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Jun 28th

The Band The Musical - King’s Theatre, Glasgow

By Cameron Lowe


The Band’s tour rocks and rolls into Glasgow for a two week stay at this most prestigious of venues.  Featuring the music of nineties and noughties sensations, Take That, The Band was bound to be a huge box-office hit … but would the musical rock 5 star reviews?

From time to time, when writing a review, I recognise that my view will not necessarily represent that of the majority of ticket buyers.  At times like this I feel that I should provide some perspective.  A couple of sentences on where I am coming from …  I’ve never been a huge Take That fan!  There.  I said it.  I love pop music but I’ll never get further than the chorus when singing along to Take That.

From the reaction of the packed house at Glasgow’s King’s Theatre, this audience were HUGE fans of Take That.  They couldn’t resist singing along and loved all the tell-tale references to the costumes, choreography and the rich history of Take That.

There are all sorts of things which are good about this production.  The story is strong.  Very Strong.  Back in 1993, young Rachel (Faye Christall) and her 4 best friends win tickets to see their favourites live on stage – The Band.  Shortly after the gig, tragedy strikes the teenagers and the 5 friends become 4.  Soon afterwards, the 4 lose touch.  25 years later, an older Rachel (Rachel Lumberg) wins 4 tickets for a reunion concert of The Band in Prague. She reaches out to 3 friends to reunite on a once-in-a-lifetime adventure.  Well defined characters explore how the passage of time has affected them and their loves, losses and realisations along the way.  There are plenty of laughs (both among the teenagers and their adult alter-egos) and the whole thing is underscored by The Band and their music. 


The Band themselves are woven through the scenes; occasionally interacting with the action - almost like big stars playing cameo roles in a music video. But mostly, The Band are a ghostly presence on the fringes of the action whenever they are not centre stage at one of the gigs.

Production levels are fabulous.  The Band’s costumes are amazing and the set is remarkably versatile and very cleverly designed by Jon Bausor.  The Band are choreographed flawlessly as they execute almost magical costume and scene changes – even convincingly guiding a passenger jet to take-off from the Kings Theatre stage.

My problem with the show (unexpectedly) is the music.  The songs don’t advance the plot.  At times the underscored lyrics are in open conflict with Tim Firth’s excellent script, rendering it inaudible.  The only exception to this is “Back For Good”, which sees the adult cast and their younger selves sing an octet that works on many levels with the storyline.  More of that, please!  If you are expecting a perfect match of story and song like Mamma Mia or Sunshine on Leith, I’m afraid you’ll be disappointed.

Cast performances are excellent.  The Band (AJ Bently, Nick Carsberg, Curtis T Johns, Yazdan Oafouri, & Sario Solomon) sing very well indeed and their interaction with the onstage action is confidently delivered.   Rachel Lumberg (Rachel) and Emily Joyce (Heather) are particularly strong; carrying recognisable traits from their younger selves and delivering grounded adult versions of those core characters.  Ms Lumberg tugs on all the right heartstrings as she comes to terms with the loss of a friend 25 years on.  Rachelle Diedericks as young Debbie delivers a particularly touching character.  Andy Williams gets a special mention as “Every Dave” for bringing a smile every time he is on stage.

Take That fans will love this show.  Everyone else will like it just as much as I did!


The Band – King’s Theatre, Glasgow

26/06/18 – 06/07/18

Matinees Sat 14:30

Evenings Mon-Thu & Sat 19:30

Fridays 17:00, 20:30

Box Office: 0844 871 7648 (bkg. fee)

Tickets: £23.40 - £53.40

 Image: Matt Crockett 

Jun 20th

“Sunshine on Leith”, King’s Theatre Glasgow

By Cameron Lowe


Eleven years on from the first awe-inspiring tour by Dundee Rep. and with a movie release in the space between, Sunshine on Leith takes to the stage once again with a brand new production from West Yorkshire Playhouse.


With side-splitting Scottish humour married with true to life family drama and down to earth realism, “Sunshine on Leith” ticks every possible box for me.  I found myself bouncing from uncontrollable laughter to sadness and back again in a heartbeat!  From the familiar upbeat strains of “I’m on My Way” I was hooked again, finding myself grinning from ear to ear as I enjoyed this triumphant intelligent musical comedy drama.


The story follows Ally and Davy as they return from an army tour of duty and they set about picking up the pieces of their lives.  Ally is the long term boyfriend of Davy’s sister, Liz.  Liz introduces her brother to her nursing colleague, Yvonne, who is funny, bright, beautiful … but English!  Both couples are welcomed under the roof of mum and dad (Jean and Rab) who celebrate 30 years of marriage.


Part of the genius of this show is the way that the 3 separate love stories are interwoven with a huge back catalogue of hit songs from The Proclaimers.  The songs are not a simple headline grabbing add-on.  They each earn their place and advance the story so seamlessly that it is difficult to comprehend that they were not written for this purpose.  Throw the ‘R’ Away” celebrates the Scottish accent as the boys take a job in a call centre, “What Do You Do?” asks how Nurses should cope with the decline of the NHS, “Let’s Get Married” is an hilarious marriage proposal spoof situated in a Hibs supporters’ bar, “Sunshine on Leith” is a tear jerking lament as a family member lies in a hospital bed … the list goes on and on.  The drama is woven through with side splitting Scottish patter and down to earth characters that will speak any audience’s language.  Playwright and TV writer, Stephen Greenhorn, turned alchemist with this theatre gold.


This new production brings several updates to this much beloved show.  Some work well    and some, not so much.  I was delighted to see that time no longer stood still for the Henshaw family as the show was brought up to date with references to Brexit, The Kardashians and Nicola Sturgeon among others.  These bring fresh laughs and introduce the show to a new generation of fans.  The story took some tweaks from the 2013 movie; bringing in Rab’s estranged daughter (Nikki Patel) and adding extra pressure on his 30 year marriage; which unravels in a great crescendo at the end of Act 1.  Sadly, this production also handed over more of the second act’s tear-jerker songs to the chorus.  While well delivered vocally with beautiful new harmonies, this only served to detract from the hard hitting drama which was previously in very stark contrast to the uplifting first act.


The cast consisted of incredibly talented performers who acted, sang, danced and played instruments giving each scene a family vibe – like an old new year party singalong. Accents tended to be around 50 miles west of where they should be but that was quickly forgiven by the Glaswegian audience.  Performances were superb throughout with outstanding contributions from principals Phil McKee as Rab, Hilary Maclean as Jean, Neshla Caplan as Liz, Jocasta Almgill as Yvonne and Paul-James Corrigan and Steven Miller as Ally and Davy.


This is a great musical.  Get along to see it as soon as you can - Saturday night is sold out in Glasgow.  The tour makes its final stop in Inverness.


King’s Theatre, Glasgow

Tues 19 – Sat 23 June

Evenings at 7.30 p.m. (Saturday evening sold out)

Wed and Sat matinees at 2.30 p.m.

Box Office: 0844 871 7648 (bkg. fee)

Tickets: £23 - £60


Jun 6th

Derren Brown - Underground at Theatre Royal, Glasgow

By Cameron Lowe


Review by David McCourt


Knowing something of how Derren’s show might go I found myself walking to the venue in Glasgow checking every sign post or advertising board for subliminal messages or suggestions of options people may be persuaded to choose during the show. In the theatre, again I couldn’t find anything that I thought would persuade me to make any unintentional choices. Or so I thought…


Derren appears on stage and instantly has you in the palm of his hand. His confidence on stage and presence immediately puts you at ease as he talks about the show all being about 5 secrets. The secrets (which shall remain as such) are the core of the show ... and boy what a show!


There are many words to describe Derren’s show. Spellbinding, Amazing, Unbelievable. It makes you question what is reality and what is fantasy. When the man is on stage, some 20 feet in front of you - totally live - there is no way there are any camera tricks or setups. It’s just not possible, he has nowhere to hide. The show is a combination of all Derren’s abilities. He is an accomplished magician and his love of magic stems from his ‘Papa’ who was, himself, a talented magician. During the show you also find out that Derren learned how to be a hypnotist so he would be more popular. After he’d become a master of both of these, he studied Psychology and has gone on to further master the art of persuasion which, in truth, he demonstrates with great affect. The show is full of good humour the odd mild profanity all of which is in context.


Some of the elements are simply awe inspiring; even showcasing Mr Brown's artistic skills upon occasion!  The original presentation style is a huge winner for the audience.  And all the while, Derren Brown adds seemingly random and unpredictable elements into the tricks ... and yet, the outcome is ALWAYS as he has predicted!!  Incredible.  Derren's quick wit and instant rapport with the audience keeps us enthralled even while we scratch our heads wondering how he did THAT one!!


Throughout the show your concentration is heightened as there are things that if you blink you will literally miss.  The banana, for example (all will make sense when you go see the show). The second half continues with more mind blowing skill. However, telling you about the main event would just spoil it for you.  So, I’m afraid, that will need to remain a SECRET!!!

If you are in two minds about whether to go to see this show ... keep one mind as a spare, as the mind you take with you will be blown!


Derren Brown - Underground

Theatre Royal, Glasgow

05/06/18 - 09/06/18

Tickets £22.90 - £46.90

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



May 22nd

Thriller Live - King's Theatre, Glasgow

By Cameron Lowe


Review by Suzanne Lowe


Thriller Live makes a welcome return to Glasgow this week, once again entertaining audiences with iconic songs from the King of Pop.


More of a tribute show than a jukebox musical we are taken through the various eras of Michael Jackson’s back catalogue.  With incredible vocals, dance moves, staging and lighting this show does not disappoint.  Focusing only on his vast range of hits it does not explore the more turbulent times that Jackson had to endure.


Personally I preferred the original staging of the Jackson Five section at the start of the show.  While the lead vocalists were incredible I missed the crowd pleasing performance normally associated with the casting of a ‘young’ Michael.  The projection of a child singing ‘Rockin’ Robin’ with only the female dancers on stage just didn’t cut it for me and the applause from the audience would suggest this number was slightly underwhelming.


Led by the dynamically talented vocalist/resident director Britt Quentin - Shaquille Hemmans, Rory Taylor, Ina Seidou and Eddy Lima all gave outstanding performances bringing a unique element to each of the numbers.  I would find it difficult to single any of them out.  Truly talented people.


The cast of dancers performed each routine with an energy that has to be applauded.  Iconic MJ dance moves executed to perfection.  Hats off indeed to the stamina required to sustain these numbers at each performance.  Definitely one of the hardest working casts I have seen in a long time.


With the performance featuring a selection of Michael Jackson’s hit songs including Beat It, Dirty Diana, Bad (too many to mention really) the stand out number for me would have to be ‘Smooth Criminal’.  With perfect vocals, staging, dance and atmosphere, this number truly came together to be nothing short of spectacular.  A spine tingling moment came in the form of ‘Earth Song’.  The audience fell eerily silent as the first few lines of vocals were delivered.  A remarkable thought provoking song.  We all waited in anticipation for the title number ‘Thriller’ which was performed towards the end of the evening.  Classic moves and costumes ensured that this was worth the wait. 


The audience were definitely up for participating at every opportunity.  Encouraged by cast members at various intervals to get onto their feet they did not need much persuading.  Singing along and dancing this was an audience who left feeling happy and thoroughly entertained.  I would encourage you to go along and grab some of that happiness this week.


Thriller Live – King’s Theatre, Glasgow

21 – 26 May 2018

Evenings 7.30pm (Mon – Fri)

Saturday 4pm and 8pm 

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


May 1st

Fat Friends the Musical at Kings Theatre, Glasgow

By Cameron Lowe

The successful ITV drama “Fat Friends” gets a musical makeover in this UK Touring production starring Jodie Prenger in the lead role.


Kelly (powerfully voiced by Jodie Prenger) is getting married in 6 weeks and is deeply in love with fiancé, Kevin (Joel Montague).  She rashly choses a wedding dress which is two sizes too small and, so, embarks on a mission to join her many friends and family in the pursuit of weight loss.  At the local Super-Slimmers club, she is challenged to hit her weight-loss target by company boss Julia Fleshman (played to extract maximum fun from being the ‘baddie’ by Natasha Hamilton).  But Julia will stop at nothing to get publicity from Kelly’s successful weight loss on her diet plan …   

The principal cast is very strong in this production with Jodie Prenger an excellent lead as a down-to-earth and likeable Northern lass; albeit under a loud-mouthed exterior.  Kelly has surrounded herself with some very talented voices, too.  Veterans Elaine C. Smith and Kevin Kennedy convey themselves well as Mum and Dad and Rachael Wooding and Joel Montague add some lovely character traits to soaring vocals as Sister and Fiancé, Joanne and Kevin.  The secondary narrative of blossoming love between Lauren (Natalie Anderson) and Paul (Jonathan Halliwell) is cutely portrayed and beautifully sung. Even fringe characters from Neil Hurst and Chloe Hart added lovely vocals to the mix – at some points, astonishing!  Combine all this on-stage talent with fresh tunes from Nick Lloyd Webber (the name does sound familiar, doesn’t it?) and you have one of the best sounding musicals around!

Where this show was below par was actually one of the biggest draws to bring me to see it in the first place.  Written and directed by Kay Mellor, one of the most successful UK TV drama writers of our time; I arrived expecting something very special from this very talented pen.  Sadly, the show lacked pace.  Being 30 minutes too long I felt quite disengaged from the story by the end.  I thought that Lauren and Paul’s characters were too innocent and nervous and their excellent duet came too soon in the show for all that emotion.  I also couldn’t see any reason for Rachael Wooding’s duel casting as Pippa (Julia’s mousey sidekick) – albeit that she was very good in both roles.  On the plus side, the characters were well defined and bigger issues like ‘body image’, media pressure to conform to stereotypes like ‘slim bride’ and ‘internet trolls’ were tackled adding more depth.  I would have cut 2 songs and 20 minutes of dialog, though.

This show is not perfect but has a lot of redeeming features in the score and on stage.  Nothing that a good dramaturg couldn’t sort out for a second tour!

Fat Friends The Musical – King’s Theatre, Glasgow

30 April – 5 May 2018

Evenings 19:30, Matinees 14:30 (Wed, Sat)

Tickets £16.50 - £62.50

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




Apr 24th

Legally Blonde at Kings Theatre, Glasgow

By Cameron Lowe


OMG you guys!  The audience was packed to the roof in Glasgow’s King’s Theatre last night to see and hear Elle Woods “bend and snap” as only Elle Woods can!  They were treated to a great feel-good show full of catchy tunes and delightful characters.

Legally Blonde is a movie that has achieved almost cult status among its fans.  With an adorable performance from the pint-sized Reese Witherspoon it tells the tale of love-lost Elle who is ceremonially dumped, but follows her ex to Harvard Law School in an effort to win back his heart!  It’s a journey of self-discovery as she learns about her own strengths and finds a way to fight for the underdog as only she can

On stage, this rich and empowering storyline is delivered by strong character performances and an uplifting score full of memorable songs

In the lead role of Elle, Lucie Jones delivered an endearing performance with powerful vocals.  In stature, she was considerably larger than the famously tiny Reese Witherspoon and this detracted somewhat from her vulnerability.  However, she quickly won the audience over with her winning smile and bubbly personality.  By the second act I was cheering for her as loudly as all the pink clad women around me!

Rita Simons, as Paulette, supported well with a fiery character and good comic timing.  Helen Petrovna was outstanding as skipping rope fitness queen, Brooke Wyndham, leading a cast of skip-rope dancers in the spectacular “Whipped Into Shape”.  Elle’s supporting “Greek Chorus” were extremely talented and added harmony and depth to every scene they appeared in

The show has some great musical numbers with highlights being “Omigod You Guys”, “Bend and Snap” and “Legally Blonde”.  I have to add “There! Right There!” to the list - subtitled “Gay, or European?” – it had me rolling in the isles!

All in all, this is a great fun and uplifting production which is well worth the ticket price.

Legally Blonde – King’s Theatre, Glasgow

23-28 April 2018

Evenings 19:30, Matinees 14:30 (Wed, Sat)

Tickets £15 - £69.50

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

Apr 5th

Jersey Boys at The King's Theatre, Glasgow

By Cameron Lowe


A review by Suzanne Lowe


Having had the pleasure of watching Jersey Boys before I was more than a little excited to discover that the show would be returning to Glasgow.  You know how it is, you build up a show in your head only to actually find out it wasn’t quite as entertaining as you remembered.  This show certainly lived up to my expectations.  With a superb cast, well known songs and fast paced scene changes this was indeed a great night out at the theatre.


Jersey Boys tells the story of Frankie Valli and the Four Seasons.  Cleverly revealing a past through the eyes of each band member.  A past which was well hidden from fans and record industry moguls.  Prison sentences and associations with the Mafia only coming to light as Jersey Boys came to fruition.  Each member’s memory of events slightly different.


Of course along with the revelations of a life behind the stage we get to experience the wonderful sounds of Frankie Valli and the Four Seasons.  With hits such as ‘Sherry’, ‘Big Girls Don’t Cry’, ‘Walk Like a Man’, ‘Oh What a Night’, and ‘Who Loves You?’ resonating around the auditorium, it was difficult not to find yourself singing along (normally a practice I would frown upon!)  The slick dance moves and exceptional voices a joy to watch and hear.


The supporting cast totally embraced the era and performed every number with gusto, many performing several roles.  Top marks have to go to Dayle Hodge (Frankie Valli), Simon Bailey (Tommy Devito), Declan Egan (Bob Gaudio) and Lewis Griffiths (Nick Massi).  All four giving outstanding performances.


With his amazing vocal range the unique voice of Frankie Valli was superbly recreated by Hodge.  Along with the incredible sound came a solid acting performance with a particularly moving scene depicting the moment Frankie learns of his daughter’s death.  A brief moment in the evening when the audience fell silent.


As Tommy Devito, Bailey gave us an insight into this stereotypical New Jersey tough guy.  As his connections with the mob and gambling debts become clear we are also drawn to his vulnerability.


Egan played the part of Bob Gaudio the genius behind the hit songs we all know and love.  His portrayal revealed a rather sensitive but focused individual endearing himself to the audience.  With superb vocals his performance has to be admired.


We are also introduced to Nick Massi with an intentionally laid back performance by Griffiths.  As the quieter member of the group and somewhat downtrodden by Devito, Griffiths gives us an insight into how Massi actually felt being part of The Four Seasons.


All four incredibly talented performers gave the audience a great night with their outstanding vocals added to memorable acting pieces.   Be assured that the life of Frankie Valli and The Four Seasons was a story which had to be told.


And yes….definitely just as great a show second time round.


Jersey Boys - King's Theatre Glasgow

03/04/18 - 14/14/18

Matinee (Thu, Sat) 14:30, Evenings 19:30

Tickets £18 - £63.50

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



Feb 27th

The Play That Goes Wrong at The King’s Theatre, Glasgow

By Cameron Lowe


If there is a play in existence with a more apt title than “The Play That Goes Wrong”, I have yet to see it!  Mischief Theatre have crafted 100 minutes of mirth and mayhem that had me laughing until I hurt … and then I laughed some more!

This week, Glasgow’s King’s Theatre plays host to a play within a play as a fictional group of not-so-talented am-dramers  (the Cornley Polytechnic Drama Society) present “The Murder At Haversham Manor” as the accurately titled “Play That Goes Wrong”.  And boy, does it go wrong!

Before curtain up we are treated to a performance of outstanding incompetence as the “stage crew” attempt to set the stage.  From the opening introduction by Director “Chris” (stiffly portrayed by Jake Curran) we are in no doubt that we are about to be “entertained” by a troupe bearing a remarkable heritage of disastrous am-dram flops. 

The curtain rises and we are entertained by shameless overacting from the players with outlandish and unconvincing characters and a broad disrespect of “the fourth wall”.  This is all delightfully OTT and delivered to wring maximum laughs from the outset.  But this would become tired quite quickly … if the writers did not have an endless supply of acting faux-pas and theatrical cock-ups waiting in the wings; each one more calamitous than the last!  Prop mix ups, prat falls, disintegrating sets, dropped lines, slapstick, badly timed entrances … every single one a disaster in its own right; enough to send any self-respecting amateur fleeing from the stage.  Yet, these are all presented in one show in all of their awkward, heart stopping, nightmare inducing glory.  And we laughed so hard!

Kazeem Tosin Amore (as Robert playing Thomas Collymoore) gives a great comic portrayal of the victim’s school chum with a particular highlight as he tries to break a dialog loop through purple faced rage and mouthfuls of ‘white spirit’.  Elena Valentine (as Sandra) gives a delightfully unconvincing performance as femme fatal Florence Collymoore and becomes the victim of some spectacular physical gaffs.  Bobby Hirston is the prat-fall king as Max (playing Cecil Haversham) and Benjamin McMahon is the youthful Dennis who is superbly miscast as the aging Perkins.  Catherine Dryden develops her character beautifully to hilarious effect as Annie (the somewhat reluctant crew member cum understudy).  Jake Curran was excellent (as Chris playing Inspector Carter), particularly as he broke down over the audience’s reaction to his response to a lost prop.  I’m laughing out loud as I type this … LEDGER!

Direction from Mark Bell expertly balanced the tight timing required for such a complex piece of physical theatre with just enough leeway for the actors to thoroughly enjoy the performance and give the audience a feeling that everything was fresh.  Nigel Hook’s set design was inspired; adding significantly to the laughs.  Despite all of the superlatives above, the script from Mischief Theatre’s own writing team of Henry Lewis, Jonathan Sayer and Henry Shields was truly the star of this outstanding show.

A special mention has to be made of the production programme.  It really is worth every penny is very funny in its own right.

If you fancy a really good, wholehearted belly-laugh (and who doesn’t need a laugh these days) get your tickets to this hilarious show now.

Photos by Robert Day


King’s Theatre, Glasgow

Mon 26 Feb - Sat 3 Mar 2018

Mon-Sat 7.30pm

Wed & Sat, 2.30pm

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

 OR ... catch the show at Edinburgh's Fesival Theatre from 12-17 March 2018

Jan 17th

Tango Moderno, The Kings Theatre Glasgow

By Cameron Lowe


Vincent and Flavia (Simone and Cacace of the BBC’s Strictly Come Dancing fame) present a wonderfully diverse evening of entertainment at Glasgow’s King’s Theatre this week featuring their famous style of choreography.


Let’s face it … we’ve all been there, right?  We have a ‘significant other’ who is super excited to see a new show and we go along … doing the right thing to be there (reluctantly) while our loved one grins enthusiastically at the stage for a whole evening.  It has to be done!


But anyone arriving (reluctantly) to this latest production featuring Vincent and Flavia might be pleasantly surprised as this remarkably varied production has something to entertain even the most jaded of persuaded partners!


So, it’s basically an evening of dance.  That is a given.  And we should celebrate that dance element first and foremost.  Strictly fans will be delighted to see Vincent and Flavia deliver some lovely routines throughout the show including some steamy hot Argentine Tango choreography.  Most impressive to me was the powerful subtlety of the lifts – less “look at me” in a ‘Strictly’ style and more emotive and powerful; relying as much on Flavia’s core strength as that of Vincent. 


But the show adds so much more through the ensemble cast.  Each routine is presented as a short vignette – telling a short story of couples or groups.  Lovers, work colleagues, groups of friends, etc.  The stories are connected through a loose theme of couples coming together and there is a real sense of conclusion at the end of the show which is quite satisfying – not bad for a show with no dialogue! 


The vignettes are introduced and connected by a narrator (Tom Parsons) who speaks in cool contemporary prose.  There have been a spate of TV adverts in this style recently and for good reason … it is so on trend!  Tom also sings lead vocals on the majority of numbers – beautifully accompanying the dance activity and covering a broad range of modern artists from Ed Sheeran to Rag ‘n’ Bone Man to Lucus Graham and many more.  Tom is joined by Rebecca Lisweski on vocals.  Rebecca takes the lead from time to time, too, and together they deliver first class entertainment worth the ticket price alone.


The choreography from Karen Bruce is excellent throughout.  Each piece advances the story or theme and the variety is astounding covering the spectrum from hilarity to pathos.  The dancing cast deliver all of this with aplomb – in particular, their characterisation is evident with every step and leap.  The piece accompanied by Lucas Graham’s “7 Years” was astonishing and moving and left we wanting to pause and rewind to see it again.


I’ll confess that I was already looking forward to seeing this show …  but, having seen it, I’m bursting to tell people who might not normally buy a ticket to see a “dance show” to go and see this one!


Tango Moderno, King’s Theatre, 297 Bath Street, Glasgow, G2 4JN

Tue 16 - Sat 20 Jan 2018

Tue-Sat, 7.30pm

Thu & Sat matinees, 2.30pm

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


Dec 8th

Sleeping Beauty, The Kings Theatre Glasgow

By Cameron Lowe

 Review by Suzanne Lowe

It’s that time of year again (oh yes it is….) when children and adults flock to theatre’s around the country to see their favourite pantomime.  The Kings Theatre, Glasgow has always produced top quality productions featuring top quality stars and this year was no exception.


The audience were transported to the magical city of Glasweedgia and the delights of ‘Sleeping Beauty’.  This is the classic fairy tale of the beautiful Princess cursed by a spell as a baby, who falls into a deep sleep on the night of her 21st Birthday after a rather unfortunate incident with a spinning wheel.  You know the story….


The show opened with the usual colourful singing and dancing one would expect.  A stage filled with beautiful people dressed in very pastel shades belting out a rather forgettable opening number!


However the arrival on stage of Johnny Mac as ‘Muddles’ set the tone for the rest of the evening.  A veteran of pantomimes all over the country, this award winning comedian delivered the usual corny jokes with great enthusiasm endearing himself to the audience instantly.  His interaction and comedy timing made this the stand out performance of the night.


Making a welcome return to The King's Panto for the first time in 8 years was the hugely talented Elaine C. Smith.  Taking on the role of ‘Fairy Bella Houston’ saw her opening number announce her great return.  Perhaps this felt a little self-indulgent and unnecessary for someone with her acting repertoire.  However this was soon forgotten as we moved through the show.  Her usual comedic delivery had the audience laughing for the rest of the evening.  Perhaps her most memorable moment would be that of taking on the classic Adele Song “Hello” and of course re-naming it “Hey You” in her best Glaswegian accent.  She was a perfect match to her onstage son ‘Muddles’ and the two played off one another brilliantly.


Juliet Cadzow played the panto baddie this year taking on the role of ‘Carabosse’, the evil witch who placed the spell on poor Princess Beauty.  Perhaps best known for her roles in Balamory and River City she received the usual ‘Boo’s’ from the audience one would expect from the villain of the show.  Playing along-side her, was Paul-James Corrigan (also of River City fame) who took on the role of ‘Slimeball’.  As the son of ‘Carabosse’ the two worked well together giving the audience the roles they love to hate.


As a stalwart of Scottish theatre and television George Drennan played the part of ‘King Hector’ ably accompanied by Louise Ludgate as Queen Morag.  Their rendition alongside ‘Fairy Bella’ and ‘Muddles’ of the classic Scottish version of “The Twelve Days of Christmas” had the audience crying with laughter.


Will Knights as ‘Prince Calum’ and Maggie Lynne as ‘Princess Beauty’ also delivered faultless performances as the romantic leads.  They brought a sense of calm to the chaotic proceedings going on around them.


Perhaps the stand out, jaw dropping moment of the evening has to go to the flying car!  Yes indeed while trying to get to Dunoon, ‘Fairy Bella’ and ‘Muddles’ decided not to take the conventional ferry but instead take to the skies in a sports car.  Having seen many things ‘fly’ over the years on The Kings stage this has to take the crown.  Not only did it lift up on stage it then ‘flew’ out over the audience above the stalls.  An amazing piece of theatre wizardry.


As panto’s go this has to be one of the funniest I have seen in a while.  Written by Alan McHugh the up to date topical references have to receive credit.


If you want a great night out then get yourself along to The Kings to watch ‘Sleeping Beauty’, you will not be disappointed.


(Images courtesy of Ambassadors Theatre Group) 

Sleeping Beauty The King's Theatre, Bath Street, Glasgow

Sat 2 Dec 2017 - Sun 7 Jan 2018

Tue-Sat at 7.00pm, Sun at 5.00pm

Matinees daily at 1pm, 2pm or 11am

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