Musical biopics have become fairly commonplace on the musical theatre circuit … but rarely with such a varied and beautifully vocalised back-catalogue as The Eva Cassidy Story.  Theatre Productions present the music of Eva Cassidy with the extraordinary vocal talent of Sarah Jane Buckley at Motherwell Theatre this week.

Eva Cassidy’s story came to the attention of the British public back in 1998 when Britain’s most popular radio presenter of the time, Terry Wogan, added her unique vocal talents to a playlist which reached millions of listeners. ‘Songbird’, the album produced after her untimely death in 1996, sold over 100,000 copies by late 2000 attaining the coveted ‘gold’ status.  All this before a black and white amateur recording of her performance of “Over the Rainbow” was played on Top of the Pops in 2001; sending her to the top of the charts all over again.  Eva Cassidy remains the only female solo artist to achieve three posthumous number one albums in the UK.

 

Sarah Jane Buckley steps into this role as if she was born to sing the songs of Eva Cassidy.  This is no mean feat.  The principal reason that Eva Cassidy was not a popular recording artist in her lifetime was that the range of her vocal talent was too vast!  Eva couldn’t be classified by the radio stations; blues, country, jazz, folk and easy listening standards all came naturally to her and, true to her principals, she couldn’t be labelled – always singing from her heart.  Sarah Jane Buckley seemed unphased by this vocal challenge, covering Eva Cassidy’s back-catalogue as though she had written the arrangements herself.  Songs like “Songbird”, “Over the Rainbow”, “Fields of Gold”, “Yesterday” and “True Colors” were just beautiful in their simplicity and vocal clarity while up-tempo numbers like “Take Me to the River” were a joy to hear.  The supporting cast, too, added significant vocal and musical talents into the mix delivering tight harmonies and live music from the stage.

 

As is the case with many musical biopics, though, the narrative failed to maintain the high standard of the music.  Dialogue and direction linking the musical numbers was a little contrived, even wooden at times.  This was unfortunate as there was a real story to tell here.  It was important to cover Eva’s uncomfortable relationship with her father, for example.  But the use of the starring cast in the roles of the children was a mistake as these scenes could only leave the audience unconvinced.  A simple solution would be to have young actors depicting the drama while the stars provide the vocals from the onstage band.  Audience participation in later scenes often fell flat.  However, the quality of the musical performance easily carries the audience through the story and the dialogue seemed happy to take a supporting role with the exception of some quite moving scenes in the second act as Eva’s illness takes hold.

 

The production was unremarkable save for the superb quality and balance of sound together with excellent musical direction and arrangements by Martin Hughes.  The stage seemed a little cluttered at times with the band kit in full view but this suited the recording studio scenes well.  Unfortunately, there were a couple of technical faux-pas which detracted from the unfolding drama in the second act.

 

This show really is a must see for any fan of Eva Cassidy and her music.  Sarah Jane Buckley’s voice is worth the ticket price alone and carries Eva Cassidy’s high standards with ease (while the drama plays second fiddle).

Listings Info:

The Eva Cassidy Story
Motherwell Theatre
Mon  6 – Wed 8 Feb
Mon – Wed eves 7.30pm

Tickets: £17.50 - £20
Box Office 01698 403120 (Bkg fee)
http://www.northlanarkshire.gov.uk/index.aspx?articleid=6249 (bkg fee)

Tour Dates:

 

10th February	Derby Assembly Rooms	http://www.derbylive.co.uk/	01332 255800
11th February	Wellingborough Castle Theatre	http://www.thecastle.org.uk/	01933 270 007
12th Feburary	Richmond Theatre	http://www.atgtickets.com/Richmond	0844 871 7651
14th February	York Grand Opera House	http://www.atgtickets.com/35/910/Grand_Opera_House_York	0844 871 3024
15th February	LYTHAM ST ANNES, Lowther Pavilion	http://lowtherpavilion.co.uk	01253 794221
16th-17th February	Worthing Pavilion Theatre	http://www.worthingtheatres.co.uk/	01903 206 206
18th February	Hawth Theatre, Crawley	https://tickets.hawth.co.uk/public/	01293 553636
22nd Feb - 23rd Feb	Winchester - Theatre Royal	http://www.theatre-royal-winchester.co.uk/	01962 840440
24th February	Exmouth Pavilion	http://www.ledleisure.co.uk/index/Exmouth_Pavilion/index.asp	01395 222477
25th Feb	Chatham - Central Theatre	http://www.medwayticketslive.co.uk/	01634 338 338
28th February	Edmonton Millfield Theatre	https://forms.enfield.gov.uk/peo/	020 8807 6680
29th February	Bradford St George's Hall	http://www.bradford-theatres.co.uk/	01274 432 000
1st March	Yeovil Octagon Theatre	http://www.octagon-theatre.co.uk/	01935 422884
2nd & 3rd March	Mansfield Palace Theatre	http://www.mansfield.gov.uk/palacetheatre/	01623 633133
4th March	Glasgow Theatre Royal	http://www.atgtickets.com/Theatre-Royal-Glasgow	0844 871 7647
5th-7th March	Theatre Severn, Shrewsbury	http://www.theatresevern.co.uk/	01473 281281
8th March	Rotherham - Civic Theatre	http://www.rotherham.gov.uk/theatres	01709 823621
11th March	Manchester Opera House	http://www.manchestertheatres.com/operahouse.htm	0844 871 7660
13th March	Chesham Elgiva	http://www.elgiva.com/	01494 582900
14th March - 16th March	Colchester - Mercury	http://www.mercurytheatre.co.uk	01206 573 948
14-16th March	Mercury Theatre, Colchester	http://www.mercurytheatre.co.uk/	01206 573948
18th March	Scarborough Spa Theatre	http://www.scarboroughspa.co.uk/	01723 357869

 

Perennial musical favourite, Grease, returns to the King’s Theatre to tickle the funny bone and quicken the heartbeat of the Glasgow audience.

 

Grease is familiar to audiences the world over since it debuted to Chicago audiences in 1971 and quickly moved to Broadway, running for 18 years and 3388 performances!  It broke box office records in 1978 when the movie starring John Travolta and Olivia Newton John was released (John Travolta had played a role in the original Broadway production run).  This UK revival production originally opened in the West End in 1993 where it enjoyed a run of 6 years before hitting the road on national tours.   Since 1993, the show has been seen by audiences of over 12 million people in the UK alone. 

 

Grease is the original high-school musical featuring everyone’s favourite characters - Sandy, Danny, the T-Birds and the Pink Ladies - with the unforgettable songs from the hit movie including You’re The One That I Want, We Go Together, Summer Nights, Hopelessly Devoted to You, Sandy and Greased Lightnin’.

 

The production was very slick with fast paced dialogue joining the much-loved elements of the score together smoothly.  There is little room in the script to develop character, but the cast added great physical traits to ensure that everyone was a unique presence onstage.  Arlene Phillips’s choreography was exciting and energetic with the Hand Jive and Competition dances showing off the cast’s ability in partner dances and lifts to great effect.

 

Headliner, Danny Bayne, was a little disappointing for me.  Winner of ITV’s “Grease is the Word” in 2007, Danny looked like his five-year association with this role might be beginning to take its toll.  His talent, particularly in dance, was undeniable but his performance lacked that little spark of freshness that every audience deserves.  Dramatically the story is light but Kate Somerset How shone as Rizzo who hints that 50’s high School life is not all cheerleading and bobby socks.  Derek Andrews and Laura Wilson built a nice chemistry as Roger and Jan with Derek, in particular, showing off a significant vocal talent.  Leading lady, Carina Gillespie as Sandy, delivered her transformation from ‘Sandra Dee’ to size zero hotty with ease while X-factor talent “Tesco” Mary Byrne delivered a great character as Teen Angel singing “Beauty School Dropout”.

 

Big, bold, bright and brash, Grease is the perfect cure for the winter blues.  Take your seat and summer seems like it might be just around the corner.

 

Listings details

GREASE

King’s Theatre, Bath Street, Glasgow, G2 4JN

17 – 28 January 2012

Tickets £12 - £39.50

Box Office: 08448 717 648

Theatre Royal, Glasgow (17 - 31 December 2011)

 

Ahead of the curtain there is a real feeling of anticipation in the auditorium.  A look through the beautifully presented programme / brochure featuring details on composition, artistic process, company and rehearsals gives a sense of the love, care and reverence that this production has received.  As the lights dim, there is just time to glance into the expansive orchestra pit of the Theatre Royal to see row after row of attentive musicians as they await the first upbeat from Resident Conductor, Richard Honner.  We are clearly in for a Christmas treat!

The curtain opens on a simple scene outside a doctor's office as the concerned King (Owen Thorne) and Queen (Eve Mutso) learn of their inability to conceive a child.  But the good Lilac Fairy (Noellie Conjeaud) is able to intervene with magic.  The doctor's office is swiftly struck to reveal the impressive set of the Royal Gardens featuring a substantial summer house which pivots smoothly to allow space for the ensemble to weave their magic of dance in celebration of the Royal Christening.  In this open setting we are also able to appreciate the lighting effects adorning the set from Designer, Anthony McDonald.  Subtle but effective changes of colour are used to influence mood as the many principals perform for the assembled Royal Party.  We are also treated to a mist effect around the trees giving the backdrop an ‘other-worldly' quality appropriate to the tale.  The quality continues into Act II as the enchanted forest setting is given an ethereal depth as we meet more fantastic characters like Snow White, Cinderella and Red Riding Hood.  Costume-wise, we are treated to flowing gowns and royal finery across two centuries as the Beauty, Princess Aurora, and her royal court sleep for a full hundred years.  With the initial part of the tale set in 1830, the story reaches a happy conclusion in 1946 … and it is a real joy to see such breathtaking choreography performed in 20^th century costume.

Tchaikovsky's immortal score was performed with power and sensitivity by the Scottish Ballet Orchestra.  Ashley Page's artistic direction incorporates a great deal of humour with the bad fairies portrayed as wicked (rather than evil) for the family audience.  Several laugh-out-loud moments reached a peak, for me, at Princess Aurora's birthday celebration as the audience was teased with a number of sharp objects upon which the cursed Princess might prick her finger.  Would it be the hedge shears wielded by the gardeners (who looked strangely like the bad fairies), or perhaps the swords worn by Aurora's four suitors … no, it would be the 8 foot tree-like comedy cactus presented in a gift pot at the end of the scene!

Performances from Claire Robertson and Eric Cavallari as Princess Aurora and her Prince were captivating and I would be remiss were I not to mention the beautifully charismatic performances from Tomomi Sato as the Fairy of Song and Lady Bluebird.  All of the principals were expressive and displayed superb synchronicity throughout the performance.  The production was exquisitely executed and a joy to behold.

Listings Info:

Scottish Ballet "The Sleeping Beauty"

Sat 17^th to Sat 31^st December 2011

Tickets: £7 - £35

Box Office 08448 717 647 (Bkg fee)

http://www.atgtickets.com/Scottish-Ballet's-The-Sleeping-Beauty-Tickets/2/530/ (bkg fee)

 

Tour details:

Festival Theatre Edinburgh
11 - 14 January 2012
Tickets from £10
Box Office 0131 529 6000*
BOOK ONLINE NOW  Full booking details

His Majesty's Theatre Aberdeen
18 - 21 January 2012
Tickets from £11.50
Box Office 01224 641122*
BOOK ONLINE NOW Full booking details

Eden Court Inverness
25 - 28 January 2012
Tickets from £14
Box Office 01463 234 234*
BOOK ONLINE NOW Full booking details

 Theatre Royal, Newcastle
1 - 4 February 2012
Tickets from £10
Box office 08448 11 21 21
BOOK ONLINE NOW Full booking details

How do you get yourself in the mood for Christmas? Wrapping the presents? Work’s Christmas Night Out? Finishing the shopping? Taking the kids to see Santa? Well for me it is going to see a Pantomime (I usually see at least 10 each year!).

 

At Glasgow’s King’s Theatre it is a start studded panto indeed for Sleeping Beauty. I’d Do Anything Finalist Keith Jack as Prince Joseph of Jordan Hill, River City’s Lorna Anderson as Princess Beauty, Altered Images songstress Clare Grogan as evil fairy Carabosse and Rab C Nesbitt’s Jamesie Cotter, Tony Roper as her Henchman Hector and topping the bill Karen Dunbar. And Ms Dunbar proves why she is top of the bill for this pantomime, with a first half that was nearly a full cabaret show. Her energy and vocal talents shone in her rendition of Step Back In Time and her comic timing was evident throughout the show, but no better example than when dealing with shout outs from the audience – her quick wit making her a gem for panto. Her comedy “romance” with Tony Roper was a good pairing, allowing two comics lots of time to play and the clever reworking of West Side Story’s Maria is a comic performance not to be missed.

 

A revelation in this show was Lorna Anderson – her presence on the stage was excellent and she certainly matched (and on many occasion even topped) Mr Jack’s singing voice in their powerful duets. I would have liked to see her with a more “princess-y” dress for her “birthday party” but that is a minor issue in what is mostly a well costumed show. Top marks for this show must go to Musical Director/Arranger, Pamela Dunsmuir (or as the kids in the audience now know her, Auntie Pam), as the songs were well paced and sounded great, and her small live band were extremely tight on the night too. I am usually a fan of Eric Potts pantomime scripts, but did feel a slight lack of the usual “sparkle” or “magic” that the Kings Theatre usually produces, however as the cast get used to the show and continue to add their own topical material (there were already references to the hurricane and it was only just happening outside at that moment!) I’m sure this will return.

 

Rounding off the comics in the cast was Arron Usher as Jimmy Jingles the Jester. Although his first Kings Pantomime, his pedigree of many years working on the East Coast pantomimes certainly shines through. Although given the thin end of the wedge with the comedy dialogue (the big lines seem to have gone to the TV comics) his physical humour and interplay with the cast and audience more than make up for it. It is also pleasing to see the roles of the King and Queen delivered with some gusto – Kathryn Howden as Queen Fiona was a joy and her infectious laughter had me giggling whenever she spoke.

 

With many other highlights in the show including a Dragon, a clever version of “Happy Birthday” by Ms Grogan (who takes great relish in her evil performance in her very first pantomime – I’m sure she’ll be back!), a great chorus who dance exceptionally well, lavish walkdown costumes and more songs than you can shake a stick at this pantomime is a jam packed evening of entertainment. With the weather not getting any better outside, get a warm rosy glow from a great family show, that even the adults will enjoy.

 

Listings

Fri 2 Dec – Sun 8 Jan (please call the box office for full details)

Signed Performances: Wed 14 Dec 1pm & Wed 21 Dec 7pm

Audio Described Performances: Wed 14 Dec 1pm & Wed 21 Dec 7pm

Captioned Performances: Thu 22 Dec & Wed 28 Dec 2pm 

 

Ticket prices: £7.20 - £24.75

Box Office: 0844 871 7648 (bkg fee)

Schools and group bookings: 0844 871 7602

www.atgtickets.com/glasgow  (bkg fee)

To really get in the festive mood you need some Christmas songs, and there is no better way to hear them than sung by the Rat Pack legends (or actors who perform as them – and are as close to the real thing as we are ever going to get!).

This festive spin off of “Rat Pack Live from Las Vegas” has been a successful touring hit for many years, and there have been a number of Franks, Sammys and Deans who’ve performed the classic songs all over the world. Tonight Chris Mann opened the show as Frank Sinatra, the leader of the pack. With a velvet voice and equally velvet manner, it really did seem like Ol’ Blue Eyes himself was there. Usually with most “tribute” shows, they’ve mastered the voice and if you close your eyes you can imagine it is the star themselves, but Chris Mann has such a look of Sinatra that you can take in the whole performance wide-eyed. As if that wasn’t enough, Nigel Casey as Dean Martin seemed to not only look and sound like the star, but seemed to have the same charisma and charm that he was famous for. His interaction with the audience and his fellow performers made it feel like we really were sharing an evening in the Sands, Las Vegas while watching three of its biggest stars at play.

The third member of the Rat Pack on this show is Sammy Davis Jnr, and this is a very difficult performer to match. I suppose the strength of this kind of show is down to the cast and although George Long had the energy of Sammy Davis Jnr., his vocals didn’t seem to be quite as close a match as his fellow performers. All three were accompanied by Nikki Stokes, Laura Parkes and Jennifer Owen as the Burelli sisters. A fantastic trio who wowed with three part harmony and tight choreography to bring the glamour of these nightclub shows to life. They were also assisted by a fantastic (brass heavy) live band, who gave the whole evening a fantastic sound, and I think received an even bigger applause than the singers for their work. I had never known a trombone could be so tuneful as was shown during the solo from Andy Watson in “I Got You Under My Skin”.

The simple staging of this show is one of its best features. The setting is deliberately intended to hark back to the golden era of the Rat Pack, and the use of lead mics, and the clever choreography required to use them well, is a nice touch that when added to the subtle lighting, grand piano and stunning costumes, provides a classy evening of festive glamour that would certainly be worth raising a mulled wine to!

Listings

Mon 5^th Dec – Sat 10 Dec

Mon – Sat eves: 7.30pm

Thuu & Sat mats: 2.30pm

Tickets: £11 - £29

Box Office: 08448 717 647 (bkg fee)

www.atgtickets.com/glasgow (bkg fee)

As the house lights dim to clock bells chiming, the scene is set for Dickens’ dark tale – only to be broken by some beautiful company singing of various Christmas songs in a wonderful “round” arrangement.

 

Like a picture postcard of Dickensian London, the set and costumes are a big clue to the sumptuous production that lies ahead – and the audience are not let down in anyway. With fantastical effects from illusionist Paul Kieve (famous for being Magic Consultant on the Harry Potter films and also to Derren Brown, as well as creating the spectacular effects for the current west end production of Ghost The Musical) there really is no expense spared in this production. The orchestra create a wonderful sound and are accompanied by a very tight company on stage, whose vocal talents and energy do well to overcome what is really a forgettable score. The best effect of all however is Tommy Steele himself. Leading the show at the age of 75, he is very rarely off stage and has the energy of men a third of his age. It is difficult not to like Ebenezer Scrooge when played by Mr Steele and his disparaging remarks and “bah-humbug” throw-away lines provide great humour, in what is already a charming and witty script. He also shows that he still has the voice to carry off songs like “A Better Life” and “Begin Again” with great style and control.

 

A show however cannot survive on its leading man alone, and luckily this is an exceptionally talented company, with a real community feel . Barry Howard is a greatly grumpy Jacob Marley – a far cry from the role that made him famous, as Barry the Ballroom dancer in Hi-De-Hi. He was also involved in one of the most exciting effects in the show, and his first appearance in Scrooge’s bedroom saw the whole audience jump with surprise. Sarah Earnshaw and James Head make exceptional ghosts too, in very different ways. Miss Earnshaw’s rather serene and sweet Ghost Of Christmas Past was a very gentle start to Scrooge’s change of heart, quickly followed by the Brian Blessed style presence of James Head’s Ghost Of Christmas Present. His view of the Cratchit family Christmas gave us a chance to see some lovely performances from the local children procided by Ann Edmonds’ Starstruck Stage School, in particular young Ethan Kerr as Tiny Tim whose touching rendition of “The Beautiful Day” was beautifully sung and would bring a lump to any throat.

 

Director Bob Tomson has put together a very slick production utilising a clever set from Paul Farnsworth. Lisa Kent has created some nice touches in the choreography too, making good use of the set, particularly in the number “Thank You Very Much”. The only downside I can find for this Christmas show is that it is not here for longer, as it would be a lovely treat for the family on Christmas Eve (although I’m sure Sleeping Beauty will be an adequate replacement – either the Ballet in this theatre, or the pantomime in sister venue The Kings). As you only have until Saturday, make sure you don’t feel like the miser and treat yourself to one of the best shows you’ll see this year.

 

Listings

 

Mon-Sat Evenings – 7.30pm

Thu & Sat Matinees – 2.30pm

 

Tickets £11-£32

Box Office: 08448 717 647 (bkg fee)                 
Web: www.atgtickets.com/glasgow (bkg fee)

With laughs a plenty, this upbeat “vagina monologues” brings the sketch show format a new edge.

 

Surprisingly, this show is written by a husband and wife team, John McIsaac and Julie Coombe (Julie also appears on stage in the tour). I say surprisingly as this really is a “ladies night” style show with humour mainly to ridicule men, so it is surprising to find that a husband assisted in writing this style of show. However, the influence is obviously there and instead of the evening being 2 hours of “man-bashing”, the humour is more of a gentle prodding at the male of the species.

 

Unfortunately the battle of the sexes is a subject that has been covered many times before, and the use of old gags does seem a little lazy in a show like this. However, more importantly there are many more moments of ingenuity that far outweigh this. The excellent courtroom scene is a great chance to show off the comedy talents and timing of Julie Coombe and although not the headliner on the posters, she certainly is the headliner in this cast. Her background in comedy performing shows through in many other sketches too, in particular the group keep-fit section where physical comedy is pushed to the limit. Joining Julie on stage were TV presenter and model Carol Smillie and TV and stage actress Shonagh Price. Neither of these performers are particularly known for comedy, and I was pleasantly surprised by them both. Carol’s portrayal of a Glaswegian WAG (well, with a boyfriend who was part-time for Alloa Athletic) was a great character role and allowed her to let loose with her inhibitions. And letting loose with inhibitions must have been a pre-requisite for this cast, with Shonagh agreeing to an intimate waxing and also re-enacting a rather repressed love-making session all in the interests of comedy.

 

The simple set was hugely effective, in particular the AV wall which had three female shadows joining in subtly with the show and did add an air of quality to what could easily have been a basic sketch show.

 

Due to tour the UK in 2012 it looks like this may be the start of another Vagina Monologues phenomenon, however without the pathos of Eve Ensler’s piece, I can’t see this show running for quite as long. That said, it is billed as “a night of fun and frolics with the girls” and does live up to its own marketing. Even as a man I had lots of fun and the atmosphere on a damp Glasgow Monday night was more like a Friday night at a Chippendales concert, so the show is definitely worth getting a group of girls together for.

 

Listings

 Mon 21 – Sat 26 Nov

Mon – Thu eves 7.30pm

Fri & Sat 5.30pm & 8.30pm

 

Tickets: £12 - £27

Box Office             08448 717 648       (Bkg fee)

www.atgtickets.com/glasgow  (bkg fee)

 

SISTER ACT BOOKING NOW OPEN EARLY BIRD DISCOUNT AVAILABLE

We are delighted to announce that booking for Sister Act the Musical at the King's Theatre, Glasgow opens today!  From producers Whoopi Goldberg andStage Entertainment (Hairspray, High School Musical), the five times Tony® -nominated West End and Broadway hit.  Based on the smash hit movie of the same name, this fabulous, family-friendly, feel-good show is packed with songs inspired by Motown, funk, soul and disco. More than a million people sawSister Act in the West End and now, as the habit hits the road in this multi-million pound production, you too can see why musical audiences fell in love with the funniest and funkiest nun on the run, and her heavenly sequinned sisters! Take a look at these reviews – these nuns really do rock!   'A divine dazzling triumph that has to be seen to be believed'  Manchester Evening News 'Pray you catch it while you can'  Oldham Chronicle 'Leaving you tapping your feet and grinning with sheer delight'  What'sOnStage.com Tue 11 - Sat 22 Sep 2012 Early Booking Offer  £5 OFF Mon - Thu 7.30pm & Wed 2.30pm Groups 10+ £10 OFF Mon - Thu 7.30pm  Price bands A - D Book Before Fri 3 Feb 2012 ATG Theatre Card  £10 OFF Tue 11 & Mon 17 Sep    Tickets £18.50** - £43.50**   For tickets go to http://www.atgtickets.com/2732/653/Glasgow/King's-Theatre/Sister-Act---Regional-Tour-Tickets

Following last year’s sell-out tour, Carol Smillie once again leads the cast in the hilarious comedy Hormonal Housewives, which embarks upon a limited tour of selected venues in Scotland in November 2011.

 “Carol Smillie is a beautiful mover and a good actress...Julie Coombe has moments of comic genius.” The Scotsman

 

Join Carol Smillie and friends in an evening of excessive laughter as they battle against weight gain, weight loss, mood swings, wine, PMS, men, going to the gym, men, waxing, stretch marks, men, chocolate, upper-lip hair, chocolate, men,  chocolate...and all of the other joys of being a 21st Century girl!

Julie Coombe and Shona Price also return to join Carol Smillie on stage. Hormonal Housewives is written by husband and wife team Julie Coombe and John MacIsaac.

“The gales of laughter proved that the audience loved it.” Edinburgh Evening News

You can catch this hilarious show at the following theatres in November:

EDINBURGH, Festival Theatre, Wed 2 - Sat 5 Nov. www.festivaltheatre.org.uk.

DUNDEE, Caird Hall, Tues 8 & Wed 9 Nov. www.dundeebox.co.uk

AYR, Town Hall, Fri 11 & Thurs 12 Nov.  www.ticketweb.co.uk

INVERNESS, Eden Court Theatre, Mon 14 & Tues 15 Nov. www.eden-court.co.uk.

ABERDEEN, His Majesty’s Theatre, Wed 16 - Sat 19 Nov. http://www.boxofficeaberdeen.com.

GLASGOW, King’s Theatre, Mon 21 - Sat 26 Nov. 

 

2012 dates below 

Hormonal Housewives Glasgow 21 Nov - 26 Nov Buy tickets	Hormonal Housewives Wimbledon 22 Feb - 25 Feb Buy tickets	Hormonal Housewives Milton Keynes 26 Feb - 26 Feb Buy tickets
Hormonal Housewives Grimsby 07 Mar - 07 Mar Buy tickets	Hormonal Housewives York 09 Mar - 09 Mar Buy tickets	Hormonal Housewives Woking Theatres 20 Mar - 21 Mar Buy tickets
Hormonal Housewives Aylesbury 25 Mar - 25 Mar Buy tickets	Hormonal Housewives Southport 16 Apr - 16 Apr Buy tickets	Hormonal Housewives Bromley 22 Apr - 22 Apr Buy tickets
Hormonal Housewives Brighton 27 Apr - 28 Apr Buy tickets	Hormonal Housewives Stoke-On-Trent 05 May - 05 May Buy tickets	Hormonal Housewives Richmond 13 May - 13 May Buy tickets

MORE ABOUT CAROL SMILLIE

Carol was born on the 23 December 1961 and is the youngest of four. She began her career as a student at the world famous Glasgow School of Art before trying her hand at modelling. She spent the next decade as a highly-successful model and got her first major break into television as the highly-publicised hostess on Wheel of Fortune, an ITV quiz show.
Offers quickly flooded in and she was snapped up by the BBC travelling the world to present The Travel Show for BBC2 and then BBC1's Holiday, Summer Holiday, and Holiday Swaps quickly followed before she was chosen to become the face of The National Lottery for three years.

However, the show she will always be known for is, of course, BBC television's Changing Rooms, the flagship DIY programme which changed the face of British television as we know it today. The programme earned Carol invitations to Buckingham Palace & Downing Street, an Indie award, a National TV Award, a Bafta nomination, not forgetting Ronni Ancona's alter ego 'Smillie Smillie Carol Smillie' and, of course, the big red book on This Is Your Life.

Carol is now one of the UK’s most sought after presenters for television programmes, award ceremonies, corporate events, advertisements and charity work.

She has fronted shows like Dream Holiday Home (C5), A Brush With Fame (ITV1), took part in Strictly Come Dancing (BBC1) winning 5th place and even went full circle by hosting her own quiz show Postcode Challenge (STV). She has also guested on countless shows including Friday Night With Jonathan Ross, Have I Got News For You and Who Wants To Be A Millionaire?

She has published her own book 'Carol Smillie's Working Mum's Handbook' and pre and post natal fitness DVD ‘Changing Shape' as well as a column in Woman's Own and 'Perfect Pets' for The Sunday Times.

She is very much in demand in the corporate market as a host for company conferences and award ceremonies, and was chosen to host the Duke of Edinburgh's 80th birthday celebrations at the Royal Albert Hall.

This is Carol's second foray into the world of comedy, having tread the boards with two sell-out tours of Vagina Monologues, and the Hormonal Housewives tour 18 months ago across Scotland which proved to be even more popular.

She is married to restaurateur Alex Knight and they have three wonderful children Christie, Robbie and Jodie.

This week's play at Oran Mor's Lunchtime Theatre, Glasgow, is a co-production with Bewley's Cafe Theatre, Dublin . Further details can be found at www.playpiepint.com.

Leslie Black Photography www.leslieblackphotography.co.uk