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

Oliver Award-winning Our Country’s Good tours UK theatres

Original Theatre, with Anvil Arts, presents Aden Gillet and Phillip Whitchurch in new production of Wertenbaker’s classic

The acclaimed Original Theatre Company, in association with Anvil Arts, is set to tour a new production of Timberlake Wertenbaker’s Olivier Award-winning play Our Country’s Good this season, performing at theatres across the UK, starring Aden Gillet (Accolade, The Winslow Boy, The Queen’s Sister, House of Elliot, Mary Poppins) and Phillip Whitchurch (Billy Elliot, Sharpe, The Bill, My Hero)

 "A play is a world in itself. A tiny colony we could say. And you are in charge of it. That is a great responsibility."

Australia. 1788. A British ship arrives with a cargo of soldiers and convicts transported abroad for their country’s good. As the soldiers struggle to impose order on the outcasts of the old society, a benevolent governor seizes on the notion of a play. In the shadow of the gallows and the gum tree the convicts gather under the direction of 2nd Lieutenant Ralph Clarke and rehearsals begin for The Recruiting Officer.

Based on real events, Timberlake Wertenbaker’s Olivier Award-winning modern classic is an inspiring tale of the transforming power of theatre. This major touring revival, at a time when the argument over publicly funded theatre is raging once again, is produced by the acclaimed Original Theatre Company and follows the success of their recent productions of See How They Run, Twelfth Night, Dancing at Lughnasa, The Madness of George III and Journey’s End.

Our Country’s Good is touring UK theatres this winter/spring 2012. For more information, or to book tickets, visit www.originaltheatre.com

 

“Wertenbaker has searched history and found in it a humanistic lesson for hard modern times: rough, sombre, undogmatic and warm”

-THE SUNDAY TIMES

“Highly theatrical, often funny and at times dark and disturbing”

-THE DAILY TELEGRAPH, CHARLES SPENCER

 
 

Original Theatre Company - Formed in 2004 by Creative Director Alastair Whatley, The Original Theatre Company is an acclaimed touring company based in the market town of Bury St Edmunds in Suffolk. We have built up an ever increasing reputation, performing both classical and contemporary texts with our own brand of daring innovation and bloody minded determination.

From our early days playing in often unconventional locations (cliff tops, stately homes and football grounds) in often unconventional weather (rain, hail and flooding), we have gone on to produce ten touring shows, travelling over 220,000 miles up and down the length and breadth of the UK, playing to hundreds of thousands of people in some of the classic repertory venues. We have gained a reputation for work that is carefully conceived, crystal clear, challenging and always entertaining.

Touring theatre is at the heart and soul of everything we do, taking diverse and engaging theatre of the highest quality to as much of the UK as possible. We passionately believe that great theatre does not have to be elitist and that people everywhere expect and deserve the best. We like to think that our work is characterised by its vitality, honesty and humour alongside a dynamic and dedicated approach by everyone both in front of and behind the curtain.

 

TOUR SCHEDULE /

 

JAN ‘12                

Wed 25 – Sat 28           BASINGSTOKE               The Haymarket                        01256 844244
Mon 30 - Tues 31         KINGSTON                    The Rose                                  0208 546 6983 

FEB ‘12

Wed 1 – Sat 4               KINGSTON                    The Rose                                  0208 546 6983
Mon 6 – Tues 7             READING                       The Hexagon                            0118 960 6060
Thurs 9 – Sat 11           BERWICK                      The Maltings                            01289 330999
Tues 21 – Sat 25           JERSEY                         The Opera House                     01534 511115
Tues 28 – Wed 29        NEWBURY                     The Corn Exchange                  01635 522733 

MAR ‘12

Thurs 1                        NEWBURY                     The Corn Exchange                  01635 522733
Fri 2 – Sat 3                  PETERBOROUGH           The Key Theatre                      01753 207239
Tues 06 – Sat 10           HARROGATE                  Harrogate Theatre                   01423 502116
Mon 12 – Wed 14          CHIPPING NORTON       The Theatre                             01608 624350
Mon 19                         BUXTON                       Opera House                            0845 127 2190
Tues 20 – Sat 24           MOLD                            Theatr Clwyd                           01352 755114
Mon 26 – Sat 31            GREENWICH                  Greenwich Theatre                  0208 858 7755 

APR ‘12

Mon 2 – Wed 4              LLANDUDNO                  Venue Cymru                           01492 879771
Tues 17 – Sat 21           EASTBOURNE                Devonshire Park Theatre         01323 412000
Mon 23 – Tues 24         BRACKNELL                   South Hill Park Arts Centre      01344 484123
Wed 25 – Thurs 26       FINCHLEY                     Arts Depot                                0208 369 5454 

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)

Review by Douglas McFarlane


Whew !

Have you seen Lysistrata ? It's a play that I've seen advertised on the Edinburgh Fringe and selected by many an ambitious artistic team to showcase their talents and win new audiences.  Originally performed in Athens around 2500 years ago Lysistrata persuades the women of Greece to withhold intimacy from their husbands and lovers to force men to negotiate peace. 

Think about that for a minute and imagine how that might be represented on stage. Yes, it's awkward, yes, it's adults only, and yes, it can be embarrassing depending on your company. So choose a close friend who is usually unschockable, and be prepared for a laugh.

As this is a family site, I can't go into much detail, other than to say that it is cringeworthy at times and really funny most of the time. The performers really push it to the limits and their "costumes", if you can call them that, were designed to shock the audience of white haired elderly couples, and groups of students alike. And they all roared with laughter.

It's a polished production with excellent lighting, sound and direction clearly in evidence in this one act play. The flow of the performance was to perfection with just enough one-liners and quick quips to keep it interesting, and each actor commanded your attention from the moment they stepped foot on stage.  Despite their unusual costumes and naughty behaviour, they manage not to cross the line of indecency, somehow. Although that imaginary line we have in our heads, probably changes during the performance.

I would recommend going along, if only to watch a talented team of actors committed to their roles while wearing some of the most hilarious outfits. A personal favourite of mine was the parody of Gerard Butler's '300' performance when "Spartan woman" bounds onto the stage.

Actors Of Dionysys perform this classic at the Rose Theatre, Kingston and will be touring.  Tickets can be purchased using the link below, or visit the official production site.

Ticket site:
https://uk.patronbase.com/_RoseTheatreKingston/Sections/Choose?prod_id=0010&perf_id=7

Production site:
http://www.actorsofdionysus.com/projects/current/lysistrata/

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

The Scottish Premier of what must be the biggest touring show in the UK sets up camp at the King’s Theatre for 4 weeks!

 

You know what a bandwagon is, right?  A wee history lesson: back in the day, a bandwagon was the first part of a touring show to arrive in town.  It literally carried the music band.  Whether the show was acrobats or a circus or a troupe of performers, the band wagon would be the first to roll into town making as much noise as possible to attract attention and help to sell tickets to the townsfolk.  The actual show would parade along behind the bandwagon before setting up the entertainment.  Dirty Dancing is such a big show that the ‘bandwagon’ arrived in January!  Producer Karl Sydow held a publicity event at Glasgow’s plush new Central Hotel to show off just how good the show would be when it arrived in October.  Well this is one show that lives up to the enormous hype!

 

Dirty Dancing rose all the way to movie immortality shortly after its release in 1987.  The story of Frances ‘Baby’ Houseman (played by Hollywood starlet Jennifer Grey) falling for edgy dancer Johnny Castle (iconically portrayed by Patrick Swayze) during the hot summer of 1963 struck a chord with audiences all over the world, not least due to the atmospheric soundtrack of hits from the era blended seamlessly with new music written for the movie soundtrack.  That atmosphere is transferred flawlessly to the stage in this production with a combination of live music and original masters of the 1960’s tracks.

 

Being such a universally loved movie, every audience member arrived with a preconception of the elements that MUST be in the show.  I can tell you that non-one appeared disappointed!  Classic quotes, immortal choreography, timeless music, iconic characters and semi-naked bodies all made it to the Glasgow stage intact!  There was a huge cheer as Baby exclaimed “I carried a watermelon” and an even louder reaction as Johnny uttered the long awaited words “Nobody puts Baby in a corner”.  Somehow this show blends the most potent aspects of nostalgia and excitement to inject energy into an audience.  It is amazing to be a part of it … if a little frustrating for traditional theatergoers who don’t want to be distracted from the onstage performance.

 

Traditional is something that this show is not.  It is not a musical (nor is it advertised as such) as the principal characters do not sing.  But there is plenty of singing onstage and the ensemble dance routines (which are mind-blowing in themselves) make this much much more than a play with music.  The production standards are among the highest I have seen for a touring show.  Electronic screens were used to great effect to set mood with still and moving backdrops that extended into the wings as the floor to ceiling ‘legs’ (black cloths that are used to mask backstage activity in the wings) were replaced with 10m electronic screens.  These combined with a stage revolve and flying scenery to make scene changes seamless.  If you are reading this and wondering how the scene in the lake is reproduced … you would have to see it to believe it!

 

Performances from this immensely talented cast were first class.  The dance numbers from Johnny Castle (Paul-Michael Jones) and Penny Johnson (Charlotte Gooch) were just breathtaking – this was almost to be expected as Paul-Michael Jones formerly represented England in Latin dance championships … but I honestly think that Charlotte Gooch could be the best dancer I have ever seen!  Even so, the show belonged to Emily Holt as Baby.  She was just perfect.  The character, the dancing, the physical comedy and a maturity and professionalism in the presence of an (at times) rowdy audience that was truly admirable.

 

You have to see this show.  Tickets aren’t cheap but, even in tough times, they are worth every single penny.

 

Listings Info:

Dirty Dancing

Wed 19 Oct – Sat 12 Nov

Mon – Thus eves 7.30pm

Fri 5pm & 8.30pm

Sat 2.30pm & 7.30pm

 

Tickets: £10 - £48.50 (Premium seats £75)

Box Office 08448 717 648 (Bkg fee)

www.atgtickets.com/glasgow  (bkg fee)

David Walliams’s odorous childrens novel is transformed into an entertaining family musical with a ‘scratch n sniff’ twist at the King’s Theatre this week.

 

Twelve year old Chloe is bullied at school and somewhat lonely.  Mr. Stink, a local well-mannered tramp, befriends her and accepts an invitation to live in her shed.  This is to the horror of Chloe’s snobbish mother who is campaigning to become a local MP!  A local newspaper gets hold of the story and soon Chloe’s mother is thrust into the limelight as the press mistakenly assume this as a move to eradicate homelessness on the part of the prospective parliamentary candidate.  But, as in all children’s stories, the truth has a habit of coming out when the grown-ups least expect it!

 

The show is heralded as a World Premier of the “scratch n sniff” musical.  The format is certainly a success for the intended audience of young families … although I’m sure it does borrow something from Opera North’s production of “Love for Three Oranges” in the early nineties (I’m sure none of the intended audience of 6 – 12 year olds had the pleasure of attending that production).  The six supplied smells in the Quentin Blake illustrated booklet were certainly revolting but were a little similar to each other.  This was the only disappointment, though, as other production qualities were very well executed.  Matt Brind’s original music, in particular, was excellent (as you would expect from the man behind Legally Blonde).

 

Performances from Peter Edbrook (as Mr Stink) and Lotte Gilmore (Chloe) were charming and engaging in equal measure.  The supporting cast who played several roles and also presented the puppet characters (including Mr. Stink’s dog, Duchess and Chloe’s perfect sister, Annabelle) were animated and entertaining throughout.

 

An enjoyable family treat!.

 

Listings Info:

 

Mr. Stink

Tuesday 12 – Saturday 16^th July

Tickets: £18

Box Office 08448 717 648 (Bkg fee)

www.ambassadortickets.com/glasgow (bkg fee)

Marti Pellow deserves to be ‘sold out’ out as he ‘pops in’ to the Kings Theatre to present Jekyll and Hyde this week.

 

Robert Louis Stevenson’s classic story remains at the core of this contemporary musical.  The show is a predictably dark tale; very much in the mould of Sweeney Todd.  Brilliant Dr. Henry Jekyll researches the source of man’s dual nature – good versus evil.  He hopes to rid the world of the curse of evil.  But, when seeking backing for his research, his appeal is cruelly rejected by his hospital Board of Governors leaving him no option but to continue his research by experimenting upon himself.  However, his experiments only serve to unlock the evil side of his own personality which manifests itself in the form of Mr. Hyde.  Jekyll frantically researches an antidote for his potion against the backdrop of a vicious string of murders across London while his alter ego becomes more dominant over the body that they share.

 

Bill Kenwright’s new production was a vast improvement on the 2004 tour with a partial re-write, a new set put cleverly to use by director Martin Connor, fresh choreography from Bill Deamer, much reduced reliance on click track and a simpler, more effective, transformation between Jekyll and Hyde.  Marti Pellow’s accent didn’t move further south than Kelvinside, but this was not offensive (even to my Glaswegian ear).  More importantly, Mr. Pellow’s character had sincerity and duality as he leaned heavily on his outstanding past experience in The Witches of Eastwick to deliver a believable and, sometimes, frightening performance.

 

The beautiful score, featuring the songs “This Is The Moment”, “Someone Like You” and “In His Eyes” was lovingly and powerfully rendered by Marti Pellow and co-stars Sabrina Carter (Lucy) and Sarah Earnshaw (Emma).  Ms Carter’s star shone particularly brightly as her character’s tough outer layers were gradually peeled back to reveal a genuine vulnerability.  The talented support cast even managed to weave a little comedy into this sombre tale to deliver a rounded show with appeal to a wide audience.

 

Listings Info:

 

Jekyll & Hyde

Mon 13 – Sat 18 June

Mon – Sat eves 7.30pm

Wed & Sat mat 2.30pm

 

Tickets: £14 - £33

Box Office 08448 717 648 (Bkg fee)

www.ambassadortickets.com/glasgow (bkg fee)

Abigail Jaye gives a legendary performance as Eva Peron in the musical, Evita, at the King’s Theatre this week.

 

It is easy to see why this musical has become one of the most loved and enduring successes of the Andrew Lloyd Webber / Tim Rice partnership.  With an appealing score carrying the real life narrative including musical favourites like High Flying Adored, Another Suitcase in Another Hall, On This Night of a Thousand Stars and, of course, Don’t Cry For Me Argentina the show lives long in the memory of the audience.  The drama, too, is hard hitting set against the backdrop of civil unrest, a military coup and the untimely death of Eva aged just 33.

 

Bill Kenwright’s production, as we would expect, brings the story to the audience with authority and a high presentation standard.  The set, by Glasgow trained designer, Matthew Wright, brought an extra dimension to the performance with a flexible system of balconies, pillars and sweeping staircases which effectively represented interior and exterior scenes.  Choreography from Bill Deamer firmly placed the story in Latin America and added energy to several scenes.

 

Performances were solid throughout but the spotlight must rightly remain on Abigail Jaye as Eva.  Her voice was simply astonishing with power and control utilised to great effect; raising hairs on the back of the neck more than once.  She effectively balanced the (sometimes cold) ambition of Eva with her passion for the people to ensure that the audience were ready to shed a tear upon her death.

 

Listings details

EVITA

King’s Theatre, Glasgow

6 – 11 June 2011

Tickets £17 - £36

Box Office: 08448 717 620

 

Les Ballets Trockadero de Monte Carlo

King’s Theatre, Glasgow

Tuesday 8 March 2011

 

There’s a real buzz in the auditorium: many in the audience already know and love the Trocks. There’s an announcement before the show: ’All the ballerinas are in a very good mood tonight.’

The Trocks are a 16 strong company of professional male dancers, founded in 1974 to bring a playful, entertaining view of classical ballet to the widest possible audience. Starting in a loft in New York, they have since become a global dance phenomenon. Incorporating the full range of ballet and modern dance in their repertoire, they cock a snook at the absurd and ossified conventions of classical ballet, whilst gleefully celebrating its lyricism, its passion and its athletic aesthetic. The fact that the male dancers play all the roles, often in enormous size 12 pointe shoes, is a joy, and the overtly hairy chest of Odette in their signature piece, Act 2 of Swan Lake, adds to the hilarity of the evening without taking away from the exhileration of seeing some of the most graceful ballerinas ever. Pratfalls and gestures taken straight from Melodrama. Music Hall and early silent movies add to the tropes of transgression that are the dynamic of an evening that also includes straightforwardly beautiful dancing in the Pas de Deux Grand Classique. Their take on Balanchine, Go for Barocco, was a stunningly funny precision piece to the music of Bach, his elegance expressed through a group of what appeared to be competitive muscular 1930s bathing belles. And The Dying Swan was executed in a cloud of moulting feathers, and bows that lasted longer than the piece itself. The final dance, Raymonda’s Wedding, takes a typically ludicrous fantasy ballet narrative and comically violates it as really really large ‘female’ dancers are partnered with short ‘male’ dancers who can’t even see round them as they work together, and ‘accidents’ contravene the idea of grace: the Prince collides painfully with the prosc arch and a ballerina reappears from the wings with heavy black rimmed glasses on.

In ballet, dancers normally ignore the audience until the curtain calls…here the company engage with you from the start and you are genuinely invited to share the joke (or the joy) with them. They are dancing in travesti – not in drag – challenging the gender and race – and size – assigned stereotyping decisions that underlie normal ballet school and ballet troupe practice.

They have an awareness of the performance of personality, underlined by being gay in a world where assigned gender is a political as well as a corporal axiom, where the gay body has been the subject of exploration in performance art, and in the lives of gay men, predicated on a division of the self externally imposed. This lived reality chimes with the creation of glamorous names for classical ballerinas: the Trocks revel in dual Russian personae, male and female: punned pseudonyms such as Ida Nevasayneva and Mikhail Mypansarov.

They are all extremely accomplished and talented ballet dancers – with great comic timing and real rapport with the audience. It’s their love for the great traditions of Russian Imperial Ballet that enables them to work to such comic effect, producing both affection and respect. Even the final Curtain Call became a parody – of the grotesque inexpressivity of River Dance.

At the end of the show, you couldn’t imagine an audience all being in more of a good mood: when the Trocks are in town, it’s very much like being invited to the best party ever.

Susan C. Triesman

 

Listings Info:

Les Ballets Trockadero de Monte Carlo

Tue 8^th and Wed 9^th March

Tickets: £14 – £27

Box Office 08448 717 648 (Bkg fee)

www.ambassadortickets.com/glasgow (bkg fee)

 

The UK tour goes on to:

New Wimbledon Theatre

Fri 11 and Sat 12 March

Brighton Dome Concert Hall

Tue 15 and Wed 16 Mar

Nottingham, Royal Concert Hall

Fri 18 and Sat 19 March

Milton Keynes Theatre

Tues 22 and Wed 23 March

High Wycombe, Wycombe Swan

Fri 25 and Sat 26 March

Birmingham Hippodrome

Wed 30 March 0- Sat 2 April

Sheffield, Lyceum Theatre

Tue 5 and Wed 6 April

Bradford, Alhambra Theatre

Fri 8 and Sat 9 April

Edinburgh Festival Theatre

Tues 12 and We 13 Apr

Salford, The Lowry

Fri 15 and Sat 16 Apr