Girls seeking a testosterone – free night out are in for a treat at the King’s Theatre this week as “Hormonal Housewives” takes to the stage.

Very much in the mould of the incredibly successful “Vagina Monologues”, Hormonal Housewives offers the talented trio of Carol Smillie, Julie Coombe and Shonagh Price the opportunity to don pink, put down men, laugh at themselves, laugh at men, have a dance and enjoy the company of other women.  Predictably, when the target audience are women, the conversations, sketches and laughter revolve largely around men.  It was possibly the predictable nature of the topics and punch lines that proved to be a shortcoming in the production as some sections raised only chuckles rather than belly laughs.  Writers Julie Coombe and John MacIsaac redeemed themselves, however, with some excellent observational items and development of good physical humour, particularly in the courtroom and keep fit sketches.

The audience certainly enjoyed the entertainment on offer, although they proved reluctant to participate in fanning the cast with programmes in a children’s party inspired game.  Y-chromosomes were in short supply in the auditorium – it seemed that any men in the audience had lost a bet (or were VERY dedicated theatre goers) – but the audience proved that they could have a great time without the aid of their husbands and boyfriends.  This was largely due to the enthusiastic performances on stage where Julie Coombe, in particular, delivered the comedy with great gusto.

All in all, the show was a good target for a girlie night out.  The tour continues to Inverness, Dundee and Aberdeen.

Hormonal Housewives
Mon 1 – Sat 6 March
Mon – Thu eves 7.30pm
Fri & Sat 5.30pm and 8.30pm

Tickets: £9 - £24
Box Office 0844 871 7648 (Bkg fee)
www.ambassadortickets.com/glasgow (bkg fee)

PEPPA PIG’S PARTY!

[Live on stage Wed 7^th & Thur 8^th April]

Click here for Peppa images

Peppa Pig is currently one of TV’s top-rated children’s shows and a BAFTA Award winner. Now, for the first time ever, she has her own live stage show. Peppa Pig’s Party opened on 30 September in Exeter and played to 7 venues in autumn 2009. Now in 2010 this extensive UK tour continues to 60 theatres across including the King's Theatre Glasgow.

Many creative talents have come together to assemble this exciting new production where the main characters are played by puppets with visible puppeteers.

·       Nigel Plaskitt is Puppetry Consultant for the show and is, arguably, the UK’s most experienced puppet specialist. His many credits include Monkey  (who appears alongside Al played by Johnny Vegas) in the current award-winning commercials for PG Tips; Spitting Image; and the current West End hit show Avenue Q.

·       The music comes from LazyTown’s highly talented composer Mani Svavarsson whose songs are well known to children and parents.

·       Director Richard Lewis (who has also adapted Peppa Pig for stage) has many acclaimed children’s stage shows to his credit, including Fimbles and the two LazyTown Live! tours (2007 – 2008 and 2009).

Peppa Pig’s Party is produced by the team (Fiery Angel and Limelight Productions) behind the recent tours of LazyTown Live! and Roald Dahl’s The BFG.

Peppa is a playful little pig who lives with her little brother George, Mummy Pig and Daddy Pig. Through everyday adventures she plays games, makes new friends and enjoys her absolutely favourite activity – jumping up and down in muddy puddles! Today is a very special day. It’s Peppa Pig's birthday. Peppa Pig’s Party is a chance for all her young friends across the UK to join in the fun with Suzy Sheep, Danny Dog and Emily Elephant for her perfect party. This charming, original and imaginative show is full of brand new songs, muddy puddles, and oinks!

Peppa Pig © Astley Baker Davies Ltd / E1 Entertainment Ltd 2003.

Ends/

PRESS PERFORMANCE: WED 7^th April @1pm

Listings Info:

PEPPA PIG’S PARTY

Wed 7^th April @ 10am, 1pm and 4pm

Thur 8^th April @ 10am, 1pm and 4pm

Tickets: £13.50 – £15.50 Adult

          £11.50 - £13.50 Child

Box Office 08448 717 648 (Bkg fee)

www.ambassadortickets.com/glasgow (bkg fee)

NOTES TO EDITORS:

1. Peppa Pig is currently one of the UK’s biggest pre-school properties with confirmed sales of over 2 million DVDs and over 50 licence agreements in the UK alone. Internationally the television programme has been sold into over 150 territories and licensing programmes have been established or are being planned in a number of territories including Europe, Asia and the Americas.

PEPPA PIG’S PARTY

www.peppapiglive.com

Contacts:

To set up interviews, request images or for further information please contact Mark Irwin on 0141 240 1305 or markirwin@theambassadors.com

To organise competitions or ticket giveaways please contact Laura Fitzpatrick on 0141 240 1302 or laurafitzpatrick@theambassadors.com

Mark Irwin
Press Officer
King's Theatre & Theatre Royal, Glasgow 
297 Bath Street
Glasgow G2 4JN
Direct Line: 0141 240 1305
Fax: 0141 240 1301

The sound of Motown is transported to Glasgow this week as the stars of the 60s take to the stage in this first class tribute concert.

There are a number of ways to bring the hits of the past to a stage show.  The success of the ABBA based hit, Mamma Mia!, has seen a resurgence of productions with a fresh story to tell weaving old songs around the drama.  But this is difficult to do well and easy to do badly.  Dancing in the Streets takes the simpler route by delivering a straight forward tribute concert (similar to Rat Pack – Live from Las Vegas) … and delivering it with some style.

The first thing to consider when conceiving a production like this has to be the theme.  In “Motown”, Director and Musical Supervisor, Keith Strachan, has tapped possibly the richest vein of musical hits in history!  With artists from Gladys Knight and the Pips to Diana Ross and the Supremes, Marvin Gaye, Stevie Wonder, The Four Tops, The Temptations, (the list goes on) … the hardest decisions must have been what to leave out of the show!  But you can be sure that the numbers in the show will be hits that everyone has a specific memory of.

And that’s what the audience pay their money for … memories.  They want to be transported to the time and place that each song meant the most to them.  Time travel isn’t just for Doctor Who, you know.  It was certainly a reality for the majority of the audience in Glasgow last night!  The reason the “Dancing in the Streets” time machine works so effectively is in the delivery of those Motown hits.  The first class cast sounded (and often looked) like the original artists.  Dance moves were faithfully reproduced, backup singers swayed and clicked and clapped and ‘shooped’ just like their 60s counterparts and the band faithfully reproduced the Motown sound on every track.  Overall production values were excellent, too, with a classically styled static set incorporating the live band, excellent lighting effects (probably far superior to the 60s originals but effective and atmospheric nonetheless) and more costume changes than London Fashion Week!

Transport yourself to Hitsville, USA in the 60s for £25.50 (or less) - bargain!

Listings Info:
King's Theatre Glasgow: Mon 15 Feb – Sat 20 Feb
Mon – Sat  at 7.30pm
Sat mat – 2.30pm
Tickets: £12 - £25.50
Box Office 08448 717 648 (Bkg fee)
www.ambassadortickets.com/glasgow (bkg fee)

Have you heard the story of the Johnstone twins? If not, you have missed what has become a classic of British musical theatre and now is your chance to hear the tale! Willy Russell’s Blood Brothers is on tour - follow a trail of tears and snotty handkerchiefs all the way to the King’s Theatre, Glasgow until 13 February 2010.

Glasgow-born songstress, Vivienne Carlyle, stars as Mrs. Johnstone, a 1960s Liverpudlian mother of seven who is just about making ends meet, until her husband leaves and the twins arrive. Reluctantly she makes a deal with Mrs. Lyons (Tracy Spencer), her well-to-do employer, to give one of her twins away. And so, irresistible and tragic wheels are set in motion as the twins are destined to be born and then to die on the self same day.

The story is largely light hearted and entertaining despite the tear-streaked faces that have famously been leaving performances of this musical all over the world. It follows the growth of the boys from childhood to adulthood and the script is bursting with the gritty Liverpool humour that made the writer famous. The humour is also observational and sucks the audience into a real bond with the characters as we sympathise with their poverty and remember schoolboy fun that helped to lighten the mood in difficult times. The tragedy, when it falls, feels very personal. The musical score, in isolation, seems almost unremarkable but together with the on-stage drama it adds great depth to the contrasts of mood that are the bedrock of this musical’s success. The audience can even take a few tunes home with them “My Child”, “Easy Terms” and “Tell Me It’s Not True” being eminently hummable.

The production has changed very little over the years, but the talented cast add their personal nuances to the timeless story.  Vivienne Carlyle took the role of Mrs. Johnstone (previously played by such well known actresses as Stephanie Lawrence, Kiki Dee, Lyn Paul and four of the Nolan sisters) in her stride, never over dramatising, never over cooking the accent.  She took a nightmare narrative and made it real.  The combination of Sean Jones and Paul Davies as the twins, Mickey and Eddie, was the perfect mix.  I’ve had the pleasure of being entertained by Sean Jones in a previous tour and he is definitely my favourite Mickey.  His transformation from carefree seven-year-old to drug-dependant adult is heartbreaking in itself.  Chemistry with his on-stage sibling as well as his childhood sweetheart (Linda, played by Kelly-Anne Gower) was wonderful.  Finally, Robbie Scotcher’s menacing portrayal of the Narrator was the ideal balance of singing talent and threatening demeanour.

No other musical can take you through the entire spectrum of human emotion like this.  Book your ticket today.

Listings Info:

Blood Brothers
King’s Theatre, Glasgow
Tue 2 – Sat 13 Feb
Mon – Sat eves 7.30pm
Wed & Sat mats 2.30pm
Thu 4 Feb mat 2.30pm

Audio described performance 11 Feb 7.30pm
Signed performance 12 Mar 7.30pm

Tickets: £11.50 - £30
Box Office 0844 8717 648 (Bkg fee)
www.ambassadortickets.com/glasgow (bkg fee)

There is something magical about pantomime at Christmas.  The plot lines may be as predictable as Simon Cowell’s wardrobe and jokes might be as corny as Kansas in August ... but the magic inevitably comes from the reaction of the kids!

Gerard Kelly and Karen Dunbar headline the £1 million production of Aladdin at the King’s Theatre in Glasgow this year.  As Wishy Washy and Widow Twanky they had the audience in stitches throughout, delivering lines from the practiced pen of writer, Bob Black.  The title role was stylishly played by panto newbie, Keith Jack (Scottish runner up in Andrew Lloyd Webber’s recent search for Joseph), and his romantic companion, Princess Jasmine, was delightfully portrayed by Frances Mayli McCann.  The romantic leads’ voices, in particular, blended beautifully on stage.  Gavin Mitchell was the subject of the audience’s “boos” as the diabolically wicked Abanazar.

The supporting cast had a suitably diverse range of talent from the lively distractions of the 8 ensemble dancers to the comedy duo of Bryan Lowe and Mark Prendergast.  They were joined by an unbilled cameo by Andy Gray as the Genie.

The Credit Crunch was left outside on the cold doorstep of the King’s Theatre as the production showed every penny of the £1m budget.  There was more smoke onstage than on the doorstep of a Glasgow pub and the flying effects of cast and carpet were worth the ticket price alone!  Costumes werestunning and the stage sparkled throughout.

Treat yourself to some Christmas Cheer at the King’s this year!

Listings Info:

ALADDIN

Until Sun 17 January 2010

Tickets: £6 - £24.50

Box Office 0844 871 7648 (Bkg fee)

Groups and Schools Sales 0141 240 1122

www.ambassadortickets.com/glasgow (bkg fee)

Glaswegians will find a second use for their Hallow'een costumes this week as Richard O' Brien's Rocky Horror Show makes a welcome return to the King's Theatre.

It’s been 2 years since Rocky Horror visited Glasgow and, at 36 years young, this show doesn’t seem to be showing any signs of age yet! The openly sexual nature of the characters and the storyline were so far ahead of their time when the show opened to a tiny London audience in 1973 that today they still appear fresh and relevant.  Director, Christopher Luscombe, and set designer, Janet Bird, added fresh elements to the show a few years back and this latest cast bring their own energy and life to the well loved characters.  The tradition of audience interaction with the cast ensures that no two performances are the same!!

David Bedella simply owns the role of Frank 'N' Furter.  He brought all of his experience of a US national tour (with Meatloaf, no less) to bear in his portrayal of musical theatre's most recognisable character.  He had an astonishing rapport with the audience.  Christopher Biggins embraced his role as the Narrator, comfortably staying one step ahead of an audience who were, at times, a little over excited!  “It was over, but what was over?” asked Mr. Biggins.  “Your career”, answered the audience.  “You must be mistaking me for Katie Price”, he retorted.  Mark Evans (Brad) and Haley Flaherty (Janet) were vocally accomplished and carried the story well.

This is a great production of an excellent show and Glasgow audiences have been given another chance to catch it.  Don’t miss out!

LISTINGS INFORMATION

Richard O'Brien's Rocky Horror Show

King's Theatre: Monday 23 - Saturday 28 November 2009

Mon  - Thu eves 7.30pm

Fri & Sat 5pm & 8.30pm

Tickets: £12.50 - £30.50

Box Office: 08448 717648 (bkg fee)

www.ambassadortickets.com/glasgow

A classic Glaswegian play finds itself back home on this new tour, and received the welcome of an old friend in it’s Glasgow opening night audience.

Much of the appeal of The Steamie lies in the fantastic script by Tony Roper. As with his recent works (the wonderful Celts in Seville being of particular note) this play is observational, caustic and full of wonderful “parliamo Glasgow” terminology where the author has created well rounded characters whose appeal is not in their glamour or appearance, but their good humour and loyal natures.

The Steamie characters – Dolly, Magrit, Doreen and Mrs Culfeathers feel like old friends to most Scots, who have watched the televised version of this play many a Hogmanay on TV. This makes it a tough gig for any actress to take on these iconic roles, without trying to mimic the previous performances that are known so well. Leading the way on this front was Maureen Carr as Dolly. Excellent comic timing combined with an intelligent physicality brought this character believably to life, which is some feat considering the flights of fancy this character gets carried away with. Jacqueline Hughes, making her Scottish debut, was a sweet and naive Doreen, with a singing voice to match. Her lilting spoken voice worked well against the harsher tones of the older female characters, and helped create the imagery of the plans that she dreamt of, making this young actress one to watch for the future.

Kay Gallie, making a return to the role of Mrs Culfeathers, shows why she is in such demand in both TV and theatre. Knowing just how long to hold a comic pause for effect requires a lot of experience and Kay Gallie has that in spades. Her interpretation of the frail, hardworking older woman had the audience moved to tears, at times with sheer emotion and also with laughter. The “Top Dog” of this group is Magrit – Julie Austin got a lot of laughs here as she had a great delivery of the comic put-downs. It would have been nice if she had been asked to provide more light and shade in the role, so that the emotional sections hit home more. I think this is down to direction, as Alison Peebles seemed to be driving to make sure every laugh was “wrung-out” from this production. This did not make the comic bits seem forced, actually much the opposite, but this same interest did not seem to be shown to the sentimental or emotional moments of this clever play. David McGowan did try to make the most of the role of Andy, however his “drunk” scenes seemed to be a little too “Rab C Nesbitt” to be believable.

Dave Anderson’s songs still stand the test of time, again due to the classic Glasgow patter used in the lyrics – “ a swagger that wid dry a washin’” being a particular favourite of mine – but it didn’t really work to see some singing and non-singing cast trying to put these harmonies together.

All in all, it is great to see The Steamie back on the stage, but it does look like it maybe needs another rinse and a bit of an iron to get it back to it’s former sparkling glory. That said it is still a hugely funny and entertaining piece of theatre, and for Maureen Carr’s alone, especially during and after the “Galloway’s Mince” section, it is well worth the ticket price.

Listings Info:

Mon 2^nd – Sat 7^th November

Tue – Sat eves 7.30pm

Wed, Thurs & Sat Mat 2.30pm

Audio described performance Thu 5 Nov 7.30pm

Tickets: £10 - £25

Box Office: 0870 060 6647          www.ambassadortickets.com/glasgow

A return to the Glasgay Festival for playwright Matthew McVarish, after the success of last year’s “To Kill A Kelpie”, with another issue based theatrical piece.

Having reviewed To Kill A Kelpie last year, and being extremely impressed by this new author, I was intrigued to see a piece that was billed as not written by, but created by Matthew McVarish. On further reading it appears this production was as much of an experiment in writing styles as it was in creating a new piece of theatre. This did give me sense of trepidation; however I’m pleased to say that this was one experiment that was far removed from Frankenstein’s Monster!

What has been created, through a collaborative writing process from the actors and creator, is a touching piece of theatre which manages to sensitively portray the story of a couple who are unable to naturally have a child, and are going through the decisions and processes involved in adoption. The fact that the couple are both men is another layer to the story which adds both drama and humour in equal measure. The piece is sympathetically played to make the audience appreciate the ideals of the couple who wish to adopt, but also challenges the characters and forces them to give forth their reasons, showing that these are no different than the reasons of any childless couple with a desire to become a parent.

The continual thread of “children’s stories” that runs through the play is a nice way to allow comedy into some very serious moments. The moment of genius that is the courtroom cross examination, interjected with readings from the story of Pinocchio highlights this beautifully. As co-authors to the piece, actors Andrew Agnew and Ed Corrie have obviously had some input into the development of their characters, and this has helped create extremely believable performances on the stage. Mr Agnew as Joe, a frustrated children’s author, shows a gentle maternal human being, whose need to become a parent bubbles under the surface as a frustration that could combust in tears at any moment. Mr Corrie, as Mike, brings his frustration to the fore. His intense portrayal of the family lawyer torn apart by his circumstances in both his work and home life brought another real layer of humanity to the piece. The relationship between both these actors was so natural and believable, that at times it did feel as if the audience were intruding in a family home.

The third actor in the piece was Kai Ross, who at 8 years old has a level of maturity that will carry him well in this business. His ethereal appearances throughout the story were another excellent use of imagery, and his interactions with the adult actors, and the audience were perfectly pitched on the right side of “cute”. The play does have moments that are a little “saccharine”, however this does lend itself well to the “Children’s Story” theme and director Lauren Graham does not allow this to take the play into tacky sentimentality.

Although this is “issue based theatre”, the issue at hand is sensitively depicted without forcing any messages to the audience. This is a moving, humorous play, which draws laughter and tears from its audience but ultimately, and most importantly, entertains.

Listings

Tron Theatre, Glasgow – 20^th-24^th October 7.45pm

“You’ll believe a car can fly” read the marketing spiel in advance of the Chitty Chitty Bang Bang tour.  The show certainly bursts onto the stage with a bang (bang), but can you believe the hype?

It is difficult for me to articulate just how good Chitty Chitty Bang Bang is … because my jaw dropped while watching the show and it hasn’t fully recovered!  WOW!  Even if the car had been a huge disappointment, the show would have proved itself as an excellent piece of musical theatre.  Every element screamed quality.  The large adult cast (30 strong), child cast (22), band (15) and several dogs (yes, dogs) filled the King’s stage with colour and energy and the auditorium with sound!  The somewhat abstract set added a childlike sense of drama and, when required, a real sense of motion!  Choreography was characteristic and entertaining in equal measure and flawlessly executed throughout.  The adapted script was bold in both cuts from and additions to the original 1968 movie screenplay and delivered rounded characters who were quickly lovable (or loathable) as required.

The score is packed with childhood favourites like Toot Sweets, The Ol’ Bamboo and Truly Scrumptious and the principal cast together with the large and talented ensemble delivered all to the highest standard and to the delight of the audience of young and old alike.

But the car … oh, the car is the star (as they say)!  And I repeat … WOW!  Take every wish that you may have dared to fanaticise upon for the delivery of your childhood dream Chitty and it is produced as a reality on stage.  There is a seemingly endless escalation of awsomeness as the car performs one miracle after another from its first spotlight reflecting reveal through a speeding countryside journey to a jaw dropping slow motion fall from a clifftop!  Chitty deservedly takes the final bow at the end of the show to the strains of the Superman movie theme!  One more time … WOW!

Don’t miss this fantastic show … its wonderful, its wizard, its keen!

Listings Info:

Chitty Chitty Bang Bang

Tue 20 Oct – Sat 14 Nov

Mon – Sat eves 7.30pm

Wed and Sat mats 2.30pm

Tickets: £20.50 - £39.50

Signed Performance Thu 29 Oct 7.30pm

Audio Described Performance Thu 12 Nov 7.30pm

Box Office 08448 717 648 (Bkg Fee)

www.ambassadortickets.com/glasgow (Bkg Fee)

A first theatre script by talented freelance journalist Heather Macleod, Long Player was presented in the A Play, a Pie and a Pint series at the Oran Mor in Glasgow's West End. Newly single Angie (Tamara Kennedy) looks back over her marriage to a soundtrack of musical snippets. The highlights include the slightly barbed exchanges between Angie and her ex-husband, the excellent Dave Anderson, and a brief appearance by Samantha Shields as their daughter. Entertaining semi-autobiographical piece shows that Heather has an eye for dialogue and an ear for music.