprised.

At first, I struggled a little to get into it, but soon, I actually found myself quite enjoying it. The earpieces, which I had anticipated as being slightly distracting, were an extremely clever addition and enhanced the overall performance. The technology worked wonders in making me feel that I was part of the narrative, and allowed me to connect with the police officers very easily. I especially enjoyed the use of the earpieces at the beginning of the show: as the lights dimmed, a drum beat began playing through the earpieces, and was soon joined by additional instruments playing through the theatre sound system. This, in my opinion, was an excellent touch, and made the audience pay attention to their earpieces from the very beginning.

I also adored the minimalistic way in which the show was presented. By having only four characters and little interaction with the world outside the van (besides transmissions over the earpieces and few sound effects), writer Adam McNamara created a very insular environment. At points in the show, some of the officers would leave the van, but the audience never left with them – we were restricted to the confines of the van. This was effective for a multitude of reasons: it gave those watching an impression of the lack of information about the situation the officers were receiving, allowed the show to be much more character-driven, and gave the audience ample time to connect and get to know the characters – a necessary part of any drama piece. It was like a dramatic monologue with more than one narrator; a simple set up, but with small details throughout in order to give an insight to the absent world outside. My favourite example of this was the sound of raindrops hitting the roof of the van, so silent that I barely even registered it. And the writing itself was just as subtle. Details of each character’s personal lives were weaved into witty banter and smart, sharp dialogue. As the show progressed, you discovered more about their lives out of uniform and developed sympathy for them. I felt as though I knew the characters and found that I genuinely cared about what happened to them – testament to both brilliant performances from the actors and fabulous writing and direction.

Overall, I was very surprised by how much I enjoyed Stand By. It was genuinely funny, believable, sharp and extremely clever, and has encouraged me to be more open to shows that I wouldn’t have necessarily chosen to see.

Team Viking – Tron Theatre, Glasgow

Reviewer: Josh Brown

James Rowland stars in this joyous one-man performance reflecting his enjoyment, devastation, struggle with life and the biggest hurdle he has encountered as his best friend Tom is diagnosed with heart cancer and Tom has been given only 3 months to live. But Tom has one wish and that is to have a Viking Burial.

You will cry with laughter then the next minute sadness, as the astonishing acting from Rowland makes you feel so much in the space of so little time. He takes you from one end of the emotional spectrum to the other. Rowland connects to his audience on a different level, as through his story you feel as if you’ve known him for years and he’s a close friend, in the theatre he creates a warm atmosphere and you just love him and support him through his struggles.

The comedy is sharp and witty and very natural and to the point. You feel as if you are great pals just having a laugh about something you really know you shouldn’t be laughing about. James’s balance of laughter and the depressing reality of life is phenomenal. This show is an absolute must see.

*****

Stand By – Tron Theatre, Glasgow

Reviewer: Lillian Harle

Adam McNamara’s honest telling of policing in Scotland is witty and an honest representation of a life in blue. The audience are emerged in the performance from start to finish, wearing police earpieces with assorted situation reports being sounded. This only adds to the authenticity of the story. He portrays a somewhat mundane operation of four officers in a riot van waiting to be called into action to deal with a machete wielding maniac. The key word here is mundane. McNamara’s use of mundane topics lulls the audience into a false sense of security then smacks them with the brutal honesties of the simple dangers of being a police officer.

With Joe Douglas’ direction and Adam McNamara’s writing as well as performance, Stand By brings an authentic and fresh perspective on the Scottish police force. The audience are faced with four of Scotland’s finest: Chris (Adam McNamara), the sergeant in charge who is riddled with domestic problems; Rachel (Jamie Marie Leary), the straight talking and quick witted female officer; Davey (Andy Clark), the Dundee born and bred officer and Marty (Laurie Scott), an English transfer from London. The actors created a great chemistry between them, all by portraying realistic characters that the audience can relate to.

Natasha Jenkins uses a minimalistic set design in order not to take away from the witty and well written script. McNamara establishes the character’s personalities through the workaday conversation of the officers bored and waiting for orders. The writer creates a tense atmosphere through the use of the earpieces where orders are relayed in real-time to the audience.

Team Viking – Tron Theatre, Glasgow

Reviewer: Lewis Cox

Team Viking by James Rowland is a beautiful, simplistic but oddly mesmerising production.

On first entering and realising this is a one man show, there’s a slight trepidation: how on earth would one man be able to entertain an audience for a full hour and 20 minutes? Where on earth was his set? Will we get bored? As soon as the show begins all these questions disappear as quickly as they appear.

Through the simplicity of the lights and staging there are no barriers between the audience and the story. With nothing to guide us except Rowland’s words and movements everything comes naturally with a warming, but also at times moving performance. This is especially refreshing to see as constant set changes or cluttered and busy sets often lead the audience to dart their eyes around to gain understanding as to where they are.

There’s laughter, hysterical at times, but there is an underlining sadness throughout which makes it truly special, something we can all relate too. Directly addressing the audience is a wonderful feature as we feel like an integral part of the story, clinging onto every word anticipating what is going to happen next in this bizarre tale.

The breaking up of the story into what could be almost called ‘chapters’ was effective. Rowland always leaving the audience hanging, anticipating what was to come, mainly thanks to the terrific acting which one minute could have you howling with laughter, or almost in tears.

The Viking hat in the background is a nice simple prop, sitting there constantly reminding us of the meaning and reason for this performance, it helps set the scene more than any fancy backdrop could.

On a negative note, at certain times things need to be explained, or introduced and then the story then rambles off at a tangent, leaving you wishing for the story to kick back into life again.

Overall Team Viking is a heart-warming and hilarious play with some fine acting, and though simplistic, it has the ability to conjure up many emotions. It is a performance that will stick with you well into the journey home.

Team Viking – Tron Theatre, Glasgow

Reviewer: Ross Anderson

Team Viking is a one man show where James Rowland tells us a story about his best friend dying and Rowland his friends fulfilling his dying wish, to get a Viking send off. It was a great show with both comedy and sadness. The audience were in tears with laughter one moment then the next full of emotion.

REVIEW: All The Things I Lied About – Tron Theatre, Glasgow

If lying was a paying job, then Katie Bonna and her family would be billionaires. At the heart of All The Things I Lied About, is the monumental web of lies that tore Bonna’s own family apart.

In this post-truth, fake news world, and working from the principle that lying is as basic as breathing, Bonna frames her work as a TED talk (on the familiar red dot carpet) and begins as a discussion on the science of lying, aiming to answer the question: Why do people lie?

Few stones are left unturned as Bonna divulges her own proclivity to lie and the quite frankly astonishing deceit, and use of ‘gaslighting’ (a term from the 1938 Patrick Hamilton play and subsequent 1944 George Cukor movie, a practise where a person is psychologically manipulated into doubting their sanity) by her own father on her mother.

While the real TED talks are limited to 18 minutes, Bonna’s work runs at an hour, and the device does wear thin. The ‘raw emotion’ she also displays isn’t convincing in a show that Bonna has performed so many times (a run at the Edinburgh Fringe, and a UK tour) and at her own admission, Bonna is a seasoned liar, when you profess to lie as much as Bonna says she has, then you can’t really expect people to trust what you say.

There’s an uncomfortable silence in the half-lit auditorium that despite Bonna’s best efforts, remains throughout, and her efforts to turn us into “warriors of truth” fizzle out like a damp squib.

A deeply personal and revealing evening at the theatre, instead of leaving us examining the impact that everyday lies have on ourselves and those around us, it leaves one cold.

Review previously published at: http://www.thereviewshub.com/all-the-things-i-lied-about-tron-theatre-glasgow/

 

REVIEW: The Snaw Queen – Tron Theatre, Glasgow

This review was originally written for The Reviews Hub.

The news that Johnny McKnight was back at the helm of the Tron panto for 2016 was met with almost universal relief. After a slight misstep last year, Scotland’s king of modern panto is back in Glasgow and The Snaw Queen marks a return to the top-class festive form that audiences have come to expect from the acclaimed Glasgow theatre.

While it may appear from the title that there’s some connection with the Hans Christian Andersen fairy tale, the reality is an eye-wateringly colourful, glitter-strewn, often incoherent romp – and it’s none the worse for that. Kristine Cagney Kringle and her toy workshop are flat-out preparing for the festive season. However, there’s a magic mirror, that if broken will plunge Weegietown into a Christmas-less eternal winter. Poor sweet Rudolph succumbs to the evil magic of the mirror and transforms into the Snaw Queen (a Marilyn Monroe look-alike in an eye-popping, diamante-strewn, flesh coloured body suit). Kristine, Elvira the Elf and Olive (the other reindeer) embark on an, at times, psychedelic journey to obtain the magic ingredients needed to reverse the spell. Throw into the mix Elvis the Elf, a giant pink bunny, a monochrome My Fair Lady-inspired number set on Glasgow’s infamous underground, an hilarious ‘disco dolly smack down’ and theatrical in-jokes about the National Theatre of Scotland’s James Plays and Broadway blockbuster Hamilton, and you may well get the impression that this isn’t your average panto – you’d be correct.

McKnight is a master of treading the fine line between zany fun for the babes and naughty humour for the grown ups and while it’s mind-bendingly confusing at times, it’s also hysterically funny. The humour never lets up and the sheer energy of the cast drives the action along at a fair lick. Traditionalists will be happy to know that the obligatory sing-along, sweetie throwing and audience harassment are all here.

It may not be the biggest pantomime in town, either in terms of size or budget, but the Tron always punches far above its weight in terms of entertainment. If its kaleidoscopic colour and surreal storytelling you’re after, all with a social conscience thrown in and belly laughs from start to end – then this will be your bag. A riot for the senses and a welcome relief from this grey old world we live in.

Runs until 7 January 2017 | Image: John Johnston

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