UK Theatre Network

This celebration of Michael Jackson’s music and unique dance style has become something of a tribute in light of his untimely death last week.  Topical issues aside, the quality of this performance is good enough to turn your socks white and blow one glove off your hand!

 

Thriller Live delivers the MJ magic in spades with a loosely chronological review of his music from the Jackson 5’s “I Want You Back” through to his 1995 release “Earth Song”.  The presentation style was unusual for a stage show, delivering a documentary of Michael Jackson’s musical history and record breaking achievements rather than a more traditional biopic.  This lent itself to a focus on the music and dance rather than the star’s controversial live story.  With such a rich back catalogue of music to choose from over a 30 year period, the delivery did not disappoint the audience.  The deceptively simple fixed set proved to be incredibly dynamic as a huge movie screen featuring dazzling effects, movie clips and photos became transparent on several occasions to reveal the live onstage band.

 

The unique Jackson 5 sound was authentically reproduced from the off, but the glove (quite literally) came off in the second act as tens of millions of pounds of the worlds most expensive music promotion videos were reproduced live on stage!  The choreography, styling and effects of “Smooth Criminal” were just mind blowing with particular emphasis on the astonishing talents of Michael Anthony Duke.  A short, dedication was made to the ‘King of Pop’ before a very moving performance of “Man in the Mirror” by fellow lead vocalist Ian Pitter – the song likely to top the UK charts next week (it reached number 11 back in 1988).  Other MJ high notes were hit by TV’s Popstars finalist Hayley Evetts and talented fellow vocalists Peter Murphy and Dwayne Wint.  The signature fedora hat should also be tipped forward in recognition of the amazing talents of 11 year old Tyler McLean who played young Michael.

 

This production was so slick it had my “click track” senses tingling (particularly in reference to the backing vocals), however I was won over by astonishing solo vocals and high energy dance routines that followed the unique MJ style flawlessly through three decades of hits.  This show will have you moonwalking in the aisles.  Shamone!

 

Listings Info:

Thriller-Live

King’s Theatre, Glasgow

29 June to 4 July

Mon –Fri eves 7.30pm

Sat 4pm & 8pm

Tickets: £12 - £27.50

Box Office: 0844 871 7648(Bkg)

www.ambassadortickets.com/glasgow (bkg)

Theatre Tickets

Theatre patrons have tremendous ticket buying options at their hands.  They can choose to buy from the theatre box office, ticket booths or through ticket agents either in person, thru phone or through the online option.  Purchasing tickets can also be done on the day of the performance or even months in advance.  A theatre box office however, will only sell tickets scheduled for that particular theatre.

Box offices in theatres are usually open from ten (10) in the morning up to about thirty (30) minutes after the start of the show.  No booking fee is required for tickets that are bought personally as compared to phone and online purchases which are usually accompanied by an administration fee or booking fee.  It can happen that calls to theatre box offices get redirected to ticket agencies specifically during busy periods although fees remain the same.

Not all shows sell tickets through ticket booths but theatre patrons are guaranteed a wide range of choices especially for discount tickets on performance days.  Ticket buyers however, may not be able to pick their preferred seats.  Ticket agents may come in the form of international organizations or small independent companies.  Legitimate agents are usually part of an organization in the field of ticket retailing which espouses best practice in the business.  It is standard practice for ticket agents to charge a booking fee and sometimes a transaction fee.  Comparing prices is advisable to see if the fee being charged by an agent is reasonable.  Fees and charges are intended to cover the operational costs of selling and distributing theatre tickets.

Tickets can be had by people who come to see theatre shows together.  This is what is referred to as group sales.  The number that constitutes a group may vary in each show although the minimum number would generally be between ten (10) to twenty (20) people.  Rush or lottery tickets are discounted seats which producers are eager to sell.  They can also be a block of tickets that have been specifically set aside for such purpose.  Theatre box offices would have these tickets available two (2) hours before curtain time on performance day.

Most shows provide a particular space for patrons.  It would usually be at the back of the theatre where these people can stand to watch the show.  These are covered by Standing Room Only or SRO tickets which are only sold when the performance is completely sold out.  Special discounted tickets for students and seniors are also available.

Broadway shows may have an open-ended or limited run. Since a limited run is only for a predetermined number of weeks, ticket holders who buy in advance should be aware of the length of time which the show is scheduled to be around.  Tickets for the best seats are the most expensive.  These are the seats found at the orchestra where occupants would be at eye level with the stage.  Seats on the balcony or the rear mezzanine seats, on the other hand, are usually the lowest-priced.  It would be wise to look at posted seating charts before making a ticket purchase.

Theatre tickets are generally non-refundable and non-exchangeable except for specific circumstances such as the inability of a main star to perform.

JERUSALEM by Jez Butterworth

A show that runs for 3 hrs & 10 minutes with 2 intervals may seem like a daunting prospect these days to any potential theatre-goer, but a visit to The Royal Court for a viewing of Jez Butterworth's JERUSALEM is an epic that defies time & is simply not to be missed. With a wonderful woodland setting by Ultz & under the superb direction of Ian Rickson, once again working with Butterworth; this is a show that will surely run and transfer.

From the sublime opening - an innocent looking young woman in satin slip & angel wings, with a voice to match, singing the well know hymn, followed in swift succession by a snatched scene of drug-fuelled teens raving to house music in a woodland party, Butterworth's world takes us into the heart of Wiltshires woodland characters & on an boisterous and envigorating theatrical journey.

At the centre is a towering,  magnificent performance by Mark Rylance as Johnny 'Rooster' Byron, a teller of stories and yarns both fantastical, unbelieveable and to great comic effect. A modern day Pan & bad man Pied Piper who draws to him a devoted following, mainly wanting the ample supplies of drugs and alcohol he deals, and who leave the sinking ship when the going gets rough. Starting his day, still tripping from the night before, downing a concoction of stale milk, eggs, half a bottle of vodka and a line of speed, Rylance roars onto the stage totally emboding his character and delivers a mammoth performance and a master class in the art of acting. He has that 'other wordly' quality as a performer -which means you simply cannot take your eyes off him & although he is surrounded by a hugely talented cast, with particular mention to Mackenzie Crook, Tom Brooke, Gerard Horan, Alan David & Lucy Montgomery - it is Rylance's show.

JERUSALEM asks us what has happened to 'our Green and Pleasant land', to our heritage of myths and old Gods - where anyone different is ostracised, abused, feared & ultimately stamped out to extinction - much like our attitudes towards the 'old ways' of the country folk. Rooster is a wanted man, much maligned by the locals who believe he has something to do the disappearance of the 15 year old crowned May Queen, Phaedre, to be crowned at this year's local Flintlock Fair. On the dawning of the same day - it being St George's Day, he is issued a final eviction notice by the local council, armed with a petition signed by hundreds of local residents protesting against the frequent 'gatherings' he hosts at his caravan in the woods, which attract the local teens in their droves & anything else they can think of to pin on him.

The writing is rich in comedy especially the stories told by Johnny; amongst many - his account of being kidnapped by four large Nigerian Traffic Wardens is hysterical,  but as well there are intimate scenes of tenderness with his young son, advising him on life and on the specialness of his Romany blood and advising him to love women as much as possible - because they are wonderful creatures.

Johnny emerges at the end bloodied and battered by local thugs, a Lear-like hero beating a last drum to ancestors & long forgotten Gods; an ending which haunts and enthralls us, much like this piece which reminds us all again of the magic and specialness of theatre at it's very best.

The run has been extended by another week already - my advice - do whatever you can to get a ticket!

Jerusalem by Jez Butterworth

Royal Court Theatre

Sloane Square

SW1

020 7565 5000

Until Aug 22 2009

7.30 start

Tickets: 10.00, 12.00, 18.00

Website:www.royalcourttheatre.com

Director Ian Rickson
Designer Ultz
Lighting Mimi Jordan Sherin
Sound Ian Dickinson for Autograph
Composer Stephen Warbeck

Cast includes Jessica Barden, Tom Brooke, Greg Burridge, Lewis Coppen, Mackenzie Crook, Alan David, Aimeé-Ffion Edwards, Lenny Harvey, Gerard Horan, Danny Kirrane, Charlotte Mills, Lucy Montgomery, Sarah Moyle, Dan Poole, Harvey Robinson, Mark Rylance, Barry Sloane

Running time 3hrs 10mins approx, including 2 intervals

SHOW: DAVID BENSON SINGS NOEL COWARD

Assembly Rooms, 6-21 Aug (and 12 Aug), 15.20 – 16.30

10 Aug 09 £12.00

David Benson once again demonstrated his versatility in this delightful show celebrating the great Noel Coward. He transformed himself from a glamorous diva to a middle-aged businessman lamenting that he is Mad About the Boy within a second using little more than a pearl necklace, a feather band and a pair of glasses.

Accompanied by the charming Stewart Nicholls Benson presented Coward hits like Don’t Put Your Daughter on the Stage and There are Bad Times Just Around the Corner – quite relevant today - but he also included songs from the rarely performed show The Girl Who Came to Supper. David Benson conducted a good deal of research for this show. He included forgotten lyrics that even my friend who is a Coward connoisseur did not know. A highly enjoyable afternoon! 


For tickets, visit http://www.edfringe.com

René Auberjonois had been a busy actor on stage and screen for thirty years before he played Odo, the shape-shifting constable on Star Trek: Deep Space Nine (1993-99). In 2004 he took the role of venerable lawyer Paul Lewiston on the acclaimed legal drama Boston Legal. Lately, he has appeared in Warehouse 13 and It’s Always Sunny in Philadelphia and has participated in an audio recording of the Bible.

Auberjonois attended Carnegie-Mellon University where he studied theatre in-depth, learning not only about acting but about the entire process of producing a play. After college, he acted with various theatre companies, starting at the prestigious Arena Stage in Washington, D.C. He helped found the American Conservatory Theatre in San Francisco, the Mark Taper Forum in Los Angeles, and the Brooklyn Academy of Music Repertory Company in New York. Eventually, Auberjonois landed a role on Broadway in 1968, alternating between the Fool to Lee J. Cobb's King Lear (the longest running production of the play in Broadway history) and Ned in A Cry of Players (opposite Frank Langella), directly followed by Marco in Fire!. The next year, he won a Tony Award for his performance as Sebastian Baye alongside Katharine Hepburn in Coco. Other Tony nominations were for Neil Simon's The Good Doctor (1973, opposite Christopher Plummer); as The Duke in Big River (1984), winning a Drama Desk Award; and, memorably, as Buddy Fidler/Irwin S. Irving in City of Angels (1989), written by Larry Gelbart and Cy Coleman. Other Broadway appearances include Malvolio in Twelfth Night (1972); Mr. Samsa in Steven Berkoff’s Metamorphosis opposite Mikhail Baryshnikov (1989); Professor Abronsius in Dance of the Vampires, and Jethro Crouch in Sly Fox (2004, for which he was nominated for an Outer Critics Circle Award). As a member of the Second Drama Quartet, Auberjonois toured with Ed Asner, Dianne Wiest, and Harris Yulin. He also appeared in the Tom Stoppard and Andre Previn work, Every Good Boy Deserves Favour, at the Kennedy Center and the Metropolitan Opera and played the titular character in Molière's The Imaginary Invalid at the Shakespeare Theatre in Washington, D.C. in 2008. Auberjonois has also directed many theatrical productions.


Photo by Suzanne Vanweddigen

CK: Are you going to do another play in the near future?
RA: If I do another play, one possibility is L’Avare - The Miser.
CK: Ah, yes! You said you might want to do that.
RA: Yes. So we’ll have to see if we can make it happen. It’s a tough play. We just were in Paris and we saw the Comédie Française, their production of it, which was extraordinary in some ways and very wrong-headed in other ways. I suppose the problem with doing a classic that is so well known, to find a new way of telling it, sometimes people kind of push it out of shape. The hard thing is it’s very easy to say that The Miser should be dark. Molière had darkness in him but he was basically a comedian and he had to deliver the laughs. He was like Neil Simon. And so to deny that clowning is to counteract the work, I think.
CK: Right, I completely agree. You said you might want to do King Lear some time.
RA: No, I didn’t. You never heard me say that.
CK: Oh yes, I read it in an interview.
RA: If you read it in an interview, how do you know it’s true?CK: Well, that’s true. (Laughs) So, you don’t want to do it?
RA: No, it’s not that I don’t want to do it. It’s that I did it, you know. I played Lear when I was very young and of course I couldn’t possibly achieve it, but it was a tremendous challenge and it taught me a tremendous amount. That was at ACT. And then I went on to New York City, to Lincoln Center, and I played the Fool in the play with Lee J. Cobb…and then a few years later, I played Edgar with James Earl Jones as Lear, that was the one that Raul Julia was in. So I’ve done the three best parts in the play. And I’m not sure what I have to offer the part. It would have to be a wonderful director who wanted to do it. I wouldn’t want to do it just so that I may say the lines, and slog through a mediocre production. And you know, my friend Stacy Keach did a wonderful production very recently, and I went to see my friend Robert Foxworth just a month and half, two months ago in San Diego playing Lear, and I saw Dakin Matthews playing Lear. So I’ve seen a lot of Lears recently, and they all had brilliant parts. But it is like Everest. It is a mountain that will defeat you ultimately. So you know you’ll just have to be humble in the face of it. You need a great director. I had a great director in Ed Sherrin in the production in Shakespeare in the Park with James Earl Jones. It’s on video.
CK: Yes, usually theatre productions are so boring when you watch them on video but this one is very exciting.
RA: I can’t watch it because I know that the real experience was so much more. You know, it was pretty powerful.
CK: I hope you’ll do something in London, too.
RA: I know, you keep saying that.
(Laughter)
CK: Tell me, what are some of the dramatists you appreciate?
RA: Beckett—who I suspect perhaps actors enjoy performing and the audience sometimes less watching it. Sometimes it can be a difficult experience. Beckett is wonderful. Chekhov, which I’ve got to do very little of, really, but I feel an affinity, as if the little bit of Chekhov that I did, that I have done, has had a real influence on me as an actor. When I think of any play and any character…because what Chekhov was so brilliant at is defining his characters: how intricate they can be, their foibles, weaknesses, arrogance, all things that he saw in people, shimmering like water. That’s a wonderful thing, if you can achieve that as an actor. Also showing a lot of different facets of a character. Beckett and Chekhov, and Pinter, who I’ve also done very little of, then Shakespeare. I would love to do David Mamet, but I am the kind of actor that he would think: “Oh no, he can’t do my plays.”
CK: Why would that matter?
RA: Living playwrights have casting approval. When I first played Tartuffe, I got to play Tartuffe because Richard Wilbur, whose translation we were using—it was a revival of a production that the director had directed a year or so before—Richard Wilbur would only give them the rights to the play if the actor who played Tartuffe in the first production didn’t. And that was why I was cast. The actor who he wouldn’t let play it was a brilliant actor but a very eccentric, quirky kind of actor and I think Richard Wilbur felt he distorted his work…but he was a wonderful actor. So what I’m saying is: I can’t imagine Mamet casting me in a new play for him, to have just written that play and say, “Oh, maybe that guy could play this part!” I don’t think he would ever do that. 
CK: In Germany, we have a different kind of theatre. You probably know post-dramatic theatre where the director is really the creative force and the writer is almost unimportant.
RA: Like movies?
CK: No, it’s like the death of the character. There are no real characters, the actors just say lines but they are not a character. They might express a certain mood, maybe, but it’s like Richard Wilson or, I don’t know if you know Elfriede Jelinek, she won the Nobel Prize, she is a good example. We have a lot of this kind of theatre in Germany. Would you be interested in doing anything like that if it ever was offered to you?
RA: Oh, I don’t know what exactly…I’m not clear on what it is, but I’m always interested. Do you know the work of Steven Berkoff by any chance?
CK: Yes!
RA: Well, I did Metamorphosis on Broadway with Mikhail Baryshnikov and I loved doing that. Now he’s not everybody’s cup of tea, you know. Some people just hate Steven Berkoff. One of my friends came to see me rehearsing it and saw a run through and she said, “How are you doing this?” because it was all so articulated, and timed and lines coming out in a certain way. We were the family of Gregor Samsa … And when we were eating it had to be a certain way. When we were saying the lines—dom, dom dom….you know.
CK: That goes in that direction, yes.
RA: I loved doing it. I just loved it. Once you learn it, it’s like a dance. Once you learn it, the steps, then you forget it, you just dance. There’s such a foundation. It’s not improvising. Improvising can be wonderful, but it can feel dangerous because you can lose it and not be interesting. But dancing like that and having rigid form that you then forget that you’ve done all that work and you just….
CK: There is a really exciting play—Every Good Boy Deserves Favour—which is shared by an orchestra and actors.
RA: You know that I did that.
CK: Yes, I do! I just saw it in the National Theatre. I thought it was so great. I never saw it before, I had only a record of it.
RA: Ah, with John Wood, right…John Wood must have done the recording.
CK: It’s Ian Richardson and Patrick Stewart.
RA: Oh, really?
CK: Yes, and Ian McKellen.
RA: That’s interesting, because John Wood created the role the first time it was performed, and then I did it when they came to the Kennedy Center in Washington and John Wood moved over there and we went to the Metropolitan Opera in Los Angeles with the Los Angeles Philharmonic with our son Remy, he was playing the boy. It’s a wonderful piece. You know, for a while I thought, after the fall of the Soviet Union, it will never be done again. But now I think it’s time to keep it active. It would be fun to do it again.
CK: You could do it in London!
(Laughter)
RA: Yes...
CK: Michael Grandage said he was thinking of you. Now he is not going to take over the National Theatre, unfortunately….
RA: He isn’t?
CK: No, he says he now wants to concentrate on his creative work. He wants to direct but he could always say, “Well, I want to do this thing. Let’s ask René if he wants to be in it.”
RA: Ah, that’s nice.
CK: Thank you very much for your time.
RA: Thank you, Carolin. 

Musical biopics can, like the music biz itself, be a bit hit or miss.  But with the production team from the highly acclaimed “Dreamboats and Petticoats” behind them, the cast of Laughter in the Rain are sure to be right on target!

 

The show tells the life story of Neil Sedaka (charismatically played by Wayne Smith) from his birth in Brooklyn in 1939 through his song writing partnership with Howard Greenfield, his move to England as his fan base waned in the USA and his successful comeback culminating in the number 1 US hit “Laughter in the Rain” in 1975.  With no set, the story was told through narration by central characters and short dramatic scenes between musical numbers played out in chronological order.  Of course, the music was always going to take centre stage in this show and the audience were not disappointed by the variety and quality of the selections from the Neil Sedaka back catalogue.  Throughout his life, Sedaka has been a prolific writer and performer with 14 singles in the 3 years to 1962 alone – including 9 US top 10 hits and one number 1 in the coveted Billboard chart.  Songs from this period included “Oh, Carol”, “Happy Birthday Sweet Sixteen” and “Breaking Up is Hard to Do”.

 

The narrative holds little in the way of drama but tells the story of Sedaka’s career ups and downs well.  Interest comes in the form of the partnerships that were so important throughout his life.  His mother was a strong influence as she managed his affairs through his most successful era and introduced him to his writing partner, Howie Greenfield (played by Edward Handoll supplying those trademark close harmonies throughout).  This, too, was a strong partnership as the friends taught each other the formula to produce hit after hit.  The two men hooked up with a third partner in the form of producer Don Kirshner.  But his strongest lifelong partner has been his wife, Leba; who he married in 1962 – surely breaking some records for music business marriage longevity!?  Despite the simple presentation, the cast conveyed a sense of history-in-the-making as the significance of Sedaka’s contribution to music unfolded.

 

All in all, a highly entertaining show.

 

Performances:

Laughter in the Rain
Mon 10th – Sat 15th May
Mon – Sat eves 7.30pm
Wed & Sat mats 2.30pm

Tickets: £11 - £29
Box Office 08448 717 648 (Bkg fee)
www.ambassadortickets.com/glasgow (bkg fee)

The production Palace of the End by renowned playwright Judith Thompson has been nominated for the Amnesty International Award and rightfully so. This play is about the Iraq War and its effect on three individuals - two of them well known to us. However, it is not a docu-drama. Judith Thompson works with facts and transmutes them into a world of the imagination. Seen from three different perspectives including a female American soldier facing court-martial for torture and prisoner abuse at Abu Ghraib, a British former UN Weapons Inspector exposed as a source for the BBC and an Iraqi mother and political leader who suffered the greatest loss imaginable at the hands of Saddam Hussein this production will stay with you for a long time.  

Kellie Bright reprises her role as Lynndie - a frightened, racist bigot who hates ugly people, prays to her American God and compares herself to Joan of Arc because she "took the fall" for Abu Ghraib. She plans to go to Quebec in exile like Napoleon and then return an American hero! David Kelly is again played by Robert Demeger. Mortally wounded he does not want to be found before he is dead. He had been thrown to the wolves for disclosing the truth about the WMD situation in Iraq to the BBC. David, severely depressed and tormented, feels like Prometheus: "You can only defeat them by disappearing." The third monologue is spoken by an Iraqi mother and political leader (played by Eve Ploycarpou) who was captured by the secret service of the Baath party along with her sons and taken to their headquarters  - the Palace of the End. She sees Saddam as the embodiment of evil - "Some Iraqis think he is not mortal." There was hope when Saddam's government was overthrown but the American troops and "their murderous puppets" turned into monsters.  

This is a very important play and the acting is outstanding. I advise everyone to see it.  
(Carolin Kopplin)

Aug 5 to 30, Traverse Theatre
Tel: 0131 228 1404

THE PRESENT        

COCK TAVERN THEATRE, KILBURN

 

Following it’s tradition of revisiting forgotten plays by modern writers, Kilburn’s dynamic fringe theatre, the Cock Tavern, offers a hearty resurrection of Nick Ward’s drama The Present.

The play was last performed at the Bush in 1995, and this revival by Good Night Out productions is almost faultless. Set in 1980 just after the assassination of John Lennon, Danny a British teenager arrives in Australia in search of adventure. He finds lodgings and work with Michael, a Nietzsche obsessed throw-back to the 1960’s, who introduces him to the world of sex, drugs and hippy art.  Michael borders on the pathological, and his associates Becky and Libby are not far behind him in the off-the-wall stakes, providing unpredictable company for the naïve newcomer.

The stark white painted set is indicative of a mental asylum, and is the perfect backdrop for the bizarre behaviour of Ward’s characters. Adam- Speadbury-Maher’s focused direction keeps the drama moving at a pace, and the carefully selected choice of Lennon’s songs works perfectly as a soundscape for the piece

Nathan Godkin is outstanding as the on-the-edge control freak Michael, and Sophie Brabenec gives a lovely, layered performance as the amnesic, vulnerable artist Libby. Shelly Lang is impressive as the man devouring Becky.

Ward’s poetic and colourful language is a treat for the ears, although towards the end of the play the themes become over-repetitive and he seems to be trying too hard to make his point.

This production continues to prove that the Cock Tavern is a valuable asset to North London’s theatre land. This is a gift not to be missed.

OLIVER VALENTINE                    www.cocktaverntheatre.com

Following on from last year’s hugely popular Aladdin, the King’s Theatre and First Family Entertainment are delighted to announce spectacular casting for Snow White and the Seven Dwarfs, a totally brand new show for Glasgow and Scotland’s traditional family pantomime experience!

Darius, a critically acclaimed West End actor and platinum-selling singer-songwriter, will be playing the role of Prince Charming in this his King’s Theatre debut.  On returning to Glasgow and performing at the King’s, Darius said: "2010 continues to be an exciting and busy year that has taken me from London to Paris and Capetown- it's great to end the year in the motherland in my home town of Glasgow."

Since being crowned the winner of ITV1’s Popstar to Operastar Darius has headlined in his debut Opera, as the youngest performer ever to play the bullfighting Escamillo in Carmen at the O2, in the biggest production of an Opera in the UK. He also became the first performer ever to appear on the Opera world stage who is not classically trained.

A King’s spokesperson said: “We are very excited about Darius joining us this Christmas for Snow White and the Seven Dwarfs. It is a huge coup for us as a venue and we are delighted to be able to offer the people of Glasgow the opportunity of seeing one of their best loved performers back home in a much loved theatre”.

Even with over 100 years of Christmas experiences under its belt Snow White has never been performed at the King’s Theatre so this year’s pantomime will be like no other King’s pantomime you have ever have seen before – in fact, you will never have seen it before!  With a brand new script by Eric Potts, stunning new costumes, brand new sets and a stellar cast, Snow White and the Seven Dwarfs has all the elements to make this the most wonderful and magical pantomime in Scotland.  This year, the production is once again sponsored by Robinsons. The nation’s favourite family soft drink is supporting a national celebration of pantomime up and down the country and is delighted to be part of maintaining the traditional family experience at the King’s Theatre.

Listings Info:
Snow White and the Seven Dwarfs
Fri 3 Dec 2010 – Sun 9 January 2011
Tickets: £6 - £24.50  Box Office 0844 871 7648 (Bkg fee)
Groups and Schools Sales 0141 240 1122
www.ambassadortickets.com/glasgow (bkg fee)