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Dec 17th

Peter Pan at The King's Theatre, Glasgow

By Cameron Lowe

Review by Suzanne Lowe

50 years of Panto!  Quite an achievement.  Having in the past never been a huge fan of Pantomime I went along hoping to be suitably enterta
ined on this special panto year with a family favourite performance of Peter Pan.

Peter Pan 

I was accompanied by my young niece and nephew who, having recently moved from France to Scotland had never been in a theatre before let alone experienced the delights of panto.  From the off they were intrigued by the theatre itself and its noisy audience.  They were delighted to join in with the booing, clapping, cheering and singing from “the clout”.  Although trying to explain to two French children exactly what a “clout” was proved to be a challenge.

On stage the performers didn’t disappoint.  With a standout performance from Greg McHugh best known for his hit television series “GaryTank Commander” and as Howard in the highly successful Channel 4 comedy “Fresh Meat”.  Playing the character of Smee he was a huge hit with the audience from the moment he made his rather flamboyant, yet not unexpected, entrance.  The stage always seemed a little brighter when he made an appearanceand his ad-libbing was second to none.  Captain Hook, played by Alex Bourne, was a convincing “baddie” and, despite his successful theatrical career, Peter Pan marked Alex’s pantomime debut.  The first of many I am sure.  His side kick pirates also provided the usual injection of slap stick comedy.  The character of Peter Pan himself was played by Scott Fletcher; currently on our TV screens in River City playing Angus Lindsay and previously seen on Gary: Tank Commander and Taggart to name but a few.  Scott proved to be an audience favourite too with his delightful singing voice and graceful flying skills.   

Joining the Kings Pantomime for a third year, Des Clarke played the character of Starkey.  Being a comedian, TV and Radio presenter, Des has slipped into the world of panto with ease.     Delightful performances were also given by Joanne McGuiness as Wendy and Jenny Douglas as Tiger Lily.  Tiger Lily being a particular favourite of my ten year old nephew!  A semi finalist at the age of 18 on the BBC1 programme Over The Rainbow, Jenny’s impressive vocals filled the theatre.   Perhaps of all the females the character of Tinkerbell played by Francesca Papagno made the biggest impression.  Her portrayal as the mischievous fairy protecting Peter Pan was so convincing that at times the audience almost booed.  Francesca also impressed the audience with her powerful vocals.

The juveniles onstage were as always a delight with some rising stars amongst them.

As Pantomimes go this one was perhaps not as side splittingly funny as one would expect.  Nevertheless, the children in the audience (and adults) seemed to enjoy it.  Peter Pan has everything you would expect from a Pantomime.  Colourful sets, energetic dance routines and sing-along songs for the audience to enjoy.  The audience needed very little persuasion in rising to their feet and joining in with the singing and dancing.  So, was I suitably entertained?  I have to say “Oh, yes I was”.

Runs until 11 January 2015 (excl. Dec 25th & Jan 1st)
Matinee performances every day.
 http://www.atgtickets.com/shows/peter-pan-2/kings-theatre/

Dec 4th

Top Hat, Theatre Royal Glasgow 2nd – 13th December 2014

By Jon Cuthbertson

Top Hat has been billed as an all singing, all dancing spectacle and it delivers on all those points – then offers even more on top!

 Charlotte Gooch & Alan Burkitt on Glasgow Theatre Royal's grand staircase

Charlotte Gooch & Alan Burkitt (photo: Marion Willshaw) 

From the energetic opening (Puttin’ On The Ritz) to the exciting encore, every tap step and high kick was delivered with precision and panache. Alan Burkitt, in the Fred Astaire role of Jerry Travers, was an enigmatic leading man with a great dance talent. However even he was edged on the dancing by Charlotte Gooch, in the Ginger Rogers role of Dale Tremont. As she put it herself, after joining Mr Burkitt in the outstanding dance routine for Cheek to Cheek, “I did exactly what you did, except backwards….and in heels!”

 

The opulence of the era was perfectly captured in Jon Morrell’s costumes and the brilliantly adaptable set by Hildegard Bechtler. With Matthew White’s clever direction this set was used brilliantly with clever little vignettes played in front of sliding sections that kept the audience amused and the action and humour ticking along. In the centre of this humour, Clive Hayward as the hapless Horace Hardwick delivered in every scene. His rapport with Bates (a very funny John Conroy) his manservant was only surpassed by his downtrodden responses to the biting wit of his wife played wonderfully by Rebecca Thornhill.

 

Top Hat has one of the wittiest scripts I’ve seen in a long time – a series of misunderstandings, a misplaced love story, cheesy jokes, snappy put-downs and a little bit of physical humour too had the audience giggling and laughing in all the right places. How could I reach this point and not even mention the music? All Irving Berlin’s classics are here, Puttin’ On The Ritz; Top Hat, White Tie and Tails; Cheek to Cheek; Let’s Face The Music And Dance – the list goes on, all performed with gusto by the live orchestra and the fantastic ensemble. Each of the ensemble have small character roles throughout the show but shine no brighter than when they work together in the stunning dance numbers. How they have the energy to throw in a little (and by little, I mean huge!) production number as an encore is testament to the talent and skill of the entire cast.

 

This is one production worth getting dressed up for, so look out those Tuxedos, Tiaras and all important Tickets and get down to the Theatre Royal to see Top Hat.

 

Listing Information

Theatre Royal Glasgow

Tue 2 – Sat 13 Dec 2014

Tue – Sat eves 7.30pm

Wed, Thu & Sat mats 2.30pm

Box Office 08448 717 647 (bkg fee)

www.atgtickets.com/glasgow (bkg fee)

Nov 26th

JEEVES & WOOSTER IN PERFECT NONSENSE - Theatre Royal Glasgow 24th-29th November 2014

By Jon Cuthbertson

PERFECT NONSENSE - PERFECTLY ENJOYABLE

 

“Jeeves, this nonsense must cease.”

“Travel is highly educational, sir.”

“I can’t do with any more education. I was full-up years ago.”

“Very good, sir.”

 

Fresh from its successful and award-winning run in London’s West End, Jeeves And Wooster in Perfect Nonsense breezed smoothly into the Theatre Royal in Glasgow last night for the start of its week-long run,

 JW.jpg

Starring Glasgow’s very own John Gordon Sinclair (Gregory’s Girl; World War Z) making his home-town stage debut as Jeeves and James Lance (I’m Alan Partridge; Black Mirror) as Bertie Wooster, the play won the 2013 Olivier Award for “Best New Comedy” and is based on P.G. Wodehouse’s book The Code Of The Woosters, first published in 1938.

 

Given that more than 75 years have passed since the story first appeared, you might be forgiven for expecting a slightly archaic and out-of-touch piece – but you couldn’t be more wrong!

 

As with the novel, the action is narrated by Bertie as he takes the audience through a twisted tale of misunderstandings, awkward confrontations, confessions of the heart and a silver cow-creamer. Although some minor cuts have been made to Wodehouse’s text to help smooth the transition from page to stage, the storyline and dialogue remain incredibly true to the original – guaranteeing laughs at both the farcical situations that Bertie find himself in and his clumsy attempts to extradite himself from them.

 

However, the element that really brings this show to life is the way that whole production is staged, not just in terms of set and production design, but also in terms of its ingenious approach to casting.

 

The performance opens with Bertie Wooster directly addressing the audience, setting up a “play within a play” theme as he, and his butler Jeeves, attempt to act-out a story for everyone’s enjoyment. They are joined by Bertie’s Aunt Dahlia’s butler, Seppings, played by Robert Goodale (Holby City; Doc Martin) and, between them, the two butlers take-on the parts of almost a dozen different characters during the course of the evening.

 

This leads to a hilarious moment where John Gordon Sinclair, as Jeeves, takes on the challenge of a conversation as two other characters at the same time – a brief two-minute scene which is both brilliantly conceived and wonderfully acted.

 

As well as character changes, all 3 cast members are forever moving pieces of set and props as the scenes transform from one to another – all the while, breaking the “fourth wall” by engaging the audience in what is happening.

 

Overall, the production really fizzes along with some of the character transformations taking place in seemingly impossible timescales. On this opening night in Glasgow, it was the turn of Joel Sams, as understudy, to play the role of Bertie Wooster and, despite not being a household name, he quickly drew the audience into his warm and welcoming style.

 

Comparisons with the television’s most famous Jeeves and Wooster pairing, Stephen Fry and Hugh Laurie, are not necessary – this production offers its own take on these two characters and delivers something truly unique and refreshing throughout its two-hour running time.

 

So, if it’s an evening of good, clean fun and hilarity that you are looking for then this is the play for you. Perfectly enjoyable!


 
Listing Information

Theatre Royal Glasgow

Mon 24 – Sat 29 Nov

Mon – Sat eves 7.30pm

Thu & Sat mats 2.30pm

Box Office 08448 717 647 (bkg fee)

www.atgtickets.com/glasgow (bkg fee)

Review by Mark Ridyard 

Nov 22nd

Wicked at Edinburgh Playhouse

By Cameron Lowe
WICKED is set to bewitch Edinburgh audiences for almost 2 months as this whirlwind production blows in to take up residency at The Playhouse theatre across the peak Christmas season.
 
Wicked

BELIEVE THE HYPE! If you haven’t seen Wicked on stage, you will be mesmerised – if you have seen the show, you will want to see it again and again! Wicked, in case you haven’t heard, is the untold story of the witches of Oz. The question from the uninitiated is “how could there possibly be another side to a tale which we have all known to be the truth since early childhood”? It’s more than a prequel; it explains EVERYTHING! 
 
We settled into our seats in the shadow of a giant smoking animatronic dragon with the highest possible expectations … only to have them promptly exceeded. This is an amazing show!
 
Let’s do this one superlative at a time … Music first; you’ve heard some of the music, right? The big hits from Stephen Schwartz are popular (ahem) at concerts and on TV and Radio and the original cast recording has been a massive hit on Amazon for years (a worthy purchase even if you haven’t seen the show). The live music, under the direction of Dan Jackson, is every bit as fabulous as you might hope and the characters really bring the score to life on stage.
 
Direction from Joe Mantello (and Petra Siniawski in the UK) was crisp - giving the audience barely time to catch their breath or dab a tear before we moved smoothly into the next scene - yet allowed for character development throughout. On my second viewing of this production I can't help but think that (from time to time) I would like the cast to revel a little more in this first class material. But, for the modern audience, PACE is king! The visual effects were spectacular without overwhelming the events onstage. Choreography from Wayne Cilento blended perfectly with the action giving us exciting partner work down at the Ozdust Ballroom and atmospheric character movement in the dramatic scenes. 
Despite the blockbuster nature of this huge touring show, one of the most impressive aspects was the styling; with credit largely going to Eugene Lee, Susan Hilferty and Kenneth Posner being respectively responsible for Scenery, Costume and Lighting. There was a wonderfully cohesive steampunk style throughout with the Act 1 scenes at “Dear Old Shiz” integrating appealing Harry Potter overtones. This manifested itself in glorious costumes featuring tail coats, canes, sunglasses, bustles and the most beautifully outlandish hats. These were complemented by sympathetic lighting and a set adorned with fantastic clockwork machinery and 19th century props and vehicles – most appropriate for a story based on characters from a novel written in 1900.

Wicked Costumes
 
Performances from Ashleigh Gray (Elphaba) and Emily Tierney (Glinda) were nothing short of amazing. Truly. Ms Gray brought emotional shivers from the low tones of I’m Not That Girl all the way up to goosebumps at the dizzy heights of Defying Gravity. I was literally astonished by Ms. Gray's vocal range and power combined with a delightfully likable characterisation of this fast developing leading role. Meanwhile Ms Tierney had us in stiches during Popular yet we were welling up as she sang Thank Goodness. Both characters developed smoothly (almost imperceptibly) throughout the performance. Let’s face it, we were all asking “can they bring talent the equal of Menzel and Chenoweth all the way to Scotland?” – the answer is a resounding “YES”! Samuel Edwards transformed Fiyero into a hero to the audience’s delight. The supporting characters were flawless, humorous, beautiful and grotesque just where we needed them to be.
 
With a wickedly modern sense of humour this show delivers a fiendishly clever plot and a spellbinding score in a perfectly styled steampunk package. Don’t be surprised if you find yourself floating 6 inches above your seat and return home to find your cat doing the crossword!
Tickets are being snapped up quickly for dates in Edinburgh and Aberdeen. Whatever you do, order your ticket today!
 
WICKED – Edinburgh Playhouse
Wednesday 19 November 2014 – Saturday 10 January 2015
TICKET PRICES
For Online and Telephone Bookings a £4 Transaction Fee per booking applies
Monday – Thursday: £52.50, £42.50, £32.50, £25, £20
Friday, Saturday, Sunday 28 Dec & w/c 29 Dec: £55, £47.50, £35.50, £27.50, £22.50
Premium seats available at all performances (£75 / £72.50)
Box Office (0844 871 3014)
 
His Majesty’s Theatre, Aberdeen
Tuesday 5 May 2015 – Saturday 30 May 2015 
TICKET PRICES
Monday – Thursday: £53.50, £49.50, £44.50, £38.50, £26
Friday & Saturday: £56, £52, £47, £41, £28
Premium seats available at all performances (£73.50 / £76)
Box Office (01224 641 122)
Nov 4th

Agatha Christie’s Black Coffee, Theatre Royal Glasgow 3rd -8th November 2014

By Jon Cuthbertson

The Agatha Christie Theatre Company have built up quite a following over the last few years. With a number of tours under their belt, we now get a chance to see one of her greatest characters make an appearance. Jason Durr (pictured below) is an exceptional Hercule Poirot – his portrayal of the Belgian detective is virtually a lesson in characterisation. The accent never falters or seems affected, the walk is both precise and natural and the fastidious little twitches that nod to David Suchet’s previous incarnation keep all fans happy.

 Black Coffee.jpg

By no means, however, is this a one man show. Ably supporting Mr Durr is a strong cast lead by Deborah Grant as Miss Caroline Amory. Channelling Maggie Smith’s Downton Abbey Dowager, Ms Grant delivers some biting “ignorant insults” in Act 1, bringing a real vibrancy to the opening scenes of the show. Bouncing along with equal vim and vigour was a charming Felicity Houlbrooke as her niece Barbara. With probably one of the more difficult roles, Georgina Leonidas (of Harry Potter fame) proved that she has the acting chops to deliver.

 

Despite being set in only one room, this show had a filmic feel – Simon Scullion’s set and Douglas Kuhrt’s lighting design, combined with smart use of tremolo strings to highlight the drama (from Sound Designer, Matthew Bugg) showed how deft a touch Joe Harmston has. His feel for Agatha Christie has been evident in the last few productions and is just as strong here. Add to this some sumptuous costumes from Nikki Bird and you have no problem in believing that you are in that front room with all the suspects.

 

As for the story itself – well even the programme has clues to some of the cast members, so that in itself confirms how little I can tell you (just hope you are good at anagrams!), but there is indeed a murder, a number of suspects and plenty of chances for the audience to work it out alongside the brilliant mind of Hercule Poirot.

 

Aside from one dodgy accent, this was a very polished production and one any fan of Agatha Christie would want to see – grab your tickets now and see if you can work out whodunnit!

Listing Information

 

Mon – Sat eves 7.30pm

Thu & Sat mats 2.30pm

Box Office 08448 717 647 (bkg fee)

 

www.atgtickets.com/glasgow (bkg fee) 

Oct 11th

Whingeing Women at The King's Theatre, Glasgow

By Cameron Lowe

Review by Suzanne Lowe

Whingeing Women is made up of a series of monologues portraying the life experiences of ordinary women.  Every topic imaginable is covered from their thoughts on men, love, life, death and sex.  Their stories had the audiences crying with laughter and also, at times, with sadness.

  Whingeing Women

Tasked with sharing these life experiences with the audience were Gail Porter, Joyce Falconer, Janette Foggo and Angela D’arcy. 

Standout performances came from Joyce Falconer (of River City fame) who had the audience roaring with laughter even before she opened her mouth to speak.  Her portrayal of a pushy mother trying to secure the lead role in “Annie” for her daughter was a highlight of the show as was her final scene which saw her trying to involve the audience in a sex therapy class!!  Very interesting.

Janette Foggo (known  for  Doctor Finlay, Rab C. Nesbitt, The Bill and Taggart  to name but a few) also shined with her very moving performances of a mother who was trying to come to terms with the fact that her son had just ‘Come out’ and the sadness at the loss of a daughter.  Perhaps her biggest triumph of the night was one which involved a mask, long coat and a change of name which highlighted the very colourful pastimes of some couples.  I couldn’t quite believe that this accomplished actress was portraying this character; but portray it she did and she had the audiences rolling around with laughter.

Angela D’Arcy (RSAMD graduate, Director, Singer) gave the audience the views of a somewhat younger woman.  Her relationship with men and her incredibly heartfelt performance of a young woman raped by her uncle resulting in a baby created a silence around the auditorium.

Gail Porter (TV Personality/Presenter) gave a well rounded performance but perhaps my only criticism would be that during the first half of the show her stories were incredibly self indulgent.  The need to include her own real life experiences into this production were, in my opinion, unnecessary.

Whingeing Women, although at times cringe worthy, is definitely a play worth seeing.  A typical “Girls Night Out” evening (although I did count at least 4 men in the audience and yes they were laughing) which should be accompanied by a glass of wine.  It will have you laughing and crying for all the right reasons and taps into what we all know and think but don’t say out loud.

Whingeing Women

King’s Theatre, Glasgow

9-11 October 2014

Tickets £16.90 - £38.90 (plus booking fee)

http://www.atgtickets.com/shows/whingeing-women/kings-theatre/

Sep 26th

The Full Monty, King’s Theatre, Glasgow - 23rd September – 4th October 2014

By Jon Cuthbertson

After the musical version relocated the story to Buffalo USA, Simon Beaufoy brings the Full Monty setting back to Sheffield with his stage version of his own screenplay.

 Full Monty 3.jpg

If you haven’t seen the original film, the story follows a group of jobless ex-steelworkers who in an effort to raise some much needed funds, decide to form a male strip troupe. Knowing that the local ladies have recently had “The Chippendales” performing, they need to offer something special and decide they will go “The Full Monty”. So far, so seedy, but this story has a lot more depth. Leader of the gang, cocky Gaz, is fighting for the money to pay back child support to keep getting access to his son, Foreman Gerald is keeping his job loss secret from his wife, as he thinks she’ll leave if she doesn’t continue to have her luxury lifestyle and Lomper is so depressed at having no friends he is contemplating suicide.

 

With a cast comprising of many household names, it is heartening to see that most have also had a lot of stage experience – and it is needed for a show like this. With a lively audience, the actors’ sense of timing is vital to ensure that no dialogue is missed, but that the show keeps moving at a decent pace. Martin Miller and Liz Carney gave a beautiful example in a touching scene between the overweight Dave and his supportive wife Jean, which on a few occasions had the exuberant audience throwing in some lines of their own – but it is a testament to these performers that the scene never lost focus and provided probably the most emotional moment of the show. Andrew Dunn as Gerald provides a great authoritative figure for the group and with an excellent Kate Wood in one of her three diverse roles as his wife Linda, make another touching story to tell. Rupert Hill and Bobby Schofield as Guy and Lomper give another emotional level to the story as they bond within the troupe.

 

However for me the real star of this show was the ingenious industrial set, designed by Robert Jones. The simple transformations between scenes – making use of the contents of the old steel works and the audience’s imaginations – made for seamless transitions that kept the show ticking along nicely.

 

The question everyone is dying to know the answer to is – did they go The Full Monty? Well, the signs outside warn of male nudity, and the lighting does go some way to spare the actors blushes – but I can confirm that they do indeed go the Full Monty. With some of the memorable moments from the film very cleverly recreated and linked with the music you are waiting to hear, if you are a fan of the film, you should not be disappointed. Although it has a hint of risqué about it, this play still seems gentle enough to be a heartwarming fun night out (if you ignore the male nudity and the choice language!).

 

Listing Information

 

TUES 23 SEPTEMBER – SAT 4 OCTOBER           

Evenings: 7.30pm                                            

Matinees: Wed & Sat at 2.30pm

www.atgtickets.com/glasgow (booking fee)

0844 871 7647 (booking fee)

Sep 16th

Agatha Christie's The Mousetrap at Theatre Royal, Glasgow

By Cameron Lowe
Agatha Christie’s record breaking whodunit returns to Glasgow to keep a fresh audience guessing.
 
The Mousetrap 60th Anniversary Tour

The Mousetrap is famously the longest running production in British Theatre history; having been performed in London’s West End continuously since its opening in 1952.  With over 25,000 performances in its London home alone, this play is clearly doing something right!  To celebrate its 60th anniversary, the play licenced 60 productions worldwide including a tour of UK regional theatres for the first time.  With phenomenal success, the tour has been extended to give an even wider audience access to this record breaking production.
 
Understandably, the play is in the classic mould being based in an imposing manor house in post war Britain where 8 principal characters are cut off from the outside world by a heavy snow storm.  A murder has been committed in nearby London and during the first act we come to appreciate that among the assembled characters are two more prospective victims … and the murderer.
 
The styling throughout will please any Agatha Christie fan.  The standing Great Hall set is suitably grand and reassuringly solid with an imposing fireplace and panelled walls.  Costumes and furniture fit the bill beautifully and even sound is very subtly amplified to maintain an intimate and authentic feel to the performance.  Direction from Ian Watt-Smith also fits the period nicely where (particularly female) actors are called upon to deliver melodrama and knuckle-in-the-mouth stifled screams – think Grace Kelly in “Dial M For Murder”.  Helen Clapp delivered this beautifully as Mollie Ralston with excellent support from this small cast including Luke Jenkins as Sgt. Trotter.
 
All in all, this production delivers what you might expect from a 60 year old Agatha Christie classic which has been faithfully preserved.  Unfortunately, for me, this included a rather pedestrian plot and 8 caricature personas along with a reasonably obvious conclusion.  I think that modern audiences expect more of the unexpected from their intelligent suspense dramas these days.  However, I don’t want to detract from this production too much as it clearly achieves what it set out to achieve.
 
Agatha Christie fans will love it.
 
The Mousetrap
Theatre Royal, Glasgow
15 – 20 Sep 2014
Tickets £11.90 - £34.90 (bkg fee)
 http://www.atgtickets.com/shows/the-mousetrap-2/theatre-royal-glasgow/ 
Sep 3rd

Annie Get Your Gun, Theatre Royal Glasgow - 2nd – 6th September 2014

By Jon Cuthbertson

The Big Top of Buffalo Bill’s Sharpshooting Show hits Glasgow with an all new production, a revised script and jazzy choreography, but is it enough to update the sexual politics and implied racism to work for a modern day audience?

annie-main.jpg

 

Setting the story of Frank Butler and Annie Oakley as a “show within a show” is a device that makes much more sense of the Irving Berlin score and allows choreographer Lizze Gee to add some energy with suitable movement to match the music. Combining this with the clever staging inside Buffalo Bill’s Big Top moves the show along at a great pace, utilising some simple boxes and clever lighting – plus a dramatic announcement of the scene change – to move swiftly from scene to scene with the minimum of fuss. This “music hall” style production is matched in costume too where the ensemble simply add a waistcoat and hat or a coat or even a feather headdress and jacket to become the other characters along the way.

 

So far so good, however we then meet our leading man. Unfortunately Jason Donovan seems to have lost the spark he once had as a performer – his voice sounded thin and he lacked the energy of the others in the cast. This was never more obvious than in his duets with leading lady Emma Williams. Appearing on stage with a “bang” (quite literally), Ms Williams never let a moment fail her – her energy and charm won the audience over immediately. With a great sense of comic timing and a beautiful voice too, it is worth the ticket price alone to see her lead this cast. This was never more evident than in “I Got The Sun In The Morning” where she leads the ensemble in a rousing song and dance number. Although the females get a good chance to steal this show (Kara Lane delivering a vibrant Dolly Tate), William Oxborrow manages to pull something back for the guys as Charlie – with an assured delivery and a solid voice to match.

 

In the story, Annie meets Frank as his competitor in a sharpshooting competition and his manager signs her up to join the show, and realising her potential they build her part in the act until she eventually takes top billing. So perhaps the show within a show became a case of art imitating life. Although Jason Donovan was the star billing (much like Frank Butler over Annie Oakley), Emma Williams has come through to shine as the star of this show.

 

LISTINGS INFORMATION

Tuesday 2 – Saturday 6 September

Mon –Sat eves 7.30pm

Wed, Thurs & Sat mats 2.30pm

Box Office: 0844 871 7648 (bkg fee)

Website: www.atgtickets.com/glasgow (bkg fee)

 

Aug 31st

Dirty Dancing at The King's Theatre Glasgow

By Cameron Lowe
Review by Chris Lowe

Dirty Dancing the classic story on stage is here for you to enjoy at the King’s Theatre Glasgow. 

Dirty Dancing

The story of Baby Houseman (Roseanna Frascona) and Johnny Castle (Gareth Bailey) and the music that accompanies their blossoming love/lust - is known across the globe. This iconic show is a welcome addition to the musical theatre line up at The Kings.
 
Featuring all the iconic moments from the film, Dirty Dancing does exactly what it says on the tin. It brings Johnny and Baby's unforgettable love story to life with passion and credibility to the sheer delight of everyone in the audience.
 
Dirty Dancing

Set at Kellerman's summer camp in the 1960s, the clean, cheesy, wholesome fun that goes on is contrasted by the hot steamy backstage drama. Where Dirty Dancing truly comes into its own is in showcasing the amazing dancing. This cast work extremely hard throughout and their incredible movement is mesmerising. 
 
The entire play, including its staging, oozes with cheese. Once you buy into this fact and take its approach to the film as tongue-in-cheek, the characters and their struggles (ridiculous as it may seem)  become a whole lot more enjoyable!
 
As the final hip-swivelling moves are made, the buzz from the audience speaks for itself. This show is an empowering, romantic tale which will stand the test of time for decades to come.
 
Dirty Dancing
The King's Theatre, Glasgow
Until 13 September 
Tickets £10 -  £79.90 (bkg fee)

www.atgtickets.com/shows/dirty-dancing-2/kings-theatre/
www.dirtydancingontour.com